WELCOME to the “Hermon A. MacNeil” — Virtual Gallery & Museum !

~ This Gallery celebrates Hermon Atkins MacNeil, American sculptor of the Beaux Arts School. MacNeil led a generation of sculptors in capturing many fading Native American images and American history in the realism of this classic style.

~ World’s Fairs, statues, public monuments, coins, and buildings across to country. Hot-links (on the lower right) lead to photos & info of works by MacNeil.

~ Hundreds of stories and photos posted here form this virtual MacNeil Gallery of works all across the U.S.A.  New York to New Mexico — Oregon to South Carolina.

~ 2016 marked the 150th Anniversary of Hermon MacNeil’s birth on February 27,

Take a Virtual Journey

This website seeks to transport you through miles and years with a few quick clicks of a mouse or keyboard or finger swipes on an iPad.

Perhaps you walk or drive by one of MacNeil's many sculptures daily. Here you can gain awareness of this artist and his works.

For over one hundred years his sculptures have graced our parks, boulevards, and parkways; buildings, memorials, and gardens; campuses, capitols, and civic centers; museums, coinage, and private collections.

Maybe there are some near you!

Archive for September, 2011

Four past-presidents of the National Sculpture Societycongratulate Daniel Chester FrenchHermon MacNeil is 4th from the left as James Earle Frazer, Adolph Alex Weinman, and Herbert Adams, celebrate this Award of the first National Sculpture Society Medal.  [MacNeil is 4th from left as Frazer, Weinman and Adams congratulate Daniel Chester French.]

Laura Gardin Frazer & James Earle Frazer a married sculptor couple as were Hermon & Carol B. MacNeil. (Photo Credit: NY State Morgan Horse Society)

The medal was crafted by Laura Gardin Faszer, as depicted in the earlier segments of this complete film, entitled the “Medal Maker”.  Originally, the film was silent.  Nearly seventy years later in 1997, it was restored and reissued by Medallic Arts Company [ www.medallic.com ] and Mike Craven Productions with narration and additional color footage.  This reissue is what can be viewed here.

In this rare film from 1929, sculptor Laura Gardin Fraser is recorded creating the mold for the most prestigious medal awarded in America. Fraser was the first woman to design a coin for the U.S. Treasury, and she won several sculpture medals of her own. Her works include a double statue of Robert E. Lee and Stonewall Jackson on horseback, and relief panels at the West Point library. The original film has been reformatted, and is in color with black-and-white footage. Narration is provided by sculptor Elizabeth Jones, who is a former Chief Engraver of the U.S. Mint. 

[ Read more: http://www.answers.com/topic/medal-maker-laura-gardin-fraser-master-sculptor#ixzz1WpVuaLFb ]

The Four segments of the film are viewable at these YouTube locations:

Part ONE      http://www.youtube.com/watch?v=YxYO6LJtVdY

Part TWO     http://www.youtube.com/watch?v=FfWLB2dMl_w

PartTHREE http://www.youtube.com/watch?v=A1qG_oArwoI

Part FOUR:     http://www.youtube.com/watch?v=81No7kWeXtc&feature=related

Part FOUR of the “Medal Maker” video begins with Daniel Chester French on screen sculpting a horse.  It switches to a view of French being presented the NSS Medalion by Adolph Alfred Weiman as James Earle Frazer, Hermon Atkins MacNeil, and Herbert Adams look on.

Pictured in Part THREE of the video is this photo of a Banquet on April, 9 1937 of the Society of Medalists – at Medallic Art Company, where this film was shown for the first time to a gathering of sculptors.  I have marked in red a face that resembles Hermon Atkins MacNeil.  [Apologies Uncle Hermon if that is not you. webmaster]. 

The host, Clyde Trees, owner of Medallic Arts Company, had hope that two dozen sculptors attend.  When seventy-five (75) accepted his invitation and the little shops at 210 East 51st Street in downtown Manhattan were overwhelmed.  Work benches, tables , and presses of the Medallic Arts Company were moved aside to make room for the gathering. A Commemorative Medal bearing the profile image of Augustus Saint Gaudens was struck by Mr. Trees as a ‘party favor’ for the occasion. Commemorative Medal

MEDAL MAKER VIDEO:  www.youtube.com/view_play_list?p=A69802FB6478AB3B

STORY OF THE 1997 REISSUE OF ‘MEDAL MAKER’ VIDEO:  http://www.coinbooks.org/esylum_v13n31a13.html 

Highlighted for visitors is the complete film, “The Medal Maker.” First shown to the Society of Medalists in 1929, it features multi-award winning coin and medal designer, sculptor Laura Gardin Fraser in her famous New York Studio in 1929 creating the models for the Special Medal of Honor for the National Sculpture Society, America’s highest sculptural award. Every step of creation and production is shown, including sketching, preparing background plate, transferring the drawing and applying clay pellets to the model, foundry casting of the pattern, die making and striking the medal at Medallic Art Company. This exceptional movie is narrated by Elizabeth Jones, sculptor, and former United States Mint Chief Engraver, from her studio in Philadelphia.

www.medallic.com

For further Biography on Laura Gardin Frazer and her famous sculptor husband, James Earle Frazer, see :   http://www.nysmhs.org/history/LauraGardinFraser/index.htm

 

 

 

A MacNeil "Sun Vow" sculpture housed in the Founder's gallery of the Reading Public Museum in Reading, PA

We were recently contacted by John Graydon Smith, CEO of the Reading Public Museum in Reading, Pennsylvania, that a copy of MacNeil’s “Sun Vow” is exhibited there in the museum.

Follow-up contact from Ashley J. Hamilton, Director of Collections, tells us that the piece can be seen in the Founder’s Gallery in the center of the second floor.  A map to the RPM is provide below:

The Director also graciously sent photos and a bit of  history. This “Sun Vow” came to the museum in 1929 as part of the American Art collection but is displayed more prominently in the Founder’s Gallery on the 2nd floor.

A hot link to the RPM’s American Gallery has been added to this web-site’s list of “Museums: with MacNeil Art” in the right-hand column.  A photo of James Earle Fraser’s “End of the Trail” is displayed there.  [ Reading Public Museum, Reading PA; “Sun Vow” ]  MacNeil and Fraser both married accomplished sculptors — Carol Brooks MacNeil and Laura Gardin Fraser.   The two men, along with their wives,  were colleagues throughout their careers.   Both men have massive bas relief friezes, 100 feet long, that are prominent on the Missouri State Capitol Building.

Second perspective on the "Sun Vow"


The “Sun Vow” is certainly Hermon MacNeil’s most renowned piece of work.  It is as endearing now as it was a century ago.  Lorado Taft, often called the Dean of American Sculpture, wrote in 1904:

No one grudges the young artist the honors which this work has brought him: a silver medal at the Paris Exposition of 1900, and a gold medal at the Pan-American [Buffalo 1901]. Even were his career to be cut short today, this group, like Stewardson’s “Bather” or Donoghue’s “Young Sophocles,” is good enough and important enough to insure its author a permanent place in the history of American Art.  [SOURCE: Lorado Taft, The History of American Sculpture, p 444. ]

Thank you, for your courtesy John Smith and Ashley Hamilton. We have added your “Sun Vow” to our virtual gallery of Hermon A. MacNeil’s works.

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Hermon MacNeil include this sculpture of the 'original telegraph' into his tribute to Erza Cornell in 1917. (Photo courtesy of Chris Carlsen)

Original telegraph receiver, used in Baltimore for the receipt of the first telegraph message, May 24, 1844. (On loan from the Cornell University College of Engineering.)

 

Hermon MacNeil often included symbolic details in his sculptures and statues.  Here is a prime example.  MacNeil  came to the Cornell University faculty twelve years after Ezra Cornell’s death.   Teaching at Cornell for those three years, from 1886-1889, he had a first hand knowledge of Ezra Cornell’s story.

Hermon Atkins MacNeil chose the telegraph as the appropriate object to place “behind-the-man who was behind-the-University.”   Compare  MacNeil’s bronze relief work on the RIGHT to the Cornell Archives photo of the “Original telegraph receiver” on the LEFT. (On loan from the Cornell University College of Engineering).  http://rmc.library.cornell.edu/Ezra-exhibit/EC-life/EC-life-5.html

In his lifetime Ezra Cornell made and lost several fortunes. He envisioned the telegraph as the most promising device of the immediate future of communication.  Holding that vision through ups and downs, booms and busts, he rode the wave of communication technology into the future.  In the end his wealth from his Western Union shares that evolved from the telegraph became the profit that made his dream of a University a reality.  He continued to achieve success and failure as an entrepreneur and investor.

The short story goes this way:

Ezra made his fortune in the telegraph business as an associate of Samuel Morse, having gained his trust by constructing and stringing the telegraph poles between Washington, D.C. and Baltimore, Maryland, as the first ever telegraph line of substance in the U.S. To address the problem of telegraph lines shorting out to the ground, Cornell invented the idea of using glass insulators at the point where telegraph lines are connected to supporting poles. After joining with Morse, Cornell supervised the erection of many telegraph lines, including the Erie and Michigan Telegraph Company connecting Buffalo to Milwaukee. He earned a substantial fortune as a founder of the Western Union company. [ Wikipedia:  http://en.wikipedia.org/wiki/Ezra_Cornell ]

The University’s website tells the story this way:

Ezra Cornell's Patent Picture of his "useful" trenching machine

While traveling in Maine, Ezra Cornell met F.O.J. Smith, editor of the Maine Farmer. When Congress appropriated $30,000 for the laying of a test telegraph cable between Washington, D.C. and Baltimore, Smith had taken a contract from the inventor, Samuel F.B. Morse, to lay the lead pipe which enclosed the telegraph wires. In the summer of 1843, on his second trip to Maine, Cornell visited Smith’s office and found him struggling to design a machine to lay the cable underground. At Smith’s request, Cornell created a plow that would both dig the trench and lay the cable. Morse came to Maine for a demonstration of the machine, approved it, and hired Cornell to lay the cable for the test line. In October 1843, Cornell went to Washington to begin work on laying the telegraph line. As the work proceeded, he became concerned that the insulation of the wires was defective. He notified Morse, who ordered the work stopped. Cornell then devised a machine for withdrawing the wires from the pipes and reinsulating them.

Cornell spent that winter in Washington studying works on electricity and magnetism in the Patent Office library and the Library of Congress. His reading convinced him that underground wiring was impractical and that the wires should be strung on glass-insulated poles. He was retained as Morse’s assistant at the pay of $1000 per year. In the spring of 1844, Cornell built the overhead line from Washington to Baltimore, and on May 24, Morse tapped out the historic message: “What hath God wrought.” Some of Cornell’s earliest telegraph communications relayed the results of the 1844 Whig and Democratic Conventions, which nominated Henry Clay and James K. Polk, respectively.  http://rmc.library.cornell.edu/Ezra-exhibit/EC-life/EC-life-5.html

CORNELL’S COMMITMENT to the ‘TELEGRAPH’

Ezra Cornell's Patent for a "new and useful machine for cutting trenches."

Ezra Cornell’s commitment to his vision of the potential of this invention drove him forward.  Again the Ezra Cornell’s university tells his story this way: 

Ezra Cornell’s story is the story of the telegraph in America. Always confident of its great commercial future, he enthusiastically demonstrated it, enlisted capital, and built lines. Although doing so frequently left his family destitute, he always took a large part of his pay in stocks, and invested in the first telegraph company, which connected New York and Washington. He built lines from the Hudson to Philadelphia and from New York to Albany, as well as lines in New York, Vermont and Quebec, and west to Buffalo, Cleveland, Detroit, Chicago, and Milwaukee. He was involved in the rapid construction of subsidiary lines, especially in the midwest, where the telegraph preceded rather than followed the railroad.

The early days of the telegraph industry were tumultuous. Many companies were formed, operated briefly and died. Stronger companies managed to survive despite conflicts, deception, and numerous lawsuits. Service on the hastily built lines was frequently unreliable. In 1851, the New York & Mississippi Valley Printing Telegraph Company was organized in Rochester by Hiram Sibley and others, with the goal of creating one great system with unified and efficient operations. Meanwhile, Cornell had bought back one of his bankrupt companies and renamed it the New York & Western Union Telegraph Company. Originally fierce competitors, by 1855 both groups were finally convinced that consolidation was their only alternative for progress. The merged company was named The Western Union Telegraph Company at Cornell’s insistence. Western Union rapidly expanded operations to most parts of the United States and Canada. While Cornell now took a less active role, he continued to have great faith in the telegraph. He held on to his Western Union stock, and for more than fifteen years was the company’s largest stockholder.       http://rmc.library.cornell.edu/Ezra-exhibit/EC-life/EC-life-6.html

CORNELL’S COMMITMENT to the “UNIVERSITY”

While Cornell’s commitment to the “telegraph” makes a fascinating story, his greater vision and commitment to the idea of a “UNIVERSITY” marks the zenith of his ingenuity.

His vision of co-education, free of sectarian coercion, open to all,  is encapsulated in an open letter he wrote on the occasion of the the opening of Sage College.  He addressed it to “The coming Man and woman” — those students of the nineteenth, twentieth, and now, twenty-first centuries that would grace the halls of Cornell:

Ezra Cornell to “The coming man and woman.”

Ithaca, May 15, 1873.
Autograph letter signed by Ezra Cornell

(read original HERE)

To the Coming man & woman

On the occasion of laying the corner stone of the Sage College for women of Cornell University, I desire to say that the principle [sic] danger, and I say almost the only danger I see in the future to be encountered by the friends of education, and by all lovers of true liberty is that which may arise from sectarian strife.

From these halls, sectarianism must be forever excluded, all students must be left free to worship God, as their concience [sic] shall dictate, and all persons of any creed or all creeds must find free and easy access, and a hearty and equal welcome, to the educational facilities possessed by the Cornell University.

Coeducation of the sexes and entire freedom from sectarian or political preferences is the only proper and safe way for providing an education that shall meet the wants of the future and carry out the founders idea of an Institution where “any person can find instruction in any study.” I herewith commit this great trust to your care.

Ezra Cornell

On the Arts Quadrangle Hermon Atkins MacNeil’s vision of Ezra Cornell can be seen in bronze.  Behind this man behind the University, MacNeil has tucked away inconspicuously, a Samuel Morse style ‘telegraph.’  Cornell’s commitment to this little piece of nineteenth century technology provided the ‘seed-money’ for his “Dream of a University” which has encompassed this sculpture for nearly a century.

[ For a fascinating TIME-LINE of Erza Cornell’s life and the Founding of the University, chick HERE. ]

WHAT YOU FIND HERE.

Nearby or far away, there is no ONE place to go and appreciate this wide range of art pieces. Located in cities from east to west coast, found indoors and out, public and hidden, these creations point us toward the history and values in which our lives as Americans have taken root.

Webmaster: Daniel Neil Leininger ~ HAMacNeil@gmail.com
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WE DESIRE YOUR DIGITAL PHOTOS – Suggestions

1. Take digital photos of the entire work from several angles, including the surroundings.
2. Take close up photos of details that capture your imagination.
3. Look for MacNeil’s signature, often on bronze works. Photograph it too! See examples above.
4. Please, include a photo of yourself and/or those with you standing beside the work.
5. Add your comments or a blog of your adventure. It adds personal interest for viewers.
6. Send photos to HAMacNeil@gmail.com Contact me there with any questions. ~~ Webmaster