Dans i Gopsmorstugan. Oil, 1914. In January 1914 Zorn bought an estate in Morkarlby (Mora), which later were used as a Children's home (Zornska barnhemmet). During this month he worked in Gopsmor and donated on March 7, 10.000 SEK to Centralförbundet för Sveriges Landstormsföreningar, for the encouraging of the society's purpose and especially on Dalernes landstorm. The foundation of Gammelgården started.
In the last days of March Zorn was in Kiruna and visited Hjalmar Lundbohm.
The Zorns had during the spring arrived to Naples via Berlin, Munich, Vienna, Budapest, Venice, Florence, and Rome. Zorn together with Mr. Küsel started in Naples and travelled by boat passing Palermo on their way to Tunis. Emma went in the month of May back to Rome and nursed C. A Ossbach who had become affected by illness.
During a Mediterranean voyage, Zorn continued with his autobiographical notes and in May, he travelled to Paris via Madrid.
The Baltic exhibition opened 15 of May in Malmö and Zorn was an exhibitor with a large collection: 28 oil paintings, 2 watercolours, 211 etches and 5 sculptures.
The Midsummer he celebrated in Mora as usual and he had time for his voyage with Mejt II during this summer. Prince Eugen arrived in Mora as Zorn's guest in September and on the 19th Zorn was severely criticised in the periodical Stormklockan in which his art was described as crude material.
Christmas was celebrated in Mora.

Anders Zorn at Uppsala University, spring 1915 On January (1915), Nathan Söderblom was a guest at the Zorn Manor and Zorns spent some time at Gopsmor after that.
On Zorn's 55th birthday at the Zorn Manor, Carl Larsson was amongst the guests.
The Swedish national defence received a seaplane (Farman) ordered by Zorn as a donation. During February Zorn was in Stockholm marketing he's four new etches trough Bukowskis; Gulli I, Sängpallen, Hårtång and Dalarö. The Östermalm art gallery opened at Strandvägen. Zorn made an offer to the Swedish Government that he would fund Carl Larsson's Midvinterblot for the Swedish National museeum in fresco in the stairwell.
The midsummer he spent in Mora and visited Gopsmor. In August, Zorn travelled by car together with Nathan Söderblom and national antiquary Mr. Sahlin. The journey went from Söderala, Trönö, Hudiksvall and on to Bjuråker. Söderblom wrote in a letter to Zorn 29 of August that he during this trip had obtained a well- composed and vigorous image of one's native district.
In September, Zorn returned to Mora and the 16 of October the Zorns celebrated their wedding anniversary.
Zorn's graphic art was displayed during this year at Galleria Kometer in Hamburg at Leicesters Galleries in London, and at Keppel & Co in New York.
Most distinctable of the paintings from Mora were Gammal spegel, Gopsberget, Vårfärg, Flodakulla (two variations) while the most noticeable of the pictures depicting the archipelago was Småländska (also two variations). With the painting, Sovande Modell Zorn whole- heartedly projects an image of the erotic female. Fredrik Martin reported from Florence on the ides of March that Zorn's art had become raw during recent years.

C.F. Liljevalch. Oil, 1908. In the spring of 1916, the preparation before the opening of the Liljevalchs konsthall (Stockholm) was in full progress. On March the experts, by the government appointed, decided that they would not purchase Carl Larsson's Midvinterblot and consequently Zorn's offer was not accepted. The Liljevalchs konsthall was inaugurated on March 1, with the exhibit of work of art from Zorn, Liljefors and Larsson. Zorn was represented with 134 numbers from the years 1880-1916. Carl Larsson exhibited Midvinterblot among many others. The exhibition was received with respect. During April, Zorn's 51 graphic arts were shown at Colnaghi and Obach in London.
Anders Zorn at the Swedish exhibit in Copenhagen 1916. On the early summer, Zorn was in Mora and Gopsmor. He encouraged, according to the press, courses in master building by funding the attendee's trip to Leksand.
During July and August Zorn made his yearly sailing trip with Mejt II and returned to Mora on September.
Later that year Zorn was an exhibitor with some watercolours at a charity exhibition in Uppsala with the motto Bröd och Glöd.
On 11 of November a Swedish exhibit opened at Charlottenborg in Copenhagen, Zorn attracted attention and the critics Ernst Godschmidt was not just condemning.

Bruno Liljefors. Oil, 1909. In February 1917 was, from Thorsten Laurin's collection Omnibus displayed at an exhibition arranged by Sveriges Allmänna Konstförening at Västerås slott (Castle of Västerås).
At the same time Bukowskis showed 5 new etches by Zorn, all from 1916: Byst, Mina Modeller, De Två, Gopsmorstugan and På Hemsö.
Zorn participated the same month in the festivities of the Bellman memorial at the Gyllene Freden (restaurant with fine old traditions) in Stockholm.
Prince Carl visited the Zorn Manor in the middle of March and they visited Folkhögskolan and Gammelgården where Zorn made some work during the early spring.
The portrait of Clarence Von Rosen was presented at her 50th anniversary 12 of May and towards the end of the month, Zorn was participating in the Student's Spring Festival.
Anders Zorn and Signe Liljefors on Mejt II, 1916. In the early summer, he was in Mora and later he did his yearly summer sailing.
On 29 of September Zorn made a donation to a children's home in Mora and it included the Wallinska gården in Morkarlby and, according to newspaper articles, the sum of 200.000 SEK. This was observed by The Chicago Daily Tribune on 3 of October, and on the 26th Zorn became an honourable member of Die K. K. Akademie der Bildenden Künste in Vienna.
Stora Kopparbers Bergslag AB acquired on November the portrait of Gustav V.

In the year of 1918, Zorn's physical fitness was not the best and the five- floor building with the staircases up to his studio was very painful for Zorn so he finally had to install an elevator. Now, finally has the elevator arrived. The stairs was about to become a personal inferno.
For the benefit of the Swedish Red Cross, Zorn displayed 35 oil paintings housed in the Artists Association in Stockholm between February 18 to March 10. The proceeds were 12.642 SEK and in response Zorn became permanent fellow at the Red Cross.
On May Zorn donated 20.000 SEK to Västmanlands Dalanation in Uppsala and on 30 of April he was attended at the Nations traditionella högtidslandskap.
The 6th of June Zorn became Knight Commander of the Northern Pole Star order, first class.
Zorns Gammelgård in Mora. On July, Zorn arranged things at the Gammelgården and in one of the buildings, he found room for his relics of antiquity from Mora.
Later this summer he again made his usual yearly summer sailing and during the autumn, he was working in his studio at Södermalmstorg in Stockholm. Zorn spent a lot of time together with his friends Engström and Liljefors.

Zorn wrote to K. G. Westman 1919 about the death of Carl Larsson 22 of January.
On 18 of March Anders and Emma were making and signing their joint will. With the exception of some personnel legacy shall all of their property, both personal and estate, go to the Swedish State and be placed under the disposal of His Royal Majesty's administration, and dispose of the inheritance without the Parliament approval. The will also described how the Zorn Manor, Gammelgården and Gopsmor should stay intact. The collection was not to be moved and furthermore there were a dictate that a specific museum building made of stone should be erected at the Zorn Manor. From the Zorns remaining fortune a fund should be established and its proceeds should be used for maintaining, nursing and to the administration of the properties. The remains from the fund shall be used for the beneficial of Art and for the conservation of the Nature and for the encouragement of culture historic interests. For the administration of the estate were appointed town councillor K G Westman and the lawyer Arvid Greber. Through this will, all former wills are revoked. And shall I Anders Zorn if I die and is the owner of the property No: 6 in the block Argus in Stockholm or part of it (Den Gyllene Freden) this shall go to Svenska Akademin in Stockholm according to this agreement made by me and banker G.A. Kyhlberger.
In consultation with K G Westman Zorn prepared for a donation to the Swedish Academy- Bellman price. At the Art Academy's meeting 29th Zorn's and Herman Friedländer's donated 40.000 SEK to the Carl Larsson scholarship fund.
Ols Maria. During April Zorn was sick and lay in bed in Mora, but in August he was back in Sandhamn for his summer sailing and this year Ols Maria was aboard.
The 12 of September met the executive committee for the Sweden- America foundation and at § 19 announced chairman Svante Arrhenius that Zorn donated to the foundation 100.000 SEK to a travel scholarship for the Swedish citizens.
In December 52 etches by Zorn were exhibited in Edinburgh and towards the end of the year, Axel Tallberg's book about Zorn and his childhood, adolescence and school years were publiced (Minerva).

Zorn's mother died on the night of 7 January 1920 and Zorn arrived to Mora two days later. The funeral took place 10th of January and Anders wrote, Not so cold, some snow fell. I went inside the log cabin and said goodbye to Mona (Mother), she was so alike grandmother, just younger.
Anders Zorn and Verna (Zorn's nurse) at Zorn Manor. The 4th of February he became an honourable member of the Society for the memory of Bellman and on the 12th of March Zorn was appointed to Commander of the Northern Polar Star order, big cross. Zorn was appointed as a fellow at the Academy of art on March 27.
During April Zorn and Liljefors were exhibitors at Liljevalchs konsthall. At the end of the exhibit, Zorn gave Diskerska as a gift to Centralförbundet för Sveriges Landstormsföreningar.
He donated (18 May, 150.000 SEK) means for a professorship in art history at the Stockholm University. The first possessor of the professorship was Johnny Roosval. The deed of gift was permeated with a deep well- known ideology for education and Zorn observed that many and good forces devoted them self in the study of our nations relics of art. He also considered that it was most important that the Swedish art research would have a firm and secured position at some of our universities. Zorn also expressed a wish that the possessor of the new professorship still had to work for that the ancient Nordic log building art was further researched, a domain that always had a particular place in my heart.
During the summer Zorn became more and more ill and was according to Ossbach tired and full of pain. After this summers sailing and boozing in Sandhamn he was dead tired and returned to Mora. He had not been able to paint anything during this time.
Zorn needed emergency treatment and was hasty operated at Mora hospital. The doctors could see a suppuration with the accompanying blood poisoning in the lower abdomen.
Zorn died on Sunday the 22 of August.
Anders Zorn, 60-years. Zorn's funeral took place 26th of August on a brilliant beautiful late summer day. In the papers you could read how the people in Mora and the prominent guests courteous gadded around the deceased and how simply the ritual was proceeded. Archbishop Nathan Söderblom officiated the funeral service without any funeral speech.
The Artists Association had always respected Zorn's artistic abilities. Not even the harsh Karl Nordström hesitated to speak well of he's colleague, when he far away in Dordogne on 31th of August heard that Zorn was dead he wrote in he's diary; The artistic soul that now is laid to sleep were of truly unusual measure. I think it is a little bit too much to say as G. Ankarcrona said that it takes measures that embrace the world. It's enough with little less and you still get impressed.