Archive for Charles Francis Browne
The Hamlin Garland Memorial Highway ~
Brown County, South Dakota

Hamlin Garland https://mypoeticside.com/wp-content/uploads/gallery-images/e6845fc.jpeg
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/ ]
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.”
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.
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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:
Society of Medalist #3 ~ Hopi ~ Prayer for Rain ~ by Hermon A. MacNeil
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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]
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.
- 1894 “Primitive Indian Music” ~ family heirloom
- 1895 “Chief Manuelito” statue ~Gallup, New Mexico
- 1897 “The Moqui Runner” Modeled 1896, Cast 1897
- 1901 “Primitive Chant to the Great Spirit” ~ Smithsonian American Art Museum – Washington, DC
- 1901 “Sun Vow” Art Institute of Chicago
- 1901 “Sun Vow” Metropolitan Museum ~NYC
- 1903 “Chief of the Multnomah Tribe”, Met Museum, NYC
- 1904 “The Coming of the White Man #2” ~ Queens, NYC ~ Poppenhusen
- 1904 “The Coming of the White Man” ~ Portland
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.”
HOPI – “Prayer for Rain” by Hermon A. MacNeil
Posted by: | CommentsHermon Atkins MacNeil (1866-1947) – “Hopi” (Obverse) and “Prayer for Rain” (Reverse) Society of Medallists (SOM), Issue #3 of 1931, was based on MacNeil’s “Moqui (Hopi) Runner” statue of 1897. This was the only SOM issue that MacNeil would ever sculpt. Yet nearly fifty years later (1943), he vividly described these images of his 1895 travels to the Hopi (Moqui) Mesa in his Autobiographical Sketches.
MacNeil’s brief artists intro accompanying the medal is as follows:

Four examples of various finish patinas on medals that MacNeil selected for SOM#3 in 1931 (Reverse view. From collection of Dan Leininger, webmaster)
“The two incidents of the Hopi Prayer for Rain on the mesas of northeastern Arizona depicted on this medal are chosen by your sculptor because of the extraordinary vital enthusiasm and power that the Indians throw into this ceremony. Having witnessed it and been thrilled by the intensity of their emotion and on further study by the complicated and perfectly natural development of this drama, I cannot help feel that in it we find a basic note underlying all religions. All these Southwest Indians, living as they do in an arid region, have developed their religion along the lines of their greatest need –water.”
In the documentation accompanying each medal, MacNeil offered the following additional narrative of his witnessing of this ritual nearly 36 years earlier while on his 1895 venture to the Southwest with Hamlin Garland and Charles F. Browne:
“This is one of their greatest and most important ceremonies. Occurring in August, it is filled with ritualism for nine days and in their kiva, an underground chamber, they have ceremonies with these snakes that have been gathered by the antelope and snake clans of their tribe for six days, from the north, east, south and west, also from above and below, therefore from all the directions of the universe. These snakes, so far as our best authority goes, although a portion of them are poisonous varieties, are not tampered with but are handled freely by the Indians, both during their underground ceremonies, and later on the last day above ground, in their public ceremony. During the last day ceremony they dance two and two, one with the snakes in his mouth, sometimes two at a time, while the other, accompanying him, wards off the head of the snake from the face of his companion with an eagle feather. It will be remembered that the eagle preys on the snake in nature and the smell of the eagle feather is supposed to frighten the snake with the intention of preventing him from biting. This ceremony was so intense and apparently so vital to them that although I myself saw two Indians bitten, they seem to be so completely under the control of the spirit that although I watched for further developments, yet there seemed to be no swelling or poisonous effects from the bites.
Even though the dancing takes place after the participants have taken hardly any food during the nine days, yet immediately after the public ceremony, which is performed in a circular action around the sacred stone on the mesa at Waslpi, they each take an emetic. After circling twice around the sacred rock, the one bearing snakes in his mouth emits them and a third follower immediately grabs the snake from the ground and carries it back to a little improvised enclosure of cottonwood boughs. After all the snakes have been used on this manner each Indian grabs into the bunch and with his hands filled with the snakes, each one starts running down the trail off the mesa onto the plains as shown on the reverse side of the medal and figuratively deposits the snakes again in their underground abodes.
Behind the heads of the dancers on the obverse is shown the sand picture drawn by the Indians themselves with colored earths on the floor of their kiva or underground chamber, about which they performed sacred ceremonials previous to the public dance. On this side of the medal the attempt is also made to show the apparent basic reason for the use of the snake in this prayer for water. This reason or theory seems to have evolved from the similarity in action between the snake on the earth and the lightning in the sky. The Indian, however, has evolved the theory of a kind of cousinship through these angular moving reptiles with the still more angular movement of the lightning to jar the rain clouds for rain, thus making their chief need their strongest prayer. Curiously enough, although there had been no sign of rain for weeks, the day following the remarkable ceremony, a little cloud appeared in the sky and the next day it rained copiously.”
[ SOURCE: Society of Medalists documentation accompanying the medals; reproduced at “Medals4Trade” ]
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 Achieves ~ http://siris-juleyphoto.si.edu/ipac20/ipac.jsp?&profile=all&source=~!sijuleyphotos&uri=full=3100001~!128333~!0 )
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
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.
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.
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.
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.
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- 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).