The Lions on Michigan Avenue and Edward Kemeys.
128 years ago this week, on 10 May 1894, the magnificent guardian lions of the Art Institute of Chicago on Michigan Avenue were revealed for the first time. Lions, the formal title of the pair of 1893 bronze sculptures, were created by Edward Kemeys. Since their installation and reveal in 1894, the pair of big cats have become somewhat of a symbol of the Art Institute and an iconic part of the Chicago landscape.
At the close of the 1893 World’s Columbian Exposition in Chicago, the building that was used to house lectures and other events during the Exposition became the Art Institute’s permanent home on Michigan Avenue. The iconic sculptures have stood in front of the Art Institute since the museum’s permanent home was inaugurated.
Kemeys first established a studio in Chicago in the year 1892. The following year, at the World’s Columbian Exposition, Kemeys showcased twelve of his sculptures including temporary plaster versions of Lions. During the Exposition, the temporary plaster lions stood outside flanking the primary entrance to the Fine Arts Palace, which is now the Museum of Science and Industry. The lions were cast using the molds that were earlier used to create the plaster lion sculptures. They were cast in Chicago by the American Bronze Founding Company.
On the day of the unveiling, there was much spectacle and awe among guests that attended. According to a Chicago Tribune account of the day:
“The bronze lions that have for several days stood swathed in covers of dirty canvas were stripped of these unsightly coverings. Calcium lights had been turned on the two lords of the animal kingdom and these unusual sights attracted a good-sized crowd. When all was ready a couple of institute employés seized the covers and quickly pulled them off the lions. The lights were then turned on and the magnificent works of art were shown up splendidly. Under the light of the lamps the animals had a life-like appearance that was startling. With low bent heads and eyes fastened on some distant object they seemed looking through the darkness of the night to something far beyond.”[1]
The Lions circa 1901. Image from page 708 of Field Genealogy by Frederick Clinton Pierce.
The lions were made for the opening of the Art Institute and were a gift from Mrs. Florence Lathrop Field, an early benefactor of the museum and wife to Henry Field. The name “Field” and the Field family was and still is hugely recognizable in Chicago. Henry Field was the brother of Marshall Field. Yes, you read that right–the same Marshall Field who was the founder of the Chicago-based department stores Marshall Field & Company, as well as the namesake of the Field Museum of Natural History. Mrs. Florence Lathrop Field was a member of the Barbour family, a prominent American political family of Scottish origin from Virginia. Like her, her brother, Bryan Lathrop was also a member of this family and is notable for his ventures in business and as an art collector, though he also was the longtime president of the Chicago Symphony Orchestra and Graceland Cemetery. Both Florence and Bryan were longtime trustees of the Art Institute, and Bryan had been a patron of Kemeys.
The impact and legacy of Lions on Chicago was large. The Chicago Lions rugby team was even named for the statues.
A young Katharine Andrew and her two siblings next to one of the Art Institute’s Lions (circa 2012).
One of the Lions decorated to support the Chicago Cubs during the 2016 World Series. Photo by Marlin Keesler.
Occasionally, the lions are decorated. In the holiday season, the lions wear wreaths and bows, which are placed upon them in an annual “wreathing of the lions” ceremony. Even better, when a Chicago sports team is lucky enough to make a strong postseason run, the sculptures will wear hats or helmets to show support for the home teams. Examples of this were in 2007, when the lions donned Chicago Bears helmets for Super Bowl XLI; in 2013 when they were decorated with Chicago Blackhawks helmets during the Stanley Cup Finals; and, of course, in 2016 when the Chicago Cubs finally went to and won the World Series.
Edward Kemeys
Photo of Edward Kemeys
Edward Kemeys was an American sculptor and often considered to be the first American animalier. He was born in Savannah, Georgia on 31 January 1843[2] to William Kemeys and Abby Brenton Greene.[3] His mother, Abby passed away before he turned a year old on 17 Dec 1843.[4] The family moved back to William’s home state of New York after the death of Edward’s mother. His father William remarried Catharine Schuyler Cochrane on 10 May 1848. The family appears in 1860 census living with John Cochrane, Catharine’s brother in New York Ward 17, District 9 of New York City.[5] John Cochrane, Edward’s step-mother’s brother, was a member of Congress in the 35th (1857–1859), 36th (1859–1861) Congresses.[6]
When the Civil War broke out, Edward Kemeys enlisted at the age of 19. He volunteered for the 65th Volunteer Regiment of the State of New York. He initially served in Company C of that regiment in which he was a 2nd Lieutenant.[7] He later re-enlisted as a commissioned officer and was a Captain in the 4th United States Colored Heavy Artillery, Company H.[8]
After the Civil War, Kemeys studied in New York City and Paris. He exhibited his work at the Paris Salon of 1878. According to the Smithsonian American Art Museum’s entry on him, Kemeys chose to return to the United States. The docile animals of Paris’s Parc Zoologique just didn’t inspire him. His work was fueled by the raw energy of the American West, where nature was untamed. Kemeys admitted to being terribly homesick while in Europe, ‘When I found myself on shipboard and pointed for America, I could have turned hand-springs all over the deck.’”[9] After returning to America, Kemeys married Laura Sparkes Swing on 13 June 1885 in in Manhattan, New York, New York.[10]
Edward Kemeys died on 11 May 1907 in Washington, D.C. [11] Some of his other sculptures that can be seen include: Hudson Bay Wolves (1873) at the Philadelphia Zoo; Panther and Cubs (c. 1878) at the Metropolitan Museum of Art; Prayer for Rain (c. 1899) at the West Side Park, Champaign, Illinois; and numerous works within the Smithsonian American Art Museum.
Notes
[1] “Lions Are Set Free,” Chicago Tribune, 11 May 1894, p. 8, col. 1, imaged at Newspapers.com (http://www.newspapers.com : accessed 1 May 2022).
[2] “Edward Kemeys Dead,” The New York Times, 12 May 1907, p. 9, col. 5. imaged at Newspapers.com (http://www.newspapers.com : accessed 1 May 2022).
[3] Richman, Michael. 1971. Fine Art Source Newsletter. Panorama City, CA: John Alan Walker. p. 89.
[4] Ancestry.com. Web: Rhode Island, U.S., Historical Cemetery Commission Index, 1647-2008 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2016. Original data: Gravestone Search. Rhode Island Historical Cemetery Commission. http://www.rihistoriccemeteries.org/webdatabase.aspx: accessed 12 November 2015. Name: Abby Brenton Greene Kemeys.
[5] 1860 U.S. census, New York, New York, population schedule, New York Ward 17, District 9, p. 80, dwelling 229, family 547, John Cochrane, William Kemeys, Catherine S. Kemeys, Cornelia S. Barkby, and Edward Kemeys; image. Ancestry.com (https://www.ancestry.com : accessed 1 May 2022); citing NARA microfilm publication M653, roll 809.
[6] History, Art & Archives, U.S. House of Representatives, “COCHRANE, John,” https://history.house.gov/People/Listing/C/COCHRANE,-John-(C000570)/ (May 11, 2022).
[7] “Civil War Pension Index: General Index to Pension Files, 1861-1934,” images, Ancestry.com (https://www.ancestry.com : accessed 1 May 2022), Edward Kemeys (Co. C 65th NY Inf.; Co. H 2nd Tenn Art.; Co. H 4th USC Art.) imaged index card; citing General Index to Pension Files, 1861-1934, T288 (Washington, D.C.: National Archives [n.d.]), roll 257.
[8] “U.S., National Cemetery Interment Control Forms, 1928-1962,” images, Ancestry.com (https://www.ancestry.com : accessed 1 May 2022), Edward Kemmeys; imaged index card; citing Interment Control Forms, A1 2110-B; Record Group 92: Records of the War Department, Office of the Quartermaster General, 1774-1985; National Archives, College Park, Maryland; online version.
[9] “Edward Kemeys.” Smithsonian American Art Museum. Accessed on 2 May 2022. https://americanart.si.edu/artist/edward-kemeys-2595.
[10] Parish of the Advent (Manhattan, New York), “Records of Parishioners, Communicants, Baptisms, Marriages, Confirmations, Burials, and Offerings, of the Parish of The Advent, Diocese of New York,” unnumbered pages, unnumbered entries in chronological order, “Edward Kemeys” and “Laura Sparkes Swing” marriage, 13 June 1885; accessed as “New York, U.S., Episcopal Diocese of New York Church Records, 1767-1970,” indexed images, Ancestry.com (https://www.ancestry.com : accessed 1 May 2022), path: Manhattan > Church of the Advent > 1847-1891 > image 93 of 138.
[11] “Edward Kemeys Dead,” The New York Times, 12 May 1907, p. 9, col. 5. imaged at Newspapers.com (http://www.newspapers.com : accessed 1 May 2022).
Bibliography
“Edward Kemeys.” Smithsonian American Art Museum. Accessed on 2 May 2022. https://americanart.si.edu/artist/edward-kemeys-2595.
Funigiello, Philip J. 1994. Florence Lathrop Page: A Biography. Charlottesville: University of Virginia Press. ISBN 978-0-8139-1489-3. p. 34.
“History.” Chicago Lions Rugby. Accessed on 2 May 2022. https://www.chicagolions.com/about/history/.
Jones, Paul. 2018. “The Lions of Michigan Avenue.” The Art Institute of Chicago. Accessed on 2 May 2022. https://www.artic.edu/articles/720/the-lions-of-michigan-avenue.
"Lion (One of a Pair, South Pedestal)". The Art Institute of Chicago. Accessed on 2 May 2022. https://en.wikipedia.org/wiki/Lions_(Kemeys).
Myers, Quinn. 2019. "Ask Geoffrey: The History of the Art Institute Lions". WTTW News. Accessed on 2 May 2022. https://news.wttw.com/2019/10/02/ask-geoffrey-history-art-institute-lions.
