The F. Luis Mora papers were donated to the Archives of American Art by Cornelia Colton, the daughter of Mora's second wife, May Safford, in 1975. Additional papers were donated in 2008 by Gwen Compton, Mora's niece.
Among the holdings of the Archives of American Art are the F. Luis Mora Art Works and Photographs (available on microfilm reel 5053) and a F. Luis Mora Letter to William John Wittemore (available on microfilm reel D30, frame 534.)
The collection was processed by Eden Orelove in 2011 and fully digitized in 2012 with funding provided by the Terra Foundation for American Art. Glass plate negatives were re-housed in 2015 with a grant from the Smithsonian Collections Care and Preservation Fund.
F. Luis Mora papers, 1891-1986, bulk 1891-1922. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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
The bulk of the collection was digitized in
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
The papers of painter and illustrator F. Luis Mora measure 1.7 linear feet and date from 1891 to 1986, with the bulk of material dating from 1891 to 1922. The collection includes biographical information, correspondence, 242 small monthly pocket diaries by Mora, and printed and photographic materials.
Biographical material includes one folder containing Mora's Rothschild Prize certificate.
The correspondence is primarily with galleries regarding sales, the value of artwork, and Mora's murals for the St. Louis World's Fair in 1904. There is also correspondence with Mora's family and friends regarding his personal life and a family vacation in Cadiz, Spain. The collection also includes two Christmas cards, several illustrated letters and two invitations to Mora's solo art shows. Some of the correspondence is to and from Mora's first wife, Sophia Compton.
The majority of the writings consists of 242 monthly pocket diaries, which contain brief daily entries and some sketches. Mora writes about his work, memberships in the Salmagundi Club and the National Academy of Design, and teaching at the Art Student League. He also discusses his ideas about painting and his observations of the art scene, including his visit to the 1913 Armory Show. Also included is a handwritten "Editorial" by Mora, probably for election to the Lotos Club.
Printed material includes clippings, brochures, programs, advertisements, exhibition catalogs, books, and magazines. Two books,
Photographs include black and white photographs and glass plate negatives of Mora, family and friends, students, and artwork. Black and white pictures of Mora's artwork include his "Thine is Glory" mural (1919), the "National Academy Jury of 1907" painting (1907) and an etching of his daughter, Rosemary. Glass plate negatives are of his first wife, Sophia Compton, her mother Emma, Mora's father Domingo, the painting "Dance of Salome" (1893), Mora's brother-in-law Alfred Compton, his Boston Museum and Chase School of Art classes, and the Perth Amboy Terra Cotta Company, where Mora's father worked.
The collection is arranged as 5 series. Records are generally arranged alphabetically by subject. Glass plate negatives are housed separately and closed to researchers.
There is one folder containing Mora's Rothschild Prize certificate.
The series has been scanned in its entirety.
Rothschild Prize Certificate
Scattered correspondence is with galleries, family, and friends. There are two letters to family members from Mora that discuss his work creating murals for the St. Louis World's Fair in 1904. Additionally there is a postcard from the Mora family to Mora's grandmother-in-law sent from Cadiz, Spain, and a letter from Mora's wife Sophia to her grandmother discussing family life. Business corresponce concerns the values of Mora's paintings and the sale of his works. The collection also includes two Christmas cards, several illustrated letters and two invitations to Mora's solo art shows.
The series has been scanned in its entirety.
Business
To Wife Sophia's Grandmother
Other Family and Friends
The majority of the writings consists of 242 monthly pocket diaries, which contain brief daily entries and some sketches. Mora writes about his work, memberships in the Salmagundi Club and the National Academy of Design and teaching at the Arts Student League. He also discusses his ideas about painting and his observations of the art scene, including his visit to the 1913 Armory Show. Also included is a handwritten "Editorial" by Mora, probably for election to the Lotos Club.
The series has been scanned in its entirety.
Editorial by Mora
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Pocket Diaries
Printed materials includes clippings, brochures, programs, advertisements, exhibition catalogs, books, magazines. All of the magazines and books included in this collection were illustrated by Mora. These include the books
The printed material is arranged in alphabetical order by title and chronologically thereafter. The series has been partially scanned; the cover, title page, and individual relevant pages have been scanned from published materials.
Brochures, Programs and Advertisements
Clippings
Oversized item housed in OV 3
Exhibition Catalogs
Exhibition Catalogs
Oversized item housed in OV 3
Oversized item housed in OV 3
Oversized item housed in OV 3
Oversized material scanned with Box 1, F35
Oversized material scanned with Box 2, F5
Oversized material scanned with Box 2, F9
Oversized material scanned with Box 2, F10
Photographs include glass plate negatives and black and white photographs of Mora, his family and friends, artwork and students. Included are black and white pictures of Mora's artwork including his "Thine is Glory" mural (1919), the "National Academy Jury of 1907" painting (1907), and an etching of his daughter, Rosemary. Glass plate negatives are of his first wife Sonia Compton, her mother Emma, Mora's father Domingo, his painting "Dance of Salome" (1893), his brother-in-law Alfred Compton, his Boston Museum and Chase School of Art classes, and the Perth Amboy Terra Cotta Company, where Mora's father worked.
The photographs are arranged by subject and chronologically thereafter. For preservation purposes the glass plate negatives are housed in a separate container and closed to researchers. The series has been scanned in its entirety.
F. Luis Mora
Rosemary Mora (daughter)
Of Artwork
Glass Plate Negatives of Family and Friends
(6 glass plate negatives housed in MGP 2)
Glass Plate Negatives of Art Students
(2 glass plate negatives housed in MGP 1)
Glass Plate Negative of Artwork
(1 glass plate negative housed in MGP 2)
Glass Plate Negative of the Perth Amboy Terra Cotta Company
(1 glass plate negative housed in MGP 1)
Scanned with Box 2, Folders 14-17
Scanned with Box 2, Folders 14-17