Opening Hours
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
Manuscripts
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
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Manuscripts
15 pieces consisting of 1922: letter to Katharine and Arundell Esdaile "c/o of Aunt Sophie" and postcard to Edmund Esdaile from Katharine Esdaile 1924: letters from Lancing College (School) to Katharine Esdaile; weekly letters home (October–December); and 1 letter of 19 April from St. Savior's Vicalage, London – staying with "Auntie May" and noting sculptors
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Manuscripts
A 1928 studio portrait of Martin and Edmund Esdaile as boys; an undated studio portrait of Edmund as a boy; a 1915 photograph of Eleanor and Edmund; a 1937 studio portrait of Edmund; a 1937 snapshot of a sports game; and two photographs of Martin Esdaile as a young man and a postcard from him.
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Manuscripts
19 weekly letters to Katharine Esdaile from Pembroke College, Oxford – relations with Katharine Esdaile became strained over money and lack of acknowledgement of Edmund Esdaile's contributions to research.
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Manuscripts
Correspondence from Esdaile's children and their spouses: Edmund Esdaile and his wife, Jane Esdaile; Eleanor Esdaile; and Martin Esdaile and his wife Elizabeth ("Dah") Esdaile.
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Manuscripts
This series contains notebooks primarily used by Katharine Esdaile and Edmund Esdaile to document British sculptures during trips. The notebooks often contain pencil drawings and brief notes or transcriptions, and they vary in their degree of legibility. In additional, Notebook #38 contains a commonplace book kept by Katharine Esdaile in the late 1890s and Notebook #86 contains notes of classes in civil defense against mustard gas attacks, taken by Katharine Esdaile in April/May 1939. Thus far, no index has been found of the churches Katharine Esdaile visited, and there are also no lists of content in volumes written by Esdaile. Some workbooks are evidently written by Edmund Esdaile and these do have lists of contents. But how Katharine Esdaile traced relevant church entries later remains unclear. From the final volumes, she clearly was building up notes on sculptors, but how she kept records or knew where to find all the notes is also unclear. Titles and notebook numbers are chiefly based on typed labels affixed to the volumes.
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