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

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

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

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

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

Take a Virtual Journey

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

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

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

Maybe there are some near you!

Search Results for "Black Pipe"

"Primitive Indian Music" - A rare 1894 bronze casting of a sculpture later refined and cast in multiple copies as the "Primitive Chant to the great Spirit."

A recent inquiry from James Dixon has revealed a previously unseen 1894 bronze casting entitled “Primitive Indian Music.” The piece appears to be an early (or earliest) proto-type of  “The Primitive Chant to the Great Spirit” by Hermon A. MacNeil dated 1901.  

MacNeil marked this earlier piece on the base in block letters. He signed it simply “MACNEIL Sc”

It is dated [ ’94 ] similar to the Marquette Building panels of 1895, some of which are dated [ ’95]. SEE detail below: 

"MACNEiL 95" reads this signature on Panel 3 of Marquette Building, Chicago. (Detail from lower right corner - Note; mocassin foot in showshoe above signature.)

This ‘Dixon’ piece is marked like no other bronzes of the “Primitive Chant.” All others are dated 1901.  Jim tells us that his great grandmother, Eda Lord, lived in Evanston, Illinois, and purchased the statue between 1890 and 1900.

Jim Dixon knows this, because the sculpture has been in his family for four generations.  He found our website seeking more information on his family’s MacNeil art piece. Here’s how Jim shares his family’s story:

My Great Grandmother, Eda Lord, purchased a MacNeil sculpture in the late 1800’s when she lived in Evanston, Illinois. The sculpture made its way down the family tree to my Grandmother and then to my mom and dad and it was passed on to me when my mom passed away last year. The statue is of an Indian boy and is about 24″ tall (bronze) It is labeled “Primitive Indian Music MacNeil s: ’94” My review of the works of MacNeil pointed to the sculpture entitled “A primitive chant to the Great Spirit” at the Smithsonian Museum. My observation of the photo of “A primitive Chant…” lead me to believe that the two sculptures are the same. It this possible? Were multiple casting made of these statues? Was it common to re-cast the statue at a later time? I would be happy to send digital photos of the sculpture for your records, review and comments. Any further information you may have on this statue would be appreciated.

Thank you for your time and assistance.

James Dixon

The partial title "PRIMITIVE IND..." is visible here

Hers is partial title "Indian Music" and "MACNEIL Sc" with date " '94"

This photo of  markings on the piece read “PRIMITIVE…” and the next photo continues “INDIAN MUSIC”. The  signature bears no initials, only the full last name, “MACNEIL Sc”. Additional marks include a date [ ‘ 94 ]. These markings are consistent with MacNeil’s pre-1900 dates on the Marquette Panels — last name only with no initials. The block letter ( MACNEIL ) is “identical to Panel #3 of the Marquette Building.  In addition, consider the following:

  1. No foundry marks appear on this Dixon Family heirloom.
  2. More importantly no RBW (Roman Bronze Works) initials or name appears on the casting.  Roman Bronze Works is where most museum pieces of this work were cast.  They also bear the date of 1901.  RBW opened its doors in 1900 the same time that Hermon MacNeil settled in College Point, Queens, NYC, New York.
  3. The absence of RBW’s distinguishing mark, as found on the 1901 casts, and the Dixon family story of acquisition would seem to indicate a date before 1900 for the casting of this piece.
  4. The story of Hermon MacNeil and his hiring of Black Pipe (see previous post dated April 25, 2012) as a studio assistant and model are consistent with an 1894 dating of this piece.  In this conversation with J Walker McSpadden in 1924, MacNeil recalled the events:
    • MACNEIL: “Yes, and you may find it an interesting yarn. Buffalo Bill’s Wild West Show had been in Chicago during the Fair, and one of his braves was Black Pipe, a Sioux, a fine-looking fellow. He had stayed behind, and one day I met him on the streets, looking hungry and cold, and asked him if he wanted something to do. He did there was no doubt about that. I took him into the studio, fed him up, and then set to work modeling his head. I finished it in four hours, for I was not sure that I would ever see my Indian again; but he stayed with me in all for a year and a half, helping me with odd jobs about the studio. That’s his head there.”
    • It was a life-size bronze, which he indicated, not done in full relief but resting on a plaque a strong piece of portraiture.
    • MCSPADDEN: “In this and your later work with Indians,” I inquired, “did you have any trouble about making their likenesses? Some of them object to being photographed.”
    • MACNEIL: “Yes, many of the older Indians object; they think it takes the spirit out of them. But Black Pipe had been among white folks long enough to know better, and with others I managed to get around their superstitions. Black Pipe, by the way, posed for ‘The [312] Primitive Chant 5 which is one of my best-known Indian subjects.”
    • This is the spirited figure of a naked savage dancing to the music of his own flute. It has been widely copied in art prints.  [ Source: Joseph Walker McSpadden, Famous Sculptors of America, (New York: Dodd, Mead and Company, 1924) pp. 311-12. ]
  5. This figure also appears to also be based on Black Pipe.  CLICK HERE for more on MacNeil and Black Pipe
  6. The only other evidence of a MacNeil Bronze from this period (1894) is “the Vow to Vengeance” in the Art Institute of Chicago which lists a date marking on 1894 as well.   SEE AIC Website HERE.

Many old photos of ‘plaster casts’ of this sculpture appear in museum archives.  This ‘Dixon’ bronze appears to be a very different find than other models, either plaster or bronze. 

WEBMASTER’S COMMENTS:

  1. Thanks Jim for the photos and inquiry.
  2. This seems a VERY early bronze casting from MacNeil’s 1893-1895 days at the Art Institute of Chicago (1893-1895).
  3. I have seen Plaster sculptures from this period but not Bronze casts. Perhaps, MacNeil was venturing (experimenting) into bronze castings. Another bronze from 1894 is this “Vow to Vengeance” which was an early version of the later “Sun Vow”  [ SEE Art Institute of Chicago holdings: CLICK HERE ]
  4. This “Primitive Indian Music” seems an early version of his “Primitive Chant to the Great Spirit.” of 1901. Your piece seems to be a ‘first’ to me. Spelled RARE. There maybe others, but they are not in museum archives, or accessible on-line. I certainly have not seen them.

  5. All other bronze casts I have seen photos of date after 1900. This includes “Primitive Chant” from museums and auction house photos. All those have RBW initials from NYC -Roman Bronze Works.
  6. The work seems much less finished (polished).  It appears rougher in texture (more primitive? early?). Not only Primitive Indian…, but also maybe Primitive MacNeil… ?

CONCLUSION (for now): This is a fascinating piece that seems to this non-curator-MacNeil-enthusiast to be one of Hermon’s earliest concepts of what he later cast as “Primitive Chant to the Great Spirit” in 1901. 

That piece was cast by Roman Bronze Works when MacNeil settled there in his studio-home in College Point NYC.

NEXT: “Who was Eda Lord? And How did she become owner of this early MacNeil sculpture?

Hermon MacNeil’s  interest in Native American culture began in (of all places) Chicago.  Before he ever traveled to the Southwest in 1895 to visit the Hopi (Moqui), and Navajo people, Native culture visited him in Chicago.

"Primitive Chant to the Great Spirit" photo of plaster model from MacNeil's Studio. (Credit: Photo Archives Smithsonian American Art Museum)

The live Native model for “The Primitive Chant” (at left) was a Sioux warrior by the name of Black Pipe.    Hermon first saw Black Pipe in the ‘Buffalo Bill’s Wild West Show’ at the Chicago World’s Fair of 1893. That winter, MacNeil found Black Pipe cold and desolate on the sidewalks of Chicago. MacNeil said that he gave him food and work as a model and an assistant in MacNeil’s studio (shared with Charles F. Browne).

More than being a model called in to portray an idea of the sculptor, Black Pipe portrayed a Native ritual dance, an ecstatic religious experience. The full title “Primitive Chant to the Great Spirit,” implies a religious experience that the native was depicting.  Lorado Taft, in his criticisms below, seems to miss the probable point of how this image came to be.  This image is not MacNeil’s in the mind of the artist, rather it is in the ecstatic religious memory of the model, Black Pipe.  I wonder how Hermon MacNeil experienced this Sioux’s portrayal as the warrior was transported in an ecstatic dance offered to the Great Spirit. MacNeil said that Black Pipe worked for him for the next year and a half. The Sioux warrior is immortalized in this piece and in the facial portrait pictured below. (Both photos are part of the Smithsonian Achieveshttp://siris-juleyphoto.si.edu/ipac20/ipac.jsp?&profile=all&source=~!sijuleyphotos&uri=full=3100001~!128333~!0 )

 

MacNeil's bronze of Blackpipe, a Sioux warrior he befriended in 1893 (source Smithsonian Archives)

The urging and support of Edward Everett Ayers led MacNeil and two companions, Hamlin Garland and Charles F. Browne, to travel to the southwestern territories (four-corners of New Mexico, Colorado, Arizona, Utah) in the summer of 1895.  Their goals were to witness the vanishing images of the Native people,  of the Southwest.

MacNeil made plaster models of native images and events and shipped them back to Chicago for later inspiration.   Many of the sculptures that he made in Rome to fulfill the Rinehart Scholarship requirements were based on these early studies from the Southwest. These would include the ‘Moqui Runner’, and the ‘Sun Vow’.  Returning to these themes three decades later, he crafted the Society of Medalists Issue #3 in 1931, after the “Moqui Runner” and the “Hopi Prayer for Rain.” His 106 foot long bas relief frieze on the North side of the Missouri Capitol contains a section that seems to be the basis for the SOM #3 Issue of 1931 called “Hopi Prayer for Rain.”

Lorado Taft ‘imagined’ MacNeil’s ‘days’ in Rome in very ‘idealistic’ terms.  He suggested that the Reinhart Rome Scholarship must have given MacNeil an ideal time for focused ‘days’ of study:

“Four years of them with three hundred and sixty-five days in each year! To live in the Villa dell’ Aurora, to work upon subjects of one’s own choice, with no care and all expenses paid — what better could an artist ask for.? The only requirements made by the trustees were “satisfying evidences of industry,” to be attested in the form of “a  life-size figure at the end of the second year, a relief containing two life-size figures before the close of the third year, and during the fourth year a life-size group of two or more figures in the round.” [Lorado Taft, The History of American Sculpture, 1903, p. 439].

In his, THE HISTORY OF AMERICAN SCULPTURE, published in 1903, Taft critiques several of MacNeils sculptures in very flattering terms.  He praises the ‘technical quality’ of this piece while questioning the artist choice of a dancer playing his armpit as a musical instrument.  His exact words are offered in the passage below:

The next figure, ” A Primitive Chant,” possesses every technical quality of good sculpture. While the idea of an Indian making strange noises by blowing or shouting in the crook of his arm awakens no responsive thrill of imagination, this is nevertheless a powerful work. Its triumph is all the more marked since our surrender is, in a sense, an unwilling one. We are not prejudiced in favor of this tuneful creature, who, unlike a Hector or an Achilles, brings to his aid no emotional backing of poetry, no prestige of three thousand years’ success upon the ” boards.” This is sculpture pure and simple, — beauty of form, strength with refinement of modelling, compactness, breadth. The figure kneels, taking hold of the earth with powerful limbs ; the hands are clasped, the right elbow tight across the body, the arm raised at a right angle, concealing largely the savage face. The expanded chest and powerful back have fascinated the sculptor ; he has shaped them superbly.

Larado Taft's words describe this kneeling pose of "The Primitive Chant." The 'upright-dancing-warrior' is a more commonly seen version of MacNeil's work.

That these are adequate reasons for the statue one is hardly prepared to say, though such beauty of modelling is almost a sufficient excuse. The trouble is that with nine persons out of ten, nay, with ninety-nine out of the hundred, beautiful modelling is not interesting nor a raison d’etre ; and with the more thoughtful the very fact of such costly elaboration enhances the perplexity. Why so much labor and so much time expended upon a thing unbeautiful in idea? With all its masterful workmanship, and even its sculptural pose, it remains but an illustration of an incident, a custom; curious it may be, and even to some persons moderately interesting, but possessing for none a deep significance. Where does the emotion come in — the poetic thrill which we are told is fundamental in the genesis of every great work of art, and which in turn a truly great work must convey in some fashion and some degree to men and women of taste? We are obliged to admit that in the lack of any supplementary hint at a deeper import — as of mourning or of love-making, of solitude, or of worship — the only response awakened by the action of the figure is a rather unsympathetic query regarding the nature of the “music” produced in so outlandish a fashion!” (pp. 437-439.)

According to the Smithsonian Institute:

Hermon A. MacNeil
A Primitive Chant to the Great Spirit
modeled by 1901
bronze
24 1/2 x 6 1/8 x 8 3/4 in.
Smithsonian American Art Museum,

Gift of Maurice Kawashima in honor of Dr. Richard Wunder

http://americanart.si.edu/exhibitions/online/t2go/1lw/index-noframe.html?/exhibitions/online/t2go/1lw/1996.27.html

MacNeil has interpreted an Indian dancer as he chants into the crook of his upraised arm. The model for this sculpture was a Sioux Indian named Black Pipe, who was part of Buffalo Bill’s Wild West Show at the 1893 World’s Columbian Exposition in Chicago. Black Pipe remained in Chicago after the fair closed and became a regular model and studio assistant for MacNeil. The artist maintained a studio in Chicago, but traveled many times to the Southwest to observe Indian rituals, costumes, crafts, and ceremonies firsthand. In Primitive Chant, MacNeil captures the physical beauty and grace of the Native American, which he compared to that of Greek warriors.

1895
Hermon Atkins MacNeil, American Sculptor (1866-1947)

MacNeil’s bronze of Blackpipe, a Sioux warrior he befriended in 1893 (source Smithsonian Archives)

December of 1895 was an exciting time in the life of Hermon A. MacNeil — A time when he was described as “the most happy young man I know.”

Chicago. In fact, 1985, in general, had been a productive year for the sculptor.  Following the 1893 Chicago World’s Fair, times had been tough for both artists and Fair workers.   MacNeil had found Black Pipe, (the Sioux from Buffalo Bill’s Wild West Show), cold and hungry on the streets of Chicago.  He took him in as studio help and a model for future sculptures. 

Marquette.  During 1895, Hermon had completed the four bronze panels depicting the life of Fr. Jacques (Père) Marquette.  They were put in place over the four entry doors of the Marquette Building (CLICK HERE) where he and his artist friend, Charles F. Browne, shared a studio. 


Panel 4 – “The de Profundis was intoned ..

According to information from the MacArthur Foundation (current owner and curator of the Marquette Building), Amy Aldis Bradley wrote in 1895 to Peter Brooks:

After commissioning MacNeil for the exterior bronzes, Aldis wrote to Peter Brooks, “McNeil’s [sic] panels are being placed in position. It is greatly to their and his credit that these bas-reliefs have won for him the Roman [Reinhart] Fellowship. The Commission, choosing him as the best of the very young men…The young sculptor was married on Christmas Day, and sailed for Rome on Wednesday, and is, on the whole, the most happy young man I know. He is very grateful to the owners of the Marquette Building.” (http://marquette.macfound.org/slide/herman-macneil/ )

 Rinehart Prize. In December,  he received news that he had been named as recipient of the Rinehart Roman Scholarship for study in Rome.  Newspapers such as the Nov. 25, 1895 Chicago Tribune (CLICK HERE), and the Dec. 22, 1895 -New York Sun, (CLICK HERE) (columns 5 & 6), contained the news of the selection of this 29 year-old western artist to receive the Prix Rome.

H.A.MacNeil ~1895 sketch - Chicago-Sun
H.A.MacNeil ~1895 sketch – The Sun (New York City)

The sculptors on the committee that selected MacNeil for the  award were the ‘giants’ among American sculptors of the 19th century. As mentioned in the above newspapers, the Rinehart Roman committee included Augustus Saint Gaudens, John Quincy Adams Ward, and Daniel Chester French

These famous sculptors were in the prime of their careers.  Saint Gaudens, at 47, had been the sculptural advisor for the 1893 World’s Columbian Exposition in Chicago.  One tradition suggests that MacNeil asked Saint Gaudens for a letter of reference to Phillip Martiny that got him work on the  that Exposition in  1893. John Quincy Adams Ward, at age 65 was the ‘grandfather’ of American sculptors, and the founder as well as standing president of the National Sculpture Society. Daniel Chester French, age 45, was also a founding member of the National Sculpture Society, and sculpted the colossal sixty-foot golden “Republic” centerpiece statue for the Chicago Fair. ( A thirty foot tall miniature golden replica of which still graces Jackson Park in Chicago today.)

Marriage:

On Christmas Day 1895, in Chicago, he married Carol Louise Brooks, also a sculptor. Earlier MacNeil was informed that he had won the Rinehart Roman Scholarship. Following their wedding, the pair left for Rome, passing three years there (1896-1899) and eventually spend a fourth year in Paris where their first son, Claude, was born.  During those years they study together under the same masters and  live on the shared income of Hermon’s Rinehart Scholarship.  (Carol  had also studied sculpture with both Lorado Taft and Frederick William MacMonnies and been a member of “The White Rabbits” ~ a self christened group of women sculptors called in to complete the massive work load of ‘staff’ statues needed for the Chicago Fair in 1893. )

Future:

Other events from 1895 would later unfold into sculpture-opportunities for Hermon MacNeil. In May in Greenwich Village, New York City, Stanford White, with assistance from both Frederick MacMonnies and Phillip Martiny, completed a permanent Washington Arch. 

,
1895 photo of Empty pedestals on the new Washington Arch with New Yorkers strolling into the popular park.  The skyline includes Judson Memorial Church tower to the right of the Arch.  NYC Citizens would wait more than twenty years before the MacNeil and Calder tributes to George Washington as Commander-in-Chief and as President would be commissioned and put in place in 1916 and 1918. (Photo credit: NYC -Architecture.com: ~  http://nyc-architecture.com/GV/GV046WashingtonSquareArch.htm)

The first one, made in 1889 of paper and wood, commemorated the centennial of  the inauguration of  George Washington.  Received with great popularity, the citizens of NYC demanded a permanent Arch monument for their first President.  White’s design was dedicated on May 4, 1895 with two empty pedestals, meant for statues of Washington.  These niches on the north face of the monument remained empty for almost two decades before MacNeil’s statue of Washington as Commander-in-Chief would fill one pedestal (east side, in 1916), and Alexander Stirling Calder’s statue of Washington as Statesman would fill the other (west side, in 1918).

Another "The Coming of the White Man" postcard actually mailed over a century ago, "From Chas. Aug. 24, 1907." (Antique Postcard courtesy of Gil Shell of KC, MO)

This month’s MacNeil postcard again features the “Coming of the White Man” statue in Portland, Oregon. This b&w p hoto  postcard shows the statue as it looked in its first year, 1906.  The postcard (which was actually mailed for 1 cent in 1907 – ‘from Chas’) is now owned by Gib Shell.  Note the fresh landscaping around the base of the statue.  Also the complete oak branch in the hand of the young scout  (before it was broken off – see below).  

The branch in the scout's hand has been broken for some time.

A recent estate auction featured a “Chief of the Multnomah” which is the right-hand half of this pair.

“Everything Must Go” was a feature story in the “Queens Chronicle” by Elizabeth Daley, editor (March 11, 2011).  Michael Halberian lived in the former Steinway Family Mansion.  It is uncertain whether the MacNeil sculpture was a Steinway heirloom that sold with the mansion or whether Mike discovered it in his appraisal work.


The late Michael Halberian poses on his estate with his prized possession, an Indian statue by Hermon Atkins MacNeil. (Photo by Elizabeth Daley, Queens Chronicle)

This Queens blogger suggests that the Steinway mansion was something of a museum – free to the public for much of its lifetime: http://queenscrap.blogspot.com/2011/03/steinway-mansion-artifacts-to-be.html

The original plaster sculpture from which this bronze is cast now stands in the Poppenhusen Institute in Queens, NYC just several blocks from MacNeil Park near MacNeil’s home and studio on College Point.  Hermon served as president of the institute board and donated the original plaster model to them. A previous post here tells the whole story.  CLICK HERE

A miniature of the "Chief of the Multnomah" behind glass at the MMA in NYC.

The figure on the right with crossed arms was also cast singlely and entitled “The Chief of the Multnomah.” It was later cast in miniatures also. ~

It is possible that MacNeil patterned this statue after Blackpipe, a Sioux Warrior in Buffalo Bill’s Wild West Show that he befriended after the 1893 Chicago Fair.   Blackpipe worked off and on at MacNeil’s studio during 1894.  Thirty years later, J. W. McSpaden conversed with MacNeil about how he developed an interest in Indian subjects:

"Blackpipe" - photo of a sculpture in the Smithsonian Institute archieves for H. A. MacNeil.

 

MACNEIL: “Yes, and you may find it an interesting yarn. Buffalo Bill’s Wild West Show had been in Chicago during the Fair, and one of his braves was Black Pipe, a Sioux, a fine-looking fellow. He had stayed behind, and one day I met him on the streets, looking hungry and cold, and asked him if he wanted something to do. He did there was no doubt about that. I took him into the studio, fed him up, and then set to work modeling his head. I finished it in four hours, for I was not sure that I would ever see my Indian again; but he stayed with me in all for a year and a half, helping me with odd jobs about the studio. That’s his head there.”

It was a life-size bronze, which he indicated, not done in full relief but resting on a plaque a strong piece of portraiture.

MCSPADDEN: “In this and your later work with Indians,” I inquired, “did you have any trouble about making their likenesses? Some of them object to being photographed.”

MACNEIL: “Yes, many of the older Indians object; they think it takes the spirit out of them. But Black Pipe had been among white folks long enough to know better, and with others I managed to get around their superstitions. Black Pipe, by the way, posed for ‘The [312] Primitive Chant 5 which is one of my best-known Indian subjects.”

This is the spirited figure of a naked savage dancing to the music of his own flute. It has been widely copied in art prints.

Source: Joseph Walker McSpadden, Famous Sculptors of America, (New York:Dod, Mead and Company, 1924) pp. 311-12

The Smithsonian archives contain a photo of “Blackpipe” in their MacNeil collection of papers and photos. (No other images or location of this sculpture is known to this author). McSpadden’s description, “It was a life-size bronze, which he indicated, not done in full relief but resting on a plaque a strong piece of portraiture” suggests a permanent piece of art.  It’s lineage after 1922 and present whereabouts (even existence) remain a mystery to this author.

 

 

"The Coming of the White Man" ~ MacNeil posed Black Pipe, the Sioux Warrior in Buffalo Bill's Wild West Show that he befriended after the 1893 Chicago Fair. (Antique Postcard courtesy of Gil Shell)

For our

Second MacNeil Postcard

we have selected  a re-run of this very old

color rendered photograph of the

“Coming of the White Man.”

Photo file courtesy of Gil Shell

This monument in Portland has a twin on the east coast in NYC that is in the Poppenhusen Institute in College Point, Queens, NYC.

This second statue is just down the street from Hermon A. MacNeil Park and the site of his old home and studio in Queens.  The sculpture was donated by Mr. MacNeil to this Cultural Center in his community.  It occupies an honored place in the stage-right corner of the auditorium.

See that twin photo here


Comments (0)

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.”

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