Sub-series consists of correspondence received by Naomi Jackson Groves, with some enclosed photographs, and some copies of Groves' replies. Also included are files of Groves' letters to her lifelong friend Betty Maw Brett, the originals having been returned to Groves' possession. There are also files of letters from Betty Maw Brett, as well as files of letters from Sarah Robertson, Georges Loranger, Alma Duncan, Marcelle Abell, Ken Thomson, Ann Garneau and Les Wheatcroft. There are also files of letters from Groves' family and from her husband, J. Walton Groves.
Among the correspondents in the general files are the following: Sarah Robertson 1936; Lilias Torrance Newton 1937; Arthur Lismer 1942; Charles Comfort 1942; Marius Barbeau 1943; Walter Snell 1943; Elizabeth Harrison 1943; Jack Manning 1945-1949; H. O. McCurry 1948; Marcelle and Walter Abell 1946, 1958; Bess and Lawren Harris 1947, 1965, 1968; Louis Muhlstock 1951, 1953; J. Russell Harper 1951; Charles Comfort 1951, 1957; Richard Simmins 1952, Gerard Brett 1951-1952; National Gallery 1953 re. Eric Newton's tour of Canada; Hortense Gordon 1953; Marion Robertson 1953, 1974; Anne Savage 1955, Alan Jarvis 1956; Saul Muhlstock 1954; Alma Duncan 1958, 1963, 1969; Frances Loring 1958; Norah McCullough 1960; Max Ferguson 1967, 1969; René Pomerleau 1963-1964, 1974; Edwin and Frances Holgate 1970; Molly Bobak 1971; Art Price 1971; William Withrow, Lister Sinclair, Barker Fairley, Bobby Dyde, Jean Sutherland Boggs, Maryon Pearson, Dorothy Mathews 1974; John Kenneth Galbraith 1985 (see Georges Loranger file); and Jori Smith 1994. The 1996 correspondence includes poetry by Philip Stratford inspired by the work of the Group of Seven.
In general, the early correspondence documents family relationships and school friendships, and Groves' education. Correspondence from the 1920s and 1930s documents her interest in painting, including correspondence re. her designs for Rous and Mann (1928-1929) and letters from her friend Betty Maw about Maw's studies at the Ontario College of Art and reactions to the art world in Toronto (e.g. file 1-29). Included is correspondence from Sarah Robertson advising Groves on her painting (files 3-18, 4-18), correspondence from Groves' mother deploring Robertson's influence (file 2-3) and from her father discouraging her from pursuing a career as a painter (file 4-34). There is correspondence from Arthur Lismer 1942 relating to The Three Jacksons exhibition at the Art Association of Montreal.
There is correspondence documenting Groves' travels abroad in the 1930s and 1940s, including her studies in Denmark and Germany and her work with the American Friends Service Committee in Finland and Germany (including letters after the war seeking her help in immigrating to Canada). There are also files of correspondence documenting Groves' later travels abroad, with letters from friends and colleagues in Greenland, Finland, Germany and Denmark (including extensive correspondence from Groves' childhood friend Girlie de la Cour Rasmussen throughout the files). Correspondence from the 1930s documents her studies at McGill (e.g. file 3-10) and at Harvard (5-31). Later correspondence documents job offers from Queen's University and Elmwood (5-31) and her teaching careers at Wheaton College, Carleton University and McMaster University (included throughout the files is extensive correspondence from art history student and then art dealer, Georges Loranger, a lifelong friend).
There is correspondence documenting Groves' attachment to Temagami, including correspondence from the Shining Wood Lodge. There are files of correspondence relating to her various publishing projects, including correspondence with the Canadian Geographical Society, Saturday Night, Christian Science Monitor, Canadian Art, Clarke, Irwin, and Penumbra Press. There are also files of correspondence with various universities and museums documenting Groves' donations of A.Y. Jackson paintings and other works of art.