“The Pony Express” heads West into the setting sun. MacNeil loved to study the site and setting for his works so he could place them into their unique Horizon as this dramatic shot highlights.
On first viewing, the sculptures of Hermon MacNeil express amazing beauty and gracefulness. A second and third viewing reveals MacNeil’s careful inclusion of unique details connected to the subjects, objects and historical periods that he sought to portray in bronze and stone.
In sculpting a befitting monument to the “Pony Express” in 1940, Hermon MacNeil showed his abiding attention to detail. Studying this “last” public monument reveals a series of actions he completed in preparing and perfecting his final product:
- He found a suitable “stallion” as his model.
- The charger he found was a rescued “wild mustang” from the plains of the North Dakota (Teddy Roosevelt country). The steed was used as a rodeo “bucking bronco” and named after the Mexican outlaw, Poncho Villa.
- Hermon referred to the animal as “glorious horse flesh”. This was the musculature that he immortalized in bronze. For the last 80 years it’s been heading West out of downtown Saint Joseph, Missouri, just a few blocks from the Pony Express Station of the 1860’s.
- The back story of “Poncho Villa” this outlaw mustang from North Dakota by way Madison Square Gardens is a prime example
- He became friends with a physician nicknamed the “cowboy doctor”.
- The man was Dr. S. Meredith Strong of Flushing, NY, a neighboring community to College Point where MacNeil lived and had his studio.
- Dr. Strong was devoted to the preservation of “wild mustangs” from the prairies.
- Strong was president of the American Rough Riders, “an organization devoted to the preservation of the horse, and especially the native wild pony.”
- MacNeil studied the history of the Pony Express.
- He did this by visiting St. Joseph, Missouri where the Pony Express Museum is located and by evaluating the site designated for the monument.
- He also had Dr. Strong’s interest, knowledge and fervor to instruct him.
Theatrically, MacNeil had his own fascination fueled by attending the “Buffalo Bill Wild West Show” at the Chicago Worlds Fair (Columbian Exposition). Buffalo Bill Cody included a re-enactment of a Pony Express ride as a regular dramatization during his shows. He himself claimed to be a rider, though some dispute that assertion.
- The photos below show the actual clay model taken from his studio after his death in 1947. The broken forelegs and head show the wire structure that the clay was modeled on.
- I took these photos in the archives of the Swope Art Museum in Terre Haute, IN. MacNeil built a wire frame on which he constructed his clay model of the horse.
- Swope Art Museum has remnants of H. A. MacNeil’s small clay models of larger statues salvaged from his studio and storage after his death.
- Wire frames were a standard practice for constructing clay statue figures of larger proportions.
- FOR EXAMPLE: His Manuelito Statue in Gallup, NM was made in 1895 of cement over a wire frame. It has been restored.
- NOTE: I have yet to visit Gallup and see the restored Manuelito statue.
MacNeil was a natural talent as an artist. His training helped him perfect those innate skills. By their nature sculptors must be talented artists. Those skills start early in life. They include
- a visual attention to detail.
- Visual imaging and proportions.
- an ability to capture and reproduce the essence of a object and form.
From there the process becomes quite meticulous. Phases involved can be described as including:
Model of a Pony Express saddle similar to Dr. Strong’s collection and what MacNeil depicted on his Monument. (Compare actual photo of MacNeil’s work below:)
- detailed observation;
- research;
- historical accuracy;
- design and balance;
- construction;
- inclusion of details and symbols.
The Long Island Star heralded “Poncho Villa”, his rescuer, Dr. Strong, and Hermon MacNeil’s mastery of sculptural detail in the following narration:
“Watch Out. Pard! Dr. Strong acquired Poncho from the rodeo after it broke up in New York, just as he did his last “pet.” The outlaw put six men in the hospital before the physician was able to gain its confidence after months of patient work. But even today the pony is a one-man animal. He is a gentle as a lamb when the doctor is around, but let a stranger come near – if you don’t care what happens to the stranger!
Fittingly enough for a horse that modeled for the Pony Express statue, Poncho has red, white and blue markings. The gun, holster, spurs, belt and other accessories sculptured in the replica are all relics which Dr. Strong brought from New Mexico.” (From the Long Island Star, Tuesday November 19, 1940)
Details of the mail bags as MacNeil modeled them after Dr. Strong’s authentic Pony Express gear from the 1930’s.
Related posts:
Here are my two favorite young Chicagoans coming back from a theater performance of “Hamilton”. They stopped and posed below the second panel.
In 2019 
the Marquette Building construction has the four bas relief panels (above the doors) protected under scaffolding while the edifice is under repair. >—–>>
Hermon MacNeil’s first studio home was in the Marquette Building of Chicago in 1895. His wedding reception for him and Carol Brooks was hosted there on Christmas Day eve 1895.
From that same location, his Four Bronze Panels over the front doors have been telling the story of Father Marquette for 124 years. They welcome visitors into the Marquette Building, just as the Native Americans met and welcomed the European explorers to Northwest Territory. The Native Americans who lived in these regions include the Ojibwa, Huron, Ottowa, Illini, Potawatomi, and Menominee. MacNeil placed these tribes on the Marquette Memorial Statue on Douglas Avenue in 1926.
MacNeil carved the tribal names in the Marquette Memorial of 1926. His moccasins are exquisite in detail, looking life-like.
[(These Panels were refurbished to their original bronze luster in 2009.) CLICK HERE]
“Over the doors of the main entrance are panels of bronze, designed and executed by Mr. Herman A. MacNeil, illustrating incidents in the life of Pere Marquette
in his explorations of the Mississippi River and the state of Illinois…The inscriptions below are panels taken from Marquette’s diary.”
Architectural Reviewer, July 1897
Before the remodeling the panels look like this. MacNeil’s bronze panels of 1895.
MacArthur Foundation began restorations in 2001.
Marquette Building at 140 S. Dearborn Ave in Chicago with four MacNeil bronze sculptures above the entry doors
The John D. and Catherine T. MacArthur Foundation began ongoing restoration phases after acquiring the structure in 2001.
These phases include the following:
In 2001, the John D. and Catherine T. MacArthur Foundation, its current owners, began a multi-year renovation.[18] The restoration to the exterior proceeded in two phases: reconstructing the cornice and replacing the 17th story windows to match the original windows; and cleaning and restoring the masonry and restoring the remainder of the windows.[8][19] Restoration architect Thomas “Gunny” Harboe directed this work.
The Foundation has invested in multiple restorations.
The Marquette and Joliette faces of MacNeil’s 1899 bronze reliefs at the Marquette building in the Loop resemble those likenesses he placed in his larger statue grouping on Douglas Avenue in 1926.
The Foundation website describes the History of the Panels as follows: “Herman (sic: Hermon) MacNeil was a trained sculptor who worked on sculptures for the 1893 World’s Fair. After commissioning MacNeil for the exterior bronzes, Aldis wrote to Peter Brooks, “McNeil’s [sic] panels are being placed in position. It is greatly to their and his credit that these bas-reliefs have won for him the Roman [Reinhart] Fellowship. The Commission, choosing him as the best of the very young men…The young sculptor was married on Christmas Day, and sailed for Rome on Wednesday, and is, on the whole, the most happy young man I know. He is very grateful to the owners of the Marquette Building.” CLICK HERE
MacNeil modeled Black Pipe after meeting him in Buffalo Bill’s Wild West Show at the Chicago Worlds Fair.
The fine features of the child contract those of the weathered warriors.
https://lh3.googleusercontent.com/p/AF1QipMoXrdAoOT7PRD-QcwjCC96VrRg_aDC7F7aay66=s1600-w1600
Rarest of the Rare! A very rare Silver – Society of Medalists #3 – by ‘H. A. MacNeil’ (in lower right).
It is “Silver.”
Only twenty-five were minted in 1931.
In the summer of 1895, Hermon MacNeil traveled to the Southwest. With Hamlin Garland and Charles Francis Browne, they journey by railroad to the four-corners region of New Mexico, Arizona, Colorado and Utah.
With Garland as guide the sculptor and the artist witnessed Native American culture first hand. They visited the Hopi and Navajo reservations immersed in Native American life. They saw the “Prayer for Rain” ~ the Snake Dance ceremony depicted here on the SOM #3.
The “Prayer for Rain” depicts the Moqui (Hopi) runner carrying the snakes to the river to activate the rain cycle of nature. [SOM #3 Reverse]
ONLY 25 were made in SILVER (99.9%).
The Silver issue of MacNeil’s medallion is among the rarest of the rare.
Over sixty-times that number were struck in Bronze (1,713). Now nearly eight decades later, those are more common, but also rare and collectible. [See pictured below — at the end of this article — this author’s collection of the varied Bronze patinas of S.O.M #3.]
The next year (1932), Frederick MacMonnies sculpted a medallion celebrating Charles A. Lindbergh historic flight. 250 of those medallions were struck in Silver. That makes the Lindbergh issue ten times more common than MacNeil’s “Hopi”. (10 X 25) —
Silver minting of most SOM Issues quantities usually ranged from 50 to 125. Most often 100 silver specimens were struck. SO the 25 of the MACNEIL’S “Prayer for Rain” creations are twice as rare and up to 10 times as rare as other SOM Issues.
This, all Society of Medalists (SOM) in Silver can be considered rare. However, this MacNeil piece is definitely “THE RAREST OF THE RARE!”
This images that MacNeil’s placed of the Obverse and Reverse had been burned in his visual memory in 1895. They lived in his artist’s awareness for decades. It is no stretch to say that they inspired numerous sculptures and pieces that came out of his studio.
“The Moqui Runner,” “The Primitive Chant,” were “living” in his mind when he first saw these scenes. Then, three decades later, he chose them for his own theme and design. Thus, the 1931 Society of Medalists Issue #3 became his offering to this young series by American Sculptors.
The following are just a few of the sculptures and monuments, which re-capture some of the Native American culture and history first observed in this 1895 trip to the Hopi (Moqui) people.
- 1894 “Primitive Indian Music” ~ family heirloom
- 1895 “Chief Manuelito” statue ~Gallup, New Mexico
- 1897 “The Moqui Runner” Modeled 1896, Cast 1897
- 1901 “Primitive Chant to the Great Spirit” ~ Smithsonian American Art Museum – Washington, DC
- 1901 “Sun Vow” Art Institute of Chicago
- 1901 “Sun Vow” Metropolitan Museum ~NYC
- 1903 “Chief of the Multnomah Tribe”, Met Museum, NYC
- 1904 “The Coming of the White Man #2” ~ Queens, NYC ~ Poppenhusen
- 1904 “The Coming of the White Man” ~ Portland
By comparison, the SOM’s issued from:
- 1930 to 1944. ~ struck 2X to 5X this quantity of SILVER medallions.
- 1945 to 1950. ~ those SOM silver issues were minted in quantities of 50 to 60.
- 1950 to 1972. ~ NO silver medallions were struck.
- 1973 to 1979. ~ Silver medallions ranged from 140-200.
- No Silver coins were struck from 1980-1995
- In 1995 the “Society of Medalists Series” closed production.
In 1931 design the the Society of Medalist medal #3, Hermon MacNeil chose to immortalize his memory of these images from 1895 in rare silver — 99.9% fine silver!
A Rare Beauty Indeed. Hi Ho, Silver !
MacNeil Display MacNeil Medallion (front and reverse) in Center. Framed by 10 SOM #3 (Obverse & reverse) of varied patinas. SOURCE: Collection of Webmaster
SOURCES:
Information taken from the six page list entitled: Medal Collectors of America; Checklist of “The Society of Medalists” Issues 1930 – Date. Originally written by D. Wayne Johnson with rights retained by him; used with permission.
His listing includes the original pricing supplied by Paul Bosco in the inaugural issue of the MCA’s publication “The Medal Cabinet” (Summer 2000) for the silver issues and Paul’s update values for the bronze pieces that appeared in the Spring/Summer 2002 edition of “The MCA Advisory.”
The MacNeil’s Last Monument — “in Miniature”
By · CommentsSee a “Pony Express” in miniature below
Saint Joseph, Missouri was the starting point for the Pony Express.
From April 1860 to October 1861, the Pony Express delivered mail westward to Sacramento California.
The Pony Express
More than 1,800 miles in 10 days! From St. Joseph, Missouri, to Sacramento, California the Pony Express could deliver a letter faster than ever before.
In operation for only 18 months between April 1860 and October 1861, the Pony Express nevertheless has become synonymous with the Old West. In the era before electronic communication, the Pony Express was the thread that tied East to West.SOURCE: [ https://www.nps.gov/poex/learn/historyculture/index.htm ] as of June 8, 2019
MacNeil’s “The Pony Express” at Saint Joseph, Missouri
Today, Hermon Atkins MacNeil’s last public monument, sculpted in 1940, commemorates that brief history of westward expansion.
A blackened bronze Pony Express rider with a bandanna over his face heads west over the dusty trail to the next station. What awaits him there will be another fast pony ready for the rider and his bag of mail to hop into the saddle. Thus, the next leg of the continuous trek across the prairies, rivers, plains, foothills and mountainside goes westward.
A bronze miniature of this sculpture has been obtained recently. The piece was originally cast in 1940 by the Jennings Brothers Manufacturing Company of Bridgeport, Conn. The seller notes:
Replica miniature Statue copyrighted by HAMN in 1940.
“Never cleaned in original condition. No damage or repairs, Never molested never used as a book end!!! the statue is approx 5 1/2″ in width and approx 6″ in height.”
Tag on bottom of the statuette identifies it.
“I am offering an unmolested example of a reproduction of the Pony Express rider of an exact copy of the statue erected in St. Josephs MO.
This single statue was given to “Nora Finch ” Office manager to the owner of Loges department store NYC April 20 th 1940. Upon her retirement. Original tag on bottom. felt is also original. This is as original as one could find. Not many of these around. Design and copyright by Hermon A. MacNeil “C” H.A.M.N. JB on the front where the “Pony Express” located… Good luck USA sales only”
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“Lincoln Lawyer” Hermon MacNeil’s sculpture bust of Abraham Lincoln. Pictured at its home for the last 91 years.
Since 2010, this website has become a gathering point for questions and information about Hermon Atkins MacNeil.
The most recent inquiry came from the “Land of Lincoln” about MacNeil’s Abraham Lincoln which depicts the young Illinois lawyer in his clean-shaven years riding the 8th Circuit of the Illinois Court.
Marian Fretueg wrote the following:
While I was doing some research I came across a 1928 Rushville Times of Rushville, Illinois newspaper article which told of a bust of Abraham Lincoln sculpted by Hermon A. MacNeil purchased by Albert Morris Bagby of New York City. Mr. Bagby had the bust shipped to Rushville and was to be temporarily placed at the city’s library to be enjoyed by all the patrons. Rushville, Illinois was Mr. Bagby’s hometown. For some reason or other, the sculpture was never moved from our library and it now proudly on display in our new library.
After some research I could not find where this sculpture is mentioned anywhere, there was a bust of Abraham Lincoln at the University of Illinois at Champaign-Urbana. Were you aware of this sculpture? I am sure it is the real thing with his name and the bronze factory where it was made on the base of the sculpture.
I have included a picture of the bust, the autograph of Mr. MacNeil’s and the stamp of the Roman Bronze Works. There is also a copy of the accessions book where the bronze bust was given to the library in 1928.
It was so exciting when I was reading about Mr. Bagby’s gift and then reading about Mr. MacNeil and how famous he was. I would love to hear from you and find out if you were aware of this bust.
Thank you so much for your time.
Marian Fretueg
The distinctive signature of the artist on the back of the bust. LincolnRushvilleIL-4.jpg
LincolnRushvilleIL-4.jpg
Dear Marian Fretueg,
Thank you for your kind email and the lovely pictures of Rushville Public Library’s “Lincoln Lawyer” By Hermon Atkins MacNeil. I ask your permission to publicize this work as the Webmaster of HermonAtkinsMacNeil.com
I can tell you are a researcher, because you found my ‘digital museum’ dedicated to the life and work of Hermon A. MacNeil, or as my late mother called him, her “Uncle Hermon”
I would like to visit the Rushville Library to meet you and to photograph this piece for posting on my website. Your piece has its own history in Rushville as a “Land of Lincoln” community with a benefactor donating this beautiful monument to the prairie lawyer who rode the 8 Circuit that covers Rushville and much of Illinois.
To my knowledge eight (8) of these MacNeil Works were cast at Roman Bronze Works (RBW) in New York City. The Rushville piece would appear to be the 5th of the eight that I am able to locate with my website and help from researchers like yourself. As the enclosed link tells the history, the original statue was a Standing Lincoln submitted in about 1924 for a contest of a commission which MacNeil did not win. About 1928 he had 8 busts cast at RBW using the original Standing Lincoln as his model. Lorado Taft loved the piece and recommended it to the University of Illinois to grace the marble foyer of Lincoln Hall at the university. The Hall was remodeled about 2010. I have humorous stories in the link below that tell how the Lincoln Lawyer bust was “locked-up” for safe keeping during the 1 year of reconstruction. It was also “kidnapped” by students at one point in the university’s history.
I have 11 different stories (postings) that come up in a search of “Lincoln Lawyer” as I call this piece of MacNeil work. There are 2 pages that come up on this brief search. Click below to see the articles in the search:
Thus began our discussion on this recent discovery.
Thanks to Marian Fretueg and Rushville Public Library, photos of another “Lincoln Lawyer” by Hermon MacNeil has been added to the website.
This accounts for five of the eight castings made at Roman Bronze Works in 1928.
STAY TUNED FOR MORE OF THE STORY of Rushville’s Lincoln to be posted later.
Roman Bronze Works (RBW) of New York City was a casting foundry that made thousands of bronze statues on the 19th and 20th centuries
Philadelphia Sailors Monument with Packard Classic
By · CommentsNice Packard! Nice Monument.
We have purchased a rare period photograph of a historic Packard automobile which includes some of MacNeil’s public work in Philadelphia. This monument was introduced earlier on this site. [CLICK HERE]. (The Packard was not.)
The exact Packard model pictured here will be identified later. It appears to be from the 1928-1933 era. (Probably a 1929 Model 640 Runabout – Sixth Series)
In 1927 Hermon A. MacNeil sculpted the Philadelphia Soldiers and Sailors Monument that graces the Ben Franklin Parkway.
The Parkway way design was inspired by the Champs-Élysées in Paris, France with its Arc De Triomphe. It commemorated many centuries of French military victories.
Philadelphia chose two grand pylons 60 feet tall rather than an Arch. It was to be Philadelphia’s version of a “grand avenue of heroes” leading out to the Philadelphia Art Museum.
On these limestone pylons, Hermon A. MacNeil carved two Civil War monuments: one to the Soldiers and the second to the Sailor’s of the Civil War. After sixty (60) years, only a few of those who fought were still alive in 1927. This Monument was a tribute to their sacrifice and the “One Union” for which they fought.
Philadelphia’s pride in that history is attributed in the following video celebration.
The Soldiers side of the monument is pictured more often than this Sailor’s side view.
Webmaster, Dan Leininger is a Packard owner and fanatic who possesses a less rare Packard. An older restoration of a 1941 Packard Clipper, the first of the Clipper line.
“Clipper Jack!” Dan’s 1941 Packard Clipper as it appears 78 years after rolling out of the Detroit Packard Plant. Click HERE for my “Hillbilly Packard Brothers” project blog on Packard Info.com
