The next several story-postings on www.HermonAtkinsMacNeil.com will document my “Searching for Uncle Hermon” in Portland, Oregon.
The Astoria Column high over the city overlooks the Pacific Ocean and the mouth of the Columbia River. Here Lewis and Clark reached the ocean in 1805 and wintered there. Donna and I visited here before driving on into Portland.
In 1804, President Thomas Jefferson commissioned Second Lieutenant William Clark. and Captain Meriwether Lewis to lead an expedition exploring the Louisiana Purchase Territories. Their goal, in part, was to search the territory for a possible river passage to the Pacific. 
Wall mural of Lewis and Clark Expedition in Jake’s Restaurant the In the lobby of the old Hotel Governor, Portland Oregon.
While they did not find a contiguous river route to the sea, they did reach the Pacific at what is now Astoria, Oregon.
On November 20, 1805 they encounter the Pacific Ocean at the mouth of the Columbia River.
A monument there, the Astoria Column, sits atop the high bluff overlooking the Columbia River as it flows into the Pacific Ocean. 
Donna and I came to Portland for four days to observe and document the “Coming of The White Man.” This 1904 sculpture by “Uncle Hermon” marks the westward most reach of his public monuments.
— The year 1904 marked the Centennial of the Lewis and Clark adventure. MacNeil’s opportunity to place a monument here in Portland came at the invitation of a prominent Portland Family, the David P. Thompson family.
At last we had arrived.
H. A. MacNeil’s Tribute to Portland, the indigenous Multnomah tribe, and the Centenary of the Lewis and Clark Expedition was in hiking distance.
After writing about it for 10 years, “The Coming of The White Man” statue was on the agenda for the next morning!
As it unfolded, the day was beautiful and pictures stunning.
Webmaster Dan has arrived at another MacNeil Sculpture.
Sacajawea appears in Jake’s Grill murals.
MORE TO COME – stay tuned …
Webmaster Dan has come to the “The Coming of The White Man” statue after writing for 10 years about it on this site. The day was beautiful and pictures stunning.
Visit to Portland ~~ MacNeil’s “Coming of the White Man”
By · CommentsMay 8th I will be able to complete a “bucket list” check-off by visiting the “Coming of the White Man”.
This photo shows the upper base of the statue as part of the casting itself with the name sculpted into the base. This sits on the boulder that MacNeil crafted for the setting from Columbia River granite.
Post Card of 1905 Statue before the oak branch was broken. MacNeil selected the stone for the base and supervised its delivery from the quarry to the hill where it was hauled up by a four horse team.
I hope to take my own photos of the Statue in its Washington Park setting. I have told MacNeil’s stories of this piece, but have never had the pleasure of seeing it myself and spending time there.
Other posts related to the “The Coming of the White Man” [Click HERE]
More to come after May 8th.
Last Saturday while traveling home to South Dakota, I made an unscheduled stop at Reed Chevrolet in St. Joe, MO. As I took the exit ramp off I-29 at Frederick Ave., the red light on my Chevy Silverado dash told me that the alternator was failing.
I was planning to stop at Hazel’s Coffee to get some of our favorite beans to bring home, but I drove a block farther into Reed Chevrolet for emergency repairs.
While waiting for repairs, I met Lou Schreck, sales team member there. He gave me test drive in a new 2017 Red Silverado.
We drove downtown as Lou gave me his sales low down on Chevy’s 2017 Silverado line. I drove the very red 2017 that felt like a tall limo.
Lou Schrenk and “Poncho Villa”, Hermon MacNeil’s model for “THE PONY EXPRESS”
I gave Lou a history of the PONY EXPRESS statue in downtown St. Joe, Missouri and took his picture as MacNeil’s bronze mustang soared above.
Webmaster Dan in St. Joe again for the Ump-teenth time
I enjoyed meeting this friendly Chevy man and exploring the Silverado and St Joe again. Lou got a snapshot of me also with our Pony Express friends.
For more Pony Express stories that I told to Lou, click on this link:
The Reed repair shop got me back on the road to home
(I should have got a pic of the truck too. I swiped this from their website)
Jo Davidson’s autobiography,“Between Settings,” gives us pictures of two sculptors in the MacNeil aletier: Henri Crenier and John Gregory.
Henri Crenier
By the time Jo Davidson begins working for MacNeil, he describes Henri as a taunter and teaser:
Henri Crenier took a special delight in teasing me. I liked him and took it good-naturedly. But one day I lost my temper and we came to blows. I knocked him down and relieved my feelings by giving him a healthy pummeling. I was so busy that I did not hear MacNeil come into the studio. Suddenly I heard him say: “ Jo, when you get through, will you mix me a little plaster.”
MacNeil comment appears to be rather calm considering the ruff-housing of his assistants. Very likely, he had observed their conflict previously. And on this occasion thought, Jo had made his feelings known sufficiently and offered him a diversion to move his assistants on to the next tasks in the studio.
Crenier’s Early Life
AUTOPORTRAIT EN UNIFORME DU LYCÉE LAKANAL À LA CHAPELLE-D’ANGILLON – Henri Crenier
Before arriving in America and the College Point Studio, Henri’s early life began in Paris, France in 1873, Crenier studied at the Ecole des Beaux Arts with Falguiere, who was also a teacher of Hermon MacNeil. Henri worked in the Asnières-sur-Seine (a commune on north Paris) and exhibited at the Paris Salon. Immigrating to the US in 1902, he entered the art community of New York City, eventually exhibiting with the National Sculpture Society.
In New York, Henri Crenier linked up quickly with Hermon MacNeil who was seven years his senior. Whether he knew of MacNeil from Falguiere at the Ecole des Beaux Arts or learned of him in New York at the Art Students League is uncertain. Jo Davidson’s narrative places him in MacNeil’s studio around 1902-1903 as a master sculptor.
Crenier’s Later Accomplishments
James Fenimore Cooper Memorial in Scarsdale, NY, By Henri Crenier (1873-1948) http://www.hermonatkinsmacneil.com/?attachment_id=9006
His solo work includes the James Fenimore Cooper Memorial in Scarsdale, New York, as well as his single largest commission, the two pediment sculptures in granite for the 1915 San Francisco City Hall. He also contributed to the Panama-Pacific International Exposition (1915) and designed the freestanding figure of Achievement (see photo below) This photo of Nemours Mansion & Gardens is courtesy of TripAdvisor and the statue stands at the Nemours Mansion and Gardens in Wilmington, Delaware.
This photo of Nemours Mansion & Gardens is courtesy of TripAdvisor and the statue stands at the Nemours Mansion and Gardens in Wilmington, Delaware.
Henri Crenier adds Beauty to San Francisco City Hall
Henri Crenier went on to design and be chief sculptor of the San Francisco City Hall built after the 1906 earthquake. The regal structure soon became known as the “The People’s Palace.” Crenier’s design arose as an inspiring symbol of renewed hope in the heart of the city by the bay. This glorious gilded palace stood not for kings and queens, but for the people. For over a century since then all those who came were caught up in the Beaux Arts renaissance beauty of this public mansion. The video below tells the story of Henri Crenier’s design and direction of the construction of San Francisco City Hall (“Henri Crenier adds Beauty to San Francisco City Hall”; http://www.artandarchitecture-sf.com/henri-crenier-adds-beauty-to-san-francisco-city-hall.html Jan. 24, 2017)
No matter how far much San Francisco may claim his talents, Henri Crenier got his start in America in the College Point Studio of Hermon MacNeil some 3000 miles away.
John Gregory
The Folger Shakespeare Library has nine large sculptures carved in white Georgia marble along the front of the building. These are the work of John Gregory (1879 – 1958). Each bas relief sculpture depicts a scene from one of William Shakespeare’s plays. http://stationstart.com/wp-content/uploads/2010/02/cs_folger_panel_000-a.jpg
Folger Shakespeare Library lighting the last four of John Gregory sculpture Panels and Capitol Dome at night.
Nine Marble Nine Bas Relief Sculptures Along the Front of the Folger Shakespeare Library
Going left to right across the front of the building and also from left to right in the 3 by 3 grid above starting with the top row:
1. A Midsummer Night’s Dream
2. Romeo and Juliet
3. The Merchant of Venice
4. Macbeth
5. Julius Caesar
6. King Lear
7. Richard III
8. Hamlet
9. Henry IV, Part I
The Folger Shakespeare Library is located at 201 East Capitol Street SE, Washington, DC.
Gregory’s Statue of Anthony Wayne: In 1937 John Gregory sculpted this statue of Anthony Wayne for Philadelphia.
In 1937 John Gregory sculpted this statue of Anthony Wayne for Philadelphia. CREDIT: By Michael Murphy, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=16312124
SOURCES:
- Jo Davidson, Between Settings: an informal biography of Jo Davidson, New York: Dial Press, 1951. pp. 13-16.
- Lois Harris Kuhn, The World of Jo Davidson, Philadelphia: Jewish Publication Society, 1958. pp
- http://wikivisually.com/wiki/Henri_Crenier
- Works of Sculptor John Gregory at Folger Shakespeare Library in Washington, D.C.
- http://stationstart.com/2010/02/folger-marble-sculpture/
- https://en.wikipedia.org/wiki/John_Gregory_(sculptor)
MacNeil Month — February 2017
By · Comments
February 27th 2017 marks the 151st Anniversary of the birth of Hermon Atkins MacNeil.
February 29th marks the 157th Anniversary of Tom Henry McNeil (Thomas H. McNeil). Because he was born on Leap Day his birthday came only once every four years (Leap Year).
So we remember the McNeil/MacNeil cousins Tom Henry and Hermon. And we celebrate each February as “MacNeil Month” here at HermonAtkinsMacNeil.com.
Thomas (Tom) Henry McNeil (b. 1860 – d. 1932)
Hermon Atkins MacNeil (b. 1866 – d. 1947)
Hermon Atkins MacNeil (1866-1947) and Thomas Henry McNeil (1860-1932) were cousins. They shared a common grandfather, Peter McNeil (1786-1847).
Hermon is the sculptor celebrated on this website.Thomas (Tom Henry) was my grandfather. My mother, Ollie Francis McNeil, always referred to Hermon as “Uncle Hermon”. Their parents wanted her (and her sisters and brother) to do that out of respect.
Tom Henry was born near Burdette, Missouri, in Bates County. He graduated from the University of Michigan in 1884 (Literature) and 1885 (Law).
1884 Michigan Wolverines Football Team. Tom Henry McNeil, seated in the front in the black shirt, was the team captain. By Unknown – 1884 Michigan football team photograph http://bentley.umich.edu/athdept/football/fbteam/1884fbt.htm, Public Domain, https://commons.wikimedia.org/w/index.php?curid=12425688
He played football there as the first starting quarterback in consecutive seasons of 84 and 85. He practiced as a lawyer for Kansas City Railways Company, and in later years, he was responsible for making accident reports to the Interstate Commerce Commission and the Public Service Commission of Missouri. He died in 1932.
1885 Michigan Wolverines Football Team — Quarterback Tom Henry MacNeil is seated second from the left holding a ball. A rugby style ball was used, but no forward passes were allowed
Hermon was born in Everett (Chelsea, Malden) Mass. In 1886 he graduated from Normal Art School in Boston (now Mass Art). He moved to Cornell University, in Ithaca, New York. As Instructor
until 1889, leaving to study in Paris as a pupil of Henri M. Chapu and Alexandre Falguière. He sculpted in Chicago from 1891-1895, at the Columbian World Exposition (1893 Chicago World’s Fair) meeting Carol Brooks (also a sculptor). They married on Christmas Day 1895 and sailed days later for Rome (1895-99). Following another year in Paris (1899-1900), they settled in New York City building a home and studio in College Point, Long Island. He worked and lived there until his death in 1947.
Jo Davidson (cont.) in the MacNeil Atlier
By · Comments
“The Coming of the White Man in Washington Park, Portland, Oregon. This photo shows the legs of the Indian on the left which Jo Davidson painfully modeled in plaster casts. The title is sculpted into the base. The whole group sits on a boulder that MacNeil crafted for the setting from a granite quarry up the Columbia River granite. The granite came to the Park by barge. Then, a team of horses brought it up the hillside, all under MacNeil’s direction and supervision
Jo Davidson continues the narrative of his adventures working in the Studio of Hermon MacNeil:
Besides being a gardener, a sculptor’s assistant and an errand boy, I also became a model. Henri Crenier had noticed my legs one day while we were swimming and insisted they were just right for the young Indian in ‘The Coming of the White Man.’ MacNeil thought he could save time by making a plaster cast of my legs.
So Gregory and Crenier volunteered to do the job, claiming to be experts in casting from life. I was innocent and did not realize what I was up against. I was rather hairy, and they rather haphazardly rubbed the oil over my legs. That done, they covered my legs with plaster, and as the plaster set, the string that was to separate the two halves of the mold broke. Their fun increased as my temper rose, but I was in plaster up to my loins and was helpless. After setting the plaster became very hot and disagreeable. Mr. Gregory and Mr. Crenier chopped gleefully away, separating the two parts. Having completed that part of the job to their satisfaction, they proceeded to take the mold off my legs. The pain was excruciating, for the hair got mixed up with the plaster and as they pulled the mold off of me my hair went with it. I screamed and swore at them, but my anger only made them laugh louder. They finally got the mold off, leaving my legs like two boiled lobsters. The cast turned out to be a very hairy one. I saw those legs many years later in MacNeil’s studio, and I swear they were hairier than ever!
Henri Crenier took a special delight in teasing me. I liked him and took it good-naturedly. But one day I lost my temper and we came to blows. I knocked him down and relieved my feelings by giving him a healthy pummeling. I was so busy that I did not hear MacNeil come into the studio. Suddenly I heard him say: “ Jo, when you get through, will you mix me a little plaster.”
The summer passed quickly. Those were rich and full days. I was sure of my vocation. I was going to be a sculptor.”
Jo Davidson
Thus in his own words, Jo Davidson recounts becoming the unwitting model for the legs of this younger Indian.
Jo Davidson sculpting a young Frank Sinatra. (1946) – http://www.highlands-gallery.com/jo-davidson
The plaster casts were made on his very hairy legs. It proved a painful adventure for the naive teen. Humored by the absurd scene, the “experienced” sculptors laughed at his embarrassment and discomfort as they removed the plaster casts with his leg hair embedded.
Despite the teasing, Jo Davidson went on to study sculpture, develop his talents, and find his unique place as a sculptor doing what he loved.
