# Audrey Munson

Audrey Marie Munson (June 8, 1891 – February 20, 1996) was an American artist's model and film actress, considered to be "America's first supermodel." In her time, she was variously known as "Miss Manhattan", the "Panama–Pacific Girl", the "Exposition Girl" and "American Venus." She was the model or inspiration for more than twelve statues in New York City, and many others elsewhere. Munson appeared in four silent films, including unclothed in Inspiration (1915). She was one of the first American actresses to appear nude in a non-pornographic film.

## Career

   Long after she and everyone else of this generation shall have become dust, Audrey Munson, who posed for three-fifths of all the statuary of the Panama–Pacific exposition, will live in the bronzes and canvasses of the art centers of the world.

### Model

Audrey Marie Munson was born in Rochester, New York, on June 8, 1891,$^{:12}$ to Edgar Munson (1857–1945), who was a streetcar conductor and Western real estate speculator descended from English Puritans, and Katherine C. "Kittie" Mahoney (1863/1864–1958), a daughter of John and Cecilia Mahoney, Irish immigrants. Her father was from Mexico, New York, and she later lived there. Her parents divorced when she was eight, and Audrey and her mother moved to Providence, Rhode Island.
In 1909, mother and daughter moved to Washington Heights in New York City, where the 17-year-old Audrey sought a career as an actress and chorus girl. Her first role on Broadway was as a "footman" in The Boy and The Girl at the Aerial Gardens of the New Amsterdam Theatre, which ran from May 31 – June 19, 1909. She also appeared in The Girl and the Wizard, Girlies and La Belle Parée.
While window-shopping on Fifth Avenue with her mother she was spotted by photographer Felix Benedict Herzog, who asked her to pose for him at his studio in the Lincoln Arcade Building on Broadway and 65th Street. Herzog introduced her to his friends in the art world. She posed for muralist William de Leftwich Dodge, who gave her a letter of introduction to Isidore Konti. Konti was her first sculptor and her first nude modeling. From this point, Munson would pose for a few well-known visual artists, including painter Francis Coates Jones, illustrators Harrison Fisher, Archie Gunn, and Charles Dana Gibson, and photographers Herzog and Arnold Genthe,$^{:29,43}$ but she was predominately a sculptors' model.
Munson's first acknowledged credit is Konti's marble statuary called Three Graces, unveiled in the new Grand Ballroom at the Hotel Astor in Times Square in September 1909. She posed for all three Graces. Soon after that and for the next decade, Munson became the model of choice for the first tier of American sculptors, posing for a long list of freestanding statuary, monuments, and allegorical architectural sculpture on state capitols and other major public buildings. According to The Sun in 1913, "Over a hundred artists agree that if the name of Miss Manhattan belongs to anyone in particular it is to this young woman."
By 1915, she was so well- established that she became Alexander Stirling Calder's model of choice when he became Director of Sculpture for the Panama–Pacific International Exposition held in San Francisco that year. Her figure was "ninety times repeated against the sky" on one building alone, atop the colonnades of the Court of the Universe, roughly modeled on St. Peter's Square in the Vatican. In fact, Munson posed for three-fifths of the sculpture created for the event and earned fame as the "Panama–Pacific Girl".

### Film actress

Munson's newfound celebrity helped launch her career in the nascent film industry and she starred in four silent films. In the first, Inspiration (1915), made by the Thanhouser Film Corporation in New Rochelle, New York and directed by George Foster Platt, she appeared fully nude in a story of a sculptor's model. The censors were reluctant to ban the film, fearing they would also have to ban Renaissance art. Munson's films were a box office success, although the critics were divided.$^{:81–82}$ Thanhouser hired a lookalike named Jane Thomas to do Munson's acting scenes, while Munson did the scenes where she posed nude. Although Munson's appearance in Inspiration is sometimes said to be the first occasion of an American actress appearing nude in a non-pornographic film, according to film historian Karen Ward Mahr, Margaret Edwards did so first in Hypocrites, which was released earlier in 1915.
Munson's second film, Purity (1916), made by the American Film Company in Santa Barbara, California and directed by Rae Berger, is the only one of her films to survive, being rediscovered in 1993 in a "pornography" collection in France and acquired by the French national cinema archive. Her third film, The Girl o' Dreams, also made by American in Santa Barbara and probably directed by Tom Ricketts from a story by William Pigott (the American Film Institute catalog lists Pigott as director, but all his other credits list him as a writer), was completed by the fall of 1916; although the film is mentioned on the credit lists of several of its actors in the October 21, 1916 Motion Picture Studio Directory, it was not released at that time and not copyrighted until December 31, 1918; there is no subsequent mention of the film and it may never have been released.
Munson returned to the East Coast by train via Syracuse in December 1916, having been involved with high society in New York and Newport, Rhode Island. There are accounts in which her mother insists she married the son of a "Comstock Lode" silver heir, Hermann Oelrichs Jr., then the richest bachelor in America. There is no record of this. On January 27, 1919, she wrote a rambling letter to the U.S. State Department denouncing Oelrichs as part of a pro-German network that had driven her out of the movie business. She said she planned to abandon the United States to restart her movie career in England.

### Notoriety

In 1919, Audrey Munson was living with her mother in a boarding house at 164 West 65th Street, Manhattan, owned by Dr. Walter Wilkins. Wilkins fell in love with Munson, and on February 27, murdered his wife, Julia, so he could be available for marriage. Munson and her mother left New York, and the police sought them for questioning. After a nationwide hunt, they were located. They refused to return to New York, but were questioned by agents from the Burns Detective Agency in Toronto, Ontario, Canada. The contents of the affidavits they supplied have never been revealed, but Audrey Munson strongly denied that she had any romantic relationship with Dr. Wilkins. Wilkins was tried, found guilty, and sentenced to the electric chair. He hanged himself in his prison cell before the sentence could be carried out.
The Wilkins killing may even have marked the end of Munson's modeling career, although she continued to seek regular newspaper coverage. By 1920, Munson could not find work anywhere and was reported as living in Syracuse, New York, supported by her mother, who sold kitchen utensils door-to-door. In November 1920, she was said to be working as a ticket-taker in a dime museum.
From January to May 1921, a series of twenty serialized articles ran in Hearst's Sunday Magazine in dozens of Sunday newspaper supplements, under Munson's name, entitled By the 'Queen of the Artists' Studios'. The twenty articles relate anecdotes from her career, with warnings about the fates of other models. In one of them, she asked the reader to imagine her future:
   What becomes of the artists' models? I am wondering if many of my readers have not stood before a masterpiece of lovely sculpture or a remarkable painting of a young girl, her very abandonment of draperies accentuating rather than diminishing her modesty and purity, and asked themselves the question, "Where is she now, this model who was so beautiful?"
In February that year, agent-producer Allen Rock took out advertisements showing a $27,500 check he said he had paid Munson to star in a fourth film titled Heedless Moths, directed by Robert Z. Leonard from his own screenplay based on these writings. She later said the $27,500 check was just a "publicity stunt," and she filed suit against Allen Rock. Those proceedings revealed that the twenty articles had been ghostwritten by journalist Henry Leyford Gates.
In the summer of 1921, Munson conducted a nationwide search, carried by the United Press, for the perfect man to marry. She ended the search in August claiming she didn't want to get married anyway. On October 3, 1921 she was arrested at the Royal Theater (later the Towne Theater) in St. Louis on a morals charge related to her personal appearance with the film Innocence (the reissue title of Purity), in which she had a leading role. She and her manager, independent film producer Ben Judell, were both acquitted. Weeks later, she was still appearing in St. Louis, along with screenings of Innocence, enacting "a series of new poses from famous paintings".
On May 27, 1922, Munson attempted suicide by swallowing a solution of bichloride of mercury.

### Later life and death

On June 8, 1931, Munson's mother petitioned a judge to commit her to a mental asylum. The Oswego County judge ordered Munson be admitted into a psychiatric facility for treatment on her 40th birthday. She remained in the St. Lawrence State Hospital for the Insane in Ogdensburg, New York, where she was treated for depression and schizophrenia for 65 years, until she died at the age of 104. During her stay at the institution, she often maintained her physical beauty with milk, yogurt and urine.
In the mid-1950s, Munson was still famous enough to serve as the subject of an anecdote in a memoir that P.G. Wodehouse and Guy Bolton wrote of their years on Broadway, Bring on the Girls! (1953), though that memoir is considered more fiction than fact by Wodehouse's biographer.
Munson had no visitors at the asylum for over 25 years after her mother died in 1958, until her half-niece, Darlene Bradley, rediscovered her in 1984, when Munson was 93. In the mid-1980s, Munson, in her mid-90s, was moved to a nursing home in Massena, New York, as the original hospital closed; however, she would often escape to a nearby bar, with employees in the nursing home having to find her. Consequently, she was moved back to the new mental institution. By the time she turned 100, she had no teeth and lost much of her hearing but was otherwise in good health. Shortly after her 100th birthday, Munson broke a hip. Munson died on February 20, 1996, at the age of 104. At the time only one local newspaper reported her death. She was buried at New Haven Cemetery in New Haven, New York, and she received a headstone on her grave on June 8, 2016, 20 years after her death and on what would have been her 125th birthday.

## Sculptures of Munson

This table is organized by sculptor and date. She posed for most of the sculptors who created architectural and fountain sculptures for the 1915 Panama-Pacific International Exposition, and for other sculptors who exhibited there.
Coverage of Munson's career contained inaccuracies during her lifetime, and errors about the works for which she modeled have been perpetuated. Munson herself was inconsistent about her age and other matters. For example, a June 1915 article listed the 24-year-old Munson's age as 18, and an August 1915 press release claimed that she started posing at age 14 which would have been four years prior to her first known modeling credit, for Konti's Three Graces group at the Hotel Astor, unveiled to the public in September 1909 when she was 18.
* Key:
* Works for which Munson was too young to have posed
* Works for which Munson confirmed she posed
* Works for which Munson allegedly posed, but without direct evidence
* Panama-Pacific International Exposition
| Sculptor | Title | Year | Location/GPS Coordinates | Material | Height | Notes |
| Herbert Adams | The Three Graces | 1912 | James McMillan Fountain, McMillan Reservoir, Washington, D.C. | bronze | 12 ft (3.7 m) (overall) | The McMillan Fountain was disassembled for the 1941 expansion of McMillan Reservoir. The pieces spent decades in storage, and suffered vandalism. Only the central figures and upper basin remain. |
| Herbert Adams | Priestess of Culture | 1914 | Rotunda, Palace of Fine Arts, Panama-Pacific International Exposition | staff | 51.5 in (131 cm) | Adams was awarded a PPIE Medal of Honor for his sculpture.$^{:229}$ Eight identical goddess figures stood atop columns inside the Rotunda of the Palace of Fine Arts. Those now in place are reproductions. The two surviving original figures are in the collection of the Exploratorium. |
| Robert Ingersoll Aitken | Greenhut Mausoleum door | 1913 | tomb of merchandiser Joseph B. Greenhut, Salem Fields Cemetery, Brooklyn, New York City | bronze | | Stone, Gould & Farrington, architects |
| Robert Ingersoll Aitken | Gates Mausoleum door | 1913 | John Warne Gates Mausoleum, Woodlawn Cemetery, Bronx, New York City | bronze | | Stone, Gould & Farrington, architects Aitken was awarded a PPIE silver medal for his sculpture.$^{:230}$ |
| Robert Ingersoll Aitken | Panama-Pacific $50 U.S. Gold Coin | 1915 | | | | |
| Robert Ingersoll Aitken | The Elements: Air | 1915 | Flanking stairs to sunken garden, Court of the Universe, Panama-Pacific International Exposition | staff | | |
| Robert Ingersoll Aitken | The Elements: Earth | 1915 | Flanking stairs to sunken garden, Court of the Universe, Panama-Pacific International Exposition | staff | | |
| Robert Ingersoll Aitken | Fountain of the Earth | 1915 | Court of the Universe, Panama-Pacific International Exposition | staff | | Fountain of the Earth: |
| Karl Bitter | Venus | c.1895 | Library, Biltmore Estate, Asheville, North Carolina | steel | | Bitter's andiron figure of Venus for Biltmore was completed in 1895, when Munson was 4 years old. A life-sided Venus Coming from the Bath was photographed in Bitter's studio in 1901, when Munson was 10 years old. |
| Karl Bitter | Venus de Milo (with arms) | by 1921 | Noordeinde Palace, The Hague, Netherlands | marble | | Queen Wilhelmina of the Netherlands commissioned a Venus de Milo (with arms) from Bitter. Munson wrote that Bitter experimented with different arrangements of the arms, modeled the sculpture in clay, and carved it in marble himself. |
| Karl Bitter | Peace | 1896–1900 | Appellate Division Courthouse of New York State, 35 East 25th Street, Manhattan, New York City | | | Bitter completed his work on the Appellate Courthouse in June 1899, about the time Munson turned 8 years old. |
| Karl Bitter | Peace | by 1921 | | | | Munson wrote that she posed for Bitter for a sculpture of Peace (pictured), but it was not the Appellate Courthouse work. |
| Karl Bitter | Liberty Supported by the Law | 1906–1910 | East Pediment, Wisconsin State Capitol Madison, Wisconsin | Bethel Vermont granite | 96 in (240 cm) | East Pediment: |
| Karl Bitter | Bas relief: Diana | c.1910? | Ballroom, George Jay Gould I Mansion, Manhattan, New York City | marble | | This may have been related to Bitter's famous 1910 bronze of Diana: |
| Karl Bitter | Pomona or Abundance | plaster 1898, 1915 bronze 1916 (by Konti) | Pulitzer Fountain, Grand Army Plaza, Manhattan, New York City | bronze | plaster 24 in (61 cm) bronze 84 in (210 cm) | Pomona was a 24 in (61 cm) plaster maquette at the time of Bitter's April 9, 1915 death. Bitter's widow asked Isidore Konti to complete the work, which was dedicated in May 1916. Munson was publicly credited as the model for Pomona as early as August 1916. Actress Doris Doscher (1882–1970) later claimed to have been the model for Pomona. (Bitter may have used more than one model, or Konti may have used a different model.) |
| Alexander Stirling Calder | Star Maiden | 1915 | Panama-Pacific International Exposition Oakland Museum Oakland, California | bronze | 48 in (120 cm) | Star Maiden was repeated ninety-five times as a roof balustrade figure surrounding the Court of the Universe and the Colonnade of Stars: |
| Alexander Stirling Calder | Flower Girl | 1915 | Court of Flowers, Panama-Pacific International Exposition | staff | | Flower Girl was repeated in niches above the colonnade of the Court of Flowers. Edgar Walter's Beauty and the Beast Fountain is in the foreground. |
| Alexander Stirling Calder | Enterprise Crowning figure | 1915 | The Nations of the West, atop Arch of the Setting Sun, Panama-Pacific International Exposition | staff | | The Nations of the West: Arch of the Setting Sun: |
| Alexander Stirling Calder | The Mother of Tomorrow$^{:opp.22}$ Central figure | 1915 | The Nations of the West, atop Arch of the Setting Sun, Panama-Pacific International Exposition | staff | | The Nations of the West: Arch of the Setting Sun: |
| Alexander Stirling Calder | Eastern Hemisphere (reclining female nude with the head of a lioness, east side of the globe) | 1915 | Fountain of Energy, Panama-Pacific International Exposition | staff | | Fountain of Energy: |
| Alexander Stirling Calder | The Atlantic Ocean (F. G. R. Roth modeled the dolphin) | 1915 | Fountain of Energy, Panama-Pacific International Exposition | staff | | Fountain of Energy: |
| Alexander Stirling Calder | The Pacific Ocean (F. G. R. Roth modeled the manatee) | 1915 | Fountain of Energy, Panama-Pacific International Exposition | staff | | Fountain of Energy: |
| Alexander Stirling Calder | Nereid No. 1, No. 2 and No. 3 (F. G. R. Roth modeled the dolphins) Three nereids riding dolphins, repeated (as a group) four times around the fountain's basin. A water jet spouted from each dolphin's mouth. | 1915 | Fountain of Energy, Panama-Pacific International Exposition | staff | | Fountain of Energy: |
| Alexander Stirling Calder | Caryatid (John Bateman assisted on this work)$^{:44}$ | 1915 | Attic of Colonnade (above each column), Court of Palms, Panama-Pacific International Exposition | staff | | Court of Palms: |
| Ulric Ellerhusen | Wonderment | 1915 | exterior of Rotunda dome, Palace of Fine Arts, Panama-Pacific International Exposition | staff | 23 ft (7.0 m) | A pair of standing figures, Contemplation (male) and Wonderment (female), flank the relief panels on each face of the Rotunda's dome. The figures were recast in cast stone by Spero Anargyros in 1969. |
| Ulric Ellerhusen | Consolation$^{:160}$ (Weeping Maidens or Drooping Maidens) | 1915 | Pergola of the Palace of Fine Arts, Panama-Pacific International Exposition | staff | | "In the goddesses atop the towers and minarets and in the Grecian boxes adorning the Roman columns of the Palace of the Fine Arts will be found the enchanting line of the [Munson's] girlish form." |
| Ulric Ellerhusen | Garland figures$^{:162}$ | 1915 | Peristyle Walk, Palace of Fine Arts, Panama-Pacific International Exposition | staff | | A set of five larger-than-life, high-relief figures, repeated around the four semi-circular, ground-level planters |
| John Flanagan | Medallion: Head of Audrey Munson$^{:435}$ | 1915 | Palace of Fine Arts, Panama-Pacific International Exposition | bronze | | Flanagan was awarded a PPIE Medal of Honor for his sculpture.$^{:234}$ |
| John Flanagan | Medal of Award, Panama-Pacific International Exposition | 1915 | | bronze | 2.76 in (70 mm) | obverse: |
| Daniel Chester French | Mourning Victory | 1906–1908 | Melvin Memorial, Sleepy Hollow Cemetery, Concord, Massachusetts | Tennessee marble | 115 in (290 cm) | Memorial to Asa, Samuel and John Melvin, three brothers who fought and died in the American Civil War. Munson was 15 years old when the memorial was completed. |
| Daniel Chester French | Mourning Victory (mirror image of the Melvin Memorial)$^{:335}$ | carved 1912–1914 | Metropolitan Museum of Art, Manhattan, New York City | marble | 120.5 in (306 cm) | James C. Melvin, the only surviving brother, funded the carving of a mirror-image marble version, and donated it to MMA. MMA also owns a bronze cast of Victory's head. |
| Daniel Chester French | Memory | modeled c.1909 carved 1917–1919 | Metropolitan Museum of Art, Manhattan, New York City | marble | 57.5 in (146 cm) | A plaster model is at Chesterwood, French's home and studio in Stockbridge, Massachusetts. (Pictured, center) |
| Daniel Chester French | Jurisprudence | 1910–1912 | Metzenbaum United States Courthouse, Cleveland, Ohio | marble | 12 ft (3.7 m) | Located at street level, near the corners of the Superior Avenue façade. |
| Daniel Chester French | Commerce | 1910–1912 | Metzenbaum United States Courthouse, Cleveland, Ohio | marble | 12 ft (3.7 m) | Located at street level, near the corners of the Superior Avenue façade. |
| Daniel Chester French | Wisconsin | 1912 | Wisconsin State Capitol, Madison, Wisconsin | gilded bronze | 15.5 ft (4.7 m) | Atop Wisconsin State Capitol Dome: |
| Daniel Chester French | Evangeline (bas relief figure, 2nd from right) | 1912–1914 | Henry Wadsworth Longfellow Memorial, Longfellow Park, Cambridge, Massachusetts | marble | 36 in (91 cm) | In Longfellow Park: |
| Daniel Chester French | The Spirit of Life | 1913–1915 | Spencer Trask Memorial, Congress Park, Saratoga Springs, New York | bronze | 122 in (310 cm) | In Congress Park: Eight bronze casts from French's 1914 reduced- size working model are in the collections of: Smithsonian American Art Museum, Indianapolis Museum of Art, Newark Museum, Newark, New Jersey, Brooks Memorial Library, Brattleboro, Vermont, and elsewhere. |
| Daniel Chester French | The Genius of Creation Eve | 1915 | West entrance to Palace of Machinery, Panama-Pacific International Exposition | staff | | French was awarded a PPIE Medal of Honor for his sculpture.$^{:235}$ West entrance to Palace of Machinery: A plaster model is at Chesterwood, French's home and studio in Stockbridge, Massachusetts: |
| Daniel Chester French | Brooklyn | 1916 | Brooklyn Museum, Brooklyn, New York City | granite | | The pair were created to adorn the Brooklyn side of the Manhattan Bridge. Relocated to exterior of the Brooklyn Museum, 1963. At least some of the modeling for the Brooklyn figure was done by Rosalie Miller. |
| Daniel Chester French | Manhattan | 1916 | Brooklyn Museum, Brooklyn, New York City | granite | | The pair were created to adorn the Brooklyn side of the Manhattan Bridge. Relocated to exterior of the Brooklyn Museum, 1963. At least some of the modeling for the Brooklyn figure was done by Rosalie Miller. |
| Sherry Edmundson Fry | 70th Street pediment | 1913 | Frick Mansion, Fifth Avenue & East 70th Street, Manhattan, New York City | Bedford blue limestone | | |
| Sherry Edmundson Fry | Maidenhood | 1914 | Brookgreen Gardens, Murrells Inlet, South Carolina | bronze | 67.3 in (171 cm) | Ex collection: Metropolitan Museum of Art |
| Sherry Edmundson Fry | Peace (Maidenhood) | 1914–1915 | Peristyle Walk, Exterior of Palace of Fine Arts, Panama-Pacific International Exposition | bronze | | Fry was awarded a PPIE silver medal for his sculpture.$^{:235}$ |
| Sherry Edmundson Fry | Cartouche | 1915 | Female nude beside shield, over great arched window of Festival Hall,$^{:125}$ Panama-Pacific International Exposition | staff | | Festival Hall: |
| Sherry Edmundson Fry | Flora | 1915 | Twin figures atop pedestals at base of pylons of Festival Hall,$^{:125}$ Panama-Pacific International Exposition | staff | | Festival Hall: |
| Sherry Edmundson Fry | Torch Bearer | 1915 | Figure repeated atop the four corner domes of Festival Hall,$^{:125}$ Panama-Pacific International Exposition | staff | | Festival Hall: |
| Sherry Edmundson Fry | Reclining Woman (Listening Woman) Pylon figure | 1915 | atop east pylon of Festival Hall,$^{:125}$ Panama-Pacific International Exposition | staff | | Festival Hall: |
| Sherry Edmundson Fry | Ceres, Goddess of Agriculture | 1921 | Missouri State Capitol, Jefferson City, Missouri | bronze | 124 in (310 cm) | Atop Missouri State Capitol Dome: |
| Carl Augustus Heber | Spirit of Commerce | 1909–1914 | Manhattan Bridge (south pier), Manhattan, New York City | granite | | |
| Carl Augustus Heber | Relief tablet over entrance | c.1912 | The Little Theatre (now Helen Hayes Theatre), 238 West 44th Street, Manhattan, New York City | marble | | In a 1913 photograph: |
| Albert Jaegers | Harvest (Nature) | 1915 | atop Half-Dome, Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Jaegers was awarded a PPIE bronze medal for his sculpture.$^{:237}$ Half Dome, Court of the Four Seasons: |
| Albert Jaegers | Sunshine Rain | 1915 | atop columns flanking the Half-Dome, Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Jaegers was awarded a PPIE bronze medal for his sculpture.$^{:237}$ Half Dome, Court of the Four Seasons: |
| Albert Jaegers | The Feast of Sacrifice | 1915 | Heroic-sized group, repeated twice atop pylons above Forecourt of Ceres, Court of the Four Seasons, Panama-Pacific International Exposition | staff | | The Feast of Sacrifice (at upper corners): |
| Augustus Jaegers$^{:435}$ | Abundance Attic figures | 1915 | Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Augustus Jaegers (brother of Albert) modeled the attic and spandrel figures on the arcades in the Court of the Four Seasons. Abundance was repeated sixteen times on the arcades. |
| Isidore Konti | The Three Graces | c.1909 | | marble | | Created for the new ballroom of the Hotel Astor, opened September 29, 1909 (second balcony): At the other end of the ballroom, a companion marble group called The Song featured similar figures, possibly also modeled by Munson.$^{:plate26}$ |
| Isidore Konti | Three Muses | undated | Hudson River Museum, Yonkers, New York | plaster | 23 in (58 cm) | |
| Isidore Konti | Mother and Child: The Bath (Fountain Group) | c.1910 | private collection | marble | two-thirds life size$^{:plate35}$ | |
| Isidore Konti | Solace | 1911 | Hudson River Museum,$^{:plate46}$ Yonkers, New York | plaster | 28 in (71 cm) | |
| Isidore Konti | Fame and Victory (relief figures)$^{:plate51}$ | c.1915 | Column of Human Progress, Forecourt of the Stars, Panama-Pacific International Exposition | staff | | Four relief panels with heroic-sized figures surrounded the base of the 180 ft (55 m)-tall Column of Human Progress.$^{:plate51}$ Munson was the model for Fame and Victory, which flanked the entrance to its vault.$^{:plate51}$ |
| Isidore Konti | Pomona | 1915–1916 | Pulitzer Fountain, Grand Army Plaza, Manhattan, New York City | bronze | 84 in (210 cm) | Karl Bitter's widow asked Konti to complete Pomona following Bitter's death in April 1915. Konti enlarged it from a 24 in (61 cm) maquette, added detail, and made minor changes. His full-size plaster model was completed in January 1916, approved by Bitter's widow in February, and sent to the foundry in March. The fountain was dedicated in May 1916.$^{:plate64}$ |
| Evelyn Beatrice Longman | Consecration (L'Amour) | modeled 1909–1912 carved 1914 | Wadsworth Athenaeum, Hartford, Connecticut | marble | 36 in (91 cm) | Exhibited in the Palace of Fine Arts at the 1915 Panama-Pacific International Exposition. Longman was awarded a PPIE silver medal for her sculpture.$^{:239}$ |
| Evelyn Beatrice Longman | Fountain of Ceres | 1915 | Forecourt, Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Forecourt, Court of the Four Seasons: |
| Augustus Lukeman | Memory Titanic Memorial | 1913–1914 | Straus Memorial, Straus Park, West 106th Street (west of Broadway), Manhattan, New York City | bronze | 36 in (91 cm) | Memorial to Ida and Isidor Straus, who died in the 1912 sinking of the RMS Titanic. The park and memorial were dedicated on April 15, 1915, the third anniversary of the sinking. |
| Frederick MacMonnies | Beauty | c.1911–1917 | New York Public Library Main Branch, Fifth Avenue at East 41st Street, Manhattan, New York City | Carrara marble | 120 in (300 cm) | Located just south of the Fifth Avenue entrance. Munson wrote that MacMonnies used her for the legs, and another model for the torso and face. |
| Allen George Newman | Mermaid (unlocated) | 1910 | Music of the Waters Fountain (demolished), Riverside Drive at 156th Street, Manhattan, New York City | marble | | "Up on Riverside Drive, Allen George Newman's fountain 'Music of the Water' shows another pose of this young woman." |
| Allen George Newman | The Triumph of Peace | 1911 | Peace Monument, Piedmont Park, Atlanta, Georgia | bronze | 108 in (270 cm) | Peace Monument in Piedmont Park: |
| Allen George Newman | Florida's Tribute to the Women of the Confederacy | 1914–1915 | Confederate Park, Jacksonville, Florida | bronze | seated figure 42 in (110 cm) flagbearer 13 ft (4.0 m) | Muson likely posed for the flagbearer atop the monument. She also may have posed for the young mother reading to her children. |
| Attilio Piccirilli | Columbia Triumphant | 1901–1913 | USS Maine National Monument, Central Park, Manhattan, New York City | gilded bronze | 16.5 ft (5.0 m) | |
| Attilio Piccirilli | Peace | 1901–1913 | USS Maine National Monument, Central Park, Manhattan, New York City | marble | | |
| Attilio Piccirilli | Duty | 1910–1913 | Firemen's Memorial, Riverside Park, Riverside Drive at West 100th Street, Manhattan, New York City | Knoxville marble | | |
| Attilio Piccirilli | Sacrifice | 1910–1913 | Firemen's Memorial, Riverside Park, Riverside Drive at West 100th Street, Manhattan, New York City | Knoxville marble | | |
| Attilio Piccirilli | A Soul (Alone? Widowhood?) | 1915 | Exhibited outside Palace of Fine Arts, Panama-Pacific International Exposition | marble | | Piccirilli was awarded a PPIE gold medal for his sculpture.$^{:241}$ |
| Attilio Piccirilli | Sapientia (Wisdom) | completed 1917 | Learning of the World (north pediment), Wisconsin State Capitol, Madison, Wisconsin | Bethel white granite | 96 in (240 cm) | North pediment: |
| Furio Piccirilli | Eurydice$^{:512}$ | 1911 | Exhibited outside Palace of Fine Arts, Panama-Pacific International Exposition | marble | | Piccirilli was awarded a PPIE silver medal for his sculpture.$^{:241}$ |
| Furio Piccirilli | Summer | 1915 | Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Each season group was placed in a niche screened by a colonnade, and set upon a curved stepped base, down which water cascaded. |
| Furio Piccirilli | Autumn | 1915 | Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Fountain of Autumn: |
| Furio Piccirilli | Winter | 1915 | Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Fountain of Winter: |
| Furio Piccirilli | Spring (Munson posed for both the female figures) | 1915 | Court of the Four Seasons, Panama-Pacific International Exposition | staff | | Fountain of Spring: |
| Edmond Thomas Quinn | Audrey | 1915 | Exhibited at Palace of Fine Arts, Panama-Pacific International Exposition | freestanding bronze | | Quinn was awarded a PPIE silver medal for his sculpture.$^{:242}$ |
| Ulysses Ricci | Portrait of Miss Audrey Munson | 1914 | whereabouts unknown | bronze | | Exhibited at National Academy of Design in 1914 Exhibited at Syracuse Museum of Fine Arts |
| Frederick Ruckstull | Monument to South Carolina Women of the Confederacy | 1909–1912 | South Carolina State House, Columbia, South Carolina | bronze | 14 ft (4.3 m) | |
| Salvatore Cartaino Scarpitta | Lady Godiva | by 1914 | unknown | silver | | "Even on Fifth avenue you will find her at a famous silversmith's sitting dejectedly on a white horse as Lady Godiva in a beautiful piece of work made by Scarpetti [sic]." |
| Salvatore Cartaino Scarpitta | The Light That Failed | 1915 | | | | |
| Salvatore Cartaino Scarpitta | Starlight | c.1915 | Collection of John D. Rockefeller Jr. (1921) | | | |
| Salvatore Cartaino Scarpitta | Maidenhood | by 1921 | Collection of Henry Clay Frick (1921) | | | |
| Francois Tonetti | Water Nymph | by 1921 | Kykuit (John D. Rockefeller Estate) Pocantico Hills, New York | | | |
| Edgar Walter | Beauty and the Beast | 1915 | Beauty and the Beast Fountain, Court of Flowers, Panama-Pacific International Exposition | staff | | Beauty and the Beast Fountain: |
| Adolph Alexander Weinman | Day and Night Pair of figures flanking the exterior clocks, repeated over the station's four main entrances. The station was demolished, 1963-1966. | c.1910 | Pennsylvania Station, (bordered by 31st Street, 7th Avenue, 33rd Street and 8th Avenue), Manhattan, New York City | pink granite | 10 ft (3.0 m) | Weinman's figures of Day and Night flanked the clocks over the station's 7th and 8th Avenue main entrances, and were repeated over the 31st and 33rd Street entrances. A salvaged figure of Night was donated to the Brooklyn Museum in 1966. A complete clock entablature decorates the Eagle Scout Memorial Fountain in Kansas City, Missouri. Another clock entablature (disassembled) is at Ringwood State Park in Passaic County, New Jersey. |
| Adolph Alexander Weinman | Civic Fame | 1913 | atop Manhattan Municipal Building, Centre Street at Chambers Street, Manhattan, New York City | gilded bronze | 25 ft (7.6 m) | Manhattan Municipal Building: |
| Adolph Alexander Weinman | Descending Night atop column | 1915 | Fountain of the Setting Sun, Court of the Universe, Panama-Pacific International Exposition | staff | | Fountain of the Setting Sun (at left): |
| Adolph Alexander Weinman | Goddess of Truth at base of column | 1915 | Fountain of the Setting Sun, Court of the Universe, Panama-Pacific International Exposition | staff | | Fountain of the Setting Sun (at left): |
| Adolph Alexander Weinman | Walking Liberty Half Dollar | 1916 | | 90% silver 10% copper | 1.203 in (30.6 mm) | Munson also may have been Weinman's model for the Mercury dime (1916). |
| Adolph Alexander Weinman | Daphnis and Chloe | by 1921 | Devonshire House, (prior to 1921) London, England | | | as Chloe |
| Gertrude Vanderbilt Whitney | Paganism Immortal | c.1910 | | | | |
| Gertrude Vanderbilt Whitney | Fountain of El Dorado | 1915 | Tower of Jewels Arcade, Panama-Pacific International Exposition | | | Whitney was awarded a PPIE bronze medal for her sculpture.$^{:248}$ "[Munson] mingles, many times over, in the crowd pressing forward toward the mysterious portal of Mrs. Harry Payne Whitney's Fountain of El Dorado." |
| Bruno Louis Zimm | Relief panels: The Triumph of the Arts The Struggle for the Beautiful The Power of the Arts | 1915 | Attic of Rotunda, Palace of Fine Arts, Panama-Pacific International Exposition | staff | 14 ft (4.3 m) | Truth is the nude female figure at the center of The Struggle for the Beautiful. |

## Filmography

All four films in which Munson appeared were thought to have been lost, until a copy of Purity (1916) was recovered in France in 2009.
| Year | Title | Role | Notes |
| 1915 | Inspiration | The Model | Reissued as The Perfect Model (1918) |
| 1916 | Purity | Purity / Virtue | |
| 1916 | The Girl o' Dreams | Norma Hansen | |
| 1921 | Heedless Moths | Audrey Munson | Based on Munson's stories and articles for Hearst's Sunday Magazine |
In 2010, film director Roberto Serrini made a documentary about Munson which was featured in several news outlets including the New York Post.