Statue of Zebulon Baird Vance

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Excerpt from Statue of Zebulon Baird Vance: Erected in Statuary Hall of the United States Capitol by the State of North Carolina, Proceedings in Statuary Hall and in the Senate and House of Representatives of the United States Upon the Unveiling, Presentation, and Acceptance of the Statue of Zebulo Born in Idaho, March 25, 1867, son of Dr. James de la Mothe Borglum and Ida (Michelson) Borglum. Educated in the public schools of Fremont and Omaha, Nebr., and at St. Mary's College, Kans. Studied art in San Francisco, and went to Paris in 1890, working and studying in Academie Julien and Ecole des Beaux Arts. Exhibited as painter and sculptor in Paris Salon, in Spain in 1892, and in California in 1893-94, returned East and went to London in 1896, remaining there and in Paris until 1901. Has been in New York City since 1902. Exhibited in Paris in 1896 and 1901, held successful "one-man" exhibit in London, received gold medal for sculpture at Louisiana Purchase Exposition. Was sculptor for work on Cathedral of St. John the Divine, New York, Sheridan Equestrian Monument in Washington, D. C., colossal marble head of Lincoln and the statue of Zebulon Baird Vance in the Capitol Building, figure of America on American Republics Building, Mares of Diomedes (bronze), Metropolitan Museum, New York, The Atlas (marble), New York, etc. Member Royal Society of British Artists, Societé National des Beaux Arts, and Architectural League. Clubs: Metropolitan (Washington, D. C.), Players, Camp Fire, Lotos, Fencers, City, and Balsam Lake Club, New York. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.