Elsie Ward (also known as Elsie Ward Hering) (1871–1923)[1][2] was an American sculptor born in Fayette, Missouri. Her collection largely consists of bronze and other metal sculptures. Ward worked on a host of diverse works of art, but "her specialty was portraits, busts, and reliefs".[3]
Life
Ward grew up on a farm where she first started experimenting with clay, modeling her pets and peers.[4] After her family moved to Denver, Colorado around 1887, Ward graduated from high school in 1889 and began studying art with artists such as Preston Powers, Ida M. Stair, Samuel Richards and Henry Read. From the time she graduated high school until she moved again to New York, Ward was involved in the Denver Woman's Club, the Denver School of Fine Arts, the Denver Art Association, and the Denver Artists Club.[5]
At the request of her previous mentor, Augustus St. Gaudens, Ward began work at his studio in Cornish, New Hampshire.[8] Ward produced a number of her works at this point in her life, including Mother and Child and The Huguenot, both prize-winning pieces in the Charleston Exposition in 1902. After her mentor, St. Gaudens died in 1907, Ward finished many of the pieces he was commissioned to create including the Baker Memorial in Mount Kisco, New York and a monument for Marcus A. Hanna in Cleveland, Ohio.[9] Additionally, "Ward was responsible for much of the work on the sculpture, Seated Lincoln (1897-1906) and the Baker tomb (1906-7)."[9]
Ward then moved back to Denver, Colorado and married her husband, Henry Hering, in 1910.[9] After she married Henry, Elsie Ward took his last name and became Elsie Ward Hering. "After her marriage to Henry Hering in 1910, she seldom worked independently but assisted her husband on his projects."[10]
Ward continued to create art pieces after leaving the St. Gaudens studio. One of her last known works is a baptismal font that was finished in 1917 and was erected in St. George's Church in New York City. [11] "Until her death in 1923, she was a deserving sculptor of statues great and small, including portraits and statues for public spaces."[12] Following her death in Manhattan, New York in 1923, Ward was survived by her two siblings, Margaret and Ethelbert Ward as well as Major R.T. Ward of the United States army, Reverend Talbot Ward, and William F. Ward.[13]
Works
Portrait reliefs of her Mother, Alice Talbot Ward, and others[14]
Statue of frontiersman, George Rogers Clark, 1904, for the Louisiana Purchase Exposition, that was later permanently erected in St. Louis.[17]
References
^Haralson, C., & Caruso, L. (2008). Colorado: The artist's muse. Denver, CO: Petrie Institute of Western American Art, Denver Art Museum.
^Allen, H. C. (2007). Early Colorado women artists (Doctoral dissertation, University of Colorado at Denver, 2007) (pp. 1-158).ProQuest304750434.
^Magonigle, H. V. (1923). Exhibition of American sculpture catalogue. New York, NY: National Sculpture Society.
^Tingley, K. (1904, January 3). Woman's Work. New Century Path, pp. 6-7.
^Allen, H. C. (2007). Early Colorado women artists (Doctoral dissertation, University of Colorado at Denver, 2007) (pp. 1-158). ProQuest304750434.
^ abAllen, H. C. (2007). Early Colorado women artists (Doctoral dissertation, University of Colorado at Denver, 2007) (pp. 1-158). ProQuest304750434.
^Tingley, K. (1904, January 3). Woman's Work. New Century Path, pp. 6-7.
^Magonigle, H. V. (1923). Exhibition of American sculpture catalogue. New York, NY: National Sculpture Society.
^ abcDryfhout, J. H. (1982). The Work of Augustus Saint-Gaudens. Lebanon, NH: University Press of New England.
^Petteys, Chris, ‘’Dictionary of Women Artists’’, G K Hill & Co. publishers, 1985 p. 735
^Allen, H. C. (2007). Early Colorado women artists (Doctoral dissertation, University of Colorado at Denver, 2007) (pp. 1-158). ProQuest304750434.
^Ten Bokum, A. M. (2019, November 25). Art Nouveau Ladies at Work: Rediscovered Women Artists in the Collection of Design Museum Gent. Retrieved June 24, 2020, from http://nbn-resolving.de/urn:nbn:de:bsz:16-psp-682287
^ abRubenstein, Charlotte Streifer, ‘’American Women Sculptors: A History of Women Working in Three Dimensions’’, G. K. Hall and Co. Boston, 1990 p. 135