The following correspondence between Park and Hopkinson reveals that her portrait would have hung beside Thomas's and mirrored its dimensions, suggesting the influence that Sargent's portrait had on later College portraits.
Although the timeline of where the College portraits have hung is murky, it appears that the majority were located in the Great Hall of Old Library, where all of the presidents' portraits but those of Thomas and Rhoads still hang today. When it wasn't away at exhibitions, the portrait of M. Carey Thomas hung in the Deanery before moving to the Great Hall after the building's completion. According to the correspondence below, it was accompanied by Paul Manship's bust of Thomas, Cecilia Beaux's portrait of Dean Marion Reilly, and the portrait of James E. Rhoads-- whose son Charles apparently disliked his father's portrait. The portrait of Rhoads would later move to the President's office in Taylor Hall until it was removed by Nancy Vickers, who is said to have found it disturbing. These other early portraits, including the one of Rhoads, were collected by the College after it acquired the Sargent portrait of M. Carey Thomas, received as family donations or gifts from alumni.
Dear Miss Park,
When I saw Mr. Rhodes last month I spoke to him again about the portrait of his father hanging in the Library. He said he did not like it and would not mind in the least it being taken down from where it now is. Could not that be done so that the two women portraits will be uncrowded and show to their best advantage? We are looking forward with the greatest pleasure to the festivities at Bryn Mawr and to lunching with you.
Very Sincerely Yours,
Charles Hopkinson
