2016 MacNeil MEDALLION ~ Available NOW on eBay

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 and info about these works by MacNeil. ]

~ 2015 marks the 150th Anniversary of Hermon MacNeil's birth on February 27, 1866.

<== 2016 MacNeil 3" MEDAL ~ 100th & 150th Anniversary Commemorative

This MacNeil Medallion is a 3" bronze medal with nickel plating minted in 2016 to commemorate the 150th Anniversary of the birth of Hermon Atkins MacNeil and the 100th Centenary year of the first minting of the Standing Liberty Quarter dollar. The face duplicates the obverse of MacNeil's original sculpture of Miss Liberty from 1916. The "M" beneath the 13th star is the only form of signature allowed for the sculptor. <== NOW AVAILABLE ON EBAY the Hermon A. MacNeil Medallion

Archive for New York

Jo Davidson’s autobiography,“Between Settings,” gives us pictures of two sculptors in the MacNeil aletier: Henri Crenier and John Gregory.

Henri Crenier

By the time Jo Davidson begins working for MacNeil, he describes Henri as a taunter and teaser:

Henri Crenier took a special delight in teasing me. I liked him and took it good-naturedly. But one day I lost my temper and we came to blows. I knocked him down and relieved my feelings by giving him a healthy pummeling. I was so busy that I did not hear MacNeil come into the studio. Suddenly I heard him say: “ Jo, when you get through, will you mix me a little plaster.”

MacNeil comment appears to be rather calm considering the ruff-housing of his assistants.  Very likely, he had observed their conflict previously. And on this occasion thought, Jo had made his feelings known sufficiently and offered him a diversion to move his assistants on to the next tasks in the studio.

Crenier’s Early Life

AUTOPORTRAIT EN UNIFORME DU LYCÉE LAKANAL À LA CHAPELLE-D'ANGILLON - Henri Crenier

AUTOPORTRAIT EN UNIFORME DU LYCÉE LAKANAL À LA CHAPELLE-D’ANGILLON – Henri Crenier

Before arriving in America and the College Point Studio, Henri’s early life began in Paris, France in 1873, Crenier studied at the Ecole des Beaux Arts with Falguiere, who was also a teacher of Hermon MacNeil. Henri worked in the Asnières-sur-Seine (a commune on north Paris) and exhibited at the Paris Salon. Immigrating to the US in 1902, he entered the art community of New York City, eventually exhibiting with the National Sculpture Society.

In New York, Henri Crenier linked up quickly with Hermon MacNeil who was seven years his senior. Whether he knew of MacNeil from Falguiere at the Ecole des Beaux Arts or learned of him in New York at the Art Students League is uncertain.  Jo Davidson’s narrative places him in MacNeil’s studio around 1902-1903 as a master sculptor.

Crenier’s Later Accomplishments

James Fenimore Cooper Memorial in Scarsdale, NY, By Henri Crenier (1873-1948)  http://www.hermonatkinsmacneil.com/?attachment_id=9006

His solo work includes the James Fenimore Cooper Memorial in Scarsdale, New York, as well as his single largest commission, the two pediment sculptures in granite for the 1915 San Francisco City Hall. He also contributed to the Panama-Pacific International Exposition (1915) and designed the freestanding figure of Achievement (see photo below) This photo of Nemours Mansion & Gardens is courtesy of TripAdvisor and the statue stands at the Nemours Mansion and Gardens in Wilmington, Delaware.

 

"Nemours

This photo of Nemours Mansion & Gardens is courtesy of TripAdvisor and the statue stands at the Nemours Mansion and Gardens in Wilmington, Delaware.

Henri Crenier adds Beauty to San Francisco City Hall

Henri Crenier went on to design and be chief sculptor of the San Francisco City Hall built after the 1906 earthquake.  The regal structure soon became known as the “The People’s Palace.”   Crenier’s design arose as an inspiring symbol of renewed hope in the heart of the city by the bay. This glorious gilded palace stood not for kings and queens, but for the people. For over a century since then all those who came were caught up in the Beaux Arts renaissance beauty of this public mansion. The video below tells the story of Henri Crenier’s design and direction of the construction of San Francisco City Hall  (“Henri Crenier adds Beauty to San Francisco City Hall”; http://www.artandarchitecture-sf.com/henri-crenier-adds-beauty-to-san-francisco-city-hall.html  Jan. 24, 2017)

No matter how far much San Francisco may claim his talents, Henri Crenier got his start in America in the College Point Studio of Hermon MacNeil some 3000 miles away.

John Gregory 

The Folger Shakespeare Library has nine large sculptures carved in white Georgia marble along the front of the building. These are the work of John Gregory (1879 – 1958).  Each bas relief sculpture depicts a scene from one of William Shakespeare’s plays. http://stationstart.com/wp-content/uploads/2010/02/cs_folger_panel_000-a.jpg

 

Folger Shakespeare Library lighting the last four of John Gregory sculpture Panels and Capitol Dome at night.

Nine Marble Nine Bas Relief Sculptures Along the Front of the Folger Shakespeare Library

Going left to right across the front of the building and also from left to right in the 3 by 3 grid above starting with the top row:

1. A Midsummer Night’s Dream
2. Romeo and Juliet
3. The Merchant of Venice
4. Macbeth
5. Julius Caesar
6. King Lear
7. Richard III
8. Hamlet
9. Henry IV, Part I

The Folger Shakespeare Library is located at 201 East Capitol Street SE, Washington, DC.

Gregory’s Statue of Anthony Wayne: In 1937 John Gregory sculpted this statue of Anthony Wayne for Philadelphia. 

In 1937 John Gregory sculpted this statue of Anthony Wayne for Philadelphia. CREDIT: By Michael Murphy, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=16312124

SOURCES:

  1. Jo Davidson, Between Settings: an informal biography of Jo Davidson, New York: Dial Press, 1951. pp. 13-16.
  2. Lois Harris Kuhn, The World of Jo Davidson, Philadelphia: Jewish Publication Society, 1958. pp
  3.  http://wikivisually.com/wiki/Henri_Crenier
  4. Works of Sculptor John Gregory at Folger Shakespeare Library in Washington, D.C.
  5. http://stationstart.com/2010/02/folger-marble-sculpture/
  6. https://en.wikipedia.org/wiki/John_Gregory_(sculptor)

“The Coming of the White Man in Washington Park, Portland, Oregon. This photo shows the legs of the Indian on the left which Jo Davidson painfully modeled in plaster casts. The title is sculpted into the base. The whole group sits on a boulder that MacNeil crafted for the setting from a granite quarry up the Columbia River granite. The granite came to the Park by barge. Then, a team of horses brought it up the hillside, all under MacNeil’s direction and supervision

Jo Davidson continues the narrative of his adventures working in the  Studio of Hermon MacNeil:

Besides being a gardener, a sculptor’s assistant and an errand boy, I also became a model. Henri Crenier had noticed my legs one day while we were swimming and insisted they were just right for the young Indian in ‘The Coming of the White Man.’ MacNeil thought he could save time by making a plaster cast of my legs.

So Gregory and Crenier volunteered to do the job, claiming to be experts in casting from life. I was innocent and did not realize what I was up against. I was rather hairy, and they rather haphazardly rubbed the oil over my legs. That done, they covered my legs with plaster, and as the plaster set, the string that was to separate the two halves of the mold broke. Their fun increased as my temper rose, but I was in plaster up to my loins and was helpless. After setting the plaster became very hot and disagreeable. Mr. Gregory and Mr. Crenier chopped gleefully away, separating the two parts. Having completed that part of the job to their satisfaction, they proceeded to take the mold off my legs. The pain was excruciating, for the hair got mixed up with the plaster and as they pulled the mold off of me my hair went with it. I screamed and swore at them, but my anger only made them laugh louder. They finally got the mold off, leaving my legs like two boiled lobsters. The cast turned out to be a very hairy one. I saw those legs many years later in MacNeil’s studio, and I swear they were hairier than ever!

Henri Crenier took a special delight in teasing me. I liked him and took it good-naturedly. But one day I lost my temper and we came to blows. I knocked him down and relieved my feelings by giving him a healthy pummeling. I was so busy that I did not hear MacNeil come into the studio. Suddenly I heard him say: “ Jo, when you get through, will you mix me a little plaster.”

The summer passed quickly. Those were rich and full days. I was sure of my vocation. I was going to be a sculptor.”

Jo Davidson

Thus in his own words, Jo Davidson recounts becoming the unwitting model for the legs of this younger Indian. 

Jo Davidson sculpting a young Frank Sinatra. (1946) – http://www.highlands-gallery.com/jo-davidson

The plaster casts were made on his very hairy legs.  It proved a painful adventure for the naive teen.  Humored by the absurd scene, the “experienced” sculptors laughed at his embarrassment and discomfort as they removed the plaster casts with his leg hair embedded.

Despite the teasing, Jo Davidson went on to study sculpture, develop his talents, and find his unique place as a sculptor doing what he loved.

The MacNeil Studio no longer stands. In it’s nearly fifty years beside the East River Sound, many sculptor assistants, sculptures, and models of works were shaped in that place.

Postcard of MacNeil studio in College Point. From the webmaster’s collection.

This postcard and the Christmas card of 1912, posted on December 22, 2016, show the exterior of the studio. Pictures of the inside of MacNeil’s studio are rare.

However, one word picture offers a captivating account from about 1902-1903.   (Jo Davidson, Between Sittings, Dial Press: New York, 1941).

As an 18 year-old struggling artist, Jo Davidson aspired to become a sculptor. (http://www.highlands-gallery.com/jo-davidson) 

Though young, he was outgoing, naively confident, and very determined. In his autobiography he shares a fascinating encounter with Hermon MacNeil. Davidson gives a vivid description of both of MacNeil’s studios on Fifty-fifth Street and in College Point. Davidson eventually went on to become a renowned portrait sculptor of over 250 world leaders.  See him below sculpting a bust of General Eisenhower nearly fifty years later.  However, his initial impressions upon MacNeil were much less inspiring. Davidson recounts their meeting with understated humor:

Jo Davidson making a bust of General Dwight D. Eisenhower (1948) SOURCE: Laurant Davidson ( http://www.highlands-gallery.com/jo-davidson )

“On my first visit to New York, I went to the Art Students League and inquired who taught the sculpture class. I was told Herman [sic] A. MacNeil. They gave me his address, the Holbein Studios over the stables on West Fifty-fifth Street. I went to call on him to see if I could get a job in his studio. He asked me whether I had ever done any modeling, and remembering Mister Broadman’s encouragement, I told him I had. MacNeil looked at me quizzically and said, ‘I have to go out for a bit.’ He handed me a blueprint, saying, “ See what you can do with this,’ and took me to a stand piled up with plasticine – the beginning of a Corinthian capital. Then Mac Neil left.”

 “I had never seen a blueprint before in my life. I tried to figure it out, but it was hopeless. I looked around the studio. There were bronze statuettes of Indians; scale models of monuments; photographs of executed work; and some portrait heads. I was fascinated and impressed. I made up my mind to get a job with that man.”

 “I struggled with my Corinthian capital but got nowhere. In the midst of this Mr. MacNeil returned. He looked at the sorry mess I had made of his model, shook his head and asked, ‘How much do you expect to earn in a week?’”

 “I meekly suggested fifteen dollars.

He said, ‘Young man, you will never make that at sculpture.’

I asked him what he would give me, taking for granted that a job was there for me. He was taken unawares and said, ‘Six dollars a week.’ I accepted. He looked defeated and said, ‘All right, Come in Monday morning.’”

 “I went home elated and told my people I had found a job in a great sculptor’s studio. Though they did not approve, I think they caught my enthusiasm; I could hardly wait for Monday morning. At the appointed time, I rang the studio bell. The door opened and Mr. MacNeil stuck his head out of the door scowling.

‘I’ve thought it over,’ he said. ‘You are not worth it.’

I followed him into the studio.

‘What am I worth?’ I asked

‘Four dollars.’

‘All right, I’ll take it’

He gave up. ‘All right, you go to my studio in College Point, Long Island and see Mr. [John] Gregory. Tell him you are the new studio boy.’

The ride was long and expensive, a carfare, a ferry and another carfare I arrived at the MacNeil house, which was on the Sound, in Long Island, and finally found Mr. Gregory

Mr. Gregory was rather brusque: ‘Come on, hang up your things,’ he said, and he introduced me to Henri Crenier, the master sculptor.”

Davidson goes on to describe the MacNeil Studio and his early experiences there. His word picture shares some similarities of old Smithsonian archive photos. 

The Poppenhusen Institute houses this plaster model of “A Chief of the Multnomah” donated in 1920 by MacNeil. It represents half of the “Coming of the White Man” grouping comissioned in 1904 for the City of Portland, Oregon by the family of David P. Thompson. (photo courtesy of Bob Walker, College Point)

  

“The studio was a huge barn of a place or, so it appeared to me then. It was full of work in progress. There was the ‘Fountain of Liberty’ which Mr. MacNeil was making for the coming World’s Fair in St. Louis. It consisted of colossal rampant sea-horses, cavorting over a cascade of waves, sea formations and variegated seashells. At the other end of the studio there was an immense group in clay of two Indians – an older Indian standing on his tiptoes with his arms folded across his chest, looking into the distance, the younger Indian with his left hand on the old man’s shoulder and in his right hand waving an olive branch. The title of the group was ‘The Coming of the White Man.’ There were plaster molds and sketches of details of other projects.”

I was bewildered.  John Gregory woke me out of my trance and took me down to the cellar where he was working on some plaster moldings. It didn’t take him long to discover that I knew nothingbut he sensed my eagerness and was quick to give me advise and information. When I got home , I talked everybody’s ear off, but my sister Ray was the only one who listened sympathetically.   She wanted to know all about it and there was so much to tell.” 

STAY TUNED FOR “SO MUCH MORE TO TELL”

SOURCE:  Jo Davidson, Between Sittings: An Informal Autobiography (Dial Press: New York, 1951. Pp.13-16)

 

 

 

 

 

So Says the Greeting on this 104 year-old Christmas Card from the Hermon MacNeil Studio on College Point, Queens, New York.

 A photo of the MacNeil Studio on College Point, holly sprigs and a Doll-faced Christmas bell, these things grace the face of this holiday greeting card.

The back shows an addressee and a College Point postmark for Dec 24, 1912 with a cancellation on a 1 cent George Washington postage stamp.  Perhaps these cards were available to MacNeil’s students at the Pratt Institute as Seasons greetings. 

A publishers mark, “F. Hettling, Pub.” is listed on the bottom front in very small print.  

The addressee (Miss Jule Cox, 285 Carlton Ave, Brooklyn, New York) brings up a residence about 12 blocks from the Pratt Institute where MacNeil was an instructor for many years.  (Thus our ‘student theory’ on this Christmas note.  The signature is not readily decipherable (from The Deachins?).  All is written in black ink with a fountain pen.  — All in all, its a curious relic from a century ago.

The photo of the studio was used in other Christmas cards and newspaper articles about the MacNeil sculptors.

Hermon MacNeil built his Studio building out of stones.  These he gathered from the shoreline and bottom on the East River sound behind the studio.  Being the son and grandson of builders, he was familiar with hand labor, construction and masonry.  

The studio was bathed in natural light through skylights and featuresd a section where Carol Brooks MacNeil (Carrie) did her sculpture work as well.

This curious Item came up as an eBay offering during 2016.  SO guess who wanted it?  

Image result for bernie at arch

Senator Bernie Sanders at the Washington Arch In NYC on April 13, 2016. MacNeil’s statue of Washington as Commander of the Continental stands to the right on the back of the Arch. [Photo: www.hultonarchive.com ]

NEW YORK CITY —

In Washington Square Park last evening, two marble figures of “George Washington” stood quietly in the dark amid rallying cries for political revolution in the November 2016 Elections.

Hermon MacNeil’s  statue of “General George Washington” and Alexander Stirling Calder’s Statue of “President Washington” have graced the back of the monument for nearly a century.  They immortalize two facets of an American giant who was no stranger to either revolution or politics.

The 124-year-old marble Washington Arch framed a white-haired Bernie Sanders as the Brooklyn-born senator railed on about how politics is “fixed” for the wealthiest 1% of Americans.  A reported 27,000 people packed the park on a brisk NYC evening.  The event in one of the largest rallies of this campaign.

Senator Sander’s familiar stump speech rang out loud and clear as  the Presidential candidate’s raspy-voice pierced the night air.  The enthusiasm of “Gotham City” night-life roared from the sign-waving crowd. The event seemed to open another chapter in the life of this historic gathering place of American celebration and demonstration.

Washington Square Park as Senator Sanders spoke.

The white marble mass of the Washington Arch towers over the scene of a packed crowd filled with electric energy.

Sanders 40 years of independent politics has sounded themes of “income inequality”, “health care rights”, “Wall Street power”, and “corporate greed”  to list a few. In recent months he has thundered his message to ever-widening audiences across the United States.

The rally last evening brought Sanders home to his Brooklyn roots and this historic place of American identity and protest.

Whether it brought him any closer to George Washington’s old job has yet to be determined.

Behind the scenes MacNeil's likeness of General Washington guarded the rear flanks of the rally

This daylight view of MacNeil’s General Washington Profiled with Valor guarded the rear flanks of the Arch. The statue was added to the monument in 1917 – 1918.

GWashingtonCalder 2001

“Washington as President” by Alexander Stirling Calder stands opposite the MacNeil statue. The statue was added to the monument in 1917 – 1918.

 

 

 

 

 

 

 

 

 

 

The Washington Arch BEFORE 1812 with no statues in place.

The Washington Arch BEFORE 1812 with no statues in place.

Comments (0)

Hermon MacNeil’s “Chief of the Multnomah” was cast in full size and half size versions.  This one was Discovered by a reader of this website several years ago in Vernon, New Jersey.  Here was a brief note that was sent to the website:

Another Chief of the Mulnomah

Another Chief of the Multnomah

I’ve been noticing a magnificent piece of the scultpture for the past few years, located in Vernon N.J. at the Minerals Spa and Resort. After closer examination I discovered it is Chief Multnomah with his arms crossed, standing on tip toes looking outward. “The coming of the white man” is the title usually ascribed to this work, but in this case the chief stands alone without his scout or assistant as pictured on your web-site. It is signed simply, H.A. Macneil S.C. 04. Just thought it was a variation of the piece that you might find interesting.I’m not really sure how long its been there, because I’m relatively new to the area. Being a sculptor myself and one that is particularly fond on the late 19th cent/early 20th cent period, with the likes of Rodin, Bayre, Dega, etc. Macneil certainly is a strong and salutory member of that period. Regards, D. Moldoff.

My response was as follows:

Dear D. L. Moldoff,

Thanks for noticing sculpture around you and sharing the information.  The ‘Chief Multnomah’ is the larger Half of H. A. MacNeil’s “The Coming of the White Man.” (COTWM). While the COTWM piece is only at the Washington Park in Portland, OR, where it was commissioned for that city.  The original plaster sculpture model is in the Poppenhusen Institute in Queens, NYC, just blocks from MacNeil’s studio.

(Click HERE ) for link to my archives of seven post on Chief of the Mulnomah.)

There are multiple castings of this single piece, the “Chief Multnomah”, possibly over 20 in total. I believe there are at lease two groupings of 12 casts and 9 casts of this statue. I have found information and location on three other ‘Multnomah’s. Plus there are many smaller (half-scale) casts of this sculpture.

Thanks again.

Dan Leininger

These are the related entries for this story. For MORE see these previous posts:

  1. Hermon MacNeil ~ Postcard ~ 2012 MacNeil Month #1 ~ “Coming of the White Man” (9)
  2. Poppenhusen Institute makes MacNeil Collection Appeal! (8)
  3. Portland – Coming of the White Man (7)
  4. “Chief of the Multnomah” ~ DO WE HAVE ONE? ~ ??????? (7)

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