Dec
25
By The original uploader was TonyTheTiger at English Wikipedia.(Original text: en:User:TonyTheTiger) – Self-photographed, CC BY-SA 3.0,
https://commons.wikimedia.org/w/index.php?curid=3588095
Carrie as a young girl. Ink drawn portrait by HW Bucknell in 1892 for her parents.
They had a wedding reception in the Marquette Building in the Studio of Hermon Atkins MacNeil.
The Brooks of Winnetka, Illinois hosted the reception for Carol (“Carrie” to her friends) and the “happiest man in the world” – her new husband – “Hermon Atkins MacNeil”.
Carrie’s father and mother, Alden F. and Ellen T. (nee, Woodworth) Brooks lived at 518 Elder Lane, Winnetka. He was a portrait painter for whom President William McKinley once sat. Hermon would later sculpt the memorial statue of William McKinley at the Columbus, Ohio Capitol Building. McKinley was assassinated in 1901 at the Buffalo Worlds Fair.
Carrie preferred sculpture to painting, though she grew up in her parents home with a great awareness and appreciation of the arts and Chicago community, and the Chicago Art Institute.
A 2019 photo of the home where Carrie Brooks parents lived when he died at 93 years of age in 1932. The home still stands at 436 Elder Lane and Woodlawn avenue, in the north shore Chicago suburb of Winnetka, Illinois. The neighborhood appears very original and well maintained even today. They lived elsewhere in Hyde Park when they hosted the wedding reception for Carrie and Hermon 124 years ago.
Happy Christmas Memories
Merry Christmas
and
Happy Anniversary
( X 124) to the MacNeil Sculptor Couple
our favorite Christmas Coupe Today!
Invitation below…
↓
Here is the printed invitation for the Brook’s Christmas Day reception for Carol (Carrie) and Hermon MacNeil at the Marquette Building
Jan
17
Standing Liberty Quarter ~ MacNeil’s First Design
By · Comments
2019 Minting of MacNeil’s first design of SLQ – OBVERSE (Photo Credit The Louisville Numismatic Exchange, Inc.)
Hermon MacNeil’s first concept for the new Liberty Standing Quarter dollar looked a good bit different than what we are familiar with.
A recent minting of his first design has come onto the silver coin market. It bears some surprises.
The late Jay Cline spent an entire lifetime and career dealing Standing Liberty Quarters. In his book, Cline introduces the coin with the following words:
THE YEAR 1915
At the request of President Teddy Roosevelt in 1906, the coinage of the U.S. in 1915 was about to change. For the first time in history the quarter would be different from the dime and the half-dollar.
There were three new coins to make their debut in 1916. The new winged Mercury dime, the Walking Liberty Half — these two having been designed by A. Weinman — and the Standing Liberty quarter designed by Hermon A. MacNeil. A renaissance of interest in United States silver coins was beginning
WEBMASTER photo of 2019 Minting of MacNeil’s first design of SLQ – Reverse (Coin purchased from The Louisville Numismatic Exchange, Inc.)
WEBMASTER photo of 2019 Minting of MacNeil’s first design of SLQ – OBVERSE (Coin purchased from The Louisville Numismatic Exchange, Inc.)
2019 Minting of MacNeil’s first design of SLQ – REVERSE (Photo Credit The Louisville Numismatic Exchange, Inc.)
For over a century the Standing Liberty Quarter has remained a collectible issue of Teddy Roosevelt’s Renaissance of American Coinage
The following article by Tom LaMarre in Coin Magazine summarizes the polulafrity of this Lady Liberty by Mr MacNeil:
MacNeil’s Standing Liberty Remains a Favorite
By Tom LaMarre, Coins Magazine
September 30, 2009
Hermon A. MacNeil created some memorable works, including the statues “The Sun Vow” and “Pony Express.” But coin collectors consider his real masterpiece to be the Standing Liberty quarter.
Rich in symbolism and finely engraved detail, the new quarter reflected the spirit of peace and preparedness just before the United States entered World War I. It also revived a classical style in sharp contrast to the abstract and modern trends that were sweeping the art world at that time.
In addition, the coin signified a different direction for its designer. MacNeil was known mainly for works depicting American Indians and Western pioneers.
Production of Standing Liberty quarters began in 1916. Despite the artistic merit of the design, its life was cut short after only 14 years (none were struck in 1922). Because of wearability and striking problems, and the decision to issue a George Washington commemorative, the last Standing Liberty quarter was minted in 1930.
The series was short, but it produced some memorable rarities, including the 1916 and 1918/7-S Standing Liberty quarters. Almost as interesting as the coins themselves is the story of how they came into existence and inspired a greater awareness of artistic values in the world of coins.
The $2,300 Design
The Barber quarter had been around since 1892, and although it did the job, no one was thrilled with the design. In December 1915, a competition was held to come up with new designs for the dime, quarter and half dollar. MacNeil, Adolph Weinman and Albin Polasek were invited to submit entries.
Each sculptor was promised $300. An additional $2,000 would go to the creator of each model that was accepted for production. The deadline for entries was April 16, 1916.
Polasek was the only loser. Weinman’s entries were selected for the dime and half dollar. MacNeil’s design was chosen for the quarter.
MacNeil reportedly found a rooftop studio in the heart of New York City. There, according to a contemporary account, he could work on his coinage design “high above the dirt and noise of the street.”
MacNeil decided to place a standing Liberty figure on the obverse of the quarter. Initially there was a dolphin on each side of the pedestal below Liberty, representing the Atlantic and Pacific Oceans. The Panama Canal had recently opened, and even though the canal had inspired its own commemorative coins in 1915, MacNeil apparently thought a further tribute would be appropriate on the new quarter.
A bronze cast of the obverse with dolphins still exists. Originally intended for the preparation of dies, it turned up at a garage sale in 2001.
MacNeil eventually changed his mind about the dolphins. After the deadline for entries had passed, he requested and received permission to make some changes to the design during the next few weeks. The dolphins, which had been ridiculed by Mint workers, were nowhere to be seen on the revised obverse that appeared on production quarters.
On the reverse of the quarter, MacNeil depicted a low-flying eagle flanked by 13 stars.
The winning entries in the coin design competition were unveiled on May 30, 1916. At that time a press dispatch said that Treasury Secretary William MacAdoo, Mint Director Robert W. Woolley and the Commission of Fine Arts had found them to be “most satisfactory from an artistic point of view.”
Hermon Atkins MacNeil
Mint Director Robert W. Woolley was so involved overseeing the preparation of the quarter design at the Mint that the Gettysburg Times predicted it would be known as the “Woolley quarter” or simply the “Woolley.” In reality, the designer was Hermon Atkins MacNeil, described by The Iowa Recorder as a “sculptor of prominence.”
“The designer of the new quarter is Hermon A. MacNeil, N.A.,” the June 8, 1916, issue of Cornell Magazine, published by Cornell University, reported. “Mr. MacNeil was commissioned recently to execute the statue of Ezra Cornell which is to be unveiled by the University in 1918. He is the sculptor of the memorial bust of Robert Henry Thurston in Sibley College.”
Cornell had reason to be proud of MacNeil. He had taught there, and at the Chicago Art Institute.
MacNeil was born in Massachusetts in 1866. He graduated from the Normal Art School in Boston and studied at the Ecole des Beaux-Arts and the Julian Academy. By the turn of the century, he had returned to the United States and opened his own studio.
MacNeil’s “Sun Vow” was displayed at the 1900 Paris Universal Exposition and won a silver medal. It was made at the American Academy in Rome and cast in bronze in Paris. Today it is in the Metropolitan Museum of Art in New York City.
MacNeil designed an award medal for the 1901 Pan-American Exposition in Buffalo. It was presented to Victor D. Brenner, who later designed the Lincoln cent. MacNeil also designed a 1926 medal commemorating the tercentenary of the purchase of Manhattan.
For the 1904 St. Louis World’s Fair, MacNeil created the “Fountain of Liberty.” Other works by the sculptor include “The Moqui Runner,” “A Primitive Chant,” “The Coming of the White Man,” the McKinley Memorial in Columbus and the Marquette Memorial in Chicago.
MacNeil’s work was included in an exhibition held in conjunction with the 1928 Olympics in Amsterdam, and at a show staged in 1936 in New York City under a Works Progress Administration banner. The WPA was a Depression-era agency that provided employment on federal projects. Many artists and sculptors were commissioned to paint murals or create sculptures for post offices and other government buildings.
MacNeil died in his home on Long Island Sound in 1947. It had been 17 years since the last Standing Liberty quarter was struck. One of MacNeil’s last works was the statue “The Pony Express,” dedicated in 1940 in St. Joseph, Mo.
On the 100th anniversary of MacNeil’s birth, Hermon MacNeil Park was dedicated in College Point, Queens, N.Y. The guest of honor was the woman believed to be the model for the Standing Liberty quarter.
Doris Doscher
She was an actress who starred in “The Birth of a Race” (sometimes shown with the alternate title “The Story of a Great Peace”) in 1918. But when she appeared on the television program “I’ve Got a Secret” in April 1966, her secret was that she was the model for Liberty on the Standing Liberty quarter.
Time magazine also credited Doscher as the model for the coin at the time of her death in March 1970.
Doscher, sometimes going by the name Doris Doree, starred in several silent films. “The Birth of a Race” is the story of two brothers in a German-American family during World War I. One fights for the United States, and the other for Germany. Doscher played Eve, the wife of one of the brothers.
Doscher was also a professional model. She was the model for the “Pulitzer Fountain of Abundance” by Karl Bitter, completed by Isadore Konti and Karl Gruppe in 1915. The fountain represents Pomona, the Roman goddess of orchards, and stands in front of the Plaza Hotel in New York City.
Doscher also modeled for “Faith, Hope and Charity,” “Diana of the Chase,” “Memory,” “Kneeling Madonna” and Hermon MacNeil’s “The Angel of Peace.”
Possibly the earliest published reference to Doscher as MacNeil’s model for Liberty on the quarter was an item in the April 8, 1917, issue of The Syracuse Herald.
Doris married Dr. William Baum. She had a radio show on health and beauty and wrote a newspaper column, and she was a guest of honor at the dedication of Hermon MacNeil park.
Doris Doscher Baum, however, was not the only woman to claim the honor of being the model for the Standing Liberty quarter.
Irene MacDowell
Long after MacNeil died, a former Broadway actress and professional model, Irene MacDowell, claimed that she was the model for the Standing Liberty quarter. MacDowell was the wife of MacNeil’s tennis partner. For the sake of everyone concerned, it was thought best to keep her role as model a secret and let Doscher take the credit.
Irene broke the silence in 1972, at the age of 92, recalling that she posed for MacNeil for 10 days, wearing a white, sheet-like drapery that she described as “a kind of classical robe.”
MacDowell was described as statuesque and “handsome.” She frequently posed for MacNeil and reportedly was a model for some of the figures on the “Soldiers and Sailors Monument” in Albany, N.Y.
Patterns
Except for the matter of the dolphins, MacNeil had the quarter dollar design nailed down almost from the beginning. Patterns showing the development of the design are rare. One pattern is nearly the same as the Standing Liberty quarter as issued but lacks MacNeil’s initial on the obverse.
Another pattern has a reverse without stars, the eagle is flying higher and there are laurel branches at the sides. Examples exist with and without the designer’s initial.
Pattern 1916 Standing Liberty quarters are rarer than Walking Liberty half dollar and Mercury dime patterns. In the 1930s, a few 1916 Walking Liberty half dollar patterns were found in circulation. A 1916 Mercury dime pattern was discovered in pocket change in the early 1960s. In the case of the Standing Liberty quarter, however, no such circulation finds have been reported.
1916
The design process was so involved and took so long that you might say Liberty had to crawl before she could stand up and walk. The Standing Liberty quarter was scheduled to be released on July 1, 1916. A New York Times story with a July 2, 1916, dateline jumped the gun and claimed the coin made its debut as planned. In reality, however, the Mint was having trouble preparing the design for production, and another six months would pass before the Standing Liberty quarter went into circulation.
In September 1916, Albert Norris, chief clerk of the Philadelphia Mint, explained that die-makers usually had trouble when designs were prepared by artists who were not familiar with the mechanical requirements of coin production. The problem with the Standing Liberty quarter was that the relief was too high for the design to strike up properly.
Production of Standing Liberty quarters did not begin until Dec. 16, 1916 and was limited to the Philadelphia Mint in the first year of the design. By Dec. 31, 1916, only 52,000 had been struck. They were released in early January 1917.
Soon Philadelphia coin dealer Henry Chapman was offering 1916 Standing Liberty quarters for a dollar apiece. Speculation was widespread, and the Treasury Department responded with a January 1917 release of the mintage figure (incorrectly stated as 62,000 instead of 52,000). A press dispatch said the statement was being issued “to correct any impression that the coins are rare” and to thwart the “sharpers.”
An original roll of 1916 Standing Liberty quarters was available as late as the 1950s. Today it’s a different story. A Mint State-60 example is valued at $16,500.
Peace and Preparedness
Possibly more than any other coin, the Standing Liberty quarter succeeded in capturing the spirit of its time. With World War I raging in Europe and a presidential election campaign stirring things up at home, themes of peace and preparedness were on everyone’s mind.
According to the official description of the Standing Liberty quarter, the design was “intended to typify in a measure the awakening interest of the country to its own protection.” Liberty was depicted stepping forward to the gateway of the country. In her raised left arm was a shield from which the covering was being drawn, symbolizing the nation’s readiness to defend itself. In her right hand was an olive branch representing the desire for peace.
As the New York Times put it, the new quarter symbolized “America Awake.” Another writer, however, saw in the design “some too darkly veiled allegory of the Woman’s Party and the suffrage movement.”
The Standing Liberty quarter had a sculptural quality that set it apart from all previous quarter dollars. The Numismatist described it as “strikingly beautiful.” The New York Times called it a “silvern beauty.”
The Mansfield (Ohio) News said the Standing Liberty quarter was “fair to look upon,” but claimed the design should have been used on a medal instead of a coin, which it described as a “dirt collector.”
Changes
Legend has it that there was a public outcry against Liberty’s exposed right breast on the Standing Liberty quarter. But if this were the case, it doesn’t seem to have been mentioned in newspapers of the day.
MacNeil himself was dissatisfied with the original design and told a friend he was making a stand for changes. Treasury Secretary William G. McAdoo and Rep. William Ashbrook of Ohio, who also happened to be a member of the American Numismatic Association, lobbied for the passage of legislation. Public Law 27 of July 9, 1917, made the changes to the Standing Liberty quarter official.
In addition to adding a covering of mail to Liberty, what was perceived to be her “bowlegged” appearance was eliminated, her head was lowered, the covering of the shield was pulled tighter, and the border was made less ornate.
On the reverse, the eagle was repositioned so that it was flying higher, and the arrangement of stars was changed, with three stars placed below the eagle.
Two bronze casts of the revised reverse were made. One of them, which surfaced several years ago, may have been kept by MacNeil as a back-up. The other bronze cast, measuring more than six inches in diameter, is in the Smithsonian.
McAdoo approved the revised Standing Liberty quarter design on Aug. 19, 1917. A prominent numismatist, Farran Zerbe, reported that the eagle was higher on the modified design, the features of the Liberty head were stronger, and Liberty’s “undraped bust” had been given a “corsage of mail.”
Collectors classify Standing Liberty quarters of the original design as Variety 1, and the revised version as Variety 2.
A Valuable Mistake
The Philadelphia Mint was a busy place in the autumn of 1917. Workers were making dies for 1917-dated coins to keep up with heavy demand. At the same time, they were preparing 1918-dated dies for the coming year.
Each die required several blows from a hub. By mistake, an obverse quarter dollar die received an impression from a 1917 hub and was sent to the annealing room to be hardened. When it was returned to the die room for additional impressions, it went to the wrong machine and was stamped with a 1918-dated hub. The finished die somehow slipped by the inspector and was sent to the San Francisco Mint, where it was used to strike a small number of 1918/7-S quarters.
The first example of the overdate wasn’t reported until the 1930s. At first, collectors thought it was the result of wartime cost-cutting at the Mint and that a 1917 die had been restamped with an “8” so it could be used another year.
Most of the rare quarters had seen years of use before the variety was publicized. As a result, mint-state examples of the 1918/7-S are rare.
Protecting the Date
Early Standing Liberty quarters are harder to find than later issues because the date, often weakly struck to begin with, quickly wore away in circulation. In 1925 a depression was made in Liberty’s pedestal to protect the date from friction. The revision was not entirely successful, but occasional Standing Liberty quarters with the date still visible could be found in pocket change as late as the mid-1960s.
Bad Luck
In its own time, the Standing Liberty quarter was considered an unlucky coin. There are 13 stars at the sides of the gateway through which Liberty is passing, 13 stars around the border on the reverse side of the coin, 13 letters in the inscription “QUARTER DOLLAR” and 13 letters in “E PLURIBUS UNUM.”
A Wading Bird
An early newspaper item really stretched things when it said the eagle on the reverse of the Standing Liberty quarter was the same as on the Great Seal, but without the shield. The writer might just as well have said that Liberty was the same as on the Barber quarter, but she was shown standing.
The truth was that the eagle on the Standing Liberty quarter was unlike the bird on any other U.S. coin, and that difference caused some problems.
In 1928, a letter to the editor of the New York Times claimed the eagle on the quarter had the feet of a wading bird and was depicted in the act of taking off instead of in full flight. To put it bluntly, the eagle had the feet of a duck.
MacNeil was not amused. He responded with a letter defending the design, but it didn’t make much difference. Because of other factors, the Standing Liberty quarter would only be struck two more years.
Mystery of the 1931 Quarter
Quarters were struck only at the Philadelphia and San Francisco mints in 1930. No quarters were struck for circulation in 1931, a Depression year. But counterfeits may exist.
In August 1931, Secret Service agents smashed a counterfeiting ring that had been making and passing fake quarters in Pennsylvania towns for eight months. They were cast from molds in the basement of the home of Anna Kasemar and her teenage daughter Margaret.
The same year, two men were sent to the Atlanta penitentiary for possessing counterfeit quarters. At least one arrest for counterfeiting quarters was also made in New York City in 1931. Some of the counterfeits might have survived and may be the basis for the long-running rumor of a 1931-dated Standing Liberty quarter.
Replacement
In 1931 a design competition was announced for a coin commemorating the 200th anniversary of George Washington’s birth. At first a Washington half dollar seemed likely, but government officials instead decided on a Washington quarter.
In February 1931, the Christian Science Monitor reported that the head of George Washington may appear on the quarter in 1932. The first Washington quarters were released in August 1932. No one was sure whether the Washington quarter would be a one-year commemorative or an ongoing regular issue. The Numismatist predicted that if the design were popular, it would remain in production.
Because of the Depression, no quarters were struck in 1933. When production resumed in 1934, the Washington design returned.
Once hailed as a “silvern beauty,” the Standing Liberty quarter slipped away quietly. As the New York Times put it, Liberty was a loser on new coin designs picturing presidents, and the Standing Liberty which had adorned the quarter since 1916 was on its way out.
MacNeil intended the Standing Liberty quarter to be a symbol of wartime sentiment. According to the Treasury secretary, it was a “fast-wearing” design that never quite worked out. In the opinion of collectors, it is a masterpiece that will stand in beauty forever.
Nov
04
“Abraham Lincoln” with Marian Fretueg (right) and head librarian (left) greeted us at Rushville Public Library.
My previous posting on May 13, 2019 (CLICK HERE) shared another discovery of this website. Namely, for nearly a century an additional “Lincoln Lawyer” bust has made its a home on the Illinois prairie in Rushville.
Well, I could not resist a visit there. So, I took a side trip to Rushville on a recent vacation voyage through my old home state of Illinois.
And guess what I found? Ta Dah!
Another of Hermon MacNeil’s “Lincoln Lawyer” was found at the Rushville (Illinois) Public Library. The happy webmaster was pleased to see it and meet the Library staff
I am sure you recognize Abe Lincoln. Well the guy smilin’ on the right is me, Dan Leininger [the “happy webmaster of https://hermonatkinsmacneil.com/ ].
Rushville is county seat of Schuyler County. The ‘new’ Public Library is located about seven blocks north of the downtown. The concrete sidewalks, driveway, and parking lot give easy access to walk-up, drive-up, or pedal-up traffic. The Stone and buff-brick building is clean, inviting with open access to all stacks. 
Marian Fretueg a board member and volunteer (pictured on far right), sent an email inquiring about my knowledge of this bust by Hermon A. MacNeil.
Marian asked the Library Board for permission to publish the re-discovery of the “Lawyer Lincoln” bust on this website.
She said that the donor of the bust was Albert Morris Bagby of New York City. He grew up in Rushville, Illinois and became a successful musician studying with Franz Liszt. She said, “He left our little town and studied in Germany and then ended settling in New York City.”
Mr. Bagby had the bust shipped to Rushville in 1928 to be temporarily placed at the city’s library for the enjoyment of all the patrons. Marian stated, “For some reason or other, the sculpture was never moved from our library. It is now proudly on display in the new building for the Rushville Public Library.
Bagby began his “Musical Morning” show in 1891 at his own private studio at 152 W. 57th Street. MacNeil later taught at the Art Students League of New York located in the American Fine Arts Building, one block away, at 215 West 57th Street,Several years later he moved it to the Waldorf-Astoria, the Unofficial Palace of New York, located on 34th Street at 5th Avenue. His life story is a fascinating one. CLICK HERE:
I suspect that there must have been some connection between Hermon MacNeil and Mr. Bagby. MacNeil had studios in Manhattan, NYC. Maybe we could link the histories of these two men. That would make a great story to research the two men and the possible intersection of their lives.
Hermon sculpted many statues and monuments around NYC. He also did private work with many persons of prominence there.
Mr. Bagby. He obviously donated many items to his hometown through the years. His heart never seemed to lose affection for his home town. Rushville may not have been fully aware of the “treasure” that their native son left them in the “Lawyer Lincoln.” Perhaps the new Rushville Public Library home can raise community awareness and pride in this treasure and history.
—
Bagby, Albert Morris, 1859-1941
Biographical notes:
Albert Morris Bagby was born in Rushville, Illinois on April 29, 1859 to Mary Agnes Scripps of Jackson, Missouri and John Courts Bagby from Glasglow, Kentucky. After completing his primary education in the United States, Bagby traveled to Europe to study music.
He first studied under Professor Scharwenka at the Berlin Conservatory and later with Franz Liszt in Weimar. Before Bagby died in 1941, he was considered one of the last links to Mr. Liszt. Though never a virtuoso performer himself, Bagby was an ardent admirer and pupil of the great pianist and so devoted his life to the patronage of music and performance. (Time Magazine, March 10, 1941)
After returning from Europe, Bagby was invited to give music lectures at various socialite clubs in New York. These lectures, often with piano accompaniment, turned into luxurious concerts. At first Bagby sought to call his recitals “Matinee Musicale,” but at the urging of his friend, Miss Louise McAllister, the name was changed to “Musical Morning.” (The Unofficial palace of New York, p. 99)
The first official Musical Morning was held in 1891 at Bagby’s own private studio at 152 W. 57th Street in New York. The concert series was so popular that a larger space was needed. (Emanuel Feuerman, p.89) Bagby refused to rent public music halls, which he felt would destroy the personal and intimate nature of the performance. Fortunately, an ideal site for performance and private society presented itself when a new hotel opened its doors on 5th Avenue and 34th Street. The Waldorf-Astoria (on 34th Street, and then in 1929 its new location) became the new home of Bagby’s Musical Morning, remaining so until its end in 1941. (The Unofficial palace of New York, p. 97,100)
Following each Musical Morning (which were attended by subscription only), Bagby would host a lunch for a few dozen of his most notable guests. Conversing easily with royalty, socialites and skilled musicians, Bagby became a popular figure in the social life of Europe and America. (Time Magazine, March 10, 1941)
Offering performances by almost every distinguished artist in the United States, Bagby succeeded in both providing elite entertainment and funds for The Bagby Music Lovers’ Foundation, Inc. The foundation, established at the 300th Musical Morning in January, 1925 was set up to give pensions to elderly musicians as a “reward for their unforgettable service to music.” (The Unofficial palace of New York, p. 95, 101)
In addition to his life work with Musical Morning, Bagby also traveled to Europe quite extensively, attending performances at Richard Wagner’s Bayreuth Festival and visiting friends.
While living at the Waldorf-Astoria in New York, Bagby received hundreds of letters and postcards from the European royal families who had attended his performances and seen him in Europe. Most of the letters thanked Bagby for his kindness and generous gifts.
With most of Europe in turmoil after the Second World War, it was often difficult to purchase books and magazines in English. Bagby, being the generous individual that he was, acted almost as a courier service, sending books, encyclopedias, and subscriptions to National Geographic and The Spur to various European royal families. The missives also contained personal notes about the family’s wellbeing, and a request that Bagby visit next time he was in Europe.
Besides being a musician, Bagby was also a writer. When he was younger he contributed to various periodicals, and in 1895 published his first novel, a musical romance entitled Miss Traumerei. In 1904 he wrote Mamie Rosie, a fictional account a young musician’s journey to stardom.
Later in life Bagby gave back to his home town by donating various volumes, statues and paintings to the Rushville Public Library. Albert Morris Bagby died of pneumonia on February 27, 1941 at the age of 81, ending his five-decade career as director of Musical Morning. (Time Magazine, March 10, 1941).
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From the description of [Albert Morris Bagby collection]. 1890-1960. (Pritzker Military Library). WorldCat record id: 236876955 http://snaccooperative.org/ark:/99166/w6s76w29
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The Unofficial Palace of New York: A Tribute to the Waldorf-Astoria, hardcover – 1939 by
Sep
12
I had the privilege of visiting the MAM site this week and will post a larger story soon. For now, here’s a quick shot of MacNeil’s “Sun Vow”.
Here’s a quick shot of MacNeil’s “Sun Vow” with yours truly camera in hand.
I had the privilege of visiting the MAM site this week and will post a larger story soon. For now, here’s an editorial by Frank Gerard Godlewski, Historian & NY Armory Arts Week Curator
It demonstrates a strong strain of public opinion in Montclair, NJ, concerning the “Sun Vow” a gift of Wm T. Evans. Montclair citizens have viewed and driven by this MacNeil original for over 100 years. What follows below is a re-posting of a Patch Montclair facebook page: ( https://patch.com/new-jersey/montclair/respecting-sun-vow )
Montclair Op-Ed: ‘Respecting The Sun Vow’
Regarding the Montclair Art Museum’s landscape re development proposal for the Planning Board Meeting Monday August 26 at 7:30 PM
| Updated
This post was contributed by a community member.
Aug
21
A grounds renovation at the Montclair Art Museum could result in the removal of the bronze Sun Vow which has been at the entrance since 1914. Plans include a reflecting pond with a newly-commissioned sculpture.
Credit: DEBORAH ANN TRIPOLDI/STAFF [Source: Montclair Local News 2019/7/03 ]
The Monclair Local contains an article by Jaimie Julia Winters titled, “Sculpture Removal, Tree Loss Concerns Raised with Outdoor Expansion”
Winters states:
Plans to upgrade the grounds of the Montclair Art Museum have been met with criticism from the community and the township’s historic preservation consultant over alterations to the “cultural landscape,” tree removals and the relocation of the bronze statue by Hermon Atkins MacNeil located at the entrance since the museum opened in 1914.
The New Plan– [SOURCE: https://www.montclairlocal.news/wp-content/uploads/2019/07/Screen-Shot-2019-06-28-at-1.03.25-PM-1.png/
A new reflecting pond is planned for the grassy area in front of the museum on S. Mountain Avenue. Plans also include removing the Sun Vow sculpture and place a new, yet-to-be-commissioned piece of art in the pond. The cypress tree located in the front, reportedly planted by Van Vleck, will also be removed.
The circular driveway connecting the parking lot to the turn-around area will be repaved with granite blocks. Handicapped parking spaces along the driveway will also be reconfigured.
(Architect Paul) Sionas told the Historic Preservation Commission that original plans for the museum called for a reflecting pool and referred to a rendering dating back to 1915 of the museum front with people in top hats and with the statue in the middle of a reflecting pool.
The website has been contacted by “a group of concerned Montclair residents who want the sculpture to remain in its original location.”
Kathleen Bennett, chair of the Montclair Historic Preservation Commission, stated:
I am writing to you concerning the copy the Montclair Art Museum (NJ) of the “Sun Vow” which was given to the Montclair Art Museum when it opened in 1914. The donor was Mr. William T. Evans, who (we are told) commissioned the first copy for the front lawn of his mansion in Montclair in 1903. He gifted it to the Montclair Museum where it held pride-of-place until now. The board of the museum now want to move the sculpture to another location, as yet unknown, and replace it with a “contemporary” sculpture. We are a group of concerned Montclair residents who want the sculpture to remain in its original location.
“We feel that to move the sculpture from the front of the museum completely negates the original donor’s intentions.”
William Evans donated the Sun Vow bronze statue, which sits on a rock outside the main entrance of MAM. Bronze statues are typically duplicated in full-size. Famous works such as the Sun Vow have been reproduced in both half size and even quarter size replicas. A half-size Sun Vow (seen below) exhibits at the Metropolitan Museum of Art in New York City (cast in 1919). The original full-size “Sun Vow” graces the Chicago Institute of Art (cast in 1901). The first-copy of the original may be on the move at MAM.
The “Sun Vow” by H. A. MacNeil graces the courtyard of the Metropolitan Museum of Art in New York City. This copy was cast in half-size later in 1919.
“Sun Vow” by Hermon MacNeil at the Art Institute of Chicago cast in 1901. [Photo by Dan Leininger, webmaster, www.HermonAtkinsMacNeil.com ]
The MAM First copy of the “Sun Vow” is older than any other except the Art Institute of Chicago. It is a historic piece in the world of art and the history of Montclair Art Museum (MAM)Note BELOW the antique book plate put out be The Montclair Art Association: (date unknown).
P.S.
Kathleen Bennett praise this website by saying: “Your website is extremely informative about Hermon Atkins MacNeil and I hope you will add Montclair’s “Sun Vow” to the site.”
Thanks Kathleen.
Here is Part One.
More to come … Stay tuned to https://hermonatkinsmacneil.com
Daniel Neil Leininger
webmaster
Aug
16
“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.
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