DGHM 110 S25 DTA Project

Items

• Sylvia
• Scrapbook
• Monument to President William McKinley
• The Afro-American_June 2, 1928
  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 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 Dr. 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 and at private exhibits in Paris. Her home is in S. Framingham, Mass."
• St. Louis_1920
  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..."
• Newspaper Article_1920
  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."
• Framingham? Newspaper Article_1924
  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."
• Framingham? Newspaper Article_1924
  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."
• Framingham Evening News_June 17 1919
  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."
• The Crisis_January 1918
  There is no title or date given to this clipping. There is drawn just visible to the upper left corner a hand pointing one finger downwards. The article states "Meta Vaux Warrick Fuller was born and trained in Philadelphia. She won five free scholarships in succession at the School of Industrial Art, and then studied sculpture in Paris for three years, her last instructor being the great Rodin. Her work has been exhibited at the Paris salon and at the Academy of Fine Arts in Philadelphia. One of her little dancing figures has just been presented by Loie Fuller to the Cleveland Art Museum. Mrs. Fuller, who is the wife of Dr. Solomon Fuller, a well known alienist, is carrying on her work in Framingham, Mass." Also a drawing of Fuller on page 129
• Framingham News _December 20, 1918
  Newspaper article in 4 parts from "Framingham, Mass. Friday, December 20, 1918" The title of the article is "By Sudden End of War/ Suggests Piece of Sculpture by Mrs. S. C. Fuller/ Noble Figure of Peace/ Springs From Out Clouded Battlefields in France". The article is as follows: Mrs. S. C. Fuller, Warren road, is at work upon a piece of sculpture, [start second section] the idea of which was suggested to her mind by the sudden ending of the war. The details are not all worked out yet, but the vivid representation of life that characterizes all of Mrs. Fuller's work is brought out in a manner that makes the observer share in the artist's inspiration. From the battle field strewn with dead and dying, with broken cannon and debris of the fight, rises a cloud, out of which springs a nobel figure of Peace. The right hand holds aloft a large banner, in the left is the olive branch. The face, strong and spiritual at the same time, shows the suffering, agony and suspense of the exultation of the final triumph, and a clear, long look into the future. Mrs. Fuller's thought was to show Peace, coming as it did, suddenly, out of a cloud, as it were, when we had expected to endure some years more of war. In the dim confusion of the battle field below, here and there a wounded man raises himself to look up and stretch a feeble hand towards the glorious figure, whose free lines, flowing drapery, its abounding life and the lofty conception of the whole, show in a striking manner the genious of the artist whose work [start third section] By Sudden End of War/Continued from Page One is too little known in Framingham. An earlier piece, done by Mrs. Fuller at the beginning of the war and on a similar theme, was on exhibition at the rooms of the Woman's Peace Party in Boston, some time ago, and was described in The News."
• Boston Transcript_1918
  Newspaper article in small typeface in two sections. Next to the article written in pencil is "Boston Transcript sat. Nov. 16, 1918" The article is as follows: "That we have our own deep-seated race prejudices to conquer, and our own race problems of the most serious nature to solve, was borne in upon the Listener the other day in a visit to the exhibit of sculpture by a young colored matron, Mrs. Meta Warrick Fuller, at the Soldiers' Comfort Unit in Massachusetts avenue, near Columbus avenue. Here is a colored woman's work of an arresting interest. It shows technical skill, well-trained - with gleams here and there of unmistakable excellence. It is youthful genius that has hardly unfolded as it certainly will under favoring conditions. Not that the artist has not had the best of teaching, so far as that goes in high art, having graduated from the Academy of Industrial Arts and the Academy of Fine Arts in Philadelphia, after which came three years in Paris, where she interested Rodin and exhibited in the Salon. Beside her technical merit - good modelling, anatomical knowledge - there is a certain 'gesture' in her work of the 'fine careless rapture' that is revealing and convincing, especially in certain portrait statuettes and sketches. Most of the pieces are small--chiefly groups for book-ends and odd character types. There is, however, one ambitious design for the coming peace memorial which won the prize of the Woman's Peace Party for Permanent Peace. The main figure of the design is a war-horse driven headlong by a blind rider with Death on the croup, reaching for the bridle. It is in this that the creative abandon most impresses the beholder. It has always been the Listener's belief that one broad 'way out,' open to all, for this young sculptor's race, lies through the fine arts. In fact, in every field of art - music, painting, sculpture, poetry--already there are the living examples to prove it. Art is the purest democracy in the world--ever has been, and ever must be."
• Philadelphia newspaper_Former Resident Wins Art Prize _1917
  Newspaper article with the title "Former Resident Wins Art Prize". Article is undated and not assigned to a newspaper producer. The article is as follows: "Mrs. Meta Vaux Fuller, a graduate of the local High School and former resident of this city, but residing with her husband, Dr. Solomon P. Fuller, at Framingham, Mass., has been awarded the second prize offered by the Massachusetts Branch of the Women's Peace Party for the best piece of sculpture depicting Peace. Mrs. Fuller is a daughter of Mrs. Warrick of this city. Mrs. Fuller was graduated several years ago from the High School at was given a scholarship to the Industrial Art School of Philadelphia, where she studied for a number of years. Mrs. Fuller was married about three years ago and her husband is now in charge of a large insane asylum at Framingham. Mrs. Fuller's group which won the second prize is entitled "Peace Halting the Ruthlessness of War."
• Boston Guardian_1917
  Newspaper article titled "2nd Sculpture Prize Won By Mrs. S. C. Fuller." In pencil vertically along the left side is written "Boston Guardian". The article is as follows: "Mass. Branch of Woman's Peace Party Awards $25 Prize to Former Philadelphia, Zeta Karrick Fuller. Mrs. Malcolm Forbes Elected President. The Boston Post of 24th instant reports: - Miss Rose A. Garrity of 77 Gainsboro street, 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. [sic] 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. Mrs. J. Malcolm Forbes was elected president and Mrs. John Richardson, Jr., treasurer."
• Boston Globe_May 24 1917
  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."
• Framingham Evening News_September 9, 1915
  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."
• Framingham Evening News_Sept 9, 1915
  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."
• Framingham Evening News_May 18, 1914
  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."
• 50 Years' Progress of Negro is Shown_Brooklyn Eagle_1913
  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."
• Philadelphia Press_1914
  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."
• "Negro Exposition Opens" New York Times_1913
  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."
• PA newspaper_Negro Sculptress Wedded Notice_1909
  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."
• World To-Day_1907
  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.
• Charities and the Commons_1907
  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."
• The Independent Article_1907
  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."