Others were adapted into saleable functional objects, like bookends and letter-openers.
Gorham editions of her early works were still selling in 1936, though some had been discontinued.4 By 1912, Anna was reported to earn more than $50,000 a year, placing her among the highest paid professional women in the United States. However inaccurate, the report vividly conveys her reputation for financial independence.
The monumental sculpted horse she exhibited at the 1910 Paris Salon was indeed astonishingly large.
It proved, however, to be only an accessory to its rider, Joan of Arc.
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.
The Metropolitan Museum of Art was only one among many New York City institutions determined to make their home the undisputed cultural capital of the United States.
When Anna Hyatt Huntington began her New York career, some institutions, such as the Brooklyn Institute of Arts and Sciences (now the Brooklyn Museum), the National Academy of Design, the New-York Historical Society, New York University, and Columbia University were established, while others were recent, like the New York Zoological Park (now the Bronx Zoo) and the Cathedral of Saint John the Divine.
Daniel Chester French, the visionary sculpture curator of the Metropolitan, advocated the collection of work by living artists, a policy financially feasible because of the statuette market.
The Metropolitan acquired two more of her works by 1912, both of which measured less than foot high.