[4][5] She ran the Sunwise Turn with Madge Jenison, and the bookshop served as an important intellectual and social center for artists, writers, and revolutionary political thinkers in New York in the early nineteen-teens and twenties.

[2] In 1911, Mowbray-Clarke joined the Association of American Painters and Sculptors, the group that organized the groundbreaking 1913 Armory Show exhibition of modern art in New York.

[1] Two examples of Mowbray-Clarke's early bronze medals from this era are in the Peabody Art collection of the State of Maryland: St. Brendan, 1911, and Peace for One Hundred Years (undated).

By contrast, later sculptures such as Broadway, c. 1919–which the artist intended to be 40 feet high and ideally stand in Times Square–were executed on a monumental scale, and featured a smooth and refined finish.

[5] According to the critical essays in the catalog, Mowbray-Clarke is depicted as an idealistic individualist, whose work offers metaphoric social and political commentary; topics of his sculptures included satirical critiques of capitalism, militarism, and other aspects of Western society.