Archive for 1915 Panama-Pacific International Expo. ~San Francicso
Pan & Minerva from 1916 ~ Two MacNeil “Bas Reliefs” from a Century Ago in San Francisco
Posted by: | CommentsPAN MINERVA
Two bas relief panels by Hermon A. MacNeil have been discovered. PAN on the left – MINERVA on the right.
They have remained virtually hidden for over 100 years.
Their original installation and images are verified, but their continued deposition as of 2021 remains uncertain.
The above article from 1916 accompanied the the photos of Pan and Minerva in The International Studio, Vol 59, p LVIII.
Hermon A. MacNeil sculpted these bas reliefs over a century ago. Documentation of Pan and Minerva has appeared in recent searches by the webmaster.
Information discovered in recent weeks include:
- A Pair of Bas-reliefs of PAN and MINERVA
- Material: 2 terra cotta reliefs
- Dimensions: 2 1/2 feet by 4 feet
- Mr. Hill Tolerton, Owner
- William C. Hays, Architect
- Location: 540 Sutter St., San Francisco
- Building originally designed as an Art establishment
- Made in Italian Renaissance style with an upper mezzanine level
- Adjoining Courtyard patterned after that of the Italian Building in the late Pan-Pacific Exposition of 1915
- The 2 reliefs no longer appear on the face of the building as was the stated design. [SEE Google street PHOTO included below of 540 Sutter Street today]
- The above images are the only record of the MacNeil work presently found. Other evidence may be uncovered in subsequent searches.
Mr. Tolerton wanted the facade of his new Art Gallery on Sutter Street in San Francisco ornamented by two “sculptured placques”. He commissioned MacNeil, a sculptor of the Pan Pacific Exposition of 1915, to make these reliefs of Pan and Minerva to grace his new Art building.
One of Pan — the god of the wild, shepherds and flocks, nature of mountain wilds, rustic music and impromptus, and companion of the nymphs. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr.
The other of Minerva — the goddess of wisdom, war, art, schools, and commerce. She was the Etruscan counterpart to Greek Athena.
THESE TWO ICONS MARKED TOLERTON’S NEW BUILDING AS AN ART CENTER. [ They do not appear in the street photo captured below from 2020 ]
No trace of the MacNeil bas relief panels of Pan and Minerva at 540 Sutter Street, San Francisco in this 2020 street photo via Google maps. Perhaps they were originally in the space high above the doorway and window a century ago in what now appears as stucco finish. SO, … PAN & MINERVA still remain hidden in the 21st century — if they still exist at all!
SOURCES:
- “Two Bas Reliefs by Hermon A. MacNeil”, The International Studio, Ed: Charles Holmes, et. al. Vol.59, p. lviii. from Google Books on 1/3/2021 at https://books.google.com/books?id=q09aAAAAYAAJ&pg=PR58&dq=Pan+Minerva+san+francisco+Mr.+Hill+Tolerton+1916&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiWheuZtYPuAhVWZc0KHWyZDScQ6AEwAHoECAMQAg#v=onepage&q=Pan%20Minerva%20san%20francisco%20Mr.%20Hill%20Tolerton%201916&f=false
- “A New San Francisco Gallery”, American Art News. Vol. XIV, No. 33, New York, May 20, 1916. p. 1.
MacNeil’s “The Sun Vow” ~~ MacNeil Postcard #1 Revisited
Posted by: | Comments“The Sun Vow”, Hermon MacNeil’s earliest acclaimed work, was exhibited around the world and still can be visited in museums and galleries today. This old photo postcard was purchased recently by the editor.
“The Sun Vow” By Hermon Atkins MacNeil is seen here in an early B&W Photograph Postcard by photographer Gabriel Moulin, probably dating from the 1929 Exhibition of the National Sculpture Society at the newly completed California Palace of Legion of Honor, San Francisco.
“The Sun Vow” is pictured here in an early B&W Postcard by photographer Gabriel Moulin.
The likeness probably dates from the 1929 Exhibition of the National Sculpture Society at the newly completed California Palace of Legion of Honor, San Francisco.
The “Sun Vow” was also exhibited by MacNeil in the 1915 Panama-Pacific International Exposition in San Francisco, as well as, Exhibitions in Paris, Buffalo, and Saint Louis. The story of California Palace and its permanent reconstruction is an interesting one:
“The California Palace of the Legion of Honor originated as the French pavilion in San Francisco’s Panama-Pacific International Exposition of 1915. Alma de Bretteville Spreckels was so impressed with the pavilion that she offered to construct a permanent museum in its likeness, which was completed in 1924 and now stands as the Legion of Honor.”
(https://legionofhonor.famsf.org/legion/collections )
Thus the 1929 exhibit gave birth to this historic photo by Moulin. An previous image of this postcard was posted several years ago on this website at [click here]
https://hermonatkinsmacneil.com/2011/04/07/postcard-1-the-sun-vow-h-a-macneil-in-bw/
“Column of Progress” ~ and Hermon A. MacNeil
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"Column of Progress" with MacNeil's "Adventurous Bowman" as the finial figure on top. (postcard image courtesy of Gib Shell)
Of the many spectacular architectural creations that towered over San Francisco at the Pan-Pacific Exposition in 1915, perhaps “The Column of Progress” was one of the more unusual, at least by American standards.
MacNeil’s finial sculpture, “The Adventurous Bowman” atop the column was regarded as “the most splendid expression of sculpture and architectural art in the Exposition.”
The Exposition was a celebration of American achievement in the completion of the Panama Canal, thus the ‘Pan-Pacific’ designation.
In her 1915 book, “Sculpture of the Exposition: Palaces and Courts” author Juliet Helena (Lumbard) James stated:
The prototype of this column is seen in Trajan’s Column in the Forum of Trajan or in the Column of Marcus Aurelius, in Rome.
Both of these ancient prototypes are ‘old world’ symbols of imperial pride for military conquests. Both are in Rome within a mile of each other. Both would be in the familiar foreground during MacNeil’s studies in Rome (1896-99). Perhaps the same could be said for many other sculptors who designed the PPIE and also studied in Rome.
Note the Column’s resemblance to Tragan’s Column in Rome. Also read more on this famous piece of Roman architecture.
In addition the Column of Marcus Aurelius bears a prototypical resemblance, though perhaps less spectacular.
For video of the Art of Exposition pictured in James’ book see: Juliet Helena (Lumbard) James, Art of the Exposition
Karl Bitter, a longterm colleague of MacNeil’s, organized the overall planning of sculpture for PPIE .
“After working as a sculptor at the World’s Columbian Exposition in Chicago in 1893 and as director at the Pan-American Exposition in Buffalo, New York in 1901, Bitter’s extraordinary organizational skills led him to be named head of the sculpture programs at both the 1904 St. Louis Exposition in St. Louis, Missouri, where Lee Lawrie trained with his guidance, and the 1915 Panama-Pacific Exposition held in San Francisco, California. In 1906/1907, he presided the National Sculpture Society.”
[ Source: Wikipedia http://en.wikipedia.org/wiki/Karl_Bitter ]
Both Bitter and MacNeil were based in New York City. They worked on at least four world’s fairs together. Both were elected president of the National Sculpture Society – Bitter in 1906-7, MacNeil in 1910-12 and again 1922-24.
While Karl Bitter was the designated the “Chief of Sculpture of the Exposition,” A. Stirling Calder, another one of MacNeil ‘s colleagues and former students, was called, “The man at the wheel in the management of all the works of sculpture at the Panama-Pacific International Exposition.” Bitter was tragically struck by a car in NYC and killed before the PPIE work was completed. Leadership for the completion of the Exposition sculptures then fell on the shoulders of his young assistant, A. Stirling Calder .
MacNeil's 'Adventurous Bowman' atop the "Column of Progress." None the structures and sculptures seen here remained after the PPIE closed in 1915. (Postcard courtesy of Gib Shell)
Architect – Symmes Richardson, one of the junior partners of the firm of McKim, Meade and White of New York designed the column structurally. This was the architectural firm of “The White City” of the Chicago World’s Fair of 1893. That event jump-started MacNeil’s career as well as those of many artists and sculptors of that era.
The postcard pictured above identifies the Column sculptor as Alexander Stirling Calder. He and MacNeil would later collaborate on their paired statues of George Washington “at War” and “at Peace” for the Washington Arch in New York City. By 1914 MacNeil had already begun working on his ‘General Washington’ statue erected in 1916. Calder’s ‘President Washington’ would be placed on the Arch two years later. Stanford White, another architect from McKim, Mead and White designed the Washington Arch.
Juliet James offers a detailed interpretation and description of the “Column of Progress” in her book.
“The Column of Progress”
The bas-reliefs at the base are by Isadore Konti of New York. The sum of all human effort is represented. Man’s spiritual progress is seen on the four sides of the base. Atlas rolling the heavens suggests the passage of time. Men with their different ideals in the long procession of progress are seen. Some go manfully on, some fearfully, some feel the need of the sword to win their way, others find companions necessary, but all of these men and women must have faith (represented by the two meaningful women at the door), the hope of the palm of victory, and hear the bugle call as they go on their upward climb. They pass before us, these men and women of different aspirations, and disappear from view. Up, up they climb. At the top of the column is Hermon A. McNeil’s Burden Bearers, supporting his Adventurous Bowman. “All must toil to win” and some must bend their backs that others may rise. Has it not been so at the Panama Canal? Have not many done the labor that the United States, the Adventurous Bowman, may win? This purposeful type of manhood, with magnificent decision, has just drawn the bow, and on has sped the arrow of success. The bowman looks to see it hit the mark. The man on the right possibly is one of his aids. The little woman at his side will know by his eyes if the arrow has gone home, and she will then bestow upon him the laurel wreath and the palm of victory which she holds in her hand. She stands ready to help him. See the group from the sea-wall directly in front of the Column of Progress for the splendid purpose expressed in the figure and on the face of the “Adventurous Bowman.” Many San Franciscans would like to have this wonderful group duplicated in bronze to remain permanently with the city of the Exposition of 1915.”
While not a part of the Column of Progress, MacNeil’s “Signs of the Zodiac” were also an appreciated part of his contribution to the Exposition. This sculpture was destroyed as well. [This is the only surviving photo that I have found to date – Webmaster.]
http://www.books-about-california.com/Pages/Sculpture_and_Mural/Sculpture_Illustration_022.html
Expositions and World’s Fairs ~ Hermon A. MacNeil
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The MacNeil sculpture above the main entrance of the Saint Louis Art Museum is a fine example of the Beaux Arts style of World Fairs of this era. (http://www.slam.org/).
The Eighteenth, Nineteenth and Twentieth centuries were filled with hundreds of World’s Fairs. Hermon Atkins MacNeil began his career as a sculptor in the 1890s. He worked on five of these events that were in the U.S. between 1901 and 1915. He helped design buildings, outdoor art, plazas, exhibits, and entered sculptures in many of these expositions.
MacNeil’s works were entered in the Pan-American Exposition in Buffalo (1901); the Charleston Exposition in South Carolina (1902); the Louisiana Purchase Exposition in St. Louis (1904); [MacNeil Sculpture “Meets Me in St. Louis” (7.3) On a recent trip to Saint Louis, Missouri to visit…] the Lewis and Clark Exposition in Portland, Oregon (1905); and the Pan-Pacific Exposition in San Francisco in (1915)
In future postings we will gather information on these events and MacNeil’s involvement in expos that became extravaganzas of art and sculptures. So more on Chicago, Buffalo, Charleston, Saint Louis, Portland, and San Francisco fairs. Most of the fairs that MacNeil worked on were built in the peak era of the Beaux Arts style of architecture and sculpture in the U.S. He was part of a the American Renaissance from 1890 to 1920, the last phase of Neoclassicism in United States. (See also Beaux Arts link above).
Below is a Wikipedia list of World Fairs from 1700 to the present. Modern Expos tend to be held in outside of the USA in nations with developing economies and growing world trade.
List of World’s Fairs: Source: http://en.wikipedia.org/wiki/List_of_world%27s_fairs#1890s
Stay tuned!
Photo Credit: http://www.slam.org/
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