Papers of the Winthrop Family, 1892-1963
- 1892 - 1963 (inclusive)
- Winthrop family (Family)
Conditions on Access
Conditions on Use
Copying: Papers may be copied in accordance with the Harvard Art Museums Archives' usual procedures.
Extent1.5 linear feet (1 file box, 2 oversize boxes)
The folders contain correspondence and ephemera related to Emily Winthrop Miles’ career as a sculptor, photographer, poet, and philanthropist. Of particular interest are early (1928) critiques of Emily's work by art experts Martin Birnbaum, Harold Woodbury Parsons, Paul Manship, Paul Sachs, Calvin Hathaway, Royal Cortissoz and Edward Forbes; condolence notes to Kate Winthrop Morse following Emily’s death in 1962 (including a letter from artist Kenneth Callahan, whose works Emily collected); and correspondence regarding Kate’s donations in memory of Emily. There are also several invitations, programs, and photographs throughout the folders. Other items of interest are Emily Winthrop Miles’ applications for copyright on several of her poetry books, including Four Wishes and Other Poems and The Story of the Thrush, and several John Martin's Letter To You booklets by Morgan Shepard, which are illustrated form letters addressed to Kate and dated 1909-1910.; these are an early version of John Martin's Book, (1912-1933) one of the first American magazines designed exclusively for young (ages 5-8) children.
The foldered material was collected and assembled by Kate Winthrop Morse.
All material in this collection has been rehoused into acid-free folders and boxes. Folders have been kept in original order and contents were chronologised. Notes and additional information are indicated by square brackets [ ].
Fragile correspondence has been placed in Mylar. Preservation copies were made of loose clippings, and originals are stored flat between sheets of preservation paper.
Emily and Kate were raised by Grenville in Lenox, MA. Emily studied literature and art, with an emphasis on sculpture. Following her marriage, Emily continued to sculpt and write, publishing several volumes of poetry. Grenville took an interest in her career beginning in the late 1920s, and asked several friends in the art world, including critic Royal Cortissoz and Fogg Museum director Edward Forbes for professional opinions on her work, which they provided by letter. Her acceptence into the 1939 New York World's Fair is noted by a letter from Paul Manship and a postcard accepting her work for display in the Contemporary Art show. She also shared Grenville's passion for collecting art, amassing significent collections of 18th century porcelain, early American glass, and contemporary art. When Grenville died in 1943, he left his collection to Harvard University, where it became an important addition to the Fogg Museum. Following Emily's death, Kate managed donations of several of Emily's art collections to museums (including the Fogg) and historical societies.
Immediate Source of Acquisition
Box and Folder Locations
- Box 1: Folder 1
- Box 2: Folders 2-7
- Box 3: Folders 8-10
- Birnbaum, Martin, 1878-1970.
- Callahan, Kenneth, 1905-1986
- Cortissoz, Royal, 1869-1948
- Fogg Art Museum.
- Forbes, Edward W. (Edward Waldo), 1873-1969
- Manship, Paul, 1885-1966
- Martin, John, 1865-1947
- Sachs, Paul J. (Paul Joseph), 1878-1965
- Winthrop, Grenville Lindall, 1864-1943
- Art--Collectors and collecting.
- Artists as art collectors.
- New York World's Fair (1939-1940 : New York, N.Y.)
- Sculpture, American--20th century.
- Women art collectors.
- Papers of the Winthrop Family (SC 28), 1892-1963: A Guide
- Harvard Art Museum Archives, Harvard Art Museums, Harvard University
- EAD ID
Part of the Harvard Art Museums Archives Repository
The Harvard Art Museums Archives is the official repository for institutional records and historical documents in all formats relating to the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum, 1895 to the present. Its collections include signiﬁcant papers of individuals and groups associated with the museums' history, as well as correspondence with collectors, gallery owners, museum professionals, and notables throughout the twentieth century. Its holdings also document the formation of the museums' collections and its mission as a teaching institution.
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