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Broadway play, May 21, 1928-July, 1929
A play in three acts, The living room of Judge Hardy in a certain town in Idaho https://www.ibdb.com/broadway-production/skidding-9802
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Dannett Transcript, 51
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Newspaper article unnamed and undated. Article has a cut out photograph of Meta, facing right and looking diagonally up to the right, with her hair pulled back. Article title is 'We Wont' Tell'. The article is as follows: "Mrs. Meta Vaux Warrick-Fuller, noted sculptor, will celebrate her birthday next Saturday. We won't tell which one: that isn't important. Her work is as a painter and sculptor is well known in the country and abroad. Mrs. Fuller was born in Philadelphia and educated in the Industrial Art School, the Academie Collins and Academie Colarossi, Paris, France, and later in the Academy of Fine Arts, Philadelphia. She married Mr. Solomon Carter Fuller, of Monrovia, Liberia, West Africa, and there are two children, Solomon Carter, Jr., and William Thomas. She exhibited work in the Paris Salon, Jamestown Exposition, Academy of Fine Arts __ at private exhibits in Paris, ___ home is in S. Framingham. M(A)."
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Newspaper article from the "New York Evening Post February 4, 1922" with a large photograph of Ethiopia Awakening and a small typed section "At right - "Ethiopia," by Meta Warrick Fuller, a negro pupil of Rodin: presented to the New York Public Library by the Negro section of "America's Making."
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Newspaper article from a Daily Courant (part of name is missing) from February 14 (16), 1932. The title of the article is "Appear in Negro Achievement Week Program" and has three photographs beneath. Meta is mentioned at the end of the article "During the week, there will be an exhibition of paintings and sculture of Negro artists. About 25 paintings by Laura Wheeler Waring, a former Hartford girl, will be on view as well as the sculpture by Meta Warrick Fuller."
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Newspaper clippings from St. Louis with the title "Negro Sculptor, Catholic, Has Had Meteoric Career". Article is mostly about Barthe. Meta is mentioned on the second clipping which is roughly circled in black ink: "Earlier American Negro sculptors have included Edmonia Lewis, who built up her reputation in the years after the Civil War. Most of her work was done in Italy, as was that of Eugene Warbourg, her contemporary, Miss Lewis' outstanding successor was Meta Vaux Warrick, born at Philadelphia in 1877. Miss Warwick made an international reputation..."
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Newspaper article in two columns from an unknown newspaper, dated Sunday, May 16, 1920. Article is on two pages, with the second page including a photograph of the building. The article goes into details about fundraising and different areas of the building, like a mess hall, pool, and lounge. The article begins as follows: "Building for Colored Y.M.C.A to be Formally Opened Today The first of a series of exercises to be held in connection with the opening for use of the new Young Men's Christian Association building for colored men, at 146 Butler street, will be held at 3 o'clock this afternoon in the new gymnasium. Addresses will be made at the formal opening by Dr. R. R. Moton, principal of Tuskegee institute, and by Dr. J. E. Mooreland, senior international secretary of the colored department of the Y. M. C. A. in the United States. Prominent Atlantans, who will take part in the exercises are J. K. Orr, John J. Eagan, W. Woods White and Philip Colbert, general secretary of the central association on Luckie street. Professor John Hope, president of Morehouse college, will preside. An invitation to the formal opening has been extended to the white people of the city, for whom special seats will be reserved." Meta is mentioned on the second page: "On third floor is the Lobby, offices, men's game room and the gymnasium. A feature of the lobby, or loungeroom, is its wide, old fashioned fire place, over which hangs a bronze statue, entitled "Inspiration." It was designed by Mrs. Metta Fuller, of Boston, a pupil of the famous Rodin, of Paris, and represents an angel whispering into the ear of a downcast youth, pointing toward the rising sun, and bidding him rise for the sake of the unborn."
Butler St. YMCA
The Black City Hall of Atlanta
20-24 Butler Street (now Jesse Hill Street)
Sweet Auburn Historic District, Atlanta, Georgia
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Very small newspaper article with no note on where it comes from. States "A portrait statuette of Maude Cuney Hare, the pianist, executed by the sculptress Meta Warrick Fuller, has been accepted by the Academy of Fine Arts, Philadelphia, and is now on exhibit at the Academy's 115th annual exhibition."
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Short newspaper article, undated and unnamed. Title of the article is "Art Dept. Is to Conduct Meeting of Club Tuesday". There is a pencil arrow at the bottom right of this article that points to the letter (Eph1.41.153) below it. The article is as follows: "The meeting of the Women's Club next Tuesday will be in charge of the art department. Mrs. James Glass, chairman. The program will be given by Mrs. Rita Garrick Fuller, who will talk on "Student Days in Paris." Mrs. Fuller's work is well known in art circles and the afternoon is looked forward to with interest by club members. She will illustrate her talk with examples of her own work in sculpture and with pictures thrown on the screen of some distinctive types of sculpture and also of scenes and views in those parts of Paris more familiar to students than to tourists. Mrs. Fuller has spoken in other places on her subject, and is enthusiastic in her work and a thorough student of art in its highest sense. The afternoon promises to be one of the most profitable as well as enjoyable of the season. Tea will be served in charge of Mrs. Clarence Hall."
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Short newspaper article, undated and unnamed. Title of article is "Framingham Women's Club" and is as follows: "Her student days in Paris will be outlined by Mrs. S. C. Fuller, the sculptor and a local resident, at the meeting on Tuesday in charge of the art department. Mrs. James Glass, chairman. The talk will be illustrated with some of her own pieces and with pictures of famous work, some by Rodin, whose pupil Mrs. Fuller was."
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Short newspaper article, undated and unnamed. The article states: "The meeting of the Framingham Woman's Club on Tuesday will be in charge of the art department, Mrs. James Class, chairman. The speaker will be Mrs. S. C. Fuller of Framingham, whose work in sculpture is favorably known in art circles. Mrs. Fuller, whose subjects will be "Student Days in Paris," will illustrate her talk with examples of her work and with pictures, including representations of some of the work of the French sculptor Rodin, whose pupil she was in Paris."
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Newspaper article from an undated and unnamed newspaper. Title of article is "Student Life While in Paris/ Interesting Recital Given Before the Woman's Club/ Mrs. S. C. Fuller Speaks/ Aim and Methods of Sculpture Fully Explained". Article is in three sections, with two overlapping each other. The first section has the second on its back, but Meta found another newspaper to cut from and included it under the first section. The additional second is missing the very end which as been taken from the back of the first. Article is as follows: "A great many members of the Framingham Woman's Club were disappointed Tuesday afternoon, the bad weather preventing their attendance. The surprisingly large number who did brave the storm were well repaid and there was no dampening of interest, even though every pause was filled with the sound of the pouring rain against the windows. Mrs. S. C. Fuller, in her account of her student life in Paris, was most interesting and the talk upon her department of art, which, as she syas, is so often overlooked, and quite seldom very well understood, was very enlightening and her descriptions of the city itself gave some new lights on its civic policy, particularly in its extraordinary cleanliness. Even after market day everything is absolutely cleared away. Mrs. James Glass, chairman of the Art department, was in charge of the program and the department is greatly indebted to Mr. Shannon of the Lincoln school, who kindly loaned his lantern for the occasion, together with a detail of boys to operate the same. With this assistance Mrs. Fuller threw upon the screen a succession of views of different parts of Paris, beginning with a map of the city, in which she showed the student quarters, the Latin quarter and Mont Martre, the quarter of the more well-to-do artists - together with many scenes in the city, the Palais des Beaux Arts, in which are held the Continued on Page Two Student Life While in Paris/Continued from Page One. ... Salons, and other public buildings. Interesting views in the Latin Quarter were the rows of book stalls along the Seine and similar characteristic scenes. Included in the slides were a number of photographs of the work of rodin with whom Mrs. Fuller studied, including is famous "Thinker" and of many of her own pieces which have won diplomas at exhibtions and which have been made for especial exhibits. Among them was Mrs. Fuller's group "The Wretched" which was exhibited in the Salon in Paris. Interspersed with her descriptions of Paris and its art were interesting little stories and descriptions of the careless happy student life, the hard work, often far into the night, lightened by the good fellowship, the fun and nonsense of their hours of relaxation, which Mrs. Fuller said is all perfectly pictured in the once famous, now almost forgotten "Trilby." She explained the aim and method of sculpture, which is not as easily understood as painting, embodying as it always does an idea which does not appear at the first glance. The piece through which Meta Fuller won the interest of the great artist Rodin was rather gruesome, "Secret Sorrow," representing a man literally "eating out his heart." On seeing it Rodin studied it a few moments and then said: "Madamoiselle, you are an artist. You have the sense of form in your fingers." A pretty head of "Sylvia," the speaker accompanied by reciting Shakespeare's poem "Who is Sylvia?" The last included "John the Baptist," "Peeping Tom," suggested by Tennyson's "Godiva" and many others and closed with her "Emancipation" group. The nature of her work prevented the exhibition of much in other than photograph form, but she had brought a few of her smaller pieces, which exhibited, among them the charming reproduction of her mother seated in an arm chair, the portrait statuette of Mrs. Maude Cuney Hare, which was exhibited recently at the 116th exhibition at the Academy of Fine Arts in Philadelphia [end second section] [start third section] In her talk, Mrs. Fuller traced the growth of sculpture from the earliest Egyptian, which was simple and massive through its development in Greek and early Gothic which was more realistic up to the impressionistic which goes beyond the real and shows things as they appear, rather than as they are. The slides gave many illustrations of each in statuary and architecture, and the afternoon was profitable in an unusual line of thought for everyone present. The president, Mrs. Brown, called attention to the unusual number of conferences in the State Federation during the next few weeks and called attention to the next meeting of the club, which will be a public meeting, at which Chief Strongheart will appear in full native costume and lecture on the subject, 'From Peace Pipe to War Trail.' This is an event that will appeal - the first on record - especially to the sons of club members."
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One page pamphlet with a printed cover inside a dashed boarder. On the cover it states "Presentation of/ Negro Art and Music/ by/ The Agora/ Alumnae Hall April 18, 1924" In between this is a Roman fringed helmet facing left with the word "Agora" on the fringe. Inside the pamphlet lists the Program in three sections on the inside front cover and Afro-American Music on the inner back cover. Meta presents illustrations for the second program "The Art of the Negro". During this presentation are several names of people Meta has portrayed in sculpture: Maud Cuney Hare played piano and S. Coleridge-Taylor sang a folk song.
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Short newspaper article with the title "Presentation of Art Piece/ of Famous Sculptress". In pencil written diagonally from the upper right corner is "Chronicle/ June 12 1920". The article states: "Atlanta, Ga., - The entire week beginning last Monday, was given over the Colored branch of the Y. W. C. A. to the presentation of a program by the different groups who have taken part in the work of construction of the branch building as far as it has gone. One of the features of the program was the formal presentation of an art piece the work of Meta Warrick Fuller, the well-known Negro sculptress."
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Newspaper article in three section. Headline is pasted along the top and states: "The Evening News, Framingham, Mass. Tuesday, June 17, 1919." Title for the article is "Models Panel/ for Y.M.C.A. Bldg./ At Atlanta, GA." Article is in two sections and is as follows: "Mrs. S. C. Fuller is completing, in her studio on Warren road, the modeling of a panel which is to be placed above a fire place in the new (colored) Y. M. C. A. building at Atlanta, Ga. The panel which is about five feet square is designed and executed with the spiritual conception and vivid life that characterizes all Mrs. Fuller's work. When finished it will be cast in plaster and after it is put in place will be bronzed. Interwoven in the design is the symbolic oak of Atlanta, and the motto of the association, "Spirit, mind, body." The central figure of the panel is a crouching Negro youth, about to rise. Over his shoulder appears a winged spirit, whispiring encouragement in his ear and urging him towards the light, the sun, to which it points. the face of the youth expressess slowly awakening aspiration, struggling with the dullness of long oppression. Chubby figures of little children surround the central figures, against with leaves and clusters of acorns, child figures represent the generations of the future, the hope of the race and are wonderfully individual, showing all shades of expression, "from grave to gay" and all sorts of poses. The words "Spirit, mind, body" are inconspicuously introduced, separately on small shield-like surfaces, in among the child figures. The thought is clearly worked out, the lines and modeling true and spirited and will convey, when finished and in place, the real inspiration that the artist intended. Mrs. Fuller always works with some difinite thought to be expressed and her descriptions are very illuminating to the unartistic observer. [end first section.] [start second section.] In her studio is noticable a life size plaster group which was exhibited in New York several years ago, illustrating emancipation. A slave youth and maiden, standing, under an over shadowing something representative of their servitude, have just been set free, from slavery. Behind them Humanity personified is urging them on, while Race-hatred holds them back. Bewildered they stand, looking to the future, but with nothing in their hands to help them, and with only the scantist clothing. Humanity, while urging them forward, weeps for their discouraging state. This group attracted a good deal of attention when exhibited. Mrs. Fuller, who was a pupil of Rodin in Paris, while a student, first attracted the notice of the great sculptor by the spiritual depth of conception and the intensity of life expressed in her work. A visit to her home and studio is an experience to be remembered with pleasure."
