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!

Archive for “The Moqui Runner”

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]

This Society of Medalists Issue #3, in Silver, by Hermon MacNeil is rare.  This silver “Beauty” is the only one I have seen in my ten years of “Searching for Uncle Hermon” and producing this website.

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.

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.”

BLACK PIPE in 14 stories  

 A never before seen or documented bronze piece from Hermon MacNeil’s earliest years as a sculptor has surfaced through a recent email message. The surprise came the other day to the website as a one line description and a surprising question.

“Black Pipe the Sioux” a small 6″ high, bas relief with the initials H M. 94.  
Can you tell me more about Black Pipe?”

Carol Miles

The request came from Massachusetts not far from where Hermon MacNeil was born and grew up in Chelsea (Everett, Malden). It included this photo:    

Thus began an email correspondence with Carol Miles that linked Hermon Atkins MacNeil (1866-1947) with Henry Turner Bailey (1865-1931).

Link #1: Henry Turner Bailey — Both Bailey and MacNeil graduated of Massachusetts Normal Art School. They were classmates for at least three years until MacNeil graduated in 1886 followed by Bailey in 1887. Both began studies there in their late teen years.

According to Carol: “Henry became the first Supervisor of Drawing for the State of Massachusetts, and later Dean of the Cleveland School of Art. Henry’s papers are housed at the Univ. of Oregon Archives, Eugene. There is correspondence between the two men there.”

Link #2: Black Pipe sculpture –This bas relief of Black Pipe was acquired by Henry Turner Bailey, the grandfather of the current owner. It has been handed down through the family ever since.

I have found no previous mention or photo of this piece. I have seen another photo of a different sculpture of Black Pipe by MacNeil in the Smithsonian Institute collections online

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

 

 

( http://collections.si.edu/search/results.htm?q=MacNeil&start=20 ).

The story of Black Pipe is told in dozens of stories on this site.  A search brings up 14 posts that can be viewed at this link.  Only six stories appear on each page. Be sure to view all three pages. 

BLACK PIPE link — BLACK PIPE in 14 STORIES

https://hermonatkinsmacneil.com/?s=Black+Pipe

:::::

The Smithsonian Collestions data base offers the following info on the photo of Black Pipe.   See:  [ http://collections.si.edu/search/results.htm?q=MacNeil&start=20 ]

The Soiux Brave Blackpipe [sculpture] / (photographed by A. B. Bogart) digital asset number 1
ARTIST:
MacNeil, Hermon Atkins 1866-1947
PHOTOGRAPHER:
Bogart, A. B.
TYPE:
Photograph
NOTES:
On photo mount label: H. A. MacNeil. Blackpipe the Soiux. Bogart. Classification number: 282. Accession: 4747[cropped].
TOPIC:
Ethnic–Sioux
Figure male–Head
IMAGE NUMBER:
SSC S0001642
SEE MORE ITEMS IN:
Photograph Archives
DATA SOURCE:
Archives and Special Collections, Smithsonian American Art Museum 

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Several sculptures of Hermon Atkins MacNeil are featured in a current exhibition at the Metropolitan Museum of Art in New York City continuing through April 13, 2014.  The show entitled “The American West in Bronze, 1850-1925”  contains three parts: Indians, wild animals, and cowboys.

A MacNeil "Sun Vow" sculpture housed in the Founder's gallery of the Reading Public Museum in Reading, PA

A MacNeil “Sun Vow” sculpture housed in the Founder’s gallery of the Reading Public Museum in Reading, PA

Another Chief of the Mulnomah

Another “Chief of the Mulnomah” was identified at Mount Vernon, Ohio in an August 2013 inquiry from Linnette Porter-Metler of the Mt. Vernon and Knox County Library Staff. The date ’03’ follows MacNeil’s signature.

Three MacNeil works of early Native American images are visible online in an 8 photo slide show of the exhibit. They are apparently part of the “Indians” segment of the show.  CLICK HERE for the link to this slide show.  The MacNeil works include The Chief of the Multnomah (slide #3 in left background); The Moqui Runner (slide #6 foreground); The Sun Vow (slide #6 right rear).  

The exhibit has received some criticism in a NY Times art review entitled  “Manifest Destiny at the Point of a Gun” by Ken Johnson.  The MacNeil pieces are specifically not mentioned in Johnson’s critique. 

(More on Ken Johnson’s comments in the another article.)

MacNeil's "Moqui Runner" at the Newberry Library (photo by webmaster - bkgd removed)

MacNeil’s “Moqui Runner” at the Reading Room of the Newberry Library  in Chicago. This piece is a gift of Edward Everett Ayer who encouraged and marketed 12 castings of this piece for MacNeil during his early years in Rome 1896-99.  (photo by Dan Leininger, webmaster – bkgd removed)

“The American West in Bronze, 1850-1925” continues through April 13 at the Metropolitan Museum of Art; 212-535-7710, metmuseum.org.

Hermon 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 medals that MacNeil selected for SOM#3 in 1931 (from collection of Dan Leininger, webmaster)

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.

Obverse of SOM#3 by Hermon MacNeil (collection of Dan Leininger, webmaster)

Obverse of SOM#3 by Hermon MacNeil (collection of Dan Leininger, webmaster)

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” ]

1931 "Moqui Rain Dance" (reverse) SOM #3 ~ Dan Leininger, webmaster

1931 “Moqui Rain Dance” (Obverse) SOM #3 ~ Dan Leininger, webmaster

 In August of 1929, Hermon Atkins MacNeil sent a painting to my mother, Ollie Francis McNeil, as a wedding present.  Mother always referred to him as her “Uncle Hermon.”  Painted on an thin (acid-based) cardboard, the piece has aged badly in the eighty-eight years since MacNeil sketched and painted it in 1925.  Here is how it looked in 2010 before continual flaking and deterioration stressed it even further.

This photo from 2010 shows the un-restored landscape painted by Hermon MacNeil in 1925. Several flakes (1/2 to 3/4 of an inch) peeled off from the sky after this photo was taken. The deterioration was destroying this informal piece and suppressing its sentimental value as an MacNeil heirloom. Something had to be done to preserve it for its second century.

This photo from 2010 shows the un-restored landscape painted by Hermon MacNeil in 1925. Several flakes (1/2 to 3/4 of an inch) peeled off from the sky after this photo was taken. The deterioration was destroying this informal piece and suppressing its sentimental value as an MacNeil heirloom. Something had to be done to preserve it for its second century.

Leslie Goodwin examined the fragile conditions of MacNeil heirloom and determined that cleaning, stabilization, and repainting of broken areas could refresh the piece.

Leslie Goodwin examined the fragile conditions of the MacNeil heirloom and determined that cleaning, stabilization, and repainting of broken areas could refresh the piece.

 In August 2013, I received an enquiry on this website from an art restorer, Leslie Goodwin, in Colorado.  She had been asked by a client to evaluate another painting by MacNeil. I offered her what information I knew about Uncle Hermon’s occasional ‘dabbling in oils.’

Later, I sent the photo (at right) of the painting to Leslie.  She thought she could help to preserve this piece. I began making arrangements to mail it to her.  After receiving her address, I determined that I had travel plans that would take me within 20 miles of her studio. Coincidence?

Several weeks later, I delivered the painting, personally, to Leslie Goodwin in Colorado. She was able to carefully examine the fragile conditions of our MacNeil heirloom, firsthand. 

Leslie explained the risks and uncertainties of working with old art. She saw the necessity of stopping the rapid deterioration that recent years were adding to the ageing piece. She suggested that cleaning, stabilization, and repainting of broken areas could refresh the piece.  We both agreed that without professional TLC this MacNeil oil painting would not see a 2nd century of life.

So, carefully, she began the preservation process.  Two days later she called to say she was finished.  She was also pleased with the results.  Pictured BELOW is the resurrected look of Ollie Francis MacNeil Leininger’s wedding present from her “Uncle Hermon.”

After restoration

After restoration the cleaning of the landscape brought out hidden colors.

As I saw the results of Leslie’s work, I felt that I was seeing Mother’ s wedding present as she first saw it in 1929.  The repairs to lost portions of the sky brought the scene back together. The cleaning of the landscape brought out hidden colors that I did not see before. A vibrant freshness came out of the strokes of paint. It looked as though Uncle Hermon ‘sculpted’ in paints with a sculptor’s knife rather than an artist’s brush. And of course, that familiar signature, “H. A. MacNeil,” now jumped out of the corner with new boldness.  ”  I think even Ollie would be proud!

1929-HAM-OFMcNeil-WedGift-Note1

Hermon MacNeil’s handwritten note pencilled on the back of his landscape painting says’ “Landscape sketch by H. A. MacNeil presented to Ollie Francis MacNeil as a wedding present by her uncle. H. A. MacNeil ~~ 1929”

While the painting has some limited value, the real heirloom significance resides in the pencilled message on the back.  Hermon MacNeil’s handwritten note on the back of his landscape painting says, “Landscape sketch by H. A. MacNeil presented to Ollie Francis MacNeil as a wedding present by her uncle. H. A. MacNeil ~~ 1929″

That note confirmed several things for me!

  • Not only did mother address Hermon as “Uncle,” he considered himself to be just that to his cousin’s, (Tom McNeil’s) daughters.
  • Hermon was aware of mother’s wedding, and wanted to send a gift.
  • Hermon sent a gift made by his own hands.
  • Hermon personalized that gift with a handwritten note that included his signature – twice!
  • In addition, the timing of Hermon’s gift and note to Ollie McNeil was about 17 months after the prolonged death of Hermon’s and Carol’s only daughter, Joie Katherine MacNeil, in March 1928.  Joie, age seventeen, died in  Flushing Hospital of an infection which had been slowly draining her health since an attack of scarlet fever several years previously. She convalesced in the MacNeil home on Fifth Avenue (North boulevard), College Point.  My mother, Ollie McNeil, would have been about 2 years older than Joie MacNeil.
  • It also came 3 months after the marriage of their son Alden B. MacNeil to Irene E. Hollo on May 25, 1929.  Those nuptials were held while Hermon and Carol MacNeil were abroad in Italy and Paris from November 1928 to September 1929.

 

"Moqui Runner", "Prayer for Rain"

"A Primitive Chant"

A MacNeil "Sun Vow"

"A Chief of the Multnomah"

 

Chief Manuelito of the Navajo sculpted by Hermon A. MacNeil in 1895 two years after the Chief's death at age 75.

This topic seems a strange fit for a website devoted to the art of Hermon Atkins MacNeil, an American Sculptor of the 19th and 20th centuries, born in Massachuesetts of Scottish descendents. 

Please, bear with me briefly while I take you on a journey toward today’s Native American Day story.  

STEP ONE:  An arrogant sense of Manifest Destiny often accompanied many 19th and 20th Century concepts of American culture, history, and pride.  An inescapable irony in our own 21st Century, is that Hermon MacNeil and many of his contemporary sculptors placed many Native American images at the center stage of the historical and allegorical sculptures of World Fairs from 1890 to 1915.  That is quite visible throughout this website.  I am beginning to find that MacNeil’s embrace of Native American themes in his sculpting, especially from 1895-1905, still offers us lessons more than a century later in understanding culture, anthropology and life values. 

STEP TWO:  Today is Native American Day in South Dakota, my home for the last 31 years.  I understand that California is the only other state celebrating a Native American Day.  “In 1989 the South Dakota legislature unanimously passed legislation proposed by Governor George S. Mickelson to proclaim 1990 as the “Year of Reconciliation” between Native Americans and whites, to change Columbus Day to Native American Day and to make Martin Luther King’s birthday into a state holiday. Since 1990 the second Monday in October has been celebrated as Native American Day in South Dakota.” [ Wikipedia: Native American Day:  http://en.wikipedia.org/wiki/Native_American_Day ]  In April 1993, Governor George Mickelson, a friendly giant of a man, and eight civic leaders were killed in a tragic plane crash in Iowa.  His death was a great loss to this state and to hopes of Reconciliation.  We still observe the day, even if it is in a subdued fashion.

STEP THREEI am Daniel Neil Leininger, founding webmaster of HermonAtkinsMacNeil.com.  I am a Caucasian descendant of Scottish German stock. My maternal grandfather. Thomas Henry McNeil (1860-1932), was a cousin to Hermon Atkins MacNeil (1866-1947).  My mother, Ollie McNeil Leininger, always called Hermon MacNeil her “Uncle Hermon.” My middle name, Neil, was my mother’s gift.  It reminds me of my heritage.

STEP FOUR:  In researching the sculpture of MacNeil in recent years, I have developed a growing sense of “historical irony” in his placement of Native American images to symbolize the vitality of American expansion westward through his cultural era of Manifest Destiny.  His choice moves against the strong current of self-absorption in contemporary cultures, both his and ours.

MacNeil's sculpture design for the Award Medals at the Pan American Exhibitition, Buffalo, NY 1901 (reverse). Note the shields with South and North American continents

EXAMPLES 1-5: See photos above:

EXAMPLE 6:  MacNeil made a Pan American Exhibition Award Medallion with an indigenous North American and an indigenous South American sharing a Peace Pipe.  Probably a corrupted mix of Native images, but it is a allegory, a visually symbolic representation carrying a larger meaning.

THE STORY OF MacNEIL and CHIEF MANUELITO:

MacNeil never met Chief Manuelito.  Two years after his death, MacNeil made a statue of him using only a photograph supplied by trader C. N. Cotton. The year was 1895.  Thirty years earlier, Manuelito had survived the “scorched-earth” missions of the U.S. Army under Gen. James H. Carleton and Col. Kit Carson, the “Long Walk” (a 320 mile forced march of men women and children through the deserts) to Bosque Rodondo, and the imprisonment of Native peoples there for four years. 

Navajo Chief Manuelito - taken between 1868 and his death in 1893. He was a war Chief of the 1860. (photo Credit: ASU- Denver Public Library).

MacNeil made the statue  tribute out of available materials.  He built a wooden frame, a wire mesh surface and sculpted cement around it forming an eight foot two inch tall image of the Chief wrapped in a bright native blanket.   His techniques seem to mirror the many ‘staff plaster’ statues he made for the 1893 Chicago Worlds Fair.  He was visiting the southwest that summer with friends Hamlin Garland (writer) and C.F. Browne (artist) to experience the vanishing Native culture at the urging od E. E. Ayers and others.

As the story goes, after he finished he asked Cotton if the piece was acceptable.  Cotton left and brought in a group of older Native women to enter the canvas enclosure where MacNeil had setup a  open-air studio workshop.  After much weeping, the women, one of whom was Manuelito’s wife, came out obviously moved by the experience of being with the piece. 

See my previous stories on Manuelito and MacNeil, and MacNeil’s two friends, Hamlin Garland and C.F. Browne.

Edward E. Ayers was the  benefactor of the three artists  who urged them to make the trip.   A former member of the First California Cavalry Volunteers of the U.S. Army in AZ during the Civil War and the Native American oppressions of the 1860s,Ayers was stationed at the Cerro Colorado Silver Mine (now a ghost town) south of Tuscon in Pima County AZ.  He was in charge of 14 men who guarded the silver mine from robbers.  While there he happened on a copy of William H. Prescott’s Conquest of Mexico placed there by the mine’s owner Col. Samuel Colt, of revolver-fame. Ayers devoured the book repeatedly and began his life-long insatiable interest in Native American literature, manuscripts, and culture.  He became an American business magnate, who is “best remembered for the endowments of his substantial collections of books and original manuscripts from Native American and colonial-era history and ethnology, which were donated to the Newberry Library and Field Museum of Natural History in Chicago.”  [ Wikipedia ]   (Editors Note: Ayers passion for understanding and preserving Native American culture continues into the 21st Century  through the legacy of his estate now bequeathed to Newberry Library, Field Museum and related archieves.)

One hundred years after MacNeil make the trip and completed the piece, Joe Di Gregorio, (Gallup businessman and grocer), stepped in to rescue the Manuelito statue.  It was badly needing repair and being stored in a warehouse going up for sale.   Leslie Linchicum of the Albuquerque Journal relays this account in her March 2010 story:

“Longtime Gallup grocer Joe Di Gregorio and his wife, Christine, own the statue. They took custody after the building’s owner, in negotiations to sell to an out-of state buyer in 1983, turned to Di Gregorio and whispered, “Don’t let the bastards take the Indian.” Di Gregorio didn’t. He agreed to take custody of Manuelito and promised to keep him in Gallup.” [“Navajo Leader Stands Tall” Albuquerque Journal, March 11, 2010]

Now 116 years after MacNeil’s visit, McKinley County Fine Arts Commission in Gallup, NM is restoring the nearly 9 foot fragile artwork that MacNeil built in an outdoor tent.  “Carolyn Milligan, chairwoman of the … Commission, has estimated that it will cost $25,000 to $38,000 to restore the sculpture, which has deteriorated from a hundred years of rail yard soot, showers with a fire hose and a well-meaning but inept repainting.” 

Milligan continues, “The 1,000-pound piece is fragile, …. Wherever it stands, she said, it will probably attract crowds.”  “It’s really quite a commanding piece,” Milligan said. “And it’s for the people.”

BEST WORDS OF THE DAY: “Don’t let the bastards take the Indian.” MacNeil and Manuelito would probably smile to hear those words.  While virtually all of the ‘staff plaster’ sculptures of the World Fairs have crumbled to dust, Manuelito still stands tall. 

After all, he does belong to the people, centuries of people, both Native and otherwise. 

THAT’s WHY I BELIEVE THAT: MacNeil’s embrace of Native American themes in his sculpting from 1895-1905 still offers us lessons in culture, anthropology and life values for the 21st Century.

MORE HISTORY:

1.) For further irony read my previous stories of  the making of Hermon MacNeil’s 1895 sculpture representing Chief Manuelito of the Navajo or read history of this Chief of the Navajo starting here.

2.) William Wroth’s “Long Walk” to Bosque Redondo  also provides poignant insight into this period of the United States management of Native American peoples and the life of Chief Manuelito who was part of that “Long Walk” and signed the treaty of 1868 that sought to restore Navajo lands after the disastrous interventions of the US government.

3.) “The Long Walk”  A Ten (10) Part video story of the Navajo “Fearing Time” accounting atrocities against the Navajo people from 1863 to 1868.  Researched and produced with support of the George S. and Delores Dore’ Eccles Foundation and the Pacific Mountain Network.   Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8 Part 9Part 10.

4.)  “The Long Walk”   For a Navajo perspective view this video by Nanebah, whose great-great grandmother survived “The Long Walk”.

5.) “300 Miles – Or Long Walk Of The Navajo – Richard Stepp”  For a musical tribute with an ‘American Indian Movement’ perspective.

6.) Leslie Linthicum, staff writer for the Albuquerque Journal,  gives a delightful article, “Navajo Leader Stands Tall”.   It offers historical irony from our 21st Century on attitudes toward Native American culture  through her story of the ‘management’ and ‘preservation’ of MacNeil’s iconic statue of Chief Manuelito.

Related posts:

  1. 1901 Pan-American Exposition – Buffalo, New York ~~ “The Rainbow City” (10.3)
  2. MacNeil Sculpture “Meets Me in St. Louis” (20)
  3. Expositions and World’s Fairs ~ Hermon A. MacNeil (15.6)
  4. MacNeil at the 1893 Columbian Exposition ~ ~ ~ THE CHICAGO YEARS ~ ~ (10.8)
  5. https://hermonatkinsmacneil.com/2011/03/26/1904-louisiana-purchase-exposition-saint-louis-worlds-fair/

WHAT YOU FIND HERE.

Nearby or far away, there is no ONE place to go and appreciate this wide range of art pieces. Located in cities from east to west coast, found indoors and out, public and hidden, these creations point us toward the history and values in which our lives as Americans have taken root.

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WE DESIRE YOUR DIGITAL PHOTOS – Suggestions

1. Take digital photos of the entire work from several angles, including the surroundings.
2. Take close up photos of details that capture your imagination.
3. Look for MacNeil’s signature, often on bronze works. Photograph it too! See examples above.
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5. Add your comments or a blog of your adventure. It adds personal interest for viewers.
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