DGHM 110 S25 DTA Project

Items

• Phil? Newspaper Article Headshot_1907
  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.'
• Virginian Pilot_1907
  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."
• Newspaper Article_1907
  Small newspaper article in two sections. The article is as follows "The historic tableaux that have been executed by Miss Meta Vaux Warrick, of Philadelphia, have been entirely completed. The series, as heretofore annouced, represent the scenic reproduction of the history of the Negro from the landing at Jamestown until the present. These groups have been workd out with great artistic accuracy and the effect produced under the artifical lighting is simply grand. Dr. Thirkield, of Howard University, the other day said that this exhibit of Miss Warrick's was the finest thing in the Negro Building. In view of the very favorable comments on other features, this statement of Dr. Thirkield is exceedingly complimentary to the artist."
• Voice of the Negro_1907
  Magazine article on several pages titled 'Meta Warrick a Promising Sculptor/ by Florence Lewis Bentley'. The article has several photos throughout - on of Meta, one of sculpture John the Baptist, and one of The Wretched. The article is as follows: As far back as 1865, when Edmonia Lewis exhibited her first piece of sculpting in Boston, Negro artists have counted in their ranks at least one woman sculptor. The works of this artist were well known to the last generation, but she has lived so long abroad, and, being very old now, has so long since given up all work, that she is almost forgotten in America, except by a faithful few. In her place has risen, of late years, a young woman sculptor who bids fair to leave, in her turn, the kind of work which will make it possible for the ruthless years to consign her name to oblivion, - work, in which the highest authorities have detected that imperishable element which, for a better name, we call genius. Miss Meta Warrick, of Philadelphia, is the young woman whose works reveal an originality of conception and master of technique which bid fair to make her an enduring name. Through the insatiable human desire to find a cause for every effect, we are continually prodding around seeking to find the springs of genius. The repeated evidence of history have failed to teach us that genius is the unaccountable, the unclassified, appearing in places of its own selection, in such a manner as to throw out all our nice rulings as to heredity, environment and such things. Meta Warrick was born in Philadelphia of well-to-do thrifty parents. Her father was a very prosperous barber in the days when that work was largely in the hands of colored men. Her mother, too, was a hairdresser, a money maker and a shrewd business woman. Yet in this comfortable household, where the inclination seemed entirely towards that industrialism which meant tangible material profits, the three children blossomed out and away from the accustomed line into the world of ideas and of dreams - ideas that have since taken form and dreams that have 'come true.' The only brother, following his bent, is now a very successful physician and surgeon, and the two sisters early showed an artistic impulse, which the younger has developed to such an exceptional extent. The older, Blanche, now Mrs. Frank Cardoza, of Washington, D.C., worked cleverly in water-color, and her carved wood and beaten brass was far above the amateur class. It was from this older sister that the little girl received the first help in fostering her innate love of the beautiful in art, and even before her school days she modeled in bits of clay begged from the older sister in her work room. When she entered the public schools, her work in drawing was of such excellence that, at the close of her school life, her teachers induced her to send her name to the Board of Public Education for an examination at the Philadelphia School of Industrial Art. (In Philadelphia the School Board annually sends a limited number of pupils to that fine Art School.) Miss Warrick took the examination and was granted a scholarship for three years. As is the rule in this school, she studied all (break to second page with image of The Wretched) branches of industrial art and at the end of the schooling was able to choose the branch for which she was best fitted, in selecting a specialty. At the end of the term her work entitled her to a post-graduate course, free of tuition, and she took up the normal course, devoting the rest of the time to sculpture. The free scholarship carried with it one condition, namely, that something be done in the interest of the school. Miss Warrick's selection was a bas-relief frieze representing the arts and crafts, made up of a total of thirty-sseven figures in procession, in mediaeval costume. It won the prize, and this may be said to have settled definitely her determination to make sculpture her life work. When art-school days were over, the talented girl's teachers and friends urged her to go to Paris and continue her studies. This she ardently desired, but it was a long time before she could get the consent of her family to go abroad. Unwavering determination, aided by the intercession of teachers and friends, finally prevailed and in the autumn of 1899 she went to Paris for a stay which lengthened itself to three busy, hard working years. "For the first six months," she says, "I studied drawing under Raphael Collin, on the advice of a conscientious sculptor, who thought it necessary. But I found at the end of that time that, while I had improved in drawing, it had no effect whatever on my modeling. After that I modeled after antique casts under M. Carles in the studio of a friend, and finally took a studio from life again and paid frequent visits to the museums, not to look at sculpture alone, but at the paintings as well. My instructors were Mons. Ingelbert Gauqui and Rollard. I worked alone in the afternoon at sketches in clay or wax, finally continuing alone with no other criticism than that of an artist friend." After months of hard work our young sculptor produced several figures, which not only sold well, but gave her an assured place in the French captial where competition is so keen. M. Bing, the well-known French connoisseur, thought so much of her work that he invited her to exhibit and, in order that she should do so fittingly, he threw open his great salon for her use. Here she showed twenty-two of her pieces, and M. Bing pur- (flip to page 3) chased several which he thought the best. Encouraged by her success, Miss Warrick at last ventured to go to Rodin with a piece of her work. 'But, Madamoiselle,' said this greatest of French sculptors, 'you are a sculptor; your work is powerful." And that is just the word which best expresses her work. People who like sweet little sculptured angels, and academical work generally, will hardly be attracted by her figures, but the true lover of art instatnly feels her strength and responds to the deep emotional language of her creations. For instance, her life-sized "Thief on the Cross" is almost frightful in its realism. Every line of the body shows careful anatomical study and the face, in the throes of death, is the emodiment of human terror. Another of Miss Warrick's best pieces is a small plaster relief "The Wretched," inspired by the lines, "Be still sad heart and cease repining, Behind the cloud is the sun still shining" The relief is a cloud peopled with the suffering, the sorrowful, the despairing. Around the edge there are those who see the light and have taken courage and hope. On her return from abroad, Miss Warrick opened a studio in Philadelphia, where she is now busily at work. She has exhibited each year in the Philadelphia Art Show, and last year recieved an honorable mention. She has recently received, from the Jamestown Exposition people, a commission for a piece of work illustrating the progress of the Negro since the settlement of Jamestown. That, however, is 'another story' and requires a later and separate chapter."
• Boston Sunday Globe_June 7 1907
  Large newspaper article from the 'Boston Sunday Globe - June 30, 1907' With the headline 'Life Groups Show Progress of Negro/ U S Government Will Exhibit at Jamestown the Life Story of the Race from the Landing of Slaves to the Present - the Work is Done by Miss Meta Warrick, a Young Negro Artist' Beneath are three images in floral and scroll decorated frames. The upper left is of two women, one in an apron and the other seated with a doll in her hands with a scroll beneath stating "Miss Warrick Superintending the Dressing of the Figure". The upper right image has a man with a artist palet in his hands and a scroll stating "Negro Artist Painting the Backgrounds This Man Studied at the Penn Academy of the Fine Arts". The bottom right image depicts several figures around a table and has a scroll stating "The Happy Home A Negro Family after the Emancipation". The article is as follows: In a little studio over a disused stable in a narrow back alley of Philadelphia the life story of the colored race from the time when the first shipload of broken-spirited slaves landed at Jamestown, Va, in 1619, to the present day of educated prosperity, is being constructed figure by figure. The story is to be told in a series of groupings, each of which will show the advance of the negro, step by step; the struggles of the chained slave for freedom, the emancipation, the almost despairing effort for a place in the white man's world of honest labor, and finally the winning of an equal chance in the realm of knowledge. The groupings are being prepared for the U S government, and will be exhibited at Jamestown to enable every one who visits the exposition to see at a glace how successful Uncle Sam has been as an emancipator of a downtrodden race. While pessimists were crying out for a wholesale and enforced exodus of the negroes to the dark continent from whence they came, it occured to some person in Washington that they present status of the negro in America should be a matter of pride to every white man, for nowhere in the world has the negro advanced as he has in the United States. "Let us drop this talk of emigration for the negro," said the wise man of Washington. "Rather should we congradtulate ourselves on having, in the remarkable history of the colored people in this country, a reason for taking a front place among philanthropic nations. Instead of scheming to rind ourselves of the negro we should be pointing to them as one of our prodest accomplishments." The idea took root in the minds of the government leaders and it was determined to show, if possible at a glance, what a Moses Uncle Sam has been to the colored bondslaves of 1619. It was decided that none but negroes should be entrusted with the work. First it was necessary to find a colored sculptor qualified to design and model a series of groups which should show in concrete form the various chapters in the history of the negro in America. The choice fell upon Meta Vaux Warrick, a young negro artist, whose work is known and admired in two hemispheres. Miss Warrick has been engaged on the groups for several months and they are gradually approaching completion. In the little studio referred to the sculptress has gathered around her a company of negro artists and here from early morning until late at night the work goes on. It is an enormous task, for no less than 150 figures have had to be fashioned for the various groups, and for each group an appropriate background had to be designed and painted. Besides the figures and the scenery Miss Warrick has had to prepare the necessary 'properties' to make the groups look lifelike and natural, and every figure has had to be dressed in appropriate costume. The groups will be ready for the transferrence to Jamestown in a few weeks. They will be set up in the negro building and will doubless prove one of the most interesting of the unique exhibits at the exposition."
• Buffalo Courier_1907
  Newspaper article broken into two parts with the headline separated from the main article. Newspaper is The Buffalo Courier for May 5, 1907. There is a handwritten note diagonall along the article in black-brown ink "Many Congratulations - regards to another, sister _ brother _alie_ C. Hodge Niagara Falls Ontario Canada. Article has a photograph of Meta at work at a tall flat easel and a sculpture bust in her hands with the lines below "Meta Vaux Warrick the Philadelphia Sculptress/One of the most talented women of the negro race in America, has just been commissioned by the United States Governemnt to construct 15 groups illustrating the progress of her race during the past 300 years."
• North American_1907
  Newspaper article folded into a rough square. The folded article is from the North American Philadelphia February 10, 1907. It has a list of several notable African Americans. List includes Meta, who has a profile picture in a rectangle diagonally above a sculpture pictured in a round frame "Secret Suffering One of Miss Warrick's Masterpieces". The article lists accomplishes and scholarships. Meta is listed alongside H. O. Tanner as sculptors from Philadelphia. Meta's article is as follows: "The art of Meta Warrick, like that of Tanner, has been a bold departure from conventional lines, but it is similar in no other respect. The famous French sculptor, Rodin has described her work as being, 'powerful'. She played with clay in her childhood; and her talent in drawing in the public schools so impressed her teachers that they introduced her to take an examination which won her a three years' scholarship at the School of Industrial Art. In 1899 she went to Paris. There the great connoisseur, M. Bing, introduced her to exhibit her work in his salon, that great critic best indicates Miss Warrick's position in the art world. He said :"To the true lover of art, every piece of her sculpture will tell a tale of woe, of sorrow, of fear, or of intense love or joy." 'The Thief on the Cross' and 'The Wretched' are considered her best works. She is at present modeling a bust of Paul Laurence Dunbar, the negro poet, and the national governement has invited her to submit ideas for a group depicting the advancement of the negro since he first landed in America. To Exhibit at Jamestown This will be one of the notable exhibits at the Jamestown (Virginia) Exposition next summer. Miss Warrick's studio is over a brick stable in a narrow Philadelphia street
• New York Evening Post_March 16, 1907
  Newspaper article in two parts. Handwritten notation in black ink under second half column states "New York Eve Post Mar 16 - 07". Article goes into the Negro exhibit at the Jamestown Tercentennial. "Negro Exhibit for Jamestown/ Series of Tableaux Illustrating the History of the Race Prepared by Colored Woman sculptor - Studies of Life from Landing of Boatload of African Slaves in 1619 to Present Day - The Negro as Soldier, Farmer, Mechanic, and Banker. Washington, March 16 - An agreement was entered into yesterday between the executive committee, designated by the general Government, to prepare a negro exhibit for the Jamestown Tercentennial Exposition and Miss Meta Vaux Warrick of Philadelphia, by which she is to furnish a series of tableaux illustrative of the history of the negro race from the landing of the first boatload of African slaves on the James River in 1619 to the present day. It is Miss Warrick's plan to trace in chronological order the progress of the negro people in all the arts of civilization. There will be fifteen model groups, the figures to be one-fourth life-size, making in all an exhibit covering more than 1,500 feet of floor space. The studies of negro life will include the landing of the slaves at Jamestown, negroes working in a cotton field, suggestive of the race's industrial beginning; an escaping slave, typifying the instinct for freedom; the first African Methodist Episcopal Church, founded at Philadelphia in 1816 by Richard Allen in a blacksmith shop, illustrating the awakening of religious spirit; the negro as a solider, testifying to the valor of the black man in all the wars of the republic; as the faithful protector of the family of the absent master, a tribute to the loyality of the slave to what he regarded as a sacred trust. Further will be shown the start for citizenship, following emancipation, and the thirst for education and enlightenment, reflected in the primative schoolhouse and a typical body of negro students. The constructive period of the race's history will show the negro, as a farmer, as a mechanic, and as a banker. Then will come the era of the higher mental and moral development, including a representation of the modern race church, the negro at home, the negro poet, orator, painter, and physician, and improved community life, bringing into requisition a number of familiar characters who have made a distinctive impressi__[sic] upon the history of the negro people. Miss Warrick is a young colored woman, a representative of the best element and advanced possibilities of her race. Her education was acquired in the Drexel School of Fine Arts in Philadelphia, and further courses were taken by her at several of the leading art institutes in Paris, where her reproductions won marked favor at the hands of some of the best critics. A small series of a like nature was displayed at the Paris Exposition, and attracted great attention from the social economists of the Old World. Congress has appropriated $100,000 to aid the negro exhibit. The Negro Building is classic structure, situated not far from the main entrance to the grounds. It was planned by W. Sidney Pittman, a negro architect, a graduate of Tuskegee Institute, and is being erected by Rolling & Everett, negro contractors, of Lynchburg, Va. It will cost $40,000. Among the novel exhibits which the States will send are a model town in Mississippi owned by, composed of, and officered entirely by negroes, and an exhibit from Ohio, costing $20,000 in which negroes will be making watches during the Exposition."
• Philadelphia Record_April 13, 1907
  Long newspaper article with cut out newspaper title in two bars in the lower right stating "The Philadelphia Record, Monday April 13, 1907." The article is long, going into details about the Jamestown Tercentennial Exposition, with many objects and articles being shipped from Philadelphia to the exposition. It includes automobiles and trucks, baby shoe making, rugs, to name a few. Meta is mentioned at the end of the second column. "Negress Making Novel Exhibit. A most movel exhibit from this city will be a series of lay figures representing the progress of the negro race in America. There are 150 of these now in course of preparation, the sculptor being the young negress, Meta Vaux Warrick, of No. 206 South Twelfth street. The group has been contracted for by the United States Government for display in the Historical Building, and the work is to be completed and turned over to the Government by May 10. Failure to complete the last on time will involve heavy penalties on the young artist, and she is laboring many hours each day in her studio, at No. 210 South Camac street, to accomplish her task. The figures are divided into 15 groups, as follows: Twenty-five figures representing the landing at Jamestown in 1619; 10 figures, negroes, working in a cotton field; 4 figures, slaves escaping, pursued by owners; 8 figures, origin of African Methodist Episcopal Church; 9 figures, negro soldiers in camp; 5 figures protecting white women and children during the war; 5 figures, negroes, starting out in the world after emancipation; 15 figures, negro schoolhouse and children; 5 figures, negro farmer gathering his crops; 4 figures, negro bank and bankers; 15 figures, negro church; 6 figures, negro family at home; 1 figure, Paul Laurence Dunbar, negro poet, at work; 2 figures, Tanner, negro artist, painting from model; 4 figures, negro surgeon operating; 10 figures, Frederick Douglass negro orator, speaking; 18 figures, Wilberforce community, with students. Miss Warrick is a graduate of the Philadelphia schools, and spent five years in the School of Industrial Art on a scholarship which she won. There she took three prizes, and has since studied for three years in Paris under noted masters, exhibiting in the Salon and holding one private exhibition in that city and one in Philadelphia. Her work has attracted widespread attention and resulted in the award of the Government contract for the sculpture work for the exhibition. The figures are to be one-fourth life-size and the presentation will be aided by painted scenery now being prepared in the same studio.
• Newport News_1907
  Long newspaper article with a handwritten notation above in ink stating "Newport News Va. Press. Mar 31-07" Article details the Jamestown Tercentennial - exhibitions had been all set up for April opening. Art and objects were scattered around the fairgrounds and housed within eight buildings. Meta is mentioned half way through the right column of the article. "Another feature of the exposition that will attract attention is a series of illuminated tableaux showing the progress of the negro race. An agreement has been entered into between the executive committee designated by the general government to prepare the negro exhibit for the Jamestown Tercentennial Exposition and Meta Vauz(sic.) Warrick, of Philadelphia, a young negro woman who is a sculptor of some repute by which the latter is to furnish those tableaux, illustrating the history of the negro race from the landing of the first boat load of African slaves on the James river, in 1619 to the present day. __ planned, by the construction of appropriate models, dramatic groupings, and the use of suitable scenic accessories, to trace in chronologic order the progress of the negro people in all the arts of civilization. There will be '15 model groups, each of the basic dimensions of ten feet long and ten feet wide, the figures to be one fourth life sixe(sic.), making in all an exhibit covering more than 1,500 square feet of floor space."
• Public Ledger_1907
  Newspaper article in four sections. Newspaper title is in two skinny strips on either side of the main article, which states "Public Ledger - Philadelphia. Sunday Morning, April 14, 1907" The article is as follow: "Negro Artist Busy With Historic Task/Woman's Work Will Show Progress of Race Since the Landing at Jamestown./Government Contract/150 Figures, in 15 Groups, to Occupy Prominent Position at Exposition. Working from early morning until a late hour each night, a young negro artist, Meta Vaux Warrick, is endeavoring to complete 150 figures, representing the progress of her race from the time of the landing at Jamestown, Va., in 1619 to the present day. The figures are classified in 15 groups and are being made for the United States Government. They will occupy a prominent position in the Negro Building at Jamestown Exposition. The Artist's contract with the Government calls for the completion of the work by May 10. Property backgrounds, ten feet by ten feet, are now being painted in the artist's studio at 210 South Camac street, simultaneously with her work upon the figures, which are to be one-fourth life size. Classified groups and figures are: First. Landing at jamestown: Twenty slaves, five white men. Properties, scenery showing sea, ship, sky and landing; towers, houses and landscape. Figures, 25. Second. Negroes working in a cotton field. Properties, wagon, cotton, baskets. Figures, 10. Third. Slaves escaping, followed by two white men and a bloodhound - the negro hiding behind a clump of bushes and trees, water indicating he has crossed a stream and evaded pursuers on the opposite side. Properties, bushes and trees. Figures, 4. Fourth. Allen beginning the African Methodist Episcopal Church - Negroes worshiping in a blacksmith shop. Properties, anvil, books and furnace. Figures, 8. Fifth. Negro soldiers taking "The Order of the Day." Properties, guns and trees. Figures, 9. Sixth. Negroes protecting white women and children during the Civil War - A tramp soldier attempting to steal a white child; mother about to faint; a negress attendant at her side; a negro attacking the tramp to protect the child. Properties, chair, grass, flowers, trees and scenery. Figures, 5. Seventh. Negroes staring out after their emancipation - Man, homeless, surrounded by his family. Properties, bushes and trees. Figures, 6. Eighth. Negro schoolhouse - Children on their way to school. Properties, schoolhouse, books and trees. Figures, 15. Ninth. Negro farmer gathering his crops. Properties, house, crops and (start of second article) basket, Figures, 5. Tenth. Negro mechanic at work upon an unfinished building. Properties, lumber, house and tools. Figures, 4. Eleventh. Negro banker - interior of the bank, showing tellers or clerks and a depositor. Properties, books, money, desk and papers. Figures, 4. Twelfth. Negro church - Negroes about to enter the building. Properties, scenery, etc. Figures, 15. Thirteenth. Negro at home surrounded by his family; reading to his wife, who is doing embroidery and listening to the story; children playing and listening. Properties, rugs, tables, chairs and pictures on walls. Figures, 6. Fourteenth. Section A - Paul Laurence Dunbar writing verses. Properties, table, tablecloth, chair, pictures, couch and cushions. Figure, 1. Section B - Tanner painting from the model. Properties, easel, canvas, seats and drapery. Figures 2. Section C - Physician operating; nurses in attendance. Properties, stretcher, table, instruments and sheets. Figures, 4. Section D - Douglass delivering an oration. Properties, platform, table, pitcher, benches or chairs; scenery representing part of audence. Figures, 10. Fifteenth - Wilberforce community; students in caps and gowns, representing commencement day. Properties, trees, grass and scenery, including buildings, Figures, 18. Educated in Philadelphia This artist has been at work for several weeks on this task, and is liable to the infliction of penalties by the Government in the form of fines if the work is not completed by the contract date. She received her education in the public schools of Philadelphia and was awarded a scholarship to the School of Industrial Art of the Pennsylvania Museum, where she remained for five years, taking three prizes, among which were the first prize for metalwork design in 1898, and the first prize for modeling in 1899. She has exhibited in the Salon and has held two private exhibitions, one here and the other in Paris, where she studied under several noted men for three years. Her work is most instances has tended toward the gruesome, some of her notable figures being "The Man Eating His Heart Out," which personified loneliness; a second, "Oedipus Tearing His Eyes Out," and a third, "The Thief on the Cross," the latter showing the victim's horrible suffering. Interested in the Gruesome. Discussing this trend of her sculptural work, she said yesterday: 'Since the time I was a child here in Philadelphia, where I was born and have grown up, the gruesome phases of life have interested me. It was not that I searched for it, but simply that it came to mind. I had the habit of imagining the most horrible things and reciting them to my family as if they had actually happened to me. Many times I scared them badly. I suppose there are some who might say that I have a diseased mind.' She laughed heartily at this, and then told of a thought that occurred to her a few days ago with much relish as recalling her youthful fancies. 'It grew out of the murder case in New York and the use of the alienist term 'brain storm,'' she said. 'Remembering what awful pictures my mind conjured up at that time, I wondered and sought to answer my own inquiry whether the prisoner of the present trial ever was the victim of such imaginings as filled my childish head.' No member of her family, according to Miss Warrick, ever showed artistic talent, except a sister, who did not pursue her work beyond the initial stages. The young artist lives at 206 South Twelfth street.
• Philadelphia Herald?_1907
  Newspaper article in two sections with the title "Colored Sculptor's Honor" with a photograph of Meta in her studio. The article is as follows: "Meta Warrick to Furnish Tableaux for Jamestown Exposition. Miss Meta Vaux Warrick, of this city, a colored sculptor of high repute, is to furnish a series of illuminated tableaux for the Jamestown Exposition. Illustrative of the history of the negro race from the landing of the first boatload of African slaves on the Jamestown River in 1619 to the present day. It is Miss Warrick's plan to show by the construction of appropriate models, dramatic groupings and the use of suitable scenic accessories, to trace in chronological order the progress of teh negro people in all the arts of civilization. There will be fifteen model groups, each of the basic dimensions for ten feet long and ten feet wide, making in all an exhibit covering more than 1500 feet of floor space."
• Philadelphia Press Newspaper Article_1906
  Short newspaper article with handwritten notation above in black ink "Phila. Press/ Feb 1906". Article is as follows: "Advance in Sculpture./ The sculpture of the exhibition measures one of those great advances sometimes apparent in a single year." The article goes to list a number of artists. Meta is mentioned just below the middle of the article: "..., and has also some examples of delicious genre, one, "The Wind" (1015), Miss Meta Warrick has an auto-portrait in bronze (1017) of somber force..."
• International Studio_1905
  Magazine article with a photograph of 'Brittany Peasant' in the lower right. In pencil next to the article is written 'International Studio/April 1905'. The article is as follows: "At the School of Industrial Art, Broad and Pine Streets, Philadelphia, an exhibition of the work of Miss Meta Vaux Warrick was recently held under the auspices of the Alumni Association. Miss Warrick is of negro blood. After studying at the School of Industrial Art for five years, she went to Paris in 1899 where the next three years was spend in study under such masters as Collin, Carles, Injalbert and Rodin. From the latter she got much sympahty and encouragement, and her work shows his influence profoundly. As in Rodin's work, so in Miss Warrick's, strength of conception and vividness of imagination, combined with a passion for realism, are the paramount features. There was hardly a piece in the exhibition that did not depict some serious idea: some scene or phase of suffering; sometimes even a bald expression of something unpleasant, but very real. It leads one to theorize that her work is the (perhaps unconscious) expression of the trials and sorrows of a once oppressed race. The strength of feeling and the depth of insight behind the work, and the broad, almost coarse, touch of the artist that does not mince matters, but goes straight to the spot, are such as to compel attention and to deamnd careful consideration. Besides sculpture, Miss Warrick exhibited several pieces of pottery, distinguished by breadth of treatment and a distinctly sculptural treatment of the ornament."
• The Gazette_February 11, 1905
  Three clipped newspaper articles from "The Gazette, Cleveland, O., " dated "Saturday, February 11, 1905" Article is as follows: "Meta Vaux Warwick, "My Child, You Are a Sculptor," Said the Great Master, Rodin, to One of Our Girls. Philadelphia, Pa. - Miss Meta Vaux Warwick's[sic] exhibition of sculpture at the School of Industrial Art, in the rooms of the Alumni association, under whose auspices the exhibition was held, was closed to the public on the 4th, said a local daily paper recently. Miss Warwick is of the race that has given to the world Henry Tanner, Paul Laurence Dunbar and Charles Waddell Chesnutt. She is of pure Negro blood as far back as the fourth generation, her grandfather at that removed being a Caucasian. Her mother is a Philadelphian, her father, born in Virginia, is a Philadelphian by adoption, and Miss Warwick herself was born here 27 years ago. To the public schools of this city is due the credit of Miss Warwick's first art impulse. Mr. J. Liberty Tadd instructed her before she entered her teens, and a scholarship from the grammar school at Twelfth and Locust streets secured her three years' instruction at the School of Industrial Art. Her work here was extended for a further two years in the normal and post graduate departments, at the end of which time, with all the honors in the power of her alma mater to confer, Miss Warwick sailed for Paris in the autumn of 1899. In the French capital she studied drawing for the first half year under Raphael Collin, the figure painter, and for the second worked in modeling under M. Charles. Then followed a twelve month at the Academie Colarossi and lectures on anatomy at the Ecole des Beaux Arts under M. Injalbert. One day Miss Warwick took a bit of plaster, not eight inches high, to Rodin. After turning it around in silence, the master at last touched the young girl's shoulder and said: 'My child, you are a sculptor.' For a year after this Miss Warwick's work passed before the eyes of the great French realist. The present exhibition is a work of great importance, not because Miss Warwick is the only sculptor of her race or because she is one of that group of gifted ones who, from the embers of oppression, poverty, ignorance and caste exclusion are rising, and by the simple force of individual excellence, claiming the respect and admiration of their fairer countrymen; the exhibition is remarkable on its own account. Never before, certainly not in Philadelphia, has such a showing been made. This is not saying that Miss Warwick is our greatest sculptor. She may and she may not be."
• Exhibition List and American Art News_1905
  Typed list of works, number and divided into types. A few on the second page have checkmarks in pencil by the works. At the end glued to the last page of the list is an article from the "American Art News, New York, February 4th, 1905". Article is as follows: "At the Philadelphia School of Industrial Art there is an interesting exhibition of sclupture[sic.], portrait busts and figurines, the work of Meta Vaux Warrick, a young colored woman with a strain of white blood. The work is extremely individual, showing a morbid, strong imagination and the influence of Rodin, who has taken great interest in her progress. The exhibition will continue for another week." List is as follows: "Catalogue. 1. Portrait of the late William Still 2. Head - John the Baptist 3. Peeping Tom 4. Sylvia 5. Portrait study from mirrors. 6. Portrait from Memory of the late William Thomas Sketches 7. The Man Eating his Heart 8. Falstaff 9. Study of Expression 10. Oriental Dancer 11. Wrestlers 12. Death in the Wind 13. Despair 14. The Man with a Thorn 15. The Man who Laughed. 16. The Two-step 17. Brittany Vendeuse 18. Silenus 19. OEdipus 20. McKinley Monument 21. Primitive Woman 22. Wild Fire (Start of page 2) Studies of Afro-American Types 23. An Old Woman 24. A School-boy 25. The Comedian 26. Danny Deever (The Student) 27. The Artist 28. Mulatto Child. Fragments 29. Cyclops 30. " 31. Dancing Woman 32. Study of Pose. 33. The Bear-trap 34. Primitive Man 35. Medusa 36. The Cloud 37. The British Lion 38. Procession of Arts & Crafts (Start of Page 3) Photographs 1. John 2. Man Eating his Heart 3. Silenus 4. OEdipus 5. The Street Dancer 6. Study of a Man 7. Primitive Woman 8. Impenitant Thief 9. Three Gray Women 10. Man Carrying a Dead Body."
• Philadelphia Newspaper Article_1905
  Long newspaper article over two pages of the scrapbook. Header is "Philadelphia, Sunday, February 5" and date is broken off, but must be 1905 as the article overall is about her exhibition at the School of Industrial Art. Article includes three photographs, one profile of Meta, one of her dressed in Greek costume, and one of her bust of Sylvia. Full transcription is saved on the server.
• The Evening Star_January 21, 1905
  Newspaper article with the headline "the Evening Star/Saturday, January 21, 1905". The text is as follows: "Miss Warwick's Success in Sculpture. Considerable attention is being given in Philadelphia this week to Miss Meta Vaux Warrick's exhibition of sculpture. Miss Warwick is the sister-in-law of F. L. Cardozo, supervising principal of the thirteenth division, colored, of the Washington public schools. She has made her name stand for the highest things in art, and is regarded as on a plane with Henry Tanner, Paul Lawrence Dunbar and other prominent members of her race. Her work is described as a little below the average in technique, but of unusual strength. In her choice of original themes she is said to be remarkable. Never before has such a showing been made in Philadelphia, according to an art critic of that city."
• American Art News_January 21, 1905
  Article with headline "American Art News" and the text "The sculptural work of Meta Vaux Watn [sic] will continue on view at the School of Industrial Art, Broad and Fine Streets, Philadelphia, until Feb. 4 every day except Sunday from noon until 5 o'clock." Below this is "New York, January 21st, 1905."
• Philadelphia Press Newspaper Article_1905
  Newspaper article in five sections across two pages of the scrapbook. In pencil above in cursive is written "Philadelphia Press" and beneath that between the first two sections of article is "1/15/05". The article is a detailed write up of her exhibiton at the Pennsylvania Museum and School of Industrial Art. Next to the last section of the article is a handwritten name "Elizabeth Dunbar" on a separate piece of paper - maybe the person who cut out and sent her the article? The overall article is long and a full transcription can be found on the server.
• Ossing New York Newspaper Article_1904
  Newspaper article in three sections. Header is separate and states "Ossining, N Y., Monday September 12, 1904." The article is in two sections and is as follows: "A Distinguished Visitor. The Sculptor, Miss Meta Wan Warrick, of Philadelphia, Pa., is in town visiting Mr. and Mrs. Peter Parker, and her friend, Mrs. J. W. Hoffman, Jr., of Durston Avenue. The following is one of the many articles written in reference to Miss Van Warrick's work both here and abroad: 'Several American women have won fame in the field of sculpture, and one of the most noted is the young mulatto girl, Miss Meta Van Warrick, whose work is creating much comment on both sides of the sea. Miss Warrick is the sculptor whose masterly expression of strange and original thoughts led the celebrated Rodin to give her special attention during the three years she spent studying in Paris. 'This young woman has known all the hardships and struggles of lonely student life in the great French City, and while she struggled wrought her emotions into her work, which is expressive of the despair which often overtook her. However, success was near. when she was scarely nineteen years of age she took one of her models to Rodin. He recognized the genius in her handiwork, and from that time on hse was his protege. 'One of the finest pieces of her work, "The Wretched," so attracted the attention of M. Bing, the great Art Connoissseur of Paris, that he had it cast in bronze. Art loving Paris was amazed at this example of the young girl's work, of which it has been said that, 'the orignal conception, the movement of palpitating life, the masterly grouping, would be remarkable for a mature man." 'Miss Warrick has a great field open to her, and every promise of being able to fill it to the satisfaction of her fellow artists. She won the first prize, $25.00 for a jardiniere in June, 1904, being also a student in Pottery. 'Miss Warrick is Philadelphia born and bred, and at the School of Industrial Art she received the education and encouragement necessary to send her to Paris to study, and, after her return home, the first public recognition of the Art World, for she is now on the Alumni Board of Control. 'In her studio, 210 South Camac Street, Philadelphia, Pa., Miss Warrick works from sunrise to sunset. Her studio is her world, and the figures her fingers have modeled into form are her companions. She has finished life-sized statues as well as busts, groups as well as single figures, and in every instance her work has been bold and free in outline. 'Two of her works "The Thief on the Cross" and "The Wretched" have been exhibited at the Paris Salon of 1903. 'This is a list of subjects nearly completed by Miss Warrick: "The Violist," "Mother and Child", "Portrait of the Sculptor", "The Sphinx." 'The following are subjects about to be worked up by the sculptor: "Prospective," "The Young Devil," "Studies of Colored Children," "Fire."
• Newspaper Article_1903
  Newspaper article with large image of a sculpture and a small article pasted besides. Image has the text beneath "'The Wretched' One of Miss Warrick's Weird Bits of Statuary (Women Sculptors Challenging Fame.) The article is as follows: "One could not think of using the old term 'sculptress' in speaking of Meta Vaux Warrick, the young Philadelphia mulatto girl whose work has reated a future both in this country and abroad. She is a Philadelphian born and bread, and at the School of Industrial Art she received the education and encouragement necessary to send her to Paris to study, and, after her return home, the first public recognition of the art world, for she is now on the School Board of Control. She has known all the harships of lonely young student life in the great French city, and much of her work was expressive of her despair. When she was scarely 19 she took one of her models to Rodin, and from that time on she was his special protege. One of the finest pieces of work, "The Wretched," M. Bing, the great French sculptor, had cast in bronze, and artistic Paris was amazed at the work - the originating life, the masterly grouping would be remarkable for a mature man."
• Newspaper Article_1903
  Newspaper article in two sections. Title is 'Craftsmen's Work in Four Exhibits/ School of Industrial Art Has Largest Collection on View at the Handicrafters Have Smallest, But in Point of Excellence the Best - News of the Studio'. Article goes into several exhibitions around Philadelphia. Meta is mentioned at the very end: "...The few pieces of sculpture in the exhibition are quite noticeably above the average of work usually seen at schools. The exhibitors are Miss Meta Vaux Warrick and Mr. Salvador Belotti, both of whom are showing portrait busts. Miss Warrick exhibits also some of her small figure compositions, which express with much dramatic force certain abstract ideas."
• Philadelphia? Newspaper Article_1903
  Newspaper article with blue pencil 'C' in the upper left corner and evidence of a circle once around the article. Article is as follows: "Miss Meta Vaux Warrick is at her studio 338 South Quince Street, engaged in preparing some sketches for an exhibiton of her work, which will be held in the Fall at the School of Industrial Art under the auspices of the Alumni Association of the school. Miss Warrick is also engaged in coloring the frieze of arts and crafts for which she won the prize in 1899. This will also be placed on exhibition, with the rest of Miss Warrick's work."
• Philadelphia Tribune Newspaper Article_1903
  Newspaper article with pencil notation beneath "News Tribune" Article is as follows: "Miss Meta Vaux Warrick has moved her studio from 1432 South Penn Square to 338 South Quince street. Miss Warrick has been at work all winter on a number of small sketches in clay, which hear out the promise of her early work. This young sculptor has a genuine gift for catching and perpetuating in plastic form a passing phase of a subject, a mood, an expression. her imagination and originality are extraordinary and a little more carefulness of technique will put her work seriously above much of the modeling done in this country today."