A Seeker of Light: The Enduring Legacy of Dr. Monico C. Calma
Archives are often viewed as static repositories, but they are most vital when they provide a foundation for active inquiry. During the summer of 2023, a research project by our intern Catherine Wan into the student records of Dr. Monico C. Calma (1905–1987) led to an ongoing effort between our institution and the Calma family to document the life of a former PAFA student.
By tracing Dr. Calma’s journey from his 1927 enrollment to his time as a Cresson Traveling Scholar, we have worked with the family to help fill in narrative gaps regarding his career after leaving Philadelphia. We are pleased to use our platform to share this work, as it reflects our commitment to honoring the accomplishments of Academy trained artists.
From Archive to Memoir
The collaboration has culminated in the family’s publication of Scraps of a Man’s Life, a memoir that expands upon the primary sources held in our collection. While our files document the official facts of his attendance, the manuscript provides a personal, human context. It captures the reality of a life balanced between manual labor in Alaskan salmon canneries and the rigorous, high-art environment of the Pennsylvania Academy of the Fine Arts and the Graphic Sketch Club.
A Bridge Between Labor and Art
Scraps of a Man’s Life is visually compelling, enriched by Dr. Calma’s original photography and sketches. These materials document a specific era with an intimacy that administrative records cannot replicate.
The manuscript details his evolution from a student seeking to “earn a good name” to a mature artist who declared, “For me alone, seeking to create what is beautiful is first.” His journey—marked by his 1931 European Traveling Scholarship and his return to the Philippines in 1936—offers a vital, firsthand account of the “Manong” generation experience.
Preserving a Shared History
The family’s dedication to curating this memoir serves as an essential contribution to the broader conversation regarding the Filipino experience and contributions to the international cultural fabric. By providing visibility to this project, we hope to ensure that this “seeker of light” remains a recognized figure in the story of international art education and PAFA’s role in training artists.
For those interested in the intersection of identity, education, and the immigrant experience, this memoir serves as an honest testament to one man’s pursuit of his craft. If you’d like to check out the manuscript, you can find it over on Amazon. Just a quick note: we don’t make any money or get paid for sharing this link, we just want to make it easy for you to find!
Note: The Pennsylvania Academy of the Fine Arts is pleased to highlight this research and the family’s memoir as a matter of historical interest. Please note that this is for informational purposes and does not constitute an institutional endorsement of the publication.
We recently had the pleasure of assisting independent scholar Greg Guderian with archival research for his latest essay, A Creditable Show, which explores a lesser-known episode in PAFA’s history during Philadelphia’s 1876 Centennial Exhibition.
Guderian’s research examines the challenges New Jersey organizers faced in transporting and displaying historical materials for the 1876 Centennial. Colonial documents and artifacts loaned by the New Jersey Historical Society were temporarily displaced amid logistical difficulties, including mislaid shipping crates. When space and administrative constraints prevented the materials from being adequately displayed at Memorial Hall or Independence Hall, PAFA provided an important venue.
PAFA’s newly opened building on North Broad Street offered a museum gallery setting for the historical exhibit, helping safeguard these significant materials and ensuring their eventual return.
Guderian’s research offers a fascinating glimpse into the practical challenges behind one of the most ambitious cultural events of the nineteenth century, while also revealing an unexpected chapter in PAFA’s own history. We are pleased to have supported this research through access to our archival collections and to help bring this story of Philadelphia’s Centennial past to a wider audience.
The Archives is happy to announce a new digital research tool: the Index of Annual Exhibition Jurors. This resource provides a centralized, searchable record of the jurors who shaped one of the most significant exhibition series in American art history.
From the inception of the juried system in the late 19th century through the final annual in 1969, the information provide valuable research details for researchers, curators, and historians tracing the evolution of American taste and institutional standards.
The database allows for a granular analysis of PAFA’s institutional decision-making. Initial findings from the data reveal several significant trends:
Institutional Influences: The records document the recurring involvement of important Academy instructors, including Thomas Eakins, Cecilia Beaux, William Merritt Chase, Thomas Anshutz, Hugh Breckenridge, and Charles Grafly.
Specialized Jury Structures: The data tracks the professionalization of the jury system, ranging from “Hanging Juries” responsible for gallery aesthetics to specialized committees for Painting, Sculpture, and Architectural Drawings.
Geographic Reach: Documentation of regional juries in St. Louis, Chicago, Cleveland, and Indianapolis demonstrates the Academy’s historical role as a national arbiter of fine arts.
Gender and Professional Status: Researchers can track the increasing—though initially limited—inclusion of women in leadership and jury roles, providing a metric for shifting professional standards in the early 20th century.
Why This Matters for Scholarship
The Annual Exhibitions at PAFA brought over 100,000 works of art to the public. By making the names and roles of the jurors accessible, we provide the “missing link” in provenance and exhibition history research. Understanding who selected the art is as vital as knowing which art was shown.
This digital resource reduces the need for manual catalog searches, streamlining the workflow for provenance researchers and academic historians.
Contributed by Sharon Yoon, Collections and Technical Services Assistant
In the early 19th century, the Pennsylvania Academy of the Fine Arts (Academy) functioned as a vital conduit for transatlantic cultural exchange. For a young nation lacking established museums or classical ruins, these early acquisitions provided the essential technical infrastructure required to train American artists before a native artistic identity had fully emerged.
The Napoleonic Gift (1810)
In 1810, a significant diplomatic exchange occurred between the French Empire and the United States. John Armstrong Jr., the American Ambassador to France, received a collection of books and engravings from Napoleon Bonaparte, delivered via the Duke of Cadore.
Armstrong recognized the pedagogical value of these materials for a young art institution. In a letter dated December 28, 1810, he formally offered the collection to Academy President George Clymer:
“Believing that I cannot better fulfil this original intention than by offering it to the acceptance of the Academy of Fine Arts, I have now the honor of doing so…”
Washington 28 Dec. 1810
Sir
A few days before I left Paris H. M. the Emperor of the French presented to me thro’ the Duke of Cadore a case of Books & Engravings of considerable value, which I accepted under a full understanding, that I should be at liberty to bestow it on some public institution of the United States. Believing that I cannot better fulfil this original intention than by offering it to the acceptance of the Academy of Fine Arts, I have now the honor of doing so and of assuring you at the same time of my great respect and consideration.
John Armstrong
The President of the Academy of the Fine Arts
Philadelphia
This gift comprised 24 volumes of etchings by Giovanni Battista Piranesi and his family. These detailed renderings of Roman architecture became primary teaching resources, allowing Academy students to study classical proportion and perspective without traveling abroad.
The Smith Donation and International Law (1813)
The Academy’s instructional library and collection were further expanded in 1813 by a major gift from Joseph Allen Smith, consisting of paintings, plaster casts, and engravings.
The provenance of this collection is a landmark in international law. During the War of 1812, the ship transporting Smith’s gift was seized by the British as a “war prize.” However, a Nova Scotia Vice-Admiralty Court eventually ordered the cargo’s release. The ruling established a global precedent: that cultural and scientific property are exempt from the rights of warfare—a principle that remains a cornerstone of international art law today.
For more information on the ship seized by Britain:
Together, the Napoleon and Smith gifts provided the intellectual capital necessary for America’s first art academy. These resources remain active assets for modern scholarship. Recently, researcher Stephen Lauf consulted the Piranesi volumes to advance his research on 18th-century printmaking and architectural history. Such collaborations continue to generate new insights into the Academy’s foundational holdings. His multiple visits to the archive were a delight to staff and sparked multiple interesting conversations on the works, processes, and history of the Piranesi family etchings. Thanks to Lauf, Academy staff also walked away from his visits with new knowledge and insights into the volumes.
Director of Archives, Library, & Collections Hoang Tran unfolding Trajan’s Column! Photo courtesy of Stephen Lauf
Through the preservation of these imperial and diplomatic gifts, the Academy ensures that the fundamental resources that shaped the first generations of American artists remain accessible to inspire the next.
Contributed by Sharon Yoon, Collections and Technical Services Assistant
About Chester Springs:
From 1917 to 1950, the Pennsylvania Academy of the Fine Arts (Academy) operated its “Country School” in Chester Springs, Pennsylvania. Located 33 miles from the Historic Landmark Building, the campus expanded from an initial 40-acre tract in 1916 to over 160 acres by 1950. The program was established during the early 20th-century movement toward summer landscape painting—a pedagogical legacy of the Impressionist movement—and eventually expanded to include winter sessions from 1928 to 1933.
The site offered significant historical and artistic depth. Situated at the source of three natural springs, the property served as a medicinal spa prior to the American Revolution and as a hospital during the Valley Forge encampment. The Academy converted the existing village of Yellow Springs into a functional academic environment: a former hotel served as a dormitory, while various agricultural buildings were repurposed into studios. This setting provided students with diverse subject matter, ranging from local industry and steel mills to cultivated gardens and livestock. Although the facilities remained open year-round, formal instruction and critiques were conducted in concentrated six- to eight-week sessions.
According to the first school circular, Chester Springs was devoted to
“fine-art instruction in the open air, with all the beautiful surroundings of nature herself, in order to supplement instruction within the walls of class-rooms, and to afford an opportunity, for the study of art in the summer, to school teachers and to others who cannot spare the time to study in the winter.”
While the Chester Springs facilities were maintained year-round, formal instruction was initially restricted to the summer months. Following the sustained success of the Summer School, the Academy inaugurated a Winter School in 1928. These winter sessions continued for five years until 1933, when they were discontinued due to the prevailing economic climate of the Great Depression.
122nd Annual Report, 1927
129th Annual Report, 1934
Beyond its role as a school, the Academy administrators envisioned Chester Springs as a burgeoning artists’ colony. The idyllic setting, paired with robust studio facilities, fostered a deeply immersive creative community. Life at the “Country School” was defined by a unique social contract: students were expected to be self-governing, adhering to a code of honor rather than a rigid rulebook.
This independence extended beyond the studio. Artists integrated themselves into the local fabric, collaborating with residents, staging original performances, and even taking an active hand in the landscaping of the grounds. The vibrant campus life—from its historic buildings to its community events—became a central selling point for the program, frequently highlighted in school catalogs as a defining feature of the Academy experience.
1932-33 Winter Catalog
While the Country School was characterized by a seemingly informal atmosphere, the caliber of work produced consistently met the Academy’s exacting standards. Students at Chester Springs were fully integrated into the Academy’s competitive ecosystem, exhibiting their work in dedicated showcases and competing for the same prestigious prizes as those studying at the Historic Landmark Building.
The program’s reputation was anchored by a faculty of distinguished artists and lecturers, including Daniel Garber, Henry McCarter, George Harding, Albert Laessle, Leon Kroll, Francis Speight, Roswell Weidner, and N.C. Wyeth. Their presence ensured that the pastoral setting remained a site of serious technical inquiry and professional development.
After more than three decades of operation, the Academy discontinued the Country School and sold the property in 1952. Today, the site’s legacy continues through Historic Yellow Springs and The Chester Springs Studio. The Academy maintains a collaborative relationship with these organizations, preserving the tradition of summer landscape instruction on these historic grounds.
147th Annual Report, 1952
About the Project:
The Archives launched this project to revitalize a significant but underutilized chapter of our history. For years, the records of the thousands of artists who trained at our Chester Springs campus remained under-recognized due to a lack of searchable data. To bring this history to light, our archives team leveraged the help of eager student volunteers who were instrumental in transforming these analog files into a modern digital resource.
This specific body of work was selected because it is a discrete collection that perfectly aligns with the four strategic pillars of the Academy’s Archives and Special Collections:
Preservation: These cards are 70 to 100 years old. Digitizing them allows us to reduce physical use, preventing further wear and tear.
Discovery: We have extracted specific metadata—including artist names, enrollment dates, and gender—making it significantly faster for researchers to find exactly what they need.
Access: By removing the requirement for in-person appointments, we have eliminated geographic barriers. Anyone with an internet connection can now access and view the entire collection.
Use: These records have been given new life for academic research, genealogical projects, and classroom instruction, reaching a much wider audience than previously possible.
To transform the analog Chester Springs registration cards into a digital collection, our team employed a flatbed scanning workflow. The bulk of the archives’ digital collections use the flatbed scanner workflow for a few reasons:
Streamlined Training: The intuitive flatbed interface allowed student workers to achieve proficiency quickly, significantly reducing the initial learning curve.
Minimized Post-Processing: By manually adjusting the scan area for each card during the capture phase, we eliminated the need for bulk digital cropping or rotation after the fact. This “correct-at-capture” approach ensured that the digital files were ready for immediate use.
Quality Control: Technicians verified the clarity and alignment of each scan in real-time. Given that the informational content was the primary priority for this project, this manual oversight was essential to ensure every handwritten note and address was legible.
Throughput: Each scan took approximately 30 seconds, averaging 60 to 90 seconds of active labor per student record. All images were saved as high-resolution TIFF master files with unique identifiers.
Technical Challenges: Size Variance
While the cards were standard 4×6 inch index cards, we encountered physical variations across the collection’s 34-year span. Because the records are organized alphabetically rather than chronologically, card sizes often fluctuated by increments of less than 1/8th of an inch from one folder to the next.
This variance required constant technician intervention:
Adjustments: Student technicians had to manually reselect the scan area frequently—particularly for folded cards—to ensure that no text was lost.
Manual Cropping: Standard digitization software captures a preselected “window” on the scanner bed.
Edge Integrity: If the capture window was set too tightly for a smaller card, the edges of the subsequent, slightly larger cards would be clipped.
Two student registration cards; Almstedt being slightly larger than Grey (see right edge).
Maintaining the integrity of each record required constant manual intervention due to the variations of the cards. Because the informational content was the priority, we utilized a “capture-it-all” approach to ensure no data was lost during the digitization process.
Manual Area Selection: To account for size variances, staff and students manually adjusted the scan “window” for each card. This precision ensured that every registration card was captured in its entirety, preventing the loss of edge-aligned text or marginalia.
Variable Formats: While standard cards were two-sided, the collection included unique folded records. These required a three-scan sequence to capture the front, back, and the double-width interior face.
Real-Time Quality Control: Technicians performed intermittent file checks throughout each shift. By verifying image files immediately after capture, the team eliminated the need for costly and time-consuming re-scanning phases later in the project lifecycle.
Workflow Adaptability: Each change in card dimensions or format triggered a manual reselection of the scan area. This deliberate pace reduced the risk of “clipping” larger cards and ensured a consistent high-quality output across all 6,600 files.
Data Integration and Access Workflow
To maximize productivity, the team utilized a concurrent workflow for scanning and metadata entry. This “staged” approach allowed for continuous operation while maintaining a connection between the physical objects and their digital surrogates.
While the scanner processed one record, the technician transcribed the information for the subsequent card into a master spreadsheet. This parallel processing optimized labor hours and kept the project moving forward.
Transcription Challenges: Due to the prevalence of 20th-century cursive and varied handwriting styles, identifying specific names and dates occasionally presented difficulties. While every effort was made for accuracy, the archives acknowledges the potential for minor transcription errors.
Alphabetical Consistency: Technicians worked through the collection alphabetically. This organization allowed for a seamless hand-off between shifts, ensuring that any student worker could resume the project without disrupting the data sequence.
File Naming and Digital Provenance
To maintain archival standards, a naming convention was implemented:
Unique Identifiers: Each scanned side was assigned a specific alphanumeric code (e.g., RG030501-xxxx).
Collection Logic: The prefix RG030501 identifies the Chester Springs collection within the Academy’s record groups, while the final four digits denote the sequential file number.
Data Alignment: Technicians maintained high levels of focus to ensure that the spreadsheet row for each student precisely matched the sequential filename of the corresponding image.
Post-Processing for Access
Following the capture of the high-resolution TIFF master files, the archives implemented an automated post-processing phase:
Batch Conversion: Using a custom Photoshop batch action, the team converted the master TIFFs into web-ready JPG access files.
System Efficiency: This automation ensured a standardized file size and format for the online portal, significantly reducing manual labor during the final upload phase.
Summary of Impact
The Academy initiated this project to bridge a significant gap in our institutional history. For years, the lack of a centralized, searchable record left the legacy of the thousands of artists who trained at Chester Springs under-recognized. By transforming these analog records into structured digital assets, we have ensured that this vital chapter of American art education is preserved and fully accessible for modern scholarship.
As we wrap up 2025, we’re taking a moment to look back at how you—our researchers, students, and curious visitors—interacted with the Academy’s collections over the past year.
These patterns are more than just numbers on a spreadsheet; they offer a window into our community’s evolving needs and help us map out our future. It’s important to note that these figures focus specifically on research and resource requests—things like deep dives into our archives, library services, and access to works of art not currently on public display.
2025: A Year of Purposeful Research
In 2024, the Academy recorded 923 total research requests. As of mid-December 2025, that number stands at 892. While this is a slight 3.4% dip, the story behind the data is one of resilience.
This minor decrease was expected as the Academy transitioned away from degree-granting programs, leading to a smaller student population this fall. However, demand remains remarkably robust.
The Breakdown of Requests:
External Requests (63%): 562 inquiries came from the research community.
The Digital Frontier: Global Reach, Human Connection
While our physical halls have seen shifts, our digital presence is exploding. The Academy’s Digital Archives recorded over 100,000 unique human visitors this year!
A standout star of our digital offerings remains the Rediscovering John Rhoden Digital Archives, which drew over 3,100 unique visitors. We are honored to continue stewarding Rhoden’s incredible legacy for a global audience.
New to the Digital Collection this year:
We’ve added 2,475 new items across three collections:
How you visit us is changing. While email remains the primary way researchers start their journey, we’ve seen a “hybrid” rhythm emerge.
The Archives are Booming: In-person use of the Archives surged by 122% (111 visitors).
The “Walk-In” Surprise: We saw an unexpected rise in walk-in service, largely driven by our new cohort of certificate students seeking hands-on support.
A Shift in Scale: Total in-person interactions dropped from 885 to 428. This 52% decline was anticipated following the school’s transition, but it has paved the way for more focused, scholarly engagement.
Top 3 Reasons People Use the Archives:
Academic Research
Curatorial Research
Provenance Research
What These Shifts Mean for Our Future
The data tells us three important things:
Demand is High: Projects like the “A Nation of Artists“ exhibition and our upcoming 220th Anniversary celebrations continue to drive intense interest in our holdings.
Archives are Essential: The massive jump in archival research proves there is a deep hunger for primary-source materials.
Intentionality Wins: Visitors are coming to us with more specific, deep-seated goals. Our digital archives are serving as a gateway, allowing researchers to do their “homework” online before arriving for a high-impact physical visit.
Looking Ahead
These insights are vital. They allow us to plan responsibly—ensuring we balance broad digital access with the specialized, high-touch care required for on-site research.
Whether you reached out via email, spent hours in the reading room, or browsed our catalogs from across the ocean: Thank you. Your curiosity is what brings these collections to life. We can’t wait to see what you discover in 2026!
We’re thrilled to announce the recent acquisition and digitization of a remarkable collection of works by American artist Blanche Dillaye, dating from circa 1928. This newly available archive features 38 exquisite pencil sketches and one reflective poem, offering a rare glimpse into Dillaye’s travels and artistic vision during the late 1920s.
From the cobbled streets of Looe and Dinan to the architectural charm of Moret and the serene landscapes of Lelant, Dillaye’s drawings capture the textures, moods, and quiet beauty of European towns and countryside with masterful detail. Her accompanying poem, Trees, adds a lyrical layer to the collection, echoing themes of nature, presence, and timelessness.
Cobbled Street in Dinan, France (MS.2025.02-44)
Now fully digitized, this collection is open to researchers, educators, and art enthusiasts. Whether you’re studying early 20th-century travel sketching, American women artists abroad, or simply drawn to the elegance of pencil work, Dillaye’s collection offers rich material for exploration.
In May 2025, PAFA’s Archives received an inquiry from a researcher regarding materials in the MS.049 Thomas P. Anshutz Papers. After consulting the collection’s finding aid, the researcher requested a digital copy of a photograph of Marthe Kientz for study purposes.
By June, new findings emerged that connected this archival photograph to a previously unidentified portrait of Marthe Kientz (1878–1961), linking her directly to Thomas Pollock Anshutz (1851–1912). The discovery not only demonstrates the vital role PAFA’s archival collections play in advancing scholarship, but also sheds light on an important aspect of Anshutz’s career: his participation in a transatlantic commission.
Thomas Anshutz at PAFA
Thomas Pollock Anshutz was born in Newport, Kentucky, in 1851. His family relocated to Philadelphia in 1870, and by 1876 he had enrolled at the Pennsylvania Academy of the Fine Arts (Academy). Studying under Thomas Eakins and Christian Schussele, Anshutz quickly established himself as both a student and educator. By 1881 he was serving as Assistant to Eakins in anatomy, drawing, and painting, later succeeding him as instructor after Eakins’s resignation in 1886. Anshutz remained a central figure in the Academy’s instructional and exhibition life until his death in 1912. Among his most prominent students were Robert Henri, William Glackens, George Luks, John Sloan, and Charles Demuth.
[Explore the finding aid for Anshutz’s papers here.]
[View Anshutz’s works in PAFA’s Permanent Collection here.]
The Portrait of Marthe Kientz
Thomas Pollock Anshutz (attributed), Portrait of Marthe Kientz, 1906. Oil on canvas, 119 x 75 cm. Private Collection.
The researcher investigated a large-scale (119 x 75 cm), unsigned portrait of a seated woman that had appeared at auction in France. Stylistically, the work bore striking similarities to Anshutz’s female portraits—paintings of women from the educated bourgeoisie, examples of which are held at the Academy, the Philadelphia Museum of Art, and the Metropolitan Museum of Art.
The back of the canvas bore a handwritten French inscription:
“Portrait de Marthe Kientz peint par Mr Anschutz à Philadelphie (Amérique) en 1906.” Translation: Portrait of Marthe Kientz, painted by Mr. Anschutz in Philadelphia (America) in 1906.
Though the painter’s surname was spelled “Anschutz,” the stylistic coherence reinforced the attribution to Anshutz.
The Archival Photograph
From PAFA’s MS.049 Thomas P. Anshutz papers, the researcher obtained a photograph of Marthe Kientz dated 1912, taken in Biarritz by I. Mendiboure. The photograph, inscribed and signed by Kientz, closely resembles the sitter in the painting.
Placed side by side, the resonances are clear: the same composed gaze, refined posture, and attention to costume. Even the carved seat links the two works across time and medium. In the 1912 dedication, Kientz writes to Mrs. Anshutz:
The inscription suggests an intimate connection between the sitter, the artist, and his family—underscored by the fact that the photograph was sent the same year as Anshutz’s death.
Figure 1 Photograph of Marthe Kientz, inscribed and signed, 1912. Taken in Biarritz by I. Mendiboure. PAFA Archives, MS.049, Box 1, Folder 16
Crossing the Atlantic
Passenger records provide further context. On May 13, 1906, Marthe Kientz arrived in New York aboard the La Touraine from Le Havre, France. Her ship’s manifest notes that she intended to join her cousin at “Blanc Fine Art Academy, Philadelphia”—placing her in the city at the precise time and place Anshutz was active at the Academy.
Together, the inscription, the archival photograph, and the passenger list confirm that this portrait represents a rare example of a French commission of an American painter—evidence of Anshutz’s reach beyond the United States. This context explains why the portrait resurfaced and was auctioned in France, and it is likely the only major female portrait by Anshutz currently located in Europe.
Marthe Kientz’s World
Born in Biarritz in 1878, Marthe Kientz lived there her entire life until her death in 1961. Belonging to a wealthy bourgeois family with Alsatian roots, she had both the means and the social standing to commission a painted portrait. Newspaper records and family notices further confirm her prominent place in Biarritz society.
Her death certificate lists her as unmarried and without profession, leaving her portrait as perhaps her most enduring legacy. Yet for decades, transcription errors obscured the work’s identity—her surname misread as “Hientz” or “Keintz,” and the artist’s name spelled inconsistently. These small mistakes nearly severed the link between sitter, painter, and painting. A search in the local press led to a death notice in which she and her sister Irène announced the passing of their “devoted servant,” Miss Marie Molia (La Gazette de Bayonne de Biarritz et du Pays basque, October 30, 1931).
Reclaiming Identity
The convergence of archival evidence and material analysis restored the portrait’s rightful attribution to Anshutz and reestablished Marthe Kientz’s identity. This reconstruction underscores the importance of archival research: photographs, inscriptions, and passenger lists together help reveal the full story of an artwork that might otherwise have remained misattributed.
What emerges is more than just the rediscovery of a painting. It is also a testimony to the relationship between artist, sitter, and the Academy—one that crossed the Atlantic and has now been reconnected through scholarship.
Marthe’s father and mother were respectively named Kientz and Lang, typically Alsatian surnames. After France’s defeat in 1870, Alsace and a large part of Lorraine were annexed by Germany, prompting many Alsatians to leave their native region. Among the more affluent, including private income earners, some settled in Biarritz. At the time, it was a rapidly developing seaside resort, frequented by European aristocracy—launched in 1850 by Napoleon III and Empress Eugénie. It offered a favorable setting, with a mild and stable climate and an active social life.
It is therefore reasonable to assume that because she came from this affluent background, Marthe spent her whole life in Biarritz (born in 1878 and died there in 1961).
The Marthe Kientz official death certificate clearly states that she was unmarried and without profession. No trace of a previous marriage has been found. She therefore remained probably known as “Miss Marthe Kientz,” as recorded in the register listing the arrivals in New York on May 13, 1906.
Thus, her only surviving legacy is this very portrait, painted by Anshutz in 1906—a portrait that itself narrowly escaped misidentification and oblivion.
It was sold in December 2024 under the mistaken name of “Portrait of Marthe Hientz,” due to a misreading of the inscription on the back of the portrait. The capital “K” was read as an “H.”
Then sold again in May 2025 as a “Portrait of Marthe Keintz,” due to a misplacement of the “i” and the “e.”
These successive transcription errors, including “Anschutz” instead of “Anshutz” at the back of the canvas, nearly erased the connection between the painting, its subject, and its painter.
Thanks to the photograph preserved in the PAFA archives, Marthe and the painting were able to recover their identity, their provenance, and their legacy—each one relying on the evidence provided by the other.
The photograph (1912), combined with the painting (1906) and the evidence of Marthe’s stay in Philadelphia (May 13, 1906), is also a testimony to the relationship that existed, at least during the period between 1906 and 1912, between the model Marthe Kientz, the artist, and his wife.
Through this convergence, the rediscovery enriches and better documents the work of Thomas Pollock Anshutz. Marthe Kientz’s portrait stands as a singular testament to transatlantic exchange, archival preservation, and the resilience of identity across time.
This research was conducted by a private art researcher based in France, drawing upon archival resources. It illustrates how archival collections continue to illuminate hidden histories and expand our understanding of American art
Contributed by Sharon Yoon, Museum Collections Assistant
The PAFA School Catalogs are valuable archival records that help provide insight into over 130 years of school operations. Historically known as “Circulars”, the school catalogs provided students and prospective students with information such as school policies, programs, scholarships, schedules, fees, prizes, and instructors. After 1908, the catalogs included illustrations of classes, work by students, and exhibitions of student work. Catalogs from the 1920s show many views of classes and grounds at the Chester Springs campus. From 1940, photographs of faculty and their work were prominently featured.
The catalogs provide important details on the curriculum, the instructors, and the overall artistic training environment at the Academy, making the collection particularly useful to those interested in 19th and 20th century American Art education.
As there were over 100 catalogs (and nearly 4,000 pages!) to digitize, using a flatbed scanner for this project would have been time-consuming and inefficient for staff. Moreover, since the text was the most important aspect of the records, we were less concerned about the overall “image quality”. However, as mentioned in the previous blog post, a large obstacle that presented itself during this project was post-processing. Each image needed to be individually rotated, cropped, and color corrected. Afterwards, all the pages had to be converted and combined into a PDF file. These files were then organized by year and run through OCR software, which recognizes and converts text within images to be machine readable. Finishing this step resulted in 118 digital reproductions of the Academy’s school catalogs that are now freely available online: https://pafaarchives.org/s/digital/item-set/29807
Contributed by Sharon Yoon, Museum Collections Assistant
One of the things I’ve come to enjoy the most while working at PAFA is assisting researchers with research requests. The archives contain a trove of information that is vital for not only documenting institutional history, but also the artists that have trained or exhibited here at the Academy.
Because of our long history, we receive a wide range of research requests. The most common questions are regarding an artwork’s provenance, exhibition history, or whether an artist studied at PAFA.
With access being a core component of the archives’ mission, we welcome all researchers to visit and consult sources in-person. Understanding that not everyone is able to physically come to PAFA, staff work to provide assistance through email—if you have a question about PAFA history, we will (most likely) have answers (collections@pafa.org)!
For the past few months, I was able to gain insights on historical research methods, as well as learn a lot about PAFA’s archival collection and which collections would lead to the best records.
For this blog post, I’d like to share the thought process of how I handled a recent research request. A scholar sent an email requesting more information on May Howard Jackson (1877-1931), a Black artist and sculptor who attended classes at the Academy beginning in 1895. The researcher was specifically interested in Jackson’s student records, particularly the details of the scholarship that afforded her the opportunity to attend PAFA as well as her activities during her time at PAFA.
Unfortunately, the student records collected from this time period were not as comprehensive as our 20th century student records. Since there was no designated academic student file for Jackson, some digging into other sources was required. Many secondary sources online suggested Jackson attended PAFA in 1895 so that was my starting date. With this date, this led me to look into our student registers—large ledger books that listed students by year. Sifting through the student register, I found her entry! Note that these specific student registers were signed by the student/artist themselves.
See line 92; Student Register 1894-1904 (RG.03.03.04)
Given that the student register only provided a name, an address, a class she took, and the scholarship, it could be implied that this was the same May Howard Jackson that the researcher requested information on. However, to be a bit more thorough, I used the address listed for Howard in the student register and cross-referenced it with Philadelphia census records. The 1890 Philadelphia census records were largely destroyed by fire but looking into the 1900 records confirmed that May Howard (Jackson) did live at the address written in the student register. This was further confirmed by looking up maps of Philadelphia wards and checking that her address in the student register fell in the geographic area of the 2nd ward. The provided house number, names of known family members, and occupations listed in the census also lined up with known information on May Howard Jackson.
See line 66, 67. “United States Census, 1900”, , FamilySearch (https://www.familysearch.org/ark:/61903/1:1:M374-G43 : Tue Mar 05 19:56:11 UTC 2024), Entry for Floarda Howard and May Howard, 1900.
The next step was to find more information on the scholarship she received to attend the Academy. Listed as “Scholarship Bd Ed.”, I looked into the minutes of the Committee on Instruction and Board of Directors from the 1890s in hopes of finding details or conditions of the scholarship. In a February 1895 meeting of the Board of Directors, it was recorded that
“The President referred to the efforts made by the Academy to secure an appropriation from the city, and said that a bill appropriating $5000 had passed through Councils and had been signed by the Mayor; and in accordance with the request of the Board of Public Education, the President was authorized to form a committee of three to confer with a similar committee from that body on the subject of the scholarships to be given.”
The minutes confirmed that a scholarship was established in 1895 by the Academy in conjunction with the Board of Public Education. Other notes (not pictured) stated that the scholarship would enact in the fall of 1895.
Reading into the Committee on Instruction minutes was next, as I hoped there would be more illuminating information regarding the conditions of the scholarship and how May Howard Jackson would have been a recipient. Notes taken a few years after 1895 clearly outlined the scholarship’s requirements— namely that students of the Public Industrial Art School could register for an examination to be awarded one. This was a great find, as secondary sources and articles published about May Howard Jackson state that she attended J. Liberty Tadd’s Philadelphia Art School— more well known as the Public Industrial Art School of Philadelphia. She was among the first students to attend classes at the Academy with this scholarship, and the first Black female student to attend on scholarship.
Committee on Instruction records, Minutes 1895-1903
With this information at hand, I was able to provide the researcher with detailed answers about May Howard Jackson and personally learn more about this artist and the Academy’s history.
