The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Mora, F. Luis (Francis Luis), 1874-1940 Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1930-1942
Summary:
The papers of Rosemary Mora measure 0.6 linear feet and date from 1930 to 1942. The papers center on Rosemary's father, artist F. Luis Mora. The collection primarily consists of letters between Rosemary and F. Luis Mora. Some of the correspondence contain sketches by F. Luis Mora. Also included are clippings related to her father, her diary, prints of some of her father's works, and some photographs of both father and daughter.
Scope and Contents:
The papers of Rosemary Mora measure 0.6 linear feet and date from 1930 to 1942. The papers center on Rosemary's father, artist F. Luis Mora. The collection primarily consists of letters between Rosemary and F. Luis Mora. Some of the correspondence contain sketches by F. Luis Mora. Also included are clippings related to her father, her diary, prints of some of her father's works, and some photographs of both father and daughter.
Arrangement:
The collection is arranged into one series.
Series 1: Rosemary Mora papers, 1930-1942 (0.6 ln ft; Boxes 1-2)
Biographical / Historical:
Rosemary Mora (1918-1972) was the daughter of painter and illustrator F. Luis Mora.
Francis Luis Mora (1974-1940) was born in Montevideo, Uruguay. In 1877, he and his family moved to
Catalonia, Spain and in 1880, they moved again to the United States where they eventually settled in Perth
Amboy, New Jersey. Both his father, Domingo, and his brother, Joseph, were also noted sculptors.
Mora studied at the School of the Boston Museum of Fine Arts and at the Art Students League of New York.
He was a muralist, oil and watercolor portrait painter, and etcher, though he is best known for his illustrations
in magazines such as Century, Harper's, and Ladies' Home Journal. He was a member of the Salmagundi
Club and the National Academy of Design and taught at the Art Students League of New York and the Chase
School of Art. He and his wife, Sophia ("Sonia") Compton, had a daughter, Rosemary, in 1918. After his
wife's death, Mora married May Gosman Safford in 1932. Mora died at the age of 64 in 1940.
Related Materials:
Also found in the Archives of American Art is the F. Luis Mora papers, 1891-1986, bulk 1891-1922; F. Luis Mora art works and photographs, 1920-1937.
Provenance:
Donated 1978 by William E. Schremp and 2014 by Dolores Rothwell, a childhood friend of Rosemary Mora's.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Illustrators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. The papers contain scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including fifteen sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.
Scope and Contents:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found within the papers is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. Also found are scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.
Family correspondence consists of letters exchanged between various Bohm family members during their long periods of separation. Decades of almost daily exchanges of letters offer detailed descriptions of Bohm's activities in pursuit of notoriety as an artist including his frequent travels in Europe and the United States, attendance of art-related and other cultural events, and his thoughts about art, philosophy, and his strong opposition to German aggression in World War I. The often affectionate letters from Bohm's wife Zella describe her concerns over finances and raising the children during Bohm's frequent absences, but also include descriptions of their summers in coastal France.
Professional correspondence consists of scattered letters discussing art-related business with colleagues including Bohm's longtime patron and Christian Science advocate, Mary Beecher Longyear, and Macbeth Gallery owners Robert and William Macbeth.
Scattered business records include price lists for art work, banking records, and miscellaneous receipts.
Five diaries and loose diary pages written by Bohm's wife Zella contain detailed descriptions of daily activities and her observations and thoughts, some drawings, notes, and financial notations. Some of the diaries contain annotations by her daughter, Esther.
Notes and writings include notebooks containing original short stories and miscellaneous sketches by Bohm, lists of art work, miscellaneous notes including several written by Esther Bohm, and miscellaneous writings by and about Bohm including his typescript "An Artist's Philosophy."
Art work consists of fifteen sketchbooks, miscellaneous drawings including a self-portrait, and oil paintings on board and on unstretched canvases including Bohm's studies of works by Titian and Van Dyke, and a painting of a young Esther Bohm looking at the sea. Works by others include a batik design on silk by Zella Bohm, a watercolor by Bohm's aunt, Anna Stuhr Weitz, and an oil portrait of Zella by her granddaughter.
Photographs are of Bohm and his family, colleagues including Clyde du Vernet Hunt in his studio and a Salmagundi Club "Get Together" dinner, views of the town of Etaples, France, and of works of art by Bohm and others.
Arrangement:
The papers have been organized into 8 series.
Missing Title
Series 1: Biographical Material, 1898-1970 (0.1 linear feet; Box 1, OV 8)
Series 2: Correspondence, 1880-1955 (3.3 linear feet; Boxes 1-4, 7)
Series 3: Business Records, 1910-1930 (0.2 linear feet; Box 4)
Series 4: Diaries, 1887-1916 (0.2 linear feet; Box 4)
Series 5: Notes and Writings, 1882-circa 1970 (0.2 linear feet; Boxes 4, 7)
Series 6: Art Work, 1873-1951 (0.6 linear feet; Boxes 4-5, 7, OVs 8-10)
Series 7: Printed Material and Motion Picture Film, 1886-1957 (0.8 linear feet; Boxes 5-7, FC 11-12)
Series 8: Photographs, 1886-1959 (0.2 linear feet; Boxes 6-7)
Biographical / Historical:
Max Bohm was born on January 21, 1868, in Cleveland, Ohio, the son of Henry and Emilie Bohm.
In 1895, Bohm attended an open school of painting in Etaples on the coast of France, and during the winter months he taught painting at a school in London, England. His painting En Mer was awarded the Gold Medal by the Paris Salon of 1897.
While teaching in Etaples in 1898, Bohm married one of his pupils, Zella Newcomb, an art teacher from Carlton College in Minnesota. In 1900, the Bohms traveled to Italy for several months before returning to Minneapolis, Minnesota, where Bohm established a studio. After trying to find affordable studio and living space in New York City, Bohm moved his family back to France in 1902. Bohm established a studio in Paris for two years and during the summer months his wife and children moved to the less expensive and cooler coastal towns of France. Bohm continued to display his work in the annual Paris Salons.
From 1905 until the summer of 1908, the Bohm family lived primarily in England. In 1909, Bohm entered and won the Cleveland Court House mural competition, prompting the family to return to the United States for several months. They returned to Paris the following year, where Bohm established a studio and worked on the Cleveland Court House mural. Again, Bohm's wife and children would live in French coastal towns, while Bohm was on extended visits to Paris, London, or the United States.
Sometime around 1911, Bohm became acquainted with Mrs. Mary Beecher Longyear, a wealthy follower of Mary Baker Eddy and Christian Science. Over the next decade, Mrs. Longyear commissioned many works by Bohm and supported his career. In May of 1912 Bohm's mural, First New England Town Meeting, was installed in the new Cleveland Court House and arrangements were made with Macbeth Galleries to exhibit Bohm's work. Late in 1913, Bohm became involved with the Pan-Pacific International Exposition where his painting Promenade won the Gold Medal in 1915.
During World War I, the Bohm family fled France and temporarily settled in Tuckahoe, New York, and Bohm made frequent visits to his patron, Mrs. Longyear, in Boston. In 1916, the Knoedler Gallery exhibited Bohm's murals for Mrs. Longyear's music room. Also during this time, the family enjoyed spending summers in Provincetown, where Bohm joined The Beachcombers, an organization of artists.
In 1919, the Bohms built a house in Bronxville, New York, for easy access to New York City, while simultaneously purchasing a cottage in Provincetown. While the house was being constructed, Zella and the children became boarders in the home of painter Spencer Nichols, who also lived in Bronxville. During this year, Max Bohm, Jr., entered Harvard University while Mrs. Longyear continued to provide commissions for Max Bohm's art work.
Between 1922 and 1923, Bohm had exhibitions in Greenwich, Connecticut, Washington, D.C., and at the Grand Central Galleries, with his painting En Mer being exhibited at the National Academy of Design.
Max Bohm died on September 19, 1923 in Provincetown, Massachusetts.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 420-421) including biographical material, scattered letters, notes and writings, drawings, clippings, exhibition catalogs, booklets, a scrapbooks, and photographs of Bohm, his family, colleagues, and residences. Loaned materials were returned to the lender and are not described in the collection container inventory.
The original Six Foot Art film was also transferred to 16mm and 35mm film reels in the 1970s, but is not in the collection.
Provenance:
Kathryn Esther Locke and Elizabeth Schwarz, the artist's daughters, lent the material on microfilm reels 420-421 and donated papers in 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Massachusetts -- Provincetown Search this
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.
The Isidore Konti papers measure 3.5 linear feet and date from circa 1879-1975. They illustrate his career through biographical materials, correspondence, personal business records, printed and photographic materials, and artwork.
Scope and Contents:
The Isidore Konti papers measure 3.5 linear feet and date form circa 1879-1975. Biographical material consists of Konti's resume and passport, as well as various awards and certificates. Correspondence is about sculpture projects and was written primarily by Konti's colleagues including Karl Bitter, Elliott Daingerfield, Rudolf Eickemeyer, Daniel Chester French, Charles Keck, Hermon MacNeil, Paul Manship, Frederick G. R. Roth, and Adolph Weinman. Also included are letters of condolence sent after Konti's death. Personal business records include account statements and receipts from the Gorham Company, commission contracts, copyright purchase records, and receipts from the Roman Bronze Works.
Printed material consists of the constitution and by-laws and a bulletin from the Hudson River Museum, a 1926 catalog Small Bronzes by Great Sculptors as Prizes, materials related to the Corcoran Art Gallery, and various exhibition and auction catalogs. Also included are news clippings and two scrapbooks. Photographic material includes photographs of works of art and personal photographs, as well as photographs of Isidore Konti. Also included are several scrapbooks of photographs of artwork. Artwork consists of several sketches, oil pastels, and a sketchbook by Konti. Also included are two sculptures.
Arrangement:
This collection consists of six series.
Series 1: Biographical Material, circa 1879-1929 (.2 Linear feet: Box 1, OV 7)
Series 2: Correspondence, circa 1894-1975 (.2 Linear feet: Box 1)
Series 3: Personal Business Records, circa 1900-1940 (.2 Linear feet: Box 1)
Series 4: Printed Material, circa 1898-1968 (.6 Linear feet: Boxes 1-2)
Series 5: Photographic Material, circa 1879-1959 (1.9 Linear feet: Boxes 2-6)
Series 6: Artwork, circa 1902-1974 (.4 Linear feet: Box 3, OV 8)
Biographical / Historical:
Isidore Konti (1862-1938) was a sculptor who worked primarily in New York.
Konti was born July 9, in Vienna, Austria, where he studied under Edmund Von Hellmer and Karl Kundmann. In 1886, he received a scholarship that allowed him to study in Rome for a two year period. Konti immigrated to America in 1891, where he would permanently stay. After a small period of time in New York, where he became an associate of Philip Martiny, he went to Chicago where he worked on sculptural decorations for the 1893 World's Columbian Exposition. When he completed his work, he moved to New York City where he began work as an assistant for Austrian expatriate Karl Bitter.
In 1904, Konti created the fountains of the Atlantic and Pacific for the Louisiana Purchase Exposition in St. Louis. During the following decades, he established his reputation working in the Beaux Arts tradition, befriending many of the significant sculptors of the early 20th century. Konti received many public and private commissions including historical reliefs for the Syracuse Post Office, and figures for the Pan-American Union Building, as well as several private sculpture commissions.
In 1909, he was elected to the National Academy of Design as an associate member and subsequently became a full Academician. Konti was a member of the Salmagundi Club, the Architectural League of New York, the Yonkers Art Association, The Fine Arts Federation, and the National Arts Club. In 1914, Konti settled in Yonkers, New York, where he lived the rest of his life.
Isidore Konti died on January 11, 1938, in Yonkers, New York.
Provenance:
Papers were lent for microfilming in 1977 by the Hudson River Museum. The papers were subsequently donated in 2000 by Konti's grandnephew, Richard E. Kaeyer.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Decoration and ornament, Architectural -- United States Search this
Eclecticism in architecture -- United States Search this
Sculpture, Modern -- 20th century -- United States Search this
Genre/Form:
Drawings
Sketchbooks
Scrapbooks
Citation:
Isidore Konti papers, circa 1879-1975, Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Gary Erbe papers, circa 1968-2006, Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
