WELCOME to the “Hermon A. MacNeil” — Virtual Gallery & Museum !
~ This Gallery celebrates my great Uncle, Hermon Atkins MacNeil an American classic sculptor of the Beaux Arts School. He sculpted Native images and American history: ~ World’s Fairs, statues, monuments, coins, and more… ~ Over 300 stories (25 per page) in 10 pages. (Click on Next Page >> at bottom). View thousands of photos from this virtual MacNeil Gallery. It stretches from New York to New Mexico ~ Oregon to S. Carolina. ~ 2016 marked the 150th Anniversary of Hermon MacNeil’s birth. ~ Hot-links ( lower right) lead to works by Hermon Atkins MacNeil. ~~Do you WALK or DRIVE by MacNeil sculptures DAILY! ~ TRAVEL DIGITALLY to my Uncle Hermon’s works here!
Daniel Neil Leininger, webmaster
DO YOU walk by MacNeil Statues and NOT KNOW IT ???
Often referred to as “The Black National Anthem,”Lift Every Voice and Sing was a hymn written as a poem by NAACP leader James Weldon Johnson in 1900. His brother, John Rosamond Johnson (1873-1954), composed the music for the lyrics.
Augusta Savage (left) made her portrait bust of James Weldon Johnson, author of “Lift Every Voice and Sing” as well as those of W. E. B. Du Bois and Marcus Garvey and other activist/leaders of the Harlem Renaissance of the 1920s
Postcard, “Lift Every Voice and Sing” by Augusta Savage, 1939. Frank E. Cooper, New York City, publisher. Curt Teich & Co., Chicago, printer. The Wolfsonian–FIU, The Mitchell Wolfson, Jr. Collection, XC1991.170.573.
Original clay models for the NY Architectural Medal. Photographed by Daniel N. Leininger at the archives of Swope Art Museum in Terra Haute, Indiana in 2012.
In 2012, I visited the Swope Art Museum in Terra Haute Indiana. There I photographed many clay Models rescued from MacNeil’s studio in College Point after his death.
My photos from that day include many familiar works. Some became statues. Others were never awarded commissions. Those were never sculpted full size or cast into bronze.
Of interest here are the Original clay models for the NY Architectural Medal.
SOURCE: All Photos by Daniel N. Leiningerat the archives of Swope Art Museum in Terra Haute, Indiana in 2012
Both Obverse and Reverse of the original clay master are seen stored here at Swope Museum in Terra Haute, Ind.
“LEAGUE” becomes “LE[AG]VE” in Beaux Arts script.
MacNeil signature detail of clay Model. ‘FECIT’ is American English of the Latin verb (ˈfeikɪt, English ˈfisɪt). Meaning he made (it); she made (it): formerly used on works of art after the name of the artist.
“The Medal Maker” shows how Laura Gardin Frazer makes a clay original model for the National Sculpture Society medal awarded to Daniel Chester French The final bronze casting is pictured above on the video that preserves the original filming of her at work.
The presentation of this first NSS Medal to French honored for his sculptural work of the seated Abraham Lincoln in the Lincoln Memorial in Washington, D.C.
That story was first first told here in 2012 at the following posting:
The Webmaster has obtained an actual medal created by Hermon MacNeil and awarded to his colleague, A. A. Weinman. That medallion was called the:
“New York Architectural League” Award
Of its sculpting and design, Joel Rosenkranz has said:
“I do think it is an extraordinary medal, wonderful low relief work with a strong sense of perspective. The allegorical figures are just beautifully rendered.” Joel Rosenkranz
But the provenance* of this particular medal is also an extraordinary linkage of these two sculptor-colleagues: * [chronology of the ownership ]
Hermon A. MacNeil
&
Adolf A. Weinman
The Gold Medal pictured above and below was actually awarded to none other than,
Adolf A. Weinman.
Joel Rosenkranzobtained this piece of Beaux Arts history from a grandson of the renowned sculptor with an accompanying provenancetracing back to his grandfather’s estate.
In 1909, the New York Association of Architectscommissioned MacNeil to design this piece.
Of this medal design, Joel Rosenkranz has said:
“I do think it is an extraordinary medal, wonderful low relief work with a strong sense of perspective. The allegorical figures are just beautifully rendered.”Joel Rosenkranz
~ ~ ~ ~ ~ ~
The Obverse of the Award reads in English:
“Architectutal League NY.”
NY Architectural League Medal -observe. [Photo Credit: Joel Rosenkranz, Conner~Rosenkranz, NY, NY.] (www.crsculpture.com)
The Reverse of the Award reads:“statuariae artis peritissimo”
Which translates from Latin as:
“the most skilled in the art of statuary.”
NY Architectural League Medal -Reserve. [Photo Credit: Joel Rosenkranz, Conner~Rosenkranz, NY, NY.] (www.crsculpture.com)
Five Presidents of National Sculpture Society. A.A. Weinman in center, H.A. MacNeil to his right. J.E. Frazer (lt) and H. Adams (rt) flack the group as they present Daniel Chester French (2nd lt.) with the National Sculpture Society Medal sculpted by Laura Gardin Frazer in 1929.
Both were awarded the NY Architectural Medal that MacNeil designed.
In 1932 Both sculpted friezes of the United States Supreme Court building in Washington D.C.:
Weinman’s frieze is in the Court Chamber.
MacNeil’s is the outdoor – East Pediment.
Missouri State Capitol (ca. 1926)
[Weinman –South Pediment;
MacNeil – West Frieze ]
Both were chosen by theMcKim, Mead, and White Architects to complete on projects such as the:
“We did not discover this bust by Hermon A. MacNeil until 2020, 100 YEARS after this sculpture was installed in its niche at New York Public Library. Here’s the story we found!”
IN 1920 THE NEW YORK PUBLIC LIBRARY Bulletin reported the following story and photos:
“The John Stewart Kennedy Memorial was completed and the bust of Mr. Kennedy by H. A. MacNeil, the sculptor, was installed in the niche prepared for it in the Fifth Avenue entrance lobby. Mr. Kennedy was formerly the President of the Lenox Library, and upon the consolidation became a Trustee and Second Vice-President of The New York Public Library, in which capacities he continued to serve until his death in 1909. He took an active part in the negotiations, which resulted in the consolidation, and the deep interest, which he displayed in the development of the Library and his liberal benefactions to it will be ever remembered.” [SOURCE: Bulletin of the New York Public Library, Volume 24: January to December 1920, New York, 1920]
1920 New York Public Library. The John Stewart Kennedy Memorial was completed and the bust of Mr. Kennedy by H. A. MacNeil, the sculptor, was installed in the niche prepared for it in the Fifth Avenue entrance lobby.
Kennedy was a Scottish-born American businessman, financier and philanthropist. At the time of his death his will gave away $30,000,000 to various , universities, libraries, museums, Presbyterian missions, around the city and globe, including $2,500,000 to the New York Public Library. [https://en.wikipedia.org/wiki/John_Stewart_Kennedy]
For additional information on J. S. Kennedy see:
Albro Martin, James J. Hill and the Opening of the Northwest (1976) and
Ralph W. Hidy, Muriel E. Hidy, and Roy V. Scott with Don L. Hofsommer, The Great Northern Railway: A History (1988).
When the Students of Northwestern University saw MacNeil’s Female and Male statues in front of Patten Gym, they re-named them “Pat and Jim”
“Pat” or “Intellectual Development” is half of the pair of MacNeil creations that have graced the Northwestern campus for over 100 years.
“Jim” or “Physical Development” is the left-hand piece of the MacNeil pair placed in front of “Patten Gym” in 1919.
A bit of Sophmoric humor, perhaps, sure! But “Pat & Jim” are leading Northwestern into a 2nd century of campus smiles.
“Pat” bears a striking resemblance to another MacNeil lady, namely, “Prosperity” of the McKinley grouping. Perhaps they are related? At least creations of the same creator.
WELCOME TO MacNEIL MONTH !
“Pat” of Patten Gym bears a resemblance to “Prosperity” of the McKinley Monument grouping.
“Prosperity” and her daughter “Peace” are bookends of the McKinley Monument.
“They are still there” celebrates MacNeil works visited in 2019.
This pair of Beaux Arts pieces are just two of hundreds of the works of Hermon Atkins MacNeil.
The face of the General shows marble worn through 97 years of exposure and harsh cleaning.
On this 281st anniversary of the birth of George Washington (Feb. 22, 1732), we visit Hermon MacNeil’s famous statue in Washington Square, NYC. Photos here show it both today and in MacNeil’s original plaster model of 1915 from his College Point studio. His model was located just this past year. (See photos below).
CLICK BELOW for The Washington Arch as New Yorkers and visitors stroll southward from Fifth Avenue into Washington Park.
The Picarrilli’s were a famous family of stone-carvers and sculptors who made many of the great sculpture carvings of that period (early 20th century).
Between 1893 and 1905 Hermon Atkins MacNeil and his sculptures were involved in four World’s Fairs. The Pan-American Exposition in Buffalo, New York (1901) was the second of these events. Popularly known as the 1901 World’s Fair in Buffalo NY, over 8 Million people attended the exhibition.
The most unusual aspect of the Pan-American was the color scheme of its buildings. Unlike the pristine design of the “White City,” the architectural plan of the Pan-American was to build a “Rainbow City.” The buildings were done in a Spanish Renaissance style and were colored in hues of red, blue, green, and gold. The Electric Tower, the focal point of the fair, was colored deep green with details of cream white, blue, and gold. At night, thousands of electric lights outlined the buildings.
"The Sun Vow" (photo courtesy of Gib Shell)
Hermon Atkins MacNeil's "The Moqui Runner" (The Moqui Prayer for Rain -- The Returning of the Snakes) 1896, cast 1897.
In the year 1900, MacNeil returned to the United States after three years in Rome and a fourth back in Paris. He settled in New York City. Within a year, MacNeil set up a home and an adjoining studio in College Point, Long Island (now Flushing, Queens ). His studio became his work place for the next four decades.
MacNeil’s “Sun Vow” and the “Moqui Runner” were both exhibited at the 1901 Fair. The “Sun Vow” had received a silver medal at the Paris exhibition of 1900. It was exhibited again at the Columbian Exposition of 1904 — the Saint Louis World’s Fair. As the years passed, it would become his best known work. (Webmaster’s Note: It recently graced the cover of the 2010Denver Art Museum publication, “Shaping the West: American Sculptors of the 19th Century”)
At the Buffalo Exhibition he was asked to do the pediment sculptures for the Anthropological Building, as well as a grouping known as “Despotic Age.” Craven described the work as follows:
The spirit of despotism with ruthless cruelty spreads her wings over the people of the Despotic Age, crushing them with the burden of war and conquest and draging along the victims of rapine (plunder), a half savage figure sounds a spiral horn in a spirit of wild emotion. (Craven, SIA, p. 518)
MacNeil’s sculpture design for the Award Medals at the Pan American Exhibition, Buffalo, NY 1901 (front) [ photo credits: CCya at http://www.coincommunity.com/forum/topic.asp?ARCHIVE=true&TOPIC_ID=25738
MacNeil designed the official gold medal (displayed here in silver) struck in celebration of the Pan American Exhibition. His commissioned design bears a youthful woman standing beside a buffalo on the obverse side. She represents the triumph of the intellect over physical power. The reverse depicts two Indians with a sharing a peace pipe. One, a North American Indian, extends the extends the pipe to the South American Indian. Craven notes that
MacNeil's sculpture design for the Award Medals at the Pan American Exhibition, Buffalo, NY 1901 (reverse). All award medals were struck from the same design whether in Bronze, silver or gold. These are silver medals.
MacNeil chose to portray the theme of “Pan-American friendship through images of the red man, not the white man.” (Craven, SIA, P. 519). We can also observe that this choice extended MacNeil’s selection of native people into a second continent. [Photo credits CCya at http://www.coincommunity.com/forum/topic.asp?ARCHIVE=true&TOPIC_ID=25738]
President William McKinley was assassinated at the fair. On Sept. 6, 1901, Leon Czolgosz shot President McKinley in the Temple of Music, a pavilion of the Buffalo, New York, Pan-American Exposition. Eight days later, on Sept. 14, McKinley was dead. We do not know if MacNeil was present at the Fair when the President was attacked. In some sense, President McKinley’s overshadowed the rest of the Exposition. Buffalo promoted the event in order to be seen as a prosperous, modern, technologically-advanced city,. Instead Buffalo became seen as the city of the assassination.
McKinley making his last public speech before he was assassinated, Buffalo, New York, September 5, 1901. (His pose in this photo resembles that of MacNeil's statue of him in 1904). (Credit: Frances B. Johnson-Ohio Historical Society-AL00501)
In the years following The Buffalo Exhibition, a series of important commissions would raise him to prominence as a major American sculptor. One of those was, oddly enough, was the McKinley Monument Statue and Plaza at the front of the Ohio State Capitol Building where McKinley served two terms as the governor of the state.
The only remaining building of the fair is the New York State Pavilion. It is now the home of the Buffalo and Erie County Historical Society. (see map) A boulder marking the site of McKinley’s assassination was placed in a grassy median on Fordham Drive
1901 Pan-American Exposition links: (active as of this posting date)
MacNeil's 12' 8" statue Washington (left ) from the other side of the Arch.
George Washington
February 22, 1732
Pictured below is Hermon A. MacNeil’s sculpture of General Washington in the uniform of the General in Chief of the Continental Army placed on the easterly pedestal base of the memorial Arch on May 27, 1916.
H. A. MacNeil's "Washington at War" balances the east side of the Arch in Washington Square while Alexander Stirling Calder's "Washington as President" graces the west side. Both sculptors studied at the Ecole des Beaux-Arts in Paris and represent that art style.
The first Washington Arch was constructed to commemorate the centenary of George Washington’s inauguration as the first President of the United States. That Memorial Arch was a temporary structure meant only for the celebration in 1889.
“The first arch was made of wood, designed by Stanford White, great architect of the age of opulence. It was originally constructed for the Centennial of Washington’s Inauguration. The celebration took place on April 30, 1889. Festooned with papier mache wreaths and garlands of flowers, lit up with hundreds of newly invented incandescent lights, the whole thing cost a whopping $2700. The arch was the hit of the ceremonies. Two days later the Marble and final version was commissioned. White also designed that. By April of 1892 the last block was in place, though the arch wasn’t dedicated until May 4, 1895!”
“Washington’s likenesses were not added until 1916 when the east pier’s “Washington at War” by Herman MacNeil was unveiled. Two years later the west pier’s “Washington at peace” by A. Stirling Calder was dedicated. Both have suffered erosion during the age of the automobile and the formerly fine features of Washington are pitted and broken down so, he is no longer really recognizable. Perhaps it’s time to redo them in bronze. For the next century. Why not?”
Calder's "George Washington as President" as it appeared before restoration.
Stanford White, of the architectural firm of McKim, Mead and White, (click name to see their work) was one of the first to be associated with the City Beautiful and the Beaux Arts movements dedicated to cleaning up American cities and planning them with order and artistic beauty. The Arch stands at the end of Waverly Place and Fifth Avenue. The neighborhood was lined with mansions of the wealthy in the gilded age before World War I.
“The Gilded Age was a time of pomp and peace and prosperity. Never before were the gaps between the rich and poor so sharply divided as they were in those quiet years before The Great War of 1917. Without personal income tax to curtail immense fortunes in America’s burgeoning industries, millionaires flourished and paraded their wealth for all the world to see. The magnificent mansions of John D. Rockefeller, J.P. Morgan and Andrew Carnegie stand like faded peacocks along New York’s Fifth Avenue to this day, bearing silent tribute to a luxurious past long faded into time.”
According to the Daily Planet, Washington Square ARCH is one of the great place to celebrate Washington’s Birthday:
George Washington Sculptures at Washington Square Arch,Washington Square Park Designed by architect Stanford White, the Arch was dedicated in 1895. Washington as Commander-in-Chief, Accompanied by Fame and Valor was designed by Hermon Atkins MacNeil and was installed in 1916. Washington as President, Accompanied by Wisdom and Justicewas designed by Alexander Stirling Calder and installed in 1918. A major restoration of the arch was completed in December 2004.http://www.nycgovparks.org/parks/M090/news
George Washington as Commanding General of the Continental Army
MacNeil’s “Washington at War” graces one side of the Arch in Washington Square at Greenwich Village. Behind the General are representations of Fame and Valor.
The New York Times of May 27, 1916, in an article entitled, “Washington Arch Gets Heroic Group,” quotes Hermon Atkins MacNeil describing his Washington as:
“… alert, and with his hands resting on his sword, intently watching the manoeuvers of his army. He is garbed with a cloak thrown over his Continental uniform and cockade hat.
The Massive character of the arch and pedestals calls for a vigorous, solid mass in the sculpture. As a transition both in idea and treatment between the portrait statue and the pier behind it, two standing figures in relief are decoratively arranged beyond the Washington and set into the pier of the arch. These figures typify Fame and Valor and are bearing emblems appropriate to their character as well as supporting the shield, encircled by a wreath, which forms a background to the head of Washington himself.”
As we begin the New Year of 2021, we have found a Bronze Bust of Samuel Longstreth Parrish by Hermon A. MacNeil. This work has graced Southampton Village, Long Island for a century, but was not been previously credited on this growing virtual gallery of MacNeil’s works. https://hermonatkinsmacneil.com/
Bronze Bust of Samuel Longstreth Parrish by Hermon A. MacNeil.
“Samuel Parrish,a wealthy New York attorney, made Southampton his adoptive home at the end of the 19th century and became one of its most active citizens and generous benefactors until his death in 1932. During the boom years at the dawn of the 20th century, he was involved in every major civic project. He donated land forSouthampton Hospital,helped to establish the Rogers Memorial Library, served briefly as village president (mayor) and founded theParrish Art Museum, which he considered his crowning achievement. He commissioned Stanford White to build a house for his mother on First Neck Lane and made many improvements to the Rogers Mansion, which was his home from 1899 until his death.”— Copy courtesy of the Southampton Historical Museum.
Samuel Longstreth Parrish standing inside his art museum. [Photo postcard of Samuel Parrish in his Museum. Circa 1907. SOURCE: Arts and Architect Quarterly, at https://aaqeastend.com/contents/woodward-local-postcard-sampling/ on 1/1/2021]
Samuel L. Parrish Art Museum, 1898. Source: www.southamptoncenter.org
Parrish Art Museum ~ 2017
The original idea for the museum came to Samuel Parrish, who had studied the Italian Renaissance at Harvard College, while he was on a trip through Italy in 1896 gathering pieces and reproductions of Greek and Roman sculpture. Parrish commissioned fellow Southampton summer resident Grosvenor Atterbury to design the museum.
In Flushing, New York, The World War Monument by Hermon MacNeil is inscribed:
“In Memory of Those
Who Gave Their Lives”
Roger Bow lives in Bayside, NY.
Last week, his life-long interest in collecting Standing Liberty Quarters,lead him to purchase a MacNeil Medallion.
In his order he added that he grew up in Flushing and always admired the World War Monument there.
I asked him if he would send me some pictures.
WELL, HE DID!
Lady Liberty at the Flushing Monument.
Lady Liberty of the SLQ and the Flushing Lady both by MacNeil
Hermon MacNeil at the feet of Lady Liberty.
In Memory of MacNeil and the Soldiers of Flushing.
The World War Monument in Flushing is a peaceful place that invites people to stop and rest.
Tribute to dough Boys by their hometown.
Names of Flushing Boys (A-J) who died in WWI
Liberty’s wings and shield.
Liberty’s wings and shield protect the names listed below them
Names of Veterans H-W.
Libeerty’s Bell and the Roman symbol the Fascee
Hi Dan,
Received the beautiful Medallion and your nice note. I took some photos this weekend at MacNeil’s War Monument.
I grew up appreciating this striking and poignant monument in my hometown. I didn’t fully appreciate it’s magnificence until I was older and had seen and visited other war memorials in other States. Her presence never fails to remind us of the bravery, sacrifice and resolve of our troops while depicting the spiritual comfort of the lost finally coming home.
I will take a closer look at the Washington Square Monument next time I am in the area. I never knew MacNeil sculpted that figure as well. Great to make these connections and will always make an effort to visit MacNeil’s works wherever I travel.
I appreciate your preserving his legacy and for the gifts that accompanied the medallion.
Feel free to use any of the photos attached to my 3 emails.
Best regards for a safe and healthy year,
Roger Bow
THANKS, ROGER!
Very Creative.
Take a Bow!
THANKS, ROGER! Roger Bow with his MacNeil Medallion at the Flushing Memorial on Sunday — (8-23-2020)
CLICK ON PHOTOS BELOW FOR A SLIDESHOW:
The World War Monument in Flushing is a peaceful place that invites people to stop and rest.
Lady Liberty at the Flushing Monument.
In Memory of MacNeil and the Soldiers of Flushing.
Roger Bow with his MacNeil Medallion at the Flushing Memorial (8-23-2020)
Lady Liberty of the SLQ and the Flushing Lady both by MacNeil
Liberty’s wings and shield protect the names listed below them
So Says the Greeting on this 104 year-old Christmas Card from the Hermon MacNeil Studio on College Point, Queens, New York.
A photo of the MacNeil Studio on College Point, holly sprigs and a Doll-faced Christmas bell, these things grace the face of this holiday greeting card.
The back shows an addressee and a College Point postmark for Dec 24, 1912 with a cancellation on a 1 cent George Washington postage stamp. Perhaps these cards were available to MacNeil’s students at the Pratt Institute as Seasons greetings.
A publishers mark, “F. Hettling, Pub.” is listed on the bottom front in very small print.
The addressee (Miss Jule Cox, 285 Carlton Ave, Brooklyn, New York) brings up a residence about 12 blocks from the Pratt Institute where MacNeil was an instructor for many years. (Thus our ‘student theory’ on this Christmas note. The signature is not readily decipherable (from The Deachins?). All is written in black ink with a fountain pen. — All in all, its a curious relic from a century ago.
The photo of the studio was used in other Christmas cards and newspaper articles about the MacNeil sculptors.
Hermon MacNeil built his Studio building out of stones. These he gathered from the shoreline and bottom on the East River sound behind the studio. Being the son and grandson of builders, he was familiar with hand labor, construction and masonry.
The studio was bathed in natural light through skylights and featuresd a section where Carol Brooks MacNeil (Carrie) did her sculpture work as well.
This curious Item came up as an eBay offering during 2016. SO guess who wanted it?
Here are the first nine photos of the statue of Ezra Cornell taken on a recent trip through New York state and Cornell University campus by my friend and a fellow history buff,Chris Carlsen and his son, Jensen. Chris was staying at “Old Stone Heap,” the home of his friend William Buckley “Buck” Briggs, an Adjunct Professor of Law at Cornell. Click on Buck’s name above to check out his bio and see his extensive NFL expertise. ( Buck can also be heard doing the “color” radio broadcasts for the “Big Red” Cornell Football team. “Uncle Ezra” would be proud! )
Anyway, quality photos of ‘Uncle Ezra’ like these by Chris are rare. Detail closeups of the signature, foundry mark, and image features have never been seen before on this website. Nor have I seen them on any other website either. We have them from a 360 degree perspective. [ Webmaster is Proud. “Uncle Ezra would be proud!” ]
MacNeil once told an interviewer that as he sculpted Ezra Cornell’s features, he realized the man’s resemblance to his own father, John Clinton MacNeil. After that insight, the sculptor said that his labors became a work of happy enthusiasm. [ “Papa John AND Uncle Hermon would be proud!” ]
This MacNeil work was begun in 1917. It’s public dedication was delayed until 1919 due to World War I. A photo of all the straw hats at the dedication can be seen at Chronicle On-Line: Nov 6, 2007
“Stay tuned more to come later.” ~ Webmaster
Thanks Chris
H. A. MacNeil, Sc. 1917
Roman Bronze Works in NYC was the premire foundry used by MacNeil for its 'Lost Wax' process of casting.
MacNeil’s “Moqui Runner” is running through a prominent Chicago Library — The Newberry. The “Runner’s” race began in1924 and continues into the 21st century. What a Moqui-MacNeil Marathon!
Macneil’s “Moqui Runner” has silently raced through the Newberry Library since 1924
According to Scott Manning Stevens, Ph.D. (director of the McNickle Center at the Newberry), it is very likely that this Moqui belonged to Edward Everett Ayer himself. Its dimensions are the same as those specified in this AIC collection entry [AIC – “Moqui Runner” Entitled there as “Snake Dance”]
Edward Ayer also encouraged the young McNeil to travel to the American west and southwest. He urged artists and sculptors to capture the vanishing images of the native culture. In addition he was a patron of many artisans in such travels and western studies.
A portrait of Ayer’s office painted by his nephew, Elbridge Ayer Burbank, includes two MacNeil statuettes (light gray pieces) sitting on the bookcases. The one on the left resembles“Early Toil” (a figure of a native American woman carrying many objects of her daily labor). The other figure on the right appears to be “A Chief of the Multnomah” (an arrow straight chief standing proudly with his arms crossed over his chest). This second piece became the right half of the “Coming of the White Man” grouping that can be seen in Portland’s Washington Park and in Poppenhusen Institute in College Point, Queens, NYC (and in the previous post of June 1, 2011 on this website-see link at bottom).
The fact that Ayer private study would include these two MacNeil sculptures offers perpetual record to his connection to the artist and patronage of his western work. The fact that Ayer’s nephew included them in his painting composition bears testimony to his awareness of his uncle’s identity with MacNeil pieces.
MacNeil’s swift Runner, balanced on one foot, remains frozen in time from the 19th, to 20th, to 21st Centuries. (Webmaster’s photo: Daniel Neil Leininger – background removed – enhanced 3/2023)
MacNeil had Blackpipe model in his Chicago studio that he shared with C. F Browne after the 1893 Chicago World’s Fair. Blackpipe continued to work for him through 1894. This all gives evidence of his fascination with Native people and making them subjects of his sculpture. His travels in 1895 to the southwest (later called the four corners area) greatly influenced his sculpture choices for years to come. These works became the objects of his early public acclaim. Yet their influence remained throughout his career both personally and publicly. In 1931, for example, the Society of Medalists commissioned him to make their annual medal. The “Prayer for Rain” (the obverse – patterned after the “Moqui” shown here) and the “Hopi” (reverse) became his chosen subject. [“Hopi” was the later preferred spelling of the earlier “Moqui.”]
MacNeil’s Exhibit listings for the 1901 Pan-American Exposition are recorded in “The Catalogue of the Exhibition of Fine Arts.” Pan-American Exposition: Buffalo, 1901. p. 45-46; 59 This document indicates that the statue belonging to E. E. Ayer, Esq by 1901 was the one exhibited in the Pan-American exposition and receiving the Silver Medal in the Paris Fair of 1900. It appears that the Ayer Moqui pictured here is that same sculpture.
Records in the Catalogue of Pan-American Exposition of 1901 in Buffalo, NY are as follows:
H. A. MacNeil:
#1613. The Sun Vow – Silver Medal, Paris Exposition, 1900.
#1614. The Moqui Runner – Silver Medal, Paris Exposition, 1900 (Lent by E. E. Ayer, Esq)
#1615. Bust — Agnese
#1616. Bust – [Lent by C. F. Browne, Esq.]
p. 59.
MacNeil, H. A., 145 West 55th Street, New York, N. Y. (II*) 1613-1616
*II – indicates MacNeil exhibited in “Group II – Sculpture, including medals and cameos” p. 49.
The Art Institute of Chicago lists the following collection information:
Hermon Atkins MacNeil
American, 1866-1947
The Moqui Runner (The Moqui Prayer for Rain—The Returning of the Snakes), Modeled 1896, cast c. 1897
Bronze
H. 57.2 cm (22 1/2 in.)
Signed on side of base: “H. A. MAC NEIL. Sc. Fond. Nelli. ROMA”
Inscribed around side of base, front: “THE RETURNING OF THE SNAKES”
Inscribed under center of the figure, on base: “THE MOQUI / PRAYER.FOR.RAIN”
. The MacNeil home and studio in College Point, Queens, possessed a panoramic view of the New York City skyline. Airplanes departing from LaGuardia Airport were often part of this overlook.
That vista can still be enjoyed in a stroll along the East River shore that borders the Hermon A. MacNeil Park.
Hermon Atkins MacNeil, American Sculptor (1866-1947)
Carol Brooks MacNeil
When Hermon and Carol MacNeil purchased the property in 1901, they found that feature to be a pleasant bonus of their new location.
Hermon built his stone masonry studio himself using stones and boulders from the East River. He was no stranger to stone work or carpentry as his father was a carpenter teaching him all the construction skills that entailed.
The back doors of Hermon’s studio let The Pilgrim Fathers through.
The studio large north Doors of the MacNeil Studio opened onto this scenic view as well.
As described previously: (see:
MacNeil Park, formerly known as Chisholm Park, was renamed in honor of Hermon Atkins MacNeil in 1966, the 100th anniversary of his birth. MacNeil was a long time resident of College Point where he worked at his home and adjacent studio. Parks & Recreation Commissioner Adrian Benepe describes the spot, named for one of America’s greatest sculptors, as “a spectacular waterfront landscape … with sweeping views of the Long Island Sound from its waterfront promenades, majestic trees, ballfields, and a 9/11 Memorial, this park is worth a detour.”
For over a Century the Arch and Washington statues remain a Rally Point for NYC and the Nation.
Hermon MacNeil sculpted General George Washington as Commander-in-Chief of the Continental Army.
In 1916 this sculpture was placed on the East plinth of the newly completed Washington Arch.
1946 WWII Victory Parade of the 82nd US Army Airborne between the statues of Geo Washington by Hermon A. MacNeil and Alexander Stirling Caulder.
Two years later on the west Plinth, Alexander Stirling Caulder’s statue of President George Washington was added to the west leg of the Arch.
Forty-Sixyears later Troops of the 82nd Airbornestaged a Victory Parade between the Two memorial statues of Washington, our 1st Commander and President.
Eventually, Fifth Avenue was closed off through the Park, a pond was added to South side, and Washington Park became the pedestrian venue it is today.
Now Eighty-years later, the Arch and both statues continue as a rally point for protests in NYC and the Nation.
OTHER Images from MacNeil work
MacNeil’s likeness of General Washington with Fame guarding from the rear flank.
I viewed and photographed MacNeil’s original plaster model of Washington as Commander of the Continental Army at the Swope Art Museum
inTerre Haute, Indiana,
where the plasters have been in storage since 1947 after the death of the sculptor. His widow Cecelia MacNeil released them from the MacNeil estate.
Jim Haas and Charlie Chiclacos, drove a rental van to Swope Museum in Terre Haute last year to retrieve some of these pieces.
Hermon A. MacNeil’s plaster sculpture of “George Washington” as concept study for the Washington Arch in NYC (1916) [Photo taken at Swope Museum of Terra Haute, IN by Dan Leininger]
Abortion rights activists hold a sign reading “Regulate Guns Not Wombs” as they march from Washington Square Park to Bryant Park protesting the overturning of Roe Vs. Wade by the US Supreme Court, in New York, on June 24, 2022. (Photo by ALEX KENT/AFP via Getty Images) Retrieved April 13, 2023
George Washington Sculptures at Washington Square Arch,Washington Square Park Designed by architect Stanford White, the Arch was dedicated in 1895. Washington as Commander-in-Chief, Accompanied by Fameand Valor was designed by Hermon Atkins MacNeil and was installed in 1916. Washington as President, Accompanied by Wisdomand Justice was designed by Alexander Stirling Calder and installed in 1918. A major restoration of the arch was completed in December 2004. Source:[http://www.nycgovparks.org/parks/M090/news]
This photo of Hermon MacNeil outside his studio with “The Pilgrim Fathers” monument has never been posted before. Thank You, Jim Haas!
James Haas, sent the photo and this message:
Jim Haas rests his arm on his fifth book, Hermon Atkins MacNeil. Below that are his 4 other published works on College Point history.
Hello Dan,
Working at my desk waiting for weather more likely to be en route to you part of the country, I thought you might enjoy this photo that I found yesterday.
I was preparing a collection of MacNeil
ephemera/
information etc. that I am sending to the MacNeil archives at the Poppenhusen Institute. It was included in a set of photos sent to me by the Frick Museum in NYC back when I was doing research. The picture was taken at the rear door of MacNeil’s studio in the fall of 1928 prior to the model being sent on to San Francisco for the NSS Palace of the Legion of Honor. A photo appeared in the Exhibition Catalogue. Prior to the event, (April-October 1929), over 1,200 pieces of sculpture were sent in seventeen railroad cars with all costs paid for by Archer Huntington who had put up $100,000 to do that. His wife Anna Hyatt Huntington showed seventeen pieces. MacNeil also exhibited his two-ton work Into the Unknown that is still used as the logo for the NSS.
Jim
~~~~~~~~~
Harrub Pilgrim Memorial.
Harrub Pilgrim Memorial in a new location
Harrub Pilgrim Memorial in a new location
More about this marker. The 175 ton, 60 foot long Harrub Pilgrim Memorial was carved out of French granite by Herman Atkins MacNeil of New York. Charles Harrub, an engineer for the American Brass Company, donated the $100,000 needed for the project to honor his wife and the Pilgrims. Dedicated October 11, 1930 at its original location at the entrance to Chase Park across from the Freight Street bridge (about 1 mile away), it was moved for the construction of the Interstate Route 84 / Route 8 interchange and is now located at the corner of Highland Avenue and Chase Parkway.
MacNeil Month 2022 ~ Week 2 ~ (5.8) ⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐⇐|⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒⇒ Every February is MacNeil Month here, … at http://HermonAtkinsMacNeil.com…
This sculpture of Joe Foss would meet with Hermon MacNeil’s full approval as true to his heroic designs.dnl
2025
jj
This Statue of our South Dakota Hero stands at Joe Foss Field at the entrance of the Terminal in Sioux Falls, South Dakotawhere Joe later became Governor.
The local statue is our choice for Veterans DayHonors. The realism is consistent with Hermon MacNeil’s vision of a Beau Arts hero.
Even though it stands 1400 Miles and 79 Years away from Hermon MacNeil’s studio and home in College Point, Queens, New York.
This sculpture of Joe Foss would meet with Hermon MacNeil’s full approval as true to his heroic Beau Arts designs
Enormous crowds came to MacNeil’s statue of William McKinley.
“Prosperity and Peace,” two of MacNeil’s allegorical figures interpreting Pres. McKinley’s life, look into the “NO KINGS” crowd as ‘bronze’ witnesses of a bygone century.
The “NO KINGS” crowds filled the Ohio Capitol grounds as shown in these photos.
The base behind the statue made a focal stage for speakers at the ‘NO KINGS’ rally as crowds covered the east lawn of the Capitol in Columbus, Ohio.
MacNeil’s statue of McKinley is centered ~300 yards away, just above the bills of the 2 men in ballcaps, and framed at the bottom of the glass building across the street.
The back of the pedestal of the McKinley Statue had crowds and signs flowing to the street.
Below, between the two USFlags the brown bronze statue of MacNeil’sblacksmith⇓ can be seen as part of the crowd.
Crowds line the side walk and Pedestal. Most were likely mindless of the tribute that saluted a slain President who was Governor of Ohio from 1891-1895, then US President from 1897-1901.
The Two Ladies, Peace and Prosperity, that MacNeil created to interpret the life of PresidentWilliamMcKinley
MacNeil’s Blacksmith and youngapprentice symbolized “Industry” and “Trade” in tribute to McKinley‘s Life.
On any regular day, the view at the McKinley Memorial is definitely less crowded.
H. A. MacNeil Sculpted the McKinley Monument at Ohio State Capitol
McKinley’s pose here resembles MacNeil’s statue of him in 1904. (Credit: Frances B. Johnson- Ohio Historical Society-AL00501)
The following article (by our Webmaster) was accepted for posting on theTHE HISTORICAL MARKER DATABASEadded to the existing story there.
MacNeil’s McKinley at Ohio Statehouse plaza
3. H. A. MacNeil Sculpted the McKinley Monument in Columbus Ohio. Hermon Atkins MacNeil (1866-1947) sculpted this monument consisting of the statue of President McKinley and the two accompanying grouping of figures on either side. These extra figures seek to represent the values that McKinley lived out and for which grieving citizens chose to remember him.
Industry & Trade are symbolized by the first group. The man of great strength instructs the youthful student beside him. Here the artist seeks to depict strength and wisdom being passed on to the next generation. The other figures, a gracious woman ( “Prosperity” ) with her arm encircling a little maiden (“Peace” ) are meant by MacNeil to symbolize those ideals as well as the joy and virtues of domestic life. These female figures are placing the palm leaves and flowers of peace over the sword and helmet of war.
MacNeil commented twenty years after completing this monument that while he worked very hard on sculpting the portrait of the President, he could follow his fancy in making the other figures. They only needed to convey the values and ideals consistent with McKinley and the Monument’s purpose there on the Capitol Plaza. MacNeil considered them all some of his finest works. Note To Editor only visible by Contributor and editor
— Submitted March 18, 2011, by Dan Leininger of Sioux Falls, South Dakota.
Purchasers of the MacNeil Medallion often share unique memories of the SLQ.
Perhaps none are as strange as one shared this week.
When I contacted James R. Russell of New York City after his recent purchase, I asked “Are you a coin collector, a SLQ collector, of a MacNeil relative? Blessings, Daniel Neil Leininger”
His response shocked me:
Dear Daniel, Thank you for your very kind letter. And here I thought I knew NYC public sculpture. Actually the reason for my purchase is somewhat arcane. Many years ago I was walking along the surf on Fire Island with my life partner, who passed away a year and a half ago. We came upon a large number of beached horseshoe crabs, and spent the better part of an hour gingerly returning them to the water. After the last one I said jokingly to Dennis, “You’d think they’d leave us a tip.” At that exact instant a breaking wave flipped a coin at my feet: a standing liberty quarter somewhat corroded by the seawater but not that much. I swear it’s all true.
Should you find yourself in New York, please come to dinner at my humble abode. I’m a native of this neighborhood and have returned after many decades. Be well and God bless, James
Horseshoe Crab. [source: Sierra Exif JPEG]
Horseshoe Crabs emerge on the north Atlantic shores including Long Island, NY, or in James story, FireIsland. Thousands come there each May and June, to mate and lay eggs. The crabs prefer breeding at nighttime during high tide within a few days of the full moon and new moon. A single female can lay over 100,000 eggs in a single season. After 2-4 weeks, the eggs hatch and larval horseshoe crabs head toward the water.
Delaware is honored to have the world’s largest population of spawning horseshoe crabs—but for how long?
This is truly the most unique Standing Liberty Quarter story I have received in the 15 years I have build this website.
What an amazing story of the SLQ that the Fire Island turf washed up to you and Dennis as a tip for your kind deeds. I’d love to share it on the website. … May you enjoy your Medallion and memories of the blessings of life with Dennis.
MacNeilPark was originally called ChisholmPark but was renamed in 1966 after HermonA. MacNeil.
The MacNeil home and studio were located on the eastern boundary of the Park but were sold and torn down in the 1950’s years after the death of Hermon and Carol MacNeil.
This video captures the beauty of MacNeil’s view of the Bay of the East River:
Where the Manhattan skyline filled their horizon;
Where Mayor LaGuardia used the old Chisholm Mansion as a summer home to cool from the heat of New York City;
Where later, airplanes would arrive and depart from the airport christened, “Fiorello LaGuardia Airport;”
Where the Whitestone Suspension Bridge joined the Borough of Queens with that of the Bronx;
Where Hermon and Carol purchased their home and land in 1902.
Where Hermon built his Stone Studio out of rocks gleaned from the East river shoreline;
Where the “Sculptors MacNeil” spent fortyyears making their lifetime of sculpture models and works.
Where they kept their boat on their dock behind the Studio;
Where Boats and jet skis still play
And where beautiful sunsets are seen over the sky line of New York City.
Carol Brooks MacNeil in 1907 with their two sons, Claude (rt) and Alden (lt) at their College Point Home in Queens, NYC, NY where she lived until her death in 1944.
Postcard of MacNeilstudio in College Point built by Hermon’s own hands. [From the webmaster’s collection].
Hermon A. MacNeil Park:
A Brief History
This park is named for Hermon A. MacNeil (1866 – 1947), an American sculptor who is known for designing the Standing Liberty quarter and sculpting the east pediment on the United States Supreme Court Building.
In 1835, Reverend William Augustus Muhlenberg purchased 134 acres of land in the area as the site of a new Episcopal seminary. Due to the financial Panic of 1837, plans for an expensive stone school building were abandoned. Muhlenberg’s sister, Mrs. Rogers, purchased the remaining stone for her own mansion, and a new frame building rose on the school’s masonry foundation. St. Paul’s College, for which College Point is named, opened in 1839 and closed about ten years later.
William F. Chisolm, a former St. Paul’s student, married Mary Rogers, the niece of Reverend Muhlenberg, in 1848. The young couple moved into the stone mansion on the grounds of the defunct school.
This 1932 photo of the mansion which was built in 1848. Mayor LaGuardia used the mansion as his “Summer City Hall” in 1937 when the MacNeil’s lived next door.
The remaining campus buildings were used by residents of College Point, Strattonport, and Flammersburg. The school chapel provided a place for religious services, the dormitories and outbuildings served as private residences, and the school building continued to function as a school for many years.
In 1930, the City of New York acquired the mansion and its grounds for a public park—College Point Shore Front Park. Mayor Fiorello LaGuardia made the Chisolm mansion his summer City Hall in 1937, conducting his municipal business in July and August on the shores of the East River. The old mansion was razed between 1939 and 1941, and a flagpole marks the site.
In 1966, Mayor John V. Lindsay signed his first local law, which renamed the park for world-renowned sculptor, HermonAtkinsMacNeil, who lived and worked in College Point. Born in Everett, Massachusetts, MacNeil graduated from Massachusetts Normal Art School and became an Instructor at Cornell University. He became a National Academician in 1906 and went on to create one of his important works—The Moqui Prayer for Rain. MacNeil died on October 2, 1947 in College Point.
His sculptures can be seen in four of the five boroughs in New York City, including Washington as Commander–in–Chief at the base of the Washington Square Arch in Manhattan; a cast of his SunVow in the Pratt Institute in Brooklyn; the FlushingWarMemorial in Queens; and four busts in the Hall of Fame of Great Americans at Bronx Community College. This popular northern Queens green space is located along the East River and features waterfront views, kayak and canoe launching sites, handball and basketball courts, and more.
The NYC Library Building on Fifth Avenue was a Beaux Arts Masterpiece of the Picarrilli Brothers inside and out.
The famous library lions of NYC, Patience (near) and Fortitude (far left), are located at the entrance of this building on Fifth Avenue. The library lions were sculpted by Edward Clark Potter and carved by the Piccirilli Brothers.
In addition to carving the lions for The New York Public Library, the Piccirilli Brothers carved the six allegorical figures representing History, Romance, Religion, Poetry, Drama, and Philosophy that adorn the Library’s Fifth Avenue facade. [see them above the 3 arches]
New York Public Library’s Main Branch, specifically its flagship building at 476 Fifth Avenue and 42nd Street. The famous library lions, Patience and Fortitude, are located at the entrance of this building. The library lions were sculpted by Edward Clark Potter and carved by the Piccirilli Brothers. The Main Branch, also known as the Stephen A. Schwarzman Building, is a Beaux-Arts masterpiece and a New York City Landmark.
Piccirilli Statues above Fifth Street entrance.
A few of the Piccirilli Statues on NYPL: (obscured: History, Romance, Religion) Visible L to R:Poetry, Drama, and Philosophy.Inscriptions between the sculptures bear the names of library benefactors John Jacob Astor, James Lenox, and Samuel Jones Tilden.
MacNeil’s Statue of
John Stewart Kennedy
John Stewart Kennedy bust in New York Public Library
A BRIEF NOTEfrom the Webmaster:
“I did not discover this bust by Hermon A. MacNeil until 2020, 100 YEARS after this sculpture was installed in its niche at New York Public Library. Here’s the story we found!”
“The John Stewart Kennedy Memorial was completed and the bust of Mr. Kennedy by H. A. MacNeil, the sculptor, was installed in the niche prepared for it in the Fifth Avenue entrance lobby. Mr. Kennedy was formerly the President of the Lenox Library, and upon the consolidation became a Trustee and Second Vice-President of The New York Public Library, in which capacities he continued to serve until his death in 1909. He took an active part in the negotiations, which resulted in the consolidation, and the deep interest, which he displayed in the development of the Library and his liberal benefactions to it will be ever remembered.” [SOURCE: Bulletin of the New York Public Library, Volume 24: January to December 1920, New York, 1920]
A number of Hermon MacNeil’s sculptures were carved to full size by the Piccirilli Brothers. This family’s skills were quietly deployed by dozens of Beaux Arts sculptors and architects to complete monuments and buildings all over New York City and beyond.
The Piccirilli Brothers were renowned carvers of many of the most significant marble sculptures in the United States, including Daniel Chester French’s colossal Lincoln in the Lincoln Memorial, Washington, D.C.
In 1888 Giuseppe Piccirilli (1844-1910), a well-known stone carver, brought his family to New York from Massa, Italy. The entire family, father and six sons – Attilio, Feirrucio, Furio, Getulio (Giulio), Masaniello, and Orazio – were trained as marble cutters and carvers. After Giuseppe died in 1910, his six sons carved for thirty more years.
They lived in a brownstone on 142nd Street in the Mott Haven section of the Bronx and set up a stone-carving atelier next to their home that would eventually occupy an entire city block.[https://www.nypl.org/about/history/piccirilli-brothers]
Philadelphia – Hermon MacNeil – Soldiers And Sailors Monument Sailors side – Being photographed by Dan Leininger, webmaster).
Two of the MacNeil monuments shaped by the hands of these five Italian family are:
General George Washington with Flags (U.S. and POW/MIA) ~ Washington Arch Greenwich, NYC (Photo courtesy of: Gibson Shell – 2011)
The George Washington: Commander in Chief, on the Washington Arch in New York City.
1916 Photo of the installation of the MacNeil statue. Thia appears to have the statue sitting in the right hand leg of the Arch. The left leg is where it was permanently installed. This photo was salvaged from a NYC flea market by John Gomez and used with his permission Credit: John Gomez, NYC. The Piccirilli’s were specialists who would take a clay statue designed by a sculptor and exactly reproduce it in marble stone. They were expert stone-carvers proficient in marble. Carrara in Tuscany, Italy was a major source of Italian Marble.
Title: Civil War Soldiers and Sailors Memorial
Artist: Hermon Atkins MacNeil (1866 – 1947)
Year: 1921; installed 1927; relocated 1954–1955
Location: Logan Square, Benjamin Franklin Parkway and 20th Street
Medium: Two pylons, Tennessee marble, on granite bases
Here are further details on the Albany Soldiers and Sailors Monument from the The Albany Evening Journal, Sat. Oct. 6, 1912.
$100,000 was appropriated by the New York State Legislature
The final site selection was in Washington Park rather than the first in Capitol Park
A competition for design was held. The Five Jurists were:
Daniel Chester French, sculptor
Arnold W. Brunner – architect, city planner
Will H. Low – painter
William R. Mead, architect
Herbert Adams – sculptor
The Jury selected the submission of Hermon Atkins MacNeil. His design was chosen over five other noted sculptors. The jury pronounced it “the most meritorious … exceedingly chaste and dignified.”
Architects, Lord and Hewlett of New York, were associated with MacNeil’s design. They had also partnered with MacNeil on the William McKinley Monumentat the Ohio Capitol grounds in Columbus.
“The jury was unanimous in its opinion that the memorial would prove not only a beautiful piece of monumental work but something unusual. Experts who have seen it say Albany may well be proud as it will be discussed and admired in art circles the world over.”
MacNeil titled his work “The Nation in Peace Won Through Victorious War“
He said he submitted this form “because with the abundance of foliage in Washington Park” which offered background and setting for the monument.
“The dark bronze group would tend to mix and confuse with the trees and the foliage.” The mammoth white marble gave a vigorous contrast as well as being a particularly appropriate framing for the memorial.”
In addition, MacNeil’s plan of sculpting the soldiers, sailors, uniforms and equipment in bas relief would render the images more interesting and complete.
The title that MacNeil proposed implied a “just peace” rather than glorifying war. The broken shackles of slaves were made a component part of plinth on which the bronze Victory statue stands.
While MacNeil was at work on the various models in his studio at College Point, members of the Albany committees paid him many visits and changes were frequently suggested.
All these efforts added meaningful details to the multiple relief designs on all sides of the monument.
Albany, NY: This colorized post card of the 1912 “Soldiers and Sailors Monument in Albany, just blocks from the State Capitol shows the Rear view of that 22 foot Marble piece.
Eighty figures are sculpted in bas relief on the four sides of the tennessee marble. As previously posted, MacNeil named over a dozen women who served as Sculpture assistants in crafting the models for this monument in his College Point Studio. It is the the 2nd largest of his four Civil War Monuments.
1 Whitenville, Massachusetts, 1905. below ⇓and Right ⇒
Here is ONE place to go to see sculpture of Hermon A. MacNeil & his students. Located in cities from east to west coast, found indoors and out, public and private, these creations point us toward the history and values that root Americans.
Daniel Neil Leininger ~ HAMacNeil@gmail.com
Hosting & Tech Support: Leiturgia Communications, Inc. WATCH US GROW
WE DESIRE YOUR DIGITAL PHOTOS – Suggestions
1. Take digital photos of the work from all angles, including setting.
2. Take close up photos of details that you like
3. Look for MacNeil’s signature. Photograph it too! See examples above.
4. Please, include a photo of you & others beside the work.
5. Tell your story of adventure. It adds personal interest.
6. Send photos to ~ Webmaster at: HAMacNeil@gmail.com
Purchasers of the MacNeil Medallion often share unique memories of the SLQ.
They lived in a brownstone on 142nd Street in the Mott Haven section of the Bronx and set up a stone-carving atelier next to their home that would eventually occupy an entire city block.
