Evening Star Newspaper, November 17, 1929, Page 108

. NOVEMBER 17, 1929, VINNIE REAM TREASURES GO TO FOUR STATES Sculptor’s Studio in Washington Gives Up Its Art Wealth to Wisconsin, lowa, Oklahoma and Missouri—IL incoln Posed for the Artist, Who Was Long Associated With Life in Capital of United States. p‘ Y EVELYN NORCROSS SHERRILL. FEW weeks ago & large dray was backed up in front of the hand- some old residence and studio on K street of the late Vinnie Ream, America’s much -loved sculptor. 1 were moving with tender care large mar- “America,” a marble bust by Vinnie Ream. Presented to the State of Iowa. useums of Wisconsin, Jowa, Oklahoma and uri, Many private individuals had tried in vain to purchase some of her works, but they have all been listed in the Vinnie Ream Memo- rial Collection and, with few exceptions, have been presented to the States with which the #rtist was prominently identified. It is felt that the handiwork of the little sculptor, whose re- nown was inspired by the immortal Lincoln, is of such historic value that the public should Bave the privilege of enjoying it, which would hot be possible if placed in private galleries. IAT Madison, Wis., the artist'’s birthplace, a Vinnie Ream memorial room is reserved in ithe building of the State Historical Society of ‘Wisconsin. There may be seen her famous marble statue, “Spirit of the Carnival,” repre- senting the Italian fiesta, completed in Rome at the time her Lincoln statue was being cut in marble; the widely known portrait of Vinnie Ream at her harp by George Bingham; bust of Vinnie Ream by Clark Mills, the sculptor ‘who discovered her talent; marble bust, “The Passion Flower,” praised by art critics for its Tare beauty; bronze hand of Abraham Lincoln, modeled from life; original painting by the eminent French artist, Gustave Dore, with in- scription to Vinnie Ream; framed portrait of Carmen Sylva, lale Queen of Rumania, wita affectionate greeting in the queen’s handwrit- ing to Vinnie Ream; many photographs of her important works; framed letter of praise for the Farragut statue, written by the widow of Qe admiral; autographed books from her pri- vate library; some of her tools and the small table upon which the bust of Abraham Lincoln was modeled in the White House from life. Also, photographic copies of testimonials by a President of the United States, members of the cabinet, Speaker of the House of Repre- sentatives, many Senators and Representatives, given Vinnie Ream when she went abroad to study and to complete the Lincoln statue, ordered by the United States Government for the Capitol. Soon after the artist’s death, her large statue, *“The West,” which had been put in marbls under the leadership of the late Senator Voor- @w hees, was presented to her native State, and trait of Vinnie in Italian peasant costume alse has been given to Jowa, as well as numerous photographs of her outstanding works. The artist’s affection for Missouri dated from 1858, when she enrolled as a student in what is now Christian College in Columbia, Mo. She was the youngest child in school and had never before been away from her mother. A tiny manuscript, still in existence, is evidence of the regard with which her schoolmates held her. It is a petition addressed to the faculty ask- ing that Vinnie be allowed certain extra privileges not granted to other students “bzcause she deserves them.” Every girl in her class signed the petition, which was one cf the artist’s dear- est treasures throughout her life, kept with trib- utes from some of the world‘s most distinguished persons, ‘While Vinnie was in college she made the acquaintance of Maj. James Rollins, who later became & Congressman from Misscuri. ‘This friendship proved to be the foundation of her success, for it was Maj. Rollins who in Washing- ton took Vinnie to Clark Mills, the sculptor. As Mr. Mills handled the clay in modeling & bust of Vinnie, to be placed in the library of Christian College, she watched him, fascinated, and said impulsively: “I could do that if T had some clay.” The sculptor promptly gave her a ball of it and told her to model his head. She worked deftly and quickly, producing a striking likeness. Mr. Mills was delighted at the dis- covery of so precious and genuine a talent and gladly became her instructor. The State Historical Society in Columbia, “The Spirit of the Carnival,” by Vinnie Ream. Presented to the Stare Historical Society of Wisconsin. Vinnie Ream. Mo., has been given the much-prized portrait of Vinnie modeling the bust of Lincoln. It is the work of George Bingham and is consid- ered a masterpiece. This gift was made large- 1y because of the influence of G. D. Rollins of Columbia, a relative of Vinnie’s good friend, the late Representative James Rollins. There are some who feel that Washington should have had the Vinnie Ream memorial collection. For many years the sculptor was prominently identified with the National Capi- tal both as artist and as official hostess. Vinnie's wedding, at which Gen. Sherman gave her in marriage to Lieut. Richard L. Hoxie, now Brig. Gen. Hoxie, U. S. A, retired, was a brilliant affair. Her residence was long a center of the Capital’s society and her salons were famous. MONG Vinnie’s works in Washington are statues of Abraham Lincoln, Samuel S. Kirk- wood and Sequoya in the Capitol, “Sappho” in the National Art Gallery and Admiral Farragut in Farragut Square. Her memorial in Arlington Cemetery is a bronze reproduction of her own “Sappho,” typifying the muse of lyric poetry, standing over the medallion portrait of Vinnie Ream with the inscription, “Words that would praise thee are impotent.” In front of it is the graceful stone seat, symbolizing her spirit of hospitality. The donors of the memorial collection, Gen. and Mrs. Richard L. Hoxie, felt that the sculp- tor was well represented in the Capital City and selected the four States to be the recipients be- cause of her deep interest in them. However, after completion of the biography and memoirs of Vinnie Ream, now being written by Ruth Norcross Hoxie, at the artist’s request, the Li- brary of Congress will receive her valuable original manuscripts. Georgetown University has been given the large bust of Cardinal Antonelli, who was con- sidered to be the most powerful man in Rome when Vinnie was in Italy. The frankness and charm of the little artist must have greatly ap- pealed to him, for he not only granted her re- quest to sit for her, but through his influence, helped her in many ways. The cardinal pre- sented her with a finely cut cameo of the head of Christ, made in the Vatican workroom. He also gave her an aitographed photograph of himseif, which Georgetown University has re- ceived, together with two precious Bibles, long in Vinnie’s possession. One, bound in blue vel- vet, was from Pere Hyacinthe, the noted French religious leader. Mme, Dore, mother of the eminent French artist, gave Vinnie the other one of brown leather, richly decorated in gold. The sculptor’s talents in music and poetry were well recognized. She composed many melo- dies, which she played on her harp to accom- pany her own singing, Unfortunately, these were not written down. After her death, through the assistance of Prof. G. Frank Gebest, a col- lection of her songs was prepared for publica- tion. In recognition of this important service, a bust of Liszt, the famous musician, was pre- sented to the Institute of Musical Art, of which Prof. Gebest is vice president. It has ever been the aim of the present Mrs. Richard L. Hoxie, who was an intimate friend of the artist, to perpetuate Vinnie Ream’s mem- ory. Through special committees in the League of American Pen Women, the Daughters of the American Revolution and various other organi- zations, the remarkable story of the talented girl, who was the prodigy of the sixties, has been frequently retold. So replete was her life with hardships and triumphs, the latter won by her own perseverance, that the story bears The during the five months the martyred President daily posed for her, was significant. She fre- quently said: “I was modeling the man in clay, Bust of Gen. Albert Pike, by Vinnie Ream, presented to the Oklahoma His- torical Society. but he was being engraved still more deeply in my heart.” Vinnie’s Washington studio has shared its treasures with the great West, of which, like Lincoln, she was a part. Her monu~ ment in Arlington, overlooking the Potomae, claims her as belonging to the Nation, Little Feathered Singer. ONE of the sweetest singers of the feathery choir is the seldom-heard oven bird, very shy but singing when he does sing all out of proportion to his size, which is smaller than that of the English sparrow. The oven bird, sometimes called teacher bird because of his oft-repeated cry which sounds like the word “teacher,” and sometimes also termed golden-crowned thrush, golden-crowned wagtail, wagtail and wood wagtail. His body is a sort of olive-green, with white underneath, speckled breast and golden crown. He is primarily a ground bird and builds a nest somewhat on the design of a dutch oven, from which he derives his name. The nest, which is crowned over and is camouflaged to resemble the ground surroundings, has an opening at the side rather than the top. His song, which is only infrequently granted to man to hear, is sung during the nesting sea~ son when he flies to the top of a high tree and bursts forth into an inspired warbling that ranks him well among the leaders of the feathered singers. It is a rare treat, indeed, when his joyous song is heard. He is a native to the greater part of the United States and migrates in May and Octo~ ber.