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

Since 2010 this website has transported viewers through the years and miles between 100’s of Hermon MacNeil’s statues & monuments throughout the USA.

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

PERHAPS,  you walk or drive by one of his public sculptures daily. HERE, you can gain awareness of this great sculptor and his many works.  Maybe there are some near you! CHECK HERE!

Search Results for "newberry moqui"

MacNeil’s “Moqui Runner” is running through a prominent Chicago Library. The “Runner’s” race began in 1924 and continues into the 21st century.

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”]

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).

 

MacNeil has captured the intensity of the Hopi Runner.

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: D. Leininger - background removed to enhance image)

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:

MacNeil's "Moqui Runner" at the Newberry Library (photo by webmaster - bkgd removed)

  • 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”
  • Gift of Edward E. Ayer, 1924.1350

See Moqui Runner ~ Previous Post

https://hermonatkinsmacneil.com/2010/09/01/the-moqui-moki-hopi-prayer-runner-by-hermon-a-macneil/

[mappress mapid=”31″]

The Hamlin Garland Memorial Highway ~

Brown County, South Dakota

Hamlin Garland https://mypoeticside.com/wp-content/uploads/gallery-images/e6845fc.jpeg 

Hamlin Garland Highway in Brown County South Dakota.
[Credit: Hamlin Garland Society]

 

 

​In June 1936, the Brown County Commissioners named a section of Brown County Highway 11, for a total of 10 miles, the “Hamlin Garland Memorial Highway.” This section travels past the homestead of Garland’s father, Richard, who homesteaded in 1881. In 1998, new signs were placed along this stretch of paved road noting the name of the highway. 

[ Hamlin Garland Society of Aberdeen, SD   http://www.garlandsociety.org/ ]

Hamlin Garland Highway in South Dakota.

GARLAND TOWNSHIP–This township was named after Hamlin Garland, a novelist, who lived in this area with his pioneer parents, Mr. and Mrs. Richard Garland.  The land south and west of Columbia [and Ordway] was immortalized by this writer in “Among the Corn Rows,” and “A Son of the Middle Border.”

SOURCE:  Information courtesy of Gene Aisenbrey ~ Hamlin Garland Society of Aberdeen, SD  Contact: garlandsociety@gmail.com      Copyright © 2015

Garland information on the web:

In 1895 HAMLIN GARLAND led Hermon MacNeil and Francis Brown to the four corners area (AZ, NM, CO, UT) to witness the Native American people and culture there.

  • Hamlin Garland Highway in South Dakota. [SOURCE:  Information courtesy of Gene Aisenbrey ~ Hamlin Garland Society of Aberdeen, SD ~ Contact: garlandsociety@gmail.com  Copyright © 2015 ]
  • Hamlin Garland Biography  (Wisconsin Authors and Their Works)

    • A Biography of three pages
    • One of Garland’s Grant Interviews with Julia Dent Grant (1826-1902) widow of General U. S. Grant
  • SD Historical Society: “Hamlin Garland’s South Dakota: History and Story” https://www.sdhspress.com/journal/south-dakota-history-9-3/hamlin-garlands-dakota-history-and-story/vol-09-no-3-hamlin-garlands-dakota.pdf
  • A brief Garland bio (Al Filreis)

~ A Poem by Hamlin Garland ~

“Do you fear the force of the wind,
The slash of the rain?
Go face them and fight them,
Be savage again.
Go hungry and cold like the wolf,
Go wade like the crane:
The palms of your hands will thicken,
The skin of your cheek will tan,
You’ll grow ragged and weary and swarthy,
But you’ll walk like a man!”

Their  adventure in 1895 led into Native settlements in Colorado, Arizona (Moqui, Navajo), New Mexico, and Utah:

  •  Hamlin Garland, led the tour to the southwest in the summer of 1895. MacNeil & Browne wanted to gain direct experience of American Indians to inform their art. What the trio found reflected in their respective painting, sculpture and writing.
  • MacNeil sculpted a cement statue of Chief Manuelito for trader C. N. Cotton under a tent in the dessert. His subsequent sculptures of Native Americans after that summer of 1895 continued his cultural interest.  That fascination began with his friendship and sculpting of Black Pipe, the Sioux warrior. He first met Black Pipe at the Buffalo Bill Wild West Show at the Chicago World’s Fair in 1893.  The Sioux modeled for MacNeil and later worked in his studio for over a year before MacNeil’s trip with Garland.
  • Charles Francis Browne was a painter and friend (his room mate in Paris) who accompanied Hermon MacNeil and the author.
  • Edward Everett Ayers was an art patron to both MacNeil and Browne.  He had been a Civil War Calvary officer stationed in the southwestern United States.  He became a lumberman who made a fortune selling railroad ties and telephone poles. He urged MacNeil to travel to see the vanishing West of the American Indian.  He became an arts benefactor whose art collections are now housed by the Art Institute of Chicago, as well as, the Newberry Library.    His copy of MacNeil’s “Moqui Runner” still graces the Newberry Library.

Related Posts:

 

Rarest of the Rare!   A very rare Silver – Society of Medalists #3 – by ‘H. A. MacNeil’ (in lower right).

It is “Silver.”

Only twenty-five were minted in 1931.

In the summer of 1895, Hermon MacNeil traveled to the Southwest.  With Hamlin Garland and Charles Francis Browne, they journey by railroad to the four-corners region of New Mexico, Arizona, Colorado and Utah.

With Garland as guide the sculptor and the artist witnessed Native American culture first hand. They visited the Hopi and Navajo reservations immersed in Native American life. They saw the “Prayer for Rain” ~ the Snake Dance ceremony depicted here on the SOM #3.

The “Prayer for Rain” depicts the Moqui (Hopi) runner carrying the snakes to the river to activate the rain cycle of nature. [SOM #3 Reverse]

This Society of Medalists Issue #3, in Silver, by Hermon MacNeil is rare.  This silver “Beauty” is the only one I have seen in my ten years of “Searching for Uncle Hermon” and producing this website.

ONLY 25 were made in SILVER (99.9%).

The Silver issue of MacNeil’s medallion is among the rarest of the rare.  

Over sixty-times that number  were struck in  Bronze  (1,713).  Now nearly eight decades later, those are more common, but also rare and collectible.   [See pictured below — at the end of this article — this author’s collection of the varied Bronze patinas of S.O.M #3.]

The next year (1932), Frederick MacMonnies sculpted a medallion celebrating Charles A. Lindbergh historic flight.  250 of those medallions were struck in Silver.  That makes the Lindbergh issue ten times more common than MacNeil’s “Hopi”.  (10 X 25) — 

Silver minting of most SOM Issues quantities usually ranged from 50 to 125.  Most often 100 silver specimens were struck.  SO the 25 of the MACNEIL’S “Prayer for Rain” creations are twice as rare and up to 10 times as rare as other SOM Issues.

This, all Society of Medalists (SOM) in Silver can be considered rare.  However, this MacNeil piece is definitely “THE RAREST OF THE RARE!”

This images that MacNeil’s placed of the Obverse and Reverse had been burned in his visual memory in 1895.  They lived in his artist’s awareness for decades. It is no stretch to say that they inspired numerous sculptures and pieces that came out of his studio. 

“The Moqui Runner,” “The Primitive Chant,” were “living” in his mind when he first saw these scenes. Then, three decades later, he chose them for his own theme and design.  Thus, the 1931 Society of Medalists Issue #3 became his offering to this young series by American Sculptors.

The following are just a few of the sculptures and monuments, which re-capture some of the Native American culture and history first observed in this 1895 trip to the Hopi (Moqui) people.

By comparison, the SOM’s issued from:

  • 1930 to 1944. ~ struck 2X to 5X this quantity of SILVER medallions. 
  • 1945 to 1950. ~ those SOM silver issues were minted in quantities of 50 to 60.
  • 1950 to 1972. ~ NO silver medallions were struck. 
  • 1973 to 1979. ~ Silver medallions ranged from 140-200. 
  • No Silver coins were struck from 1980-1995
  • In 1995 the “Society of Medalists Series” closed production.

In 1931 design the the Society of Medalist medal #3, Hermon MacNeil chose to immortalize his memory of these images from 1895 in rare silver — 99.9% fine silver!

A Rare Beauty Indeed.   Hi Ho, Silver !

MacNeil Display MacNeil Medallion (front and reverse) in Center. Framed by 10 SOM #3 (Obverse & reverse) of varied patinas. SOURCE: Collection of Webmaster

 

 

 

 

 

 

SOURCES:

Information taken from the six page list entitled: Medal Collectors of America; Checklist of “The Society of Medalists” Issues 1930 – Date. Originally written by D. Wayne Johnson with rights retained by him; used with permission.

His listing includes the original pricing supplied by Paul Bosco in the inaugural issue of the MCA’s publication “The Medal Cabinet” (Summer 2000) for the silver issues and Paul’s update values for the bronze pieces that appeared in the Spring/Summer 2002 edition of “The MCA Advisory.”

Several sculptures of Hermon Atkins MacNeil are featured in a current exhibition at the Metropolitan Museum of Art in New York City continuing through April 13, 2014.  The show entitled “The American West in Bronze, 1850-1925”  contains three parts: Indians, wild animals, and cowboys.

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

A MacNeil “Sun Vow” sculpture housed in the Founder’s gallery of the Reading Public Museum in Reading, PA

Another Chief of the Mulnomah

Another “Chief of the Mulnomah” was identified at Mount Vernon, Ohio in an August 2013 inquiry from Linnette Porter-Metler of the Mt. Vernon and Knox County Library Staff. The date ’03’ follows MacNeil’s signature.

Three MacNeil works of early Native American images are visible online in an 8 photo slide show of the exhibit. They are apparently part of the “Indians” segment of the show.  CLICK HERE for the link to this slide show.  The MacNeil works include The Chief of the Multnomah (slide #3 in left background); The Moqui Runner (slide #6 foreground); The Sun Vow (slide #6 right rear).  

The exhibit has received some criticism in a NY Times art review entitled  “Manifest Destiny at the Point of a Gun” by Ken Johnson.  The MacNeil pieces are specifically not mentioned in Johnson’s critique. 

(More on Ken Johnson’s comments in the another article.)

MacNeil's "Moqui Runner" at the Newberry Library (photo by webmaster - bkgd removed)

MacNeil’s “Moqui Runner” at the Reading Room of the Newberry Library  in Chicago. This piece is a gift of Edward Everett Ayer who encouraged and marketed 12 castings of this piece for MacNeil during his early years in Rome 1896-99.  (photo by Dan Leininger, webmaster – bkgd removed)

“The American West in Bronze, 1850-1925” continues through April 13 at the Metropolitan Museum of Art; 212-535-7710, metmuseum.org.

 

"Moqui Runner", "Prayer for Rain"

"A Primitive Chant"

A MacNeil "Sun Vow"

"A Chief of the Multnomah"

 

Chief Manuelito of the Navajo sculpted by Hermon A. MacNeil in 1895 two years after the Chief's death at age 75.

This topic seems a strange fit for a website devoted to the art of Hermon Atkins MacNeil, an American Sculptor of the 19th and 20th centuries, born in Massachuesetts of Scottish descendents. 

Please, bear with me briefly while I take you on a journey toward today’s Native American Day story.  

STEP ONE:  An arrogant sense of Manifest Destiny often accompanied many 19th and 20th Century concepts of American culture, history, and pride.  An inescapable irony in our own 21st Century, is that Hermon MacNeil and many of his contemporary sculptors placed many Native American images at the center stage of the historical and allegorical sculptures of World Fairs from 1890 to 1915.  That is quite visible throughout this website.  I am beginning to find that MacNeil’s embrace of Native American themes in his sculpting, especially from 1895-1905, still offers us lessons more than a century later in understanding culture, anthropology and life values. 

STEP TWO:  Today is Native American Day in South Dakota, my home for the last 31 years.  I understand that California is the only other state celebrating a Native American Day.  “In 1989 the South Dakota legislature unanimously passed legislation proposed by Governor George S. Mickelson to proclaim 1990 as the “Year of Reconciliation” between Native Americans and whites, to change Columbus Day to Native American Day and to make Martin Luther King’s birthday into a state holiday. Since 1990 the second Monday in October has been celebrated as Native American Day in South Dakota.” [ Wikipedia: Native American Day:  http://en.wikipedia.org/wiki/Native_American_Day ]  In April 1993, Governor George Mickelson, a friendly giant of a man, and eight civic leaders were killed in a tragic plane crash in Iowa.  His death was a great loss to this state and to hopes of Reconciliation.  We still observe the day, even if it is in a subdued fashion.

STEP THREEI am Daniel Neil Leininger, founding webmaster of HermonAtkinsMacNeil.com.  I am a Caucasian descendant of Scottish German stock. My maternal grandfather. Thomas Henry McNeil (1860-1932), was a cousin to Hermon Atkins MacNeil (1866-1947).  My mother, Ollie McNeil Leininger, always called Hermon MacNeil her “Uncle Hermon.” My middle name, Neil, was my mother’s gift.  It reminds me of my heritage.

STEP FOUR:  In researching the sculpture of MacNeil in recent years, I have developed a growing sense of “historical irony” in his placement of Native American images to symbolize the vitality of American expansion westward through his cultural era of Manifest Destiny.  His choice moves against the strong current of self-absorption in contemporary cultures, both his and ours.

MacNeil's sculpture design for the Award Medals at the Pan American Exhibitition, Buffalo, NY 1901 (reverse). Note the shields with South and North American continents

EXAMPLES 1-5: See photos above:

EXAMPLE 6:  MacNeil made a Pan American Exhibition Award Medallion with an indigenous North American and an indigenous South American sharing a Peace Pipe.  Probably a corrupted mix of Native images, but it is a allegory, a visually symbolic representation carrying a larger meaning.

THE STORY OF MacNEIL and CHIEF MANUELITO:

MacNeil never met Chief Manuelito.  Two years after his death, MacNeil made a statue of him using only a photograph supplied by trader C. N. Cotton. The year was 1895.  Thirty years earlier, Manuelito had survived the “scorched-earth” missions of the U.S. Army under Gen. James H. Carleton and Col. Kit Carson, the “Long Walk” (a 320 mile forced march of men women and children through the deserts) to Bosque Rodondo, and the imprisonment of Native peoples there for four years. 

Navajo Chief Manuelito - taken between 1868 and his death in 1893. He was a war Chief of the 1860. (photo Credit: ASU- Denver Public Library).

MacNeil made the statue  tribute out of available materials.  He built a wooden frame, a wire mesh surface and sculpted cement around it forming an eight foot two inch tall image of the Chief wrapped in a bright native blanket.   His techniques seem to mirror the many ‘staff plaster’ statues he made for the 1893 Chicago Worlds Fair.  He was visiting the southwest that summer with friends Hamlin Garland (writer) and C.F. Browne (artist) to experience the vanishing Native culture at the urging od E. E. Ayers and others.

As the story goes, after he finished he asked Cotton if the piece was acceptable.  Cotton left and brought in a group of older Native women to enter the canvas enclosure where MacNeil had setup a  open-air studio workshop.  After much weeping, the women, one of whom was Manuelito’s wife, came out obviously moved by the experience of being with the piece. 

See my previous stories on Manuelito and MacNeil, and MacNeil’s two friends, Hamlin Garland and C.F. Browne.

Edward E. Ayers was the  benefactor of the three artists  who urged them to make the trip.   A former member of the First California Cavalry Volunteers of the U.S. Army in AZ during the Civil War and the Native American oppressions of the 1860s,Ayers was stationed at the Cerro Colorado Silver Mine (now a ghost town) south of Tuscon in Pima County AZ.  He was in charge of 14 men who guarded the silver mine from robbers.  While there he happened on a copy of William H. Prescott’s Conquest of Mexico placed there by the mine’s owner Col. Samuel Colt, of revolver-fame. Ayers devoured the book repeatedly and began his life-long insatiable interest in Native American literature, manuscripts, and culture.  He became an American business magnate, who is “best remembered for the endowments of his substantial collections of books and original manuscripts from Native American and colonial-era history and ethnology, which were donated to the Newberry Library and Field Museum of Natural History in Chicago.”  [ Wikipedia ]   (Editors Note: Ayers passion for understanding and preserving Native American culture continues into the 21st Century  through the legacy of his estate now bequeathed to Newberry Library, Field Museum and related archieves.)

One hundred years after MacNeil make the trip and completed the piece, Joe Di Gregorio, (Gallup businessman and grocer), stepped in to rescue the Manuelito statue.  It was badly needing repair and being stored in a warehouse going up for sale.   Leslie Linchicum of the Albuquerque Journal relays this account in her March 2010 story:

“Longtime Gallup grocer Joe Di Gregorio and his wife, Christine, own the statue. They took custody after the building’s owner, in negotiations to sell to an out-of state buyer in 1983, turned to Di Gregorio and whispered, “Don’t let the bastards take the Indian.” Di Gregorio didn’t. He agreed to take custody of Manuelito and promised to keep him in Gallup.” [“Navajo Leader Stands Tall” Albuquerque Journal, March 11, 2010]

Now 116 years after MacNeil’s visit, McKinley County Fine Arts Commission in Gallup, NM is restoring the nearly 9 foot fragile artwork that MacNeil built in an outdoor tent.  “Carolyn Milligan, chairwoman of the … Commission, has estimated that it will cost $25,000 to $38,000 to restore the sculpture, which has deteriorated from a hundred years of rail yard soot, showers with a fire hose and a well-meaning but inept repainting.” 

Milligan continues, “The 1,000-pound piece is fragile, …. Wherever it stands, she said, it will probably attract crowds.”  “It’s really quite a commanding piece,” Milligan said. “And it’s for the people.”

BEST WORDS OF THE DAY: “Don’t let the bastards take the Indian.” MacNeil and Manuelito would probably smile to hear those words.  While virtually all of the ‘staff plaster’ sculptures of the World Fairs have crumbled to dust, Manuelito still stands tall. 

After all, he does belong to the people, centuries of people, both Native and otherwise. 

THAT’s WHY I BELIEVE THAT: MacNeil’s embrace of Native American themes in his sculpting from 1895-1905 still offers us lessons in culture, anthropology and life values for the 21st Century.

MORE HISTORY:

1.) For further irony read my previous stories of  the making of Hermon MacNeil’s 1895 sculpture representing Chief Manuelito of the Navajo or read history of this Chief of the Navajo starting here.

2.) William Wroth’s “Long Walk” to Bosque Redondo  also provides poignant insight into this period of the United States management of Native American peoples and the life of Chief Manuelito who was part of that “Long Walk” and signed the treaty of 1868 that sought to restore Navajo lands after the disastrous interventions of the US government.

3.) “The Long Walk”  A Ten (10) Part video story of the Navajo “Fearing Time” accounting atrocities against the Navajo people from 1863 to 1868.  Researched and produced with support of the George S. and Delores Dore’ Eccles Foundation and the Pacific Mountain Network.   Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8 Part 9Part 10.

4.)  “The Long Walk”   For a Navajo perspective view this video by Nanebah, whose great-great grandmother survived “The Long Walk”.

5.) “300 Miles – Or Long Walk Of The Navajo – Richard Stepp”  For a musical tribute with an ‘American Indian Movement’ perspective.

6.) Leslie Linthicum, staff writer for the Albuquerque Journal,  gives a delightful article, “Navajo Leader Stands Tall”.   It offers historical irony from our 21st Century on attitudes toward Native American culture  through her story of the ‘management’ and ‘preservation’ of MacNeil’s iconic statue of Chief Manuelito.

Related posts:

  1. 1901 Pan-American Exposition – Buffalo, New York ~~ “The Rainbow City” (10.3)
  2. MacNeil Sculpture “Meets Me in St. Louis” (20)
  3. Expositions and World’s Fairs ~ Hermon A. MacNeil (15.6)
  4. MacNeil at the 1893 Columbian Exposition ~ ~ ~ THE CHICAGO YEARS ~ ~ (10.8)
  5. https://hermonatkinsmacneil.com/2011/03/26/1904-louisiana-purchase-exposition-saint-louis-worlds-fair/

Sculptures that Hermon A. MacNeil’s exhibited for the 1901 Pan-American Exposition in Buffalo, New York.

The above works that Hermon A. MacNeil’s exhibited in Buffalo for the 1901 Pan-American Exposition are listed in:

“The Catalogue of the Exhibition of Fine Arts.” Pan-American Exposition: Buffalo, 1901. (p. 45-46; p. 59).

pp. 45-4. 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.

Some of these people mentioned in that exhibition record were to be long term colleagues, friends and patrons of MacNeil’s art and career.

Charles Francis Browne was a painter and friend who accompanied Hermon MacNeil and author, Hamlin Garland, to the southwest in the summer of 1895. They wanted to gain direct experience of American Indians to inform their art. What the trio found reflected in their respective painting, sculpture and writing.

MacNeil’s subsequent sculptures of Native Americans after that summer of 1895 continued a cultural focus that began with his friendship and sculpting of Black Pipe, the Sioux warrior. He first met Black Pipe at the Buffalo Bill Wild West Show at the Chicago World’s Fair in 1893.  The Sioux modeled for MacNeil and later worked in his studio for over a year.

Edward Everett Ayers was an art patron to both MacNeil and Browne.  He had been a Civil War Calvary officer stationed in the southwestern United States.  He became a lumberman who made a fortune selling railroad ties and telephone poles. He urged MacNeil to travel to see the vanishing West of the American Indian.  He became an arts benefactor whose art collections are now housed by the Art Institute of Chicago, as well as, the Newberry Library.

All the above is but a small part of the history woven into this simple Exhibition catalogue entry from 1901.  More later on Macneil’s mysterious “Agnese.”

Related Images:

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
Hosting & Tech Support: Leiturgia Communications, Inc.
COME BACK & WATCH US GROW

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