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Newspaper article with the title "Awarded $50 by Woman's Peace Party". Next to the article written in pencil is "Christian Science Monitor[?]" The article is as follows: "Miss Rose A. Garrity of 77 Gainsboro street, Back Bay, a pupil of Roger Burnham, the sculptor, was yesterday awarded the sculpture prize of $50 offered by the Massachusetts Branch of the Woman's Peace Party for the best sketch conception of the constructive peace movement. The subject of her composition for the peace prize was "Peace Rests Upon International Law. Which Is Built and Upheld By the People." The second sculpture prize of $25 was awarded to Mrs. Meta Z. W. Fuller of Framingham. The title of her sketch was "Peace Halting the Ruthlessness of War." Mrs. Fuller has studied sculpture in Philadelphia and Paris and is said to have done very meritorious work. The art committee of the Woman's Peace Party believes that later it may be arranged to have these two sketches worked on a large scale into bronze or stone and also to be the inspiring ideas in others of the fine arts. The branch yesterday at its meeting voted to conduct civilian work during the war. The work will be divided into three branches - headquarters, food supply and conservation, and social services and work for Americanism. Mrs. J. Malcolm Forbes was elected president and Mrs. John Richardson, Jr., treasurer."
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Short newspaper article as follows: "Boston Art Notes Massachusetts Branch of the Woman's Peace Party has awarded the two prizes it offered for sculpture 'tending to promote the constructive peace movement.' First prize of $50 goes to Miss Rose Garrity of Boston; second prize of $25 to Mrs. Meta Vaux Warrick Fuller of Framingham."
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Newspaper article with the headline 'Women Favor Prohibition During War/ Speakers Urge Federal Action at Meeting of Peace Party Here.' In pencil next to the article is 'Bost(?)'. Article is as follows: "Members of the Woman's Peace Party in annual meeting yesterday at 421 Boylston street, unanimously indorsed war prohibition after several speakers, including Mrs. Edwin D. Mead, had urged such action. Mrs. Ernest Amory Codman reported marked and increasing success in teaching braod ideals and an international outlook to boys and girls, more than 100 of whom have been meeting at the headquarters every Sunday afternoon since Dec. 10 to listen to appropriate stories and sing folksongs. She said that she would be glad to have help in finding stories. 'It is to the children's receptive minds,' she said, 'that we can turn most hopefully in developing internationalism.' Praises the Newspapers. Other reports included a tribute from Mrs. George Nasmyth to the newspapers, 'an unrivalled instrument of democracy.' The publicity committee has found the foreign press in Boston a particularly satisfactory field. Mrs. Augustus Hemenway is to bie the use of her home at 273 Clarendon street to the peace party for a food conservation headquarters, with a canning kitchen that will begin work June 15. The party will use the surplus from gardens throughout the state, and sell the output for the benefit of civilian relief. It has the approval in the procedure of the public safety committee and the backing of both the suffrage and the anti-suffrage associations. A $50 prize for a statue of 'Peace resting on industrial law' went to Miss Rose A. Garrity, a pupil of Roger Noble Burnham; a $25 prize to Mrs. Meta V. W. Fuller, a pupil of Rodin, for a statue of 'Peace halting the ruthlessness of war.' Mrs. J. Malcolm Forbes was re-elected president. Other officers are: Vice-president, Mrs. Norwood P. Hallowell, Mrs. Edwin D. Mead, Mrs. Fannie Fern Andrews, Mrs. Robert Gould Shaw, treasurer, Mrs. John Richardson, Jr. directors, Mrs. Ernest Amory Codman, Mrs. John Sturgis Codman, Mrs. Elizabeth Glendower Evans; also as honorary vice-presidents. Owing to the war, the party omitted its annual luncheon. The attendance crowded the rooms, however. An increase of 295 has brought the membership to 1200."
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Newspaper article in one column with the headline "Women's Peace Party Hears of Varied Service/ Basement of Mrs. Hemenway's Home to Be Used for a Canning Plant". To the right of the article writting vertically upwards in pencil is "Boston Lav__ May 24". The article is as follows: "With President Wilson's declaration of war, the executive board of the Massachusetts Branch of the Woman's Peace Party voted to carry on civilian relief work during the war. At the annual meeting yesterday at 421 Boylston st, Mrs Richard H. Gorham of Milton, secretary, gave a very interesting resume of its activities for National service. "It was decided," she said "to undertake three lines of work - relief work, at headquarters; food supply and conservation; social service work, to maintain the standards of civil life in wartime." Some interesting items of service she described are providing supplies and autos for distric nurses; sending out wool for women who want to knit; even down to Maine; sending garments for children to France; instructing volunteeers in making garments and surgical supplies; keeping record of applications for help and offers of service, etc. Arrangements are made to use the basement of Mrs. Augustus Hemenway's house at 273 Clarendon st during the Summer for a canning plant, under an expert manager, helped by volunters[sic.]. Mrs Hemenway will meet all expenses except labor for the first month, and possibly all Summer. Five other women's ogranizations are cooperating each day a week. Proceeds will be devoted to relief work. Miss Ellen Dabney announced the award of two prizes for sculpture for conceptions designed to promote the Constructive Peace Movement. The first prize of $50 was presented by Mrs. J. Malcolm Forbes to Miss Rose Garrity of Boston, also known as a talented violinist. The second prize of $25 was awarded to a colored woman, Mrs Meta Vaux Marrick[sic] Fuller, wife of Solomon Carter Fuller of Westboro State Hospital, a graduate of the School of Industrial Art in Philadelphia. It was stated that the membership of the society has reached 850. Ahese[sic] officers were elected; Mrs J. Malcolm Forbes, president; Mrs Norwood P. Hallowell, Mrs. Edwin D. Mead, Mrs. Fannie Fern Andrews, Mrs Robert Gould Shaw, vice president; Mrs John Richardson Jr, treasurer; Mrs Ernest Amory Codman, Mrs John Sturgis Codman, Mrs Elizabeth Glendower Evans, director."
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Small newspaper article with a black and white photo of a sculpture of a man grasping a second person around the waist, emerging from a twisting mass of waves and other limbs of various figures. The article's header is "Wins Peace Promotion Prize". Beneath the article writtin in pencil is 'Boston Journal May 24'. The article states: "This statue, by Miss Rose A. Garrity of Gainsboro street, was yesterday awarded the prize offered by the Woman's Peace Party for an original work of art promoting the constructive peace movement. The statue shows Peace struggling through obstacles to victory, clasping in his arms figures that but for him would be overcome. The second prize was won by Mrs. Meta V. W. Fuller. At the meeting of the party yesterday Mrs. J. Malcolm Forbes was re-elected president and Mrs. John Richardson treasurer."
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Newspaper article in one column. The newspaper title is cut out and glued vertically next to the article stating "Framingham, Mass. Tuesday, September 28, 1915". The headline for the article is "Framingham Fair Notes/ Glimpses About Suffrage and "Anti" Booths/ Other Exhibits/ Flowers, Vegetables and Poultry By Children" Article is as follows: "Mrs. Solomon C. Fuller of Framingham whose work is sculpture is favorably known in art circles, has designed a medallion for the Framingham Equal Suffrage league, a plaster cast of which was on exhibition at the Suffrage booth at the Framingham fair. The design shows three heads in profile, in low relief, a man, a woman and, between and below them, a child. The thought accompanying is in letters at one side of the placque which is about eight inches in diameter, "Each unto each the rounded complement." The design of the three heads shows delicacy as well as strength of character, the ideal family, with perfect serenity and unity of interests in the home. It is a beautiful piece of work and was much admired by those who saw it. Some very artisitc posters from the state headquarters were exhibited on the wall at the back of the booth and a large map of the United States, showing the suffrage and the campaign states was suspended from the upper window. Sanitary drinking cups with a suffrage rhyme on them were a novelty and "Votes for Women" postal cards of various designs. The booth was presided over by Mrs. Manfred Bowditch, Miss Kingman, Mrs. M. E. Thayer, Mrs. and Miss Irving, Mrs. A. P. Sherman and others."
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Newspaper article in one column. Cut out and glued next to it vertically is the newspaper name "The Evening News, Framingham, Mass. Thursday, September 9, 1915". The title of the article is "Medallion is Donated to League". The article is as follows: "The Framingham Equal Suffrage league is proud to number among its members, Mrs. Meta Vaux Warrick-Fuller, the sculptor. Mrs. Fuller has designed a beautiful medallion and donated it to the league. It is her contribution to the suffrage campaign fund. On it are 3 heads in profile - a man, a woman and a child - with the motto from an old poem: "Each unto each the rounded complement." It beautifully typifies the message of equal suffrage without having any of the limiations of propaganda. It will be a thing of beauty and a message of truth long after the vote is won throughout the country. The medallion is of plaster, finished in ivory or white, measuring 8 1/2 inches in diameter. Mrs. Fuller has only recently recommenced her work, which was dropped necessarily for a few years after her marriage and the birth of her little sons. She is especially interested in symbolic compositions and has also made a number of portrait busts and reliefs. Her most important recent production is the heroic group entitled "Emancipation," made in 1913 for the Exposition in New York city to celebrate the 50th anniversary of Negro Freedom. Before her marriage Mrs. Fuller was a student in Philadelphia and Paris and later worked in her own studios in both cities. She has exhibited in Paris Salon, the Exposition of Woman Painters and Sculptors, Paris, the Philadelphia Academy of Fine Arts."
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Very small newspaper article or announcement stating "Mrs. S. C. Fuller has just received back a collection of her sculpture, which she had loaned for an exhibition at the Dunbar high school, Washington, D. C. The collection was held over after the close of the exhibition, to be shown at a meeting of the Dunbar high school alumni."
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Long newspaper article in three parts. Newspaper is The Evening News Framingham from Monday May 18, 1914. Title for the article is "An Exhibition of Sculpture/ Work of Mrs. Meta Vaux Warrick-Fuller/ Viewed by Friends/ True Stamp of Genius is in Evidence" Article is as follows: "At the home of Dr. S. C. Fuller, Warren road, yesterday afternoon a number of friends gathered to view an exhibition of sculpture by Mrs. Meta Vaux Warrick-Fuller whose work is soming to be recognized in artistic circles as bearing the true stamp of genius. Mrs. Fuller is very modest about her work but she is full of enthusiasm and the 'divine fire,' and not the lease pleasing part of the occasion was the privilege of meeting the artist herself. The long, living room was given up to the exhibition and the piece that first attracted by the eye on entering was the second model of the group made for the New York State Emancipation Proclamation Commission in 1913, and exhibited at the exposition last October. The model is about 24 inches high, the finished group which was exhibited is 8 feet high. It represents a newly emacipated man and maiden standing in the shelter of a gnarled, decapitated tree that has the semblacne of a human hand stretched above them. This semblance of a had represents humanity which is pushing them out into the untried world and at the same time prevent[end first section] -ing them from a full exercise of their new found freedom. In the attitudes of the two figures who start out empty handed to try the new life is strikingly expressed the state of mind, which must be theirs, eagerness, uncertainty, timidity and courage, trying to realize all that freedom means and hesitating before taking the plunge. On either end of the chimney piece are masks, full size, of the two figures in the group, showing them rather larger than life-sized. On a pedistal also in the centre of the room is a small bronze group illustrating the rhythm and movement of the 'Danse Macabre.' Action, motion, life are vividly portrayed in Mrs. Fuller's work. In many small figures in the collection this is wonderfully depicted. In the little figure, 'A Young Equestrian,' a child on a rocking horse; in the 'Classic Dancer,' 'A Drink, Please,' 'Mother and Baby' where, the bed time frolic is illustrated, all show intense life and action. 'John' a study, sometimes called 'John the Baptist' is full of expression, the asceticosm, ferver and self denial of the 'one crying, in the wilderness' are all in the striking face. Another head, equally remarkable is 'The Jester,' a portrait and remarkable for its truthful ugliness. A number of relief portraits are shown, noticeably two of Dr. A. E. P. Rockwell of Worcester, and several of the children. A bust of the eldest child and one of Dr. Fuller are wonderfully lifelike. Four figures illustrating the four seasons were made for the over mantel panel. It is not possible to do justice to the twenty-nine numbers in the collection which make an exhibition of unusual veriety and scope, arranged about and on the walls of the room. Mrs. Fuller began her artistic studies in the School of Industrial Art in her home city of Philadelphia where she studied four years and won a scholarship. On the advice of the teachers there she went to Paris where she studied three years. Just previous to her marriage to Dr. Fuller she had the misfortune to lose by a fire nearly all her accum [end of section 2] -ulated work, the head of this collection, 'The Jester', being almost the only thing that escaped. Mrs. Fuller has a studio in the top of the house at Warren road, but as she says, she 'works all over the house.' The friends who viewed the exhibition yesterday came, many of them from a distance, Boston, Worcester and placed between, who could more conveniently come on Sunday. Mrs. Fuller will receive friends in town who are interested in her work on Wednesday and Friday this week."
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Article in two section. Title of the article is "50 Years' Progress of Negro is Shown/Emancipation Exposition in Manhattan, Monument to Race Advacement./Exhibits Trace Each Epock./ Half of Great Opening Throng White Persons - Industrial Pace Rapid." Article is as follows: "In celebration of the fifty years of progress of the race since Lincoln freed the slaves in 1863, every phase of present-day negro activity is now being exhibited at the Twelfth Regiment Armonry, at Sixty-second street and Columbus avenue, Manhattan, through the National Emancipation Exposition. Well-known colored man have planned the exposition to show just what the negro has done and is doing, and the exhibits have been assembled in such a manner as to be of general interest. More that 3,000 persons were present at the opening of the exposition yesterday, and more than half of them were white people. Visitors from the white race are expected to be in the majority during the days that the exposition continues, as there has never been perviously an opportunity to see son concrete an illustration of the history of the colored race. The exposition is to be open daily, both afternoon and evening, until October 31, and there are to be features every day. The chief of these, the 'Historical Pageant of the Colored Race,' is to be given this evening. There are 250 actors in the production, which was written by W. E. B. Du Bois, and an orchestra and chorus assist in the presentation. There is also to be a drill by a regiment of Boy Scouts, under the command of Major R. C. Wendell, this evening. The exhibits presented at the exposition show the educational and industrial progress of the colored race since its history began. They have been so arranged as to trace the various epochs of development and have been given an excellent setting in artistically decorated booths. The attractive arrangements is in itself an illustration of what negroes are doing for advancement. The most striking feature of the exposition is the Egyptian Art Temple, which has been erected in the center of the armory, after a design by Nicholas Brown. It houses the exhibition of paintings, sculpture and other works of art that have been executed exclusively by colored people. A rather unusual piece of work is an eight-foot group, "Humanity Freeing the Slave," by Mrs. Meta Warrick Fuller, who was educated in the School of Industrial Arts in Philadelphia and who studied under Rodin in Paris for three years. One of the booths is in charge of the Howard Colored Orphan Asylum, of Brooklyn, and shows the kind of crops that are being raised at the asylum farm on Long Island. There are four cabbages that weigh eighty-four pounds, and it is claimed that they are the largest ever produced. The great increase in the negro population of the United States and negro population of the world are shown at booths at which dry statistics are brought home through various interactive devices. It is shown that where there were 757,203 negroes in the United States in 1790, there are now 11,850,775 besides about four and a half million mulattoes. The negro population of Brooklyn is given at 31,200 as against 1,790 in 1790. According to the figures, there is a total of 960,000,000 colored people in the world. There are exhibits of negro industrial work o, twpical[sic.] negro homes, of books written by colored authors, and a score of similar branches of activity. At one booth there are hundreds of pictures of great mansions that are owned by negroes, and at another there are records of the thousands of patents taken out by negroes. The committee in charge of the exposition is made up of R. M. Woods, chairman; C. Carr, vice chairman; L. Morton, secretary; J. H. Anedrson, Professor W. E. Dubois, the Rev. W. Simms, Dr. Byrd and Dr. Hillery."
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Long newspaper article with a photograph of a sculpture with a woman and a man emerging from a tree. There is writing in ink down the far right edge "Phila. Press. Sunday Jan 18 - 1914" The title of the article is "In Memory of Emancipation". There is also pencil above the image stating 'Start her(e)" with an arrow pointing to the title. The article is as follows: ""Emancipation," the statue, almost heroic in size, which the Emancipation Exposition which was opened this fall in New York, is to be cast in bronze, that it may have the longest life man can give such work. The sculptor who is to receive such honor is a colored woman who is becoming rather used to seeing her work singled out for pointed appreciation, ever since, as a girl, a graduate of the public schools, she began the development of her talent in the School of Industrial Art, of the Pennsylivania Museum, Broad and Pine streets. Meta Vaux Warrick is a name that became quickly known to art-loving Philadelphians when she gave her first exhibition of note at the school at the end of three years' work. In all, five years of hard study found her competent to earn the scholarships which sent her to Paris, where she studied with the best maters in the best studios, and came directly under the influence of Rodin and St. Gaudens. She had made copies of Rodin's statues before going to Paris, and some of her exhibition pieces were well-known, that she had made after this master. When she returned from her studies abroad she began work again at the school, instead of modeling taking up work on stone. This caused great advancement in her art, and she was soon called on to make groups of 150 figures in miniature, representing the porgress of the negro race, from the landing of the first slaves at Jamestown, to the present day, for the Exposition at Jamestown. Much of the sculptor's art shows the influence of her study of Rodin, and this latest and biggest of her productions still suggest this mater. The sculptor, for some time since, Mrs. Fuller, with children about her knee at home, was called on to make this piece for the exhibition and was requested to copy again a thing she had been most successful with, Rodin's "Man Eating His Heart," or something as striking, entitled "Emancipation." Mrs. Fuller, after consideration, agreed to do the work. After settling in her mind what it was that she wanted to express, she was sentenced to a time in the hospital, where she underwent an operation and had to spend quite a long while idle in convolescing. The figure "Emancipation" was done, in time, nevertheless, and she has herself described what she meant by the figures, which are slightly heroic in size. As the negro race in this country is one of much mixed blood, having in different parts of the country mingled with several other races besides the whites, she has made her symbolic figures of mixed blood, and has made them children, because [end first section] [start of second section] the race, in its development, is still a childish [ish is crossed out in pencil] race. Behind them is a third figure, that of Humanity, who hides her face, at the thought of what the pair must meet, but who wisely urges them on now that she has loosened them from the greedy grasp of the restraining hand that represents the bondage of the race, first in slavery, then in ignorance. Empty-handed and scantily clothed, the two figures of the boy and girl are stepping out buoyantly to meet whatever the future of freedom may hold. The bronze statue when completed is to be set up permanently on a public site still to be selected. Mrs. Fuller has chosen to consider the bondage from which the loosened race steps forth in the light of the tree, with ten restraining branches or fingers, because she says that there are ten drawbacks that they have to contend with, though, she names only two - race-hatred and lynchings. She has made her home of late years with her husband in South Framingham, Mass., and it was there that her work on this statue was done."
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Very short article on white paper stating "Mrs. Warrick-Fuller has been holding an exhibition of her sculptures at South Framingham. The collection contains several portrait busts and also the model of a group made in 1913 for the emancipation proclamation commission of New York State."
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Small newspaper article with pencil writing above stating "New York Times Oct 23 - 1913". Title of the article is "Negro Exposition Opens./Advances of the Race in 50 Years Since Emancipation Shown." Article is as follows: " The Emancipation Proclamation Exposition held by negros to commemorate the fiftieth anniversary of the freedom of the slaves in this country, opened yesterday in the Twelfth Regiment Armory, Sixty-second Street and Columbus Avenue. The interior of the armory has been artistically decorated. Exhibits are shown illustrating the educational and industrial progress of the race since its history began. Perhaps the greatest interest centers around the Egyptian Art Temple, constructed in the centre of the armory floor. It is after a design [by] Nicolas Brown. In it are shown [pa]intings, sculpture and other works of art executed by colored persons. In the centre stands an eight-foot group of statuary "Humanity Freeing the Slave," the work of Miss Meta Warrick, a young colored woman of Philadelphia, and studied three years in Paris under Rodin. One of the larger canvases shown is by Juan E. Hernandez, and represents the uphill charge of the Twenty-fifth Regiment at the battle of El Caney. Another feature of the Exposition is the historical pageant. In this 350 persons appear in costume. It is a scenic production of the history of the black race written by W. E. B. Du Bois. There was a band concert in the afternoon and at night Robert N. Wood, Chairman of the Exposition in a speech formally opened the Exposition."
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Small, short newspaper article with the title "Negro Sculptress Wedded/Miss Warrick Becomes the Bride of Dr. S. C. Fuller." Rest of article is as follows: "Miss Meta Vaux Warrick, the young negro sculptor, who has wone[sic.] fame in this country and Paris, was married last night to Dr. Solomon C. Fuller, director of the Pathological Laboratory of the West Borough Insane Hospital of Massachusetts, in St. Thomas's Episcopal Church, in Twelfth street. Leading members of the negro race from Boston, Baltimore, Washington and New York were present. The ceremony was perfromed by the Rev. A. V. C. Carter, assisted by the Rev. D. G. Knight. The bride's grandmother, Mrs. Henry Jones, who died a few years ago, was the wealthiest negro in this State. The bride was graduated from the Philadelphia School of Industrial Art, after which she studied in Paris, where she won the praise of St. Gaudens and Rodin. Her group "The Wretches," was purchased in Paris, cast in bronze and set up in one of the public squares. She has had three pieces in the Salon."
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Short magazine article in two sections. There is writing in pen above the title 'The Book News Monthly March 1908". The title of the article is "The First Big Exhibition of the Season/ The One Hundred and Third Annual Exhibition of the Academy of the Fine Arts/ by Talcott Williams" Article is as follows: "...fashion) "The Bath." This baby with richly dressed attendants is a palpable formula. The Sculpture has as its notable figure Mr. Grafly's statuette, "Maidenhood." It is an odd title for a brilliantly modeled realism which suggests desire rather than reserve. A group of young women have the original honors of the statuary. Mrs. Edith Woodman Burroughs with a "Circe," full of luring, enticing grace and a most remarkable achievement, "A summer Sea"; Miss Abastenia St. Leger Eberle's uncompromising "Old Woman Picking up Coal," in sculpture what John Sloan is etching; Miss Louisa Eyre's most charming child's portrait; Miss Meta Vaux Warrick's dramatic "Peeping Tom." Mr. Murray has a group of portraits and statuettes all makred by his capacity for combining patient accuracy and likeness with characterful quality. Mr. Giuseppe Donato catches closely the actor face of Robert B. Mantell. There is a menagerie of animals. Albert Laessle, turtles; Ella Harvey, bears; Edward Kemeys, panthers and jaguars. It is really wonderful how dull a lively animal can be made by mere modeling. But the sculpture is not an adaquate example of current work, as in the painting."
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Long newspaper article in four sections. Three sections are text. The fourth is an image of Meta in an apron working on a stone bust, holding a large wooden mallet. Above the image is the text "Miss Meta Warrick, Working in Stone." The full transcription is saved on the server. Article in summary is about her early study, her time in Paris, and her return to her alma mater to learn how to carve in stone, an opportunity she has never had to try.
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Article from The World To-Day magazine. There are four, double sided pages. Written by William Francis O'Donnell. Article includes several images - Head of Meta Warrick, Silent Sorrow, The Wretched, Carrying the Dead Body, A Dancing Girl, The Cloud, Oedipus, and Theif on the Cross. Overall the article is a summary of her early education in Philadelphia and time in Paris. Towards end does mention the Jamestown Exhibition. Article ends on a page heavily stained brown. Last page is where the title of the magazine has been cut out and attached. Article is very long and a full trascription can be found on the server.
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Short article on yellow-cream paper with the title pasted above 'Charities and The Commons September 21' The article states: "...popular songs to Negro composers. The historic tableaux, a series of fourteen groups portraying different phases in the development of Negro life in American from 1619 to 1907, attract much attention. These were desgined, made and set in place by Miss Meta Vaux Warrick, a young sculptor who has studied in Philadelphia and more recently in Paris. Beginning with the landing of twenty slaves at Jamestown they present such contrasting scenes as these: An escaping slave, a Negro defending his master's home during the war, Negro soldiers, a Negro bank, the slaves learning to work the cotton fields, an independent Negro farmer, the organization of the first Negro church in 1816, a modern Sunday scene, the first school house (a rough log cabin), and a Negro college commencement."
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Short article on cream paper with a cut out title 'The Independent'. The article is in two sections pasted together, but off set. The article is as follows: "But we must not neglect to refer to some of the individual exhibits. We have mentioned the bank already. The most striking and artistic is a series of historical tableaux by Miss Meta V. Warrick, a young colored Philadelphia sculptress, representing the development of the negro in this country. The figures are small and in plaster, appropriately dressed. The first represents the landing of the negro slaves at Jamestown. They are bound and wear only their native savage dress. Then follows their work in the cotton fields ; then we have the runaway slave in hiding; then their organizing a church in a blacksmith's shop, the beginning of the African Methodist Church; then the negro's loyalty to his master in the Civil War, defending his owner's home. The scenes which follow show the pathetic beginnings of negro education in the new era of freedom, the erecting of their first homes, their service as soldiers, their work as farmers, builders, contractors and bankers. All these are artistically and effectively presented."
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Long newspaper article with large print in three different columns. To the right upper side is handwritten in black ink "Western Outlook Sat. Jan 4 '08 __pances" Article is as follows: "Meta Vaux Warrick. From Philadelphia come vivid accounts of a Negro girl who is already ranked by art critics among the leading women sculptors of the United States. Her name is Meta Warrick and her work has won the commendations of the great French master, Auguste Rodin. One of her best sculptural groups was made for the Jamestown Tercentennial, and represents the advancement of the Negro since his landing at Jamestown in 1619. Others of her works have been exhibited in the Paris salon. Meta Warrick is a living proof of the high capabilities of her race. Like the Negro poet, Paul Laurence Dunbar, whose bust she has made, she excels in work that requires artistic finesse and emotional power. Like the Negro painter, H. O. Tanner, whose pictures have during the last half dozen years taken the highest honors in Philadelphia, Chicago, and other American cities where the very best American artists were pitted against him, she gets her effects in primitive and elemental fashion. Tanner pays little or no attention to the laws of perspective and chiaroscuro, as ordinarily recognized, and he uses strange, weird colors applied, one might almost think, with a stick rather than a brush. Yet in this very garish appearance of his canvases critics have discovered wild fervor, great imagination and a wild, romantic spirit that reflects the life of the African jungle. The same spirit is discerned in Miss Warrick's work in clay. She has simply modelled what was within her - what has been carried down through the blood of generations from the African wilds - without the least apparent concern as to whether it conforms with the approved style or not. The result is work not pretty or superficial, but strongly individual, intensely vital. Miss Warrick has viewed life from the nether side. She has chosen to depict the horrible, the gruesome. She has felt the tragedy of life rather than its joy. There is something haunting and appalling in her portrayal of 'Silent Sorrow' and 'The Wretched.' The iron of life has pierced deep into her soul. As a small girl Meta Warrick saw her sister modelling clay leaves and vegetables, as all kindergarten children do, and she would steal pieces of clay, and fashion animals and people with it. When she was older she won a free scholarship in the Pennsylvania School of Industrial Art. It was here that her talent developed and compelled serious recognition. The first original piece in clay that she made was a head of Medusa. It marked her debut as a sculptor of horrors. All who viewed her conception - with its hanging jaw ; beads of gore clinging to the face ; eyes staring out from the sockets ; lines of agony ; the whole enmeshed in the folds of fearful serpents - instinctively cried out, 'Horrible!' Then came 'Silenus,' a depiction of Bacchic saturnalia, 'The Dancing Girl' and 'Wrestlers,' more normal conceptions, and then the horrible 'Oedipus' and 'Carrying the Dead Body' Since her return to America, Miss Warrick has turned again to more normal themes. It would be difficult, at the present stage, to estimate her career properly, or to prophesy her ultimate rank among the artists of our time. William O'Donnell, in the World To-Day, goes so far as to compare her with Rodin, not, indeed, in creative inspiration, but in the modes of her expression. 'In a radical departure from the prosaic, the conventional,' he says, 'rests her strongest earnest of success approaching Rodin's.'"
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Clipping from a newspaper or magazine of a photo of an interior room with many tables, draperies and tableclothes, plands, and chairs around. In the foreground is a cast iron cooker with a tea pot on top. In the center is Meta standing in a black dress and white apron at a tall tiered easel working at a small sculpture.
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Two clippings from a newspaper with a photo of Meta in profile and a small text beneath 'Miss Meta Vaux Warrick'. Clipped from the same article is 'Miss Meta Warrick, 'Philadelphia's busiest little woman' is having many nice things said about her by the press throughout the country. Miss Warrick is a young sculptor who has made an international reputation.'
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Newspaper article in four pieces. The title of the newspaper is 'Virginian Pilot, Sunday, November 10, 1907' with a headline 'Negro Building at Expo. Interesting Ethologic Study'. The article has handwriting in pencil up the side ' Mrs. Edith Mr. Swith. a southern woman/This article was prepared by ...(rest is missing)' and in blue colored crayon on top 'Norfolk VA'. The article is as follows "...edge teh wisdom of his teachings. As you enter from the east a series of historic tableaux, representing the negro in the different phases of our national life, at once attract attention. They were designed and executed by Meta Vaux Warrick of Philadelphia, who studied at the Art School in her native city and later on in Paris, and are most life-like. This young sculptor has other evidences of her talent in the building, and for these tableaux she has been awarded a gold medal by the Exposition Company. It may be said, en passant, that the exhibitors in the Negro building have thus far received 163 medals, twenty-six gold, fourty-four silver, and ninety-three bronze. Beginning with the landing of slaves at Jamestown in 1619, the scenes following represent successively: Work in the cotton fields; an escaping slave; organizing the first negro church, with a colored minister and officers, in 1816; an old slave defending his master's home during the Civil War; first school house; beginning of home-making among the negroes (they own at present five million dollars' worth of property); negro soldiers, of whom ther are four regiments in the regular army; negroes tilling their own farms (there are twenty thousand in this state who are farmers). The next two tableaux rerpesent the mechanic and the bank operated and owned by negroes (there are twenty-four of this kind in the United States); an improved home; a Sunday scene, and last a college comencement with Fred Douglas in the foreground."
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Newspaper article, possibly more than one, in many bits and pieces. Can make out an image of Meta working on her sculptures for the Jamestown Tercentennial.
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Small magazine article on white paper with brown squiggles around three of the edges. Written in cursive in pen above 'The World's Events July 1907' The article has a photograph of Meta standing in a studio space with a tall easel working on a bust of a man. The article is as follows: "Women at Work If all the men of the world, married and single, should labor every hour of the day they could not perfor the world's work. It is necessary and natural, therefore that women should enter the realm of men's labor. The report recently issued by the Census Bureau shows that there are 456,000 women farmers, and farm laborers in the country more by 118,000 than there are women dressmakers. There are 185 women engaged in blacksmithing, and 508 are classified as machinists. Eight are employed as boilermakers, forty-five as locomotive engineers and firement, thirty-one as brakemen and ten as baggagemen. Women have invaded all but nine of the 303 occupations once monopolized by men. There are women architects, contractors, carpenters, plasters, painters, plumbers, paperhangers and curiously enough the only occupations in whihc women are losing ground as compared with men, are sewing, tailoring, and dressmaking. One of the talented young bread-winners of this country is Meta Vaux Warrick, a young colored sculptor, who has been commissioned by the Government to design for the Jamestown Exposition fifteen groups of statuary representing the progress of her race from the landing of Virginia Colony at Jamestwon in 1619 to the present day."
