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

~ This Gallery celebrates Hermon Atkins MacNeil,  of the Beaux Arts School American classic sculptor of Native images and American history.  ~ World’s Fairs, statues, monuments, coins, and more… ~ Hot-links ( lower right) lead to works by Hermon A. MacNeil.   ~ Over 200 of stories & 2,000 photos form this virtual MacNeil Gallery stretching east to west  New York to New Mexico ~ Oregon to S. Carolina.   ~ 2021 marks the 155th Anniversary of Hermon MacNeil’s birth. ~~Do you WALK or DRIVE by MacNeil sculptures DAILY!   ~~ CHECK it OUT!

DO YOU walk by MacNeil Statues and NOT KNOW IT ???

Archive for Daniel Chester French

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.)


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. )


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).

Four past-presidents of the National Sculpture Societycongratulate Daniel Chester FrenchHermon MacNeil is 4th from the left as James Earle Frazer, Adolph Alex Weinman, and Herbert Adams, celebrate this Award of the first National Sculpture Society Medal.  [MacNeil is 4th from left as Frazer, Weinman and Adams congratulate Daniel Chester French.]

Laura Gardin Frazer & James Earle Frazer a married sculptor couple as were Hermon & Carol B. MacNeil. (Photo Credit: NY State Morgan Horse Society)

The medal was crafted by Laura Gardin Faszer, as depicted in the earlier segments of this complete film, entitled the “Medal Maker”.  Originally, the film was silent.  Nearly seventy years later in 1997, it was restored and reissued by Medallic Arts Company [ www.medallic.com ] and Mike Craven Productions with narration and additional color footage.  This reissue is what can be viewed here.

In this rare film from 1929, sculptor Laura Gardin Fraser is recorded creating the mold for the most prestigious medal awarded in America. Fraser was the first woman to design a coin for the U.S. Treasury, and she won several sculpture medals of her own. Her works include a double statue of Robert E. Lee and Stonewall Jackson on horseback, and relief panels at the West Point library. The original film has been reformatted, and is in color with black-and-white footage. Narration is provided by sculptor Elizabeth Jones, who is a former Chief Engraver of the U.S. Mint. 

[ Read more: http://www.answers.com/topic/medal-maker-laura-gardin-fraser-master-sculptor#ixzz1WpVuaLFb ]

The Four segments of the film are viewable at these YouTube locations:

Part ONE      http://www.youtube.com/watch?v=YxYO6LJtVdY

Part TWO     http://www.youtube.com/watch?v=FfWLB2dMl_w

PartTHREE http://www.youtube.com/watch?v=A1qG_oArwoI

Part FOUR:     http://www.youtube.com/watch?v=81No7kWeXtc&feature=related

Part FOUR of the “Medal Maker” video begins with Daniel Chester French on screen sculpting a horse.  It switches to a view of French being presented the NSS Medalion by Adolph Alfred Weiman as James Earle Frazer, Hermon Atkins MacNeil, and Herbert Adams look on.

Pictured in Part THREE of the video is this photo of a Banquet on April, 9 1937 of the Society of Medalists – at Medallic Art Company, where this film was shown for the first time to a gathering of sculptors.  I have marked in red a face that resembles Hermon Atkins MacNeil.  [Apologies Uncle Hermon if that is not you. webmaster]. 

The host, Clyde Trees, owner of Medallic Arts Company, had hope that two dozen sculptors attend.  When seventy-five (75) accepted his invitation and the little shops at 210 East 51st Street in downtown Manhattan were overwhelmed.  Work benches, tables , and presses of the Medallic Arts Company were moved aside to make room for the gathering. A Commemorative Medal bearing the profile image of Augustus Saint Gaudens was struck by Mr. Trees as a ‘party favor’ for the occasion. Commemorative Medal

MEDAL MAKER VIDEO:  www.youtube.com/view_play_list?p=A69802FB6478AB3B

STORY OF THE 1997 REISSUE OF ‘MEDAL MAKER’ VIDEO:  http://www.coinbooks.org/esylum_v13n31a13.html 

Highlighted for visitors is the complete film, “The Medal Maker.” First shown to the Society of Medalists in 1929, it features multi-award winning coin and medal designer, sculptor Laura Gardin Fraser in her famous New York Studio in 1929 creating the models for the Special Medal of Honor for the National Sculpture Society, America’s highest sculptural award. Every step of creation and production is shown, including sketching, preparing background plate, transferring the drawing and applying clay pellets to the model, foundry casting of the pattern, die making and striking the medal at Medallic Art Company. This exceptional movie is narrated by Elizabeth Jones, sculptor, and former United States Mint Chief Engraver, from her studio in Philadelphia.


For further Biography on Laura Gardin Frazer and her famous sculptor husband, James Earle Frazer, see :   http://www.nysmhs.org/history/LauraGardinFraser/index.htm



As mentioned in the previous post of July 22, the Lincoln Hall statue at University of Illinois was cast from a standing Lincoln original plaster sculpture. The Smithsonian Institute archives contain a photo of that piece on right. [or CLICK HERE]

The Smithsonian Institute archives contain this photo of MacNeil's Lincoln standing.

MacNeil's "Lincoln Lawyer" from U of I's Lincoln Hall was modeled from the larger standing Lincoln plaster original

Note the folded arms, the papers in the right hand, and the young clean-shaven Lawyer Lincoln.  The resemblance of the Lincoln Hall figure (left) to the Smithsonian photo (right) is apparent (even in the reduced images seen here).

MacNeil’s original plaster statue of Lincoln (standing) very likely has been lost to the ages.  He sculpted it in 1914 for a competition of the Art Commission of Illinois.  They sought a statue for the City of Springfield. After the commission chose another sculpture, MacNeil worked with Roman Bronze Works  to cast 8 Lincoln busts from the original standing  Lincoln. 

The original may have been destroyed, or more probably, was stored in Roman Bronze Works  (RBW) warehouse . There it would have been subject to the foundry activities, moves, changes and decay of that facility’s history over the  past 100 years since MacNeil created the fragile plaster Lawyer Lincoln.  (Many renowned sculptors desired the “lost wax” method of casting which RBW made available in the U.S. ) During the thirty years from 1897 to 1927,  Roman Bronze Works resided in New York City. The story of RBW  after 1927 seems a bit more complicated:

Roman Bronze Works in New York City, established in 1897 by Ricardo Bertelli, was the pre-eminent sculpture bronze foundry in the United States during the American Renaissance. It continued to cast sculpture after that period ended. Its foundry, long a sub-contractor to Louis Comfort Tiffany‘s Tiffany Studios, moved to Tiffany’s Corona, New York, red brick factory in 1927.[1]

Roman Bronze Works, which made Tiffany’s bronze accessories and lamp bases, moved to Tiffany’s Corona facility in 1927. Roman Bronze Works was purchased in 1946 by Salvatore Schiavo, whose father had been working at the foundry since 1902. His nephew, Philip J. Schiavo, the grandson of the first Schiavo, was the president of the foundry until its closing.[4]

Roman Bronze Works 1890s New York City

 After the foundry closed, an auction was staged of original plaster models of major works by American artists, Frederic Remington, Daniel Chester French, Charles Russell, Bessie Potter Vonnoh and Anna Hyatt Huntington, in New York, 17 September 1988.[5] Some of the molds were moved to warehouse space in Copiague, New York, under the aegis of American Art Restoration, Inc..[6] Fortunately the business archives were preserved and are now at the Amon Carter Museum Library, Fort Worth, Texas.[7]In addition, the foundry has recently been reopened as Roman Bronze Studios by Brain Ramnarine who apprenticed and worked at Roman Bronze Works with Salvatore and Philip Schiavo.  (Source: Wikipedia  http://en.wikipedia.org/wiki/Roman_Bronze_Works )

Whether MacNeil’s original plaster model of the standing Lincoln was transported in the 1927 move, or was part of the ownership transfer of 1946 (the year before MacNeil died), or was sold in the 1988 auction of American artists has yet to be documented by this researcher. Perhaps, it was destroyed after the eight busts were cast.  Though no recored of that is found either.Lucy C Rosenfield's RBW book  [A 2002 book  devoted to Roman Bronze Works, by Lucy D. Rosenfeld, A Century of American Sculpture The Roman Bronze Works Foundry bears a photo of MacNeil’s “Sun Vow” on the cover. Rosenfeld used the firm’s ledgers and archival photographs now stored at the Amon Carter Museum. This volume warrants future investigation].


  • The bust in Urbana was placed in Lincoln Hall in 1929.
  • This procurement suggested by Lorado Taft occurred fifteen years after the original sculpture was made.
  • The University of Illinois “Lincoln Lawyer” is the only one of MacNeil’s Lincoln busts pictured on this website,
  • It is the only one ever seen by this author,
  • It remains the only one readily found by web searching in general.
  • It is a truly beautiful piece that is now restored to its original patina and brilliance.

Art and museum records locate four of MacNeil’s eight “Lincoln Lawyer” castings. the  others “Lincoln Lawyer” busts by MacNeil appear incomplete as follows:

The fact that MacNeil made a “Lincoln Lawyer” statue was catalogued 60 years ago, along with the Lincoln likenesses sculpted by over 125 other sculptors.   Donald Charles Durman assembled a “List of Sculptures of Abraham Lincoln” in his 1951 book, “He Belongs to the Ages: The Statues of Abraham Lincoln” (published by Edwards Brothers, Ann Arbor, Michigan, 1951).  The Smithsonian American Art Museum inventory lists only 3 locations of MacNeil’s other Lincoln busts.  The University of Illinois bust of Lincoln is NOT listed among them.  Thus, four of the eight are documented publicly.  The Smithsonian records indicate the following listings:
  1. University of Pennsylvania, Office of the Curator, Philadelphia, Pennsylvania – Control_Number: 77001611
  2. Beloit College, Wright Museum of Art, Beloit, Wisconsin – Control_Number: 75008855
  3. Amherst College, Mead Art Museum, Amherst, Massachusetts: Control_Number: 20090014
  4. Amherst College, Mead Art Museum, Amherst, Massachusetts 01002 Accession Number: S.1932.4

Source: Smithsonian American Art Museum ~ SIRIS

The Sun Vow is certainly Hermon Atkins MacNeil’s most visible and famous sculpture. If you ever have a chance to see it, please do so. (Even our best pictures on this website cannot do justice to the detail of this sculpture or to the creativity of the artist.)

Gibson Shell, sent us some “Sun Vow” photos from his recent excursion to NYC.  These photos do provide detail and a truer sense of MacNeil’s careful presentation of these figures and the  Sun Vow ritual.

Hermon MacNeil's "Sun Vow" graces over a dozen museums including the MMA in NYC.


These “Sun Vow” poses are from the Metropolitan Museum of Art (73″ – Rogers Fund 1919). The backgrounds have been removed to present MacNeil’s composition without distractions.

Gib is a long-time Beaux Arts photographer — an amateur in the best sense of a ‘devotee, enthusiastic pursuer of any Beaux Arts sculpture.’ Gib has been a generous friend of this website. Dozens of his photos are featured already.  Hundreds more will be seen in future posts.

MacNeil made the “Sun Vow” in Rome as his final requirement for the Roman Rinehart Scholarship. The sculpture is signed with ‘RRS’ designating that commission of the piece. His typical signature “H. A. MacNeil Sc” (Sc for Sculptor~ See Gib’s photo below).

The size of this piece (72-74 measured variously) is the same of those in major museum collections.  Several links on this website (see below and also “MUSEUMS: with MacNeil Art” section in lower right) connect to these “Sun Vows.”  Possibly a dozen of these exist, publicly and privately.

Metropolitan Museum of Art – NYC, NY
Art Institute of Chicago
Phoenix Art Museum ~ Phoenix, AZ (Sun Vow)
The Saint Louis Art Museum ~St. Louis, MO (Reliefs over porch -Sun Vow)

His typical signature "H. A. MacNeil Sc" (Sc for Sculptor). Underneath the initials "RRS" (for "Roman Rinehart Scholarship," his sponsor of study) and the Location of casting "ROME"

Numerous smaller casts (about 36″) and even miniatures authorized by MacNeil himself were cast up until the 1920s.  These also are highly desirable and found in many museums.
Buffalo Bill Historical Center – Cody WY (Sun Vow)
Orlando Museum of Art, Orlando FL
Chrysler Museum of Art – Norfolk, VA

Herman Atkins MacNeil often placed “Sc” behind his signature on sculptures (as seen above, and in other photos on his signature on this website.

According to McSpadden, an article on MacNeil in the Craftsman stated,

“In The Moqui Runner, The Primitive Chant, The Sun Vow, The Coming of the White Man, and many others of his Indian statues, MacNeil always gives you the feeling of the Indian himself, of his attitude toward his own culture of the Sun Vow that MacNeil has memorialized, are a compounded and profound statement of the power of art and artists. vanishing tribes, and his point of view toward the white race which has absorbed his country. It is never the Indian of Buffalo Bill’s Wild West, trapped out for curiosity seekers, but the grave, sad, childlike man of the plains, faithful to his own tribe, once loyal to us, though now resentful; and always a thinker, a poet, and a philosopher.”  (McSpadden lists the following source: “The Art of MacNeil,” Craftsman. September 1909).

( See also: Florence Finch Kelly, “American Bronzes at the Metropolitan Museum: An Important Collection in Process of Formation.” Craftsman, 1907: Volume XI, February 1907, Number 5, pp 545-559.)


Dr. Andrew Walker, an associate curator at the St. Louis Art Museum,  has written a chapter in “Shaping the West.” MacNeil’s ‘Sun Vow’ was chosen for the cover photo of that publication by the Denver Art Museum.  Walker’s essay there is entitled: “Hermon Atkins MacNeil and the 1904 World’s Fair: A Monumental Program for the American West.”  Walker has written and presented extensively on MacNeil.

It is all in the faces - the ideals passed to a new generation.

While highlighting the work of Hermon Atkins MacNeil, Dr. Walker illustrates how the 1904 World’s Fair included a monumental sculpture initiative.  He does this with narrative and photo description of the major sculptures that formed the grounds, fountains, waterfalls and buildings of the 1904 Louisiana Purchase Exposition in Saint Louis. The current St. Louis Art Museum (where Walker is a curator) was the “Palace of Fine Arts” conceived by Cass Gilbert,  architect of the fair grounds (and later the US Supreme Court Building).  Over a century later, Mac Neil’s three sculpture relief panels still look down from their vantage point above the three sets of doors at the main entrance.

The 'Sun Vow' at the MMA - NYC - with Daniel Chester French's "Angel of Death" in relief in background (See also Webmaster's <= Comment at left.



The more I study this sculpture (as other MacNeil pieces?) the more new details I find in MacNeil’s creations.

The photo at right shows MacNeil’s Sun Vow with Daniel Chester French’s “Angel of Death” in the background. French and MacNeil were colleagues and collaborators. The Angel of Death has grasped the hand of the sculptor.  See more of this DCF piece HERE.

Webmaster’s Comment: The beauty and ‘irony’ of the two sculptures together, long after the death of the two sculptors and the vanishing of the culture of the Sun Vow that MacNeil has memorialized, are a compounded and profound statement of the power of art and artists.



  1. SHAPING THE WEST : American Sculptors of the 19th Century. With additional  essays by Alice Levi Duncan, Thayer. Tolles, Peter Hassrick, Sarah E. Boehme, and Andrew Walker.

  2. Florence Finch Kelly, “American Bronzes at the Metropolitan Museum: An Important Collection in Process of Formation.” Craftsman, 1907: Volume XI, February 1907, Number 5, pp 545-559.)

CHICAGO YEARS:  Partners and Colleagues

Columbia_World_ExpoWhen Hermon MacNeil came home to the United States from Paris, he did not return to Cornell.  He stopped in New York to consult with Augustus Saint Gaudens about finding work as a sculptor.  Saint Gaudens referred him to Philip Martiny, a former student and assistant, who was doing preliminary sketches for the Chicago Worlds Fair (World’s Columbian Exposition) to take place in that city in 1893.  

So MacNeil chose to settle in Chicago where this collosal World’s Fair was “being born.”  This decision proved momentous in many ways. In his ‘Chicago Years’ he met people who would remain professional colleagues and friends for the next four decades.   These included Frederick MacMonnies, Lorado Taft, his pupil, Carol Louise  Brooks (who MacNeil was to marry in 1895), Daniel Chester French, as well as architects Daniel Burnham, Stanford White, and Charles Follen McKim. The rest of MacNeil’s career would become a repeated succession of partnerships with these colleagues on projects, monuments, buildings, and memorials that were joint efforts of many Beaux Arts trained scupltors and architects associated with the American Academy in Rome.


Daily Program of Chicago World’s Fair for Wednesday, October 11, 1893. This sketch of the Electrical Building was part of the preliminary drawings of the “White City.” MacNeil made several statues on this building. [ SEE ACTUAL PHOTO BELOW ]

Administration Bldg. of the White City at the Columbian Exposition: http://members.cox.net/academia/cassatt8.html

The Chicago World’s Fair celebrated the 400 Anniversary of the voyage of Christopher Columbus to the New World and was officially known as the Columbian Exposition. Hundreds of buildings and dozens of architectural Palaces of Art, Transportation, US Government Building, Horticulture, Fisheries, and the Electricity Building were created for the event. The temporary sculptures were decorated with allegorical figures, cherubs, and statues that numbered in the thousands. They accompanied fountains, waterways, plazas, and acres of unimaginable features that became known as The White City.

The sculptures, which were carried out in staff, a weather-resistant plaster, were destroyed with the exhibition buildings, but the successful effect they produced led to further similar commissions at the Pan-American Exposition, [[Buffalo, New York (1901) and the Louisiana Purchase Exposition, St Louis, (1904). http://en.wikipedia.org/wiki/Philip_Martiny

This secession of World’s Fairs celebrated the dawn of a 20th Century of Progress, as well as, an emerging image of the United States as the world’s foremost nation of progress, the inheritor of the cultural images and art of the European World.  An emerging national identity, pride, and arrogance are all visible in the history of these endeavors.  The video links at the end of this post capture these and other aspects of the magical extravagance and promotion of these global endeavors.

It is difficult in our day to get a feel for what these Expositions were.  They were comparable to a new Disneyland being built every three or four years. Incidentally, Walt Disney’s father, Elias Disney worked in construction for the Chicago Fair.  Some evidence exists that these fairs inspired Disney:

He was a construction worker for the 1893 World’s Columbian Exposition in Chicago, an event which author Erik Larson cites as a source of inspiration for his son Walt and the Disney kingdom he would eventually create. (http://en.wikipedia.org/wiki/Elias_Disney)

The links to videos below give additional perspective of the detail and scope of these Expositions.  Take time to  enjoy these modern reviews of this gilded time.

MacNeil would win the Rinehart scholarship, passing three years (1896-1899) in Rome and eventually spend another year in Paris.

List of World’s Fairs: Source: http://en.wikipedia.org/wiki/List_of_world%27s_fairs#1890s

A statue of Ben Franklin stood at the entrance of the Electricity Building which housed the Tower of Light, displays by Western Electric, General Electric, American Bell Telephone, Edison’s lasest phonographs and hundreds of other electrical exhibits from around the world.

Video Links on Chicago World’s Fair ~ Columbian Exposition

  1. Brief overview The White City. (1:17)
  2. 1893 Chicago World\’s Fair (Columbian Exposition) Documentary (9:13) http://www.youtube.com/watch?v=eBpBl1Nqjyc&NR=1
  3. Expo: Magic of the White City Magic of the White City Source: http://www.youtube.com/watch?v=uEi3S1HRRoA&NR=1
  4. The World’s Columbian Exposition – architectural animation:  http://www.youtube.com/watch?v=3izaIpXcBU4&feature=related
  5. Composite panorama photo: http://newsburglar.com/2008/10/17/one-last-chicago-expo-photo/


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Here is ONE place to go to see sculpture of Hermon A. MacNeil & his students. Located in cities from east to west coast, found indoors and out, public and private, these creations point us toward the history and values that root Americans.

Daniel Neil Leininger ~ HAMacNeil@gmail.com
Hosting & Tech Support: Leiturgia Communications, Inc.           WATCH US GROW


1. Take digital photos of the work from all angles, including setting.
2. Take close up photos of details that you like
3. Look for MacNeil’s signature. Photograph it too! See examples above.
4. Please, include a photo of you & others beside the work.
5. Tell your story of adventure. It adds personal interest.
6. Send photos to ~ Webmaster at: HAMacNeil@gmail.com