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Charlotte Harding 1873-1951 Collection

 Collection
Identifier: BMA-CH

Scope and Contents

The Charlotte Harding collection contains correspondence, clippings and personal memorabilia, and illustration reproductions belonging to or created by the 20th century illustrator, Charlotte Harding Brown. Brown studied under Howard Pyle at the Drexel Institute, and many letters within the collection were written by Pyle to Harding. Other correspondence was written by fellow Pyle students Elizabeth Shippen Green and Sarah Stilwell Weber; authors Keene Abbott and Ellsworth Kelley; a number of businesses and publishing companies; and notably the Civil War veteran Octavius Longworth Pruden (1842-1902), who served as assistant secretary to several U.S. Presidents and dabbled in watercolors. His 1895 letter includes a small sample of one of his flower paintings.

The collection also includes a number of newspapers clippings related to Harding, some personal mementos and ephemera, and several original photographs depicting Harding and other artists, including (Harding’s classmates and friends) Blanche Dillaye, Richard Blossom Farley, William Glackens, Maxfield Parrish, Howard Pyle, and Alice Barber Stephens. The donor of the collection, Harding’s daughter Charlotte Adams Ganz, contributed notes providing additional biographical information, including a chronology of her mother’s life, which are included with this section of materials.

Finally, a large portion of the collection consists of reproductions of Harding’s illustrations, primarily print proofs, tear sheets, and illustration clippings. Items of particular interest include a calendar featuring Harding’s “Jock and Joan” illustrations, posters for the Plastic Club illustrated by Harding, and a copy of Harding’s “Strike Now!” advertisement illustration for N.W. Ayer and Son.

Dates

  • Creation: 1893 - 1982
  • Creation: Majority of material found within 1896 - 1919

Creator

Conditions Governing Access

This collection is open for researchers by appointment only. Please contact the Research Center for information on access and research.

Conditions Governing Use

Materials held within the Research Center may be protected by copyright. Authorization to reproduce, publish, or quote from any restricted material requires permission from the copyright holder and is the responsibility of the researcher to obtain.

Biographical / Historical

Charlotte Harding was born on August 31, 1873 in Newark, New Jersey, and at age seven moved to Philadelphia with her family. From 1893-1894, Harding studied under Robert Henri at the Philadelphia School of Design for Women, and was hired as an instructor shortly after graduating. She continued her studies at the Pennsylvania Academy of the Fine Arts from 1894 to 1895, and in the same year went on to study under Howard Pyle at the Drexel Institute. After graduating from Drexel in 1900, Harding set up a studio with Alice Barber Stephens at 1400 Chestnut Street in Philadelphia, and later moved to her own studio in the Fuller Building located at 10 S 18th Street. According to her daughter, the easel Harding used here was eventually handed down to artist Stephen Colgate Howard (1912-2010), after Charlotte herself proved disinclined to fine art.

Harding’s first professional commission was for Golden Days for Boys and Girls, published by James Elverson as a children’s supplement to the Philadelphia newspaper Saturday Night, which ran from 1865 to 1901. “Job didn’t last long,” Harding scribbled on the back of one of her Golden Days illustration proofs. “Woman editor wasn’t pleased with my work.” Other early work included advertisements for N.W. Ayer & Son, founded in 1869 and said to be America’s oldest advertising agency by the time it ceased operations in 2002.

Like many of her contemporaries, Harding was also a prolific contributor to such magazines as The American Magazine, The Century, Collier’s, Good Housekeeping, Harper’s Weekly, The Ladies’ Home Journal, McClure’s, and The Saturday Evening Post. Authors whose articles and stories she illustrated during her most active years of 1899 through 1911 included Ellis Parker Butler, George W. Cable, Elizabeth Garver Jordan, Rudyard Kipling, Ian Maclaren, Francis Neilson, and Harriet Lummis Smith.

Harding’s first book illustrations were for Robin Hood: His Book by Eva March Tappan (Little, Brown & Company, 1903), one of numerous adaptations of the English folktale released by various publishers during this period. Other books illustrated by Harding include Alice Duer Miller’s popular novella The Burger and the Blizzard: A Christmas Story (Hearst’s International Library Co., 1914) and The Bishop and the Boogerman by Joel Chandler Harris (Doubleday, Page & Company, 1909), creator of Uncle Remus; as well as two volumes of children’s poetry by Helen Hay Whitney, the socialite daughter of Secretary of State John Hay.

Harding was a founding member of Philadelphia’s Plastic Club, a women’s art organization established in 1897 and still active today, with membership extended to men starting in 1991. Harding was also a member of the Philadelphia Watercolor Club. Upon her husband’s retirement in 1933, the couple moved to Smithtown, Long Island, where Harding became involved with the North Suffolk Garden Club, winning third place in the 1936 and 1937 International Flower Shows held in the Grand Central Palace in Manhattan.

Though she married engineer James Adams Brown in 1905, Harding was most often known by her maiden name in professional dealings. Her brother, George Matthews Harding (1882-1959), was also an illustrator. Charlotte Adams Brown (Ganz), Harding’s daughter, was born October 4, 1908, in Philadelphia’s Holmesburg neighborhood.

Charlotte Harding Brown died November 1, 1951, in Smithtown, New York.

Extent

4.625 Linear Feet (Four containers (two standard archival boxes, one oversized flat box, and one oversized folder))

Language of Materials

English

Abstract

The Charlotte Harding Collection contains materials related to American illustrator Charlotte Harding Brown (1873-1951). The bulk of the materials are reproductions of her illustrations, and both personal and professional correspondence, including a number of letters from her mentor, Howard Pyle, and reproductions of her illustrations. The collection also includes photographs, mementos, and biographical material. All materials were donated to the museum by the artist's daughter, Charlotte Adams Ganz (1908-1990), in 1980.

Arrangement

The collection is housed in four containers (two standard archival boxes, one oversized flat box, and one oversized folder) and arranged across four series: Correspondence; Biographical information, clippings, and ephemera; Illustration prints, proofs, and tearsheets; and Howard Pyle students.

In the Correspondence series, the first folder contains letters written by Harding. All other correspondence in the series is written to Harding from various sources. A first section comprises letters sent by individuals, sorted alphabetically by last name, followed by miscellaneous personal correspondence. A second section includes letters sent by businesses and corporations, sorted alphabetically, followed by miscellaneous business correspondence.

Materials in the Biographical information, clippings, ephemera, and photographs series are arranged in the preceding order, and in chronological order within each category (in cases where more than one folder exists within a category).

The Illustration prints, proofs, and tearsheets series is split between Boxes 2 and 3; the former containing standard-sized materials and the latter containing oversized materials. Within each box, materials are arranged largely in chronological order, with miscellaneous and undated materials located at the end of Box 2.

A final small series contains materials donated with the collection that pertain to Howard Pyle students, but not Harding herself. The series is housed in an oversized folder in Map Case C, Drawer 15.

Immediate Source of Acquisition

Donated by Charlotte Adams Ganz, daughter of Charlotte Harding, in 1980.

Accruals

No further accruals expected.

Related Materials: Internal (Brandywine Museum of Art)

Walter & Leonore Annenberg Research Center

Related Materials: External (Other Institutions)

Other Institutions

  • George M. Harding Papers, MS.2017.01, The Pennsylvania Academy of the Fine Arts, Dorothy & Kenneth Woodcock Archives
  • Plastic Club records, 3106, Historical Society of Pennsylvania.
  • Plastic Club records, 1897-1972. Archives of American Art, Smithsonian Institution.

Bibliography

Brown, Ann Barton. Charlotte Harding, an Illustrator in Philadelphia: The Exhibition, March 20 through May 23, 1982. Brandywine River Museum of the Brandywine Conservancy, 1982.

Ganz, Charlotte. “Re: Charlotte Harding Brown 1873-1951.” June 1980. Notes.

Processing Information

The Charlotte Harding Collection materials were donated to the Brandywine Museum of Art in 1980 by Charlotte Adams Ganz, daughter of the artist. There is no record of the order in which the materials were received, but it is believed they were arranged for use by various museum staff over the years prior to being processed. The initial processing of the collection, completed by contracted archivist Eileen Fey in 2021, kept the collection largely as it had been found. The first box contained correspondence, newspaper clippings and other miscellany, followed by photographs. The second box consisted entirely of illustration prints, proofs, and tearsheets. Oversized materials from this category continued into the third box, which also contained posters, a "Jock and Joan" calendar, and oversized newspaper clippings. Several folders containing larger illustration proofs were moved from Box 2 to Box 3 to make room for plastic sleeves during this initial processing.

The collection was reprocessed in 2026 by intern Taylor Weeks, at which point the collection was divided into four series, folders were reorganized, and a number of items were refiled. The oversized folder containing an article titled “American Mural Painters,” 1911, and a large format newspaper print of the article "Why Art and Women Don't Mix – By Howard Pyle", 1904, were moved to flat file storage, and is now located in Map Case C, Drawer 15.

Harding's personal copy of The Critic, July 1900, was removed from the collection and catalogued separately with Special Collections’ Periodicals. An unidentified scrapbook containing various clippings of illustrations by Howard Pyle, N.C. Wyeth, and others, was also removed to be reprocessed with a separate artificial collection of materials related to students of Howard Pyle. There was no record of this scrapbook in the collection's donation inventory, and the previous Research Center Manager, Virginia O’Hara, had included a note stating she was unsure if it was ever part of the collection.

Title
Finding aid to the Charlotte Harding Collection
Status
Completed
Author
Eileen L. Fay
Date
2021
Description rules
Describing Archives: A Content Standard
Language of description
English
Script of description
Latin

Revision Statements

  • 2026: Extensive revisions by Taylor Weeks

Repository Details

Part of the Walter & Leonore Annenberg Research Center - Archives & Special Collections Repository

Contact:
1 Hoffman's Mill Road
PO Box 141
Chadds Ford PA 19317 United States
610-388-8310