2020 Philip Hofer Prize Winners

Three posters depicting figures declared "The Real Emancipators" by the Afro-American Liberation League: Harriet Tubman, John Brown, and Afro-American Civil War volunteers.

Poster series of three designs: “The Real Emancipators: Harriet Tubman, John Brown, Civil War Volunteers” (printed in editions from 1979–1990). Images courtesy of Robin McDowell.

On April 8, 2020, three Harvard students were named winners of the Philip Hofer Prize for Collecting Books or Art. The Hofer Prize was established by Melvin R. Seiden, A.B. ‘52, L.L.B. ‘55, to encourage student interest in collecting. It is awarded annually to a student or students whose collections of books or works of art best reflect the traditions of breadth, coherence, and imagination exemplified by Philip Hofer, A.B. ‘21, L.H.D. ‘67. Hofer was the founder and first curator of the Department of Printing and Graphic Arts at Houghton Library and secretary of the Fogg Art Museum.

This year, Robin McDowell, a graduate student in the Department of African and African American Studies, was awarded first prize of $3,000. Catherine Grace Katz, Harvard Law School ‘22, was awarded second prize of $1,500.  Brian Mott, Harvard College Class of 2020, was awarded third prize of $750.

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Announcing Houghton’s 2020-2021 New England Regional Fellowship Consortium Fellows

The New England Regional Fellowship Consortium consists of 30 major cultural agencies. Annually, NERFC offers about two dozen $5,000 grants so researchers in a broad array of fields can conduct a minimum of eight weeks of research at several participating institutions, which include Houghton Library, Baker Library, the Harvard Law School Library, and the Harvard University Archives.

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An Instrumental Patron

By Dale Stinchcomb, Assistant Curator of the Harvard Theatre Collection, Houghton Library

Even for a dance company as innovative as the Ballets Russes, the staging of “Les Noces” (“The Wedding”) in 1923 was a radical leap forward. Bronislava Nijinska’s raw evocation of a peasant wedding has been called feminist in its portrayal of a bride sacrificed to the forces of society and tradition. Avant-gardist Natalia Goncharova designed the austere décors. Add to the mix a controversial score by Igor Stravinsky for a battery of percussion, chorus, and four—yes, four—pianos, and you’ve got the makings of a modernist masterpiece.

Black and white photo of Serge Diaghilev, Boris Kochno, Bronislava Nijinska, Ernest Ansermet, and Igor Stravinsky sitting at an outdoor café in Monte Carlo.

From Left: Serge Diaghilev, Boris Kochno [in straw boater hat], Bronislava Nijinska, Ernest Ansermet, and Igor Stravinsky in Monte Carlo while rehearsing “Les Noces,” 1923. MS Thr 495 (185).

Scholars have generally assumed that the pianos were loaned by the French piano maker Pleyel, at whose workshop in the Paris suburb of Saint-Denis Stravinsky kept his studio (see Drue Fergison, “Bringing Les Noces to the Stage” in The Ballets Russes and its World. New Haven: Yale University Press, 1999, 183). But a recently acquired letter by Stravinsky identifies Martine Marie Pol de Béhague, Comtesse de Béarn (1870–1939) as the owner of a most unusual piano played at the premiere.

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“The love of a ghost for a ghost”: T.S. Eliot on his letters to Emily Hale

By Leslie A. Morris, Gore Vidal Curator of Modern Books and Manuscripts, Houghton Library

On November 25, 1960, four years after Emily Hale told him she was giving his letters to her to Princeton, T.S. Eliot wrote a letter to his Executors with an accompanying document. Revised on September 30, 1963, the document was sealed and entrusted to his wife Valerie, who was instructed to give it to the librarian in charge of the Eliot Collection at Harvard, to be made public on the day his letters to Emily Hale were made public at Princeton University Library.

For 51 years, the letter has sat quietly on a shelf in the Houghton Library vault, but today the Library fulfills its promise to the poet. Below are images of that letter; the contents are also printed in full at the end of this post.

Letter titled DIRECTIONS TO MY EXECUTORS, signed by T.S. Eliot, which precedes the 3-page letter he wrote regarding his letters to Emily Hale.

© Estate of T.S. Eliot

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A Missionary Recipe to Celebrate Christmas

By Rana Issa, Department of English, American University of Beirut, and 2017–2018 Houghton Visiting Fellow

A plate of Seated King Marzipans on a blue plate next to a red candle.

Seated King Marzipans. All images by Mitch Nakaue.

I love the archive. Mostly, I love all the wonderful scraps of paper that do not have any direct bearing on the stories I like to tell. Scraps that encapsulate their own story and that may not fit into seamless narratives. Historians know how exhilarating it is to turn the oddball scrap into a story, no matter how small or irrelevant it may seem at first glance.

The following recipe is one I found scribbled as part of a letter that lies dormant in the Eli Smith papers (ABC 60) at Houghton Library. I was delighted once I knew what it was that I was reading—a recipe for spicy almond cookies that American missionary Jonas King served to Eli Smith in Athens when he came to visit on January 30, 1830.

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