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Anna Hyatt Huntington introduced her work into public institutions with the proverbial “thin end of the wedge.” The Brooklyn Institute of Arts and Sciences commissioned a group of animals for its paleontological department by the end of 1902.5 The Metropolitan Museum of Art acquired in 1906.
The prestige of this acquisition was in inverse proportion to the 7 1/4 inch high size of the sculpture.
Anna Hyatt Huntington worked with several foundries over the course of her New York career, including Roman Bronze Works, the Kunst Foundry, and Gargani & Sons, but during her crucial early years in the city she dealt primarily with Gorham & Company, located at Fifth Avenue and 47th Street, whose foundry was in Providence, Rhode Island.
Gorham stocked her work and promoted it through catalogues and exhibitions.
All of them contributed to New York City’s bid for national and even international stature.6 Museums, monument committees, academies, societies, ribbons, medals, prizes, commissions, galas, and pageants abounded in New York City, organized by citizens with similar civic aspirations.
In their rush to reach lofty goals, they were willing to take some risks. Year by year, she accumulated official honors, notably a bronze medal at the 1904 St.
By starting small when she arrived in New York City, the almost unknown and vulnerable artist named Anna Vaughn Hyatt was unlikely to offend anyone.1 Fresh from the Boston area, where she had sold small animal sculptures through the fine metalwork firm Shreve, Crump & Low, she was primed to appreciate the similar, but much more extensive, chances to make and sell statuettes in New York.
It proved, however, to be only an accessory to its rider, Joan of Arc.They cast, stocked, and sold enough editions of high quality statuettes to make a private sculpture market possible.In addition, the city’s cultural institutions sponsored the creation of many medals or commemorative plaques, each of which required a sculptor, and which were distributed in multiples.Clad in armor from head to toe, she rose from her steed to raise a weapon toward heaven.Of course, the figure’s evident martial valor was veiled by the theme of a pure girl who obeyed religious voices to save her nation, and died a martyr’s death at the stake.
Louis World’s Fair, a silver medal at the 1915 Pacific American Exposition in San Francisco, the Rosette of Public Instruction from the French Government in 1915, the Rodin Gold Medal in Philadelphia in 1917, two Saltus sculpture prizes in 19, and was made a Chevalier of the French Legion of Honor in 1922.