The Life and Letters of Joseph Pennell, Vol 2

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THE LIFE A'NrD SETTERS, OF
JOSEPH P E KJ 6J: E L L
VOLUME TWO
JOSEPH PENNELL WORKING ON A PLATE IN
THE ADELPHI TERRACE STUDIO
Portrait by J. McLm Hamilton

THE LIFE AND: LB^TERK OF
BY ELIZABETH ROBlis[S
:
PENNELL
/ ^
1
Illustrations
VOLUME Two
PUBLISHED AT BOSTON IN MCMXXIX

BY LITTLE, BROWN, AND COMPANY
Cofyright, 1929,
BY ELIZABETH ROBINS PENNELL
All rights reserved
Published November, 192.9
First Impression of the

Trade Edition
7 5" 1. I
PRINTED IN THE UNITED STATES OF AMERICA

CONTENTS
XXV THE ST. LOUIS UNIVERSAL EXPOSITION 3
XXVI THE 'WHISTLER MEMORIAL EXHIBITION AND
THE WHISTLER MEMORIAL 13
XXVII BUSY YEARS pF ILLUSTRATION, ETCHING
AND PRINTING OF ETCHINGS 2.6
XXVIII THE WHISTLER CASE AND THE WHISTLER

BIOGRAPHY 37
XXIX WE MOVE TO ADELPHI TERRACE HOUSE 47
XXX THE VENICE EXHIBITION 60
XXXI THE SENEFELDER CLUB 72.
XXXII THE WALTER GREAVES AFFAIR 87
XXXIII THE PANAMA LITHOGRAPHS IOI
XXXIV IN THE LAND OF TEMPLES 118
XXXV THE LEIPZIG EXHIBITION 134

XXXVI THE BELGIANS IN LONDON 1
50
XXXVII WAR WORK IN ENGLAND 163
XXXVIII THE FRONT IN FRANCE AND BLACK DESPAIR l8l
XXXIX AN ATTACK UPON PENNELL BY THE PHILA-
DELPHIA ART CLUB AND THE UNIVERSITY
OF PENNSYLVANIA igz
XL TRAGIC DISCOVERY IN WASHINGTON ZO7
XLI A PHILADELPHIA INTERVAL 2.19
XLII A WASHINGTON INTERVAL 2.34
XLIII HE IS ELECTED TO THE ACADEMY OF ARTS
AND LETTERS Z47
XLIV REPRESENTS THE AMERICAN ACADEMY OF
ARTS AND LETTERS AT THE ROYAL BELGIAN
ACADEMY 159
XLV THE ART STUDENTS* LEAGUE 2.70
Contents
XLVI SERIOUS ILLNESS INTERRUPTS WORK 2.8<)

XL VII THE ADVENTURES OF AN ILLUSTRATOR 307
XLVIII THE ADVENTURES OF AN ILLUSTRATOR:
THE BOOK AND THE EXHIBITION 3x2.
XLIX THE END OF A LONG LIFE DRAWS NEAR 333
L THE END 345
INDEX 353
VI
ILLUSTRATIONS
JOSEPH PENNELL WORKING ON A PLATE IN" THE
ADELPHI TERRACE STUDIO Frontispiece
Portrait by J. M.cLure Hamilton, by permission of the artist
JOSEPH PENNELL WITH THE ART JURY AT ST. LOUIS 4

From a photograph
WREN'S CITY OUT OF THE ADELPHI TERRACE WINDOWS 48

M.e%%ptint by Joseph Pennell
THE PRINTER 52.

Drawing by A, S. Hartrick^ by permission of the artist
PORTRAIT OF JOSEPH PENNELL BY GEORGES SAUTER 58

By permission of the artist and the National Academy of Design
THE TEA TOWER OUT OF THE ADELPHI TERRACE

WINDOWS 60
Mezzotint by Joseph Pennell
PREPARING A PLATE IN THE ADELPHI TERRACE STUDIO 68
Sketch by J. McLare Hamilton, by permission of the artist
ON THE WAY TO WORK IN PANAMA 104

From a photograph
JOSEPH PENNELL IN HIS STUDIO WHICH WAS A STUDIO 136

From a photograph sent to Mrs, E. L. Tinker
SEARCH LIGHTS FROM THE STUDIO WINDOW 15 X
Lithograph by Joseph Pennell
JOSEPH PENNELL WITH THE PICTORIAL PUBLICITY

COMMITTEE 194
From a photograph
JOSEPH PENNELL DRAWING IN THE STOCK YARDS,

CHICAGO 08
From a photograph
vii
Illustrations
THE CONSPIRATORS: JOSEPH PENNELL, j. MCLURE

HAMILTON AND CHARLES M. BURNS '
2.14
Portrait by Wayman Adams, by -permission of the artist
JOSEPH PENNELL DRAWING OUT OF DOORS 2.36

Photograph by William Shewell Ellis, by -permission of the
photographer
'
ROLLING UP A PLATE AT PETERS 2.42.
Photograph by William Shewell Ellis, by permission of the

photographer
THE HOTEL MARGARET

Etching by Joseph Pennell
JOSEPH PENNELL IN HIS LAST YEARS

Photograph by Dr. Arnold Genthe, by permission of the photographer
BROOKLYN BRIDGE OUT OF OUR HOTEL MARGARET

WINDOWS 2-94
Water Colour by Joseph Pennell
WITH MRS. BREWSTER IN CHICAGO 334

Last photograph of Joseph Pennell, taken at the Potter Palmer
house at a meeting of the Chicago Public School Art Society, obtained
through the kindness of Mrs. Brewster and the Chicago Tribune

AT OUR HOTEL MARGARET WINDOWS 3 40
Portrait by Wayman Adams, by permission of the artist
THE FRIENDS' BURIAL GROUND, GERMANTOWN 350

Lithograph by Joseph Pennell, 1908, OUR PHILADELPHIA,
/. B. Lippincott Company
Vlll
THE LIFE AND LETTERS OF
JOSEPH PENNELL
VOLUME TWO
CHAPTER XXV
THE ST. LOUIS UNIVERSAL EXPOSITION
(1903-1904)
DURING the winter of 1903, Professor Halsey C. Ives,
Chief of the Art Department of the coming St. Louis Uni-
versal Exposition, was often in London. One of his duties
was to appoint a committee to select work by American
artists living in England. Whistler consented to serve
as chairman, with Pennell as honorary secretary, Sargent,
Abbey and McLure Hamilton as members. Whistler was
pleased by this official recognition, though conscious
that he was without the strength even to attend a
meeting. He had been seriously ill, at death's door, the
summer before in The Hague, had never quite recovered
and after his return in the autumn, was rarely able to
leave the studio except for his bed. Few men ever lived
so intensely, for few artists was Joy so inseparable from
Art, and illness seemed an insult to his once splendid
vitality.But when, on July seventeenth, death at length
released him, the grief of all who cared and none
cared more than Pennell was not the less bitter. He
had been a familiar figure in Buckingham Street and a
blank was left in our daily life,
Pennell was not one to yield to grief, to waste time
mourning and telling sad tales of a beloved past. Like
Whistler, he was intensely alive; with Whistler, he
believed that to stand still is stagnation. "To carry
The Life and Letters of Joseph Pennell
on" was a phrase constantly on the lips of both. Pennell

saw the best of chances for carrying on in the St. Louis
Exposition and for almost two years he was engrossed
Between committee meetings and descents
in its affairs.
of Ives upon London and the Buckingham Street dining
room, between visits to studios and consultations with
packers, between endless letter-writing and more endless
talk, Pennell fitted in one or two of his inevitable
journeys forwork. In the winter of 1903 he went to

Manchester to hang the International Exhibition, and
in the spring to Galloway to illustrate S. R. Crockett's
"
Raiderland for Hodder and Stoughton, published the
next year. In the winter of 1904 he made time for short
visits with me to Paris to collect facts for the "Bi-
ography" from Whistler's old Theodore Du-

friends,
ret, Ge'orge Lucas, Mary Cassatt, Drouet and Oulevey.
In the spring he travelled to Italy to finish the illustra-
tions for "The Road in Tuscany", published the next
autumn; to Diisseldorf to hang the International; to
Munich and Vienna for exhibitions of his own. Ex-
hibitions and journeys did not prevent his attending
meetings of the new Motor Cycle Club which he joined
in the vain hope that it would aid him in his further
on a Quadrant and next on a Humber. He
trials, first
rode off, on the Humber if I remember, to illustrate the
' '
fourth book in Heinemann's series Henry James's Eng-

:
lish Hours", published in 1905. The route enabled him

to run back to London from Suffolk, or Kent or Surrey,
or wherever he might be when St. Louis business was
pressing. The tricycle turned out a burden and a danger
and when it threw him head foremost into a ditch, and
he and every one who saw the fall thought he would be
JOSEPH PENNELL WITH THE ART
JURY AT ST. LOUIS
The St. Louis Universal Ex-position
picked up dead, he made no further use of so unreliable

a mount. He bought no more cycles of any kind; they
had become a hindrance rather than a help.
Within ten days of his return from Rye, the last town
on his route, he sailed, August seventeenth, on the
Teutonic for New York and St. Louis. The letters that
tellthe story of his work for the Exposition, of his
adventures and impressions during his third visit in
twenty years to hisown -country call for no explanation,
unless perhaps that the book he so frequently refers to
in writing to Doctor John C. Van Dyke is the volume
' ' ' '
on American Illustration and Engraving which Van

Dyke, as editor, asked him to contribute to the series
of Histories of American Art. It crops up in their
correspondence through the years until the end. It was
written but never turned in to the editor. The first
letter to John McLure Hamilton was in answer to his

note of sympathy written immediately after Whistler's
death. The second states the reason why Pennell, when
on a committee., reserved the right to accept or reject
work sent in by invited exhibitors. This policy was
often criticized as high-handed, often added to his list
of enemies, but it was the secret of the distinguished

standard of every exhibition he helped to hang.
TO MR. JOHN McLURE HAMILTON
14 Buckingham Street
Strand, W.C.
7. 2.6, 1903
Dear Hamilton over and probably for the best. I dont think
It is all
anything of much importance has yet been published about him, but
I do not doubt there will be a perfect deluge. It is very good of you to
be so sympathetic. I know that you really cared for his work.

I must write you about another matter Ives, as you know, has
made you a member of the American Jury over here for St. Louis
Whistler was and
You
Abbey
Sargent
and
I the others he has asked me to do the donkey work, but you will
help I know. Idont imagine there will be much, and there wont be
any insurance muddle this time. The preliminary circular is being
prepared he, Ives, has passed it andI will send you a copy for sug-
gestions in a day or so.

Yours
Joseph Pennell
Iwish we could come to you but I've no intention of going out of
town this autumn 111 hope to see you as soon as you turn up
j-p.
Strand W,C.
8. z, 1903
My dear Hamilton quite agree with you as to the theoretical
I
absurdity of inviting works and then rejecting them but, as you

know as well as I do, there are people who are invited, and then dont
send what they have been invited to send unless there is some such
clause you cannot get rid of the undesirables but you will get into a
scrape.
I
hope nothing of the sort will happen here, but I think it just as
well to be safe-guarded. And so does Ives. I think we should have a
meeting as soon as you get to town.
Ives will be back in a week or so and we might talk over a cam-
paign.
Yours
Joseph Pennell
TO DR. JOHN C. VAN DYKE
14 Buckingham St.
Strand W.C.
ix. xo, 1903
Dear Van Dyke,
I waited to answer your letter till I got the threatened
sculpture
' ' ' *
book, yesterday it came, and I really spent a appy die with it.
Really without any nonsence it is a most excellent and most readable
thing, far better done than anything of the sort Ive seen from my
native land on that subject for most people succeed in making the
subject as dull as ditchwater or overloading it with scientific rot
I mean criticism. And its wonderfully complete he seems to have
got in everyone I only found carping as usual or rather couldnt
find two people pupils of Eakins are mentioned but not Eakins' own
work, he has done things and so has McLure Hamilton Remington
and others find places and a third is a chap named Stevens who was
in the Academy in Philadelphia with me, maybe he did not come
off, though he did a lot of decorative stuff we used to think fine.
But if that is all I can find, its pretty damn good. And frightens
me to think what I am in for for despite all this, it may be because
of it, I think I'll sail in.
You are good enough already to make a lot of valuable sugges-

tions as to getting material, biographical material that will not be
so difficult but what I want to do is this to put Illustration in the
place not the last as you have it the title of the book and
first
to do this means I must see old files of Harper 's, Letters, and the
earlier papers,and lots of Magazines that are neither in the British
nor S.K. Museum. There are many books too for example I have
never been able to find La Farge's illustrations in the library I for-
get the books they are in but those very editions I cant get. And
then one could talk out with people far more than one can write out
of them, or rather get them to write. Besides, hang it, I want "the
chance to come home and now what with this, and St. Louis 4
, 1 dont
know if you have any influence in that quarter but privately
Ives has told me that there will be a black and white jury and he
has hinted, well, why could not just a little place maybe be found
for me on it. Anyway I want to see the Show, And I have also a
scheme for a big illustrated American book I mean the illustrations

only. So, from one point of view, everything is fine but Ive got two
books under illustration here both important we are doing the
Whistler life Yes we are and it will be the life Whistler wanted
written and gave us material for and Mrs. Pennell is doing a series
of articles for The Atlantic, and what with Journalism, play, the
International and dozens of other things I dont see how I am to
come. But this my is scheme.

sign the contract
Ill with improve-
ments and commence the book at the back, with the illustration
and etching that I know of personally. While as to the Lithography
behold is there not a chapter on Yankee litho artists in the Bible
of Lithography by the Pennells a book that seems to have
escaped
you, and do kick whoever said I wrote a book called Pen and Ink
Draughtsmen I didn't.
Anyway here goes at it.

I
suppose this letter should have been something like this
ix. 19. 1903
Prof. J.C. Van Dyke,
Sir, I hereby accept your proposition and that of the Macmilkn
Co. to write a volume in your series of Histories of American Art, on
the subject of American Illustration and Engraving.
Yours
Joseph Pennell
TO MR. EDWARD ROBINS
Inside Inn
World's Fair. St. Louis
8.
30. 1904
My dear Ned I have got your letter in fact it was
waiting me.
It is very good of you to ask me to come to you but at the present
moment I dont know what will happen or how long they will keep
me here as they have put me on all the Art Juries, and other things.
Still I
hope to get to Philadelphia but have got to go to Chicago
and other beastly places. By the way were you not
working here
once if so you had a
happy release
8
It is magnificently awful this is written in the midst of 6000

fellow countrymen and women and kids
Its original weird
Yours
Joseph Pennell
TO MISS HELEN J. ROBINS
Inside Inn
St. Louis. Sunday 1904
Dearest Helen
Behold my greatness and be impressed!
You should see me
This spectacle can be seen any day for 50 cents by all the world which
hasent a pass most of em have and its most impressive the other
that I wont name em only the laidie is
Jurors are so distinguished
Alice Barber As I am also put on the Superior Jury and am
Stephens.
also to speak a piece or something so I shall probably pass the rest
of my life here
Yours
The Life and Letters of Josefh Pennell

World's Fair. St. Louis 1904
St. Louis. U.S.A.
9- *
My Dear Van Dyke I dont think I shall be able to see you here as
Ihope to beon the way east some day next week drugged and drunk
with the Fair When will you be in New York or New Brunswick
again as I now if possible want to get at the book there is
nothing here to speak of for it But I have had some talks with
Swain Gifford and others and they have promised to help
Yours
Joseph Pennell
"
After St. Louis and the Grand Prize*' for his work
on the Jury, it was Chicago, Buffalo, New York,
Chicago again, New York again, to stay this second
time more than a month, spellbound before the sky-
scrapers in the Unbelievable City the City Beautiful
built during his absence from his native land **the
City that inspires me, that I love/' He etched his first
skyscrapers, six published, without text, in the March

Century, 1905. He made a series of lithographs, also of
skyscrapers, for the Society of Iconophiles. He met Van
Dyke almost daily, Mr. Brett of the Macmillan Com-
pany sometimes a third at lunch. "We can then make
him enthusiastic/' Pennell said, when he suggested that
Mr. Brett should lunch with them at the Century Club.
* '
His enthusiasm was catching. The plan for the Illus-

tration" book was getting into definite shape. Pennell' s
notes asking for appointments or breaking them were
many, hurriedly written little notes, so impatient was
he to get back to his inexhaustible skyscrapers. One
*
begins :' It is so beautiful I must go out and make more

10
The St. Louis Universal Exposition
immortal works;" another: "111 try to look in to lunch

to-morrow but the mill is grinding and when it does
so, I dont like to stop the machinery;" a third: "I
am wrestling with the printers and cant go till Wednes-
day next Oceanic on which I have taken passage."
His press was in London and he was proving his plates
at Kimmel and Voight's. The lithographs he was taking
back with him, as not until a few years later did he
learn that there were good lithographic printers in
America. He sailed on November sixteenth. St. Louis
affairs travelled with him to London. Almost at once he
' '
was writing to McLure Hamilton, I have the honour

to inform you that you have been awarded a gold medal
for your exhibit at St. Louis." He was the most formal
ofmen when the occasion called for formality. To Van
Dyke he announced the satisfactory settlement with the
Macmillan Company for the "History of Engraving."
The "Portfolio" mentioned in the letter to Dr. Singer
is that Goupil publication of 1894 which scarcely sold
at the time. Now
that it was wanted for the Dresden
Print Room, only one complete Dresden
set was left.
had begun before this to collect his prints and Gutbier

was his German agent.
14, Buckingham Street
Strand W. C.
12.. IZ. 1904
Hooroo
So its all fixed up in New York and the Macmillan book well I am
glad and Im starting the Illustration and a million other things, and
will be over again in the fall, and thats something to be thankful for.
Yours
Joseph Pennell
II
TO PROFESSOR DOCTOR HANS W. SINGER
W.C.
Strand.
London.
11.15: 1904
Dear Dr. Singer,
Curiously I had just gotten out the Portfolio, only a few days
ago. It does not contain the Knight sbridge things and you may
have some of these, but not the complete set. In fact there is only
one complete set left. I enclose a letter to Dr. Lehrs is it not? though
I only address it to the Director. Will you please hand it to him,
and the portfolio is now being put in a case and will come to you to
the Print Room by the American Express.
Now as to your very flattering letter I am very sorry to hear of the
changes of course there was only one man for the place [in the
Print Room] and well I am writing him You should have had
it.Everyone knows that.
to the sky scratchers or ski-scraps Ive heard them called
As
both I shall be delighted to have you do the article provided it
is in some paper or magazine not in English because The Century is
going to do one in New York and they would object. Nor do I

want to seem mercenary but I have always received a fee for having
my things reproduced. Could this be done? If not in your case I will
forego it, but one cannot live on glory alone.
Will you please assault Gutbier or Arnold or both furiously on my
part for they, or he, have never acknowledged the receipt of the
etchings and your letter was the first intimation, and the only one
that they had got to Dresden.
Yours
Joseph Pennell
I2L
CHAPTER XXVI
THE WHISTLER MEMORIAL EXHIBITION AND
THE WHISTLER MEMORIAL
(19041906)
PENNELL'S active interest in the International did not
slacken because of St. Louis. It redoubled rather,
Whistler's death having left the Council much to think
of. A new president must be chosen. Pennell agreed with
the others that Rodin was the one artist who could
succeed worthily. He was loyalty itself to the new
president,upholding him and his policy whenever there
was need, serving on the committees appointed to
welcome him to London, paying him official visits in
Paris when necessary, attending him at the opening of
the year's exhibition and at the many lunches and
dinners in his honour. Pennell appreciated Rodin, as art
critic in the Star and the Daily Chronicle never ceased to
proclaim him a master to the lukewarm British public.

But his chief activity these years was devoted to the
dead master whom he, to the end, pronounced the great-
est artist of the nineteenth century. The day Whistler
was buried, members of the Council, lunching together
on the way home from the funeral, began to discuss
plans for a Memorial Exhibition, though, as Pennell
wrote to Mr. Croal Thomson, in April, 1905, "this
project was not broached formally till six months after
Whistler's death and then eight or nine months passed
The Life and Letters of Josef h Pennell
before the Committee to consider the matter was formed.

Their first meeting was held at the end of last March."
Here was something to work for and Pennell worked
at a pace that astonished me, accustomed though I was
to the lengths to which his energy and enthusiasm
could carry him. He left no stone unturned. He wrote
every one who, to his knowledge, owned Whistlers, or
who might know of Whistlers unknown to him. "I
may (or rather we) go to Boston next week to the
Whistler show I now am just off to Edinburgh to see
' '
the Scotch one, he wrote to Doctor Singer on February

4, 1904. The two were more than he could manage.
But he did get to Edinburgh late in the month, on the
chance of finding forgotten Whistlers, and found to his
delight the "Frederick Leyland" and "Mrs. Louis
Hutti", not forgotten but never seen^by him before
also, I might add, he attended his first public dinner in
Scotland, a Scottish Academy dinner, eating haggis and
drinking whiskey to the sound of the bagpipes. While
in America, during the summer and autumn of that
same year, his hunt for Whistlers was as arduous, if it
yielded less. As the time for the Exhibition approached,
he saw to getting the proper publicity iti the press,
understanding that to gain and hold the people's in-
terest was half the battle. He stirred their curiosity and
did not let it weaken for want of news to feed on. He
announced, one by one, as so many victories, the cap-
ture of masterpieces from abroad and their arrival in
London the "Carlyle" from Glasgow, the "Mother*'
* ' ' '
from the Luxembourg, the White Girl from America,
the King's etchings from Windsor.
\
From Buckingham
Street, January 9, 1905, he wrote
14
The Whistler Memorial Exhibition
My dear Van Dyke I am back and am in it again, but oh Lor how
I wish
really was
I back again in the land of cocktails and ski skraps.
Any way am,I or rather we are coming in the fall, if we dont come
before for I'm about through with this hole. As to Italy I dont know
if I wont stay here and finish up what I have to do the London
book and the James articles, and then Spit on the place.
All this comes from being mixed up against my will with the
Whistler Show but we have got the Mother back from France and
the Carlyle to say nothing of the or a lot of the American pictures
and 500 prints. If you see Cottier or D. C. Thomson will you not
please help them to get the other things they want The White Gtrl
The Avery Portrait the few other things including the Rosa Corder.
Please even gamble for it if necessary. We have, however, the Pitts-
burgh, Boston, and Chicago things but we want The Yellow Buskin
from Philadelphia also some of Mansfield's Etchings.
But even now it will be the most important yet held. But if I only
had an American gang to work and fight with.
Yours
Joseph Pennell
To Doctor Singer he wrote as joyfully, hoping through

him to discover Whistlers in Germany, pausing in the
story of the Memorial triumph for a passing reference
to Gutbier, his agent, and an article Doctor Singer was
to write on his etchings of skyscrapers.
International Society of Sculptors, Painters and Gravers;

Whistler Memorial Exhibition
New Gallery, Regent Street, W.
January i5th, 1905
Dear Dr. Singer. I was told yesterday by Mr. W. Heinemann that
the aunt of the present King of Saxony possesses one or more of

Whistler's paintings at the Villa Schiller Do you know anything
about this? And do you know of any Whistlers (paintings or draw-
ings) in your part of the world? If you do, could you help us to get
them over to the Show?
Artistically it is an assured success as we have the Mother., the
Carlyle, Sarasate, Irving, Miss Alexander etc. nocturnes King's etch-
ings, Way'slithos 500 different prints not different states. Can
you help to make it more memorial? I saw Gutbier the other day
and we discussed and I had a furious traffic with him in sky scrapers
and other things. If you can bring off the article I shall be glad.
Yours
Joseph Pennell
International Society of Sculptors Painters and Gravers

Whistler Memorial Exhibition
New Gallery, Regent Street. W.
Feb. nth, 1905.
Dear Dr. Singer I should have answered sooner but we are nearly
smashed with work two hundred paintings by Whistler and between
500 and 600 works in Black-and- White. All the catalogued lithos
300 of the 370 etchings etc. etc. The Sauer picture has been sent for
it is awfully good of you to have got it.
Now cant you get over to the functions and if so wont you be
my guest at the dinner on Feb. 2_oth at the Caf6 Royal and then stay
over for the Reception on the 2.zd for which I believe a ticket has
been sent you.
Yours
Joseph Pennell
As the time for the opening grew near, his energy re-
doubled, if that were possible. I rarely saw him at
Buckingham Street during the day. lie was at the New
Gallery, directing, arranging, hanging. he came home If
for dinner, and without Doctor Bakker, the Society's
secretary,and one or two of the committee to dine with

us, his evening was spent toiling with me over the
Catalogue of Etchings which, as he said, we virtually

16
made, though Miss Jessie Thomas, the Exhibition's

secretary, was his collaborator in the Catalogue of
Paintings. On the nineteenth of February he was at

Victoria to meet Rodin a formal ceremony, the depu-
tation of the Council headed by Lavery, the vice-
president, all in frock coats and top hats, Rodin bringing
as his bodyguard Thaulow, Cottet, Blanche. At last,
on February twenty-second, the Exhibition was opened
at noon by Rodin with his famous speech of seven
"
words Ladies and gentlemen, the Exhibition is
open/' "Everybody" in London had been invited and
was there, and during the afternoon, after the ceremony,
the crowd that was not everybody paid half guineas
cheerfully to get in. Success was assured from the start
the indispensable money success that would pay the
bill. Benedite and Masson, from the Luxembourg, had
also come from Paris, partly because of the importance

of the event, partly no doubt prospecting for the
Memorial Exhibition they were to give three months
later at the Beaux-Arts. They, Cottet and Harry Wilson,
a member of the Council, lunched with us after the
formalities in the gallery a lunch in memory of
Whistler who, not so long before, had been a familiar
figure in that little dining room so out of proportion to
Etty's big studio window.
Pennell's labours did not cease. He went daily to the
gallery, supervising, overlooking every detail, receiving
distinguished visitors, the King and Queen among them,
for the Exhibition's success was of the sort that in
Britain royalty cannot ignore. This was the famous
occasion when to show Queen Alexandra round fell to
him and he was forced, because of her deafness, to talk
so loud that he could be heard throughout the gal-

leries.
"
''And what are these? the Queen asked, standing
before the little drawings on wood made by Whistler
and Mrs. Whistler, but never engraved. Pennell ex-
"
plained them and his pride in being their owner. And
what do you propose to do with them?" she further
asked. "Keep them, Ma'am/* he answered, and the
members of the Council, listening to every word, re-
joiced.
"You have kept the blocks but you have lost a
knighthood/' they told him afterwards, explaining that
etiquette required him to say, They are yours Ma am !'
' ' ' '
, ,
and that etiquette, if gracious enough, brought its

reward. Etiquette and rewards, however, meant nothing
to Joseph Pennell in comparison to possession of
Whistler's only drawings of the kind. It was a story he
liked to His correspondence languished for weeks,
tell.
and the letters he managed to write are as full as ever of

Whistler and the International.
TO DJL JOHN C. VAN DYKE
My dear Van Dyke :
I have been swallowed up in Whistler. We or who else is there?

have fought a great fight and won now I am done with shows and
societies and am going to play at my own work. I shall see Mao
millan in a few days about New York and may be I or we may be
over in a few more.
I wish you could see the Whistlers and the crowds from Kings
to cads mostly the latter trying to escape their past and avoid
their future.
Good Bye
Joseph PenneU,
By May, when he was recording the same success to

Doctor Singer, rest was not within sight. He was al-
ready absorbed in the Society's next exhibition. A show

of his own, in Dresden, was a secondary consideration,
and so also was the International Exhibition in Liege,
though it brought him a Gold Medal.
Strand, W.C.
5: 6.05
Dear Dr. Singer I have been meaning to write and thank you for
the very charming introduction you wrote for the Catalogue of the
Dresden Show the reason I have not written is because I wished
to propose something to you or rather ask your help in a matter
namely, that of aiding me to get together an Exhibition of modern
German prints and drawings for the next International but until
the question of space is settled I can do nothing. Still, if that is
satisfactorily arranged, would you be willing to help?

The Whistler was a great artistic and luckily for us a financial
success and thank heaven it is over and I will never get mixed up
in such an affair again
"
Meantime my own little affairs marched" a bit and the
have
skyscrapers seem to have been very well received in America save
by some of the critical ones but having been a critic myself I do jtiot
take unfavourable notices too seriously. I want to get to see the
Munich show if possible and if I do so will try to pass by Dresden.
Yours
Joseph Pennell
Caf Restaurant des Sports

Paris 30 May. 05
Dear Dr. Singer
I have just come from the Whistler Show at the cole des Beaux-
Arts it is not a patch on our show in London of course there are
many interesting things, but as a whole it is a ghastly failure I

there were not 50 people in the place this morning. Whistler was a
great the greatest etcher the world has ever seen but there are
some paintings and drawings stuck on the walls which would make
him sick Save me from any Vanderbilts, Freers and Canfields,
Studds, and Benedites he is shrieking if he is doing anything.
Some of his "friends" have in the last six months done and com-
mitted more crimes in his honour than can ever be wiped out.
Please write to
London 14. Buckingham St., Strand
Yours
J. Pennell
In November the Council decided to hold two ex-

hibitions in 1906, the first and Sculpture,
for Painting
the second for Water Colours and Black-and-White.
Letters to Doctor Singer, who got together the German
prints, are full of space, insurance, lists,

mounts, every
minute detail, an occasional interruption for a bit of
news: "I suppose you have heard that Strang has got
into the Academy. They, the Academicians, are set up
and I suppose Strang is too But it is not of much artistic
importance, and I hope it may not have the almost uni-
versal effect that is, to ruin him as an artist/'
By December first, he let himself go a little: "We
have got the Bocklins and Tschudi says the Berlin
Menzels may come, but you keep on hustling please.
The Penna Academy is sending us pictures. But the
Black-and-White Show will take the cake I think/'
And on January 13 (1906), he is telling Doctor
Van Dyke: mixed up again in the Inter-
**Ive got all
national Show, the British end of which is as usual
Scotch and therefore Rotten and Cheap, but the Im-
pressionists and Brush, Ranger, and Tarbell and Bartlett
especially have made a big hit. Next month I shall
zo
run the show of water-colours, pastels and 'drawings*

which I know will be good. This is really the only living
form of art to-day/'
He arranged for the German collection to go on with
the rest of the exhibition to Nottingham in March and,
his own and the Society's business well disposed of, he
could take breath at the end of April to report to Singer
an incident that shocked rather than surprised him:
"The Great and Good King Edward has just sold all
his Whistler etchings including those Whistler gave
the old Queen and all this was done under the plea
of improving the Royal Library at Windsor.
History repeats itself: After Pennell's death,, the King
of Italy sold under no plea that I have yet heard his
Pennell prints bought at a Venice International Ex-
hibition.
The members of the Council were not slow in es-
timating Pennell's services at their true value and taking
advantage of them to the uttermost. When anything
was to be done, he was likely to be called upon, and at
first he seldom refused. If he did not have the time he
made Though he was no longer writing art criti-
it.
cism he came with me regularly to the two Salons in

search of the year's best work for the next International,
and sometimes think he felt himself well repaid by the
I
friendship then formed with Paul Bartlett and James

Morrice, and their long evenings together of talk, and
more talk, and always talk, at the Caff de la Paix or the
Caff d'Harcourt whichever their mood might lead them
to. He any distance to other continental ex-
travelled
hibitions, on the same tireless pursuit of the new and
the distinguished. Sometimes with Sauter, sometimes
zi
with Harry Wilson, he would go on special trips to

visit Dutch artists in their studios
French, Belgian or
and select paintings, prints and sculptures at head-
quarters. That long summer of 1901 spent in Venice,
where it seemed as if nothing would drag him from
his pastels and Russian charcoal, he managed to join
me on my way back to London as far as Milan to see
the Segantinis at Grubicy's, the art dealer there. For
the Society's exhibitions in provincial towns he worked
as whole-heartedly, the Council only too glad to ap-
point him one of the Hanging Committee, and the

directors of the galleries, recognizing his genius for the
task, were his friends at once, none more faithful than
Mr. Butler Wood of Bradford and Mr. Dibdin of Liver-
pool. It was the same with the Society's exhibitions in
Munich, Budapest, Diisseldorf. When Sauter, the honor-
ary secretary, broke down at a critical moment just as
the exhibition for Budapest was being prepared, Pennell
saved the situation and was elected in Sauter 's place
honorary secretary fro tern. He did not rest until the
International exhibited in the big American towns,
Philadelphia, Chicago, St. Louis, Pittsburgh, as far as
Toronto, nor until he brought from the United States
a collection of American artists never before heard of
in England. It was through him that Arthur B. Da vies,
Abbott Thayer, De Forest Brush were first seen in
London; that the first show representative as far as
the size of the gallery would allow of Augustus Saint
Gaudens was held.
After the two exhibitions in however, his
1906,
interest began to flag. Rodin, absent, could not hold
the Society, could not domineer it he had not Whistler's
Z2-
The Whistler Memorial
Without Whistler at the head, rules

gift of leadership.
and regulations which had been the Society's backbone
gradually were disregarded; indeed, before
hisdeath,
the international element, the reason of its existence,
was threatened. In 1901, when Associates were for the
first time elected, twenty-eight out of the thirty-two
who got in were residents in Great Britain. Whistler

insisted that no member of any other society should be
a member of the Council and one of the Council's worst
moments during his presidency was when a Royal
Academician was added to its number. He had to go,
unpleasant as it was for the timorous
and the toady.
But with Whistler out of the way, the Royal Academy,
wise in its policy of saving itself by gathering the
rebels into its fold, chose new Associates from the Inter-
national's Council and none was strong enough to refuse
the advantages the letters R.A. or A.R.A. stood for.
Pennell did not resign, determined not to until the
Whistler Memorial, by Rodin, was set up on the Em-
bankment the part of London most in-
in Chelsea,
timately associated with Whistler. Not only members

of the International but prominent men who appre-
ciated Whistler and whose names counted with the
British public were on the Committee. Heinemann and
Pennell were appointedhonorary secretaries and to
them fell what Pennell invariably called "the donkey
work." "I am hammering at the painters and Ameri-
cans/ he wrote Van Dyke, and the two secretaries had
1
to hammer long and hard before they raised the necessary

fifteen hundred pounds, a small sum but Rodin was
to charge the Society solely for the casting and technical
details. When money came in Pennell exulted, announced
2-3
it to David Croal Thomson, Chairman of the Committee,

in gay little notes., the following a characteristic ex-
ample: "Herkomer has plumped down 5.5.0. Amazin!
and I note Orchardson, I got near xo yesterday, if we
can only keep it up!" When money did not come in
and the required sum fell short of two hundred pounds.,
and the time set by the International for collecting it
was up, he put his hand into his pocket or bank
account and produced it, a fact he let no one know
save myself.
A
replica was planned for the United States, necessi-
tating a further five hundred pounds which Harrison
Morris and Pennell, the Committee, secured, with the
help of a sub-committee in Lowell, Massachusetts,
Whistler's birthplace, the town chosen for the honour.
The Memorial held Pennell to his post for he was
unwilling to dwindle into a mere figurehead in any
society he was associated with. In 1905 he hung the
International's Black-and-White Room in London and
in Bradford; in 1906 he was in
Nottingham on the same
mission.He organized a Memorial sub-committee, Miss
Bertha Newcomb, the honorary secretary in Chelsea,
hoping Chelsea residents would pay lavishly for the
privilege of securing a monument by Rodin to Whistler.
He rarely missed a council or committee meeting. Nor
did he shirk his official duties on the
Reception Com-
mittee, when Rodin came to London. He was present
at the International* s dinner to their
president in 1906,
and that same year at the Lord Mayor's lunch
given
Rodin at the Mansion House. He squandered hours in
the studio of two Dutch artists who were
preparing a
sort of Chat Noir entertainment
which, at the New
The Whistler Memorial
Gallery, was to bring in countless ''golden guineas"

for the Memorial but, as it never came off, brought in
nothing save the waste of Pennell's not easily spared
evenings. He lent his approval to a Mi-Car erne ball,
though the Quaker in him had little else to contribute.
He could not afford the time to go to Dresden to look
after an exhibition of his own, but he travelled down
to the Milan Exhibition with Morley Fletcher to hang
the International section and represent Great Britain.
2-5
CHAPTER XXVII
BUSY YEARS OF ILLUSTRATION, ETCHING AND
THE PRINTING OF ETCHINGS
(1906-1907)
WITH the publication of the six etchings of Sk7$crapers
in the Century a new period began. In fact, a new period
had begun for Photography had done its
illustration.
worst. Cheapness ruled and the great days of illus-
trated magazines, even of the Century and Harper s were
on the wane. A second "Golden Age" was passing.
Pennell became more absorbed in etching, later in lithog-
raphy, than in drawing, and his illustrations for maga-
zines were oftener than not issued in series without
text. The books he illustrated were mostly his own, or
mine. No sharp line divides the two periods. In the next
few years he illustrated Sir Frederick Treves' "Dorset"
in the Highways and Byways Series (1906); another
Heinemann book, "Italian Hours" by Henry James
(1909), John C. Van Dyke's "The New New York"
(1909) and he finished the illustrations for "London"
* ' ' '
which Henry James never wrote. For London Pennell

got out the plates begun years before in the Barton
Street days, and etched new ones, spending hours hang-
ing on to the wooden wheel of his old press, printing

them. But Venice having taught him the beauty of
Russian charcoal, which seemed made for London
effects, he set to work to draw London all over again.
z6
Busy Years of Illustration
Early in January, 1906, he wrote to Van Dyke: "I am

working day and night more or less to get through
the London work and the more I do the more I see.
James, however, rools the roost and when he is done
which I hope will be this summer I must stop." The
work went on during 1907 and 1908, but was not pub-
1 '
lished until 19x5 in Mr. Sidney Dark's "London and

I9i8 in Mr. J. C. Squire's "A London Reverie/'
Four French Cathedral articles had come out at inter-
vals in the Century but before the fourth appeared in the
September number, 1899, Mrs. Van Rensselaer gave up

the series; Pennell could not see why important draw-
ings, the work of many summers, should remain unpub-
lished, nor did the editors and they asked me to write the
articles. In the spring of 1905, to refresh my memory, I
set out on a journey without him to the Cathedrals

though I had spent weeks and months in them with
him, and in 1906 and 1907 we went together to the three
great northern Cathedrals, Amiens, Beauvais, and Rouen,
which he had left to the last. This time he made etch-
ings, not drawings. His idea from the first was to etch
all the Cathedrals, both English and French. It will be
remembered that he took plates with him to Canter-

bury and Lichfield. But he did not reckon on the
problems Norman and Gothic architecture presents to
the young draughtsman, and plates and prints, with
one exception, were destroyed. Between the Eighties
and 1906 he had gone through a severe discipline, and
the perfection of Amiens, the flamboyancy of Rouen
even under intricate scaffolding, the stupendous pro-
portions of Beauvais neither frightened nor bewildered
him. All were drawn directly osr the copper with no
2-7
preliminary sketches. His correspondence these years,

as always, was voluminous. The letters are their own
explanation.
14, Buckingham Street,

Strand, W.C.
11,1,1905
Dear Van Dyke I have just heard that W. Lewis Fraser who was
one of the Art Editors formerly of The Century is dead. Now the
reason for pointing this out is first that I have heard that for a long
while Fraser was preparing a history of American Illustration but
some time ago much of his material possibly all of it was burnt.
Still there may be notes or Mss.
Now though I have met Mrs. Fraser, but not for many years, I
could scarcely write her about this, but it seems to me that you as
Editor could easily do so. If you can find her the address, according
to Grolier Catalogue is $ West 8th Street. Of course if the stuff is of
any value it would be better for me to have it, and from his position
as one time he had a certain inside knowledge of what went on. I am
reading up all the time, but there is mighty little to read it is going
to be as I thought a question of looking through things.
I want to buy, beg or have you steal for me a copy of Isham's
book.
How are you
7 xr
Yours,
Joseph Pennell
A few words may make the following two letters

better understood. Pennell suggested to the editor of
the Studio, who was reproducing several of his New
York Van Dyke should write the article,
etchings, that
which, however. Van Dyke was too busy to undertake.
Pennell's"phiz" was a portrait recently published but
just where it is not easy at this distance of time to say.
1 *
His "trampling on the authorities at the National
z8
"
Gallery was because, when Whistler's Nocturne in
Blue and Gold: Old Battersea Bridge", presented to the
nation by the National Art Collections Fund, was first
hung at Trafalgar Square, Whistler's name on the label
was misspelled, the title inaccurately given, and Whist-
ler claimed for the British School.

Strand, W.C.
4. 2.3, 1905
Dear Van Dyke It is all right about the Sky Scraps. The Studio dont
matter and I could write the article myself as you suggest if I
wasnt so lazy but thank God I am. I am trying to get over the
Whistler Show which despite all opposition within and without
came off so did I nearly but I never struck so many canny and un-
canny cads.
Brett tried to bring me back with him but I escaped. I hope for the
fall but there are certain things here to do first.
Though in anticipation, I have given up all fixed and immovable
journalistic jobs thats over thank Godand the hypocritical lying
Briton may go now his way rejoicing as he does but what of it
nothing for thank God I am not an Englishman. But why under
heaven did America not put in for the foreign contract labor law
when X. hired that silly billy The whole of England has roared
with laughter at the affair, that is the dozen or so people who know
anything about it. And what a haul for him! And what a fall for
America!!
Really it is too bad
Yours
Joseph. Pennell

Strand, W.C.
io,zx, 1905
My Dear Van Dyke Tis the penalty of being famous some day you
will experience it.
As to my phiz I did not make it nor did I make the photo

both are beastly.
I hate this sort of thing and it only happens when it cant be
k
avoided but dam difficult even over here to avoid it.

it is
I want very much to see the Painting Book. By the way did you
see I had to trample on the authorities at the National Gallery
though every critic in London, save one or two sat tight including
the saintly MacColl, and chocolate Fry they have changed the
label, but Whistler still belongs to the British
School I hope
Isham has looked through the catalogue of the British School in the
National Gallery, if he hasnt he should and he will get material
of British
enough for a chapter or a supplement about the System
Graft applied to art and from Dunlop Chap. 13, Vol. i you will see
it is no new game. Remember the appropriation of
Copley
Stuart
West
what has Isham done with them? and
Leslie
Boughton who declared himself for

the purpose of St. Louis. While I hope he has got in
Muhrman
and
Mura . . .
They even went so far as to say there is ho American School as if
ignorance could go so far.

I am much obliged to you for looking into the Painting affair and
for the infortnatioa that Janvier is coming.

Yours
Joseph Pennell
TO MR. FRANK MORLBY FLETCHER

Strand, W.C
3 zi, '06
Dear Fletcher think the prospects of any future exhibitions of
I
the International are mighty slim. Certainly I have no intention of
30
working any longer for people who only nag, provoke and sling
mud. They may run the Show if they like but they also must pro-
vide the time, money and brains in all of which they are woefully
deficient and wanting. I dont know save for the Milan business,
that there is any need for you to come on Monday. But there will be
a hanging committee meeting the 2.7th or z8th. And some one must
go to Milan about the middle of April that must be settled on
Monday and either at his own expense or that of the Society that
isof course either you or I we might both go for two or three days
what do you say? and take our misses.
Yours,
Joseph Pennell
Of course it would cost something at the opening but I think we
would get special rates.

Strand, W.C.
4, i, 1906
Dear Van Dyke First letme thank you for The Ofal Sea which came
a while ago but
little which owing to the dam International that
is just I have had no chance to look at
over also for the Fraser
letter which is most interesting and which I will answer.
As to the National Club it is a very decent place haunted by
literary civil servants and ex-civil servants and publishers who
catch authors there Gosse and Dobson and Maurice Hewlett be-
long to the Club and its very decent with a big garden down to
the river if you can get a room there it certainly would be much
nicer than an hotel.
Just at this minute I am very, very tired, and have to go off or
ought to go off for the British Nation to Milan to get our or

their art show straight its a funny long story.
Good Bye
J. Pennell
31
TO MR. FRANK MORLEY FLETCHER

Strand, W.C.
5, 17, 1906
Dear Fletcher The pudden [haggis] are arrove Augus-
orrid ogs
tine much disapproves of her, and we have eaten some of him, but
every day I learn something new of the manners and customs of the
English the combination of ogs pudden and cream may appeal to
the natives but we were shy of it. I should have thought cyder or
cider more fitting but as the cream diden't turn up and there was
no cider in the place we ate it with mustard and it is not half bad
in fact it good that I am sure the
is so receipt or the inventor was
washed ashore from the Armada.
I dont suppose anything will happen at the meeting even the
O Gassaway seems to have collapsed I aint going to Holland

though Townsend tried to bribe me I haven't seen the German
shows, and have heard nothing about Milan save that they cant
hang things on the wall of the Art Gallery a truly British idea
and I had to explain in a long screed the making of battens and
arrangement of hooks and uses of wires in the midst of which
they had a strike and so here I am and where the prints and draw-
ings are the Lord knows but they are insured.
The things will be back from Philadelphia in a short time
where if you are away are they to be sent? Shall Bourlets keep
yours. Maybe they are sold.
Remember us to Mrs. Fletcher,
Yours
Joseph Pennell
* *
About Milan he eventually did hear I have been :
to Milan for my sins hanging English prints an Inter-

' '
national Show, he wrote to Mr. Butler Wood on June

seventh, and he could have added later, received a Grand
Prix, "Presented by the British Commission/*
Etching and the Printing of Etchings
Strand, W.C.
8. 15. 6
Dear Dr. Singer. I do not know if you are in Dresden or luckily
having what I never get a holiday but I dont know as I want it.
But I have something to write about though I dont want you to
say anything about it yet. It is this.
I have had an extrodinary Success with my London plates Such a
success that I am not going to print when I get through with the
final tirage any more but destroy them and I may say this final
tirage is sold now. Of these London plates there are some hundred
of them there will be printed by me 2.5 to 75 impressions Gould-
ing of some has printed as you know a few. But out of them all
I am keeping back about ten proofs of each and I wish to offer these
or some of them to a few museums and libraries and I wish to know

whether they would be acceptable a set of them to the Dresden
Gallery. For it was in Dresden almost the first that my work was
bought.
Now if you think the Director or the authorities or powers
would care for them, I propose to offer them officially and for-
mally to the government to be placed in the gallery. But before

doing so I write to ask you, if you think they are wanted? And Sec-
ondly what course if they are wanted should be pursued. I would

also like to let Dr. Lehrs have a set in Berlin and you may tell
him my scheme or show him this letter.

Ifyou think it all absurd dont hesitate to say so.
Only if it is done it must be done formally and in order.
Yours
Joseph Pennell

Strand, W.C.
Xmas Day 1906
Dear Dr. Singer. Thanks for your letter and the official one, in
answer to mine it is a most interesting document especially in
connection with your own.
33
As to the Duplicate proofs they were printed by old Goulding him-

self, for I saw him pull them. Now this is for you only the old man is
getting he thinks old and so does little work himself but he

did pull these things of mine.
There is one other matter please dont publicly I mean in print
say or allow to be said anyway in English or American papers
that I gave you the etchings though I am extremely glad to do so,
for I never gave a gallery, even the Philadelphia Academy, my old
school, which is always wanting things or any other public in-
stitution anything before. That Dresden has got them or rather I
am glad the Director would accept them on my terms is the affair
of the Director and myself and yourself.
Believe me
Yours truly
Joseph Pennell

Strand, W.C.
I. 13. 07
Dear Dr. Singer. Certainly it would seem more official that things
should go through the official channel And I will continue to send
in that fashion. I shall look forward to The Studio [Dr. Singer's
article on Pennell's recent etchings in it] with interest. It will be out
on Tuesday I suppose. I dont know if you have heard that I was
invited by Dr. Ricci, just before he retired, to contribute some draw*
ing to the Uffizi in Florence. The invitation came from him and I
had nothing to do with the matter, save to feel greatly flattered and
acceed to it. As to your suggestion about Dresden and Meissen, it is
I fear impossible endless work looms up in London & New York
where they are screaming for me let em scream. But I must go
home next fall, and want to.
The International is just open but it is hardly a success. It is now
too big and clumsy.
Bye the way I thought you were to have a big show in Dresden
this year.
Another matter I do not know if you have heard that we are getting
up here, a memorial to Whistler, this will take the form of a tnonu-
34
Etching and the Printing of Etchings
ment by Rodin, to be erected on the Embankment at Chelsea. I have

just, with W. Heinemann, been made Hon Sec. now do you think
there would be any chance of getting subscriptions for this, in Dres-
den, from admirers of Whistler? We want it to be International.
Committees are in course of formation in Paris New York, and
Vienna, what of a German one? Could you look into it and give
me your opinion For example I am getting here, the Directors of
Galleries to subscribe and Sir Charles Holroyd and Whitworth
Wallis have done so. No matter what the amount, we are glad to
get it. Could something be done in Dresden, let me know and 111
send full particulars.Make THIS as public as you like.
Good wishes for you and Mrs. Singer
Yours
Joseph Pcnnell
Strand W.C.
i. z. 07
Dear Dr Singer Ihave read your article over you say I will proba-
bly be furious at you about the printing I mean the artist doing his
own printing; no, I am not, I only differ, for I think there is just as
much in the printing of a copper plate as in the drawing and biting
of it by the artist.
Printing may be a sore trial to patience & temper so are most

things but when you do get a good print you have something
and in Editions of the size I do I dont get tired except physically
for it is hard work of course Goulding can follow a model you set
him perfectly but then the charm of etching-printing is that you
dont follow a model when you do it yourself you have an idea
of what you want and may-be you get that but as soon as you have
got it you see something else and go for that, and with a result, as
I am perfectly aware, that when I have done Z5 I am just about where
I would like to have started, I have just about got the press, and the
ink, and the paper right and got them to work together It is all
to me a series of experiments which sometimes never come right
sometimes though, the plate comes right with the second proof
sometimes but rarely the first is the best you can do. But all the
35
The Life and Letters of Jose-ph Pennell
same, it is amusing and I like it and so long as I can manage it,

no one else shall print my plates. And unless they are printed by
me and signed by me I shall not any longer acknowledge them. You
are very interesting too about the way I draw lines I never looked
at them in that way I did not know what I did.

As to cutting down the paper, now may I tell you a secret. Both
Whistler's plates and mine are printed on old paper as you know,
now this old paper as you also know, has a certain commercial
value in fact it costs an awful lot. It is also frequently ragged and
frayed at the edges and tears easily all this you know but it came
about in this way. Often you get a sheet with a hole at the side or
the top If you print it on one side it looks so lop sided that you trim
it immediately again Whistler's theory was that you should see
only the print against white paper without edges but as he always
or almost always used cut out mounts I dont think much of the
theory.
No doubt however the prints do look best trimmed close and they
flatten out better too. But I have more or less stopped, as Keppel has
pointed out, that there is nothing left to handle the print by, when
out of the mount and that already lots of Whistlers have been torn
and soiled and that the cut out mount comes to the same thing. But
the trimmed prints are very amusing to have to make yourself just
as you get them off the press. Another thing too by having the paper
almost fit the plate you can often get two sheets out of one which
you could not with margins.
Thank you for the article and the reference to the Whistler
Memorial which you inserted in the Dresden paper.
We are getting in the money
I shall send some more prints to the gallery shortly.
Yours
Joseph Pennell
CHAPTER XXVIII
THE WHISTLER CASE AND THE WHISTLER
BIOGRAPHY
(1907-1908)
To the abundance of work Pennell was doing in 1906 and
1907, a burden of personal care and anxiety was added
the burden of a lawsuit, and it is hard to say whether
it was worse in anticipation or when we were deep in
the legal preparations for it. I say we advisedly, because

I was no less deeply involved. "The Life of Whistler**,
by this time well on the way, was the cause.

Whistler, after he asked us to write the book, spent
many evenings with us, refreshing his memory of the
past for our benefit, bore with patience the presence of
a photographer in the studio getting special negatives
for us, was as interested as Heinemann, his publisher and
ourselves. Whistler's health, however, was breaking. He
was much away and, towards the end, in no condition to
be worried, "to be made an Old Master of before his
time/' We continued to collect material during his
last year and after his death. But the Memorial Exhi-
bition became a more immediate duty, the French
Cathedrals could not be delayed any longer. Only when
the Exhibition was off Fennel!' s hands, only when the
Cathedrals were near completion, only when regular
journalism on English papers was definitely abjured by
both of us, and he was convinced that S* the people"
could not be reached through the press as they once
37
The Life and Letters" of Joseph Pennell
were through painting and sculpture, could we both

give most of our time to the biography.
We wrote to
men and women at one period or another associated
with Whistler to ask for their reminiscences and im-
to consult any letters they
pressions, and for permission
others we ap-
might have received from him. Among
to Marcus B. Huish of the Fine Art Society,
pealed
where Whistler had bewildered the British public with
his pastels, his prints and his catalogues in their brown-
the letter to Miss Rosa-
paper covers. Huish submitted
lind Birnie Philip, Whistler's executrix, some
who, for
reason, was under the impression that Whistler

had not
asked us, and who objected to us as his biographers.
The result was that on the breakfast table the morning
of November z8, 1906, we found two registered letters
awaiting us, one at each place. They were warnings
from Miss Philip's solicitors: if within a week, they
had not our assurance that we did not propose to write
what purported to be a authorized by Whistler, or
life
to publish any of his letters, Miss Philip would take

such measures as she was advised to in a word, the
usual lawyer's letter. We refused to give up doing what
Whistler asked us to do, for we considered doing it a
sacred obligation; we had no intention of printing
Whistler 's letters, since we knew and no one knew better
than Heinemann, for whom was waiting
a third letter
in his office that same morning, what the English law
of copyright was, and is. Miss Philip immediately took
the threatened measures.
After Pennell's previous lawsuit, his hope was never
to see the inside of a law court again. But there was no
help for it, and Heinemann was of our way of thinking.
38
The Whistler Case and the Whistler Biogra-phy
George Lewis, son of the famous Sir George, was his

solicitor. Ours was Mr. (later Sir) George Radford of
the firm of Radford and Frankland. Nothing would
induce Pennell to face another encounter with Sir
Edward Clarke and we engaged as counsel Mr. Scrutton,
K.C., to-day Lord Justice Scrutton. It was a happy
selection. He
did not condescend, he did not doubt, did
not refuse his sympathy. His willingness to talk was
undisguised. He discussed questions with us, he showed
throughout the personal interest any one in the clutches
of the law needs and seldom gets, and to Pennell this
made all the difference.
Months passed. Little preliminary skirmishes, why,
I failed then as I fail now to understand, brought us
into court. Affidavits were made out and signed. Wit-
nesses were subpoenaed. Documents were demanded.
Our right to use even information in letters was ques-
tioned. Correspondence with lawyers was vigorous, con-
sultations were frequent. Whoever has gone through a
lawsuit does not have to be told the misery that precedes
it.Legally, the persons involved are supposed to know
nothing about a case upon which their honour and
happiness may depend. The plain truth obvious to the
layman's mind is somehow not legal truth. Facts upon
which, to the layman, the whole matter rests have no
value to solicitor and barrister. The brief leaves out
most of the things the defendant or plaintiff would
put in. And the British courts, like all others, take their
time. The case did not come up until the July of 1907.
In the meanwhile it was never out of Pennell' s mind,
day or night. It was not his habit to be beaten, no
matter what the game, no matter what the fight. He
39
The Life and Letters of Joseph Pennett
let no idea, no argument escape him, tireless in his

study of the situation by day, and I have known him to
get up out of his bed to jot down a sudden suggestion,
fearful lest otherwise it might be forgotten by morning.
One comfort was that we could rely upon our three
witnesses: Mrs. Whistler, Whistler's sister-in-law; Luke
lonides, one of his oldest friends; W. E. Gray, the
photographer well known to artists.
The trial began on July x, 1907. Mr. Justice Kekewich,
who gave judgment in the famous Macmillan-Dent
case a copyright case was the judge. Though we were
defendants, because we claimed Whistler's authority,
the onus of proving it rested with us, and our Counsel
opened the proceedings. Pennell was the first witness
called. I could see that Radford, by whom I was sitting,
though outwardly as ever the stolid Briton, was not as

calm as he looked, remembering no doubt agitating
encounters between client and solicitor, owing to the
absurdity of the law according to lay standards. Rad-
ford's penmanship was his fad, his every letter a little
masterpiece, and when Pennell went into the witness

box he became apparently absorbed in the exercise of
his skill. It irritated me as beautiful letter followed
beautiful letter on the paper before him. I did not
realize it was
sheer nervousness until he dropped his
pen and whispered to me that at every important point
Pennell's testimony was precisely what was wanted. He
had failed to understand his client in the arming for the
fight. Pennell, nerves all on edge beforehand, was cool
enough in the witness box, thankful that matters had
come to a crisis, conscious that he was in the right, that
he had done all he could to prove it, and that suspense
40
The Whistler Case and the Whistler Biography
would soon be The other side called in Mr. Mon-

over.
tague Lush, K.C., whose reputation was to make things

uncomfortable for witnesses in cross-examination. Pen-
nell was equal to him. With an air of "now I've got
you", Mr. Lush said, to some question of Whistler's

nationality, "Why, you know that Whistler was never
even in America."
"Never America!" Pennell answered, quite in his
in
Buckingham' Street manner, "Why, he was born there!"

and the counsel, whose business was to confuse, was
confused himself.
Again he thought to score with the objection: "But
why should Whistler have asked you? You have never
written a biography."
"No, but my wife has," came quick as a flash, and
that point also was quickly disposed of.
But at the best, it was a horrid ordeal, how severe a
strain Pennell showed not in court but at home after-
wards. Our friend, the artist E. J. Sullivan, present
through the greater part of examination and cross-
examination that first day, came back with us and he
has lately reminded me of how, after dinner, Pennell
gave way: "If Jimmie has let me down, there is no
faith in anything no faith in anything at all," he
said. The next morning a post card came from Sullivan:
"
Sursum Corda!" It was a good omen. Things seemed to
go better for us, though Mr. Justice Kekewich's manner
was so much pleasanter to Miss Philip than to me that
my heart sank. But it was plain that she had no case.
The trial dragged on, Wednesday, the third, Thurs-
day the fourth, Tuesday, the ninth. On the fourth Mr.

Montague Lush disappeared. On the ninth the case
41
* '
against Heinemann, as publisher, was dismissed with

costs"; Whistler's authorization could not be denied.
The judge wished still to consider the question of our
use of information in letters, and in our case as authors
he reserved judgment. He kept us in suspense for almost
two weeks. When we arrived at the Law Courts on the
* '
morning of the twenty-fourth, It is all a lottery, you

know, all a lottery, you know!" Mr, Scrutton reminded
us: and the judge talked for three quarters of an hour
before we knew how we had come out of it then,
"Dismissed with costs" was the verdict, as it had been
for Heinemann. Our rights were vindicated, our author-
ity proved, Whistler had not let us down. "Now,"

George Lewis congratulated us, "you can put 'The
Authorized Life of Whistler' on the title page." That
we were authorized by Whistler, we had not waited
for Mr. Justice Kekewich to tell us. But the truth had
been disputed in public and this public proclamation in
a court of law justified us. We felt it called for cele-
bration. Heinemann and his two partners the entire
firm gave us a lunch at the Cafe Royal where Whistler
loved to go, we drank the white Bordeaux-Podensac
he loved to order. In the evening we dined with Mr.
and Mrs. Sauter, falling among friends who rejoiced
with us: Mr. and Mrs. Alfred Withers, in their friend-
ship almost as excited as we were, Doctor Terey of the
Budapest National Gallery on one of his periodical
visits to London. A load was off our minds,
It had been a heavy load to carry. Pennell did not
give way under it, he sacrificed nothing to it. He had

taken time to send a group of prints to the Barcelona
International, a Grand Prix the result* Until within a
few days of the trial he was etching the Cathedrals of
Amiens and Beauvais, subjects that call for steady eyes,
a firm hand, a clear mind; observation and concentra-
tion indispensable. Within a week after the judgment
day, he could return, as undisturbed, to Rouen, the most
elaborate of all, with it finishing the Cathedral series
begun so many years ago. Not one of his many interests,
not one of his many pleasures did he neglect. Though he
could not tell, though no one could tell how the case
would go, how much it would cost him over and above
the costs paid by the plaintiff, he did not change his
plan of moving the following year into the house of
offices and flats which the old Caledonia Hotel, at the
west end of Adelphi Terrace, was being turned into.
Our rent would be almost doubled but, to his way of
thinking, where art is concerned economy has no claim.
Little dinners went on in Etty's old studio. I remember
that Theodore Duret, friend of Whistler as of Manet,
Monet, Cezanne, was in London that summer and came
to congratulate us on the winning of our case. I re-
member too Mr. William Henry Fox, with whom Pen-
nell had worked at St. Louis and who had since been
appointed Director of the Indianapolis Museum; and

William M. Chase; and Doctor and Mrs. Morris Jastrow
from Philadelphia; and Doctor Terey prolonging his
visit; and the E. A. Waltons up from Edinburgh;
friends from here, there and everywhere added to those
of the old London group who had not been frightened
away by Whistler, none more faithful than W. J. Fisher,
my Daily Chronicle editor for three years and Mrs. Fisher,
better known as Adrienne Dayrolles, who brought
gaiety, a fine humour and inspiration wherever she
43
went. And all the time work on the Whistler "Life"

kept up, so successfully that by the beginning of the
new year (1908) Pennell could write to Van Dyke that
it was now, positively, the journey
finished and that
home for the New York book they were to do together,
put off again and again, could be made in the spring.

Strand,W.C.
i. 19. 08
Dear Professor What has become of you or may be though that
is not
possible you are saying What has happened to me Lots
of things! But why do I never hear from you.
Now at last I am or shall be in about three months ready to go
on with things in America if you have not forgotten all about
them or made other arrangements Have you? If all still is to go on
we want to sail some time in June. It is that Whistler book ever I
since 1900 we have been more or less at it ever since 1904 pretty
steadily for the last fifteen months Mrs. Pennell has done nothing
else nor I for the last three. Then we had as you may know our
scrap with the Lady of Battersea and a happy issue out of all our
difficulties.
The book was actually finished half an hour ago as I write. Of
course there are the proofs they are coming then we are moving
I have taken a
palace, then I must finish some Italian things
and then
If you still want me
New York
Voito
Please answer as soon as you can
Yours
Joseph Pennell
Moving was an arduous business, accumulations of

twenty-five years to be packed and in the Buckingham
44
Street chambers every

closet, every shelf every corner ,
was could hold, walls plastered with prints

as full as it
and drawings for no better reason than because there

was not a square inch for them anywhere else. Packing,
once begun, would leave no time for other work and if
Heinemann was to publish the "Whistler" in the
spring, as he planned, the manuscript must be turned
in without delay. It was But we knew it
finished. True.
needed revision, roughness to be smoothed away, repe-
titions to be omitted, signs of haste to be got rid of.
Heinemann, after reading it, agreed and, like the sym-
pathetic friend he was, postponed publication until the
autumn. I arranged to give up New York, remain in
London all summer, pull the manuscript together and
see the book through the press.
A hint of Pennell's disappointment is in his next
letter to Van Dyke:

London W.C.
z. 13. 08
My dear Van Dyke Thank you for your nice letter, and the en-
closed from Brett so that is all right I wanted to come in the
spring to get the book if possible ready for the fall but it dont
seem as if you or it would be ready. Anyway I shall come as soon
as I can and stay as long as possible.
As to your letter sent a couple of months ago it did not even
get snowed up in Whistler stuff it dident get here at all 1 1 have not
seen and so I wrote and am glad I did. Unfortunately the Whistler
it
book is not done though it is as far as I am concerned but I dont

believe we will ever see the end of it. It's a nightmare in a way
and a wonderful experience in another.
And what of the Illustration Book? Is that all right? There is a
45
good deal of material collected for it. But it is going to be a long

job! Still illustration as an art is virtually dead so the story of it
should be told and how long we shall have to endure the "pic-
ture" made in German or Polish or Yiddish by a camera or a fluke
Idont know but I am surprised that The Century has been caught.
That photography has killed things here is not surprising cheap-
ness and Shorter did it here but this German American mixture
is as
expensive it would seem as it is commonplace in America. How-
ever there is no accounting for taste nor as you say for Teddy really
he makes me tired some day he may learn not to take up worn-out
British fads and toady to British faddists. I guess weve had enough
of him. But who is better in the running? I am afraid then: are a good
many millions of Fools in God's Country!
Yours
Joseph Pennell
CHAPTER XXIX
WE MOVE TO ADELPHI TERRACE HOUSE
THE NEW NEW YORK
(1908)
PEKTN-ELL had looked forward to living in Buckingham
Street until the time came to carry out his often repeated
intention of going home to die. The old street with its
venerable griminess, the old house with its ancient
memories never ceased to please him, the view from
the windows never palled, the Thames as a subject was
never exhausted. But the Caledonia Hotel, two short
blocks away, if not so ancient was of more architectural
distinction, part, and an important part, in the design
of Adelphi Terrace built by the Adam brothers. From
the interior the Adam stateliness and ornament did not
altogether disappear in the process of remodelling. Be-
sides, had it been a barn^ Pennell could not have resisted
the finer outlook from the windows. The Terrace, lifted
up on arches, is on higher ground than Buckingham
Street and, from the top floor of that old hotel, he
looked down upon an unsurpassed arrangement of the
Thames, Waterloo Bridge and Wren's City. It gave him
one of his unfailing inspirations why not build a studio
:
on the roof from which Westminster Abbey to the west,

as well as St. Paul's to the east, could be seen. The archi-
tect, who was the landlord's agent, thought it was a
good idea and improved upon it. He built not merely
47
a studio, but an entire fourth floor fifth in American
divided into three flats, and for two of them Pennell

signed a lease of twenty-one years without flinching.
Of the flat on the river front he made his studio a
"palace" indeed, after Buckingham Street; the old
studio would have been lost in the new one. The splen-
dour of London was spread out before him. And from
the standpoint of comfort the gain was enormous.
Space was plentiful for shelves and a long low chest
of drawers to store prints and drawings in. A large
closet held hishuge collection of old paper for printing.
The press with its paraphernalia ceased to dominate
not the ancient press with the wooden wheel which
he sold, but one of the less picturesque, more practical
presses the Bank of England printed its bank notes on,
until hand was exchanged for electric power. Walls in
' '
the palace were bare, a single print hanging in the

studio, papered in grey, but this print appropriate:
Toulouse-Lautrec's affiche for L'Estampe Originale. The
white or pale rose on the other walls made a good
background for the few Whistlers and Pennells hung.
The rooms were as empty as our needs allowed, a few
rugs on the well-polished floors, a few pieces of indis-
pensable furniture. "When are you going to begin to
furnish?" friends asked. But after the o vet-crowded
Buckingham Street chambers, the emptiness was a
beauty in itself.
We
moved in towards the end of March and I doubt
if we could havemoved in then, or ever, without
Augustine. I wonder I have not said before that she was
the stay and support of the household. Our old English
Bowen, after four bewildered years in such unEnglish
WREN'S CITY OUT OF THE ADELPHI
TERRACE WINDOWS
Me^ptint by Joseph Pennell

We NLove to Adelphi Terrace House
surroundings was obliged to give up the struggle and

,
would have ended, I do not like to think how, had not

Pennell seen that the comfort of her last months was
provided for. I alone know the extent of his generosity
always; he could not face the suffering of others, above
all of those who had worked with or for him, and not
endeavour to relieve it. He was so careful to conceal
the fact that I feel now as if it were a betrayal of con-
fidence on my
part to reveal it. And yet, to be without
knowledge of his practical sympathy for those in want
of it is not to understand him. After Bowen, Louise, a
Provengal, took us in hand; for a little over a year our
chambers rejoiced in the gaiety of her smile and the
fragrance of garlic in her cooking, and, history repeating
itself, again Pennell's generosity was drawn upon. It
was at this crisis that Augustine descended upon us
from I hardly know where and became one of the family.
She was she is the most competent of women, a
genius as a cook, a paragon of order and cleanliness. And
from the first day she understood Pennell, helped him
in a hundred ways, saw to the packing up and sending
off of his drawings and prints, when in France hunted up
old paper for him, had no fear of work, and was the
only person with the courage to scold Whistler when
late for dinner. Thanks to her powers of organization
we got out of Buckingham Street so successfully that
by the middle of April, Pennell, with his blocks of
brown paper and his coloured chalks, was in Italy,
finishing "Italian Hours", journeying as far south as
Rome, Civita Vecchia, Naples. By the end of May he
was in Adelphi Terrace House, writing to Harrison
Morris about the Whistler Memorial and a proposed
49
exhibition of American artists in London, and answer-

ing Van Dyke's suggestions for the New York book.
TO MR. HARRISON S. MORRIS
3 .
Adelphi Terrace House
Strand. W. C. London
30. 5. 08
Dear Morris I am just this minute or a few minutes ago back from
Italy. And find your letters of May 2.0 or zd I dunno which. As for
Rodin and Whistler the design is in the New Salon unfinished. I hear
I havent seen it it is some thing like this
This is not for

f publication or re-
K^~ ^J production. You

'^1 will perceive the
*
% motive and the ex-
!
I ecution at once. But

I f 1 he, now promises a
F~**
1
I photo which I'll
LUF "\ send you when I get

it. Meanwhile here
the money dribbles
in. I am
trying to
see Temple of the
Guildhall this week
about the Show.
But
under no circumstances should you take Mrs. Humphrey Ward's
it would
advice simply be FATAL to have anything to do with that
gang.
However it is
probable you in New York within a
I shall sec
fortnight as I am coming
over at once and then in the buzzom of
the family talk the thing over N.B.
Keep this thing quiet till
I see you its only a few weeks.
I am
yours
Joseph Pennell
Dont talk to E, A. Abbey either
5
The New New York
3, Adelphi Terrace House

Strand, W.C.
5. 31. 08
My Dear Van Dyke I am just back from Italy and have your letter
which is just what I want and the list of subjects is excellent and
suggestive. I hope to arrange things so as to start in a week or so
though I shall have to come alone as Mrs. Pennell is still tied to the
Whistler book.
Your book has come too but as I am as I said just back this
is my first spell of letter writing, Ive not got at it or anything yet
I
suppose you will be back long before I get on with this work.
I am yours in a rush
J. Pennell
On the St. Paul, June twentieth, he sailed for New

York. Few things added more to the convenience and
pleasure of this visit than his election to the Century
' '
Club the year before. I ought to thank you for shoving

me into the Century for it was owing to you of course
that I got there/' he wrote to Van Dyke at the time.
Most of his letters now are dated from the club. Before
he settled down to the New York drawings, he went
to Pittsburgh, made
his fine etchings of smoke and steel
and speed, wandered farther in his own State of Penn-
sylvania and on to Chicago. He was determined, while
at home, to make sure of both the replica of the Rodin
Monument for Lowell and the American Exhibition
for London. It occurred to him later in the summer that
American art should be represented in the next Venice
International Exhibition to be held in 1909 under the
management of Professor Fradeletto. American art was
virtually unknown in Europe, despite the fine showing
1
5
in Paris in 1900; to make it known no one worked

harder than he. While he was in New York, the Grolier
Club proposed to give a show of his etchings, a proposal
which he did not consider twice before accepting. An-
other was opened, at Keppels', where scarcely a year
passed without a Pennell exhibition. These are the
matters which monopolized his time and correspondence
during the summer and autumn. His letters, more espe-
cially to Morris, are examples of the energy and persever-
ance lavished upon any scheme he undertook, examples
too of his intimate command of such dull details as insur-
ance, packers, freight. His grasp of business is surprising
in an artist and one cannot read his letters of this period
without realizing how
ready he was to sacrifice his
personal interests to the interest of art, I have space
but for few of the many he wrote to Morris, at that
time secretary of the National Academy which, they
agreed, should organize the Venice Exhibition, and secre-
tary also of the American Rodin Memorial Committee
as soon as it was formed.
Hotel Manhattan
New York City
June igth
Dear Morris I have been trying or asking Messrs. Keppel to try all
day to get a hold on you but I have heard nothing yet. I am going
to I dunno where to-morrow Pittsburgh etc Now I want to
see you when I get back I could even stop off in Philadelphia but
I may be away a week or a month
Let me know care of Kefpels how long you will be in town for
we ought to try to straighten out the London and other business as
THE PRINTER
Drawing by A. S. Hartrick
The New New York
soon as possible. What I want is a quiet talk with you and maybe
Dielman I have said nothing to him however
Yours
Joseph Pennell.
I certainly should be back here by the first of August. Chase sent
his love from London
As he expected, he was in New York early in August,

the Venice scheme so far advanced that he was writing
to Fradeletto to suggest it, the Memorial scheme so
successfully launched that three towns claimed it, each
sure that it had his promise, and at one moment law
entanglements seemed imminent.
The Century Association

7 West 43d Street
8. 9. 8
Dear Morris just a line to let you know I have written Prof. Fra-
deletto I wrote the same day.
I merely asked him if he thought it would be possible to let us
have a show and if so the amount of space that could be granted
I also of course explained the aim, object and membership of the
Academy.
Really near time for another lunch aint it? What did you and
Dielman do?
Yours
Joseph Pennell
Century Club
New York
8.9. 8
Dear Morris You are not done with me on the United
yet, I called
States Express Co. for rates but they too say they must send to
Europe for them.
53
When you hear from Fradeletto let me know though I think

and Dielman agrees it looks much better for you as an official to
conduct the affair now I want to help and I think I can
And when you get to work I would like to tinker with the Black
and White and Engraving And what of sculpture Mrs. St. Gaud-
ens is sending to the International in London Why could these
things not go on to Venice? I can manage it
Anyway I shall see her to-morrow or next day and will mention
it
And the Whistler why should we not get things in the papers
J. Pennell
P. S. The letter went the same night to Fradeletto What is a
brother to a bed anyway?

7 West 43d St.
New York
Thursday 13. August
Here beginneth the ninety first volume of the correspondence of
Morris Pennell
But anyway I have heard from the Whistler Memorial President
man in Lowell and he says the idea is grand of course it is but
he dont say how much he will stump up but that he will bring it
before his Committee and he hopes they will go in for it and make
Lowell the artistic Mecca, and metropolis of the Universe! Also
In that letter or as to that letter to the Italian Ambassador there
are two things to remember
ist It is the International Exhibition of Art of the City of
Venice
2d Make it strong that rooms and even Separate Buildings (Bel-
gium had one room last year) have been granted different
as well as a
countries each year and so why could not America have one If you
care to have me do so, I should be only too willing to look over the
draft letterfor the details
I am
yours
Joseph Pennell
54
The New New York
Century Club
7. West Forty third Street
9. 19. 8
Dear Morris. For two years I have been trying to get the photo of
the Rodin and have written again this morning
I had a long talk with the Mayor here on
Thursday but if you
please he dont want work by no dam foreigner that he or his
rotten city must pay for.
The Herald people got hold of me, the other day or the Kobbe
man I had to talk as he had some facts all wrong and has the
Lowell matter so 111 put him straight he will send me proofs
and it wont appear for a couple of weeks meanwhile had I not
better stir up The Evening Post, Nation, Tribune and Sun, we must
boom this.
Yours
Joseph Pennell
Stedman they tell me here was taken to a Sanitorium it was tragic
but every one thinks the best thing.

7 West Forty-third Street
8. 19. 8
Dear Morris I ,have a long enthusiastic letter from Fradeletto.
GRANTING a room, and possibly a pavilion with 3000 feet. But I
must see you and Dielman immediately they want an answer
accepting at once, if possible a cable, you need not send your letter
to the Ambassador, if sent it wont do any harm I imagine But I
must see you on Monday I shall be at Keppels in the morning
arranging a show and will look in here at noon
J. Pennell
Send me a wire before Monday morning.
By thistime the Rodin Memorial complications

were serious enough to damp the ardour of a less ardent
man. Pennell took them gaily the only way. I might
explain that ''Papa" in the following letter was the
55
affectionate name his younger friends gave to Professor

Halsey C. Ives, Director of the St. Louis Museum.
Beatty John Beatty was Director of the Carnegie
Institute in Pittsburgh and Pittsburgh was one of the
three towns that claimed the Memorial Nesmith was
"the President man" in Lowell.

Century Club
New York
9. 30- 8
Dear Morris
Oh Lord
Oh Lord
Papa is sending a cheque
for $30.00
and
Beatty a threatening message by wire.
Lowell
Yet to hear from
r
i
Where are
we at
?
Yours
Joseph Pennell
For heavens sake come here on Friday at noon We must do some-
thing or we will be Kilt entirely and we dont need memorials
so quick. Oh Lor! Ive written Beatty a lovely letter 111 show
you on Friday it would calm a Bull of Bashan
Oh Lor
Century Club
New York
ID, z. 8
Dear Morris, more strodinary Heinemann writes me "the
Still
statement that Rodin has finished the Memorial he says is false and
56
The New New York
that it wont be finished for a year" this takes the cake for it
was Rodin who told Heinemann weeks ago it was finished and gave
out the statement published in papers like the Figaro and Athenaeum
this takes the biscuit! Lowell has raised about $2^500 in a day or
two and Beatty is raising a little inferno on his own but anyway
we can breathe if we can only collar all the swag and give the
thing to Lowell when we get it it will be immense. But I must
see you on Tuesday
Jones, Paxton and Lippincott are talking in front of me cows
they probably know more of them than other things but do you
know there is an International Exhibition in Munich in 1309 begging
for American Art well there is till Tuesday
Joseph Pennell
P.S. They are now talking onions.

7 West Forty-Third Street
10-14-08
Dear Morris Have you any idea whether those letters have been
sent
Nesmith
Beatty
Ives
No copies have been sent me have they ever been made? The
methods of this place are quite English I enclose an estimate from
the American Express Co. of course it could have been sent weeks
ago.
The other man is either a fool or wants the job of packing and
shipping separately Lord! Elisha Flagg and I in London could
and would have done and done decently the whole thing in an
hour. This is the most provincial place in the world But the letters
are the important thing have
they been sent?
The Evening Post will take up the French replica shall I get them
to do so they will run the subscription I think. Nix from Dabo
J. Pennell
57
In an uninterrupted sequence these letters best tell

their story. But other things were happening. The New
York illustrations were being drawn with the coloured
chalks on brown paper, his knowledge of New York
growing with each drawing. The Keppels, looking
ahead, were planning an exhibition of the illustrations
to open simultaneously with the publication of the
book. The second series of New York etchings were
being made. The Grolier Club had got to work pre-
paring its showNovember, to represent, virtually,
for
his life work, one hundred and fifty-seven prints in all.
At the end of October I joined him, my first visit to
my native land in twenty-four years. He was at the
Belmont. "People ask me why I go to the Belmont,"
he wrote in the 1919 Keppel Catalogue. "I go to get
things like this (The Clock., Grand Central) and from every
room on every side I get subjects just as inspiring/'
It was well that work no longer monopolized all his
time. November was a month of dinners, lunches, visits,

committee meetings. And he was my guide, on foot to
lower New York and its skyscrapers, on ferryboats to
the water front and its glories. And we were still in
New York when The Life of Whistler was published.
' ' ' '
If it cost us much time, labour and grave anxiety, we

were repaid. It was an immediate success, both in Eng-
land and America. Landing at Southampton on the
morning of December third, in the first paper we opened
we found Heinemann's advertisement announcing the
second edition.
A fortnight after his return Pennell was stirring up
* '
Harrison Morris of course I have heard nothing from

' *
you or Fradeletto or anybody and adding more per-
58
PORTRAIT OF JOSEPH PENNELL BY GEORGES -SAUTEE
The New New York
sonal items of news. "As to me," he reported to Van

4 '
Dyke, Sauter has done a portrait as I think I told you

which he is willing to present to the N.A. Design I
have written Dielman about this but there is a vast si-
lence please find out if they want it, or not." They did
want it and the portrait to-day hangs in the Academy.
That same winter McLure Hamilton painted him, in
his long grey blouse, sitting in his studio by his table
littered with bottles of acid, copper plates, and baths,
a misty glimpse of St. Paul's through the window be-
yond. A. S. Hartrick made a lithograph of him in the
same blouse, turning the wheel of his press. He sat to
J. Kerr-Lawson for a second lithograph, to Clifford
Addams for a second painting. William Strang's tinted
drawing of him was made some few years before. These
and Whistler's portraits, the lithographs, were on our
walls. A professional beauty could be in no greater de-
mand as a sitter, his friends used to tell him. It amused
him, and when Doctor Singer asked for a portrait to
publish, with a biographical sketch in
a German maga-
zine, he laughed at his popularity among painters and
photographers :
"
As to photos can send you either I do send that a photo
I
of myself at the press I look like an angel with wings but I aint
yet and they are only blankets or a photo from
a picture by
McLure Hamilton I like best all amongst bottles and things at
work on a plate very beautiful to behold with all London be-
yond or a portrait by Sauter in a fog very tired or a Litho-
do you
graph by Hartrick at the press. There's wealth which
want? There are more but that's enough aint it?"
CHAPTER XXX
THE VENICE EXHIBITION THE NEW -
NEW YORK PUBLISHED

(1909)
THE new studio was a new inspiration. He experimented
with his Pittsburgh and New York plates, trying to get
out of them all he put into them. He hovered about tone
* *
in etching, as he told Doctor Singer, by way of aqua-

tint and sandpaper at last I have tackled mezzotint
started on the game a year ago and having lots fof
. . .
fun and making lots of messes." Now and then other

work interrupted. The Century discovered an author
as keen about the practical progress of modern indus-
trialism as Pennell was about its picturesqueness, and
little journeys were numerous, here and there in England,
to France, to Germany, to Belgium, for a series of
drawings and etchings to illustrate Mr. James Daven-
port Whelpley's article on "The Commerical Strength
"
of Great Britain"; Germany's Foreign Trade"; "Bel-
gium, the Balance Wheel of Trade"; "The Trade of
France." In whatever leisure was left him he kept up
his large correspondence and fulfilled his every duty on
committees. "Time is short," he reminded Morris in
one of the first letters on his return; and in those that
followed he discussed each and every detail of the fast-
approaching exhibition in Venice, exhibitors, space,
decoration, packers, insurance, expense. He made out
60
THE TEA TOWER OUT OF THE ADELPHI
TERRACE WINDOWS
by Joseph Pmndl
The Venice Exhibition
lists of artists to be represented reported that T. R.

Way will lend a group of Whistler's lithographs, but
Mr. Alexander will not lend the portrait of Miss Alex-
ander, refuses to send "the little girl from home again/'
Arthur B. Davies is approved of, his "Five O'Clock
' '
Ladies a good picture

is Timothy Cole will contrib-
;
ute wood engravings; Sargent and Abbey seem to prefer

to show with the British; Mrs. Saint Gaudens wants
Saint Gaudens' reliefs and bronzes included; examples
of McLure Hamilton and Cecilia Beaux are matters of
course. And so itwent on. The hanging is most impor-
tant, why not "a simple background grey or white
canvas if and a simple gold band
you are not afraid
as we do Only the best work is
in the International."
to be accepted, for it is wise to remember the British
attitude towards the Americans represented that winter
in the International Society's Exhibition, an attitude
almost of hostility against not only the mediocre but
the fine.

Robert Street. Strand
London, W.C
9 i. 17.
Dear Morris The reception that has been accorded to Saint Gaudens
and other Americans who are showing in the International this
year proves incontestably what I have preached to you and others
in New York and also points out clearly, what you must do in the
American Room in Venice.
St. Gaudens' work has been universally damned, and why,
because they dont understand it because they hate it and all
Americans and have taken advantage of every fault in detail and
magnified it a million times. As to the other Americans Mrs.
Vonnoh's things better of their sort than anything done in
61
Europe have been so carefully hidden that though

I have, I be-
lieve, all the notices, press cutting people dumping their things on
me, I have not seen a single mention of her name.
Miss Beaux has been dismissed as a poor echo of Whistler! Davies
has been mentioned but once in The Athenaeum, and then only to
be dismissed as the best thing shown in three or four words.
All the time your friends in the Royal Academy have passed on
to the other side and never said a word. Now what all this points
to is this, you make the
unless best possible show of WORK and only
that in Venice American art will have such a knock in the face
as it has never had for they all all Europe are afraid of it hate
its coming and dread it and they are only waiting for their
chance dont you make a mistake every one's hand is against us
over here and unless we can knock them out, it will be fatal
to us I warn you unless you can get the fifty best paintings
and a group of the best water-colours and illustrations and etch-
ings and sculpture ever made in America unless you can do this,
give the thing up now, but I know you can however and for the
sake of America and American art you must. This aint Spread Eagle
its God's truth. Tr
Yours
Joseph Pennell
Morris asked Pennell to hang the American section in

Venice, Fradeletto confirmed the invitation. Before he
started early in April, he had the satisfaction of telling
Morris and the British committee that all the money
had been obtained for the Whistler Memorial.
TO MR. DAVID CROAL THOMSON
3 Adelphi Terrace House

Robert Street Strand W.C.
3. 7. 09
Dear Thomson
I have got all the 1500 in cash and sent it to Webb.
Really I have missed my vocation I ought to be in the City.
Yours
Joseph Pennell
6z
In London, Senator Clark's exhibition was no longer

heard of, rumour said he arranged to hold it instead
in Paris, at the Petit Palais. "BUT," was Pennell's com-
* c
ment to Morris, until American shows are arranged

managed and run by American artists American million-
aires of the Clark type may pay the slot (bill) of course
if they like American art will not take the place over
here it should American art fiber attes but American
artists must be over under and all on deck if they
expect to come off dont forget. 'Im not arguing with
you, I am just telling you' J. M. N. Whistler." In
New York the reproduction
of his drawings had begun.
Much as he had to say on the subject, he could not keep
out of his letters to Van Dyke his opinion of American
senators and the organization of American art exhibi-
tions.
3,Adelphi Terrace House

Robert Street, Strand,
London, W.C.
3. 17.9
Van I thank God too that you are finished,
My Dear Dyke Well,
and also that the drawings have come to your satisfaction and
Brett *s but where do I come in I hope on my feet those colour
things are such a lottery but I do think these, however, ought to

come off. Well take your pick you have opportunities. Still you
must be paid for your trouble, only I want the drawings shown in
the Coming Show, and if you bring off the boom God bless you.
As for Sorolla well he's a back number had an awful frost here
Zuloaga though narrower, a much better and stronger man and
is,
you dont hear the endless click of the kodak in his work. Some day
it may be learned where all this Sorolla gang got their idea from a
forgotten for the moment person named
63
Mariano Fortuny
but he wont be forgotten for always but Sorolla why he's but
half as good as Glaus in Belgium or the Michetti or Marietti
what's their names in Italy and Favretto and that crew can clean
em all out. It will be fun to see what the American Show in Venice
pans out like. Apparently the Great and Good Copper-bottomed

but dunder-headed Senator Clark made or came near making a
mess of the American Show
the impudence of these mere
here
millionaires is
magnificent way artists take em lying
but the
down is extraordinary if Clark had carried out his scheme
American art would have been damned in England for years.
Yes, the Whistler book, thank heaven has gone even here they
couldnt smash it and all gave in save and Co. Limited
for the booming of themselves and selling of their wares I notice
they have unloaded a Steer on the Metropolitan. Talk of graft. Ye
Gods why that lot could give anyone points and when Taft lifts
the Tariff on poor art well most of the Artists of America will
simply have to emigrate over here where they will starve pictures
are now being collected to dump on the country and American
patriotism, as exemplified in
Hearn
for example, wont pay $5000 for an American picture when a

European artist of equal ability will be glad to send one over on
sale or return for $500. You will see I am right in this as usual the
whole thing is suicidal unless you take the tariff off studio rents,
models faints colours, canvas, marble, bronze as well as off finished
works of art are going to finish for the time the American
you
Art Worker. I never read such sentimental rot as the Guff of Free
Art. I dont know if you said anything I did not see it, but I did
see more sentimental rubbish and toadying to Mr. More Gain and
Mrs. Jack than I ever saw, it made me sick
Yours
Joseph Pennell

Robert Street, Strand
London, W.C.
4. 6.9
My Dear Van Dyke
I see from The Nation Zuloaga has had as you prophesied a com-
plete frost or apparently so,
the penalty of being an artist if
Whistler toured the country after Emil Fuchs, or Flameng, the same
thing would have happened or even after Sargent most certainly.
I wish I had seen the colour prints in the book but I shall look
forward to it with more interest and excitement than anything I
ever had anything to do with. As to the blacks coming too strong

i.e. the key blocks its only necessary to weaken the ink though
sometimes in experiments I have lately made I have left the black
off altogether and the result is just like a fresh water-colour, if
there is more of this trouble, try this game. Of course it dont look
like the original but its bully however please dont give the racket
away to every one. Black kills, deadens the whole business, es-
pecially when, as here, they print it last JUST what I do not do,
in making the drawing.
Now YOU your own work
are to freeze on to some of the drawings for
over the book,only should
I like them in Keppels' Show to make it
complete maybe Mrs. McClellan would send hers. I dont think

Keppels want the show till winter, but they will be here in a day
or so, and I'll talk to them. Their idea or mine or yours or all
our ideas are is to have the book and the show open at the
same time only I am afraid the book will be out too soon. We shall
be here all summer unless something happens, and expect you.
Yours
Joseph Pennell
Venice or the American section, upon which he ex-
pended so much thought, time, and energy, was a dis-

appointment. The standard of the American work was
not as high as he had insisted it should be, too large a
collection for the space was sent, and to him the beauty
of an exhibition depended no less on the art of hanging
pictures than the art of painting them. The disappoint-

ment embittered his first report.

Grand Hotel Luna
Venice
4. 15.9
Write to London
Dear Morris
I got here on Sunday night and last night I finished the hanging
but it almost finished me But hung and we have two
it is all
rooms really all ours in the Second which I got, save two
foreigners is the Black and White stuff. There is even another

American Room Paris American for it turns out that Fradeletto
without saying a word at any rate to me has invited Frieseke,
Miller and Bartlett to give a show while I have also discovered
the inevitable Koopmann in the place My first idea was to collar
them and with Fradeletto 's consent I did so but I thought
all
after all I had better let them have their room to themselves though
I must say their things are very interesting and some of them would
have given us more light, colour and go. But this thing of Frade-
letto is funny and he is playing in the papers Paris Americans vs.
American Americans I certainly am not overpowered with our
room I mean the things nor are the people here I have done the
best I could but I fear the
pictures are scarcely up to the standard
of 1900 in Paris in fact the show is away behind it there is no
doubt about this. And that Fradeletto is not enthusiastic or over
pleased. have however done the best I could with the hanging
I
but my dear Morris I must tell you you have sent twice too many
pictures and they are twice too large there are and there is no
help for it two lines half way round the rooms but the pictures
are all hung. But all the black and white save the prints and one
drawing by Elizabeth Shippen Green is out there was not an
inch of space on which to hang it even though I have the
extra room which I fought for and got it was entirely too big.
You have I think entirely forgotten the doors and with the Cecilia"
66
Beaux, two McLure Hamiltons among the best things in the col-
lection the whole of your scheme went to pot. Still the things
are all up but there is no Saint Gaudens or a lot of people and
really some or rather most of the American Americans are away.
Winslow Homer
Inness
Wyatt Eaton
La Farge
Chase
Alexander
Duveneck
and
so on these are the men
I hoped for and they are not I fear it will
not help us much Europe This is far the most important Show
in
now in Europe as I told you the most noted men are sending. Zorn
and Besnard for example have each a room and England, Belgium,
Hungary, etc. each a building My dear Morris if we want to keep
abreast of Contemporary art we must work something more than
hustle this time is the first time we show we are not even in the
I am very blue over this. I am afraid this show will
procession
hurt us
Far better would it have been for us than tinkering with the
tariff.
Yours
Joseph Pennell
He returned to his disappointment again and again.

The next day, April sixteenth, he emphasized to Morris
the fact that "Fradeletto is greatly disappointed with
us. So also are those artists whom I have seen who
have looked forward to the show with interest They
say however that I have made the rooms look well
anyway Ive tried and I think they do that/' If only
the Americans had made as good a showing as Stuck
and the Secession! was his regret to Doctor Singer,
though in black-and-white at least, he added, they had.
To Doctor Van Dyke he was more outspoken:

"America has NOT distinguished herself at Venice
possibly it would be a good thing to remove the tariff
some heaven born geniuses might then learn something
suddenly you go to Venice you will see."
If
And to McLure Hamilton"I have been for the last
:
two weeks in Italy In Venice and am only just back

I was there hanging you and me and others of our
compatriots in the International Show and
gave you I
two centres one for your Gladstone and another for

your Cosmo Monkhouse. There! I certainly was not
paralysed by the Show it should have been far better
a big success. I am afraid it will not be but it should
have been/'
At home in New York, Morris and the artists were
apparently pleased, Morris congratulating him on his
successful hanging. In his letteracknowledging the con-
gratulations, Pennell expressed himself freely on the dis-
pute over the site for the gallery which the National
Academy has not yet succeeded in building. His point
of view should be useful to the New Yorker who lives
in fear of something or somebody encroaching upon
Central Park.

Robert Street, Strand,
London, W.C.
5- M- 9
Dear Morris Thanks your congratulations which I deserve.
for
Now as to your letter have not got any checques for the Whistler
I
Memorial from anybody lately. I should like some. As to the Park
68
PREPARING A PLATE IN THE ADELPHI
TERRACE STUDIO
Sketch by J. McLure Hamilton
why there is no question that we should be in it dont you Why

use the argument if you have not that there is scarcely a City in
the world which has not a public gallery for the exhibition of
modern art located IN the City Park.
Listen
London, the home of graft and hypocrisy, is almost the only ex-
ception in Great Britain
Edinburgh Academy in Park
Glasgow Gallery
Bradford
Birmingham " " "
Sheffield
etc.
Paris 3 galleries for modern art in Park

Rome gallery for modern Park
art being built in
Borghesi Gardens
Venice gallery for modern art in Park and only open space in the
city of which it takes up more than half and to which ad-
mission is charged
Buda Pest gallery in Park
Madrid Gallery in Park. i. of them and how many are there in
America Pittsburgh, St. Louis, Buffalo and what else, isent it
even the idea to move the Academy to the Park in Philadelphia
New York is a back number.
Now again
I ought to be allowed to work up the Brussels and Rome Shows,
can not, as before,
I write in the name Academy will you
of the
bring this before the Council at once Can I not write to the Brussels
people whom I know and ask for space. And also to Rome answer
this at once.
Yours
Joseph Pennell
More than congratulations came. In June he was

made a National Academician. In November Fradeletto
wired that all his prints in the Exhibition the Pitts-
69
burgh and latest New York etchings had been pur-

chased by the Municipality of Venice for the Public
Gallery. In the Munich Exhibition that same
summer he
"
was well hung, but the cottossal Schweinko-ps of Munich
' '
neither gave me a medal, nor bought anything, he wrote

that the Berlin
Singer. But later, he could announce
I have
Gallery bought twelve prints; "for this honour
to thank you The Chicago Art Institute has
been intelligent enough to buy a whole set of my things
. . and the Corporation of London wants a collection
.
of those of the City of London for the Guildhall Art

Gallery. Rather amusing is'ent it?" Greater triumphs:
"The Luxembourg has got all my French Cathedrals."
Florence acquired his "Road in Tuscany" drawings for
the Uffizi, and, to quote his own words to Doctor Singer,
"They have, got some of my drawings to hang perma-
of Michael
nently where do you think in the house
Angelo in Florence. Lor! me and Mike, and among the
others are Rosselli (?) Bargioni (?) Genga (?) Lord! I am
become an old master before my time. But it is a fact."
In Vienna the Gesellscbaft fur Vervielfaltigende Kunst
was preparing a monograph on his work, not merely
reproducing a number of prints but buying
two plates :
"The Pavement, St. Paul's", "St. Martin's Bridge,

Toledo" and one lithograph, "Zaandam." The plates,
after he pulled an edition for himself, were steel-faced,
many impressions probably sold, or strayed or stolen,

judging from the unsigned prints that appear
from time
to time, to the confusion of collectors. Several of the
Pittsburgh and recent New York etchings were
in the
June Studio with a "Descriptive Note" by Doctor

Singer. Heinemann was getting ready for
a fourth edition
70
The New New York Published
of the "Life of Whistler ", and considering German and

French translations. The French was made and appeared
in 1913. For the German I still wait. Early in September
"The New New York" was published. No wonder
Pennell., as he explained to friends, was staying in town
all summer.
TO JOHN C. VAN DYKE

London, W.C.
9. zo. 9
Dear Van Dyke The book has come and I write at once to say
generally it looks well and you read excellently I went through
it last night and you are keen which is the best thing possible
and it must have a good effect and make people see things as they
are.
But surely the title page has been improved away That was not
!
what we so carefully concocted! And the black mourning borders

are all around the drawings, in more than one case knocking them all
to pieces where, for example, there are no blacks in the drawings
while the ruled lines play the mischief with mine its too bad
and if they hadnt put the lines on, the reproductions could have
been ever so much bigger. But sich is fate! Have you seen the Keppels
and the show Im off to-day to Birmingham to do some more
WORK dont forget about that scheme How are you now
Yours
Joseph Pennell
CHAPTER XXXI
THE SENEFELDER CLUB -
THE NEW AMERICA
DISCOVERED
(1909-1910)
THE one thing Pennell could not do was to stand still,
to wallow in a rut, to tie himself up in formula. Illus-
trations in colour "are a new racket for me" he told
Doctor Singer, when the book was published in New
York and the exhibition opened at Keppels'. And in a
' '
letter a week or so later to Van Dyke, The Wonder of

Work", a title familiar through the years to follow,
appears for the first time. He was going to Birmingham
and Sheffield in its pursuit and for its expression was
gradually turning from etching to mezzotint and from
mezzotint to lithography, developing lithographic meth-
ods as new to him as coloured chalks had been.

Robert Street, Strand.
London, W.C.
10. 5. 9.
My dear Van Dyke Your end of the book has come off but I dont
* * ' '
seem to have enough or too much heart, soul and other things
that to me have no place in artistic organizations. While I am hasty
and scrappy I learn and do not make things as other people think
they see em and I wasent the first and if Id done something else
some other way in some other medium why I would not have
yz
The Senefelder Club
pleased them any better slch is la vita and I scramble on somehow.

Only Ive started the English end of
THE WONDER OF WORK
how would that do for a title and when I get anything to show you
111 send it along. You know you are to pick out some of the New
York things for your very own. I do hope the whole affair book
and show will be a go.
Yours
Joseph Pennell

London, W. C.
09 10. 17.
Dear Van Dyke, Well I suppose it is all right in the best of possible
worlds only the mourning borders did and do get on my nerves
now itmust sell the book apparently is out here or about to be
born and we shall see what we shall see.
I have started in on the British Wonder of Work things and
have found some amazin' stuff and paralysed the middle classes
and whats more Heinemann, who if you like, would like to go in
for it, he says Now Im off to France Belgium and Germany to
hunt up more plunder but has it struck you that doing these work
things is only what Claude did when he tackled lighthouses and
such like I shall send you these English things if they come to
anything.
Yours
Joseph Pennell

Robert St. Strand.
London W.C.
11. 7. 09
My dear Professor have shown the etchings to Heinemann and
I
he is keen on the thing and he wants and has written to Doubleday

about them and they say they want a book.
73
I have told Heinemann that we have

talked it over and he wants
to know I also told him that must consult you about it. So now
I
what will you do? and I told him I would do nothing until I heard
from you.
There is I know something in the etchings for they are going to
exhibitions all over the place and staying too yesterday afternoon
I had a wire from Fradeletto telling me the set you saw in Venice
and didn't like had been purchased for the public gallery Yah!
But please do answer about the book.
Yours
Joseph Pennell
Purveyor of Prints to Public Galleries

P.S. Have you seen the Lord What Ho [Walter] Armstrong's
History of Art
in which as an example of this great writer's thoroughness one
looks in vain for the works and names of Blake and Beardsley but
the modern machine made moderns hoping for the removal of the
American tariff are all there and I note specimens of these perfect
works are being dumped on the Metropolitan.
British art is worked by British critics like British beef only
like that commodity it no longer exists But British artists are in
the same blundering blind wilderness of Cocksuredness that the
British army was before the Boer war and they are going to get or
are trying to get a similar waking up.
But
mind you dont let their art affairs be messed up by meddling
millionaires. The Guildhall Show I believe is wrecked so the City
Fathers told me by these Yankee hogs who may know a little
about hogs but nothing of pictures.
Again we havent even yet accepted the Italian invitation to
Rome in 1911. The British (think of it) request for special pictures
went out yesterday
Oh Ye Gods we are well up in der percessun and what's more we
dunno where we was.
Fact
Joseph Pennell
74
The Senefelder Club
Whenacknowledging Doctor Singer's praise of the

Pittsburgh and latest New York plates, Pennell wrote
of the mezzotints :
Now as to what you say or rather what you have found I am

overcome with blushes is it true? Only I quite agree with you or
rather with myself Whistler is still the man and the artist I have
learned technically everything from and the point is I am going
back to what I learned first these things are more like my earliest
things they say one harks back but he did not, he went on and
on and on only in one way I am trying to go on that is in big
anyway I am trying for it but it is so hard big compositions
of these big things and now though no one has seen them I am
trying them in mezzotint.
"
And the next letter he signed Joseph Pennell who
has Just done a London nocturne in pure mezzotint if
if comes off you shall see it."

The mezzotint, "Wren's City", did come off. So did
two or three others from the studio windows. Much
was done successfully with aquatint and sandpaper. An
objection was the tedium of preparing the plates es- ,
pecially for mezzotint, and though he could have them

rocked by a professional, his dislike of letting others
share the labour of his art increased with the years.
* '
When working for tone in his big compositions of the

big things" the needle, adapted to line and the small
plate, failed. Russian charcoal might give the tone, but
drawings cannot be multiplied except by reproduction.
Lithography was the medium, if the problem of trans-
ferring and printing could be solved. Charles Goulding
brother of the better-known Frederick to whom a few
years before he took his first large lithograph, "The
Transept at Rouen", succeeded in doing what Pennell
75
insisted could be done; it was part of Senefelder's inven-

' * ' ' ' '
tion, and the Rouen one of the

drawings of
is first
modern times successfully transferred to the stone and

the original preserved." But Charles Goulding was
getting old, the atmosphere of the Goulding printing
shop invariably got on Penneirs nerves, and his ex-
perimenting ceased until the summer of 1909, when
events conspired to lure him back to lithographic chalk
and paper.
The interest rekindled by the Centenary Exhibition
had promptly weakened, but lithography did not al-
together die. A few artists remained faithful. Magazines
occasionally reproduced, occasionally published an
original lithograph. In 1907 the editors of the new
quarterly the Neolith went so far in their enthusiasm as
to lithograph text as well as illustrations. It ran, irregu-
larly, through three numbers but is not quite forgotten,

and, only recently, an artist told me of his surprise,
chancing upon a copy in a litter of books, "to find how
full of beauty it was!" Pennell, who contributed to the
third number, May, 1908, believed it was one of the
chief influences to prepare the way for the Senefelder
Club and the Senefelder Press which he helped to start
with A. S. Hartrick, K
Ernest Jackson, who had be-
gun to teach lithography at the County Council Central
School, and J. Kerr Lawson. The Press was for their use,
' ' ' '
also for embryo lithographers expected to flock to it

in numbers sufficient to pay expenses and bring in divi-
dends. A studio was taken, a second-hand press bought,
two chairs and a table contributed by Hartrick. The
studio was in Chelsea, convenient for Jackson and Law-
son, but for neither Hartrick, who never or seldom
76
The Senefelder Club
printed in it, nor for Pennell, who never turned the

wheel of its press once. Few embryo lithographers
materialized, no dividends were forthcoming. At the
end of a year the four Utopians abandoned the press and
concentrated their attentions upon the club. They formed
themselves into a Council with Pennell for president;
F. Vincent Brooks, in whose lithographic shop were no
no mystery, became the club's official printer;
secrets,
and, some months later, John Copley was appointed
secretary. Pennell transferred to the club the energy he
lavished on the International before it lost its inter-
national character and dwindled into a stepping stone
to the Royal Academy. He worked hard through the
summer of 1909; meetings were held in the studios of
the four men, by May third the name Senefelder defi-
nitely decided upon, vigorous preparations under way
for the first exhibition the following January in the
Goupil Gallery. As always, Fennell' s standard was

high, his policy broad. He was for good work and
against every barrier of school or nationality. Again
he turned to Doctor Singer.

London. W. C.
ii. 18. 09
Dear Singer Messrs Goupils expect to hold a show of Artists

Lithographs early in the New Year we have formed a little club
called the Senefelder Club. We want some good foreign work
would it be possible if you have the time to get ten or twelve
German prints from the same number of men They would have
to be in London before Xmas and should be sent unframed and
77
unmounted if possible we will look after that. If you can help us

either by sending things or inducing people to send has Arnold
any good things? you would be a saint.
Can you help?
Yours
Joseph Pennell
German prints came, they satisfied the Council, the

Exhibition opened on January eighth, from Goupil's
it went on to Bradford in February, at last the hard-
worked president found leisure for his own affairs. With

Way he tried his hand at making decent post cards in
lithography: a set of Rouen Cathedral, beautiful, but
not popular. He lent his aid to Hugo Reisinger, an
ambitious German-American, organizing an American
Art Exhibition for Berlin and Munich, where no impor-
tant show of American art had hitherto been made.
' '
What is Hugo Reisinger beside in art matters? Pen-

nell asked Van Dyke. That Reisinger was something of
a hustler he quickly learned, and as the end of the hus-
tling was to make American art better known in Europe
he was generous with suggestions and advice. He stirred
up McLure Hamilton to send his "Gladstone", and he
was glad in the autumn to tell him that it had been
reproduced in the edition de luxe of the Catalogue. For
himself he arranged exhibits in the big exhibitions of
that year at Brussels and in Chili, Gold Medals eventu-
ally coming from both. And, as I am speaking of medals,
I should add that the Royal Society of Arts bestowed
theirs for that year upon him, considered a great honour

by the British.
As 1911 was the year of the Roman International
Exhibition, Venice decided to hold its biennial in 1910
78
The Senefelder Club
so that the two might not clash. Pennell was not only
invited to contribute but given a room for his etchings
and the privilege of hanging them. All this, his schemes
for more Wonder of Work, and our refusal of an offer
for a joint lecture tour in America, are duly set forth in
his next letter.

London, W.C.
i. 30. 10
My dear Professor Thank you your nice long letters. As to
for all
McClellan you never said where he would stop and I never knew
till I saw it announced in The Times, one day last week, that he had
arrove at Morley's, so we wrote at once, got a reply that he was

leaving "in half an hour, being suddenly called away'* for parts
unknown. It was a very nice letter but that is all we got or saw
of him. If however he is going to Venice I dont know- whether he
will escape so easily, as they have, The Venetian Doges and Co.,
given me a room all to myself in the Show there to disport myself

in. How it will work I dunno, but we will see. I am going on with
the work thing and going now to France, Belgium and Germany
and am going to do the thing no matter what happens. No, rumour
"
is as usual "a lying jade and we aint on or rather are off of that
lecture racket fancy me as I might be to-day eating mince pie at
Vassar! and then at Bryn Mawr and so on to Los Angeles and or in
"
a grave via Dallas from Salt Lake City with intervening recep-
tions" at Indianapolis, Kansas City, Toledo, Cincinnati and God
Knows where Id sooner tackle the mountains
else, I
Fact and ought to be at this minute in Washington and

I
Rome and am here and here I stick till I get some more printing
of belching chimneys and such done and until J. McLure Hamilton
finishes two more portraits of me I believe he has one in Philadel-
phia now. But anyway you had better come to Venice or to Paris
where between whiles apparently I am to stop doing the ruins if
79
there are any ruins or there is any thing left for here we know
nothing* But anyway do come over this coming summer.
Yours
Joseph Pennell
He went to hang his exhibition early in April, hung

his prints as nobody else could have hung them for him,
had his reward in their purchase by the Italian Govern-
ment for the Modern Gallery in Rome, and was back in
London when King Edward died on May sixth. From
that night until after the funeral on May twenty-sixth
he had little peace. Our front door was besieged by news-
paper, messenger and telegraph boys. The postman came
heavy-laden. The Daily Chronicle, the Illustrated London
News, the Times clamoured for drawings, and the jour-
nalist in him, long quiescent, awoke as of old. He would
not have sought the work, he had done with this sort
of illustration, but when it fell to him uninvited, he
plunged into it with his accustomed go and vigour. He
has told the story the dark night of waiting for the end
:
outside of Buckingham Palace; the days in Westminster

Hall, he, the one illustrator to get in while carpenters
and painters made ready for the Lying-in-State; his
equal success on the day of the funeral with the
aid of John Burns, triumphantly capturing building
and point of view he had decided all along must and
should be his. He
revelled in the excitement, rejoiced
when it was over, impatient to be away with copper
plates and lithographic paper to Newport, Cardiff and
Swansea in June; to Charleroi, Liege, Brussels, Mons,
Namur, Mezieres-Charleville, Tournai in July; to
Lille,
Diisseldorf, Duisburg, Oberhausen, Essen, Aix-la-Cha-
pelle, Valenciennes, Drouai, Lens in August.
80
The New America Discovered
In September he sailed for New York, partly for the

Century to illustrate an article on Chicago by Henry B.
Fullerand a series on Western Cities., partly in pursuit
of more Wonder of Work for himself. That he secured
it good measure, the prints are the proof. The fact
in
that he was brought up against other things not so
pleasant he could not keep out of his letters. During his
visits in 1904 and 19085 he was struck with the as-
tounding changes in America. He was not so foolish as

to expect it to remain unchanged but he did not expect
,
it to cease to be American. In 1884 he had left his
country an America for Americans. With the begin-

ning of the twentieth century he found it an America
for a ragbag of nations, with a tendency to develop into
an American version of the southeast of Europe. The
new emigrantsrefused to disappear into the overrated
Melting Pot, Scotch, Irish, Swedes and
as English,
Germans had disappeared. The old long, lean, lanky
Uncle Sam was as lost as the needle in the haystack;
in his place, a fat, podgy, unhealthy Samuel of Posen.
The change hurt and he felt it the more the further he
travelled. The Quaker in him refused to suffer in silence.
He spoke out in his letters to Mr. Johnson, and Van
Dyke. Two letters call for a separate explanation. He
had been proposed for the post of Roman Commissioner
in 1911 and would have accepted it if appointed. To
Van Dyke, he wrote early in February: "As to the
Roman Show if I am wanted I will do the work, but
somebody has got to hustle at Washington for the
last horn blows on February i5th. But it would be fun
anyhow/'
And on August twenty-eighth, to Mr. Johnson: "I
81
suppose you know I did not get the Roman Commission-*
ership. It is a calamity for America but a happy es-

cape for me from trials and tribulations, worry and
waste of time."

The Blackstone
Chicago, 111.
10. 5. 10
My Dear Van Dyke This is the limit and no flies on it either I
never struck anything like it Mrs. Potter Palmer and three thou-
sand art students are going to receive me to-morrow night and
some Club another night and Mr. Pork Packer and z 9i6,4i8 and ?
3^ jews, niggers, Slovaks, dagos, irish, Sicilians, Scandinavians and

one supposed native American preserved in a bottle in a freak
museum make up the population of hustle village where there
are no signs on the streets which are made of mud and filth, where
the English tongue in Irish mouths is rarely heard the American
language never all others all the time where palaces of a sort
blossom in a lopsided row called a "bulleyvar" where O Lor
everything "that ever was said agin the place is gospel and not
the half has been told anything said in its favour is a dam lie.
If this is West may I never see it if these
a fair specimen of the
are ''the plain people" Gosh!! They eat baked apples and ice
cream to the sound of trumpets and the cost of $x.oo for breakfast
and their hotels stink of millions and green cigars and is it because
of Theodore that everybody and every paper says I AM honest. In
England even in the East only thieves and Frenchmen protest

their honesty a man used to be honest till he was found out
Still I have found some stuff. T ^ ,, ,
Joseph Pennell
TO MR. ROBERT UNDERWOOD JOHNSON

Chicago
Oct. 4th 1910
My dear Johnson I have your two telegrams, the last
saying you
do not wish me to go to St. Paul. Of course it
might be picturesque
8z
as this place is in a way or it might be like this place a gilded

muck heap and foreign rubbish hole Frankly I have never seen
such a pretentiousgaudy glittering smelly filthy vulgar
cultured overgrown and undeveloped savage village save the lake
front which is a bad version of one side of lower Broadway I have
told an interviewer most of these things and scared the life out of
him and two or three streets I know not their names and the
City Fathers dont put them up another proof it is a village it
isthe most preposterously disgraceful aggregation of hovels and a
few palaces dumped among them built on mud, on the face of the
earth Oh I dont know, the other Western metropolisses may
be worse frankly so far as I know there is nothing my dear John-
son in this country away from the east and south and as soon
as the middle west exhausts itself it will spread over the east and
the Huns wont be in it nor the Yankees either if these people are
the people God help us save as in this hotel which is brand
new or the people like me who are thought to be millionaires
there are no Americans I can find mating or born in the place I
know St. Louis is worse and I am afraid of Kansas City I dont
like the name though they say it is
picturesque I hate the West!
and this place wants another fire
Yours
Joseph Pennell
And there are three thousand art students in the Institute. If there
was one student of Sanitary Engineering it would be better for the
City Government.
Oct. 6th 1910

Dear Johnson I have more or less got over "my blues" and have
found some things even in the stockyards
But I am not going to
hustle
or
hurry
or
rush.
83
I am going to try quietly to do some plates in Chicago. Will you

send me a letter to the writer of the article here and those in St.
Louis and Kansas City.
Yours
Joseph Pennell
Yesterday when I was at work a crowd appeared and it appeared

that a wagon, two horses and a man drove off the absolutely un-
protected bridge into the river and in the words of the bridge
keeper, "The hull shootin match is way down thar under twenty
foot of water." O
the nice plain people of the west.
Chicago
October gth, igio
My dear Johnson
As these articles are to be done by various people a gallery in
which I dont like to find myself any longer you might from my
point of view just as well get a dozen people to write a book suc-
cessfully it but what I want is this. Everybody
cant be done
tells City is no good let me do Cincinnati that I am
me Kansas
sure is I cant do decent things without decent material. I have
long wanted to go to Cincinnati let me go there there is no use

in my making odd drawings any longer I came here with a definite
purpose to make a series of etchings I am trying to do them if

they come off you can have a set of the proofs, if they dont its my
funeral. St. Louis, 111 go and look, but I doubt if there is anything
there. Kansas City is nothing to me and I dont want to go Cin-
cinnati appeals to me of course there may be nothing this place
is worse and worse. I went to the Cliff Dwellers once and havent
been since the Thackeray Article will be worth the whole outfit
of these wooly villages. Even the driver of an auto took hours to
go home last night Golly what a town Another "shorer"
drowned himself in a bath another ran into the river I dont
wonder 111 do worse if I stay much longer Im busted now. The
Cliff Dwellers eat coffee with their dinner Eugh! As to the American
Express Co.'s charges they are very it seems to me high I return

their letter with comments only I must do Cincinnati or come

back.
Yours
Joseph Pennell
Revelations of the New America were as startling at
Mahanoy City, Shenandoah, throughout the coal re-

gions of Pennsylvania, in some places not a word of
English spoken, little churches that might have been
transported bodily from the heart of Hungary, hardly
a face with a trace of kinship to Uncle Sam. But Niagara
was too wonderful with Work for him to see anything
else and he stopped for sheer joy in recording the Wonder
in a series of six lithographs that appeared in the
Century for May, 1911. His regret ever after was that he
turned back when halfway from Niagara to Quebec,
where Johnson had asked for drawings. He was tired.
The journey had been strenuous. He engaged passage
on the first steamer he could and spent the intervening
days seeing friends and making plans in New York. Van
Dyke was keen to have all the unsold New York draw-
ings bought by the Metropolitan Museum as examples
of Pennell the illustrator and a valuable record of the
New York of the early twentieth century. Pennell did
not object. "As I am already represented in the Uffizi
by the drawings for Maurice Hewlett's Road in Tuscany
and in the Luxembourg by the work I did on French
7
Cathedrals/ he wrote before sailing, "I really should

like to find myself in the most important museum in
my own country where I believe I am not represented
at all though there may be some etchings in the Print
Collection." And, on Christmas Day, from Adelphi
Terrace House:
85
My Dear Van Dyke have no doubt you will do wonders about

I
the New York Drawings with the Metropolitan As to not hanging
drawings by old masters and prints by moderns well they might

change their plans and cease hanging
RUBBISH
by certain modern British which they are doing.
Puzzle find
The British.
They however are now back numbers and there is nothing but the
Post Impressionists
who are being boomed by a syndicate and as
it is the most blatant
example of German Jew British Shop Keeping yet seen the poor
old New English and International are out of it. And yet zo years
ago I got intelligent people to buy Van Goghs!
Yours
Joseph Pennell
86
CHAPTER XXXII
THE WALTER GREAVES AFFAIR THE CORO- -
NATION OF GEORGE V THE ROMAN -
INTERNATIONAL EXPOSITION
(1911)
IM May, 1911, an incident occurred that cannot be passed
in silence.The facts are fully set forth in "The Whistler
Journal", therefore I shall not go into detail. But the
-whole affair made too great a noise at the moment to
be ignored. William Mar chant opened at the Goupil
Gallery an exhibition of the work of Walter Greaves,
described as "Pupil of Whistler" on the invitation card.
Walter and Harry Greaves, a boat-builder's sons, were
Whistler's neighbours in the early Chelsea days. They
preferred art to boat-building and succeeded in being of
great use to him. They rowed him up and down the
river at night while he made his mental notes and
studies for the Nocturnes. They prepared his canvases,
saw to his colours, ran his errands to the art shops,
carried out his designs on his frames, and painted in his
studio under his direction their relations to him not
unlike those of the old apprentices to their masters.
Both brothers exhibited in their younger days. Harry
Greaves had now been dead for some few years. Walter
Greaves had faded out of sight when mysterious can-
vases attributed to him were discovered in Mr. Spencer's
bookshop, New Oxford Street, by Marchant, among
87
others, and the Goupil Gallery Exhibition was the

result of the discovery.
To "Whistler's Pupil'* on his first appearance critics
were more amiable than they had been to Whistler on
his. The pupil was declared to have surpassed the
master. Some critics went farther. A painting with the
title "Passing Under Battersea Bridge" was in subject,
composition, colour, tone, strikingly like Whistler's
''Battersea Bridge" now in the Tate Gallery. The Pref-
ace to the Catalogue stated that Greaves' picture was
painted in 1862. date and signature were on the canvas
and exhibited the same year in the International Exhi-
bition at South Kensington Museum. This, if correct,
meant that Greaves had painted Nocturnes before
Whistler who, therefore, was the imitator. The critics
were enchanted. Many as were the things they had
denied to Whistler, never hitherto had they questioned
* '
his originality in the Nocturnes. Whistler Dethroned" ,
"Whistler's Ghost", "The Crushed Genius", "An

Unknown Master", from their headlines. Robert
flared
Ross of the Morning Post and E. F. Strange of the West-
minster Gazette were almost the sole exceptions to the
chorus of joy over Whistler's downfall. Whistler's repre-
sentatives and most of his friends were strangely in-
different. But not Pennell. He could not sit in silence
while the hounds were let loose on his friend, the great
artist. He knew what fruit such statements uncontra-
dicted wouldbear. He went to Mr. Alan S. Cole, still
an South Kensington; together they looked

official at
up the catalogues of the International Exhibitions or-

ganized by Sir Henry Cole. No picture by Walter Greaves
was shown in i86z, none until a few years later. Pennell
88
The Walter Greaves Affair
stated the fact in a letter the Times refused to publish,

though its critic had set the ball rolling. Other papers
did publish it, and, eventually, the Times printed one
from Heinemann. To whatever heights the critics chose

to exalt Walter Greaves, never again could they brand
Whistler as the thief of his genius. And yet, only this
year an English paper referred to Greaves as "the
painter inspirer of Whistler/'
Here the incident closed, so far as Pennell was con-
cerned. He cast no doubt upon the honesty of Greaves,
who was old, whose later years had been a struggle,
and whose memory might have failed in detail. He did
not criticize the quality of the work shown. Nor did he
question Merchant's good faith. But Marchant lost his
temper. He prepared and published a pamphlet: "A
Reply to an Attack upon a Pupil of Whistler." It was
long, it was tedious, lacking in wit, published too late for
it to tell, especially as Pennell' s plain statement of fact
made the critics timid. Little attention was paid to the

pamphlet, but it figures occasionally in booksellers' cat-
alogues and it is better that the truth should be known.
The Greaves affair was unpleasant but made no serious
inroads upon Pennell' s time. He had too many other
things to think about. He had to see his "Little Book
of London" through the press, a book of small repro-
ductions of a group of his London etchings, published
by T. N. Foulis in London and Edinburgh, Le Roy
Phillips in Boston. It was the first in a series intended
to reproduce his etchings of various places but after the
fifthvolume brought to an end by the War. He could
not cease his activities in the International until the
Whistler Memorial was a certainty: "unless those of us
who believed in Whistler hold on, a mess will still be

made of the Memorial/' he wrote to Morley Fletcher
who, early in 1911, thought of resigning. "You must
and therefore I must ask you to with-
stick to the derelict
draw your resignation before the meeting on Friday.

You must/' He was determined that the Senefelder
should justify the promise of its start. Work had to be
got ready for a Barcelona International Exhibition
which involved meetings., lunches, dinners with the
Barcelona delegates who were being shown their way
about London and London clubs by Mr. and Mrs. Alfred
Withers, the English Commissioners. The coronation of
King George V
kept him as busy as the funeral of King
Edward VII the year before. Mr. (now Sir) Robert
Donald, W.J. Fisher's successor as editor of the Daily
Chronicle ,
was anxious to have him illustrate the cere-
mony Abbey. Pennell was never without new
in the
ideas, and he put it on record in his Cantor Lectures that
he "suggested to the editor who asked me for a drawing
of the Coronation, first that several other artists should
be invited to collaborate, which was done; and, second,
that all the drawings be made in lithography." The
artists chosen were Brangwyn, Hartrick, Sullivan, Pryse,
Jackson, and, for the portrait of the King, McLure

Hamilton. An edition of separate proofs issued in a
portfolio was to make
the fortune of paper and artists
alike. In this he was disappointed. The idea was splen-
did, but the sale was small.

Not long had been elected to the Reform
before he
Club, proposed by Fisher Unwin and seconded by
Sargent. He had fallen out of the club habit, had given
up the National Liberal, went seldom to the Chelsea,
90
The Coronation of George V
less often to the Cycling, or the Royal Automobile Club
which succeeded it, preferring his own place to any
club. His attendance had fallen off even at the Art

Workers' Guild, objecting as he did to art critics being
asked to talk to members about art. He thought this
was the artist's business in a guild of art-workers. He
showed his displeasure and a memorable evening is re-
called when Clutterbrock "Clutter-up", according to
Pennell, with his talent for distorting names fled before
such straight criticism as he had never hitherto encoun-
tered. I have been told that, invited another time to speak,
he asked anxiously, "Will Pennell be there?" before
accepting. All the same, often since members have been
heard to say,"We need Pennell to wake us up."
The Reform Club was another matter. It had no con-
nection with art. It was ancient, conventional, tre-
mendously British, with the solidity of tradition that
appealed to Pennell and the good food and good wine
that he approved all his life. If he wanted to be a trifle
formal, he gave his lunches and dinners at the Reform,
and Coronation Year he secured for the benefit of friends
his allotted number of the seats erected in front of the
clubhouse, from which the procession could be seen
along Pall Mall on its return from Westminster Abbey to
Buckingham Palace. He also offered to put up Van Dyke
for the time being.
TO DR. JOHN C. VAN DYKE,

3,Adelphi Terrace House,
London, W. C.
Februar7, 12.
Dear Van Dyke I aint going to weep over Constantinople [a

scheme that never came off] it's more her loss than ours and there
91
is much to do anyway nearer home or rather yet at home. Wait

till you see Niagara and Chicago and the latest Noo New York
in The Outlook they will make Teddy sit up and be glad he used to
be an American.
Yes 111 be in London in June and during the Coronptation will
look like this
P.S. Do you want to be put up at the Reform Club 111

get it
doneWeve become horrid respectable. It will be amusing there
this summer.
9z
TO MR. j. MCLURE HAMILTON
3, Adelphi
Terrace House
Robert Street. Strand.
London, W.C.
Monday May i.
Please say nothing about this!
My dear Hamilton I have a letter to-night from The Chronicle

asking if you will do
The King
You will you said
therefore,
Will you see Mr. Robert Donald
Editor The Daily Chronicle Whitefriars Street., Fleet Street
Only
Write him first oryou may not find him and arrange all about
sittings fees and everything with him when you see him.
Yours
Joseph Pennell
And do remember we are to have a meeting and dining with Ives
as soon as I hear.
The mention of Professor Ives recalls a tragedy. He

was to be in London only a very few days, and Pennell
tried to arrange beforehand for him to see the people he
would care to see. He arrived unexpectedly on May
third, and they dined together at the Reform. Fortu-
nately he and his old friends, Mr. and Mrs. J. McLure
Hamilton and their niece Miss Raiguel, were free to
dine with us at Adelphi Terrace House on May fourth.
We found other artists disengaged and secured them for
dinner on May fifth and they came, but Ives was not
there to meet them. Two brief wires to Hamilton tell
the story: "May 5th. Ives ill. Westminster Palace
93
Hotel." "May 6th. It is all over. Can you come hotel

9.30.'' But they do not tell the responsibility that fell
upon was travelling alone, was
Pennell's shoulders. Ives
to be joined in London by his daughter after a year's
study in Berlin, and the two were to sail for home to-
gether. His illness was sudden and short. No one in the
hotel knew him or his address. The one clue was a letter
on Adelphi Terrace House paper from Pennell found in
his coat pocket, who shrank from the
and Pennell,
sight of illness, who
could not face death, spent his
night at the hotel in a near room, was summoned when

the end came about midnight, sent for Hamilton in the
morning, with him notified Consulate and Embassy,
made arrangements for the return to St. Louis, and,
with me, braced himself to greet Miss Ives on her arrival.
As I have said, his affection for Professor Ives was great.
The two were sympathetic. It was not easy to throw off
his depression.
Work alone could bring relief and the coming Coro-
nation provided it in ample measure. For days before
the ceremony he was in the Abbey getting his back-
grounds. Meetings were innumerable,' conferences with
Vincent Brooks as many, no excuse lost for a dinner to
talk things over.
TO MR. J. McLURE HAMILTON

,

London. W. C.
6. i. ii
My Dear Hamilton Donald writes you are engaged on Saturday

and cannot or will not come to his dinner everybody is coining
94
to get things straight they have all accented so you must either
come to the function or look in during the evening.
Yours
Joseph Pennell
Are you going to
The Pilgrims
I hear you are asked
I am
j.p.
Write to Donald that you will turn up
YOU MUST.
After the great day, after the lithographs had ap-

peared in the Chronicle, after the Portfolio was ready,
the Senefelder Club in their turn gave a dinner at the
Cheshire Cheese to Donald. They realized that no
other editor of a big London daily would have been so
sporting, would have hazarded so unusual an experi-
ment in newspaper illustration, would have seconded
them in their effort, "to encourage artistic lithog-
raphy", sadly in need of encouragement.

Had would have
Pennell followed his inclination he
sailed straight away to Panama. For months the Canal
had haunted him, the most astounding Wonder of Work
of his day, wonderful above all in process of construction.
He was impatient to be there, drawing the great cranes,
the mammoth steam shovels in action, the deep caverns
of the unfilled locks, the majestic height of their bare
walls, the power of the huge gates, the picturesque life
and ordered confusion of labour. The Canal built, the
Wonder of Work for him would have gone. Early in the
winter, February twenty-eighth, before the Coronation,
he had written to Mr. Johnson on the subject.
95
I want to go and do the Panama Canal NOW while they are at.
work on it. I could make an historical record of the record work of

the United States. Let me go and make a series of lithographs
come back by California or Mexico and do at the same time the
Canyon of Colorado and the Yellowstone. I could come after the
Coronation for which I am trying to gztyou and Mrs. Johnson seats
at the Reform Club in Pall Mall, the best place on the route me, I
shall be in the Abbey but you must be here for that function and
let me do the canal. Col. Robert P. Porter wants to write it and
J. C. Van Dyke wants to do the Canyon.

Can I say yes?
He returned to the subject on March twenty-sixth:

"I did not I am afraid make myself clear about the
Panama Canal I dont want to do it when it is finished
but NOW
while they are working on it. Therefore if I
go the sooner the better." And again:
3,Adelphi House Terrace

London, W.C.
April zd.
My dear Johnson
Not only apparently are my letters illegible but unintelligible.
What
I want
Is
To Go
To
Panama
NOW
and do the picturesque side of
the great engineering feat before it is finished and ruined from my
point of view. And return via the West and do San Francisco and
Grand Canyon. It would not be a very expensive business only I
want my expenses and all you will pay me. And I want to go almost
at once. As to Chimneys as you call them of steel works I am afraid
they are the same virtually in form general form everywhere. It

isonly in detail and site that they vary as I have tried to show. I
only suggest Porter because he has just come back from Panama and
could write of what he has seen.
Yours Joseph Pennell
With every day he felt his chance to draw the build-

ing of the Canal grow less. On the other hand, he was
bent on going to the International Exhibition in Rome,
for, though not appointed the Commissioner, he had
been put on various committees, and Harrison Morris
wanted him there in the autumn. He decided to risk it.
Printing and Senefelder more than occupied the summer
months. Early in the autumn the Wonder of Work
carried him to France to Le Creusot, Schneider's great
works, to Monceaux-les-Mines, to Dijon. By the end of
October he started for Italy.
He enjoyed Rome. His interest in these big inter-
national exhibitions was enormous. The opportunity to
see what artists were doing everywhere the world over
stimulated him. Something was always to be learned.
A feeling of life and energy was in the air, of endeavor
and seeking. He was glad to escape from the staleness
of London's art atmosphere. When not occupied with
' *
official business he made his two large lithographs Old

and New Rome" and "The Victor Emmanuel Monu-
ment" from the Palatine where it tells "the story of
ancient, mediaeval and modern work in Rome." He
fell among friends, artists of many nationalities, di-
rectors of galleries and museums as well as his own
97
countrymen, who this year were Mr. Harrison Morris,

American Commissioner, and Mr. William Henry Fox,
Secretary. He thought the standard of the Exhibition
high, and his one disappointment is in a letter to
McLure Hamilton.
Expos izione Internationale D'Arte

Roma 1911
II. 12.. II
My Dear Hamilton
Thanks for your letter. This is an awful fiasco a total financial
one The Show not bad the Italians have done their best but
is
what can you expect with five International Exhibitions in one

country at the same time
Owing to the Administrative Complications about insurance
Morris thought best to withdraw the U.S. from competition, which
I regret as I think we would have got a number of awards The
Italians have been very good to me. The King bought all (zo) of
tny prints and the Committee elected me to the final Jury of award.
I am the only English-speaking person on it The weather is awful.
About the middle of November, his jury work was

done. He started for home, but stopped at Venice, the
desire to see the Campanile as a Wonder of Work irre-
sistible. It was finer than he expected, he was impressed,
and he made his large lithograph, "The Rebuilding of
the Campanile", used by the Venetians the next year
as a poster for their Biennial and published with the
' '
Victor Emmanuel Monument in the Century for

March. He ran into old friends "stay in Venice, loaf
in the Piazza long enough and you are sure to run into
everybody you know", he often said. He was in high

The Roman International Exposition
spirits when he wrote

his one letter from Venice,
sprinkled with the Italian and Venetian, neither of

which he ever pretended to master.
Grand Hotel Luna

Venise
Saturday 18. Nov.
Caro Morris Me trovarsi qui lontana de lei nelme&o del iin mare de
fiumi e amid
etc
Oh dam I forgot you dont know italian and hate the Italians so
much the worse for You for quc st oggi I have cammadoed with the
most charming young ladies arrayed in gum shoes who took me
to a skating rink the ladies that is and illustrious descendants
of Doges who dident dodge (oh) two lunches and a Secretary,
an Onoravole Professor e tutti quanti degli artisti Ventzioni e foi ge %ai
(phonetic) but why waste all this on
You
Only I always have a good time here and have arranged lots of
things.
E foi addresso andiamo a Londra where I hope we shall
y
see you
I am quite Too sober Ive only had some
grasso di monte
ask some one to give you some
Pennell could not yet sail for Panama. The Senefelder

must not be left in the lurch. The yearly exhibition was
to open early in January, and from London go on to
several English provincial towns. He sought a wider
sphere for its ambitions and triumphs and, as had be-

come a habit, consulted Doctor Singer who never failed
him.
99

London, W.C
Nov. 30. 1911
Dear Singer A certain matter has turned up which
I have been
advised to refer to
you and Dr. Lehrs to you I write first- for advice.
We have here a little Club the Senefelder Club small only in
numbers which for the last two years has been giving exhibitions
of lithographs we started in a mild way in the Goupil Gallery
but during the last year we have branched out holding Exhibitions
in the English Provincial Galleries.
Manchester
Liverpool (now on)
Birmingham
etc.
Later we have further launched out and are now holding one (it is
open) in the Pennsylvania Academy of Fine Arts and it is going

round the Country and to Canada. We
have been for next year in-
vited to Brussels UEsfampe and are at work at others. What has
been suggested is to ask you if it would be possible to have shows
in German Galleries, preferably public ones. Will you let me know,
if it could be done?
We could show work by all those artists who are now making
lithographs in England,
namely, Legros, Shannon, Brangwyn,
Herkomer, Sullivan, Pryse, Copley, Hartrick, and yours truly whom
you know there are about eight or ten more good people whom
you do not know but whom I think you and other directors would
be interested in. Could such a series of Exhibitions be organized?
Yours
Joseph Pennell
Satisfactory arrangements were made, thanks to

Doctor Singer. In London, the Private View was on the
seventh of January the annual dinner in the evefiing.
,
A fortnight later, the Senefelder "booming", his own

work in order, Pennell sailed for New York and Panama.
100
CHAPTER XXXIII
THE PANAMA LITHOGRAPHS FROM SAN -
FRANCISCO IN THE WEST TO PHILA-

DELPHIA IN THE " EFFETE EAST"
(1911.)
"
PEN-NELL, in his Ad ventures ", wrote that 1912. was the
busiest year of his life. I would have said I have said
the same of many others. All, in passing, seemed to the
looker-on equally barren of leisure. But it is true that
1912. has to its credit his longest journeys and one of his
longest periods of uninterrupted work for himself. It
was the year not only of Panama but of San Francisco,
the Yosemite, the Grand Canyon, Philadelphia, Wash-
ington, For eight months out of the twelve, press and
easel in the Adelphi Terrace House studio were idle;
for eight months Whistler Memorial and Senefelder
Club missed his initiative and never-ceasing vigilance.
He sailed on the twenty-fourth of January and in New
York caught the first steamer to Panama.
West 43d Street
-7
a..
3, 12.
Dear Professor How was I to know about the publishers' function
because this year for the first time I think they did not send me an
invitation, R. U. J. told me of it yesterday and be seemed impressed
with the solemnity of it.
101
As
For me I am noon to-day to Panama because its now or never
off at
or rather if I dont go to-day, I cant go till the zzd of February.
Do you know any of the big guns down there to whom you could
give me a line my address is care of
J. B. Bishop
Secretary Canal Commission

Panama
I may be back sooner or later via San Francisco.
Yours
Joseph Pennell
He went to Panama because he believed that the

greatest work of modern times should give him his
greatest chance. His instinct did not mislead him.

Panama proved all and more than he hoped, the building
of the Canal was exactly at the stage where he would
have had it. Everything was right for him from the
hour he landed until he sailed away again. His im-
pressions remain, vivid and picturesque, in the litho-
graphs and in the notes he wrote to accompany their
reproductions in "Joseph Pennell's Pictures of the
Panama Canal" (1912.)- Compared with what he had
seen and drawn in industrial England and France,
Germany and Belgium, industry at the Canal was on a

colossal scale. The locks, Gatun, Pedro Miguel, Mira-
flores,were yawning gulfs; their towering walls and
mighty gates, their stupendous arches and buttresses
not yet hidden as they would be once the water was
let in. And
the great cranes, the huge buckets, the
Cyclopean steam shovels, the big engines, the army of
workmen all "was perfect, the apotheosis of the
Wonder of Work/' He was no less impressed with the
order that went with the activity and the apparent
IOZ
The Panama Lithographs
pleasure of every one, high or low, who played a part

in this splendidly organized triumph of labour. He, who
asked nothing better of life than work, had at last got
to a place where workmen worked as if to work was
neither a hardship nor an imposition.
His one regret was for the absence of Colonel Goethals,
the genius who controlled the organization, who gov-
erned as despot, who was loved, feared, respected by
everyone on the Isthmus. He got to know other officials,
Colonel Gaillard, Mr. Williamson, J. B. Bishop, Secre-
* '
tary of the Isthmian Canal Commission, who made it

possible for me to draw these lithographs ", Pennell wrote
in dedicating to him the "Pictures of the Panama Ca-
nal." Bishop, who was his friend at once, gave him his
permits, directed him to his hotel, set him on the right
way to see the Canal, asked him to dinner, helped him
to select a suitable outfit for the tropics. Only for a
single day did Pennell wear any one item of this trous-
seau a suit of khaki. Coming home in the afternoon
he justcaught the last car, the workman's car, tumbling
into itand down on a floor carpeted with mud. After
that he returned to his tweeds, not unwillingly, for
never did a man suffer less from heat than he. The tropi-
cal outfit, less the khaki suit, he brought home unworn, to
add to his large collection of spoils from Russia, Hungary,
Provence, Italy, Spain. To me, the caretaker, it had one
great merit. The moths who feasted on the Russian Schube
had little appetite for clothes adapted to the tropics.
Pennell's method of work astonished the Canal by its
unworkmanlike air. He sauntered along, portfolio and
campstool under his arm, his waistcoat pockets full of
pencils, his eyes half shut in the artist's way
which
103
suggests sleepiness to the uninitiated. "Don't look like

much!" the man who worked the steam shovel said,
when told that this was an artist of distinction no
big umbrella, no big easel, none of the paraphernalia by
which the artist outdoor proclaims his profession. But
the man of the steam shovel changed his opinion, be-
fore the morning was over, deciding that Pennell could
draw. Pennell, in the end, presented him with a print;
the two had learned to respect each other as good work-
men, each after his fashion. The first afternoon Pennell
dropped in at Bishop's, took two or three drawings out
of his portfolio, set them up on chairs, and asked
' ' ' '
anxiously, Have I got it? He had indeed, as no one

had "got" it before, as no one has "got" it since.
Bishop marvelled at the keenness of vision, accuracy of
drawing, quick appreciation of the right point of view
in a man who that day was seeing the Canal for the first
time. A few hesitated in their approval. An engineer
told him that his lithograph of workmen being hauled
up from Gatun Lock by a great chain was out of draw-
ing. "What of it?" was Pennell' s answer, "I am not a
pitiful photographer." To suggest the effect of "the
most decorative motive I have ever~ seen in the Wonder
'
of Work' was more important than to rival the camera.

Pennell's pleasure, from beginning to end, was with-
out flaw, his spirits undiminished, and the high standard
of his work maintained. So long as work went well he
could laugh at discomfort, the difficulty of getting a
cocktail or a cigar, the nuisance of the horde of tourists
let loose upon the Isthmus, the arrival of Richard
Davis, one who paraded the para-

* ' ' '
Harding Dickie
phernalia of his profession, and on the Isthmus went
104
ON THE WAY TO WORK IN PANAMA
His Trofical Outfit
"
San Francisco in West to
Philadelphia in "Effete East
resplendent in white duck, helmet, sandals, his green-

lined white umbrella conspicuously in sight. The last
day, excursionists more omnipresent than ever, Davis
more important, Pennell sent a line to Bishop, to say
that the news of Dickie's being there had got about,
Dickie was being pursued, had escaped into his bath,
but was not safe even there an historic document that
Bishop, whose sense of humour was keen, meant to
preserve, but a giant cockroach of the Isthmus picked
it out as a dainty morsel and that was the end of it.
Pennell returned by San Francisco and the Far West,

hitherto unknown to him. His steamer from Panama
was slow, dawdled along the coast, making long stops
Mexican seaport towns. From the
for freight at little
steamer he wrote to Copley, and from San Francisco,
the next day, to Van Dyke.
TO MR. JOHN COPEY
Off San Francisco
3. 17. 12.
Dear Copley I got your letter just as I was leaving Panama which
was wonderful and where I got THIRTY lithographs I forget if I
wrote since, for three solid weeks we have been coming North
stopping in Mexican ports Mexico and Central America are won-
derful and the dam fools I mean distinguished American artists
neither know nor see it it is like Spain and Dalmatia rolled into
one and running over, the mildest costumes are like this
If therehadnt been a dozen or so revolutions on I should have come

back that way but as each is separately stage managed it was too
complicated. Now I have to face an American customs which will
probably be worse but I get all that at one go. I hope things have
travelled I have not seen or heard a bit of news for three weeks.
But have made some drawings. Write to me to the Century Club
7 West 43d Street, New York City.
Yours
Joseph Pennell
3. 18: ii
My Dear Professor
I have seen the canal it is immense the most stupendous thing
of modern times. To belong to a country which has done or dug or
built the canal and invented the ski scrap is something. And I am
awfully glad I went and do you go down this summer they all say
Ib-bas it is not hotter than in the winter and far more beautiful in
the rainy season but save me from my fellow country-
may heaven
men who go fancy being dumped into a hotel, as I was,
to see it
where you cant even get a cocktail or a cigar, but are forced to
buck in with five hundred eminent citizens and citizennesses of
St. Louis, Richard Harding Davis and two American Secretaries of
State and millions of Germans personally conducted by an am-

bassador it was fierce but worth it and if you dont go down
this year you will never see the canal the most stupendous thing on
God's earth. GO. Now on my way back I have half and more finished
the Illustration book. What do you think of that? And I am going
to the Grand Canyon on my way east and if there is anything I
ought to see there please let me know and write Care C. C. Moore,
President Pan Pacific Exhibition San Francisco. I shall be in San
Francisco some weeks probably, then Yellow-Stone and Grand
Canyon to N. Y.
Yours
Joseph Pennell
106
"
San Francisco in West to Philadelphia in "Effete East
In San Francisco., lithographic paper was exchanged
for copper plates. The etchings he made there are not so
well known as they should be not so well known as
the reproductions in one "Little Book" that got into
a second edition before the War turned men's thoughts to
other things than books, big or The Panama-little.
Pacific International Exposition (1915) was beginning

to be talked of and architects asked him for drawings
of the buildings. His version is, "I had a big adventure,
designing and drawing the Exhibition, a design that
was never used, save as propaganda in Europe." The
architects asked for more drawings, he hesitated, they
were vague, and he was in the Yosemite before they
realized he had gone. Long-distance calls implored him
to return, but drawing from Nature was more to his
taste.
The Wanona Hotel

Wanona Hotel Co.
California
6. 1912.
April
My dear Professor, havent had a line from you but am paddling
I
my own stage coach and railroad fairly well. To-morrow I take

my auto.
This or the Yosemite is the most wonderful thing of the sort
in the world
and
There should be carven at the entrance The History of Architecture
should le written on the walls of the Yosemite Valley the people dam
em are even more wonderful they have taken two weeks to
find out that I am
necessary to the success of their old show and
now are howling and weeping and long distance phoning to get
me there is however only one way your way to see the Coun-
107
try go it alone and camp out the stage ride Yosemite here
is beyond belief did you ever do it? Forest all the way and snow
too road dug out superb and only one person we came over
it behind four horses. Just swell. Yes it is a great country and
has more cock sure asses in it than England even they make me
tired To-morrow Big Trees, then Big Canyon then the effete
East which as a steady diet I prefer Three long distance phones
half of which unintelligible other half deciphered by three re-
lays and three telegrams no four another has come, just of
ninety words each is too rich for me especially as after it all I
dunno where I are and letters too. Golly what a people and they
are mostly Jews I wish I had seen it before. But I have seen a lot
in my little jaunt of about 10,000 miles.

Yours
Joseph Pennell
El Tovar, Grand Canyon, Arizona

4. 18. 12.
My Dear Professor Beast! You never answered my beautiful letter

from Mexico. Did you get it maybe it was corralled or comman-
deered for the postage stamp. I am reminded of the fact because I
saw
The Desert
there on the bookstall and all Ive got to say is if you still want
to take me about here I'm on, if its anything like the rest of the
country which is too wonderful and suggestive and inspiring for
words, and no one in painting and drawing has touched it and I
have only seen the Rim. Now I know "some people are so crooked
they cant lay straight in bed" (latest I got on). But the above is
the truth. I am now going to the Cliff Dwellers not of Chicago

and then to the effete East but Frisco was, in ways, the limit.
Joseph Pennell
We met in Philadelphia at the end of April, he coming

from the West, I from across the Atlantic. We engaged
rooms in the Hotel Walton for an indefinite stay; the
Philadelphia book, in the air since 1910, could not be
108
' '
San Francisco in West to
Philadelphia in Effete East
' '
left there any longer. To me, the visit was far more
of an event than to him. Except for one afternoon in
19085 1 had not been in Philadelphia since 1884. 1 arrived
the same day and hour as Mr. Taft on a political
speech-
ifying tour, a fact referred to at the beginning of the
next letter. Pennell gave me time to get what I could
out of the excitement and sentiment of home-coming.
He had been through it before, and to transfer his
drawings from paper to stone, to learn how they had
survived the tropics and the long journey was excite-
ment enough for him. But first, he reported his arrival
to Mr. Johnson, his letter as buoyant, as abounding in
suggestions as any he ever wrote in his impetuous youth.
Philadelphia
April 2.8
(1911)
Dear R.U J.
I got here yesterday and eventually disentangled Mrs. Pennell
from Taft and other things. All the drawings of Panama, the Yosem-
ite, The Grand Canyon ARE FINISHED, but they are all on litho-
graphic paper and I am going to the printers here to-morrow to see

if I can have them put on stone. If so I shall go ahead if not they
must be photographed. Will you allow me to select them! I would

suggest you have as many as you will stand of Panama without text
unless I write it. I would be kind to the Pore ole government
as they were nice to me. If you are willing, who is the photographer
here I should go to?
Ditto Yosemite and Grand Canyon.
San Francisco is all etchings. They are on the plates but not
bitten that will take some time.
Now for the other things. As you do not know, I came back by
Mexico Coast and have seen Selina Cruz and Acapulco, etc I made
several drawings in colour would you like them to reproduce in
109
colour? This the country where the trouble is. Answer please.
is
Next I would draw and the Mrs. to write Philadelphia after

like to
z$ years contrasting our first article in The Century with, maybe the
last. We are going to Washington this week or next, why could I

not make some lithos of him? Pictorial Washington or something
of that sort?
Nextest. I stopped off at Pittsburgh and Beatty gave me an in-
vitation from the Steel Co. or said he'd get it to take a cruise from
Pittsburgh to Duluth is it worth while? I have never done the

lakes who has? we would own the steamship. Finally I am
going west again some time for there is nothing like the Desert
and I guess Van Dyke -John will go with me there.
Yours
Joseph Pennell
Pennell took the drawings to the Ketterlinus Litho-

graphic Manufacturing Company in Philadelphia., where
he found as Art Manager an old fellow Academy student,
Mr. Robert G. Leinroth who was willing to let him
work in his way in fact, suggested that he should
astonishing after his experience in London lithographic
shops. Mr. Leinroth was untiring in his efforts to make
things smooth and easy, and his recent account to me
of the work, Pennell's enthusiasm, and the results, has
an authority that nothing I could write would rival.
If myknowledge of the actual work done is second-
hand, nobody knows as well as I how intense was
Pennell's pleasure in getting all that was in the drawings
out of them on to the stone and into the prints. For
days he did and talked of nothing else. Prints, paper ,
chalks, were scattered over our hotel rooms in his usual

disorderly order, spread as far as to my dressing table,
to the dismay of Philadelphia relations unused to the
ways of artists.
no
"
San Francisco in West to Philadelphia in "Effete East
TO MRS. JOSEPH PENTSTELL
Jan. 31. iga.8

My dear Mrs. Pennell
On Mr. Pennell's return from Panama he told me that he had
endeavoured to have the drawings transferred in New York City
but found no one there sufficiently interested to do it. I understood
that the J. B. Lippincott Co. advised him to try Ketterlinus. A
phone message from J. B. L. Co. was received by our Treasurer who

got in touch with me, asking me if I would be interested. I asked
him if he knew the artist's name and he replied it was something
like Pennell. I said do you mean Joe Pennell. If that is the case by
all means send him round to see me. Of course I knew very much
about Mr. Pennell and his work and I embraced this opportunity
with enthusiasm. Mr. Pennell brought a few of the Panama draw-
ings with him and started to explain how he wanted the subjects
handled. told him why not come right into the printing room and
I
direct the work yourself. I well remember his surprise and remark
"You dont mean to say you will let me come into your printing
room?'* I put him in touch with Mr. Gregor, one of the most
resourceful printers I ever met. The rest you know. Yes, the Panama
drawings were the first we transferred for him and in every case I
saw to it that Mr. Pennell was present. If I recollect rightly all the
Panama drawings were made on the Cornelissen paper (a coated
paper) which Mr. Pennell brought from Europe.
It was in subsequent work that Mr. Pennell conceived the idea
of making the drawings on a good hard paper (no coating) with a
nice grain to it. It worked perfectly and with just the proper amount
of dampening, the drawing was not only transferred but the original
drawing was practically left intact.In some cases very black touches
(solid black) may have lifted off in spots but these were very readily
touched in again on the original drawing. I might mention how-
ever that the Panama drawings were made so long before trans-
ferring and under such adverse conditions that I doubt if they could
have been handled so as to save the originals. The fact that they
were made on the coated paper I fear would have been against them.
I want to say that Mr. Pennell deserves all the credit of suggesting
these experiments- and fortunately he had the sympathetic support
ill
and the technical knowledge of Mr. Gregor to help him in his

good work and I assure you that I derived an endless amount of
pleasure in seeing these wonderful drawings develop so nicely
and
to me Mr. Pennell created a most welcome oasis in the desert of
commercialism which unfortunately is so much in evidence in
present day lithography

Yours very sincerely
Robert G. Leinroth
Pennell appreciated Gregor, a German trained in the

Berlin shop where Menzel worked the best printer he
:
ever had anything to do with., he often said. His letter

to Mr. Leinroth twelve years later, when he heard of
Gregor 's death, finds its most appropriate place here as
his tribute to the man who ensured the success of his
Panama prints.
TO MR. ROBERT G. LEINROTH
Hotel Bossert
Brooklyn, N.Y.
January 4, 19x4
Dear Mr. Leinroth
I have only just received your note about Gregor I am very
sorry for he was not a

only good printer but a strong link between
the old methods and the new in fact I do not know of anyone who
can take his place, or do the work he could do He, as you know,
helped me over many hard places and in the future when I get in
lithographic difficulties I do not know to whom I can turn still
I think most of my lithographic work is done and Gregor helped
with it greatly. I am very much disappointed in the School this year

the outfit is excellent, the output nearly nil the average Ameri-
can Art student, is up on everything but art and the crafts that he
has to depend on men like Gregor for I see the art of lithography
disappearing in this country with Gregor. I am sorry and sad.
Yours
Joseph Pennell
112
*' "
San Francisco in West to Philadelphia in Effete East
His success with the Panama, Yosemite and Grand

Canyon prints encouraged him to use lithography for
the illustration of the Philadelphia book, upon which
he now set to work. Together we went on the old
tramps, to the old haunts we loved in our young days
so long ago: a sad experience, Philadelphia having
begun wholesale
its destruction of the beauty and char-
acter Penn bequeathed to his "greene city/' Our de-
pression reached the lowest point at Bartram's which

meant more to us in its old neglect, the garden a wilder-
ness, the house time-stained and worn, than in its new
spick-and-span order as part of Philadelphia's park
system. Other beloved landmarks had suffered, though
a few, either still in the possession of the original
family, or in charge of sometimes too zealous City
Fathers or Devoted Daughters of This or That, had
was simply what happens everywhere, only
escaped. It
we had not watched it in the happening that was all.
No artist'seyes have been keener for the picturesqueness
of the modern world than Fennell' s and if the new
Philadelphia was not as Unbelievable as New York,
* ' ' '
architects and chance combined had provided dramatic

effects and amazing contrasts. He was stirred by the
arrangement of the tall skyscrapers rising, story after
story, above the little red brick and white marble
streets, stirred by the city of high towers and spires
Philadelphia had become when seen from Fairmount

Park or League Island. He did not waste his time la-
menting the past; he drew what survived of it and got
what he could out of the present. His reputation as
lithographer was strengthened
19
by the illustrations to
"Our Philadelphia an unrivalled presentment of his
,
113
native town was at the beginning of the twentieth

as it
century. He wished to have the prints safely preserved

in the archives of the Pennsylvania Historical Society
and offered them for an absurdly small sum. The Society
refused to change its mind in more recent years and buy
them for ahigh price from a dealer.
Socially, Philadelphia amused
him amused both of
us so inclined was it then, though not later, to accept
us as the prophets usually unrecognized in their own
country. We
were offered a steady course 'of dinners,
luncheons, receptions, visits, ceremonies. Pennell went
when they did not interfere with his work. When
they interfered, I went without him, probably the
beginning of his waning popularity as prophet. Those
were the days when to be asked to meet Doctor Weir
Mitchell "placed" one, and we were asked; when to
figure in Peggy Shippen's Ledger column was a social
certificate, and we figured; when Mr. and Mrs. Talcott
Williams were expected to give an evening in their
Clinton Street house to every distinguished guest, and
they conferred this distinction upon us; when to be
invited to the Penn Club was to have the Philadelphia
seal set upon one's fame, and the Club not merely in-
vited us but held a reception in our honour. The climax
came when all Philadelphia was again invited to meet us,
this time at the Pennsylvania Academy of the Fine Arts,
and a hero was made of the once unpopular student.
It was an unhoped-for olive branch and Pennell was
pleased, though the pleasure was tinged

with humour.
For me to stay on after this would have been an anti-
climax. My material was gathered. My book could be
written in London as easily as in Philadelphia. But for
114
San Francisco "
in West to Philadelphia in "Effete East
Pennell the summer was scarcely long enough to finish
the Philadelphia lithographs, and he had not begun the
Washington series which he had proposed and the
Century accepted. There was little for him to discover
in Washington. He was 'sure beforehand of his
points
of view, sure also that much of the beauty of the town
depends upon its trees. Therefore, he interrupted the
Philadelphia work to run down for a few days and make
his prints there before the summer was at an end.
MAS
X t^r *
J
f
-ffttfw-Kfc
ftcuJi&ei
ANNOUNCES HIS TRIUMPH AT THE UFEI2I TO KEPPELS

CHAPTER XXXIV
IN THE LAND OF TEMPLES
PENNELL'S imagination travelled faster than his hands.

Before he finished one piece of work, sometimes before
he started it, he was planning the next. In Panama, the
Land of Cranes and Steam Shovels, his thoughts strayed
to Greece, the Land of Temples. The contrast between
the Classic and the Modern haunted him, and he played
with the idea, developed it. While he drew concrete
gates and walls in the Canal Zone, he could see on his
paper the temples and shrines of the Acropolis. Visions
of their grandeur sent his imagination wandering to
those other ancient temples on the Nile. Greece and
Egypt must come next in his Itinerary of Work. "In
Greece/' he wrote in his "Note to Joseph Pennell's
Pictures in the Land of Temples", he wanted to see
"what remained of her glory, to see if the greatest
work of the past impressed me as much as the greatest
work of the present and to try to find out which was
the greater the more inspiring."
It was too late to think of
going in 1912.. He was in
Adelphi Terrace House by the middle of September, but
itwas one thing to get back to London, quite another
to get away again. Arrears of work reproached him for
neglect, fresh interests entangled him. A number of his
lithographs had to be transferred and printed. Gregor,
118
In The Land of Temples
having taught him what could be done, it was possible

to dictate to theWays and to refuse to stay longer in
that outer room while the printers did what they, not
he, wanted. Days were spent with Bray, Way's printer,
and a printer of resources under Pennell's direction.
The Panama lithographs, as sooa as seen, attracted the
attention that could not well be refused them. Exhibi-
tions were proposed by Marcus B. Huish at the Fine
Art Society's for December, by the Keppels in New York
for October. The Century reproduced eight prints for
their August number (icjix), and eight appeared in the
Studio for November. A set of the originals was promptly
bought for South Kensington Museum, another set not

long afterwards for the British Museum. The news of
a third set sold he sent to Mr. Johnson, with a pro-
gramme for next year's journey, destined never to be
carried farther.

London. W.C.
10. 3. ii
Dear Professor But I aint in New York, and am struggling here.

Is it you liked what I did in the Canyon? because I did and
true
I am coming back to see more and try to do more of that most won-
derful place. You are right about That and The Desert,
Yours
Joseph Pennell
P.S. Yesterday the effete government of this back number country
bought
ALL
the Panama Lithographs for South Kensington. Fancy. Well. Sure.
119

.
Robert Street Strand.

London, W.C.
Nov. yh. 1911
Well Praise be to the Lord Teddie is Busted! Hooroo! !
Dear Johnson,
Well I shall get at Quebec coming that way, and going on out
to the Yellow Stone.
Gabrielle d'Annunzio has bought an entire set of the Panama
Lithographs He is building a palace to put them in! Next,
Yours
Joseph Pennell
What of San Francisco and Washington.
Itcan be gathered from this letter that Pennell was no

admirer of Roosevelt who, to him, was "the American
Queen Victoria." He had a fancy for picturesque de-
scriptions of the kind: "a Western schoolma'am on the
"
loose" was his word-picture of a famous dancer
unexpectedly plain and provincial as he saw her at an
evening party; "What Ho"
for Walter Armstrong,
"Clutter-Up" for Clutterbrock, art critic of the Times.,
did not seem inappropriate at the time.
After his long absence from London, on his return
he redoubled his active interest in the Senefelder Club,
renewed his correspondence with Doctor Singer.

.

London, W.C.
Oct. 2.6.
igiz
Dear Singer It is ages since I heard from you as you may know
from Copley, I have been in America for eight months and as you
HO
also kno'w, you and he seem to have brought off the German Litho-
graphic Shows. Have they had any success I hope so. As for me I
went to Panama which was wonderful some little idea of what I
did maybe you can get from the next STUDIO (Nov. No.) I also went
to San Francisco, Yosemite and Grand Canyon, so wonderful I am
going back next year.

Another matter on my way East I stopped at Pittsburgh and
the Director of the Gallery (Carnegie Gallery) John Beatty told
me that they were going to start a Print Room shortly and wanted
an organizer and Director andI recommended
You
Did you ever hear from or of him?
Yours
Joseph Pennell
3. Adelphi Terrace House

London. W.C.
Oct. 2.9!}. 1912.
Dear Singer What a high and mighty landlord proprietor and
everything else you are become.
I
recommended you to the Carnegie people for two reasons
First
Because you know your work and artists
Second
Because you are (or were, I hope you still are) an American
But
Fixed as you now are I dont think I should bother any longer
about America it is interesting there amazing w&nderbar
But
*
you would I fear have a horrid hustling time worry and work
here you can do your work in your own way The Panama things
have been a success a big one and I am very glad for it was the
biggest and the most picturesque thing imaginable.
As to the Senefelder Club why wont some of the German
dealers take up some of the members men like Pryse, Sullivan,
IZI
Copley, Miss Hope. I am looked after by Obach so am all right

But we mean that lithography shall come again into its own
Yours
Joseph Pennell
For some reason the Senefelder Exhibition was held

earlier this before Christmas, in November at
winter
the Stafford Gallery under the management of John
Nevill. Pennell's Exhibition at the Fine Art Society 's,
opened at the end of the month. It included not only
the Panama Series, but the Yosemite and Grand Canyon,
a few New York and industrial subjects, and a number
of etchings. He would not come to the Private View,
convinced it would be a failure and not anxious to
preside at a failure of his own. Had he come he would
have seen himself succeed magnificently and it would
have been strange had he not succeeded. The collection
was impressive, well hung, for he had hung it. And
people were impressed, showed they were in practical
fashion. Few had wanted those charming little Spanish
when he exhibited them in the same gallery,
lithographs
now everybody wanted the Panama prints. Critics who
most objected to him personally praised the superb
draughtsmanship, the poetic feeling.
From printers and societies and exhibitions, he
snatched time, both before and after Christmas, to
lecture here, there, everywhere Reading, Brighton,
Bradford, South Kensington Museum, the Royal Society
of Arts, the County Council Central School. To Edin-
burgh, where the Senefelder show had gone, and Glas-
gow, Copley went with him and together they gave
practical demonstrations of transferring and printing.
112.
"The Edinborough Show looks very well/' he reported

toMcLure Hamilton on his return. "There and at Glas-
gow drawings put on the stone and printed while you
wait Lithographers paralyzed Professors delighted
public befoozelled students all rushing it to lithog-
rafee .... Are you coming to the Circus at the
Society of Arts?" The "Circus" was his lecture.
He had long given up lecture tours with an agent or
manager. He was not a lecturer for the general public
with whom, only occasionally in his wide experience,
did he feel himself in touch. His method puzzled people
who could not keep up with him. In the beginning he
read his lecture, for him a mistake. To all appearances
he too was puzzled, as if he had no memory of having
written it, was wondering how it all got on paper. He
stumbled, stammered, hesitated, became fluent only
when a picture was on the screen and he could explain
it offhand without need of text or notebook. As soon as
he discovered his mistake, he gave up reading and talked.

Here again he puzzled, often outraged the outsider, for
he talked on the platform precisely as he talked at home
to friends over the dinner table, as if he had made no
preparation whatever though he had, the most careful
preparation. Fresh ideas came to him as he talked, he
would argue with himself, at times contradict himself,
apparently mastering his subject in discussing it. Over
the dinner table Whistler would interrupt him often:
1
"Hold up Joseph, you are talking shorthand/ And I

remember once Anning Bell, who had dined at Adelphi
Terrace during my absence, telling me afterwards that
it was a delightful dinner but he kept wishing I was
there to interpret. In the lecture hall Pennell was with-

,12.3
out interpreter, without a friend to interrupt. Audiences

not in sympathy disliked the challenge to their intelli-
gence, disliked as much the strong words with which
strong opinions were expressed. But to an audience in
sympathy, the earnestness of his endeavour to get at the
truth was an inspiration. The very honesty of his con-
tradictions convinced them. They liked to be taken
into his confidence, to have him work out his problems
for their benefit. His students understood, were
respon-
sive, which is
always a help to a lecturer. And not solely
his students. Mr. Edward L. Tinker, after one of Pennell' s
talks at the Art Students' League, assured me that he
had never learned so much about the subject, which was
etching, never been so interested, never so stimulated
by a lecturer. Nor was he alone in his recognition, his
appreciation. Therefore, Pennell was in demand at art
schools, art societies, art galleries.
At last, early in March, 1913, he started for Greece,
going directly to Athens, coming home of by way
Taormina and Girgenti. Greece was as "wonderful", as
J
beautiful ', as he pictured it in far-off Panama,

though
he had an idea that a knowledge of the language and the
literature might have helped him "to see more/' He
was sure that, had he not been familiar with the greatest
art of the rest of Europe, he could not have been so
moved by what he did see "in the Land of Temples,
the land where we have derived most of our ideas,
ideals,
and inspiration" sure also at Segesta that, had he not
been to the Grand Canyon, one of Nature's
composi-
tions, he would not have known how marvellous were
the architectural compositions of the Greeks man's
work and finer. He was thrilled, as was to be
expected
114
in a draughtsman whose sense of composition was un-

' '
erring, by that great feeling of the Greek for site in

placing temples and shrines in the landscape so that
they not only become a part of the landscape, but it
leads up to them They were always composed
. . .
always different and they were built with grand ideas

'
of composition, impressiveness and arrangement/ Greece

confirmed his theory of the importance of tradition.
' '
In our great works of to-day we are only carrying on

the tradition of the great works of the past."
When friends he made in the British School at Athens
asked what he wanted to see, ''Temples that stood up",
he said. To direct him was simple, for wherever he went
they stood up, at Aegina and Segesta as on the Acropolis,
at Delphi as at Corinth, at Girgenti as at Taormina.
More than this, wherever he went, they arranged some
special effect for him. Thanks to his habit of getting
out of bed early, he had a vision of the Acropolis as the
morning sun rose over it; thanks to his habit of dining
when it suited him, he saw the fagade of the Parthenon
* ' ' '
glorified at sunset. He happened to get to the Temple

of Concord at Girgenti just at sunrise and once to the
Acropolis when the Parthenon was white against the
blackness of a coming storm. He drew the rocks "shin-
ing" at Delphi, because the light at the moment ex-
plained "the way the cliffs were built up", and only * '
afterwards learned from a Greek authority that he had

shown one of the great things of Greece." The majesty
of the Temple of Jupiter as he approached it in the
gathering darkness was the inspiration of the most
beautiful lithograph of the series. The one blot on the
beauty everywhere was the indifference to it of archse-
1x5
ologists and tourists. At Corinth the Americans had

built a shanty on one side of the Temple and on the
"
other stored their stuff" in a bare barrack. At Taor-
mina he waited days for the mists to clear and when at
' '
last they did, I had it all to myself for it was tea-time.

"
At Girgenti's Temple of Concord, When the glow of
the sunset falls on it, and when the shadows block out
the great rifts on the walls walls which are like
cliffs and when the tourists and archaeologists have
gone to dress for dinner and left one alone, one learns
in the silence that the Greeks were divine artists/' At
Aegina, "the temple placed perfectly .... one of the

most beautiful temples in this beautiful land"., the
guardian told him he was the third person who had
visited it between January and April of that year.
From Athens, he travelled with a guide and a donkey.
He disliked both, had never condescended to them be-
fore. But in districts he was going to, he would find no
other means of transport save the donkey, no one else
to cook for him save the guide. He got as far as Meteora,
that extraordinary land of jagged, crooked, bare rocks,
a monastery, and hospitable monks on the top of most
of them, baskets let down to carry up the traveller, when
road and footpaths failed. His correspondence lan-
guished. His daily notes to me were posted when and
where he could, all lost in the London warehouse. The
one letter I have been able to obtain is to Copley, from
Athens, on Senefelder business, dateless, a breathless,
unpunctuated paragraph to say why. He was never too
engrossed in his own work to neglect his other respon-
sibilities. As president of the Senefelder Club he felt
personally responsible for its fame and fortune.

TO MR. JOHN COPLEY
Hotel Continental
Athenes
I have no idea of the date as you must understand there is an un-
known quantity of difference of dates between this heathen pagan
lying courier-ridden swindling land and
civilization
and when one cant even read print its difficult to keep things
straight
Dear Copley
However
I have your letter of
May 6th I think the Bedford
Street affair is probably EXCEPT the paying for advertise-
all right
ments which is all wrong and ruinous. There is no reason in it and

an awful expense may be incurred. I am glad Brangwyn has come
in. I expect to leave here next week this a Monday, and shall
is
come back via Sicily, Naples, Rome stopping to see the show and
Florence. I have seen things here tomake you dizzy its a mad
country. "Columns" as they call them be damned but there is
other truck have gone to dinner in a basket or been asked to and
lived on top of this for days.
Joseph Pennell
117
could never decide which was the greater joy to him,

I
the successful journey of work or the successful days of

proving and printing that came after. At Way's, in June,
he was able to save the Greek originals in the trans-
ferring, in some cases with the paper slightly damaged
and none the better now for the years of rotting in the
London warehouse and much packing and unpacking,
but in fine enough condition for a place in the Pennell
Collection in the Library of Congress. The prints did not
wait for recognition. Heinemann who, when he gave
his interest, gave it without stint, immediately de-
manded a volume on the Land of Temples for the
Joseph Pennell's PicturesSeries, and brought friends to

see the prints, Mr. Gilbert Murray among them. Mr.
George Macmillan of the Hellenic Society, Mr. Sydney
Cockerill, Director of the Fitzwilliam Museum, Mr.
R. G. Dawkins of the British School to whom the book
is dedicated, Doctor Charles Waldstein all these and
other Greek scholars descended upon the studio and
approved. Exhibitions were arranged for the autumn at
the Hellenic Society in London, the Fitzwilliam in
Cambridge, Keppels in New York. The Century Club
and the University of Pennsylvania talked of exhibitions
but got no farther than talk. Recognition of a different
kind came from Belgium, where he often exhibited and
oftener invited distinguished artists of that country to
show with the International and the Senefelder. Writing
to Mr. Butler Wood
on July twelfth he signed himself:
"Joseph Pennell, Membre de rAcademie Roy ale de Belgique,
to which I have just been elected/' These facts, or some
of them, are sufficient clue to the following letters, if
I add that he was hoping to return to Panama in 1913 .
iz8

.
Robert Street Strand

London. W.C.
10.7.13
My Dear Van Dyke No did not get to Panama they advised me
I
not to come saying that they could not wait.

You are very good about the amenities and the Century and I
have written Keppels to take the matter up first consulting you.
My brother-in-law Edward Robins secretary of the University
of Penna has got at it there. The Cambridge show will open here in
a few days, and with it all I hope something may come off.
You are very good about it all.
Yours
Joseph Pennell

London. W.C.
ii. Z2.. 13
My Dear Professor,
You are very good. I am arranging all these matters. Of course
I should like to show at the Century [Club] if it can be arranged and
is not too much trouble for you to bother about.
I shall probably come over next summer if it had not been for
that muck up in The Century [magazine] I should be there now. But

if you want my mountains why could you not use some of the
Yosemite and Grand Canyon things and I have Greek mountains

and Italian mountains. Would any of them come in. The mountains
of Carrara which I have done are amazing
Yours
Joseph Pennell
In loyalty to the Senefelder Club, Pennell reseryed a

large group of the Greek lithographs for their autumn
exhibition, which this year moved again to Goupil
and Company 's in Bedford Street, with Mr. Tinson as

manager. The Club had branched out into a scheme of
Honorary Members of whom nothing was required save
their names, and Lay Members who, in return for a
small subscription, received each year a proof of a litho-
graph made especially for distribution among them by
an member. In the summer he could announce
artist
Benedite's Honorary Membership. He was not an ad-
mirer of Benedite, the man, but he understood the value
of Benedite, Director of the Luxembourg.
TO MR. JOHN COPLEY

.

London W.C.
7. ii. 13
Dear Copley B6nedite Luxembourg writes he will come in
under the circus tent.
Yours
Josephus Acadetnicus
Pennellopolipois
PhUadelphios
130
He hoped by now to be free for the winter in Egypt.
But London was more impossible than ever to get away
from. J. E. D. Trask, Art Commissioner of the Panama-
Pacific International Exposition, came to London early
in the autumn, stayed there off and on until Christmas,
and depended for many things on Fennel!' s experience
of international exhibitions and knowledge of European
art and artists. Mr. Imre Kiralfy, organizing an Anglo-
American Exhibition for the summer of 1914, at the
White City, Shepherd's Bush, sought Pennell's coopera-
tion and Pennell, ever ready for any scheme to make
American art better known in Europe, joined the com-
As the American Government, to his disappoint-
mittee.
ment, would take no official part in the coming
Exhibition of the Book Industry and Graphic Arts in
Leipzig, Pennell, when asked by the British Govern-
ment, agreed to work on the British committee.
Altogether, for him, 1914 could not have begun with
greater promise of interest and a more unclouded
horizon. No time was left for worry and anxiety over
the change of proprietorship and management of the
Century Company, though it meant the end of his close
and intimate relations with the magazine which had
given him his start in life.
131
ANNOUNCES TRASK'S DEPARTURE ON BOAT TRAIN
TO J. MCLURE HAMILTON
CHAPTER XXXV
THE LEIPZIG EXHIBITION THE WAR
09*4)
I WOULDlike to linger over the first six months of 1914.
They more than fulfilled their promise, while the tragedy

that overtook the world in July never altogether lifted
its shadow from his life. If he could not leave London,
there was no possibility of idleness in his studio

from which he seldom would have strayed had not his
subjects forced him to. Etchings were always waiting
to be printed, experiments to be made. For one thing,
he was seeking to free himself from the lithographic
printer. A lithographic press and stones would be too
cumbersome an addition in the largest studio to an
etching press and copper plates. One day he was drawing
with lithographic chalk on an aluminium plate alu-
minium is a pleasant surface to draw on and it suddenly
occurred to him, why not prove the plate on his etching
press? Ifhe could get a decent proof, one of the problems
of lithography for the artist might be solved. I cannot
forget his excitement as he threw the blankets over the
cylinder, carefully lifted the print from the plate. The
press could not have played up better. It gave him a
proof that might mean, he said, a revolution in artistic
lithography. But he could go no farther with the ex-
periment just then, interruptions were too frequent and
too many.
The Leipzig Exhibition
His water-colour box in those years was never out of

reach. Every day, every hour, every minute lent a new
loveliness to St. Paul's and Westminster, as he looked
upon them from that great semicircle of windows at
the river end of the studio. In the early morning, in the
late evening, in fog, rain, sunshine, Wren's City and
the Houses of Parliament provided him with ever-
changing effects of light and colour and atmosphere;
Charing Cross Bridge became as decorative as any bridge
in Hiroshige; the shot tower and brewery opposite, on
the Surrey shore, were transformed into things of
beauty. Note after note was made; no one saw them,
they were for his pleasure. Other impressions were in
oil, very liquid as he used it, not better adapted but as
sympathetic a medium, and from it he got a different

quality. His canvases were small; effects in London pass
quickly. I do not know how many he painted, but I can
still see them as they stood three or four deep along one
side of the studio, their faces to the wall. Like thejwater

colours, they were solely for his study and delight.
To-day, I think it a pity that the interruptions from
outside were incessant. The smaller interruptions were
bad enough: people coming to seek advice, to submit
drawings, to ask an opinion in a well-nigh endless
procession. Augustine had orders not to admit them,
but with her native sense of politeness, objected to
turning them away and, as the door of my little work-
room was directly opposite the front door, she would
turn them over to me instead. Mr. Ernest Dressel North
reminded me recently of his experience. He came with
drawings, or prints, said to be Whistler's. I knew
Pennell's interest in anything concerning Whistler and
135
thought this one of the occasions when he should be

disturbed. I caught him between two printings. Mr.
North described his sudden appearance, in long grey
blouse covered with ink, his arms with sleeves rolled
up to the elbows as inky. He gave one glance at the
* 4
drawings: Damned rubbish!" and was gone. It may

sound rude, but any printer of his own etchings will
sympathize.
Augustine, unknowingly, was sometimes the offender.
Her special pride in the flat was the studio floor, a
superb brown in colour, and waxed and polished until
it was clear as a mirror, slippery as ice. I remember
Pennell descending upon me one morning, shutting my
door carefully, and "What does Augustine think that
' '
room is, a studio or a damned skating rink? He would
not have said it to her for the world. He appreciated her
pride in her work of art and I am sure rather shared it,
-The larger interruptions were more serious because not
to be escaped. The Anglo-American Exposition was to
open in May and Pennell' s correspondence as Honorary

Secretary of the London Committee was enormous. He
sent out special invitations to the American artists in
England whose work would give distinction to the

show. To men he knew personally he added an informal
line, asking for certain works with a view to the decora-
tive effect of the galleries, to him an
important considera-
tion. How many of those busts and other sculpturesque
* '
things have you got and how many can you let us have?
They are just what we want for the
long gallery/* he
wrote to McLure Hamilton, and the
writing of many
such notes, short as they were, swallowed
up time. More
correspondence was with Hugo Reisinger, who agreed
136
l^ JA^^^P^tfcx
to bring his American collection from Germany to Shep-

herd's Bush. Committee meetings made further inroads.
Besides Trask appointed him Honorary Secretary to
,
the London Advisory Committee of the Panama-Paci-

fic International. John S. Sargent was the chairman,
John McLure Hamilton and Paul W. Bartlett the only

other members: three men he felt it an advantage to
work with. Meetings were held in his studio. I re-
member the amazement of Sargent who had never seen
it before he did not know there was anything so
wonderful, so beautiful in London. Pennell had learned
from experience that Hamilton and Bartlett did not
take their responsibilities on a committee lightly; now
he discovered that Sargent was as conscientious, attend-
ing meetings, going deep into questions of packing,
all
transport, insurance a valuable chairman.

San Francisco was less urgent, Shepherd's Bush less
important than Leipzig. To promote a fine exhibition
of any art, he considered no labour, no fatigue too great,
and the graphic arts were his particular province. The
opening of the Exhibition was down for the end of

April, preparations were made in the rush he objected
to. German delegates in London early in the year came
with Mr. Campbell Dodgson to see him and to lunch, the
lunch table to Pennell being the best place to talk busi-
ness. The Board of Trade, in charge of the British Section,
put him on the general committee, then on sub-commit-

tees where he was with friends, Heinemann and Morley
Fletcher; fortunately, for all was not clear sailing.

Despite endless meetings and countless complications,
he found or made time to lecture to the Architectural
Association in March, and, on February sixteenth and
twenty- third and March third, to the Royal Society of

Arts, giving the Cantor Lectures, considered the So-
ciety's most important lectures of the year. His subject
was Artistic Lithography and the lectures were pub-
lished almost at once not only in the Society's Journal,
but in pamphlet form.
To hisgreat satisfaction, he and Morley Fletcher were
chosen by the Board of Trade to hang the prints in
Leipzig. The two men had been together on inter-
national committees, held the same standard of hanging,
understood each other, were equally enthusiastic in the
cause of art.He started on the journey with pleasure and
he enjoyed every minute in Leipzig. He learnt much
from other sections in the Exhibition he was always
learning; he saw much in the town, above all the School
of Graphic Arts, to him the model school, and he hoped
to the last that something of the sort might be estab-
lished in the United States. He made friends Doctor
Volkmann, President of the Exhibition, and Herr
Wagner were helpful and hospitable; he and Fletcher
were dined, made everything of by the Baedekers. Both
came away with a delightful impression of Germany
and Germans. Moreover, everywhere on the journey
and at Leipzig were industrial subjects, Wonders of
Work, but the White City could not wait. He was in
London by the third of May, from then until the open-
ing, May fourteenth, was rarely at home. But, once the
Exhibition was opened, he hurried back to Germany.
The appeal of the subjects he had seen was not to be
resisted, the Gurlitt firm of Berlin offered him a com-
mission for a series of lithographs in that town, a series
of exhibitions in German towns was arranged for.
TO MR. FRANK MORLEY FLETCHER

Hotel Sedan
Leipzig
June gh 1914
Dear Fletcher I have turned up here again to-night I have had
a fierce time. It has poured in spots to begin with daily and ended
in a deluge.
I came by Cologne and went to the Exhibition there You
should see it if you come. The whole of the German art schools
have taken up Post Impressionism and you cant tell one from the
other and that is the outcome of it. There is simply no character
and incidentally no art in the whole shooting fest or if that is
art I am so glad I am such a back number I can only appreciate
the Botticellis Leibls, Degas among moderns Renoir Courbet
Bocklin Isaye to-day in Frankfort in the museum. I was to
have done some work there but owing to rain want of subjects
and grabbiness of dealers I left in twelve hours. You should also
go to Meinz Mayence or however you spell it and see the
Gutenberg Printing Museum it is stunningly arranged and a
perfect give away on the Crafty Arty British artists' assertion that
Morris Ricketts Crane and Co. have had any influence on German
printing they the Germans have prigged the tricks and ideas
from Morris that he
Stole
from them and they are now on their own going to do good
lettering and design and printing because they are going back to
their own German traditions that they forgot for a while and
which Morris never understood and did not know enough to
practice
F F F 7
properly.
OU Humbug
he was
I
But you come look for yourself I hope this show will pan out
if
properly I may very likely re-hang the British section or the part
we put up on Brown Paper. I only got in at 8.30 P.M.
I am everywhere more and more impressed with this new con-
crete architecture I have seen wonderful things only here they
have built in that splendid arch of the station and spoiled the
139
effect work like Hell and get through. I am on my way to

they
Berlin where I dont believe I will do anything and then back
if you want to kick me for this write to London.
Yours
Joseph Pennell
They had even forgotten us here in this pothouse.

Hotel Excelsior
Berlin S. W. u
June Z5
Dear Singer I am going to work in this city There are some
things here to do I want to know also if the scaffolding
on the
big church in Dresden has been taken down I believe it was a
while ago covered with it if it is still there I want to come and
draw it I have to-day seen Herrmann and he wishes to be re-
membered to you.
Please make my excuses to Mrs. Singer for not answering her
card and not waiting to see her in Leipzig.
Yours
Joseph Pennell
I am so sick, that I did not get together a good show of American
work and in it a good show of my own things.
J-P.
Pennell feared that Berlin would be empty of subjects;

he found it full of more than he could use. He trans-
ferred his lithographs at the Pan Press, working there
for a fortnight, Professor Paul Von Herrmann etching
him, hands in his pockets, cigar in his mouth, eyes fixed
on the last proof pulled. When that proof was just right
he trusted the edition to the printers, returned to Leipzig
to draw the railway station, the Zeppelin shed and zep-
pelins; went on to Cologne and drew the new railway
bridge; to Oberhausen, Ruhrort, Kiel, Hamburg; saw
140
The War
the launching of the Bismarck, but nothing as extraor-
dinary as a monster grain elevator in the harbour, the
motive for his most dramatic lithograph. He was in
Germany when the Sarajevo murders startled the world,
he was there when Austria sent her ultimatum to Serbia.
He was conscious of war rumours, of nervousness among
his German no more soldiers were about
friends, but
than usual, war talk was no more threatening. Before
he started for London, Germany and Russia were at
war, and he had been in London only a day or two when
Great Britain joined the Allies.
Pennell's attitude during the war was so misunder-
stood, so misjudged, so distorted, that, in justice to
him, I must do what I can to explain it. I cannot suf-
ficiently emphasize the fact of his extreme sensitiveness.
Most artists are sensitive or they would not be artists,
but few to the same degree, few stirred to the depths
as he was by beauty on the one hand, suffering on the
other. The child who wept for joy in the loveliness of
Cresheim Creek grew into the man whose emotion his
first year in Italy was almost pain; who longed to stay
forever in every Cathedral town he made drawings of,

because to part with its beauty was such sorrow; whose
chief consideration in choosing a place to live in was
the outlook from the windows. Pennell knew almost
every inch of Belgium and that part of France of which
war was making a vast slaughter house; he had cycled
many times, alone or with me, from the Vosges to the
British Channel, through the rich agricultural country,
along the stately, poplar-lined roads, into the cities,
each more picturesque than the last, which were now
the prey of war and its horrors. Liege, Lou vain and
141
Antwerp, Nancy, Soissons and Reims, were the names

that figured in the first bulletins and each bomb that
fell on towns where he once worked
peacefully, lov-
ingly, day after day, left a fresh wound in his heart. It
was torture to think of the destruction of beauty begun
in wholesale measure, and to go on who could say how
long? misery as acute to think of the wholesale blood-

shed. He, who would faint at the sight of blood, could
not stand the vision each day brought of supposed-to-be
sane men, in a long bloody line of four hundred miles,
murdering each other without mercy. He was sickened,
his whole soul in revolt against the crime. And what
reason was there for it? One day, shortly after his re-
turn, he met John Burns in the Strand. Burns, with

Lord Morley, had resigned from the Cabinet on the
declaration of war. He did not believe in Great Britain's
responsibility, it was almost as if he looked upon his
country's treaty with Belgium as the scrap of paper
Germany's seemed to Bethmann-Hollweg. "A most un-
necessary war! most unnecessary!" he said to Pennell,
and I wished he had not, for the word stuck in Pennell's
memory unnecessary this laying waste of fruitful
country and ancient towns, this slaying of men made
for better things a word of despair as he spoke it.
It must also be remembered that Pennell was a Quaker.
He might never go to Meeting, might never use the
plain language with the world's people, might think
his obligations fulfilled when he sent his yearly contri-
bution to Germantown Meeting and met the demands
of Germantown Friends' School. But in instinct and
principle he was Quaker through and through. Many
Friends, in America and England both, had grown
The War
slack when
persecution ceased to be a goad to a pro-
fession of faith in deed as in word. Their interpretation
of peace was qualified. I realized the change when, later
in the war, a prominent Friend wrote to the Times to
boast that every man of his well-known Quaker name,
neither too old nor too young, was in active service.
But Pennell could not throw off so easily his legacy
from many generations of Quakers, from forefathers
who since the days of George Fox had been men of
peace. To him, whatever the reason, war was unjusti-
fiable, unpardonable. Some of his earliest recollections
were of the Civil War and he remembered, no less vividly
than the soldiers in the street, his father saying he had
not been drafted because he was over age, but, anyway,
he would not have fought nor would any other Friend.
At times it was as if Pennell could not endure the
iniquity of the war and, being a Quaker, he had to give

his testimony, to speak the truth as he saw it. Silence
would have been a criminal acceptance of the world's
crime. A
power within him was beyond his control and
he knew it. I remember in those early emotional days of
the war Mr. and Mrs. Fisher Unwin asked us to dinner
to meet an American champion of the Allies who was
writing patriotic verse and winning laurels for it.
"No/* said Pennell, "I understand the type the
American who toadies to the Briton and will talk war.
I should have to tell him just what he is and I like the
Fisher Unwins too much to make a scene in their house."
Of another man he kept telling me in good strong
language what he thought until I warned him: "If you
go on saying it to me, you will presently find yourself
saying it to him." Not long after, I came home one
The Life and Letters of Josef b Pennell
afternoon to find him waiting at the front door. "Well,

I have said it to him/' and his face shone with relief.
He hated the puerile sentimentality and timidity that

prevailed for many months after war was declared. He
refused an invitation to dine with a group of War
Cartoonists because he did not approve of war and
would be compelled them know it. A company
to let
of photo-engravers in which he held shares warned him
that they were changing their German name. "Folly,"
he said, "you might as well talk of changing Hanover
and Guelph," which seems prophetic in view of what
was done before the end. People must hear the truth
from him if it pleased them or not and, as a rule, it did
not, especially at a time when everybody's nerves were
more or less on edge. They resented it, not understand-
ing. I understood and my days were full of anxiety.
At first, innumerable distractions saved him from
brooding over the horror. London was chaotic, most
things at a standstill, most people in a bewildered state
of uncertainty, extraordinarily restless, as if they must
be about to see what was going on, to hear what was
being said. Close as we were to Charing Cross, our
flat became a centre for wanderers and friends. We
seldom sat down to lunch or dinner alone, were seldom

alone during working hours. I recall as typical a day
when Fisher Unwin, as a rule tied to his office in the
morning, appeared at eleven o'clock, and in the after-

noon Heinemann, as busy a publisher, dropped in be-
cause he had nothing to do in his office and thought he
might as well come and do it with us. Americans
.
crowded London, hurrying from all parts of England
and the Continent, depressed, excited, frightened, some
144
The War
without luggage, some without money, some without
steamers, theirs having been taken over by the Navy.
Relations turned up; friends not seen for years and
London regularly every year; people we
friends seen in
knew by name and people we had never heard of before;
American artists without end Walter McEwen on the
San Francisco and White City committees for Paris;
Jules Stewart, broken by the things he had been living
through these last weeks in France; James Morrice who
thought, if he had a wife, he would not have stirred
from Paris, but to be shut up in his studio alone after
eight o'clock in the evening was too much for his
nerves; Oberteuffer, the Peixottos it was all but im-
possible to count them. American artists who lived in
England dropped in to ask "What of the Panama-
Pacific?" "What of Shepherd's Bush?" An American
committee of relief was formed by Ambassador Page;
Pennell offered his services, attended meetings at the
Hotel Savoy, did what he could.
The two exhibitions he had worked so hard to open
called for harder work to close. Nobody knew what was
happening in Leipzig. Exhibitors worried, more partic-
ularly those who contributed valuable collections Mrs.
T. R. Way, who sent her Whistlers, Mr. Frank Emanuel
who lent his historic series of lithographs. That Leipzig
was doing the right thing was learned later, when the
report came that Doctor Volkmann had stored the
British exhibits from private owners in one of Leipzig's
Museums. Herr Wagner did more to lift the load from
Pennell's mind by a personal letter, stating that the
English collection was in a safe place, insured until the
end of the war. No less worrying was the question of
145
The Life and Letters of Joseph Fennel I
insurance war insurance. Kiralfy was compelled to

wind up the White City Exhibition. No one went to
exhibitions, the grounds were used for drilling, the
buildings turned into barracks. The honorary secretary
faced a bigger correspondence than ever, the more com-
plicated because Reisinger had disappeared somewhere
in Germany, and died there before the White City
business was in order. San Francisco would go on, war
or no war, and it added to his burden of correspondence.
So did the Senefelder Club, with exhibitions in Italy,
the United States and at the Camera Club, London, to
organize. In his rare free intervals he watched from his
studio windows the darkening of London's peace-time
lights and the coming of war's searchlights, the first
set up at our end of Charing Cross Bridge. He made
etchings and lithographs of them, thought of suggesting

a poster to Mr. Pick who, with a fine spirit of enterprise,
had commissioned members of the Senefelder to ad-
vertise the Underground. Fennel!' s large, striking St.
Paul'shad been hanging on the Stations' walls, and the
Lights were a more effective design, but also might
supply facts to spies with whom London was said to be
crowded, and the plan fell through. Some of these are
the subjects that fill his letters,
TO MISS HELEN J. ROBINS

.

London W. C.
Sep 9th
Dinner time to-day
1.15. P.M.
Dear Helen Dont worry there is a search light across the street,
there will be a quick firer apparently behind it
146
The War
Unless
the Army of business dont fire straight or the army of the
Kaiser
dont know 3. Adelphi Terrace House from Buckingham Palace
Dont worry-
but get under the Carnegie Wilson Bryan Bryn Mawr Circus Tent
Do you want any cash
Yours
TO MR. J. MCJLURE HAMILTON
Anglo-American Exposition
9. 16. 14
Dear Hamilton Kiralfy is going to close on Saturday and I have
I hope arranged everything with McEwen who goes to Paris to
see about things.
The Reisinger stuff will be shipped immediately to New York,
The Paris American things are to be stored at Bourlet's.
The London American: I have asked Yardley to get out a circular
to Exhibitors asking if their things are to be returned to them at
once or stored at Bourlet's till the San Francisco Jury meets if
itever does meet.

Yours
Joseph Pennell

.

London W. C.
9. xg. 14
Dear Hamilton Fisher Unwin has discovered that the Ways still
have your Gladstone on Stone. He wants to print it in a new Edition
of Lithography and Lithographers are you willing?
Only they say they do not know where the colour stones are. I
wish you would come and talk these things over and get your
silver.
Yours
Joseph Pennell
P.S. They are building a fort outside the window.
TO MR. JOHN COPLEY

.

London W. C.
Oct. i.
Dear Copley The Camera Club people came here yesterday will
pay all expenses want to of en the show Monday reason had an
Austrian Collection seized held up or something want us to
fill the
gap so we must select works at once If you cant get up
to-morrow send word to Bourlet's what things if they have
them you and Mrs. Copley want to send they want them framed.
It costs nothing and will do no harm. They want functions too We
therefore called the meeting at once
Yours
Joseph Pennell

.

London ,
W. C.
10. z8. 14
Dear Mr. Leinroth I am glad you have become a lay member of
the Senefelder Club. You would have got a fine print I imagine but
Spencer Pryse has gone to the front and got slightly hurt, so I dont
know who will take his place I have just been signing for Rosen-
bach some more of the Philadelphia things and now after two years
I am struck by them anew they are much better my part than I
thought and Mr. Gregor's work is very much better than anything
done over here anything I can get done over here This summer
I was for some time at Leipzig and saw a good deal of Lithography
both as a member of the wonderful Book and Graphic Art Exhibi-
tion Committee, and in the shops and schools where I was invited
to give demonstrations. I also went to Berlin and worked for two
weeks at the Pan Press and learnt many German methods learnt
also that Mr. Gregor is a far better craftsman than the men he left
behind in Germany.
The War
But all that is too awful everything smashed up all the people
I knew disappeared my work in the country and I had work
and shows there for near a year stopped and all for this cursed,
damnable military doctrine and we under T. Roosevelt are as
bad as the rest and its going to be far worse South Africa has
gone in this morning I did expect to be home ere this for a show
in Philadelphia and work at San Francisco but its knocked ^Rosen-
bach's however will probably want some more drawings put on the
stone will you and Mr. Gregor look after this.
Yours
Joseph Pennell
P.S. I send you my Cantor Lectures on Artistic Lithography
P.P.S. Please remember me to Mr. Gregor and all the boys.
TO MR. j. MCLUILE HAMILTON
Panama-Pacific International Exposition

San Francisco. 1915
Joseph Pennell
Hon. Sec.
London, ix.4.i4
Dear Hamilton Are you going to send any paintings. I must ask
for an answer Both Sargent and I have and McEwen been
working our heads off and the show will be all right and is being
packed. But what are you going to do?

I shall probably, as soon as I hear from Sargent as to time, call
a meeting at Bourlet's Monday most likely
Yours
Joseph Pennell.
149
CHAPTER XXXVI
THE BELGIANS IN LONDON PENNELL FINDS -
HIMSELF ON A ROYAL ACADEMY

COMMITTEE THE SAN FRAN-
-
CISCO EXPOSITION
(1915-1916)
No of London in 1914-1915 can be given without
ir>EA
mention of the Belgians who invaded it in their flight
from the invaders of their country. Fennell' s sympathy
was great for the artists who had flown with the crowd :
for Baertsoen, bitter, hopeless, crushed; Emil Glaus,

violent in his indignation at the wanton cruelty of the
invaders; Paulus, humour now and then breaking
through his black despair; De Broika, the horror of
the war in his terrified eyes; Delstanche, busying him-
self in the politics of art to escape his misery; Rousseau,
the sculptor, a sad-eyed little Jew: horror, sadness was
in all their eyes. Pennell felt they would have been wiser
to stay at home, but now they were in London, what
he could do to lighten their exile, he did. He opened
his doors wide to them, advised them, put them up at
clubs, introduced them to dealers and colour men, was
their guide to the beauty of London, "which his studio
windows first revealed to them. They would stand
staring out, as the twilight deepened and the search-
lights played, all tres emotionnes., they would say. Later
on, Claus, asked by some one what impressed him most
150
The Belgians in London
in London, the Tower? St. Paul's? Westminster? No, was

his answer, he had seen nothing in London more wonder-
ful than I* atelier de M
Jose-ph PennelL
.
Pennell treated them not as refugees to be kind to,

but as friends, fellow artists with whom it was good to
talk, over his dinner table, as in France or Italy or their
own Belgium he might have talked with them over
coffee at the Gradually, they became interested in
cafe.
lithography, and the talk was of stone and paper, chalk

and stump, transferring and printing. Nothing could
have been better for Baertsoen and Paulus, who went to
the County Council Central School to study the tech-
nique of the art under Ernest Jackson, entering their
names in the morning and again in the evening, as in
their student days, sitting next to little young lady
amateurs, they said. It was the first awakening. It led
them back to work. I glad am now to remember that
they appreciated Pennell and his practical help. One
evening in his absence Baertsoen, dining with me, praised
the generosity of the English artists who got them into
clubs, at the Chelsea provided a free lunch for the
penniless, obtained credit for them at the dealers in
artists' materials it was wonderful. But, somehow, he
and the others could not forget that this kindness was
charity; friendship did not enter into it. The only two
artists who had done things for them as friends were
Sargent and Pennell, both Americans.
To his surprise, Pennell found himself that autumn on
"
a Royal Academy committee. Artists were doing their
bit" for war charities: an auction sale at Christie's;
a show in the Guildhall Gallery; and now, for the
Winter Exhibition of 1915, Sir Edward Poynter, the
Academy's president, proposed a War Relief Exhibition,

to which the numerous societies of artists in London
were to contribute, their presidents to serve on the
committee, and half the profits to go to war funds and
collections. Pennell was asked as president of the
' *
Senefelder Club, one of the most extraordinary things

the war has accomplished", he thought. He was in no
great favour in Academic circles, where to express an
honest opinion eloquently was either heresy or bad
form. Poynter, however, got a new idea of him after a
few committee meetings, realized that he could work,
that his standard was a fine exhibition, that he could be
relied upon. Pennell did not fail, even at the special
Private View for Royalty. To him a second time fell
the task or honour, as you will of personally con-
ducting Queen Alexandra. Royalty was expected to buy
and she selected an insignificant little bronze group.
"
Did he not think it amazing? she asked him. Amazing
indeed, Ma'am!" as he could say with truth, without
her suspecting what the truth was.
The Belgians, after making an admirable showing
that summer in Venice and in Milan, now had the
collection on their hands and were wondering if it
might not be exhibited in the Academy. M. Paul Lam-
botte, Belgian Directeur au Ministere des Sciences et des
Arts, was in London and came with Delstanche to con-
sult Pennell and to talk to him also about San Francisco.
It was too late for the Private View of the Academy
Exhibition, January seventh/ 1915, but at the moment
when everybody was doing everything for the Belgians,
Poynter could not refuse. Rooms seldom opened in the
winter were opened for Belgian art and a second Private
SEARCH LIGHTS FROM THE STUDIO WINDOW
Pennell
Lithograph by Joseph
Pennell Finds Himself on a Royal Academy Committee
View was held on the twenty-seventh. For Pennell this
meant another committee and more work.
The British Government decided not to send to San
Francisco. The French Government, for whom the diffi-
cultiesseemed insurmountable, were sending the work
not only of French but Belgian artists. M. Armand-
Dayot, Inspecteur Generale des Beaux-Arts, journeyed
over from Paris for the final arrangements with M.
Lambotte. Both appealed to Pennell who, as was his
habit, invited them to lunch and to discuss and settle
transport and insurance at our table. A memory lingers
with me of M. Lambotte, the emotion of the Belgian
breaking through the correct demeanour of the minis-
ter, and M. Armand-Dayot, dazed by his glimpse from
the train of Northern France. Would Normandy remain
an English province, Boulogne an English town? The
English were too solidly planted ever to be uprooted.
And I wondered if an English Normandy struck him as
a less offensive prospect than a German Normandy?
"For Heaven's sake, do not let us talk of the war,"
Pennell said to me before they came. There was no keep-
ing them from it.
When his evenings were free, which was not often,
he delivered promised lectures to the Junior Art Workers'
Guild and the Art Masters, and, at home, made his
prints of searchlights from the studio windows, news-
papers disputing for them as well as for the litho-
graphs of Zeppelins he brought back from Germany. Even
church papers begged for them. With the first bomb on
Reims messengers were at our front door asking if he
had drawings of the Cathedral, and throughout the war
while he was in London, somebody was forever wanting
153
his work. Withthe Times, the Graphic, the Illustrated

London News, the Sphere, he was in constant demand.
From his letters and notes a faint idea is to be had of
his duties and responsibilities and the energy with which
he shouldered them.
TO MR. j. MCLURE HAMILTON
Panama-Pacific International
Exposition,
i. 10. 15.
Dear Hamilton I am glad you have sold your

"
lithograph at the R.A. I am informed by the secretarial humble
servant" of that institution that I also am sold.
Write Yardley to the White City or rather to
Exhibition office
Anglo-American Exposition
Shepherd's Bush
I have not bothered you over all the complications of this show but
there have been some I hope things however are working out.
Yours
Joseph Pennell
TO MR. JOHN COPLEY
The Senefelder Club

2..
15 12..
Dear Copley I find the Florentine people agreed to fay transport

both ways on our works and to insure them against fire. I also learn from
Tinson that the Roman people have paid up.
Of course under these conditions we have nothing to pay and
must try to get damages.
Yours
Joseph Pennell
P. S.As Bencevenga has paid up you might ask if he wants any
works by the Club this year
The San Francisco Exposition
TO ME.. J. MCLUHE HAMILTON

Panama-Pacific International Exposition
2.. 2.6. 15
Dear Hamilton Everything of ours got on the Jason by the help
of generally the American Express Co. and specially Mr. Kimpton
the Freight Agent who stayed in Bristol till the hatches were
battered down.
Yours
Joseph Pennell
She sailed this morning.
Not until the third of April could he leave London.

He sailed on the St. Louis of the American line, Mr.
and Mrs. McLure Hamilton his fellow passengers. I
was not sorry to have him escape from the war atmos-
phere of London, and on an American boat, I felt he was
safe, the Germans not having yet revealed to a horrified
world the extent to which they would go. After a day
or two in New York and Philadelphia, Pennell went
straight to San Francisco. His jury duties at an end, he
travelled through parts of the West he had never been
to before Portland, Oregon; Seattle; Butte, Montana,
on part of the journey Mr. and Mrs. Paul Bartlett his
companions; afterwards back to the East; a new Western
journey, including Chicago and Minneapolis; eventually
a return to New York, with a short visit to Philadelphia
to talk about Whistler to the Contemporary Club. The
object of the journey west was a "western book" with
Van Dyke, which "attracted" the New York Mac-
millans but never came off. The story is in his letters,
all except the welcome meeting with Frank Duveneck
in San Francisco after many long years and his part in
awarding Duveneck a Special Medal, an honour which

Duveneck well deserved; also his efforts to obtain for

Miss Cecilia Beaux the Gold Medal she did not receive.
Because she was a woman he did not consider her in-
eligible. His share of awards was the
usual Medal given
to jurors, who cannot sit in judgment on their own
work, and a small "Souvenir" Medal from the Ar-
gentine section. If these and other incidents were omitted
from his correspondence, he was eloquent in giving his
impression of his countrymen's attitude as neutrals.

Palace Hotel
San Francisco, California
4. 19. 15
Dear Hamilton You can thank your stars I deserted you I have
prevented you from rushing out here as I stupidly did Nothing in I
the art department is ready, even the hanging is not done, there is
no proper catalogue they have so much work accepted it has
not all arrived they must put up additional buildings I have no
idea when the Jury will be able to meet. As soon as I have got things
a little straight I think I shall leave I cant stand this. I am at the
above hotel.
Yours
Joseph Pennell
I have no idea where to write you
j.p.

Bohemian Club
San Francisco
5-2-3- *5
Dear Van Dyke I heard yesterday from Brett he says the idea of
"
the Western book impresses him attracts me immensely" that's
all right but of what so far as I am concerned is it to consist?
What is to be done? If I am to do it I must know at once as this
Jury business will be over in a week or so and then I want cither
to do this book or come back. So please let me know what your

ideas are? and what you would treat of. And please write as soon
as possible.
As
for this place the buildings and their setting in the scene are wonder-
ful most of them and it is also the best arranged and the most
concentrated and compact show that has ever been given As to
the management and the displays in the buildings those matters
are even more wonderful not to say incredible how this Jury
business is going to work out the Lord knows and he knows if I
can stand much more of it. So that is why I want to hear from you
straight off.
Yours
Joseph Pennell
TO MR. T. FISHER DKWIN

Century Club
New York
9- 6. 1915
Dear Fisher,
am sweltering here and doing mighty little. Everyone has the
I
Dumps and is in a deadly funk if you say German the country is

GAGA the people are GAGA
the old American spirit is gone
School mams, base movies and comic Illustrations are it.
ball,
All so-called business people only do the easiest stunts they can,
take the longest holidays the places are now shut all Saturday;
scratch the surface of things, screech or run away if any one criti-
cizes them. How are you? I am more or less all right. Remember me
to Mrs. Unwin.
Though out at San Francisco Mrs. Spreckles bought Whistler's
caricature of Leyland, The Gold Scab for $5,000, no one, including
Freer, who was out there, has had the brains to buy the really good
pictures Mrs. Sanderson sent. The whole San Francisco business,
however is utterly mismanaged and for daring to tell them so
they have acted like cads to me.
Yours
Joseph Pennell
San Francisco served as a distraction, not as a cure to

his melancholy and in New York his spirits were at low
ebb. "What I am going to do dont matter much/' he
wrote to Harrison Morris. "My life in Europe is ended
with that of every man who dont run away from respon-
sibility or his country even though he is ashamed
of the people who
are running it or ruining it I am
back and I am going to get belongings back here as
my
soon as I can if I can." However a flash of humour
relieved the letter he wrote thesame day to my brother,
who was contributing a series of articles from California
to the Philadelphia Public Ledger and who had used his
influence in behalf of a Belgian professor introduced to
him by Pennell. It was merciful that there were some
few distractions to help him forget, if only for a moment,
the horror that haunted him.
The Century Club

August 24. 15
Dear Ned Your war with the whole of
stuff is excellent. I agree
it save t k e reporter's flourishes I thought however your art
criticism abominable, who told you the Tower of Jewels was any-
thing but ice-cream and that the colour was anything but mud.
But!if you will stick to the war business it will be worth while I
saw the Belgian Professor man I forget his name and he told me
you had given him a job at the University I think he wanted me
to give him a dinner but he was dressed so much better than I
said he had imported his family that I thought such an impressive
refugeewho was also at Columbia might stand me one, but he

did not offer to only to fall on my neck and I saw him no more.
I'll be over some day.
Joseph Pennell
Minneapolis Club
Minneapolis
Minn
9. 2.9. 1915
Dear Morris I am
working, teaching and preaching, here I dont
know much about the converts the place is too good and dry but
the people are all right oh yes.
Yes
I can do a Whistler talk with or without
pictures
Ifyou want it. I only got your letter here this morning. When do
you want it? I want to stay out here if possible in the West I
mean for some time. I go to Chicago early next week please write
there.
Yours
Joseph Pennell
Or if you like I could do a talk on the Picturesque Possibilities of
Work
Lippincotts are bringing it out.
Joseph Pennell
TO MR. T. EISHER UNWIN
Century Club. New York

10. 10. 15
Dear Fisher I have your letter of September 2.3 d and am glad "busi-
ness with you is much as usual" It certainly is NOT here piles
of ungodly, unholy swine are making lots of money out of this
war but go and try and make any arrangements whatever to do
anything whatever and you are up against "in these war times"
which is one of the ways now used to get the better of one to refuse
to pay bills, etc. etc. etc. Now that I have again visited the North-
west quietly I dont think people are in a funk they havent
been made to think they are yet by the papers in fact they dont
know and care mighty little about the war it hasnt touched them
scarcely yet mind this the East is not the West and is mighty
little influenced by its thought that is the people and with the
exception of those who have relations in Servia, Bulgaria and

Slavonia they dont get much excited apparently and as they
dont talk American and get all their news from papers in their
own language, I dont know what they think and it may interest
you to know that these people, who are the most numerous and
prolific and hard working in the country, extend
from North
Philadelphia to the Barbary Coast San Francisco a fact utterly
concealed from busy bodies of the type of Dr. Willie White the
other doctor I never heard of busy bodies whom this country has
little use for and apparently France had no use for otherwise
why did he come back? or was only a holiday?
it
Book reviewing is in the hands of girls and reporters a German

Count does it for Hearst's papers also the art criticism! ! On an-
other page by the way Hearst prints the squawks of J. L. Garvin
you pay one cent and take your choice. In publishing as in every-
thing else there is so much to be done easily and so little space,
any more, or thought, or time for anything save movies, comics
and ball games, a]l the people think about Wilson presents his
finance yesterday at a base ball game that anything that has to
be pushed dont get pushed and too the publishers have turned
authors and the bankers prophets and the dealers artists
they are all become amateurs and the only serious thing is golf
save the vital question of "wet and dry" luckily both sides keep
lockers, so nobody bothers or they buy booze by the bottle if they
have to take their motor car into another state to get it and shut
up their shops from Friday to Monday to do so as they do in
New York in the summer there if however you buy a sandwich
you can get all the drink you can carry.
Oh I am getting on all right but I've no idea when I shall get
back.
Joseph Pennell
Pennell, certainly, was seeing enough of his country

to speak of West as well as East with truth, even if it
was not always palatable.
TO MR. T. KSHER UNWIN
University Club Chicago

November 14. 1915
Dear Fisher,
I believe the skunks who are
preaching neutrality, and selling
munitions are making millions, but I havent seen any and have
seen in fact nothing but trouble to get any money but I go on
somehow.
I dont think the average American people, the plain people
who are trying to mind their own business, are very happy. That
is those who are able to think for themselves I do not know Dr.
Prince and if he is the same breed as Dr. W. White dont want

to I have however seen that tribe in Philadelphia and listen daily
in the papers to the squawks of our
Schoolmam
President
And, politically, though have always despised him I have re-
I
luctantly come to the conclusion that W. J. Bryan is the only man

in the country who has any sense left. . Had we had Cleve-
. .
land or Champ Clark as President I dont believe there would have

been a war now if we dont stop it the Carnegian crowd will have
us in it. I am sick at heart of the whole affair and so is everyone
with any sense Oh well I dont see any more of the neutrals than
I can help.
Yours
Joseph Pennell

The Art Club of Philadelphia
ii. iz. 1915
Dear Morris I have got here do you want to see me before the
function [the Whistler talk] If so let me know to-morrow morning.
Yours
Joseph Pennell
I shall be pretty busy all day at other things.
161

i. 6. 1916
Dear Morris. I am much obliged for the cheque just reed. I suppose
I am doing the right thing in going back to try to get things out
but it is all black ahead of me.
Yours
Joseph Pennell

i. ii. 1916
Dear Ned As you will probably hear that I was in Philadelphia
lastnight I write to admit the fact I was to have had a show at
the Art Club and done lots of things but everything is on my nerves
and I left this morning with my passage on the Philadelphia for
Saturday and that for a while will be the end of me till I can get
Elizabeth and our belongings out.
Yours
Joseph Pennell
162.
CHAPTER XXXVII
WAR WORK IN ENGLAND PENNELL SELLS
-
HIS LEASE AND LEAVES ADELPHI

TERRACE HOUSE
(1916-1917)
IN London, at the end of January, Pennell was as con-
vinced as ever that "the place for an American at the
present time is at home." Our lease had thirteen years
to run and we commissioned Hamptons, the house
agents, to find some one to take it off our hands. Muir-
head Bone, lured by our windows, wanted the flat, but
a Red Cross Duchess, seeking an occasional refuge from
her hospital in the North of France, applied before him.
It did not suit her, which was not astonishing, but she
stopped on her way downstairs to see Sir James Barrie in
the flat below, and he was up the sanje morning to ask
for the first refusal.
Having got so far on the road home, Pennell changed
his mind almost over night. The great munition works
were made, he felt, for him to draw. The Wonder of
Work had never been so wonderful in his day, probably
never would be again. He believed, not that his drawings
could help to win or end the war, but that, if people
could be made to realize the expenditure of labour as
well as life war to-day demands, it would be the last
time they would permit their Government to plunge
them into it. He applied to Lloyd George, Minister of
163
Munitions. Ministers move at a slow and dignified pace

and he filled the interval of waiting in preparing an
exhibition of his lithographs of Zeppelins and German
industrial works at the Leicester Galleries, the Private
View falling on that gloomy Saturday., February twenty-
six, 1916, when the newspaper posters announced "Ver-
"
' ' '
dun Fort Stormed Verdun Fort Fallen/ The zeppelin

,
prints went on afterwards to

an airship show planned by
Lady Drogheda. And no answer as yet material-
official
ising, he got out the long-neglected notes

and manu-
script of his "History of Illustration", engaged the one
typist he could work with, and, in working, tried to
forget, which was not easy.
London, the "Business as Usual" myth exploded,
was not a cheerful place even for the man without
nerves, without conscientious objections to war
London, black by night, searchlights playing, bombs
falling too often for comfort; by day, the streets full of
recruits and soldiers and the convalescing wounded in
their hospital blue. Virtually next door to Charing
Cross, as we were, we
could hardly go out and not
meet ambulances hurrying to the station or, worse,
crawling away with their freight of broken and muti-
lated men. Policemen invaded us in search of forbidden
lights seen from the below, and detectives in
street
search of evidence for or against harmless enemies or
neutrals stranded in London. For Pennell the horrors
culminated in the arrest and internment of Georges
Sauter, with whom he had worked through so many
art exhibitions and movements, who had lived in
art
London nearly we, who had married an
as long as
Englishwoman, John Galsworthy's sister. Pennell would

164
War Work in England
have endorsed Galsworthy's letter to Sir Sidney Colvin
had he seen it: "Sauter has rendered real service to
British art and artists for years; he is the soul of
many
honour, and I am
absolutely certain that there is no
chance of his doing anything prejudicial to the country
of his wife and of his chosen residence for over twenty
years." When a petition was got up for Sauter's release,
Pennell, though he thought it wiser for him as an
American we were not yet allies not to sign it, did
what he could to secure the signature of influential
Englishmen, and he succeeded. This letter to Butler
Wood is one of many in which he wrote his thanks, re-
gretting that a few other Museum directors did refuse.
TO MR. BUTLER WOOD

.

London. W. C.
4. 5. 1916.
Dear Butler Wood
I am very glad you are willing to sign the petition for Sauter's
release I knew you would understand and I have forwarded your
name to the framers of the petition. It, the world is all so horrible
*'
to-day but a better day will come Peace will break out "as
some one has said. And things will go on again Not as they did
it is true but let us hope better. I am not
morally
mentally
or
physically
very well But when you come up look in
Yours
Joseph Pennell
It was July before Pennell got his permits and for

most of them he would have waited longer, had not
Mr. Page, to whom he appealed, extricated him tri-
umphantly from Government red tape. His corre-
spondence with the Ambassador is a record of the official
deliberation he had to contend against.
TO JOSEPH PENNELL
London, July i5th 1916

Dear Mr. Pennell:
I hope you got your permits all right. It gave me great pleasure
to answer some questions asked concerning this matter by the
Government the other day. If there is any way that I can serve you
in this or any other matter, of course you must not hesitate to let
me know.
With my kindest regards to Mrs. Pennell,
I am
Heartily yours
Walter Hines Page
TO MR. WALTER HINES PAGE

.

London, W. C.
7. 18. 1916
Dear Mr. Page. Thank you for your letter, I expect at last they will
send the permits but it is months now since they commenced to
talk about it The changes in the Ministry doubtless had something
to do with it I am glad you felt able to answer the Government's
questions as to my harmlessness If I can only get the permit I

have got it as a matter of fact but not a sort of programme of a
kind of circular tour they are arranging I think I can do something
worth doing. I hope I shant have to bother you about it further.
Yours
Joseph Pennell
166
War Work in England

London. W.C/
7. z6. 1916
Dear Mr. Page You will be as I am surprised to hear that I
have got the personal backing of the War Office through Sir
Reginald Brade and that I am going with the engineer of the
Midland and Yorkshire Division of the Ministry of Munitions to
see the works next week.
Still I have had no answer from the Navy Department no
acknowledgment even of my letter. Could or would it be too much
to ask as you offer if you could help me with them. The munition
and war are all right. Is it true you are going home as I have seen
in the papers?
Yours
Joseph Pennell
What I want is a permit to visit Dock Yards and also ship building
yards when under the control of the Admiralty J. P.
The permit from the Admiralty never came, but he

was able to begin work at the aeroplane factory, Farn-
ham, in July, had been there-, indeed before appealing to
Mr. Page, as he happened to know the commanding
officer. The next three letters will be more clear if I
state the following facts: Just before leaving town he
had been asked by Sir Edward Poynter to serve again
on the Royal Academy Committee for the Winter Ex-
hibition, which, at Pennell' s suggestion, was to be de-
voted to Black-and-White, half the proceeds of the sales
to go to the Red Cross. The Senefelder Club was getting
together a collection for the exhibition in Zurich.
' '
I cannot say who

' '
Redherring in the third letter is

probably an English subject with a German name which
he had been inlhaste to change nor who "the ladie",
though the advice in her case was characteristic.
TO MR. JOHN COPLEY

.

London. W. C.
8. 3. 1916
Dear Copley All right about the Tinson letter which I return.
Will you work out the enclosed with Wilson only be careful,
but you did the Paris job. There is nothing from Lee Warner,
and now
I have something to tell you that this afternoon at the Royal
Academy, Sir E. J. P. in the
Chaise
I,having as President of the Senefelder Club, suggested we should
have a show to take the place of the antiques it is accepted and
the Show will be held and Lithography "which God Bless the
Day I invented it*' will have a room to himself Oh Lor, Warner,
Lawson and Company do make me tired but its DONE.
Joseph Pennell
Never do nothing till you have done it.
TO DR. J. C. VAN DYKE

Queens Hotel, Leeds
8. 6. 16
Dear Van Dyke Its all off again, for the moment after months of
waiting I have the chance to do or try to do an important piece
of work and it was while waiting that the book was got together
now it must wait a month or so anyway it is impossible to get
the illustrations over here and there are a lot of important things
to verify which must be verified in New York and Washington. But
I hope to be able to bring the Mss. to you shortly I could send it
now but want to add certain things.

I
You never answered about the Steel Engraving Chapter I suppose

it will have to go in But we never had a steel engraver that was
worth anything for that matter there have only been two or <
three who could do anything in the whole history of the world

Sartain is our only one and he was not American. If as a detail I
168
War Work in England
can show by this book how little real feeling for art there is in this
country which is evinced by our
Greenbacks
Postage Stamps
and
Exposition Diplomas
I may do something yet these and our
Murals
are the things we in art are most proud of
one other thing the
getting of the book together has proved to me, that the serious I
" "
would call him Garroblous Dunlop and some of the early birds
in painting like Jarvis had the real Cellini feeling while from
last summer's experience I find the new artist in America deals in
art as he does in clams, stocks, and butter.
Golly what a lot

are the painters
Save Duveneck and Chase
and a few more,
They are the limit.
Yours
Joseph Pennell
MR. JOHN COPLEY
Royal Victoria Station Hotel

Sheffield
8. 17. 1916
Dear Copley Dooks dont sit along side hell fire making drawrins
nor must artists neither.
I did today
and Stanhope Forbes tried to his truck it was done some time
ago was rot mine was mine own anyway.
All right
about the frames only you say nothing about
Redherring
or whatever he calls himself now there is no reason to pay for
him. All right about War Office and Zurich.
169
You had better attend to the enclosed say I sent it to you

there evidently a snarl for it was being arranged
is otherwise No
I am mistaken I dont see why we should supply the ladie with
material for her lecture
But do what you like
Yours
Joseph Pennell
To neither Van Dyke nor Copley did he write of the

more critical adventures on his "circular tour", when
it seemed as if permits, passes, badges, letters would
prove of small avail. At Leeds, munition workers at the

lunch hour took him for the enemy brazenly making
notes for all the world to see and, during an uncom-
learned how it must feel to be
' '
fortable half hour, he

a condemned murderer or a captured spy/' At Newcastle
doubt was his hourly companion, for the works were
partly in Durham and partly in Northumberland, partly
under the Admiralty and partly under the War Office,
while the river was controlled by the Tyne Conservancy,
and his permits did not help him to know when and
where he might be on forbidden ground. At Middles-
brough an engine driver pointed him out as a suspicious
character, a company of soldiers marched down upon
him, and what would have become of him there is no
telling had not the officer been a man
with a glimmer of
intelligence. But to Pennell the privilege
to work was
worth the risks he ran. After he had been to France he
wrote: "I had- all of the Front wanted, all the horrors
I
I wanted, all the misery and pain, but I could not have
enough of the teeming, seething energy that the War

brought forth."
He saw the Land of Iron and Steel as all mist and
170
War Work in England
mystery in the morning, glitter and glare at noon, fire

and fury at night a land where work never ceases. The
furnaces in long rows were so many work towers, work
palaces, work castles along the banks of a river of work;
or else work temples, the endless roar of their Looms of
War the music, their workmen the acolytes, their great
ladles of fire moving to and fro the ritual procession. In
the Munition City was the true record of our age, and
he could not understand why artists should be blind
to the wonder, why few writers save Wells should have
felt its inspiration. "Art to-day
joined to science,
is
not religion, and the as

effect is
just fine.'' Only one
shadow fell over the Pageant of Work: "it fascinates ,

but is intolerable, when you think that all this is done
to kill people. But you must not think if you do you
will go mad. The world is mad to-day."
From madness he was saved in London
this sort of
where, for months to come, he was not allowed time
to think. He had no doubt about the merit of his
drawings. The surprise was its immediate and generous
recognition. He realized that without Mr. Page he
might still be waiting for his permits.
TO MR. WALTER HINES PAGE
3 .
10. 15. 16
Dear Mr. Page I learn or see that you are back. Everything
every letter you wrote was of the greatest influence and use and
the whole series of drawings have come off. And I should like to
show you what you have enabled me to do.
Yours
Joseph Pennell
171
Mr. Page's delightful answer might have been written

of himself:
TO JOSEPH PENNELL
London. October 17, 1916

Dear Mr. Pennell:
I congratulate you on your success in getting what you wanted,
which I have noticed is a way you have and a way that only success-
ful men do have.
With my kindest regards
Sincerely yours
Walter Hines Page.
The drawings made kept him in a whirl of

a stir,
excitement, his nose fast to the grindstone. Officials

from the Munitions Department came to see them, were
impressed, must show them to Lloyd George, who
caught the excitement, must exhibit them for propa-
ganda, not merely in England but in France, in Spain,
in the United States. M. Henry Davray came,
and, being
a Frenchman, was more frankly excited, determined
that Pennell should go to France, anywhere he chose.
To Reims? No, said Pennell, to the shipyards at Brest
and Toulon, to Le Creusot and the other munition
works if he could not go there, he would not go to
France at all. Mr. (later Sir) Alfred Temple came: no
other such record of war industries had been, could be
made, the series must be exhibited in the Guildhall Art
Gallery, the Exhibition opened by the Lord Mayor
after alunch in Pennell' s honour at the Mansion House
"the City is the centre of everything, crowds will be
there, the success will be enormous". Heinemann came,
his enthusiasm not unexpected he was always enthu-
I 7Z
War Work in England
siastic where
Fennel!' s work was concerned and he
must make a book of the drawings a new volume in
Joseph Pennell's Pictures Series. Mr. Mayer of Col-
naghi's came, joined in the chorus of praise, must pub-
lish the lithographs fifty sets of fifty prints; Sir Henry
Trueman Wood came, must have a lecture, with slides,
at the Society of Arts. Messengers from newspapers
came, from the Times to demand drawings for a Supple-
ment, for its "History of War."
Other people came out of curiosity. One day it was
Hall Caine, so interested that Pennell let himself go a
bit, talked of the dignity, the spaciousness of these great
works how the men who built them were building
the things of their day as were the Greeks, when they
built their temples; he didn't believe the Greeks thought
of the beauty, only of the need of temples in the people's
life, and, "but, of course, you will use all this!" And
the great man to-day has forgotten how great he was
yesterday roared with laughter. "Why, of course, I
will, that iswhat I am here for."

Another day it was Bernard Shaw, running over
bareheaded, from his flat on the other side of Robert
Street, discoursing learnedly upon photographic per-
spective, until Pennell interrupted in his disdain of any-
thing photographic, and Shaw Reminded him, "Why,
Jo, I never could deny you your own particular merit,"
which I suggested was too inadequate a word.
It was not all clear sailing. The question of expense
was a problem for every one concerned. Government
officials, war or no war, work as if time was theirs to
play with. Temple, Heinemann, Mayer, Davray worked

as if a minute lost was fatal. Davray, naturally, placed
France first, and was for Pennell crossing the Channel

at once with Gosse, under the guardianship of M. Kahn,
acting as I hardly know what, for the French Govern-

ment. This roused the Munition Office to action. They
would not hear of it. I was kept running back and forth
between Adelphi Terrace and Northumberland Avenue,
where the three big hotels were being turned into mu-
nition headquarters. Proofs were perpetually coming
and going. Pennell was held fast in Vincent Brooks'
Printing Shop, printing his fifty sets of fifty prints and,
though the printers of the text threatened trouble,
Pennell inspired the printers of the lithographs with
such zeal that they spent several Sundays in succession
at the press. H. G. Wells showed his appreciation by
writing the Introduction to the Guildhall Catalogue.

Haste being imperative, he allowed himself to be shut
up in the studio one morning until it was finished, when,
as a reward, we
provided one of Augustine's inimitable
omelettes for lunch and Robbie Ross for company the
best company in London. Visits to British camps in
England and France convinced Wells that the^trouble

* * ' '
with the British Army was red tape and spurs and
this was the peg he hung his Preface on. The censors
cut out one or two passages but overlooked the chief
hits at "the gentlemen in red tabs, gold lace and spurs",
who were quite unconscious, Wells thought, of having
been superseded by the industrial forces that produced
the subjects of Fennel!' s drawings the forges, work-
shops, cranes, "as inhuman and as wonderful as cliffs
or great caves or icebergs or the stars. They are a new
aspect of the logic of physical necessity that made all
these older things, .... it has been wise of Mr.
174
War Work in England
Pennell, therefore, tomake his pictures of modern war-
fare not upon the battlefield, but among the huge
industrial apparatus that is thrusting behind and thrust-
ing up through the war of the gentlemen in spurs/'

The Exhibition was opened on December first;
Temple's proposed luncheon given at the Mansion
House, Pennell sitting at the Lord Mayor's right, after-
wards the whole party, the Lord Mayor in his coach
with Sword and Mace, adjourning to the Guildhall.
Mr. Montagu, Minister of Munitions, made a speech,
chiefly to say that the drawings were beautiful, which
was obvious to the least observant, and that the country
would keep on turning out munitions at the same pace
until Victory was assured. The Lord Mayor, shy, ill at
ease, insignificant in his gorgeousness, declared the Ex-
hibition open in a well-meant but rambling speech. A
city man, as shy, said a few perfunctory words. Mr. T. P.
O'Connor moved a vote of thanks, [saying nothing of
the least account. And Wells, who could have said
something worth while, was standing there silent. Hall
Caine, also there, also not called upon, would have
spoken to better purpose. However, the prints spoke for
themselves. The day was for Pennell a triumph.
Exhibitions were held throughout the country in
Edinburgh, Glasgow, Oxford, Brighton, a second in
London at the Fine Arts Society's, a third at the Ameri-
can Women's Club. In New York, the Keppels were
ready to open theirs in February (1917). And there were
others, we hardly knew where, for the business was in
the hands of Pennell's agents, the Colnaghis. He was
invited to only one or two Private Views, and to speak
only at Brighton, where the Mayor gave him a lunch
and a copy of the Catalogue bound in red morocco.

Heinemann published the book in time, the first edition
was promptly sold out and a second called for early in
the new year. But not even yet was Pennell free to pack
Senefelder Ex-
up and go home. As usual, the annual
hibition was to be held. He managed somehow to do
his share in preparing it, trying to secure American
work, the subject of a letter to Mr. Leinroth:
TO MR. ROBERT LEINROTH

London. W. C.
ii. 2.8. 16
Dear Mr. Leinroth,
I am much obliged for your letter and the cutting
from The
It is that the I made of munition
Ledger. proposed Lithographs
factories inEngland should be widely shown and arrangements to
that effect have I believe been made between my agents and the
British Foreign Office and it is the wish of the latter that they
should be exhibited in the United States.
I am very glad to have Mr. Sandzen's lithographs save Ster-
ner's they are the only ones I have seen done in the U. S. which
have any character and these have and I shall send them to the
next exhibition of the Senefelder Club, which opens early in January,
and I would ask a farther favour of you, if you can secure from
artists, either on loan or for sale, any other proofs by Americans,
could you post them to me if you have them at once, and we will,
ifapproved, have them framed and exhibited send more Sandzens.
Did you print a design by George Bellows which I saw in this
months Scribnefs* it seemed good if you can send me any more
by post please do so.
Yours
Joseph Pennell
Before and after Christmas, the Royal Academy

claimed many hours, for meetings, for selecting and
176
.Pennell Sells His Lease and Leaves Adellphi Terrace House
hanging the Black-and-White. He was amused when

he was chosen to open the course of lectures which,
also at his suggestion, had been planned in connection
with the Exhibition. His subject was Lithography and
the other lecturers were Campbell Dodgsgn, Frank Short,
Morley Fletcher. The Academy claimed him too for a
committee which was considering a Bill in Parliament
to prevent masterpieces of art going out of the country,
the exodus having already begun. These matters, how-
ever, were not so engrossing as printing, getting a book
ready for the press and published in a rush, attending to
the details of his own show. He now had time to
think, and thinking was his undoing. The newspapers
were full of war; wherever he went the talk was of war.
If he left town he had to produce the Identity Book re-
quired of "the alien who wished to circulate." War

had made of him an alien, he who had lived and worked
in London for years. The horror of war could no longer
be overshadowed. It was ever before him. His nerves
went to pieces. He gave up the flat and sold the lease
to Barrie.
Packing was hard work but not the sort to help him
forget. The pulling to pieces of the place he had built
up with so much care and love was daily torture
torture to empty the chest of drawers and many shelves
he had designed to hold his prints and drawings and
beautiful old paper torture to direct the men who
were filling packing boxes with these treasures and his
books. Outside affairs conspired to deepen the gloom.
Differences in the Council of the Senefelder led to his
resignation as president. He felt this deeply, but he
realized that all the members of the Council were no
longer in sympathy with him.

177
TO MR, JOHN COPLEY

.

London W. C.
3. i. 17
Dear Copley They have accepted my resignation they say with
regret. I regret it" too but there is consolation in the very nice
things you say.
Yours
Joseph Pennell

.

London. W.C.
4- 3- i7
Dear Copley. appreciate your letter and all that is in it more than
I
I can express. I have tried and with your invaluable help, in-
spiration and suggestion to do what I could to the best of my
ability doubtless I was not always right but somehow the Club
succeeded and in leaving it or active work in it I have the
satisfactory knowledge that it is artistically and also financially
in a strong position and you and I should be proud of what we have
done We do not grudge the time and trouble we took over it
and my only hope is that it may continue in the future, to prosper
as it has in the past. Do come and see me when you are in town.
Yours
Joseph Pennell
In America could be of little use as secretary of the

lie
Whistler Memorial Committee. He handed over papers

and documents to Heinemann, asking him to call a
meeting at once, and on the ninth of April wrote to
Mr. Croal Thomson:
Dear Thomson I have let this place and am returning to America.
through Bnditc
There has been some correspondence with Rodin,
Pennell Sells His Lease and Leavct Adelphi Terrace House
regarding the memorial, which he now wants to do in marble, a

method never contemplated. I have asked Heinemann to call a
Committee meeting at his place as soon as possible, but I should
like to see you before, when can I?
Yours
Joseph Pennell
With Mr. Thomson he went to the Pilgrims' Dinner

a few evenings after and on the thirteenth wrote him a
4
'dinner letter", about as sad a dinner letter as was ever

written :
TO MR. DAVIB CROAL THOMSON
Dear Mr. Thomson I want to thank you for a most interesting

evening which otherwise I should have missed. I am afraid I was
not very cheerful or brilliant for things have rather got on my
nerves but I only hope there is some way out, and that there may
be some end to these horrors To think of the cities of France laid
waste and the Country a desert the cities and the country and the
people we know is too awful and all this country involved in the
catastrophe, and mine too coming in. And that these mad-men will
have to be driven back one hundred miles before they even reach
their own frontier and how on their retreat they will wreck and
ruin other cities that the country towns will be razed. Isn't it all
too horrible? Yet somehow we must go on, so I hope you will turn
up at Heinemann's on Tuesday next the iyth at 4 to discuss the
Rodin situation of course after himself writing that he was only
waiting for the bronze founders and after getting Lowell's sub-
to suggest marble a too
scription for a replica in bronze is little
much. Again thanking you for your invitation believe me

Yours
Joseph Pennell
He was stripping his London life of all the old in-

terests just as he was stripping his London flat of all that
made it home. There was nothing anywhere to lighten
his misery. His nights were sleepless. He had tasted the

bitterness of existence before, but never in such abundant
measure. And
the packing was not done when the
United States came into the war. "We need not have
gone/' he kept saying. It is a period which I would like
to forget. On one of our last days in the Terrace he gave
his lithograph of St. Paul's and the Thames from our
windows Mr. Thomson with the inscription: "J.
to
Pennell to D. Croal Thomson, the last man to ask me to
make the last drawing I shall ever make from the most
beautiful studio in London."
And the day before we left, on May sixth, he wrote
to Mr. and Mrs. Copley:
Dear Copleys We flit to-morrow and now that things are as they
are we should have stayed. Instead we go to Morley's Hotel for a
little while and then to the U. S. Thank you for your long enduring
with me. Maybe if we get there, I can do something for the Club or
you. I shall never forget.
Yours
Joseph Pennell
There is a beauty all over the place that I never saw before and
never shall see again, to-day It is all so sad, sad for Mrs. Pennell,
sad for Augustine and for everyone I cant really stand it.
Yours
Joseph Pennell
180
CHAPTER XXXVIII
THE FRONT IN FRANCE AND BLACK DESPAIR
HOME AND WAR IN AMERICA
AT Motley's in Trafalgar Square (1917) Pennell was

not wholly without the outlook to him indispensable.
But the beauty he had lost haunted him and he could
not stand hotel life in a town where for many years he
had a home. At this crisis the University of Pennsylvania
offered him a Degree. Recognition from Philadelphia,
always rare, pleased him when it came, and the new
honour was a ray of light in the darkness. The Degree was
to be conferred on June twenty-first when his presence
would be indispensable. In the interval he could escape
from Morley's by going to France, M. Davray, patience
itself all thesemonths, assuring him that the French
Government expected him, M. Albert Thomas still
still
waited to prepare the way for him. Even for me M.

Davray obtained permits, the Century having asked us,
as in the old days, for articles on the Front together. A
date was fixed, one that left him time for two things
that remained to be done. He thought it advisable for
us both to make new wills. In his first, drawn up many
years before, he had bequeathed his prints, books,
property to the New York Public Library. After seeing
the Print Room in the Library of Congress the finest
Print Room anywhere, he thought, though rather empty
181
The Life and Letters of Josefb Pennell
as yet of fine prints he made a new will in favour of the

Library. Washington was the capital of his country; the
Library of Congress was a national institution- and
not lessened his loyalty
thirty-three years inLondonJiad
as a citizen of the United States. His collections had in-
creased enormously, our Whistleriana alone had become
an importantitem, the gift called for detailed conditions
and therefore again a new will was indispensable.
The other businesswas more complicated. Zeppelins
had destroyed many things in London, no one could
tell how much more they might destroy. Why not save
the Whistleriana, our greatest treasure, by presenting

instead of bequeathing it to Washington? Mr. Theodore
Wesley Koch, then an official in the Library of Congress,
was in London, the necessary arrangements were made
through him. The boxes had gone to the warehouse
with the others, they were got out, and placed in the
charge of the American Express Company.
Mr. Skinner,
Consul-Gerneral, saw that the details of shipping were
as little tedious as possible. Only Americans in London
during the war can know how inexhaustible were

the
kindness and consideration, of our Ambassador and
Consul-General for Americans. Their duties had multi-
plied to formidable proportions, but they
were never too
their fellow citizens.
preoccupied to lighten the burden of
These two matters settled, Pennell started for France
;
on May twenty-seventh, alone, jfor I gave up the plan

of going with him, seeing that the mere thought of it
added to his anxieties. He wrote me on the twenty-
ninth: "Its much worse than you could have imagined
Ihave no guarantee that anything will be done and
nobody knows what to do Had I oh you can say
i8z
The Front in France and Black Despair
what you want should have gone home instead of

I
here could not have been half so awful I never

It
should have come and now when I am here I hate it

what am to do or when I can get away I know not
I
but must be just as bad for you. Mess after mess and
it
I suppose they will not end till there .is nothing left."
Then, on June first: "I am coming back, I have failed.

J.P."
Before the note reached me
he was in London. He
wanted to go to factories and shipyards, as he told
Davray; the authorities wanted to send him to the
Front. He had no desire to draw the horrors of war;
they had nothing to do with art. Again, his nights were
sleepless, his days torture. The doctor said, "Get him
away and advised me to let him go without me, with-
' '
out any one to whom he could talk freely and revive his
despair with every fresh burst of confidence. He prepared
for America, M. Davray begged him to reconsider it.
Friends implored him not to give up France: never

would he have such an opportunity again; who else
could do the work, waiting there to be done, with such
distinction? The Degree could be postponed as, indeed,
the Provost had already assured him. The result was
his return to Paris. It was arranged for him to work not
atLe Creusot, not at Brest, not at Toulon, but at Verdun,
and for Verdun he was kept waiting. Paris depressed
him beyond endurance Paris, full of memories of etch-
ing with Whistler; of gay days in the Salons with the
group of artists and art critics from London; of talk
and more talk in the cafe with Paul Bartlett, Morrice, a
long list of old friends; of evenings with Salis at the
Chat Noir, with Aristide Bruant at the Mirliton; of days
with Sauter, Lavery, Harry Wilson, hunting for good

work to make each new International Exhibition finer
than the last. The contrast was unbearable Paris in
wartime, dark, friendless, men unspeakably

crippled
everywhere, our ôld hotel,
,
the Saint-Romain gone to
pieces, bombs falling. He could He] was
not stand it.
sent on excursions, with journalists mostly, as near the

Front as possible, excursions that interested him, but
this was not his way of working. His daily letters were
reports of daily disappointments. On the fifteenth he

wrote: "I have been kicking my heels at the office but
not a thing has happened It was the greatest mistake
to come and I have no idea of the result Davray dont
even seem to have written them/' On the eighteenth:
The complications and the heat are awful ... I wish
* '
I was back for nothing gets done. And everything gets

more and more difficult every day. And I am getting,
with the heat, very seedy too. ..." On the twentieth
something did happen, though not what he was waiting
for: "I am just back from a most delightful excursion
but its no use whatever There was a stunning
. . .
article for you and had I had time to draw wonderful

stuff for me. But its all horrible so is my existence."
On "The deep waters are going over
the twenty-first:
me I way to do the work Ive had one
dont see any
afternoon and of course nothing was done." On the
twenty-third, however, it was promising: "At last, I
am to start on Monday," and on Monday, he got off
to Verdun days of waiting.
after his
In England, away from the Front, he could draw; in
France at the Front, he could not. It was impossible to
make anything of the abomination of desolation which
184
The Front in France and Black Despair
War is, and in his opinion "No one who was out there,
who was at the Front any where, did anything that
gave any idea of the War." Besides, in his case, the
Quaker was to be reckoned with, the man of peace to
whom war was the supreme evil, also the man of nerves
so sensitive that he shrank from the sight of blood. He
knew Verdun in its serene days of waiting for the war
no one thought would ever come again; his heart sank
within him to see it reduced to ruins and rubbish; Cathe-
dral, Bishop's palace, old balconied houses that once
overhung the river, factories everything desecrated,
destroyed. Officers were charming to him, he lived in
their quarters, shared their mess. No one disturbed him
as he sat drawing in the bomb-broken streets or the
Cathedral wreck. But it was no good trying, he could
not draw what he hated. Had he been allowed to
draw munition works and shipyards, France, no less
than England and the United States, would have had
its noble record. He was not the artist for Verdun, his
enemy there not the German, but war itself. He shrank

not from bombs and explosions, but from the iniquity
of what all his training had taught him to abhor. He
could not stay out his alloted week. "I am back," he
wrote me from Paris on the twenty-ninth, "and the
stuff's no good mine I mean. It was wonderful but I
could do nothing," though, when he turned in what he
had finished, "they seemed to like the few poor draw-
ings I did."
New complications confronted him /His passports and
permits did not allow him a fourth voyage across the
Channel in so short a period. "I have never been so
wretched, so miserable, so unhappy and lonely," was
the cry that letter after letter brought me. He could get
back to England only by way of Bordeaux and America
if indeed, once in America, he did not decide to stay
there. He did not ask meto join him, did not suggest it,
knowing that not inclination but business detained me.

After years of residence in London, everything could not
be settled over night. We had always respected the
business .side of our partnership and at this, of all
moments, I could not shirk of our responsibil-
my share
ities. The first boat from Bordeaux was the Chicago sail-
in Paris was
ing on the seventh of July. To wait, idle,
unendurable. His birthday made him more conscious of
his homelessness, "To-morrow will be America's day
_
here but have no part or place in it," he said in

I feel I
his letter of July third. "This is the saddest birthday of

my life. Even my dear old watch smashed this morning.
The sadness deepened in the daily letter. It was a relief
to get one, dated the sixth, from the Paris station, for I
hoped that on the boat, at sea, he would escape the
constant reminder of what he called his failure. It was
high time. He had sunk to the lowest depths in his
Slough of Despond when he reached Bordeaux:
I am here and I have not the slightest notion why, I am going to
New York and I do not know why, and I have chucked up the great
work offered me and I dont know why. The future is a blank. I do
not know where or how we are to live It is the end of
everything .... the future has nothing for me when

we ought to be together we are the furthest apart .... what are
we to do? .... What will be the end?
This was the frame of mind in which he sailed after

twenty-four hours' delay "on the rottenest boat I have
seen for some time/'
186
Home and War in America
New York/at first, was no great improvement, except

for the fact thatwar was more remote. "I see nothing
ahead of me here, was the best he could write me on
' '
July twenty-third; "war is the only thing it would

have been better had I stayed in France for I am out
of things here/' And the contrast, between the invaded
country and the country as yet feeling only the excite-
ment of war, hurt. "I have come back from working
France to shrieking America," he said. On the twenty-
fourth it was the same story:
Kamli Pen Yes, I should have fought it out in France for if I
had done so it, or rather they the drawings would have come
off but I did not and now there is no place for me here there is
nothing to be done for it is all being done my game by others
we are out of it and I do not see any way to get in again While
the whole place is changed I do not know where to turn or
how and the expense is horrible and the returns nil. France
was my chance and I threw it away
But there was a place for him, as I knew there would

be. Nor had America so changed that he was not still
at home in it. A letter, only ten days later, brought me
the news I was waiting for: "Well they will give me
a chance at Washington and I go there to-morrow. I
hope that may not be a fiasco There are lectures
wanted at the Metropolitan and Chicago/' and the rest
of the letter was full of details about sending over his
lantern slides and trunks. He had a good friend at head-
quarters in Doctor Frederick Paul Keppel, late Dean
of Columbia University, the Third Assistant Secretary
of War. When the work Pennell asked to do was done
and he was making acknowledgments in an Introduction
to the Catalogue of the Exhibition at Keppels', he said:
187
"And wish to thank above all the man who

finally I
made it all possible. He knows and I know I never
shall be able to repay him he is working and I am
trying to work for our country Dr. Frederick Paul

"
Keppel
He had got into his stride again, nerves forgotten.
Not even a missing cheque and the failure of my letters
to reach him were exaggerated into the mountains he
would have made of them less than a month before.
His next letter was from Norfolk, Virginia.
8. 19. 1917
Kamli Pen. have not heard anything from you for two weeks the
I
first week nothing came and I am now waiting to get back to New
York for letters, as everything, seem to have gone wrong. I am

working away here they are letting me do just what I want and
I seem to be doing it. When are you coming over? I have heard as I
told you absolutely nothing of that second cheque I do not know

if it has come, been lost, or stolen you had better find out. When
I get back to New York I will look into the affair. Its pretty hot
but the nights are have been to lots of places I have
all right. I
made no plans yet done nothing save work If I could do nothing

in France I can do things here What of Augustine and the rest?
Write to New York but apparently the post is all wrong and will
be worse for they mobilize next week
Joseph Pennell
His letters now were taken up with his ideas and plans
for work. He was thinking of nothing else.
Washington. D.C.
8. 2.9. 17
Dear Ned have only just got your note of the nth I have been
I
all over the place with Uncle Sam I got in last night I shall be
in Philadelphia shortly. By the way I am
going to talk in Chicago
188
this fall and the Director of the Art Gallery there writes me that
Dr. Jastrow is in search of stunts or rather Search Lights.
I am one as you know,
have a talk on the
I
Wonder of Work in War Time,

in Europe and America. Do you warlike Quakers feel any in-
terest in hearing what the one person in the world who has seen
and also drawn knows about it? please say nothing to the papers
about this. But can you arrange things if he wants me, with
Dr. Jastrow?
Yours
Joseph Pennell
-
The same story of work was in his letters to me, that

is, when he could spare the time to write of anything
save details of the business that was detaining me in
London :
TO MRS. JOSEPH PENTNEIX
Washington. 8. 31. 17
JtLamU Pen have got to work and everybody has been decent and
I
am trying to arrange things. I have seen most people from Secretaries
up and down and have more to see to-day. I hope I can arrange some
shows and publications but its either the rush and push which I
wont go in for or very slow! I have seen a great deal of Fred Keppel
and nothing of David the latter is going in for a Commission
every one is an officer now
have arranged nothing about a place that must wait except
I
that the house I wanted to get into on Brooklyn Heights is let.
Anyway I am not sure I want it. Or any other house or flat. It is
very comfortable living in one suit case I have escaped a lot of
official functions here. I have not seen Koch since I came back from
Norfolk. I probably will go to Philadelphia Sunday and stay some

days then New York and Boston where there are things to do, I
have all sorts of ideas and schemes. The Bartletts have been very
nice and I have seen a lot of them but kept away from other
people
J-P.
189
The Life and Letters of Josef b Pennell
Anywhere and everywhere, it was a pleasure for him

to be with Mr. and Mrs. Paul Bartlett. That summer,
at the end of a long day's work, he knew he would be
welcome at Bartlett 's studio and he would go late in the
afternoon, in time for the moon flower in their garden
to burst into its nightly blooming and fill the place
with its fragrance. "I have come to see the miracle,"
he would say to Mrs. Bartlett, and they would keep
him to dinner, and to be with friends rested him after
his hours of drawing and went far to complete the cure
begun in the munitions works and docks.
On September ninth, he could write me from Phila-
delphia: "I never was so busy drawings
shows
lectures and Lippincotts will do a book when will
you sail? I shall go to New York in a week or so and

then Boston and here to print and back to Washington
and rush, rush. Something may come of it. They
its just
is all sky-
say the drawings are good. Philadelphia
"
scrapers
On October sixth from New York: "The work is
done the drawings or will be to-day and so am I

I never got through so much in my
life Monday I start
* '
in at Ketterlinus. And the same day, to Edward Robins,

"I amcoming back to-night I have finished, but it has
almost finished me. Its the most strenuous job I ever
tackled." The fatigue of work, however, was a very
different thing from the fatigue of nerves. In America
war and the signs of war were very far away. He could
work and, working, all was right with his world.
Printing was not the least strenuous part of his strenuous
job. At the Ketterlinus Press, Mr. Leinroth and Mr.
Gregor were waiting for him and the printing went so
190
well that when, at last, I got back from London at the

end of November,, the Exhibition of the Lithographs
had opened at Keppels' and many other galleries
"
throughout the country; the American War Work"
in the Joseph Pennell's Pictures Series was on the eve
of publication.
CHAPTER XXXIX
AN ATTACK UPON PENNELL BY THE
PHILADELPHIA ART CLUB AND THE
UNIVERSITY OF PENNSYLVANIA
(1918)
him in fine spirits, himself again, too overladen
I FOUJSTD
with work to meet me on my arrival either in New-
York or Philadephia, too busy to leave the Art Club
where he might "live in one suit case" but could not
have got away in less than half a dozen stout packing
cases. I put up next door in a small hotel which he
chose chiefly, I think, because originally it had been
three private houses, and still kept the old red brick
fronts and white marble steps rapidly disappearing from
Philadelphia. The arrangement amused him. "I am
running two establishments now/* he told Paul Bartlett.
He was in neither of them often. More lectures carried
him to Boston Harvard, Rochester, New York-, where
>
he talked at the Art Students' League, the National

Academy , the Metropolitan Museum. In Philadelphia
he lectured at the University of Pennsylvania, sat to
Wayman Adams for the portrait now in the Chicago
Art Institute, went to innumerable receptions and
dinners, Philadelphia inclined to kill the fatted calf for
us a second time. Men half his age could not have kept
up the pace. Whatever his private engagements and
commissions, everything gave way to his work for the
192.
An Attack Upon Pennell by the Philadelphia Art Club
Government. He was one of the vice-chairmen the

others were Herbert Adams, E. H. Blashfield, Cass
Gilbert of the Division of Pictorial Publicity, Com-
mittee on Public Information; Charles Dana Gibson,
the president, F. D. Casey, the secretary, H, Devitt
Welsh, the assistant secretary. Headquarters were in
New York, business meetings held on Friday afternoon,
"open meetings" on Friday evening, at Keen's Chop
House, and he attended whenever he could, though it
meant an afternoon train going and a midnight sleeper
coming back. He was among the many artists who made
the war posters which the Government scattered broad-
cast through the country. For his first he chose the
* * ' ' '
lithograph Ready to Start' reproduced in his Ameri-

,
can War Work/' He enlarged it, the title was changed

to the "slogan" "Provide the Sinews of War. Buy Lib-
"
erty Bonds. He supervised the printing, and, presently,
in three different sizes, it was to be seen everywhere,
from one end of the land to the other. He suggested
artists who had not been asked Sargent, McLure
Hamilton, Violet Oakley. He went so far as to pose for
the movies, which he loathed, when they undertook to
show the artists outdoors, drawing their posters, or
indoors, printing them that is the few who conde-
scended to print their lithographs or supervise the
printer. He made his point of view clear
in a letter to
Devitt Welsh:
TO MR. H. DEVTTT WELSH

i. 31. 1918
Dear Welsh Are you coming back to Philadelphia tomorrow night.
Casey wrote me to come to a meeting to-morrow why I do not
193
know but I thought if you were coming back we might get a sec-
tion insame night train if you could do it Can you telegraph me
to-morrow morning? And if I do not come remember and tell the
Committee what I feel about Trask and his presence at Committee
matter as we all were I was griev-
meetings There is one other
ously with
disappointed those movies the most commonplace I
ever saw but is the Government going to be paid by the Theatres
to show them? and who is issuing those posters? The Government
or these movie people? This I must know. For while I am willing
to do what I can for the Government I am unwilling to allow the
movie people to use my prints unless I receive a fee for permission
to do so from them If it is a private enterprise. Besides which I
know nothing as to what the other artists are to receive, who have
been asked to do similar things, I understand. I should like some
more definite information if things are satisfactory I should like
to start the work on Tuesday when I shall be at Ketterlinus.
Yours
Joseph Pennell
He returned to the subject on February thirteenth:

I am expected to work days and weeks, and am willing
* *
to for the Government, yet these people will do nothing

without an order, a contract, and, I suppose, a profit
we artists are willing to give our time and brains."
have emphasized the fact that his work unpaid
I
for had been during months and was still for the
Government because this was the moment chosen by the
Philadelphia Art Club to cast doubt upon his patriotism
in a petty, ill-natured attack which cannot be passed
over in silence, so loud was the noise it made at the
time. Prohibition had already been invented for the
Army and the Navy. American officers could neither
drink nor be asked to drink. To the club British officers,
in the country on the war's endless propaganda business,
were introduced by that curious type of American who
194
JOSEPH PENNELL WITH THE PICTORIAL
PUBLICITY COMMITTEE
hopes to gain social salvation by toadying to the British

and who., to curry favour, plied his guests with wine
and the whisky-and-soda of their country. Pennell
thought it an insult to American officers, often present,
a breach of courtesy on the part of host and guests, and,
thinking it, I need hardly add, said so. Timid and
toadying members^ were horrified. Pennell was sus-
pended, summoned before the Committee in charge of
such matters. He considered this an outrage and re-
signed immediately. He had not yet had the leisure
to move or to hunt for a place to move into. But the
same day his accumulations were transferred to my
crowded quarters and we engaged additional rooms in a
hotel where neither of us cared to stay one day longer
than we were obliged to. This happened early in Feb-
ruary; on the twenty-second he was to receive his
Degree at the University. "You will see/' he said to
"
me, the University will be frightened. There will be
no Degree." I refused to believe that a local club scan-
dal, the dirty work of unimportant busy-bodies, could
affect a great University. The exasperating thing about
Pennell, his friends used to tell him, was not so much

what he said but that usually he turned out to be right.
Certainly, in this case, he was.
He was looking forward with pleasure to receiving
the Degree for, if he never went out of his way in search
of honours, neither did he scorn them when given un-
solicited. He appreciated his election to the Belgian
Royal Academy, he and Paul Bartlett the only two

American members. He would boast gaily of his
artist
privilege to sport a cocked hat and sword at State

functions, though it was a privilege he never took
advantage Simplicity itself in his

of. mode of life, he
respected formality when the occasion it, demanded and
to receive a Degree at the University of his own State,
his own town, impressed him as an occasion that did.
He referred to the subject in many letters.

z. i. 18
Dear Professor I wanted to surprise you. The book is about done

but I cant get a lot of my stuff over and that is holding it up. We
are very glad the Whistler stuff appeals to you I showed your letter
to Mrs. Pennell do what you like with it so long as you give us
credit There is a tribe of artistic and literary thieves around this
place who are the limit there is nothing they wont steal and they
steal so badly. I believe the Whistler book is out of print but the
publishers I dont believe will do anything about reprinting it ....
I was in New York, as you know, a week ago and must come over
again soon I am doing a Government poster in New York. We
shall be here all the month and on the izd I am to be solemnly re-
ceived into the arms or the buzzum or some of the vitals of the
University and they say it will be most impressive and imposing

and instructive and arty. You had better come and holler,
Yes Europe is ruined and I imagine they put some final touches
on Paris yesterday The whole world is mad and they have
ruined everything and our life, the life we knew is over. The
world may be made safe for democracy but it won't be fit to live
in dry and dreary and safe Yep.
Joseph Pennell

i. 18. 1918
Dear Ned I humbly obey your instructions and commands
will
there are only two details more Do I wear a cap and gown I
196
An Attack Upon Pennett ly the Philadelphia Art Club
have not my Academic togs which are like this
blotted oh Lor I should be real cute but if I am to look like this,

where do I beg, hire or steal 'em?
Please let me know

Also
I think it would be fun to reserve a whole row of seats from side
to side of the building for members of the family. Yours
j-p-
Doctoribus Futuribus
If he don t break down.
He would not hear of hiring cap and gown. It would

be wanting in respect. He had them made, the best, the
most expensive of They had been sent home,

their kind.
tickets for the function had come, the last directions
given when the blow fell. The secretary was
the pro-
vost's messenger and I was alone to receive the message.
The gist of it was that the time was inauspicious so much
talk best to avoid scandal unpleasantness another
postponement was wiser until next June and might
not Mr. Pennell think it more agreeable to be called out
of town for a few days and write to tell the provost?
"You know Joseph down/'
never takes things lying
was all I said.
Nor did he make this an exception to his life-long
policy. He was hurt, naturally, but
knew that in the
end the University's reputation, not his, would suffer.
He was puzzled. Through three years of the war he lived
in England where Englishmen called their generals
bunglers, their statesmen blunderers, if they thought

so, openly attributed their blunders and failures to "the
hidden hand" in high places, were praised rather than
condemned, their loyalty unquestioned, and were quite
as free with their Allies as with themselves. However,
hurt or puzzled, Pennell went on with his work he
was printing at Peters at the time as if nothing had
happened. On the twentieth of the month the provost
supplemented his message with a formal note:
TO JOSEPH PENNELL
f
University of Pennsylvania
Office of the Provost \
Philadelphia
[February Twentieth 1918
My dear Mr. Pennell:
I am by the Trustees of the University of Pennsylvania
advised
that the degree of Doctor of Letters voted to you April second, 1917,
198
with expectation that you would be present, June twenty-first,

1917, to receive it, will not be conferred on University Day, February
twenty-second, 1918.
With cordial regards I am
Sincerely yours
Edgar F. Smith
Pennell answered, posted his letter so that it would

reach the provost by the first delivery on the twenty-
second and sent copies to the leading Philadelphia
papers in time for publication that same morning. This
is the letter:
TO THE PROVOST OP THE UNIVERSITY OF PENNSYLVA2SJ1A,
Philadelphia, Pennsylvania.
Philadelphia, February 2.1, 1918
Sir:
I am in receipt of your letter dated February loth advising me
that the degree of Doctor of Letters voted to me on April 2., 1917
will not be conferred on Washington's Birthday as arranged.
I note that in your letter you carefully avoid referring to the
officialcommunication verbally delivered to me on Monday, the
1 8thand again repeated on Tuesday. May I, therefore, remind you
what that communication was? That in view of certain protests
received the University wished to withhold until June the honorary
degree which they had voted to me on April 2., 1917, and had pro-
posed to confer upon me on June 2.1, 1917, when I was unable to
receive itowing to my being in France at the invitation of the
Government of that country. May I further remind you that you
later proposed to confer the degree upon me on Washington's
Birthday of this year? May I also remind you that I have received
from the University no intimation as to the nature of the protests
which have caused this action to be taken, nor do I know the
persons from whom these protests came, nor have I been given an
opportunity to reply to them? I was also informed in your official
communication on Monday that the authorities were in sympathy
199
with me; that they still wished to confer the degree, only they
inadvisable
it for the University to do so at the present
thought
moment, and, therefore, asked me to wait until June next when
the protests they have acted upon should be forgotten. You your-
self were so thoughtful as to suggest
that I should write you a
letter regretting that I was obliged to be out of town on Washing-
ton's Birthday.
It seems, therefore, that the authorities of the University of
Pennsylvania were so fearful of running counter to certain local

prejudices that they
were ready to sacrifice me, or rather, let the
of their decision rest upon me until they saw nothing to fear
stigma
for themselves by removing it, though why a course of action
not easy to
June should not be just now,
is
which will be just in
understand. I should have supposed that a degree awarded by an
Institution of the antiquity and dignity of the University of Penn-
sylvania, in recognition of
work which they considered worthy of
the honor, would have been beyond the reach of local gossip. But
it seems that I was mistaken, and that in the
authorities' fear of
local clamor, they would have left me its victim until the last echo
had died away.
In your letter of yesterday you say nothing whatever as to the
of the degree as was verbally sug-
postponement of the conferring
gested to me on Monday. I am, therefore, unaware whether you
now wish to postpone this, or to refuse the degree altogether. But,
Sir, to enable youwith the best grace possible to escape from the
head and the
complications which have been brought upon your
heads of the Trustees, I would say that I owe nothing to the Uni-
versity of Pennsylvania, and
that I refuse now or at any future time
to accept anything from an Institution so lacking in courage and
justice.
Very truly yours,
JOSEPH PENNELL
His honour vindicated, the University's cowardice

action
exposed, he was ready to take the University's
lightly. Doctor and Mrs. Morris Jastrow
were giving
us a dinner that same evening to celebrate the Degree.
2.OO
An Attack Ufon Pennell by the Philadelphia Art Club
We suggested that this was the occasion when Hamlet

not only could, but should be left out. They would not
hear of it, which showed that Pennell was not without
friends even in the University where Doctor Jastrow
was both professor and librarian. To spare our em-
barrassment own some one muttered in
or hide his
greeting something about having the celebration any-

how.
"Oh, no/' said Pennell, "it's not the celebration,
it's the wake."
The newspapers made capital of the affair, exagger-

ating, misrepresenting, embroidering. Correspondents
wrote in defence, correspondents wrote in attack. Promi-
nent Philadelphians were interviewed. Bertram Lippin-
cott, the publisher, said that General Pershing might
as truthfully be called a Pro-German. Harrison Morris,
old friend, found in the incident another example of
artists. Wal-
Philadelphia's attitude to her distinguished
ter Taylor, the illustrator, referred the whole business
the stupidities of clubdom and the narrow hypoc-
' '
to
risy of academic jugglery."
Devitt Welsh added his testi-
mony one with practical proof of Pennell' s loyalty.
as
The Sketch Club sent a testimonial of confidence, in-
cluding in it Charles M. Burns, Pennell 's "companion
in crime" who offered to appear before the committee,
only to be promptly turned down. When, later, Paul

was asked to join the Art Club as non-resident
Bartlett
member, he said, "No. You had one artist in your Club
once Joseph Pennell and you threw him out. I
wouldn't run the risk." And McLure Hamilton has put
"
iton record No one in the country excelled this Anglo-
:
American Quaker in enthusiasm and self-sacrifice in

zoi
aiding the American Government and the people in that

critical time/' Artists' faith in him was not shaken.
Looking back dispassionately, emotions cooled by

time,_ the University's action is to me no less incom-
prehensible. Here was a man whose work was sought
by the Government; who was serving on Government
committees; whose War Lithographs were approved by
the Government for exhibition in public galleries
throughout the country; whose posters were being made
for the Government as spurs to popular patriotism; a
man to whom
the President, the Secretary of the Army,
the Secretary of the Navy, Army officers, Navy officers,
war of every kind were writing to acknowledge
officials
the interest and value of his work; a man whose aid

was in demand for almost every war undertaking in
which art could be a factor; a man honoured every-
where for the gift of his time and energy to the nation;
and the institution which in his own city should have
been the to recognize and acclaim his art and his
first
practical devotion to his country in its hour of need,

instead, heaped contumely upon his head at the bidding
of petty local gossip. It was grotesque.
Throughout the talk and turmoil Joseph Pennell kept
his poise admirably, going his
way outwardly unmoved,
working on steadily for the Government, serving on
still another Government committee to select eight
artists to send to the Front visiting the School for
Disabled Soldiers which W. A. Rogers was managing in
New York. On the twenty-second of February he was
rejected by the University. On the twenty-sixth he was
lecturing for the War Emergency Fund at the Academy
of Music; on March third, lecturing at Mr. Charles M.
zoz
Schwab's New York house for the American War

Hospital at Neuilly, and offering, through Mrs. William
Henry Fox, Secretary of the Committee, to sell fifty sets
of his War Lithographs to Mr. Schwab, for distribution
in various institutions, the money to be handed over to
war charities. On April first he was in Washington to
attend a luncheon given to Directors and Publicity Men
of Government Departments. When in Philadelphia his
almost daily engagements were "Government Trip to
Shipyards", "To Hog Island'*, "To Chester Ship-
yards", "To Pictorial Publicity Meeting." When he
left Philadelphia for the West in March, it was to hold
exhibitions of his War Lithographs, to talk about

American War Work, and in Chicago to consult with
the Chicago branch of the Pictorial Publicity Com-
*
mittee.
The first town on was Columbus: "It was
his route
not much of a success," he reported on March fifth
"a stodgy crowd at the talk I dont think most of em
caught on no formal opening of the show no cat-
alogue but a good gallery not so badly hung. On the
other hand some of the people very decent lunch to-
day and visit to big quarries and then to Chicago
and what??"
The question was answered first letter from
in his
Chicago where, as on earlier visits, he stayed at the

University Club (March 6). "Everything is all right
though I was afraid it might not be but it is and I
shall get at the hanging to-morrow and there will
be speechifying the next day and everything seems O.
K. Have seen Alice Rouiller and their show is ready and
altogether I am on the town. Did you get my telegram
2.03
to send on all the Government Committee things at

once by special delivery?
' 4
On the ninth he wrote to Devitt Welsh The Chicago :
meeting is arranged the Exhibition

is arranged get
those posters here for it the meeting will be backed
by all Chicago. Incidentally even my show
is open.
What of the othertwo posters?

Illness could make no difference, and he was very ill
throughout his stay in Chicago. On

the ninth, the day
of his urgent letter to Mr. Welsh, to me he was writing:
"I am pretty seedy, grip or malaria or something, I
dont know." And two days later: "I dont think that
much will but maybe that is because
come of things
I am seedy, seedier than I have been". And in another
"
letter the same evening: I am better but going to bed
try to talk to-morrow."

And on the thirteenth "Am
all wrong again this morning and should go to bed if
Idid not have to go to a meeting."
He went to the meeting for the Government but the
one of work he had undertaken for himself a
piece
commission from Ketterlinus for lithographs of Ar-
mour's stockyards to be used as an advertisement he
was forced to give up. I knew how ill he was when I
received his note of the fourteenth:
I triedto-day at Armours and had to chuck It Its horrible,

magnificent in a way in the stock yards
and killing places but
of course what I see they dont want peofle to see. If I can I shall talk
Tuesday and Wednesday. Incidentally not a sign is out either at the
Institute or Rouiller's about the show not a thing is sold they
are flocking I understand to these English cribs which ate all over
the place I have seen but one notice of any importance there is
not a copy of the book on the Lake Front there is not an ad in the
104
papers not a notice but they have Billy Sunday the comics
gossip* Base Ball what more? I picked up a copy of the Temps
4 pages of news; in the 48 to 98 bere> there may be a head line or so/'
He was worse on the fifteenth: "I went out yester-

day and am near dead to-day Fm all to pieces so
am in the house and now some one has stolen my hat!' '
And yet on the sixteenth he could forget his really quite

desperate physical condition to write a business letter
to Devitt Welsh.
TO MR. H. DEVITT WELSH
University Club of Chicago

3. 16. 1918
Dear Welsh: The letter and the middle-sized posters have come
the little one is a brown mess utterly ineffective
Because
it is utterly killed by the lettering this is a failure as to the
cranes the middle size one as the printers have virtually elimi-
nated the brown it came very well but had they used the offset
press it would have been a million times better The blues are vile
I
have asked to have the big one sent out. The meeting is coming off
I expect to attend Friday. Why cannot that meeting of Vice Chair-
men or the Committee from among them be called earlier the same
day Consider the circulated report!
Yours
Joseph Petmell
After this he gave in, saw a doctor, postponed the

Armour work but not the new Government commis-
sion. His few lines on the eighteenth outlined his plans :
"Leave Thursday morning stay ~over nigh^t in N.Y.

Welsh telegraphs me they want the U.S. a new
series of ship yard things. I have said I would, do them.
Also they will pay expenses. But I'll have to feel better
before I do
them. I have arranged to come back and do
the Armour things later whether I shall is another
matter."
He did not get off on Thursday, and on^Friday: "Its
been one demnition grind and its not over lunch then
drink then meeting lunch
meeting then dinner then
then meeting then talk 4 speeches and another dinner
Cincinnati Sunday Detroit Tuesday may be back at
once and maybe not. Its snowing and slushing hard."
From New York a wire came: "Bartlett has cured me
shall be back to-morrow afternoon J. Pennell. I know I
have and I hope Phila will not nullify my efforts Paul
Bartlett/'
Whether was not so good a physician as he
Bartlett
Pennell had
thought, or the fault was Philadelphia's,
hardly returned before he went to bed, stayed there
four or five days, with the doctor coming twice daily.
His vitality to me was a never-ceasing miracle. He
was no sooner out of bed before he was in New York,
working on his Liberty Poster and writing me his
programme for the next week or so "I am going down
:
to Washington to-night shall stay there till Tuesday

then either back here to finish printing or stop over in
Philadelphia maybe movies Wednesday Thursday
and Friday New Haven Saturday and Sunday ship
yards Tuesday Lowell Wednesday Grolier
Whats
the use of talking about my work?
He stopped over in Philadelphia long enough to
arrange a fine show of his War Work lithographs at
Doctor Rosenbach's. Then he was off to the South.
CHAPTER XL
TRAGIC DISCOVERY IN WASHINGTON THE -
ARMISTICE RAILROAD ACTIVITIES SERIES

-
(1918-1919)
AT any other time the disaster waiting him in Washing-
ton would have broken him down completely. The
boxes containing our Whistleriana had arrived at the
Library of Congress, been opened, and the collection
we spent years getting together was found on the high
road to ruin from damp. A few items were destroyed;
from all, as Doctor Putnam said, the bloom had gone.
Only those who knew Fennell' s interest and joy in each
separate treasure, in each new possession, in his voyages
of discovery, in his bouts of extravagance at sales, his
bargaining in old bookshops, could realize his despair.
But, despairing or not, he could not delay his journey
to the coal regions in West Virginia, could not afford the
luxury of leisure to be miserable in. He wrote to every
one who might be responsible for the damp and damage
or able to find out who was to Mr. Skinner, the
Consul General whose help had seen him through his
dark days in London, to the American Express Company
who had the shipping of the boxes in charge, to Brown
and Stevens who had taken them over from Whiteley's,
to Whiteley's manager. He could do no more at the
moment and he went on to Charleston, West Virginia.
He carried his depression with him. The town struck
2.07
him, Maytwenty-third, "as a pretentious, bumptious

will be ... they gave me
stupid hole like the world
a room with nine windows I suppose I shall pay nine
dollars the niggers are the limit for laziness and stu-
pidity there are no mines near no motors to get to

them. The country coming was stunning I am wasting
the day I go to-morrow to Huntington, then to
Athens then Columbus and then Chicago to do the
packers the heat is pretty fierce but its worse to find
nothing."
On the twenty-fifth: "This army man is a pesthe
would not take the things if I did them and after an
avalanche of notes, letters, phones, telegrams, I sent
him a collect message saying it would be impossible
to do anything for weeks. And now they are going
. . .
to rout me out in the middle of the night to sketch on

the river this is the last of going anywhere or doing
' '
anything for anyone but myself. And, the final word

of disappointment: "I do not know what day it is
I have had an awful time heat, dirt no, stinking filth
worst I ever this place is pretentiously common-
saw
place missing trains, putting up in villages yet some-
thing is done go on from here slowly to Chicago."
In Chicago he was at home, he had friends, he had
definite work to plan without interference from fussy
officials who knew nothing of art and could not under-
stand artists. "As an artist how can I tell when I shall
get to and how long I shall stay at a place I want to
work in?" was the way he expressed it to Mr. Devitt
Welsh, "they treat me like a photographer or litho-
graphic commercial manufacturer.
Though he could and did say harsh things of Chicago,
2.08
JOSEPH PENNELL DRAWING IN THE
STOCK YARDS, CHICAGO
Tragic Discovery in Washington
of some of the people, of many of their ways and

manners., he never lost a Chicago friend through his
honesty. His regret was that he could not meet all the
proposals of work Chicago lavished upon him. Mr. David
A. Robertson, of the American Council of Education,
President of the Renaissance Society of the University
of Chicago and Director of University Public Lectures,
was anxious to have him talk to the Summer School
but he was obliged to refuse. "I am very sorry," he
wrote, "for I always find talking to students most
interesting and I am always sorry to miss the oppor-
tunity." One pleasure that made no inroads upon his
time, Mr. Robertson was able to give him. It was al-
ready difficult to obtain a complete series of the Litho-
graphs of Greek Temples, editions of many of the single
prints having been exhausted. By a fortunate chance, a
set had just turned up at Mr. Robertson ex-
Rouiller's.
hibited the prints in the Classic Building and raised the
money to purchase them as a Memorial to Frank Bigelow
Tarbell, the former Professor of Classic Archaeology.
The Ketterlinus commission could not be postponed a
second time while lectures and talks could, and, if
Pennell had got rid of Government officials, his trouble
now was with the red tape and formalities at Armour's,
where he was "pestered to death by permits." And
the stockyards and his other subjects were miles away:
"I start at seven and got back last night at nine thirty
and there is no end, and when the end comes I
shall be ended too." It was impossible to write letters;
his notes to me were concerned solely with business
details I was attending to for him in Philadelphia.
After Chicago, he went on to Detroit where "I have
done Ford's motor place or rather, there was little to

do." And, a week later, "I have finished here with a
launch and leave at 6 to-morrow for Cleveland."
The Government ordered so huge an edition of his
Liberty Poster that the printing was divided between
Ketterlinus in Philadelphia and Heywood, Strasser and
Voight in New York, and Pennell, during the late sum-
mer, was kept going and coming from one printing
house to the other. His subject was "New York City
bombed, shot down, burning, blown up by an enemy. A
fleet of aeroplanes fly over Lower Manhattan, flames and
smoke envelop the burning skyscrapers, in the fore-

ground Liberty, from a pile of ruins, rises headless on
<4
her pedestal, her torch shattered." His title was Buy
Liberty Bonds or You Will See This", which explained.
But the committee, like all committees, knew better
* '
and printed instead : That Liberty Shall not Perish from

' '
the Earth. Buy Liberty Bonds which explained perhaps

.
the citizen's duty but not the poster. If he was irritated,

at least he had the pleasure of making the drawing, the
excitement of printing it in colour, for him something
new. The printers were enthusiastic, Mr. Heywood of
the New York firm offering him every facility, encour-
aging every experiment. He arranged the colours so they
would print more or less like a mosaic, the usual way
being to mix them through repeated printings. "Ar-

tistically, the poster must stand or fall," Pennell wrote.
But technically it was in the printing one of the most
interesting of the experiments and experiences of my
life," so interesting that he chose it as subject for the
sixthvolume in the Joseph Pennell's Pictures Series, the
second brought out in 1918.
zio
Tragic Discovery in Washington
In the course of the year's many journeys he had be-

gun his Railroad Etchings in New
York, Washington,
Philadelphia, Chicago, though spare days for printing
the plates were few. He went on with this work in the
autumn, making short trips to Pottsville, Mauch Chunk,
Shamokin, Wilkesbarre, Mahanoy City. His letters were
more hurried, he had less time to spare, winter was so
near. Therefore, when he wrote from Shamokin simply;
"Got some things to-day/' I knew work was going
uncommonly well. At Wilkesbarre, by the end of* '
September, he found the poster all over the place it

is better than I expected but the rotten Christie and
the Green soldier the worst of the lot are twice as
popular these people are hopeless sightless and sense-
less." A Pictorial Publicity meeting in Chicago, a lecture
to the Woman's Club in Cincinnati meant another trip
West November, the visit to Cincinnati saddened by
in
the illness of Duveneck whom he loved and with whom
his friendship dated back to 1885.
TO MRS. JOSEPH PENNELL
Cincinnati
ii. 24. 18
Kamli Pen Got in here to-night to find the town waiting with fetes
and festas for a week, but I shall leave on Tuesday morning for
Detroit I expect write there to the Hotel Statler. They tell me
Duveneck dying beastly and sad his end if it is so.
is
Waked up Chicago and kicked Gibson all over the shop and
carried the crowd with me. Had a decent time and arranged the
show with Rouiller who is pretty bad but things are moving
there. Grover and Clarkson O.K. They have hung me in the centre
of their celebrities truly the prophet and call me a permanent
resident. Dont send anything of importance to Detroit as I may
XII
annoy him. He was through the per-

fairly restrained
formance but afterwards he could no longer contain
himself and John Galsworthy, whom we met in the
lobby, bore the brunt of his boredom. "I say, Gals-
worthy, when you get back to London tell Barrie, with
my love, that of all the damnedest rot I ever saw, that's
the damnedest." In May the call to New York was for
the annual convention of the American Federation of
Arts which for several years he attended regularly, going
with hope and coming away with disappointment. In
between he posed to Wayman Adams for "The Con-
spirators", that amazing group of three men as differ-
ent in type as three men could possibly be himself,
Charles M. Burns, J. McLure Hamilton. He sat to Doctor
Tait McKenzie for a medallion. He talked for the
Fellowship at the Academy, for Doctor Rosenbach at
the opening of a fine Beardsley exhibition. Not until
July could he settle down to finish his Railroad Activi-
ties Series.
The greater part of July and a week or two in August
he worked in the New
York stations and ferries, little
in his notes to me except his often repeated, "I am
getting on but am near dead with rush and heat es-
pecially the first", for, in addition to etching, he was
seeing many publishers; helping to organize the New
Society of Sculptors, Painters and Engravers; giving
John Flanagan sittings for the medallion which is one
of the best of the many portraits made of him. And,
labour of love, he was contributing Notes to the Cata-
logue of Doctor Walter H. Jessop's Collection of
Whistler's Lithographs, sold the following November
at the Anderson Galleries. This, as he wrote to Mr.
2.14
Railroad Activities Series
Mitchell Kennedy in a Prefatory Letter he was glad to

do, "as I knew Whistler, knew Doctor Jessop and knew
his Collection."
His impressions of his railroad subjects he reserved
for his exhibition at Keppels' in the autumn. It was his
habit to add a few comments to the titles in his Cata-
logues and in this year's notes he^declared that no other
station in the world was so well worth doing as the
Grand Central the Temple of Travel the swing of
the bridge leading to it superb, the Concourse the finest
hall in the modern world; that mystery filled the ferry
houses; that beauty was in the lines of the tracks at
Weehauken. "The dignity of usefulness" was to him
the charm of the Pennsylvania Station and nowhere was
there a more pictorial train shed than in Philadelphia.
He was no less enthusiastic in the autumn., at Altoona,
Mauch Chunk, Scranton, Pittsburgh, farther south at
Memphis, farther west at Chicago and St. Louis. From
Pittsburgh he wrote to me, September fifth, "I shall
clear out for St. Louis to-morrow .... there is no
day train so I must go to-morrow night it's all a part

of the whole scheme to make you take a sleeper and
to prevent you from seeing the country though no
one wants to do that scarce anyone looked at the
Horsre Shoe which is fine but they just loved the cute
signs we are a great people. I have not read Wilson
who from head lines seems to have dropped his league
and is talking treaty."
* *
From Chicago, on the eleventh Its been pretty hot

:
but is all right to-day it was awful in St. Louis. They

want me to talk there. Went to a meeting last night
MacCormick and Johnson Senators made fun of the
Woody Willy and the people yelled, 'impeach him,

turn him out/ and hissed the blessed name/' He found
* ' " ' 4
Mauch Chunk still picturesque in Memphis, steam-

;
boats, levee, niggers, cotton, quite the old thing"; in

St. Louis, "subjects but no weather" this was in
* '
November and a day or two later The weather is as

:
black as London with thunder and at 10.30 A.M. I am

writing by electric light and pouring." But he
its
making drawings for a St. Louis

stayed for several days,
newspaper, and on the eighth: "I have got through
them and they seem to like the things which is amazing
and really more than I do all of them."
When, in London just before the war, Fisher Unwin ' '
arranged to bring out a second edition of Lithography

"
and Lithographers , it was with the idea of making it
the first volume in a Graphic Arts Series, etching to be
the subject of the second. To this scheme the war put
an end. But during those months of waiting, at
free
the beginning of 1916, Pennell wrote his "Etching and
Etchers", so as to have it ready if, with peace, an
interest in art returned. The Macmillan Company in
New York, American publishers of "Lithography and
Lithographers", undertook the publication of the new
book and Fisher Unwin agreed to take an English edi-
tion. In the autumn Pennell, despite his wanderings,
was seeing the book through the press, and it was
published before Christmas. The Lippincotts called for
a sixth edition of our "Life of Whistler" and we took
advantage of the chance to revise it thoroughly. They
asked for a second book about him to supplement the
"Life" and we decided to publish "The Whistler
' '
Journal. It was while we were thus once more occupied

Railroad Activities Series
with Whistler that Pennell bought for our Whistleriana

in the Library of Congress the legal documents in con-
nection with the Whistler v. Ruskin case, including even
the brief and Whistler's letters to his solicitor, Anderson

Rose ''amazing". Whistler would have said. These
are the subjects of the last letters written in 1919.

Windennere Hotel
n. 30. 1919
Philadelphia,
My dear Professor May I say howdy across this drear, dear dry
desert and I never see you any more. What I want to know of
' '
course want something, is to know where in praise

I (of him) in
the Early Eighties" you wrote about Whistler, as you say, on 172.
of American Painting a very interesting book, and I really mean it
and understandable. But where and what did you write? I write
because we are doing a new Edition of the Life, about which you say
nice things, and a bran new book on him as well, but I want to get
this early appreciation right, and give you the credit for it. So far
as I know the first intelligent article was Brownell's in Scribner $
also in the Early Eighties, so please let me see your article or tell
me where I can find it.
I hope it may interest you to know that I have become the proud
possessor of all the Ruskin Whistler documents.Ône does not have
to be a millionaire to make a fool out of millionaires., by proving
to them they dont know a good thing when they see it. What would
we give now for Rembrandt's case but I got it. ... But please let
me know about this article of the 8o*s. We both appreciate the
nice things you said about us.
I am yours
Joseph Pennell
I am going to have a show at Keppels on the loth and a big book
out on Etching and a lot of other things soon I am.
2.17
Windermere Hotel, Philadelphia

12..
15. 1919
My dear Professor Of course I wanted you to have the book or I
would not have asked that it be sent you but I always have de-
signs on everybody
have I not am I not always and endlessly
told so and I hoped and now hope more, it may incite you to say
something about it in the charming way publicly in print that you
have said it to me in your letter. I too was asked to go South to
North Carolina and we might If I could have gone played the
parts of the two Governors but I aint going I was, in the Club
two or three times last week but you werent. I may come
probably
shall to the Institute meeting in
January do can I hope I shall
If I
see you then. But remember I wanted you to have for your very own
the book.
Joseph Pennell
Windermere Hotel, Philadelphia

1919 ii. 4.
My dear Professor never meant to put you to all

I never, never,
that trouble. But I am very glad to have the information at hand.

I have the Art for Art''s Sake you gave it to us. But I do propose to
make what you say in your letter about your early apprecia-
use of
tion, unless forsome unknown reason you object to my giving you
credit for what is due to you, in the book which is now under way.
Yours
Joseph Pennell
zi8
CHAPTER XLI
A PHILADELPHIA INTERVAL
(192.0)
OUR hotel changed hands and was the worse for it. We
were reduced to going out for every meal, including
breakfast; in our rooms we could barely turn round for
the accumulation of studio properties. Philadelphia
gossip said that Pennell had lost all his money and
appearances justified the gossip. What Philadelphia
could not understand was that he would settle nowhere
until he found an outlook to rival the beauty of the
Thames out of our London windows. Brooklyn con-
tinued to haunt him. He remembered how from Brook-
lyn Heights he had seen the skyscrapers of Lower
Manhattan towering above the East River, the ships
coming and going in the uppef bay, the sky aflame with
the sunset. But pressing_work had to be finished before
the Brooklyn experiment was possible.
Philadelphia was not without compensations. Old
friends did their best to make us forget that we were
waifs and strays in our native town. The Street of Little
Clubs, recovered from its orgy of bond-selling, was a
refuge. The Sketch Club had not feared to proclaim
aloud its allegiance to him when the majority of
Philadelphians hesitated to whisper theirs, and now
often in its basement, fashioned into an American
version of a German Bier Kellar, we dined, often in its
tiny Philadelphia back yard, transformed into a formal

garden, we spent the summer evenings. We were never
alone, sure tomeet Charles M. Burns, years older than
the oldest, immeasurably gayer than the gayest; or
Doctor Zimmermann, Walter Taylor, Devitt Welsh,
Edwin H. Fetterolf, the librarian, with a love of books
that won Pennell* s friendship from the first. And Pennell
would bring friends with him, Miss Agnes Repplier,
the McLure Hamiltons to remind us of our London
evenings of good fellowship and good talk, Mr. and
Mrs. Harrison Morris and their daughter Catherine I
cannot count all whose friendly companionship helped
him through those homeless Or we dined at the
years.
Coin D'Or where in its dining room or miniature roof
garden everybody knew everybody else. Or we went to
the Art Alliance, its big Walnut Street back dining
room gloomy but, as a rule, Walter Taylor and his wife
were wanderers with us, and congenial company can
temper despair with humour. To-day Americans have
the habit of wandering for their dinner and are
hardened. Pennell could not reconcile himself to it, still
less after prohibition made so dreary a function of
dining. To him, as to most intelligent men and women,
wine was as essential to dinner as bread or salt.
At times, we gave up the clubs, tried other places
until there was hardly a hotel in Philadelphia that did
not knowus. Reluctantly he ventured into tea rooms
that made a boast of "home cooking". One stands out
in my memory. The tables were covered with oilcloth.
He had borne much, but this was beyond endurance and
he sat silent, the picture of woe. Suddenly he drew a
?
lithographic pencil from his pocket and began to draw

2.2.O
A Philadelphia Interval
5
on the offending cloth. "As good a surface as stone/
he said, and handed another pencil to Walter Taylor.
Both men spent the evening drawing, at rare intervals
swallowing a mouthful of they hardly knew what,
which perhaps was just as well. The next day I bought
oilcloth. Pennell drew on it, hurried to our friend
Joseph C. Fraley, the patent lawyer, who shared the

excitement, saw a new lithographic method, was eager
to patent it only, what was there to patent? Nothing
could stop anybody who wanted from buying oilcloth,
drawing on it, pulling prints on a lithographic press.
K
To Mr. John Braun, who was interested, Pennell wrote :
"I doubt very much if the invention can be patented, it

is so simple, yet artistically it revolutionizes Lithog-
raphy and makes possible what we have been looking

for." But he was less hopeful after later experiments
with Charles Locke at the Art Students' League.
Occasionally, Pennell, a member, lunched or dined at
the Franklin Inn, a Camac Street Club but with an air of
superiority, separated from the others by the width
of Locust Street and no women admitted. He was a
member of the Triplets, a club of men who met once a
month to dine. Also of the T. Square Club, the Phila-
delphia Chapter of the Institute of Architects, both with
regular weekly or monthly meetings; also of the Phil-
obiblon Club where, at the request of the secretary,
Mr. John Ashhurst, he would now and then give a
talk. And he was president of a club named after him.
The Pennell Club was
neither for dining n'or lunching.
Itheld no formal meetings. Its sole interest was in books
and the jnaking of books. It originated, in 1918, with
Mr. George J. C. Grasberger, dealer in prints and old
books, keen about Pennell' s etchings and lithographs,

enterprising, full of ideas.
A
small group of men who
cared for books and collected them often met in his
office. He suggested that they should issue books them-
selves,and they agreed. The members of the Club were

William West, John Ashhurst, Ellis Ames Ballard, S.
Boyd Davis, Colonel Henry D. Hughes, Walter Taylor,
Henry Thouron, Pennell of course, with Grasberger as
secretary and publisher. Pennell designed the Club's
monogram, the first publication was a hitherto un-
published manuscript by Edgar "The Gardens
Saltus:
of Aphrodite/' So far, five Pennell Club books have
appeared.
In England Pennell was a with no right to
foreigner,
interfere in national affairs. In America he was at home
with the right and, moreover, he felt that the knowledge
gained by a long lifetime of varied experience might be
of use to his country. Local schemes for War Memorials
were very much in the air. He suggested instead the
Lincoln Highway converted into a great National
Memorial, to which States and cities could contribute:
a great National Avenue a Via Sacra across the con-
tinent from New York to San Francisco, on either side
memorial trees and memorial monuments, the work of
the most distinguished American sculptors. A few
praised; ,|nany laughed; and recently the idea has been
borrowed, with no credit to him, and limited to a
Memorial Road for one State. His suggestion, if adopted,
would have created beauty.
He was as eager that the beauty already in existence
should not be destroyed. He started a crusade against
billboards, whose screaming colours and vulgar de-
Z2JL
signs defiled country and town alike. He endeavoured

to rouse the public to their ugliness and their unwarrant-
able intrusion upon the landscape. He wrote to the
papers, made drawingsof the worst examples, had them
reproduced in the Magazine of An and other publications,
showed them as films in his lectures. Again the few
praised, the many laughed, nothing was done. To-day,
here and there, action has been taken, but that he
initiated the movement has been forgotten. In Philadel-
phia, his righteous wrath was roused by the sorry

spectacle of rows of wooden seats left propped against
the State House after some civic ceremony, at the im-
minent risk of fire; still more by the condition of the
building at the east end, the Old City Hall with its
windows filthy and broken, its front doors battered and
black, bricks dislodged, a shabby fruit stand leaning
its
up against its dishonoured walls. He exposed the neglect

in public and in private, but to no avail. And it was the
Mayor who got the credit when, inspired by Pennell,
he urged the eventual restoration of the building. And
Pennell mourned the ruin of the little old park by the
Fairmount Water Works into which the builders of the
new Art Gallery were cutting and digging. He attended
meetings of the Fairmount Park Association, he etched
and lithographed the park, exhibited the prints with
appropriate legends beneath, and Philadelphia discreetly
held its peace. He protested in the press, and no one came
to his support save Miss Agnes Repplier and Mr. Albert
Rosenthal.
TO MR. ALBERT ROSENTHAL
Hotel Windermere, 9.2.. 192.0

Dear Rosenthal I am very glad you wrote that letter and I am
very surprised that The Ledger printed it. I hope you sent copies of
itto the other papers. I think what we should do and do as soon as
possible is to call a mass meeting and expose the whole conduct

of the city art affairs and public affairs generally. The trouble is not
with the politicians not with the Mayor he is only a poor
wooden-headed newspaper reporter who has got in a round hole
his square head wont fit. Its the highbrows in this town who are
cowards and wont stand up for anything and dont care so long as
they can hide in their Borie Trumbauer Cret built palaces on the
main line. It is their fault let us get together at once. Agnes
Repplier will help and we can show up and show off this down at
the heel, decayed city magnificent as that Harvey Shippen calls
it We must get at it and do something but how they
allowed your letter in and my name to it is beyond me. Dr. Keene
too is on our side. If we stand together we can do something
Yours
Joseph Pennell
Peace did not lessen_the demand for his lectures. In
192.0 lie was invited and went to Bethlehem; Boston;

Washington; New
Fall River; York where, in February,
he began his annual course of four lectures to the
National Academy students. More important were the
Scammon Lectures at the Chicago Art Institute in
April. A short-hand writer took them down as he
talked and they were published by the University of
* ' " * *
Chicago Press, The Graphic Arts. It will be quaint,

this book, just my talk/' he wrote me. I followed his
progress in his daily notes: "5.30 P.M. Lecture just

over/' is the note for April sixth. "I have done the
first one a pretty big audience and they seemed to like
2.24
it. "On the eighth: "I give the second to-day . . . Koch
came in yesterday and says they want me not only at
Evanston where they are getting up a dinner but at
Ann Arbor Mich. dont think I shall go I dined
but I
with Rouillers night ... I am to go to Grover on
last
Saturday but that is about all They have given me a

contract which IJiave made all right."
Of this second lecture he wrote me again on April
eleventh: "much smaller audience last Thursday sup-
pose they did not find they could learn everything in
an hour so they left no matter I'll get the book
in order the University people seem all right." "The
third one (April 14) went better I think there was a
big crowd but the trouble with these lectures and all
the country and all the people in it is they have really
nothing to do, no ideas, and they bustle tabout trying
to pick up something and when they have swallowed
it, it disagrees with them and they blame you for
their rotten internal arrangements which protest against
all the junk heaved into them." With the fourth he
was 2.0): "I seem to be waking
better satisfied (April
things up There was a big crowd at the Lecture but I
'
And on the twenty-fifth: "I am all
1
talked badly.
through save talking to the artists to-morrow and I
guess maybe they will wish I had not spoken whep. I
get through. As that Senator Capper says we are nothing
but Thieves and Robbers."
In June he went West as far as Des Moines, to speak
at the Convention of Women's Clubs where he hoped
to expose the iniquity of billboards with such eloquence
that the women would flock to his support. The elo-
quence was not wanting, it was the women who failed.
Shorter journeys were to Brooklyn, Springfield, Smith

College in the autumn; further encroachments on his
time were his duties the sort of duties he never shirked
on the hanging committees of the Philadelphia Water
Colour Society and the New Society in New York.
'
But "The Whistler Journal' and the new edition, the

fourth, of "Pen Drawing" were the absorbing occu-
pations of spring, summer
and autumn. Pen drawing,
he would say, is a lost art, and yet there were a few
names to add, a few new developments. He gave even
the "Ists" a chapter, though their trick was "the
avoidance of difficulties", and it could be read with
profit by those
whobelieve that art is to be saved by
artists becoming like unto little children. "Pen Draw-
ing" was printed by the Franklin Printing Company
in Philadelphia and Mr. Kitteredge, the president, gave
him the freedom of the press, willing that he should
* *
superintend the printing. In his words Publishers and

:
printers have worked with me and

have worked with
I
them. It has been a labour of love to work with such

workmen workmen who have cared for their work
and done it well."
This from Pennell was praise indeed, and the book
figures largely in his letters to Fisher
Unwin, publisher
of the English edition, and to Doctor Singer, with
whom he was once more in correspondence. To both he
wrote freely about not merely work but everything
that interested him. More clearly than Americans who
had always lived at home, he saw the change in his
country wrought by the years and emigration the
change in the people, the standards, the politics, the
manners, the type, and it distressed him, so little did
1.2.6
he think it ''America is become the

for the better.
dumping ground and rubbish heap of the world" was

his lament in a letter to E. J. Sullivan about this
period. In the Subway he would look at the people

opposite and say to me in despair: "Not one American
face among them!" Prohibition struck him as among
the worst results of the change. He could not believe
that the old-fashioned, level-headed American would
have accepted so impertinent an interference with the
personal rights long supposed to be the American's
birthright. Besides, now, suddenly to do without wine
told upon him physically. He laughed at the late
* * ' '
prophet who exalts soft drinks for the nourishment

in them. He did not drink wine for nourishment but ^s
a stimulant without which, in his opinion, art and
literature must perish. His feelings on the subject are
expressed with his unfailing vigour in his letters.
TO MR. T. FISHER UNWIN
Century Club. New York'

1910 10. 10.
Dear Fisher I shall be seeing Macmillans in a day or so with the
list of the plates and blocks I want for Lithography which they
are going to take. A dam nigger wench has mislaid it their
letter freedom the nigger instead of advancing
after fifty years of
and developing with freedom has degenerated into a childish
weak, but brutal animal they are fit for nothing but slavery or to
be returned with the Jews to their native lands, but nary a one will
go, of either cursed race, and if Wilson would only preside over
them with Pussy-foot Johnson and Carry Catt for his cabinet all
would be better in this worst of all worlds
Yet
I had 2. cocktails, 5 whiskies, i white burgundy and i gin yester-
day so you see how dry I am.
Have you seen or escaped X. he represents the perfectionôf

American literary culture which is bought ready made he per-
sonally is but his writings oh Lor
not bad
Joseph Pennell
P.S. The Pen Drawing book is now on the press and it looks mighty
well I suppose you have ordered enough copies and I hope
people will want them. J.P.
P. P.S. You may think we are in the throes of a general election.
We is of much more importance and so is craps
are not, baseball
why even dynamite in Wall Street dont move us, and no one either
knows or really cares who is elected so long as they can steal and
grab all they can, and play as much golf as possible But no one
knows with the women who know nothing and the workingmen
and the trash of Europe how the election will go
only., the people
who think will stand for Harding to get rid of the Wilson tyrannic
dynasty and to bury his league of notions but sentiment and
blither rule the American female mind and Gompers rules the
American workingman and they will swing the vote this time.
Neither of the candidates has any guts and Harding has a seventh-
day adventist wife and he carries his speeches in one hand and
his ascension robe in the other Cox dont and I hope wont carry
any thing. J.P.
TO PROFESSOR DOCTOR HANS W. SINGER.
The Century Club

7 W. 43 rd Street, N.Y.
ii. ii. 1910
Dear Dr. Singer. It has been ages since I heard from you a life-
time since I left Europe and since the world ended but now there
are some signs here of the coming of a new world with our new
President. I write you for I should like to hear from you again and
also because I hear you are bringing out a new edition of Modcrnc
Grafhik which I shall see when it gets here. I suppose you and others
have been at work. I have S truck's Etching and am
not
impressed with it and never was with his work. I hear Klinger
and Greiner and Stuck are dead is this so I have seen Jugend and
2.2.8
Gurlitt's productions and certainly they have fallen horribly from

their high estate. Is there anything good coming out in Germany or
Austria so I cant find it over here I had hoped for the end of
if
Futurism and for more art of the present but- from what comes
over, there is no art left with you or we do not get it what we
do get is not worth having, yet it is pounced upon and copied and
cribbed from by an artless gang who have escaped from Germany
and Russia and infest and corrupt the country. As for me I have
worked and brought out a big book on Etching (T. Fisher Unwin)
and it went like a novel and is out of print, and there are new
editions of Lithography and Pen Drawing, the latter about to appear
next month.
Museums and print rooms and print societies and teachers and
professors and schools of the graphic arts spring up all over the
place the only thing lacking is the graphic artist no really good
big man has appeared and most of those of promise have their
heads turned at the faintest breath of success and vanish. Webster
and MacLaughlan I have heard nothing of and White I dont
know if you knew his work is dead a Californian named
Winkler has done some good plates and millions of more or less
bad ones are being ground out I have done, did do during the war
many lithographs for the government, and the government is at
last beginning to take notice of art as all other civilized countries
and even I understand savage countries like Russia have. Save
mine there are scarce any books issued with any pretentions to art.
But one man Rockwell Kent though imitating in every way Blake
too much has done some interesting things these are in a book
called Wilderness, G. T. Putnam's Sons, -which probably you know
all else mostly is advertisements and what is called "Commerical
Art** which is mostly not art but what artists have to live on.
Things are not happy save in for those who are blissfully, ignorant,
and as for the rest of us we wander in a dry dreary desert.
Yours
Joseph Pennell
"
Pen Drawing" still held its place in the letters to
Fisher Unwin the book that had so well stood the test
of time.

Pen Drawing is finished to-day
Century Club New York
12..
19x0
3.
Dear Fisher Be not afraid the fine large paper copies of the
Pen Drawing
are
Signed
and signed by me now.
The
which this country is cursed
others were the result of the fool hustle
with. Everything is slovenly down at the heel incompetent
all the result of the place going dry We are become a race of poor
white trash as conceited as ignorant as lazy as incompetent
everything has gone to the dogs and it is only fools like T. who
do not know it and strut about armed with the valour of ig-
norance I saw that pompous ass, X., in the street and he had got
himself up as a British Bounder as nearly as his notions would let
him.
Yours
Joseph Pennell

7 West 43rd Street, New York
iz. 2.6. 19x0
Dear Fisher You are very much excited over a very small thing.
These are only lectures and I do not think and Macmillans have
said nothing that when they come out, which will not be for
months, the book will in any way interfere with the Graphic Arts
Series it will advertise. I have however written to Mr.
Me Farland,
the University Press, Chicago University, Chicago, 111., asking him
to consult you and offer you the book in England It will be a
text book really and may be popular, at any rate should be .... It
will^no more interfere with the Graphic Art Series than the Cantor
Lectures interfered with the book on Lithography.
What is good news, I hear that Scotland did not go dry this
country owing to dryness has turned to crime depravity and de-
bauchery for the poor
people must do something and they are
doing it. Incidently among our Christmas presents were
2. bottles
gin
i Scotch whiskey
i Vermouth
and we damp dinner to-night. Have Macmillans
are going to a very
settled up about Lithography? Or sent you the Pen Drawing? That
seems to be moving though I have not seen a note or a notice yet
but it is out.
Yours as well as can be
expected in this
time and place
Joseph Pennell
This
is not a Merry Xmas yet all dam fools spit it out at you.
j. P.
Century Club 7 W. 43d

Street, New York
I. 14. 2.1
Dear Singer Your letter and the post card written, the latter, the
day this cursed, useless, hellish war was declared between Germany
and England were received a day or so ago I also saw your
article in the Christian Science Monitor, the only decent honest paper
published in this country to-day. I am not a Christian Scientist

but a Friend I agree with your article perfectly I was not sure
you had not been perverted and to show you how much I agree
with you I send you a type-written copy under a separate cover of
my chapter on the Expressionists as you call them. I only call them
Ists you may use it if you like and if any one will pay to publish
it give the money to some one who wants it- Sauter says there is
real poverty. I too have and we too have had some success in our
work for three years I worked solidly for the British, was asked
towork for the French went to the front twice it was too awful,
too frightful, too horrible to do anything then came home and was
gobbled up by our government and stayed with the authorities
till a year after the end doing all I could to end it to show what
a fiendish thing it was. Dont worry, we are as badly off as you
are only the people dont realize it yet all the old life the old
world is dead, this is a dreary dry desert and grows drearier and
drearier daily and no one cares so long as they can make money
and any fool can do that. I made, however, three war books and
have brought out new editions of Lithography and Pen Drawing and
a new book on Etching and they are all sold out save the Pen
Drawing which has just appeared and from which the chapter I
send you is taken. The Sixth Edition of Whistler is out and Mrs.
Pennell did a war story, The Lovers besides which I have been
teaching and preaching all over the land. So I too have been busy.
If there is any new work I should see, let me know. I go to
Brentano's and there is a man here named Weyhe, who has things,
yours among others, but he has not the Second Edition yet. I hope
everything is as well as it can be with you, but it is not with us
save materially.
Yours
Joseph Pennell
The Century Association.

West 43rd Street
3. 6. 19x1
Dear Dr. Singer This is merely to say that I have just received
Moderns Grafhik and it is a great development of the first Edition,
and I am delighted to be in it. I have asked Macmillans to send
you my Pen Drawing which is just out I hope it may interest you.
I am glad you are having such a success with your books, here in
this dry hell of hypocrisy, made up of 100,000,000 of Jews, niggers,
dagoes and polacks who own the country it has only been possible
to find England included about 12.00 people, libraries and so
forth included, to buy my book. The war may have helped to ruin
wreck the world behind us but we certainly have become the most
artless degenerates in the world lower than any savages. We are
2.3Z
bringing out a new Whistler book Our Journal I think it should

go and so do the publishers why could you not take up as you
once wished the translation of the Life of Whistler it still goes
on, is now in its Sixth Edition, it was translated into French at the
beginning of the war. Do you care to do so or have you the time?
I write in a hurry this sort of business letter to let you know I have
got your book and sent you mine.

Yours
Joseph Pennell
133
CHAPTER XLII
A WASHINGTON INTERVAL OUR WHIS-
TLERIANA EXHIBITED IN THE LIBRARY OF
CONGRESS THE MOVE TO BROOKLYN
-
"
NOTHING detained him in Philadelphia once Pen
Drawing" was published and the manuscript of "The
was ready for the printers. He waited
' '
Whistler Journal
to keep lecture engagements in Scranton and Albany
early in 192.1 and to deliver his four February lectures
to the National Academy students. In March we packed
and stored a dozen boxes. In April we were in Washing-
ton arranging our Whistleriana in the Library of
Congress and preparing for its exhibition in the Division
of Prints. Doctor Putnam left the entire classifying,
arranging and cataloguing in our hands and gave us all
possible facilities. Mr. David E. Roberts and Miss
Helen Wright in the department made our task easy
by their help. We were at th,e Library every morning
when the doors opened, we did not leave until the
Print Division closed. When we got back to the
" "
hotel., as a rule Whistler Journal proofs were wait-
ing. Whatever leisure there was before and after work-
ing hours Pennell gave to making water colours for,
from the windows of one room, he looked far out
Pennsylvania Avenue to the sunset in the late after-
noon; from the windows in the other room he could see
A Washington Interval
the park and the Lincoln Memorial in the morning
light. The Catalogue was finished, the exhibition
arranged for Press Day on May thirteenth. It was
formally opened to the public on the evening of the
nineteenth. He was satisfied we both were and so was
Doctor Putnam. Pennell's one disappointment was that
comparatively small public attention was paid to a
collection in its way so complete. It does not pretend to
rival Freer *s collection in the Freer Gallery, then not yet
open. But in catalogues, books, letters, in all that

comes under the heading Whistleriana^ it is the most
representative in existence. That to so interesting an
event in their Library, Congressmen seemed indiffer-
ent was the chief reason for the disappointment that
crept into letters written by Pennell from Washington.

5 14. I9ZI
.
Dear Singer. I am
glad you got the Pen Drawing and are interested
in it. Your criticism about turning the book about to see the illus-
trations is perfectly just I even have anticipated you in the pref-
acebut many of the blocks were old ones others had to be
bought it was impossible to make them over, the expense would

have been absolutely prohibitive and besides to fit them in as I
should have liked would have taken twice the space This volume
has not gone well here the American ARTIST who is mostly a
Polish Jew has no use for anything but oil paint and etching be-
cause he can make money out of them, the people the rich are as
ignorant as the poor, buy paintings and etchings because other Jews
tell them to, critics (save the mark) and dealers merit has nothing
whatever to do with what they buy. I will try to get the Etching
book but it is completely out of print and rather hard to get but I
will see As to the book on me that is a great honour but impossible
for me at present to do anything. All my work is locked up stored,
some in London most of it or moth eaten or stolen some in
2-35
The Life and Letters of Josefh PennM
New York, some in Philadelphia and some here in the possession
of the Government. I have just given the U.S. our collection of
Whistler and they the people dont care a damn about it they
care for nothing but the movies and the comics art and literature
are buried beneath them but the Whistlers are in the Print Room
of the Library of Congress the most magnificent Print Room in the
world, absolutely unused and unknown.
Poor Strang you liked him better than I I knew him in a way
better than you he tried and did everything and everybody but
himself Do you know I only heard of his death a day or so ago
saw it in an English journal and only a reference to it. Here it
passed unnoticed. We are the lowest of the low. So to end this long
sentence I do not see how I could get together a representative set
of drawings certainly the Liebennann book which your publisher
sent is interesting and well done. I am going to New York for the
next few months to see if I can stand it but the dry inane artless
hypocrisy of the country has got on my nerves and wonderfully
picturesque as it is, I dont know if I can stand much more of the
smug vulgarity. Life is nothing but a jazz of ignorance and extrav-
agance. There is no decency left, it is just cafeterias and comics.
Its not my country any longer but that of the dregs of Europe of
whom you are well rid.
Joseph Pennell
TO MR, T. FISHER UNWIN

The Century Club 7 West 43rd St.
5. 14. 1911
Dear Fisher If you think my letters amusing they are not in-
tended to be they are the utterances of an utterly disillusioned
disgusted American, one of the very few left! I ! ! ! !
Incidentally, we have a show at the Library of Congress of our

Whistlers which no one cares a dam for, and we have finished a new
Whistler book oh we work if we did not if we stopped to
think what a dry dreary hell the world or this part of it has
become we should shoot ourselves. . . .
Yours
Joseph Pennell
z3 6
OBT D0 "
Elks
Photograph by
Our Whistleriana Exhibited in the Library of
Congress
He was in a letter-writing mood that fourteenth of
May. Apparently Mr. Leinroth had written him that
Philadelphia, so anything but pleased to have him there,
resented his going anywhere else.
Hotel Powhatan, Washington, D.C.

Dear Mr. Leinroth It is news to me that I have forsaken Phila-
delphia though if I had anything but real interest in the place I
should have done so long ago. Because I have to be doing some
work down here when Philadelphians think it is the thing to be
showing themselves on Chestnut Street and at the Bellevue Stratford
and getting in Peggy Shippen's column dont mean that I have
deserted the filthy draggle-tailed, down at the heel, tenth rate, one
horse haunt of ignorance, conceit, smugness and hypocrisy only
I happen to be at work we are here . I may however if things
.
go on as they are be driven back to Europe where they still have

and always will have drink and decency.
Yours
Joseph Pennell
We stayed on in Washington, work not quite finished

at the Library, the Federation of Arts' annual meetings
to attend, people to see, for up till then we had been
seeing nobody, there was no time for it. At last, on the
twelfth of June, we were in Philadelphia. On the morn-
ing of the fourteenth he went to New York and Brook-
lyn. Mr. William Henry Fox, Director of the Brooklyn
Museum, and Mrs. Fox, while with us a few days in
Washington, had given us promising addresses on
Columbia Heights. He was back in the afternoon, re-
joicing, rooms engaged at the Hotel Margaret where,
on the sixteenth, we settled for how long we knew less
than anybody. Friends thought we went tolBrooklyn
2-37
because we could not afford New York. We were there

because it was the one place where he wanted to be.,
with the Unbelievable City, the City Beautiful, the
City that he loved, out of his windows windows that
in his words, he "could look out of and forget _how
rottenly asinine the world has become/* He bubbled

over with the pleasure and the beauty of it in writing
to Fisher Unwin, in one letter, July ninth, referring to
the work that, from now on was to occupy him until
the end, "The Adventures of an Illustrator/' He spared
time, however, to record the infinite variety of colour
and light that was his by night and by day.

Hotel Margaret
95-97 Columbia Heights
Brooklyn, N.Y. 7. 9. 1911
Dear Fisher Note the address We are anchored at last but I do
not know for how long as, while one day is perfect the next is
chaos in this hole. But now it is perfect better than London. I look
from the sea to the Bridges of New York. It is far finer than Adelphi
Terrace You must come and see it. ... My only suggestion for
selling "Pen Drawing" is to get it in schools, art schools and
libraries it is too expensive for students and art clubs

It
isvery nice of you to want things. I have one suggestion. For a long
while I have been doing things about myself. The Century asked me
to do it Chichester did in the old days. Harpers did and Lippincotts
have. Would you take a book to be called The Adventures of an
Illustrator in the Tracks of his Authors Itwould include all sorts of
things might go, I have worked with almost every one as you
it
know and have a side of some of these people that they know not
I
of nor imagine But come over.

Yours
Joseph Pennell
z3 8
Our Whistleriana Exhibited in the Library of Congress
Hotel Margaret. 7. 24. 192.1

Dear Fisher This place is in its way as fine as Adelphi Terrace
and the view from the Ocean to upper Manhattan with New York
across the river ten times more wonderful and if the country was
not dry the worst drawback I had a bottle of claret yesterday
and hope for another to-day things would be all right, for this
town is absolutely unspoiled it is old Brooklyn and like in a
way Bloomsbury with German bands and cats meat men and
brown stone houses and dam respectability and I overlook and
look over that and this Sunday morning the chimes of Trinity
ring across the river and save the far away wail of the steamers we
see them come in Sunday morning, save the Brooklyn birds
this
isabsolutely quiet and if it had not been for the fool war I would
have had this place and Adelphi Terrace too but I have got this
and scrubbed the filth, rottenness and hypocrisy of Philadelphia off
me and out of me.
My Philadelphia Our Philadelphia is dead. The Whistler Journal
was arranged with Heinemann years ago It is uniform with
all
The Life and I hope it may go As to Hamilton's book I should think

Lippincotts might be good for it I have no doubt there is a lot
of Philadelphia in it
Yours
Joseph Pennell
Pennell as a coincidence that he had hardly
It struck
got to Brooklyn, closely associated with Walt Whitman,

before he received a letter from Mr. Henry S. Saunders of
Toronto, asking about his etching of Walt Whitman's
house made two years before (June, 1919) at the time
of the Whitman celebrations in Camden. Moreover, his
drawings of the Whitman family burial grounds, among
his earliest, had come into Mr. Saunders' possession.
Pennell thought it remarkable that they should have
survived, while the book they illustrated was almost im-
possible to find. Lately, it has begun to appear in
second-hand booksellers' catalogues.
2-39
TO MR. HENRY S. SAUNDERS
Hotel Margaret. Brooklyn

7. 24. 2.1
Dear Mr. SaundersIt is interesting to know that you have the
drawings of
Whitman Burial
Grounds
done forty years ago and curiously also I have come to Brooklyn
to live. Imade the etching at the time of the Whitman so-called
celebration in Camden and offered the plate to the Mayor to publish
in order to raise funds and purchase the house and the Oaf, like his
predecessors who did not appreciate and probably never
heard of
Whitman when he lived in their midst, refused the plate naturally
for such is Philadelphia and all its surroundings the plate was made
in the possession of
to illustrate in thefirst
place an article or essay
or written by H. S. Morris and as usual there were complications
and it never appeared. I pulled a number of proofs they are mostly
sold but if you wish and will let me know at this ad before Thursday
next and you wish it at the price of $15.00 I can get you a proof.
The only thing that happened at the Camden function was that
some one had arranged some of the things to music and they were
sung or rather intoned they were magnificent like a glorious chant,
they should be rendered in this way. Yours
Joseph Pennell
Is Dr. Bucke alive? J.P.
Brooklyn, on closer acquaintance., did not disappoint

him. He looked at it entirely from the artist's stand-
point, minding not at all with
what ungainliness it
sprawled over miles and miles of commonplace so long
as Brooklyn Heights gave him beauty. The loveliness
out of his windows could not altogether be expressed in
black-and-white, and the work he did from them was
usually in water colour. Down in the
near streets
etching was the appropriate medium and during the

140
The Move to Brooklyn
Hotel Margaret years he etched the Brooklyn Series, a

contrast to the plates he was making across the river
at the same period, with "The Stock Exchange", "The
Caissons"-, "The Foundations", "The Biggest of All",
one after another of Manhattan's "magnificent mon-
sters" for subjects.
Hotel life was always distasteful to him. But once
the front door of our apartment was closed, we were
entirely athome, and eventually we were able to secure
larger quarters so that he had a printing room and
could bring from Chicago the press designed by Lee
Sturges and bought two or three years before. We met
Philadelphia friends, Mr. William Henry Fox and Mrs.
Fox; we made new Brooklyn friends, in their hos-
pitality as old-fashioned as their houses. We

were elected
to the Twentieth Century Club and Pennell to the
Hamilton Club, where we dined occasionally. Across
the East River, in Manhattan, were more clubs and
more friends, among them Mr. and Mrs. Robert Under-
wood Johnson, ours a long, long friendship which we
celebrated by eating our Christmas dinner with them
every year.
One welcome was Mouquin's, the old
distraction
French restaurant, within fifteen minutes of us by
Subway. If he could no longer collect friends round his
own dinner table, he was sure to find them round a
Mouquin table, waiting for the talk he craved. The
downstairs cafe, with its red velvet seats, its mirrors, its
French waiters, its good cooking, its good wines, was
the best substitute New York could provide for our old
haunts in Rome and Venice, Paris and London, and
there was no music. I remember the horror of a correct
241
maitre d hotel in a correct New York restaurant when

Pennell told him to stop "the damned band" so he
could hear himself talk. Mouquin's spared him the
interruption, and at "Flanagan's table"
in the corner
artists were always gathered. John Flanagan, the
sculptor, was seldom missing;

that was why the table
became his in name as in fact. Mr. and Mrs. Paul Bartlett,
when in New York, appeared with welcome regularity,
Bartlett always well armed to meet Pennell's challenge
to an argument. People who did not know the two men
were alarmed by the apparent violence of their disa-
greement. Mrs. Bartlett once was asked if their fights
did not frighten her. "Why, no," she said; if they did
not fight she would think one of them must be ill. There
was never a flaw and argument did but
in their friendship
strengthen it. Ernest Lawson and Walter Griffin, when

they drifted back from long or short absences, were sure
to [be of the company, Childe Hassam appeared oc-
casionally, and W. A. Rogers when he came up from
Washington. Other artists and architects, not a few
literary men and journalists dropped in from time to
time. Often two or more tables would hardly hold the
group. Much has been written of Mouquin's and I am

glad to add my tribute, so grateful am I for the gaiety
and interest it added to our Brooklyn years.
Pennell asked little of life now save to be left in peace
with his work at his windows. But he was too active
a man to degenerate into a hermit. Until his press arrived
from Chicago, he would go to Philadelphia to print
at Peters', where Walter Taylor made a drawing of
him and Wayman Adams a painting. The two brothers
were devoted and knew his needs. Everything was in
ROLLING UP A PLATE AT PETERS
Photograph ly Ellis
The Move to "Brooklyn
readiness forhim when he arrived in the morning; dur-

ing the day they never bothered him, they were far
too busy themselves; when he left in the late afternoon,
they cleaned up after him. In a word, they saved him
from the tiresome daily preparation and putting to
rights of the printer. JHe made the dates of his printing
fit in with the reception the Art Alliance gave us in
Philadelphia (192.1) at the end of October, when Mr.

John F. Braun showed for the first time publicly his
large and fine collection of Pennell prints. Both "The
Whistler Journal" and "The Graphic Arts" were
published in the autumn. He was getting the chapters
' '
* *
of The Adventures in order, twelve of them to appear

in the Century during the coming year, beginning with
the January number. The drawings he writes of in the
following letter are the originals which were bound,
one in each copy, in the fine edition of "Pen Drawing."

Hotel Margaret Brooklyn
10. 9. 19x1
Dear Fisher Your letter is amazing and amusing but I did not
answer it till I heard from Macmillans and now I dont know what
they said to you as Latham did not tell me save that he rightly
would not or could not change the drawings but what you say
about their being unsigned is unbelievable for I signed every one of
* ' * '
them and I fear your art man cant even read he proves he knows
nothing about drawings, by saying such drawings would not go
down in England they were made in England, published in
England, paid for in England, and favourably criticized in England
some exhibited in England and happened to have been stored in
England till I
thought they might be useful as they are Dear
Fisher your art man lacks education in what has been done in
British publishing but to educate a British art critic is hopeless
though the Jews who run art criticism here are worse it is a fact
But your man with his comments is scarce up to date "mere
sketches", very unfinished'*, offend the eye"! Was this written by
Shorter or what? Or did you resurrect some mid- Victorian critic to
advise you? dear Fisher it is the most comic funny rot I ever
My
read put your man back in his grave with Ruskin and Mary Howitt
and Wedmore maybe they wrote it. Probably my languidge may
"
be somewhat coarse" but these critics always amuse me and
yours is so funny. I will of course sign any of the
pictures
but I will alsosay I never read such a comic mass of artless ignorance
asyour man has hatched send him to Lloyd George as a secretary!
Golly what a man or was it a woman.
I believe every drawing is
signed.
Yours
Joseph Pennell
Now as to serious matters. TToe Adventure book will it is said by
the Editor start in January in The Century and I have told them that
you have asked about it that is all of that dear My
Fisher this is what the world has become in all walks of life owing
to Lloyd George and Wilson and other sainted hypocrites dry
drivel and peace and graft and art criticism by your art man. Still
Ican look out of the windows and forget how rottenly assinine the
world has become.
TO PROCESSOR DOCTOR HANS W. SINGER

10. Z3 .
192.1
Dear Singer I thought you would be more ferocious over the
Etching book of course I am narrow, I have only spoken, as I
said, of the greatest and how few across the ages there are! maybe
too the everlasting lauding of the latest Russak Jew, and they are
all at it has got on my nerves, but they never see the book, it was
all gobbled up by collectors may it do them some good? But I
doubt it anyway its what I believe and I am glad you come so
near agreeing with me about Rembrandt. Well we have got peace
Z44
The Move to Brooklyn
and are going to get out of Europe maybe but ft is peace where
there is no peace and here we are sitting on the lid of hell and
jazzing and crapping to forget it. But I try to forget it in work or
I should go mad. Your statements about the death of
Expressionism
are cheering but do you know what is happening here all the
unsalable junk of Europe is now to be dumped here by the dealers
who cant any longer sell it abroad and the museums are showing
and buying it despite the fact that they had better examples, of
Renoir for instance, in their permanent collections than they are
showing in the transient Exhibitions and its all what can be
made out of it? Art is just stocks boomed or kicked as the dealer
says and the collector and the museum will have nothing to do
with the artist in the Metropolitan, will not even show his work
till deadand then they wail over the price they have to pay the
dealer for it when the poor artist would have, during his life,
been only too glad to sell it to them or even show it for one
tenth what the dealers make them pay. You may say youcant get
your dividends from America this alien property business seems
a crime now but we still pay war taxes, and more are being
added I wonder your book got in free but it is not all against
you I too have German Bonds and what do you think they paid
last quarter, when I got the dividends deposited in the bank going
through the usual business hands.
I did not receive one cent.
After exchange duties, commissions, insurance, brokerage and the
Lord knows what other sharks had been paid. And the raikoads,
as you may see, are in the hands of the anarchists while their
directors are too incompetent to do anything but draw their pay.
The galleries grow and Duveens pay millions for old masters and
artists cant pay their rent But I look out of the window, day and
night, on the most Wonderful, the most fairy like, the most mag-
nificent view in the world and I try and try to do something and
no one else sees it or knows it. Its not catalogued, yet across the
street lives an, artist Editor publisher, Hamilton Easter Field who
runs The Arts and I told him the other day to get you to write for
them. Field may do something with his paper for he is rich and can
do tilings. I dont know if he will. But he is the only thing left. But
M5
I look out of the window and the steam wreaths wrap the town in
glory in the day and the fairy boats float by in the night and the
colour in the morning is more lovely than Venice down the bay,
and up the river at night more magic than London, and that is
why I stay and shall stay as long as I can for though it is a noisy
New York here it is a quiet haven and if I hate the mongrels
hell in
who have overrun it, New York from Brooklyn is the most wonder-
ful city in the world There
Yours
Joseph Pennell
2.46
CHAPTER XLIII
HE IS ELECTED TO THE ACADEMY OF ARTS

AND LETTERS AND GOES LECTURING
-
THROUGH THE SOUTHERN STATES

(jcjii -192.2.)
PENTSTELL was lecturing less and less often, of so little

use did it seem. The money to be made was a small con-
sideration compared to the influence he hoped to exert,
and experience taught him that with the general public
he exerted none whatever. An idea prevailed that he
lectured because he loved to hear himself talk. Never was
there a greater mistake. He talked only when the spirit
moved him., even as it was with old John Salkeld in
Meeting. Ask Pennell to talk on Whistler, Beardsley,
Etching, Lithography, Illustration, the Making of
Books, "the Men of the Sixties", and he was ready.
Ask him to talk on subjects in which he had no particu-
lar interest and, to the astonishment of those who
asked, he refused. And it was the same with writing.
Because at this period, he wrote numerous articles and
letters for the New York Times and other papers, editors
fancied that hewould jump at their request to contribute
his opinion on any popular "topic", and were be-
wildered by his unwillingness. As a lecturer he had
learned moreover that to influence anybody was not
expected of him. The sole duty of a lecturer was to fill
up an afternoon or evening for members of a club or
2:47
students of a Ûniversity with^more leisure on their

hands than they knew what to do with. ''All these
primary schools called Universities are run by old hens,
some in pants, some in short skirts, but all illiterately
ignorant and all conceited beyond belief" was the
opinion he confided to Fisher Unwin. And he thought

no more than Sinclair Lewis' heroine of the half-human
tabby cats in eye-glasses who study dietetics one year
and Lithuanian art the next. Therefore, when in the
autumn of igzi he engaged himself for a long lecture
tour he decided it would be his last of importance. His
route, planned by Miss Florence Mclntyre ofjJie Mem-
phis Art Association, was through the Southern States.
She was bentûpon its success. She had heard him talk
from the platform, believed in him, and took endless
trouble to arrange a programme that would spare him
the trouble of details. Familiar as he was with most
parts of his country, he hardly knew the South and to
see it, to renew his impressions of New
Orleans would
alone, he thought, repay him for his effort.
He was to start on November twentieth. On Novem-
ber eighteenth he received the announcement of his
election to the Academy of Arts and Letters. He was
gratified, the more so because he knew that Paul Bartlett

was his Academic sponsor. Bartlett appreciated him no
less as an artist than as a man, had been saying ever
since his jreturn to America, "you ought to be in the
Academy, Pennell; who else can represent the Graphic
Arts as well?" And so it was brought about, atfd it was
a fine send-off for the lecture tour which, in antici-
pation, had begun to weigh heavily upon him. On the

nineteenth, he attended the Academy's functions when
He is Elected to the Academy of Arts and Letters
Marshal Foch laid the corner stone of the new building

atBroadway and One Hundred and Fifty-Fifth Street.
On the morning of the twentieth, just before he left the
Hotel, he wrote:
TO MR. JOHN F. BRATJN

ii. 2.0.
192.1
Dear Mr. Braun. I have been somewhat busy during the last two
days over here though of course you would not know it as the
fact so far as I can find outwas carefully kept out of the Phila-
delphia Ledger and other Bokerized subsidized organs, of Curtis
opinion on which Philadelphia snores and slumbers I mean, though
it will be news to you, that I have been made a member of the
American Academy of Arts and Letters and I had to run round

trying on my robes, crown and wings you can ask Owen Wister
about it he is the only Philadelphian worthy of the honour be-
sides me. I am very glad you cared enough for the Water-Colours
at the Academy to get one I hope I can go on surprising you or
interesting you till the End of the Chapter. I am off to-day down
to Dixie.
Yours
Joseph Pennell
When Philadelphia did notice this honour to a

Philadelphian, it was in characteristic Philadelphia
fashion. At North Broad Street Station, a few hours
after writing to Mr. Braun, Pennell bought a Public
Ledger., which, two days late, had just discovered his

election ancf devoted a leader to it. Not to praise, how-
ever, but to sneer. "What is Joseph Pennell, Joseph
Pennell mind you, doing in any self-selected bunch of
* ' '
'Immortals'/ it asked, and at what precise moment did

he agree to adopt the 'than-which-none' attitude and
become a Brahmin?" He was spared congratulations., a

contrast to the eagerness of the citi2ens of Illinois to
lavish theirs upon Henry Bacon, architect, elected at
the same time, to whom later in the winter they,, gave a
public dinner in New York, Pennell included among the
speakers at the high table.
add that the attitude of all Philadelphians
It is fair to
was not invariably that of Philadelphia. Mr. Braun was

not the sole exception among individuals and, at this
very moment, the Sketch Club was struggling to retain
Pennell as president, a post to which he had been elected
some months before he moved to Brooklyn. His senti-
ment was strong for a club haunted by memories of his
young days and young follies, and ready to proclaim its
allegiance when most of Philadelphia followed the
Art Club's lead. He may at times have disapproved of
its policy and have said so in the picturesque language
of which he had command; for instance, when, an out-

come of prohibition, changes in the dining room were
proposed and, for some other reason, an excellent
steward was replaced by a man with a wife and baby too
much in evidence for Pennell's approval, he wrote to the
treasurer: "As to the problem of running the Club had
the charges in the dining-room been slightly increased . . .
had the most excellent Steward Bradley been retained

the Club would not be facing a problem but enjoying a
profit.However, the members seem to prefer babies to
booze, sentiment to success, and I have no doubt in the
near future will revel in measles, chicken pox, molly-
'
grubs, scarlatina, teeth cutting, and all the other

attractions of babies but, not so far as I ever heard, of
Clubs/'
Goes Lecturing Through the Southern States
His reason now for resigning was because in Brooklyn,

where he intended to stay for a while, anyway, he could
not take a personal part in the club's affairs and his
continuing "to hold office would only be a hindrance
to members/' From Jackson, Mississippi, he wrote his
explanation to the Secretary.
TO MR. SIDNEY C. LOMAS

II. 2.9. 192.1
Dear Mr. Lomas This letter will prove to you that I am not
shirking the Presidential office I just cannot fill it for I regret to
say I cannot attend the Newtonian gathering on the loth for I shall
be in New Orleans or thereabouts down here preaching to the
natives, playing with sweet young things who fill my room with
flowers and good Samaritans who fill me with drink, so I hope all
will be serene until Xmas and not until then will I be back so
you see it is really impossible for me to do anything but tender my
resignation as President.
Did the Club get my Scammon Lecture Book. Please write to
Brooklyn.
Yours
Joseph Pennell
Please greet the Club for me and from me. J.P.
The South, on the whole, was a disappointment.

The lectures were received much as he anticipated, but
the country proved unexpectedly uninteresting, except
for hereand there a picturesque old town, above all New
Orleans, far less changed than he had feared. He wrote
me of meeting Mr. Leonard Mackail in Savannah and
Mr. Roderick McKenzie in Birmingham. In New Orleans
he lectured for Mr. Ellsworth Woodward at the Sophie
Newcomb School* and gained the friendship of Mr.
and Mrs. Edward Larocque Tinker. Mrs. Tinker is a
native of that city. That Mr. Tinker knows it as well
'
he were, no one can doubt who has read his Laf-

'
as if
' ' * ' ' '
cadio Hearn's American Days and Toucoutou. They

were able to guide Pennell to places he had missed on
his so long ago, or had forgotten, and they
first visit
became at once, as they continued to the last, the truest

and most faithful friends a man could wish for. Better
than the art of making enemies, Pennell understood the
art of making The first town on his route was
friends.
Charlotte. From the Woman's Club he wrote, Novem-
ber znd: "fair colonial house, clean with darky valet/'
.... where I stayed awake all night because there was
' '
no one to wake me." To Savannah, he reported "a

all swamps and niggers
quaint ride through a wilderness
and moss and dead trees and more moss and more
niggers worse than Russia but
here I was met by a
sweet thing and this hotel to which she brought me is
decent and I am now to go out to dinner at 7.30 which
is and maybe there will be drink. We will see."
civilized
Birmingham, from which he had hoped much was for

him "no good", Mr. McKenzie having made its in-
dustrial subjects his own. By the time Pennell got to
Columbus, Mississippi, his depression was terrible. The
country "is the most God forsaken hole and degraded
population in it save in the big towns you
have
ever or never seen. They are the lowest of the low,
black and white, that you see as you go through and
they believe awful/' One gleam of light
it heaven its
came at Winona: "Held up here for a train it is a

Main Street with charming houses." The first real
letter, the which showed some little interest and
first
pleasure in what he was seeing, was written at Houston.,

Texas :
2.51
THE HOTEL MARGARET
Etching by Joseph Pennell
TO MRS. JOSEPH PEISTNELL

IZ. 2L. I9ZI
Just got here and am waiting for the people to turn up. Have
telegraphed but heard nothing. The country that I saw this morning
only another variety of dreariness
But
I struck in Jackson, Mississipi, and skipped a school examination, a
prize awarding for art baskets, in which I was to award the prizes,
and after that a lunch of seventy-five ladies, in the midst of which
I was to get up and blither and then gulp the rest of it and run for
a train Iran early in the morning and they will never forgive me
but there is a limit to my endurance but not to these people's desire
to make one perform.
And
then after ten or more or less hours of dreariness and shrieking
females, they all scream when they talk, and whining men I got
with Diaz to New Orleans and took a cab straight to Madame
Antoine's It was too early to dine so I went round the Quarter
and it is far more stunning than I thought it and they are only
beginning to ruin it and the Place d'Armes and the Cathedral,
and the Cabildo and the Pontalba buildings where
really fine inside,
untouched, and the French market and the Levee much
I lived, all
built up the latter and then up to Chartres Street to Canal, with

the same old ladies crying, I think it was, L'Abezlle, but the French
signs are gone and up Canal to Royal and down that to St. Louis
and Antoine's, and there save new paint, nothing was changed, the
son was running it, the waiters, really French, and full of interest,
and they made me eat fomfano and tomates farcies and gave me a
maâgran and the whole was delightful and the old doorkeeper
said he remembered me, but the waiter said, that was to get an
petit souvenir anyway, I had the first decent dinner I have had since
leaving New York for to tell the truth southern cooking, and I
have had some of it in these people's houses, isent up to what it
was if it ever was but one old lady who dated from the time of
Washington and Lafayette, or her tea-cups which I drank out of
did she said gave me some tea that was just the same the old
Aunts in Philadelphia used to have, lemon in it, and not "on the
"
side and a bottle of whisky oh my This town is more Saturday
Evening Post than anything I have seen awful mostly I have no
letters, but three from you there may be some here I am going
to cut Fort Worth and go back to New Orleans.
From the Southern Pacific train, December fourth:
1 '
Have been to Austin and cut the others I might have

gone but could not get back and see New Orleans."
And from New Orleans on the seventh :
I cut Fort Worth I could not stand it and came as I think I
wrote from the train they are furious but it was some hen
society, and the American hen is the limit. You must do everything
she thinks of and if you do not do it just as she wants, you are no
gentleman. That Austin experience was the limit. I got there at
three. I was taken in hand by a Jew professor at the University I
was put, at the station, in a car with a lady reporter, and she be-
gan "What is the relation of art to poetry'* and she got an
answer and this was kept up all the afternoon, and everything I
said was put down, what she made of it the Lord knows and then
I was driven to baths and to see trees and eligible building sites
and then to the University and as I began to look at books, carted

**
off to a lunch*' of the business men of the city at a country club,
at 6.30 at seven thirty I had talked to them and when
I got done,
hardly one of them would speak to me all they want is twaddle

then I was yanked to the Hall a Church and the lantern would
not work, and broken, I did not try it and
as several slides are
there was a go that night in a car to San Antonio but as
letter to
the people never turned up, or if they did I never saw them it
might have been amusing I took the night train here and now
they are all livid with rage they say they did not get my wire
but yesterday when I was to have spoken they had a riot that
might have been fun too. This place still exists in a way but a
sad way and I have made up for it with drinks and seeing the art
schools talk of course and a dinner at Antoine's ordered for me
and to-day and to-morrow I am to be carted about .... I shall
come straight back from Memphis I am tired of talking to the
outsider and the uplifter and the booster."
He was in Brooklyn on December seventeenth. Mr.

Fox had hung a large group of his Brooklyn water
colours in the autumn exhibition at the Museum; the
directors of the Macbeth Gallery were arranging for the
purchase and exhibition of more than were as yet made.

The windows had lost nothing of their charm. He could
not keep them out of his next letter to Fisher Unwin,
though it was written in a moment of exasperation with
a criticism in which Mr. Clutterbrock of the London
Times twisted, with his usual ingenuity, into "Mr.
Mucker Up" had been preaching the outworn theory
of the secondary importance of technique in art.

i. 2.2..
192.2.
Dear Fisher I did a technical book which offends the long-winded
one of The Times and he clutters about what he cant brook that's
awful aint it? But when he says technique for students dont count
he puts himself in the class with Whistler's Bobby in the National
Gallery.
Technique counts even in literature a shilling shocker hack
could write as good a story as Stevenson's Treasure Island but
Stevenson's style technique makes the book a classic while the
other remains hog wash even this elementary fact in writing the
cluttering bounder cant grasp. . . .
Everything despite all news-
paper cackle is down and out here we have become a world power
on "Main Street" middle west notions and swallow everything
including Balfour yet I had
z Whiskies (Haig and Haig)
i apricot brandy
i cocktail
i Madeira wine 1850
*
i more whisky
2-55
yesterday and have no head this morning as you may see from this
most interesting and excellent letter.
Wells was here the evening before he sailed and the Lord sent
such a sunset that he turned his back on Mr. Ambassador Egan
also here and shut up fancy! and just stared at it and the build-
ings glowing and glittering in the heavens and not to miss any of
it walked back again over Brooklyn Bridge in the night It is
some view and now do you know I am another Academician I

saw Johnson yesterday and dine with him this week.
Joseph Pennell
I see MacColl and Steer have been roused from their graves by The
Whistler Journal What Ah-Hem.
Wells, before he left that afternoon, recovered his

speech. I was in another room at the time, John Lane
having come late, starving after a day spent in the final
disposal of the American branch of his publishing

business with not a minute spared for lunching, and
now, like the true Briton, eager for his tea, no matter
with what glory the sun might be setting. But Mrs.
Walter Taylor heard and was so struck she made a note
of immediately afterwards. Wells for long stood
it
inarticulate, she remembered, but finally, "Pennell,"

he said, "I wouldn't want to paint this I wouldn't
want to draw it, there are no words. But, for the first
time, I wish I were a musician that I might play it."
Pennell believed that honours carry their responsi-
bilities, also that the Academy should not make every-
thing of literature and nothing of art this was six

years before Mr. Huntington's gift of a hundred thou-
sand dollars provided an income to meet the expenses of
art exhibitions. Pennell suggested that a show of
American etchers, from Whistler to the present school,
be held in March; he selected the prints, arranged them
in the oldAcademy Building on West 8ist Street, and

lecturedon the evening of the opening day. He attended
the Academy's April celebration of the three hundredth
anniversary of the death of Moliere, the dinner in
the evening, the lectures in the afternoon when poor
Marechal Joffre, exhausted by his American journey,
nodded on the platform, and M. Maurice
in his chair
Donnay and M. Andre Chevrillon, representing the

French Academy, talked with a fine Academic disregard
of such a trifle as time. And Pennell prepared an ex-
hibition of his ownat Keppels' in April, a representa-
tive collection of his etchings with a few Brooklyn
water colours, gave a tea in the gallery, and carried off
those who worked hard at the tea table and a few others
to dinner at the Coffee House Club. He went as far as
Cincinnati for a single lecture, as near as Waterbury for
another, and he talked at the Brearley School in New
York. When two Billboard Meetings were held in
March and April at the Town Hall, he was one of the
group who raised their voices in protest against the
growing evil. He undertook to have an edition of his
' * ' '
Woolworth through the Arch printed by the Peters

brothers for a year book issued by Doctor Singer in
Germany. On Hamilton Easter Field's death he con-
sented to succeed him as the Brooklyn Eaglis art critic.
"They wont keep me long/* he said, "but long enough

for me to say a few things that need saying" he was
right; they did not keep him a year. And he had time
left to consider carefully a public monument that foolish
busybodies were making a public scandal of. He had

small patience with the outsider's criticism of art.
2-57
Hotel Margaret, Brooklyn

3. 30. 1912.
Dear Mr. Leinroth The amuse me, for it proves
Editorial does
Philadelphia, as usual inthe wrong. The Macmonnies statue is not

one which should go in front of City Hall, it is not fitted for it It
is
completely out of scale, for one important thing, and it never
or originally was not, intended to go there, but in Bowling Green.
I know, for I
suggested to Mayor McClellan that he get Macmonnies,
then in Europe, to do it But neither do I agree with the unspeak--
able Hylan or his females, nor most females in this country Women
are said I believe by Mahometans to have no souls I know
most of them have no brains, and they prove it, most of them,
every time they open their mouths, which they do all the time.
Yours
Joseph Pennell
z5 8
CHAPTER XLIV
REPRESENTS THE AMERICAN ACADEMY OF
ARTS AND LETTERS AT THE ROYAL
BELGIAN ACADEMY IMPRESSIONS OF
ENGLAND AND THE CONTINENT
AFTER THE WAR
IN the midst of his innumerable occupations and en-
gagements, he suddenly dropped everything and started
for Brussels, to no one's surprise more than his own. The
Royal Belgian Academy was celebrating a hundred
and fiftieth anniversary and Paul Bartlett was to repre-
sent the American Academy of Arts and Letters, Pennell
not caring to leave Brooklyn. But, at the last moment,
Bartlett could not get off and Pennell, at the Academy's
request, rather unwillingly, agreed to go in his place.
He grumbled over the loss of time but, in the end, the
meeting with old friends and return to old haunts, the
opportunity to see what artists had been doing in his
absence and visits to once familiar galleries and schools
of art, more than repaid him, saddened though he was
by the traces everywhere of war and its baleful influence.
On the thirteenth of May he sailed on the Lapland of
the Red Star Line*

5. 2.0. Z2.
Dear Fisher I am somewhere in mid-Atlantic and am going to
represent the American Academy at the Belgian Academy's coming
2-59
of the age of 150 years or 500 or something after that I propose

to present myself in London and hope to be able to find a resting
place for a few days

at the Reform and after that go back via
Venice.
Do not slay too many fatted calves.
Yours
Joseph Pennell
TO MRS. JOSEPH PENNELL
Brussels Hotel Metropole

5. 13. 1922.
Gothere this morning heat like midsummer Exchange be-
yond me Restoration horrible people changed too peasants
evidently worth millions I dont think the Academy will amount
to much saw them this morning. Stay till Thursday then Paris
one day and London after and then either Venice or back. Write
to T. Fisher Unwin.
Brussels. Hotel Metropole

5. 15. i 5 xz
.... The first day is done I got late for the first
ceremony
when all countries save England and America presented credentials
so having none was not noticed. Frampton and Hughes Stanton are
here and quite chummed up also Chalmers Mitchell and I saw
Claus a struggle for lifer and Rousseau a toady but not Baertsoen.
Evening a "Rout" concert and champagne chummed up to some
unknown French Academician, most devoted to Verlant and Bene-
dite and came away awful hot to-morrow to Paris for Salons
and then London. The reconstruction is horrible.
5. 15. 192.2.
Its all over but the heat good thing for the Academy I came,
its a
for all our glory is being stolen over here by College Schools, the
lowest out of 4 American Academies represented 2. I never heard
of Dinner King heat awful leave at noon for Paris Write to
Fisher will be in London Saturday or Sunday
Impressions of England and the Continent after tie War
Reform Club, Pall Mall, S.W. I
5. 30. 1912.
Got here last night and they gave me a room. Saw T. F. U. and
got two letters from you. Saw Augustine and Germaine and Acad-
emy and John Lane and National Gallery and Brown and Phillips
and International and am going to dine with Dawbarn of the Fine
Arts and Fisher and am pretty tired oh I forgot I have taken
my from
ticket Naples Fabre Line for June z6th or something so
I have had a day.
Reform Club. 5. 31. 19:12.

I I went to see Augustine
think you might as well renew the lease.
yesterday and will try to go again I am going to dine with the
Withers to-night have seen Fisher every day There are no more
letters I think I shall sail somewhere about the 2.0 June on the
Fabre Line from Naples. I shall settle to-day whether I go out to

Venice by Germany or France As anyway I shall leave on Tuesday
next there is no use writing here any more nor is it worth while
to write to Venice I dont think I should get it But if you do,
send it care of Vittorio Pica Exposizione Internationale d'Arte
d'Venezia Venice. I saw Lippincotts and have seen Dr. Otto of
Tauchnitz and he is going to think of an Edition of the Journal.
Arranged a show of water-colours for next year at the Fine Arts
and they want the Etchings. All this in one day.
J.P.
Reform Club. 6. 3. 1922.

I have got done here seen everything and taken my ticket to
Venice straight. I think I should have gone by Germany but it was
too much trouble and maybe I should have given Venice up too and
come straight home. I shall sail from Naples, Steamer Patria,
Fabre Line, 6. 2.3 anyway I can again see Italy. I have seen the
Withers and Hartrick and of course Fisher and Augustine. Will
go to Hartrick's to-night. But it is dull and stodgy and the place
is down at the heel and New York is a million times more pictur-
esque and the people seem dull too most ot them save those I am
seeing grum too and stodgy and heavy its all changed. Hamiltons
want me to come there to-morrowhe has been ill maybe 111

go I feel pretty blue. But
have seen
I a lot and I hope learned a
little. I have only had about three letters but I dont see where you
can write Unless I got to Helen to Siena but I dont know her
address
Reform Club. 6. 5. igzz

I shall get off to-morrow but was coming straight back. I
I wish I
have seen Augustine twice but I could not go up and say good-bye
so Ive written her and Ive seen Hartrick he had Withers and
Sullivan and Pryse and I went to Sullivan's I dont think either
of them are doing much but writing they say Illustration is dead.
I wrote an article on the Academy and International and sent it.
The shows are both rotten but the Academy is the best I dont
know where you can write or what I shall do after Venice. If I
could get back through Germany I should do so. Anyway I have
taken my ticket from Naples. I hope you will get on but I do not
know where you can write I may see Fisher to-night I hope so.
This place is decent but awfully down at the heel my bedroom
quite like the Windermere and ten and six a day which I believe
is cheap had one Pernod and paid three shillings ....
Hotel Luna. Venice

6. 9. ic^zz
Been here two days. Everything is changed but the place every-
thing dearer really than at home some times good sometimes not
even a dozen sheets of paper cost 2. lire Only apparently a lira is
worth about 5 cents but I cant make out Infant Colonels with
two or three lines of decorations weird. I am going to try and
get back by Germany and see that school what will happen I
do not know. They have hung all my things in the Exposition and
not sold one no foreign things even La very 's are being sold
hardly. Tell the Academy I will lecture and any other people who
want me to if the dates dont get mixed. But I am all mixed up.
The show is good the best by far I have seen I mean the most
interesting but there are no big men I give it all up. I have not
seen a soul save the Exhibition people and they too, Pica and
2.61
Impressions of England and the Continent after the War
the rest, are changed They want however an American show and
were utterly disgusted with the one Mrs. Whitney sent however
it would only mean more work and not even thanks. I
suggested
Fox and he will, if he does it, get more glory this getting out by
Germany will be interesting and, if I can see the Leipzig School and
Munich and Berlin, interesting. There is no use trying to write
anything I only hope you are all right. I am devoured by mos-
quitoes its fearful hot.
Hotel Luna Venice

6. 10. 1920.
I am going on an adventure. I shall not be satisfied if I do not see

the Graphic Art School in Leipzig again. So I have sent back the
Naples steamer ticket and am going to Innsbruck, Munich, Dresden,
Leipzig, Berlin and will see those shows also I got my passport
changed and that cost zoo lire i.e. $10 and will get Austrian
money imagine
50.000
Kronen equal five dollars! only no one can imagine it! Then
! ! !
I shall have to see the German Consul in Innsbruck or however you
spell it and then get in Germany. Anyway it will be an experience

worth something and nominally cost little but they stick it on
everywhere and it is not by any means so cheap as it sounds. Nor
is it here even, everything is taxed and everything done against
the American the English pay 45 lire for their visa we pay 100
Good old Wilson and the world made safe for everyone save
Americans. These are the facts. The heat is awful and till last night
when Igot a mosquito net, I near collapsed. The show was worth
coming to however, and I have arranged with Pica that Fox should
have a show in 1924 if he is game of just a few of us. And they
will do the same for him I think I told you they have given me a
big show thirty things and sold nothing but scarce any foreign
things are sold. Italy for the Italians. I PED thats all it was with
the Browns last night and they are dry prohibition but they
gave me a marsala and Brown to make up took me to Giacomezzi's
and gave me a white vermouth which is wonderful, something like
fruit and flowers and things out of a cask vino santo and all that
was good but you had to drink it standing at a bar! To what has the
world come. I leave at noon to-morrow, stop at Verona overnight
and go on the next morning to Innspruck (?) But I shall see things
I hope and get through somehow. But it was worth coming here
I hope everything is all right with you and the place.
There is no use writing. I should be back sooner too this way

but because of the school it is method of
far better to take this
returning anyway I shall try to write had kept on to Naples,

If I
I would have only seen things I have seen and been roasted. Now
at any rate I shall see new things go through the Italian war
regions and see the German show and the school which I ought to
see and I think, as I say, get back sooner
Hotel Europa. Innsbruck

6. iz. i9zz
Talk about an Opera Bouffe country this is one but it is real

I arrive the porter carries my bag from the station to my room I
give him three lire he nearly kisses me lira equals 5 cents or I
gave him sixpence. Found the German Consul for visa he told me
his charge was
37,000 Kronen
for the visa went to the Exchange office and changed one hundred
lire got
93.000 Kronen
never had so much money in my life in my hands told the gold
welsher so Oh if it were only before the war said he I paid the
Consul and bought five cigars
1,000 Kronen
had dinner
1,300 Kronen
gave waiter zoo dont think he was pleased then went and saw
the bronze statues in the old church finest things I ever saw
wonderful and to-morrow morning I am off for Munich the
place is wonderfully picturesque but the money is the most wonder-
ful thing in the world, it is simply beyond me and now I am going
out to see the town and then off
to Munich
Its the most preposterous thing in the world Verona, where I
stayed last night is as delightful as ever and was not at all dam-
aged but oh the changes otherwise
Heinze's Hotel Regina Dresden

6. 15. 1922.
I hope you got my letter from Innsbruck but, as

apparently they
should have put about 1,000 kronen on it maybe it went in the waste
paper basket and I dont think they did. I got here all right without
the slightest trouble save that the carriage was crowded I had to
travel second because apparently there are no firsts though you pay
for them. I have just had dinner one hundred marks which works
out I believe, sixty-five cents. To-morrow I shall see Singer if he is
here and the rest of them and then on to Leipzig and Berlin. I
have scarce seen an English or American tourist none in the train
from Munich but it was jammed with Germans and Swedes and
the Germans are so polite the war has changed everything when
for some reason they asked for my passport they begged pardon and
when they saw it thanked me would they have done so before? It
certainly has paid to come for I have seen things and hope to see
more and to have the chance to compare the old with the new is
wonderful. How are you? There is no use writing I do not know
whether I shall sail from Antwerp or go to London. All will de-
pend on what I learn in Berlin. Only hope everything is O.K. and
will write as often as I can. I am tired out now twelve hours from
Munich and am going to bed
Leipzig Sunday
I think June 17
I have got here without the slightest trouble or annoyance spent

the day with Singer and his family they were very decent but very
down The whole place the whole country is teeming with
work but I think they are working to forget and here in the
north though there is a band going by they feel they are a beaten
race it shows in empty cafes and restaurants for though 50 marks
isnothing to me its a lot to the middle classes 300 marks are one
dollar the trip thus far has cost nothing save first railroad ticket
London to Venice the things to eat are good though I had an

awful dinner to-night, I think it was left over from the war I
have seen no one yet but worked in the house all day. I go to the
School to-morrow I may stay a day or so longer, then to Berlin
and hope to sail from Antwerp. I hope you get the letters and are
all right The country is clean as ever and there is not an officer
about
Hotel Excelsior, Berlin

6. 2.Z. 192.2.
I have been away a month or rather in Europe a month and

just
I am leaving to-night for Antwerp where I hope to sail if I can get
a cabin if not I shall come across to England. So far, and this is

the last day, everything has gone all right people all right which
is amazing and lunches and dinners and they want me to work all
the time and still I have ever so much more than twenty-five
pounds left of the fifty I drew in London
One literally lives for nothing on the Exchange and they bitterly
complain of that. The art I am delighted as well as the School to
have seen but it is beyond words and is in all the Exhibitions and
in most of the
galleries it is mad, rotten, putrid, the work of
incompetents for imbeciles. But I must go and get sleeping car my

ticket. I have no idea on what steamer I shall sail but I hope from
Antwerp on the Red Star
He wrote me another line later in the day the

twenty-second to tell me he had taken his ticket on
the Kroonland, sailing on the twenty-ninth; and again
from Antwerp, to let me know that all went well with
him. He had had no letters for amonth and from
Antwerp, he wrote also to Fisher Unwin, asking him to
send any there might be to meet the boat at South-
ampton, and summing up the month's experiences in a
' '
few lines I have had a rather interesting time, hunting

:
things up and seeing people and have been to all the

Exhibitions and most of the schools and Museums in
2.66
England, France, Italy, Austria, Germany, Belgium,
not bad for a month." From the Kroonland at Southamp-
ton he sent three letters, one of acknowledgment to
Fisher Unwin; one to Mrs. Armistead Peter, 3d, Mrs.
Paul Bartlett's daughter, who had asked him to stay
with them in Mrs. Bartlett's Paris house; one to Mr.
John F. Braun, whom he had managed to miss in Paris
and Munich.
Southampton, 7. i. 1912.
Dear Fisher Thanks for the letters you -were good enough to
forward. I got them all right here and this will come to you from
Cherbourg I will see Macmillans as soon as I get back and if I
can arrange things I will get to work at once and it should only
take a short time to get the book ready as you know it is in type
or plates. I had a good time, saw a lot of people missed Dr. Otto
who was away came on to Antwerp and here I am everything
is all right in America and I may send the Missus over I see two
niggerscame aboard there are scarce any third class, all the
mongrel Jews dagoes and junk are now travelling second and
sneaking in It will be the end of America.
The Germans all say they are going to smash but they are hard
at work and so are the Belgians I like the methods of the French
least of all even the Italians have bucked up now they have grabbed
all they went to war for but they are decent and the country
anyway the North is booming.
I have, as I said, had a good time seen what I wanted and
people, especially to my surprise most decent in Germany, though
they are down and blue and sad.
Joseph Pennell
He was Mr. Unwin' s interest and sympathy.

sure of
They had both had friendly experiences with publishers
on the Continent, more especially in Germany with the
Baedeker, for Mr. Unwin was the English publisher of
their guide-books.
TO MRS. ARMISTEAD PETER 30.
Off Southampton. On Board S.S.

Kroonland
7. i. 19x2.
Dear Madame I have got here all your letters and telegram I
had been to Paris when you asked me to come to you and was then
I think in or on my way to Venice when you wrote I have had a
lovely horrid time done all the shows in
Europe
all the galleries
all the schools
one King who gave me pink
lemonade.
One Cardinal who gave me a
seat at his left hand and
one awful big dinner my
that was some dinner
in Brussels Millions of artists I have met and had in my possession
100,000
l&ontn at one minute and spent all but seven marks of it, one
night
on five cigars, one dinner, one single bed, one breakfast and all
tips
I could remember
and
also I had one cocktail in Berlin and that cost me one hundred and
fifty marks I have never had and never spent so much money I
have just been going it.
Yours
Joseph Pennell
TO MR. JOHN F. BRAUN

Off Southampton, On Board S. S. Kroonland
July ist 1911
Dear Mr. Braun I was glad to get your letter. It came aboard this
morning. Have you got your car over and were you in Munich
about three weeks more or less ago? If so I saw
you as you
2-68
passed or after you had passed driving rather fast I could not
signal you but the car had an American placque on it I was just
emerging from a Bier Hall shocking but then I had had a day
of the New German Art and was trying to recover I think I
must have been in Paris when you got there but went after a
big dose of Cardinals and Kings at Brussels to London to recover

from that Ispent Whitsuntide respectably in my most respectable
Club, the Reform, of which I think Sargent and I are the only re-
maining American members alas for the dead days and James and
Abbey and Dr. Willie White all gone. Then I went to Venice,
Munich, Dresden, Leipzig, Berlin, Brussels, Ghent, Antwerp I
saw all the up to date schools and up to date shows which I came
to see and I have learned a good deal its nice of you to want my
I know who might have them are
things the only people that
Colnaghi and the Fine Art Society of New Bond St. London
Ernst Arnold of Dresden but I think Keppel has got them all
back I have however a room of things in the Venice International
which is far the most interesting Exhibition now open and it will
be open till the end of October cant you get to it? Any way please
remember me to Mrs. Braun and I hope you may have as pleasant
and as profitable a trip as I have had
I am yours
Joseph Pennell
CHAPTER XLV
THE ART STUDENTS' LEAGUE
IP Pennell started his journey jun willingly 3 he had

on
no regrets for having made it. It was a pleasure, an
inspiration to get back to the galleries., museums and
schools of Europe. His interest in art was not limited to
one group or period. He was ready to learn, open to
conviction. If not in sympathy with the new move-
ments among artists, he would not condemn them with-
out endeavouring to understand what they signified and
whither they led. He was thought too liberal in his
standards by International and Senefelder selecting'com-
mittees, too keen to recognize any glimmer of originality
in subject or treatment. He did not believe, however,
that originality meant emancipation from the past. In
his opinion the influence of the centuries cannot be es-
"
caped. If he thought "Modernists on the wrong tack,
this did not keep him from studying their methods
and achievements. To him criticism, as well as art,
should be based on knowledge and he spared no pains to
familiarize himself with the work of the new "Ists."
He asked Doctor Singer to select and have photographed
twenty of "the most advanced
"
works'*, proposing to
show them in a lecture on A Comparisonv of Art with
Artlessness."The lecture was never delivered. Too many
other things waited to be done.
Z7
The Art Students' League
Some months before., Mr. Gifford Seal, President of

the Art Students* League, had asked him to take charge
of the Etching Class and start a Lithography Class,
beginning with the October term (19x1). This was the
reason for his desire to visit the Leipzig and London
schools. In the Nineties at the _Slade one lecture a week
gave him no chance. Nor did his four February lectures
at the National Academy schools,, and these, instead of
developing into technical classes, which was his idea,

were presently cut down to two, when he resigned. At
the League he was Basked not to talk, but to teach; his
time was limited not to one hour, but to one morning
a week "the most important happening to me", he
afterwards described the opportunity Mr. Beal offered
him. He always saw things big and in anticipation he
had visions of a Great School of Graphic Art, rivalling
Leipzig, growing out of the onejdass and the one room
over which he was now to preside.
To prepare for it, his journey was shortened, his
personal interests were neglected. He was to have gone
to the London warehouse and brought back several, if
not all our boxes stored there. But he was in haste
to return to Brooklyn and the League, and this duty
fell upon me. When the class opened I was in London
where I was detained for more than three months.

My discovery in the warehouse is one of the trage-
dies of Pennell's life. I make
the story short,
will
so painful was it to him, so painful to me. We had
arranged to have our boxes placed on the first floor

second in America and they were marked "fragile",
"paper", "prints" in big black letters, as a reminder
that from damp they should be protected. They were
171
stored in wartime, in thesummer of 1917. At once, so I

was told, the Government commandeered space^for army
blankets and uniforms. Our boxes, with no warning to
us, went down to the cellar, which was flooded by the
phenomenal, the inevitable storm, such emergencies
seem to call for. Again we were not warned. The boxes
were on an upper floor when I arrived after due notice.
When opened, I discovered that damp had been eating
through their contents for the last five years and spared
not more than a third of our collections of a lifetime
and of Pennell's work. Copper and zinc plates were in
ruins. The man from Quaritch who went through the
books with me almost wept over the condition of first
and rare editions. The oil paintings notes from the
Adelphi windows of every season of the year, every hour
of the day were stuck together, a solid mass of muck.
My collection of Pennell's etchings and lithographs

he always gave me a proof of his every printing was
reduced, portfolios and all, jto scraps and shreds of
paper. Drawings but why go on? It was unspeakable,
and I had to break the news. His despair was in the few
words he wrote me: "Your letter has come it is only
what I expected and was afraid to go andjee I suppose
everything is gone and the insurance worthless and a
wasted life. Lay not up for yourselves treasures on
earth. Though others do somehow its all horrible
and why? I knew it was coming." At last we under-
stood how our Collection of Whistleriana had lost its
bloom.
Before undertaking the work at the League, Pennell
consulted me. I
thought he did not let it inter-
that, if
fere with his work, it would prove a relaxation, a
2.71
stimulating interruption, an amusement. And I was

right. At first he had his disappointments. Students did
not present themselves in crowds. Some who wanted to
join did not know how to draw, others revealed an
appalling ignorance of art. Would-be etchers had never
heard of Diirer, had no use for Rembrandt and Whistler.
Etching appealed because it was in fashion with dealers
and collectors, therefore a sure way to make money.
A tendency of almost all was to litter the classroom as
New Yorkers litter their parks and streets and to make
no attempt to clear away their dirt and disorder. How-
ever, by a process of elimination, combined with stern
discipline, he collected round him a group of students
after his own heart, inspiring them with his enthusiasm
and the spirit of order which prevailed in his printing
room. In their progress he had his reward.
Though hitherto his experience as teacher had been
small, his ideas as to the right way of teaching were
simple and definite. He would tell his students he could
not make artists of them Whistler said, only God
for, as
Almighty could do that. But he could teach them the

craft of etching if they were intelligent and persevering
enough to learn. The one thing he forbade them to do

was to turn out "Pennells." Once the craft was mas-
tered,they were to say on copper what they themselves
wanted to say, and to say it in their own way. In the
exhibitions of their work, which he later encouraged
and organised, nothing was so striking as the variety
in the subjects selected and the manner of treating them.
Only one or two students defied this wise rule and their
defiance has not helped their reputation. To copy is to
invite comparison.
2-73
The truth is he had a genius for teaching, though it
might be the last thing expected of a man impatient by

nature, compelled by the spirit within to speak the
truth, and rich in his supply of invectives. His students,
perhaps startled in the beginning, quickly got to under-
stand him and, once understood, he was adored. They
realized that, if he was impatient, the fault was theirs;
that, if he spoke the truth, it was for their good; that,
if his language was picturesque, it served as a goad to
drive them on to better work and more intelligent
study. True, the first encounter with the master some-
times left the aspirant in a hopeless state of imbecility.
A story they liked to tell at the League was of the young
girl from the South, who stood before him trembling,
clasping the drawings demanded as test for admission,
stammering and stuttering over and over again, "I am
sure you won't like them, Mr. Pennell, I am sure you
won't like them," until he interrupted abruptly, "I
probably wont, but any way let me see them." She was
stunned into silence as he looked at each in turn, very
carefully, told her which were good, which were bad,
and why, and she had not recovered her speech when he
said she could stay. Inevitably, she became one of the
most promising and devoted in the class.
Another story, often repeated, was of the contrast
between the lurid language with which he berated a
student for heedless, hasty work and the tenderness
' ' ' '
with which all the while he caressed his word the

offending plate as he showed the offender how to prepare
it for the press. A third story, no less was of the
popular,
visit of master and students to the Metropolitan when
an excited young lithographer shall I say Brown?
2-74
JOSEPH PENNELL IN HIS LAST YEARS
'Photograph by Dr. Arnold Genthe
outdid the master in comment and explanation of the

prints they had come to see. At last, before a Goya that
puzzles most artists who have studied it, the master
' '
stopped Nobody as yet has been quite sure of how it

:
was done. Whistler did not know. Goya authorities do

not know. I do not know. But, of course. Brown knows.
Ask him." And a student who appeared one day in
correct sporting rig, supplied a fourth. Pennell looked
him up and down. "Why," he said, "I thought you
came here to study etching, not to play golf.
can be gathered from these stories that he did not
It
hold himself aloof from his students, did not condescend

from a higher plane in the manner of the traditional
French master visiting the Beaux Arts or Julian's. He
had no mistaken ideas of his infallibility. Like every
artist who is an artist, he was forever learning, with
every year growing more and more conscious how much

he had to learn. He not only taught his students, but
worked out fresh technical problems with them. "He
works with his class as a co-student," one of his pupils
Miss Reinthaler, now Mrs. Bleibtreu wrote of him, "is
as muchexcited about a discovery, a new way of doing
things, an experiment, as we are, and much more so
than most of us. He is filled with the spirit of adventure,
and is the least conceited, the least opinionated, the
most open-minded man I have ever met. That is one of
the things that contribute to his greatness as a teacher."
Another student, Mrs. Cadmus, adds her testimony:
"He knew how to blame and how to praise. The first
lithograph I made he liked. He complimented a student
as ifone were an artist. 'There is something charming
about it/ he said, and wanted to prove it himself. He
2-75
was truly disappointed for it would not print. I had

used the wrong pencil."
In the beginning he was handicapped by the poorly
equipped classroom, the result probably of a period of
indifference among masters and students. He knew that
students were no less, or perhaps rather more dependent
than artists upon proper technical equipment. He over-
hauled the studio properties and added to them. One
old copper-plate press awaited him. He had seven
presses before his second term.
He interested Ketterlinus
in Philadelphia, and Mr. Heywood in New
York, repre-
sented the gain to lithography of an artistic training for
young lithographers, asked their aid in obtaining the
right presses and tools. They knew him, knew his thor-
oughness as craftsman, knew the unselfishness of his
enthusiasm, and they responded generously.
From the first he foresaw the impossibility of manag-
ing alone both etching and lithography classes, of hurry-
ing from the student drawing with a needle on a copper
plate to the student drawing with chalk on a litho-
graphic stone. The mediums were too distinct, each
called for the master's undivided attention. With the
approval of Mr. Gifford Beal he applied to the Mechanics'
Ohio Institute in Cincinnati, the one American school
visited on where he thought lithography was
his travels
intelligently taught, and in answer to his request Mr.

Charles Locke came to the League, first as his assistant,
soon to take entire charge of the lithographers. Pennell
could not have found a more congenial man to work
with. Locke, besides being an accomplished technician.,
shared his enthusiasms, understood his aims and objects.
The next year a class of woodcutting was added but
276
though Mr. C. B. Falls was announced as master, he

could not spare the time to wait for the pupils who did
not appear immediately, too slow to be aware that so
distinguished an artist was at their service. The third
year, however, a small group of woodcutters gradually
grew in numbers under Mr. Allan Lewis. In the three
classes, Pennell saw a solid foundation for the American
School of the Graphic Arts that was to eclipse all
others.
As the school prospered with the passing of the
months and years he was full of fresh schemes to perfect
?
it. It was not sufficient to supply his students with the
proper tools; the tools must be used in proper surround-

ings. He had the two classrooms a second was given
him for lithography painted black on floor and high
dado, white on the upper walls and ceiling, not solely
for decorative effect but for concentration of the light.
On the black dado he hung enlarged photographs of
Rembrandts and Whistlers, determined to rescue his
students from their outer darkness. In other classrooms
primitive man and the untrained child might rule, but
in his the greatest masters of the greatest periods must
prevail, theirs the tradition it was the duty of his

students to carry on. No fine exhibition of prints could
open at the Metropolitan or the Grolier Club that he
did not visit it with his class, talking to them in free
and easy fashion of the work, its merit, its shortcomings.
"
There were heated debates/' Miss Reinthaler says,
' (
violent discussions as to how this artist got his effect

or how
he probably did that, that continued on the
street cars and' sidewalks." He brought his students
to the Margaret that, from the roof, they might share
2-77
his joy in the beauty of New York, in good American

fashion regaled them with chicken salad and ice-cream
before they went home. He lectured to his class, explain-
ing his meaning with the aid of lantern slides, he gave
some of theJLeague's evening courses to larger and more
promiscuous audiences. He brought directors of other
schools to inspect his and help him with hints and
suggestions, among them two men he had long known:
Frank Morley Fletcher from the Royal College of Art,
Edinburgh, now at the School of the Arts, Santa Bar-
bara, and Emil Orlik, of the Arts and Crafts Academy,
Berlin. He sought and obtained commissions for his
students, introduced them to museum directors and to
He made a student's success his own, would
art dealers.
even brag ofit, as when he boasted to Mr. Leinroth,
"You might tell Mr. Crothier [a member of the Ketter-

linus firm] one of pupils has got a job doing portraits
my
in Lithography for a big concern." He persuaded Mr.
Mitchell Kennerley to hold his students' annual exhi-
bition at the Anderson Galleries, got John Howard
Benson to do the lettering for the invitation card, and
himself bought many jDf their prints without their
knowing who was their patron. When the Water Colour
Club in Philadelphia accepted the prints of his class
for an exhibition at the Academy and then refused to
hang them in a group, as the Academy usually did, he

resigned; nor could Mr. George Walter Dawson,
the president; and Mr. Thornton Oakley, the secretary,
induce him to reconsider the matter. Even a Phila-
delphia paper reported the prevailing feeling that
the Water Colour Club was too much dominated by
the Academy.
Pennell scolded, he drew liberally upon his "mine

of invective", but the practical proofs of his interest
could not be mistaken. That he was appreciated by his
students, that his influencewas spreading, gave him
the deepest satisfaction. Towards the last, the class
at times exhausted him, for, not content with the
morning of his engagement, he often stayed till late

afternoon. He did not show his fatigue: "One never
thought of him as tired," Mrs. Cadmus says. "It was
work and good work that he wanted. He seemed search-
ing to give all he had to give. All he knew he had to
give away. He never minded an interruption." Tired he
often was, little as he showed it. But the intelligent
response of his students repaid him. When this response
took a practical form, he was as pleased as a child. One
year they presented him with an umbrella, his name
engraved on a silver plate, and I doubt if he used it
once, so afraid was he of losing it. His letters to Locke
and the others letters of advice, letters of admonition,
letters ofencouragement, letters to speed them on their
way reveal the relations between master and students.
The first to Locke was written at the end of the first
year, when it was decided to put him in charge of the
lithography class, under Pennell' s supervision.
TO MR. CHARLES LOCKE

5.18.19x3
Dear Locke This class will be a big thing and it is up to you to be
in it. Now you must get down to the mechanics of lithography
ifyou really want to come back, and learn the methods of drawing
in lithography
transferring
and
all the printing
methods in black and white
known in and
Cincin colour
and especially
offset
Then we can get on and do things I dont believe it will take you a
month to learn them because you have a mind but learn them and
as you learn, write them out. As you say, N. Y. is the only place
fit to live in. Did you see the thing Heywood made of your drawing
in The American Printer Etched, rosined, washed out yes washed

out but he, Heywood, was proud of it I was not. All the class is
coming back save the Baby Howell and she was one of the best.
But if you will learn what you with your brains can learn and
dont forget colour for Charles Falls is coming to teach and we must
keep him in his place things will happen in a way. It is up to
you and if you this summer learn it all as you can we can
make, as I have told you all along, a big thing out of the class
Now if you really want to come back and it is I^know worth your
while learn it you easily can
all as and come and I and the
School will be glad to have you.
Now Buck up
Yours
Joseph Pennell
Beyond it all we
can do, what has not been done really experi-
ment. Everybody likes the things you showed, you had one big
centre and Bessie Brewer, who is also coming back, had the other.
But learn things and come.
j-p-
The N. Y. lithographers are sending another ordinary litho press
and an offset press and we are also to have the big room alongside
our present one as
well as that'
The whole floor. See
2.80
TO MRS. BESSIE MARSH BREWER

7. 8. 19x3
My dear infant Etcheress
I should have written you long\go and thanked you for your letter
and the proofs but I have for the last ten days been in a sad seedy,
in fact, down and out condition. Miss Mercereau or Chris say, says,
they have your etchings and I told them to take them to the Keppels.
But I got the two others which you were good enough to send and
I am most glad to have them You are not a fool by any means
but you WILL BE if you dont do a lot of plates this summer surely
you have any amount of ideas in your head, or up your sleeves or
there are things around you the Yankee if he still exists has
not been done nor the Yankeress do them if you want to even if
you dont print them till the fall and then come back to the shop
and do em I have got more presses.
Yours
Joseph Pennell
Mrs. Laurent Oppenheim was one of the rare few of

the outside public who expressed appreciation of his
work in the school to which he called attention in a
couple of illustrated articles published in the Times
Magazine Supplement. If others were as appreciative, they
mostly kept it to themselves. He wrote his acknowledg-
ment he was punctilious in these matters and told
her some of the things learned in his year's experience as
master.
TO MRS. LAURENT OPPENHEIM

7. 31. 192.3
Dear Mrs. Oppenheim I am much obliged for your sympathetic
letter it is the first and probably the last or only one I shall
get (a more unappreciative public than this does not exist.) There
z8i
may be lots of "talent" in this country but most of it wants

suppressing. I encountered a League Student in the Bankers' Club
the other day, waiting, and he admitted he was doing all right
without any art There are any amount of people wanting to rush
in and be taught the trick and any amount of others willing to
" "
teach But both of them want is to make big money quick
all
damn the art, that dont matter I did, however, find a few" people
willing to work and as I had sole charge of the show got a little
done but a more careless slovenly lazy lot of ignorant illiterate
hogs especially the women I never encountered they made filth
instead of art most of them but I fired THEM. However I shall
try again though whether get any pupils worth anything,
I shall
is another matter. Last year had the whole country to draw on

I
this year I shall have what is left. Come round in October and see
what we are doing Yours
Joseph Pennell
The Times man printed the worst things he could but popular
ideals prize fights and pups. Golly, what a country.
TO MR. JOHN HOWARD BENSON

The Art Students League
9. x. 192.3
Dear Benson Locke's address is Marwood Cincinnati I am glad
you have had a success with your work in Newport but Newport
is a very unimportant
spot in the world save for artless things
and artful people and you have got to try for bigger game and I
hope you may have success. I am more or less patched up again and
hope to be back at the school in October
Yours
Joseph Pennell
It iskind of you to offer to do things but the Doctor did all that
or them. J.P.
The next letter, to Mrs. Cadmus, was an acknowledg-

ment of the sympathy she expressed for our loss in Lon-
don of which she had only just heard.
TO MRS. MARIE LATASA CADMUS

10. 14. 1913
Dear Mrs. Cadmus If you want to be "first", why dont you turn
up again and get there. Near all those I wanted are coming back.
And now that we have the machinery, there are seven presses, I
want them used and, by them and the work done on them, this year
to prove that the School is worth something practically. It is very
good of you to write as you do about what happened needlessly

years ago though we only knew of it a year ago but it is done
and over and ended.
Yours
Joseph Pennell
The "it" in the following letter was a competition

for a design to decorate the cover of the League's annual
circular. Howard Benson sent in a lithograph of the
League building in West Fifty-Seventh Street.
TO MR. JOHN HOWARD BENSON
Hotel Bossert. Brooklyn

3. 2.0. 19x4
Dear Benson. I tried to get into your fool place tonight no one
answered the bell on the outside, and no one without a telescope
or microscope could read the names on the inside lists But I want
to tell you
you won it.
Now some things you must do at once in lettering or

there are
having the stone lettered so come here to-morrow FRIDAY morning
for a few minutes. I am glad you got it
and
so is the class.
Joseph Pennell
3-83
TO MR. WILLIAM BEEKMAN

z. 5. 192.5
Dear Beekman Naturally I am sorry you are going but glad you can
stand on your and very much appreciate all the kind things
feet,
you say inyour But I fear there is going to be an exodus of

letter.
the older students though if you, Dix and Miss Freeman are getting
to work its all right. Yes of course I shall want some of your things
for the show and wish you had done or would do more of those
white on black things.
Yours
Joseph Pennell
Vassar invited the class to send their 192.4 exhibition

from the Anderson Galleries to the college. Pennell
suggested a practical demonstration and he went himself
with Locke and three students: Mrs. Lester Cahn, Mr.
Andrew Butler and Miss Catherine S. Van Brunt, the
monitor, who had seen to the details.
TO MISS CATHERINE S. VAN BRUNT

5.Z7- 19x5
Dear Miss Van Brunt I was sorry you were not at the League
yesterday for I wanted to tell you before the class closed, how much
I what you did for us at Vassar and, to prove it,
appreciated
printed some proofs for you but you were not there and now if
you will accept them I do not know where to send them but if
you would care for them and send your present address I will confide
them to the post with misgivings.
I am
yours
Joseph Pennell
Pennell's criticism of his students' work was given at

the school, he was never called upon to write it. But
The An Students' "League
one he did write, not to a member of
letter ôf criticism
the class but to Catherine Wharton Morris (Mrs.
Sidney Wright), the daughter of his friends, Mr. and
Mrs. Harrison S. Morris. He had been interested in her
art career since the days when she revealed her talent
in paper dolls of surprising originality. Always to her,
in writing as in talking, he used the plain language for
she too is aJFriend. The second letter was in answer to
her explanation that J. Howard^Benson was the printer
of the criticized plate.
TO MISS CATHERINE WHARTON MORRIS
z6 192.3
Dear Friend I have thy etching and I am going to write thee in a
friendly spirit, and for thy own good a very straight letter about it
because I to see thee go ahead, but in the right way. And thee
want
is as I seefrom the print going completely and absolutely in the
wrong direction not following the advice I gave thee, and the
result is not near so good as the first plate thee made, out of thy
father's window. To begin with thee did not think for a minute
or a second even about placing the subject properly on the plate
as far within the edges of it as thee was from it, that is evidently
across the street. In fact thee drew it so big and out of proportion
that it dont fit the plate at all but runs out of it, at every point
just look how Whistler best, and Rembrandt also avoid the traps
thee has fallen into It is a wooden house and thee has stated in a
way that fact but there is no difference between the boards of
which all three of the houses was, or were built and I KNOW
there was Next as to the windows and doors each window that I
have ever tried to draw has as much character as the people who
look out of it, often more And thine have no character there is no
observation of the glass and its reflections, and no difference between
those that are open and those that are shut To see what I mean
study Whistlers Black Lion Wharf. As to the roof it seems as though one
part was tin and the other part shingle; but wh7 is the poor chimney
of the same texture? it is brick, and why does it lie down on the
roof and not stand up away from it? The wires, I suppose phone
wires, run exactly as they doubtless did but that is just where
thee and they are wrong, because instead of leading up to and con-
centrating one's attention on the house they lead the eye out of
the plate and the plate is flat all over, thee dont understand that
an etching depends on the variety and quality of vital expressive
line with the exception of the lines of the wooden walls there is
no expression in thy and finally bad yes bad as it is
lines at all,
thee dont know
anything about printing and even getting what
color thee has put into the plate out of it I could make another
thing entirely out of it if I printed it Now I hope thee will not

resent all this kindly advice nor thy family either for it is all
for thy good and in a few days I think I might drive thee to do
something decent because if thee is properly led, thee might but

thee is altogether on or mostly on, the wrong track and thee
must observe both nature more, and etching a lot more, and my
remarks , all for thy good too. This is all serious, and I am
"
seriously desirous of seeing thee defeat Hamerton's statement that
no woman ever did, (this is a fact) make a good etching, ever can
or ever will do so." These are cold facts try and upset them. The
only to do so is after the most serious study of the drawing,

way
biting and printing of the best etchings ever made, and the best,
of old houses were made in the past, by Rembrandt and the best
and they are far better than the Dutchman's in the present by
Whistler and then try to beat them The only thing to do in art
is to carry on to carry on the tradition, on which all art is founded,
that can only be done by a knowledge of what has been done
and then trying to add one thing, one little note of one's own
little
to the great accomplishments of the past, and that, as Whistler

used to say "is so difficult" but if thee wants to really etch that
is what thee must do. Now this is all for thy good and I
hope thee
will accept it in the spirit in which it is written and if thee dont
well?
Thine
JOSEPH PENNELL
But I know thee will.
*9 1313
My dear friend Catherine Morris thee is completely off thy chump.
It's not difficult to learn to etch but horribly difficult to etch
it is
But in a month, I knowthee has brains enough, to learn what thee

now knows nothing about and cant learn from either Benson or
Hamerton the first I never knew had made an etching I certainly
have never seen one he ever did and the second by showing people
how no sensible person ever would make one has done more
good by discouraging people than any one I know of. I have
all more people at the school than I want or know what to do
with and I know what to do with them and as one of them said
recently, "we dont have to unlearn what we learn with you'*
That's a real compliment. Still I could squeeze thee in and it would
do thee a lot of good which thee wont get nowhere else no how
Thine
JOSEPH PENNELL
I add one more prove useful to other

letter as it may
young students as well as to Mr. Armistead Peter 3d, to
whom it was written. It calls for no explanation, unless
I say, as seems obvious from the first paragraph, that
the application was made after the news of our London
loss had got into the New York papers.
TO MR. ARMISTEAD PETER, 3D.

10. 14. 19x3
Dear Mr. Peter The thing that has happened is a good deal worse
than even the newspapers made it out, but it has happened, and
it is over, and it is only one of the little valuable details, gone, in
the great useless, unnecessary war which could easily have been
avoided. If it had not been wanted.
Iam sorry but I have no more time to do any more teaching than
I am doing. While there are certain technical and important matters
zS 7
to learn about Pen Drawing the first thing is to learn to draw as

well as you can, and with modern methods of reproduction, if you
can express yourself, in line, or want to, as you say, you can join
my class in Lithography and make pen drawings by that method and
have them multiplied and printed or rather do it yourself on the
school presses. So if you want to know more, come and see me
some Tuesday at the League 115 W. 57th Street I hope you are
coming to our function next Tuesday afternoon at Keppels*.
I am yours
Joseph Pennell
Pennell's work at the League lasted not quite four

years. In that time he gathered about him a group of
young enthusiasts from all parts of the country, he
inspired them with respect for the graphic arts, he im-
pressed upon them the fact that technique is the foun-
dation of great art. Technical proficiency cannot make
an artist, but neither can any man become an artist
without it. He, who thought the centuries had produced
only two masters of etching, Rembrandt and Whistler,
did not expect his every student to turn out a genius.
But in his class he set up a healthy standard at a time
when short cuts are the accepted roads to fame and
fortune. He established a tradition at the League, even if
he did not live to see rising from it, the American School
of the Graphic Arts which was the goal of his ambition.
188
CHAPTER XLVI
SERIOUS ILLNESS INTERRUPTS WORK FIRE -
IN THE MARGARET TURNS HIM ADRIFT

(192.3-1914)
PENNELL sacrificed none of his other activities to the
school. He worked harder for the New Society in 191.3 ,
feeling largely responsible for its three-years' tenancy of
the Anderson Galleries and knowing from experience
how apt the artist is to find a gap between expenses and
returns. To bridge this gap, lectures and technical
demonstrations were given, a fee charged for admission.
Etchings were printed before an audience one evening,
lithographs a second. On a third, he sat to Mahonri
Young for his bust, an ordeal which sculptor and sitter
lightened with a quick fire of comment and criticism or
interchange of personalities: "Not a half bad Music-
Hail sketch, what?" Pennell described it afterwards.
His duties at the New Society were no empty excuse for
his delay in attending to the series of post cards he
allowed the Philadelphia Art Alliance to make from his
large Philadelphia lithographs. When he did take up
the matter with Mr. John F. Braun, President of the
Alliance, his letter was as full of ideas and suggestions
as if he was without another care in the world.

i, 13. 19x3
Dear Mr. Braun I have been so bus7 with the New Society of
Artists' Exhibition and other things that my correspondence has
I have marked the print I think the best of the

gone to the dogs.
Hallway of the Wister House but it either has a scratch in it or
there is a white line across the print from which it was made I
have marked it on the back. Frankly I think they can be much
better done Have you tried the Offset Press? Messrs. Ketterlinus
can tell you about it. I think Mr. Wiedersheim of that concern is
a member of the Alliance. I am sure offset would give a far better
result.Then there is another matter There is no reason why these
cards should be the size of the Government card. Cards the size of
will be accepted by the Post
Lippincotts' reproductions or bigger
Office and the mere fact that they are bigger than the usual post
card would be an increased attraction Again, when you do get
your method right I suggest as far as I am concerned you issue
only of my work the series on the
State House
Independence Hall Inside and
Out and the Grounds
And
Either the Old Churches or the Historic Houses of Philadelphia
and also why do you not use the Etchings of Philadelphia or
some of them they would reproduce well. I do not know when I
shall get over but you should see our show at the Anderson Galleries
Yours
Joseph Pennell
InMarch he was on the Hanging Committee of the

National Academy here too with a feeling of responsi-
,
bility, for he induced the Academy to devote a room to

Black-and-White to which he insisted the "engraver"
members had every right, legal and artistic. Academi-
cians were slow to admit this and made the concession
only to withdraw it as promptly as convenient. His
valiant fight for Black-and-White was of small avail.
The Academy seemed no less indifferent to Mr. Braun's
offer in 19x0 of "a medal for presentation to the best
Black-and-White Print in the annual exhibition/* He
2-90
Serious Illness Interrupts Work
CARICATURE OF ANDERSON GALLERY SITTING BY LUKE PEASE
talked it over with Pennell, who was

under the impres-
sion that the Academy, realizing Black-and-White had
come to stay, would make the exhibition an annual
affair. The Academy accepted "a medal to be awarded
to a work in Black-and-White when such is a part of a
2-9
1
regular exhibition", an Academic interpretation not

looked for by Mr. Braun and promptly rejected. He was
disappointed, Pennell was disgusted, and that was the
end of it.
Pennell joined Mr. Walter Clark's Society at the
Grand Central Galleries : sending water colours to the
first exhibition in the spring of 192.3, resigning, how-
ever, at the three years. He thought the

end of the first
conditions more favourable to the painter in oils than

the painter in water colours. He_was on the American
Committee for the coming International Exhibition in
Rome, struggled at first to make it a success, in the end
to save it from failure. An
exhibition of his work was
held in Philadelphia Wanamaker's
at during what
Philadelphia called Art Week, Mr. Braun lending his
collection of Pennell prints and Mr. Devitt Welsh his
collection of Pennell books. I ran over to the Exhibition,
and very impressive it was, a prelude to the last show
of all at the Anderson Galleries.He did not go. In April
the boxes of our wrecked possessions arrived from Lon-
don and, face to face with our loss ? he broke down.

4. zo.19x3
Dear Mr. Braun It was very nice of you to write me about coming
over, a lot of people did so, or telegraphed, but I am not up to it
either physically or mentally. I have until yesterday only been out
of the house once in ten days and I am not up to the trip, talking
and late hours and smoke fancy I have not smoked or even
drunk hardly for a couple of weeks not because I cant get any, but
dont want it, a proof I am pretty low down.
And now another matter though I do not know what you have
got in your collection of my prints I do know that you have more

I imagine I am certain so far as I know the only collection any
way complete in the world Mrs. Pennell and I had been getting
the things my things our things together and the cursed war
and the cursed British Government which commandeered the storage
people they tell us wiped them out and the storage people
never told us a word of it and it was only when Mrs. Pennell went
over last autumn that we found it out these are the kind of tripe
the up-to-date American toadies to all we are wanted for in the
League of diseased and decayed British-Wilson-bought deal is to
pull their half burnt chestnuts out of the fire for them I did not
live more or less for thirty years in England without finding it out
I found it out in thirty days. Many Americans never find it out
Why if we were a Colony to-day Washington would say put on more

taxes instead of putting the tea in the harbour I sent you I
mean your Art Week a paper. I hope it was read but I aint up to
reading or talking
Yours
Joseph Pennell
Mr. Braun, in the years he was collecting Pennells,

had the opportunity to learn much of both the work
and the artist. They were on committees together, con-
cerned on the same schemes. Pennell accepted a commis-
sion for an etching of his house in Merion an unusual
concession and made two because the house was "by
far the decentest in the Philadelphia suburbs." Mr.
Braun appreciated the quality of Pennell' s prints and
drawings, his "free mastery of his medium, his enor-
mous versatility/' He understood Pennell' s character
* *
an emotional giant who could not have become the

* * ' '
great artist he was without a nature that flamed and

smouldered ceaselessly.
For the autumn of 1^3 Pennell prepared an exhi-
,
bition of etchings and drawings some of them out of
2-93
Life and Letters of Joseph Pennell
the London boxes and it was transferred to

at Keppels'
Worcester, or part of it, where he lectured to the

Woman's Club, the details looked after by Mrs v A. H.
Pike. The only other lectures of the year were at the
Women's City Club in New York, at Yale, at the Brook-
lyn Museum. Many plates were made in 192.3, the year
of the impressive "New York Stock Exchange" for the
Certificate of Membership, and the four plates for the
The New Edison Building,
' '
Brooklyn Edison Company :
Brooklyn"; ''Building the Edison Works, Brooklyn";

"The Concrete Conveyor, Edison Works, Brooklyn";
"The East River from the Edison Works." He pulled a
few proofs for himself and, with one of each plate as a
guide, Platt printed the edition for the Brooklyn Edison
Company who later reproduced the etchings and issued
the reproductions in a book. Pennell seldom made a
plate on commission. In the old days Frederick Keppel
was disposed to offer him more than one, and inclined
to resent Pennell's refusal, though it never interfered
with either their friendship or their business relations.
As it turned out, working for the Stock Exchange and
the Brooklyn Edison Company was so satisfactory, even
pleasant, that in the autumn he accepted a commission
for a plate of Washington Cathedral. He had drawn and
etched many ancient Cathedrals in many cities, but never
one in the actual building. It was another industrial
subject, and he made three additional plates for himself.
He was more engrossed with his water colours. That
big window at the Margaret held him spellbound. Before
it his love for the beauty of New York flamed into an
all-consuming passion. It was a beauty that insisted

upon colour for its expression, from the early morning,
2194
BROOKLYN BRIDGE OUT OF OUR HOTEL
MARGARET WINDOWS
Water Colour by Joseph Pennell
when the light fell in rose and gold on the ^skyscrapers
across the East River, until the evening when the sun
set in a glory of orange and crimson and purple behind
them, and gradually ferryboats were transformed into

fairyboats in the blue darkness, and the glimmering
lights made golden patterns on sky and water. Our
days were regulated by the effects out of the window. I
might be dressing, already late for an engagement,
when, with a sudden splendour in the, heavens, a linger-
ing loveliness in the harbour, he would call me to watch
with him, to share with him the wonder of the Un-
believable City, in the magic and mystery of the night.
The dinner hour would pass unheeded if the sun, as
showman, prolonged a fine performance. He could not
tear himself away until the curtain fell.
Twice, and both times seriously, 192.3 interrupted this
fever of work. That years of activity were beginning to
tell on him is evident from his letters. That he was no
longer youngîs a fact he was apt to lose sight of. In

June indifferent health developed into desperate illness.
The doctor and his assistant were alarmed, called in a
specialist for consultation. The specialist insisted upon
a hospital and an operation. Pennell would not hear of
it, said he would rather die than be cut into, and the
wise doctor pulled his patient through without the
help of the knife. was a long and tedious business.
It
For weeks Pennell could not work, had not the strength
to dress, though he refused to stay in bed. All his life he
had scorned a dressing gown as a luxury of the idle;
to buy one now would have seemed a weak concession,
and, instead, he borrowed mine. Anxious as I was, I
could laugh at the astonishment of the occasional
2-35
friends admitted, when

they had their first glimpse of.
the tall gaunt figure arrayed in a flowing gown of
heliotrope velvet with deep lace collar, which he wore
with the unconscious grace of daily habit.
He was a fatalist on the subject of death. He did not
shrink from the thought of it, and, even at the most
alarming stage of his illness, did not let the immediate
possibility disturb him. What must be, must be. Why
waste time thinking of the inevitable? Besides, the war
had ruined, killed his world. Life had lost its savour.
When he heard of the death of old friends his regret
was put in the fewest words or else no regret expressed.
Walter Taylor was a friend he prized, but when Taylor
died in the summer of 192.1, his one comment was a
' *
reference not to the friend but to the illustrator : a very

good man gone, really the best in his way/' That was
all. "Too bad about Massingham'' his first London
* *
editor but he had done his work and it is better to

be out of it," he wrote to Fisher Unwin in 192.1. And
* *
again in 1913 , I think your letter arrived the day I saw

that Landor and Archer had gone and this morning
Gould. Well, they are well out of this mess/' All three
were closely associated with his London days. When
autumn came he had so far recovered as to take his
physical condition mor-e lightly. "I get on all right,"
' '
he told Fisher Unwin in October save they thought

they had sent me to feed the violets in the summer and
now I have more to do than two dozen mongrels would
dare to tackle, including a flourishing technical school
where the men are so ladylike the,y wear rubber gloves
to save their lily white hands and the women or some
of them teach their parrots to swear and are
mostly
Fire in the Margaret Turns Him Adrift
divorced , specially the pretty ones whom I at first re-

gard as innocent infants. Golly what a country mine no ,
longer."
The second interruption was a fire in the Margaret
one evening late in November. We hoped against hope
that would not reach our floor, were foolish enough
it
not to prepare for flight, and at one in the morning

moved to the Hotel Bossert, a few blocks away, with
not so much as a toothbrush for luggage. Pennell was
down for a lecture on Beardsley the next day at the
Brooklyn Museum. Mr. Fox was willing to postpone
it, suggested the postponement. But Pennell never let
personal difficulties interfere with public engagements.

I spent morning in buying a supply of immediate
my
necessities, our apartment at the Margaret so deep in
water there was no getting into it. At three I met him
at the Museum and listened to one of the best talks I
ever heard him give, while a stenographer took it down
for the volume afterwards made by Mr. Grasberger, the
third of the Pennell Club publications, which filled many
hours and many letters in the early part of 192.4. At the
Bossert we were in an apartment many flights up, with
the harbour out of our windows. "Not the Margaret
view!" Pennell said, "but I am not sure that it is not
finer," and when our belongings at the Margaret were
packed and stored, he brought away little save his
water-colour box and paper.

Hotel Bossert, Brooklyn
iz. 1 6. 15x3
Dear Mr. Braun I have just found, in our mess, your letter in-
forming me that I had been elected to the Bill Board Committee of
the Congress of Art. If I can do anything, I shall be glad to. My

views of the subject,think, are pretty well known however, and
I
if my scheme a practical one, that of a practical self respecting

country France were carried out here, it would end the abomi-
nation and abolish the desecrators tax them pass proper laws to
do and then do, what no state, no government and more impor-
so,
tant none of the citizens of this country have the courage to do
make the rulers and politicians enforce them. Its perfectly simple
and can be easily done. I found the crop greatly increased between
New York and Philadelphia last week
J. Pennell
TO MRS. A. H. PIKE

I. 2.0. 192.4
My dear Mrs. Pike Thank you for all the very nice things you
say about my talk and my work. I hope your Club did like them as
well as myself.-;
The Expense account was long ago very promptly settled.
Of course it is a consolation to an artist to be told that some one
likes his things and I am glad you like mine well enough to own
them. For even if one does them without any idea that they will
ever be cared for by any one save one's and many all real
self
artists them
hate or are disatisfied with an encourage-
still it is
ment to go on when, as you do, some one writes and tells you that
your things appeal to them and for this I thank you
Yours
Joseph Pennell
TO MR. GEORGE J.
C. GRASBERGER
z. 8.19x4
Dear Grasberger These printers would drive Job to despair The
title page is stillwrong They have no sense of anything and
all
they cannot draw an S they will fill four lines decently they
should have one for three. The rest must go I do not know the
right title of Venus and Tannhauser. On the proofs they have been
2.98
careful But make them get the title page right Would it not be
well to put titles of other books on a half title and call this Vol.
4.
Yours
Joseph Pennell

3. 2.x. 192.4
Dear G. J. C. G. I am trying to move and
cant get over to those
binder people whom you have discovered besides as they are they
cant find it cant do it kind of cusses, why should I? They must
make up a dummy or send over specimens, of the right cloth or
paper and type and designs until they do this as they should I
have no time to waste on them. Why anyway did you not either stick
to the people in Philadelphia or get some one, any one ever heard
of here? Jews aint they?
Yours
Joseph Pennell
As I said, the frontispiece is ruined.
J-P.
A
large canvas attributed to Whistler was one of the
winter's preoccupations. "Whistlers" were frequently
submitted to him for an opinion in^New York as in
London, paintings and prints brought to him at the
Margaret or at the League for a verdict. The first year
at the Margaret amusing discussions were frequent in
the little downstairs reception room directly opposite
the office of the Arts. Hamilton Easter Field, sitting at
his desk, would see Pennell at the window, a canvas
in his hand, a man at his side apparently in earnest talk,
and, sure of what it meant, would run across to join in
the argument. Pennell liked Field, thought him one of
the rare competent critics in the country, was always
ready to consider his views, convincing or unconvinc-
ing. His death was to Pennell a personal loss. The large
2.99
' '
Whistler now in question, a portrait of a little girl

was the most important upon which
in a spacious studio,
Pennell had been asked to sit in judgment. The English-
man, from whose collection it came, said Whistler gave it
to him. Nobody seemed to know anything further about
him, save Temple, Director of the Guildhall
Sir Alfred
Gallery, who had visited him in his Clapham house and

seen the painting on the walls. When, after the death of its
owner, it was sold at auction with his other possessions,
it fetched a small price, and was eventually brought to
New York. Pennell saw beautiful things in it but was

not convinced. He went to study it alone, with me, with
Mr. E. G. Kennedy, Whistler's old friend. He thought
it would be well to consult Mr. Clifford Addams, Whist-
He had photographs sent to people in

ler's apprentice.
London who knew Whistler or his work during the
Eighties, the period to which the painting evidently
dated. Then the painting itself was sent. Some artists
and critics were prepared to swear it a Whistler, others
scoffed at the idea. The Morning Post opened its columns
to a lively correspondence. Pennell consulted David
Croal Thomson who, as manager of the famous 1892.
Whistler Exhibition, had opportunity to see and to trace
Whistler's earlier work. Pennell' s letters are an excellent
example of his thoroughness in every such case before
venturing upon a decision. The painting was first shown
to him shortly before the fire at the Margaret.
But all the discomfort of our flight to the Bossert,
all the interruption of packing, all the misery of set-
tling down in new quarters with the consequent loss
of time, could not lessen his interest in any subject to
which it had once been given. ,
300

n. 8. 3
Dear Croal Thomson dont want to bother you but I do want to
I
find out if I can something about the authorship of a painting of

which you have seen a photograph and another has been sent
you attributed to Whistler. It has occurred to me that Lavery
might know. Guthrie whom I have written to and who I thought
might have painted it when he lived in London does not but he
thinks it was done in Glasgow. There are many things about it
that I think are not by Whistler the firmly planted girl though
she looks something like a Leyland especially, but the Leylands
were grown up then. It must be in date in the early Eighties the
same time as those small things in the Memorial Exhibition which
we of the Committee doubted and you proved to us were right.
But what to me is the strangest of all and the surest proof, is
that a large, important and really finished painting by Whistler
should disappear or even if he knew of its existence in the house
at Clapham, or wherever it was, he should never speak of it,
never want to get hold of it and show it -you know his way in
these things this to me is the strongest evidence against Whistler
having painted this remarkably fine thing. I hope you wont mind
my boring you in this fashion, but it is very curious and interesting
work as well as a singular mystery. So will you try to unravel it
through Lavery?
We are pegging away and have a rather interesting place with all
New York out of the windows and the bay the finest view in the
world. McLure Hamilton is coming he says to stay here too and
as usual quite a gang of artists and artless ones are tagging after me,
for inAmerica everyone herds now but the people are impossible
and so is the life. The prices for dry cold storage, dead things, are
incredible nothing is fit to eat but they live on soft drinks and
chewing gum and listen to Lord George and other British, and swal-
low any guff thrown at them. The American race is extinct and the
mongrels who have over run the land are the lowest breed of crosses
between niggers, Jews, dagoes, Chinese and-imbeciles and dregs of
301
the near East. Yet the land, where you can see it between the bill-
boards wonderful and pictorial but the people care nothing for
is
beauty or even decency only for money and the more they get the
more they want the soldiers of this state were yesterday voted a
bonus for their patriotism in not getting hurt, many even didnt
get to Europe, and the police and firemen are to have 500 a year
each As for artists
Yours
Joseph Pennell
If Temple, and he says so,knew all about
it, I cannot understand
why he never showed it at the Guildhall, or told us of it at the

time of the Memorial. Or why Whistler did not tell you of it and
want it in the Goupil Show. Truly it is wrapped in mystery.
There are three or four people who were intimately connected

with Whistler at the time to whom I should be greatly obliged
to you if you would show the photo.
Chas. Hanson (you know who he is)
Ludovici
Sickert
Pickford R. Waller
Walter Dowdeswell
Some of them may know something.
Proofs were not forthcoming, authorities differed.

"I wish I could be assured that the painting is right
* '
but I am not, expresses his attitude in his last letter on

the subject to Thomson. He never saw the painting
again, nor have I heard what became of it.
While the correspondence with Croal Thomson was
in full swing, the chance came to buy from the estate of
George D. Smith, the bookseller, Whistler's letters to
Mr. Thomson, in connection with the 1892. Exhibition.
Whistler was living in Paris, the letters were almost
daily, a revelation of his seriousness at a period when,
his reputation as "clown", "charlatan", was wide-
301
spread. The series is of great importance and the pur-

chase was one of the pleasures of Pennell's last years.
The letters were added almost immediately to our
Whistleriana at the Library of Congress, and Pennell
wrote to Croal Thomson, enclosing a clipping from the
Washington Star., which announced the place secured
for it in "the Pennell Whistler collection, already far
the finest and most complete in the world/'

5. n. 192.4
My dear Thomson ... I enclose a cutting which may interest
you for certainly has not appeared in any New York paper and I
It
imagine has not been sent to London but is a live proof from
the fact that Smith and his estate could not sell the letters as a
whole that the love of art, the interest in art in this country is
dead though it was never alive we prate of art, we have museums,
congresses tea parties, collectors, uplifts, sales, Zorn's prints went
for ten cents on the dollar the other day, but we have had no artist
since Whistler though Sargent is our cleverest, far cleverer than
any you have and gave a good object lesson to the Jews, Polacs,
old maids in pants and petticoats we have Napoleons in white
pants now in the custom houses who peddle their products about
the country to win prizes that John has pocketed incidentally
the only decent John I ever saw.
But
Remember there can be no art in a
Dry Desert
filled with drunken
Hypocrites
which we are become.
But you might get the paragraph in the British papers then it
would appear here.
Yours
Joseph Pennell
33
Wegot back to the Margaret by the end of March.

Everything had to be unpacked and the printing press,
no better for its dose of water and four months of stor-
age, put in order. In the midst of the confusion he wrote
Thomson about the "Whistler", but
not only to Croal
toVan Dyke on a subject that meant no less to him.
Van Dyke's "Rembrandt and his School" had been
published several months before, and now he was pro-
* '
posing a second volume on The Rembrandt Drawings

and Etchings." He thought of using notes and com-
ments on the prints by Pennell which Pennell gladly
agreed to contribute if they were printed just as they
were written.

4. 30. 192.4
Dear Van Dyke Of course morally and dignifiedly you are quite
right to let the Jews, Greeks, and especially Fry, Berenson, and the
rest of the Gesshellschaft stew in their own cold storage but then
it is delightful, and also your duty, to stick pins in them and make
them squirm. If you will read the last chapter of Morelli's last book
you will see why they stopped with Velasquez and Rembrandt or
before them.
I am glad you will take up the etchings and I will do what I can
to help. It seems to me what you could and should do is to get

them into groups. Or single examples it is
perfectly evident that
the man who did the Gold Weigher s Field NEVER did the other
mostly rotten landscape, though he may have done and probably
did the background in the 3 Trees. The Omval is not like any-
thing else. The Beggars at the Door of the House is by the man who
did Christ Presented toPeofle. But the Hundred Guilder Prinf
the
aint and its all so much easier with the com-
and so on and so on
plete illustrated catalogues than doing the paintings and here is
an important point, are not all the signatures alike on all the plates?
34,
If so Idont believe he signed any of the things and I am beginning

to think he was the dam Jew Chase accused him of being and only
ran a shop. Only who was the genius he kept hid up stairs? But
have you looked into this question of signature on the plates, if as
I say, they are all signed alike, some with and some without dates,
but in the same way, they are faked. This is one of the things the
modern forger does with Whistler, who as you know changed his
signature with time the forger always gets the wrong one to
copy, and I believe that most of the Rembrandt signatures on the
plates are alike, which is dead against him. Artists dont work with
a stencil forgers do. Look into this and let me know.
Joseph Pennell

5. 4. 1924
Dear Van Dyke I do not want to bore you stiff about the* etchings
and I am pretty ignorant of what the authorities say but there is
one thing you can do and so far as I know it has not been done
Take say my two well beloved prints the Gold Weigher* s P/WJand
the Beggars at the Door of a House but they are so much better done
than anything else that I doubt if he did them, and the handling
is quite different too but who did and then have enlargements
made of a bit of each and have similar bits enlarged from some of
the other plates of the same sort of subjects and if you do this I
think there will be a revelation and a sensation. An artist does
not change his style once it is formed he develops it Whistler
pointed this out to me first in his own work and I have now been
studying it in that fashion. Try it! Haden did this stunt to show the
difference between an etched line and an engraved line and he was
fallen upon, but do you take similar bits from different plates some
you will see in the enlargements have the same lines and some
are utterly different as to this working up at different periods and
by different hands I know about that what of Seghers and

Rembrandt but with this scheme of mine if you not only take
two different plates but two or three states of each and enlarge them
the differences become painfully and perfectly apparent. And a
series of these would be of the greatest possible value in every way.
35
Has ever been done? I do not know of it if you have not tried to do
it
so. Ihope you will come only let us know when you can and we
will kill or hack out the cold storage kid
Yours
Joseph Pennell
And a postcript to a letter dated 9. 17. 19x4:
P.S. There is one point I think you did not make strong enough in
the Paintings of Rembrandt that it is perfectly all right to have
pupils and assistants to enlarge though the camera will do it
better to carry out in paint or "sculshure", as Pauline Bartlett
calls him but it is wrong to take the designs of a student or other
artistand sign them. When as in the case of Rubens there are sketches
and designs by the artist it is perfectly right to sign the pictures
made from them, but to take other people's paintings as your Rem-
brandt did is, to say the least of it, an infringement of proprietor-
ship. And in etching it is worse. Hammer this into em. My how they
must hate you dam Yankee interfering mit pizness
Yours
Joseph Pennell
306
CHAPTER XLVII
THE ADVENTURES OF AN ILLUSTRATOR
THE supreme interest o Pennell's last two years was his

book, ''The Adventures of an Illustrator." The idea
originated in that tramp, taken as long ago as the
autumn of 1885, to illustrate Doctor Eggleston's "Out
of the Way in High Savoy."
He knew the idea was good, held on to it, let it
simmer, developed it with time,

until gradually he saw
the Illustrator on the track not of one but of many
authors until eventually he had got as far back as his
apprenticeship for the pursuit and was writing some-
thing very like an autobiography. About the early
Nineteen-Hundreds, the work began to materialize. It
was a period of long journeys, bringing with them
hours when to draw, to etch, to paint was impossible.
He wrote on the fast steamer crossing the Atlantic, on
the slow steamer from the Isthmus to San Francisco, in
the Pullman crossing the^ continent, in hotel bedrooms
when storms were raging. He wrote without method,
taking up each Adventure as memory chanced upon it.
Between times he might, and often did forget what was
already written and would write it over again. I remem-
ber his despair on discovering four versions of the story
of his childhood in the quiet Quaker household of the
quiet Quaker town. He would have thrown the four
away, I fancy, had I not interfered, representing that a
new version made out of what was most characteristic
307
in each o the four would probably prove the best

chapter in the book. I think I was right.
The publication of the chapters as articles in the Cen-
tury for 192.2. was a disappointment. He would have had
them illustrated with the most important illustrations
"
that appeared originally in his "authors' articles. To
his surprise and displeasure the least important were
selected. Instead of his fine etchings for Ho well's
"
Tuscan Cities", as he wrote to Devitt Welsh, the
"
choice was for comic sort of things and figures done
in Italy that I want forgotten, not resurrected. Their
selection of the New Orleans things in this month's
magazine was disgraceful doing them no good and me

much harm/' He was more indignant when the editor
proposed to drop the last article. Pennell reminded him
of the agreement and insisted that, whether published
or not, it should be paid for. An agreement was an
agreement, contracts could not be so lightly set aside.
It was justice he wanted, not money, and he was paid.
The question now was the book. He hesitated; noth-
ing had been done, except to promise the English edition
to Fisher Unwin, when in the late winter of 191.4, Mr.
R. U. Johnson invited Pennell to lunch at the Century
Club to meet Mr. Alfred R. Mclntyre, President of
Little, Brown and Company. Mr. Mclntyre undertook
' '
at once to publish The Adventures ", gave the printing

of it to Mr. W. E. Rudge, the engraving to Messrs.
Beck. The book was difficult to make. Pennell had a
definite scheme. It must be the size of the Century so that
Century illustrations need not be reduced; the page must

be the Century's page of two columns for the greater ease
of readers, and if traditional authority were called for,
308
The Adventures of an Illustrator
he could refer the

arrangement to old manuscripts and
early printed books. Under these conditions, to design a
beautiful page, to balance text and illustrations was no
light matter for any one concerned. Nor was it easy to
obtain portraits of his authors, since these were to be
the work not of photographers, but of artists. Delays,
disputes, disappointmentswere inevitable, but the
sympathy of publishers, printers and engravers never
failed. As if conscious that it was his last book, Pennell
spared neither time nor energy, and it took more _out of '
' ' '
him than either he or I realized. His Adventures with

the printing and illustration of the book are in his letters.
His other interests were not entirely sacrificed. 1914 was
4<
the year of the Telephone and Telegraph Foundation"
* ' ' '
and The Caissons two of his strongest plates and by

,
way his record of The

of contrast, the Brooklyn Series
Heights where he found something of the charm of
Bloomsbury. He managed a few lectures at Englewood,
the Philadelphia Print Club and Art Alliance, Washing-
ton, Chevy Chase, Paterson, Cleveland. In Cleveland
(February, 19x5) he was asked to etch a plate for the
Print Club there the following spring, but when spring
came there was no getting away from the book, and
few things worried him more than to fail in his engage-
ments. He revised his "Etchers and Etching" for a
third edition, published in the autumn of 192.5 by the
Macmillans, who were also considering a Catalogue
of his Etchings, with an Introduction by Dr. John C.
Van Dyke, but never got farther than letters and inter-
views. He supervised the production of the fourth
Pennell Club publication, "A Book of Drawings"
by Thackeray, with an Introduction by Miss Agnes
309
Repplier. He was on the committee formed by Mr,

Franklyn Paris, late in 192.3, to secure a bust of Whistler
for the library of the University of New York. Mr.
MacMonnies was chosen as sculptor. He had known
Whistler well and could refer as model to Boehm's bust
owned by Mr. A. E. Gallatin and loaned to the Metro-
politan Museum. However, for one reason or another,
after many meetings and much correspondence in 1914,
MacMonnies did not carry out the commission and
Pennell's interest ceased. He was on, the jury of a Peace
Card competition, but when a painting by Mr. Arthur B.
Davies was sent in, declared it no competition at all,
where was the competitor to compete with Mr. Davies?
He saw and appreciated the beauty of Davies' work,
could not understand why, he said in a letter to Doctor
Van Dyke, certain artists were admitted to the Academy
' '
of Arts and Letters, while men like Manship and

Arthur Davies are carefully kept out." Pennell sat that
winter to Emil Orlik for an etching, an unsatisfactory
portrait, but the sittings were amusing., for Orlik had
revived a method of measurement said to be Holbein's,
which Pennell had known nothing of before. He
managed somehow a little leisure, not for idleness but
for lengthy letters on these and other matters: to Mac-
millans on the depths to which modern illustration has
fallen; to Mr. Mclntyre on the details of the "Adven-
tures"; to Mr. Sessler on the ethics of signing prints; to
his old and much-loved Teacher Sue on missions and
missionaries; to Mr. Edward L. Tinker, with sound
critical discrimination, on "Lafcadio Hearn's American
Days." His correspondence was never more varied and

voluminous than in 192.4 and 19x5 .
310
TO MR. A. E. GALLATIN

9. 17. 19^3
Dear Mr. Gallatin As you may have seen MacMonnies has con-
sented to copy your bust. To raise funds for this Paris and I have
thought it would be advisable to form a small Committee and to
ask you and Howard Mansfield to join it as the first members. I
hope you will be willing to do so If you are I will have a meeting

called here to consider ways and means.
Yours
Joseph Pennell

3. 30. 19x4
Dear Fisher You may be glad to hear that I have at last arranged
with Little Brown and Co. of Boston to bring out the book Ad-
ventures of an Illustrator.
L. and B. seem keen and enthusiastic and are young, but I
dont think that any advantage, any way in this land of swelled
headed youth, in its second childhood, or never grown up. Any-
way I'll let them try. Now I want to know if there are two or
three things you will have done for me as I have told them I
want you to bring out the book and they say they have talked to
you about it.
Will you get and send me from the National Portrait Gallery
photographs of
Henry James by Sargent
Andrew Lang Sir W. B. Richmond
Can you get any portrait of
Maurice Hewlett
or F. Marion Crawford
and Sargent painted years ago portraits of
Miss Paget Vernon Lee and
A. Mary F. Robinson
311
as you know them both could you get photos of these ladies' por-
they would let us have them.
traits if
I am proposing to use a portrait of the author whose works I
have illustrated in the chapter where what I did with him is de-
scribed using some of my own drawings as well.
I think this is the best way to work it out
dont think The Illustration of Books is worth renewing, it is
I
completely out of date, and would have to be done over. The

Graphic Arts covers the whole subject, and besides Macmillans I
suppose have written you that they propose to bring out a New
Edition of Etchers and Etching. I suppose you will take that they
want it for this fall as they have plates it wont be difficult. The
Ad-ventures book is for next year, if the rotten country lasts that long.
Yours
Joseph Pennell
TO MR. GEORGE J.
C. GRASBERGER
5. 15. 1924
Dear GJ.C.G. I have at last got that cover done, the next time you
have anything of the sort attempted I would send it to London via
the Behring Straits or Patagonia it would get there quicker, be
done better and returned sooner than when sent from New York to
Phila. but all is well. I see Ma X. is going to take over the State
House and the Mare will run the squashennial good ole fossil
Yours
Joseph Pennell
TO MR. ALFRED R. McINTYRE

Hotel Margaret
6. 2.0. 192.4
Dear Mr. Mclntyre, Thanks for which is as

your letter of the 13 d
encouraging as it is rare anyway here. I am just

nowadays to get
now working on a new edition of another book and I get replies and
advice from the London publisher quicker than from New York
and with more sense in them too. I have taken out a lot of kicks
but everytimeI take one out I get two or three bricks heaved at
31*
me from some where else. As to the loss of things I mean to rub that
in I am going not to make a grievance of it but a hymn of hate
and wont allow it to be forgotten nor will I forgive the British
Government. Things will be undoubtedly changed or dropped at
last but I want to do as little of that as possible I wrote about
Egan whose portrait I have got from the King of Denmark before
his death and I thought the description or statement might
remain of course it can be changed. I should very much like your
reader to suggest things not to change them without letting me
know especially "spelling and punctuation" a lot of this comes
from the type writer who sticks in apostrophies and commas till
I dont she would say do'nt know where I am still I miss them
when I (and Mrs. Pennell) go over the copy sometimes.
The paper I want is the thinnest opaque you can get I mean
paper that dont show the backing page, and the lightest it exists.
Dill and Collins of Philadelphia had some good stuff I dont know
name or number.
The shape of the text page is far better maybe it
might still be a
wider as to arrange-
little There will be lots to
ment I think it should be talk over with you
like this in inches or frac- and Mr. Rudge.
tions of inches
The photographers finished Saturday I think I told you that part

of the work is almost done though Unwin is still after a few
English prints as soon as the Walker people send in proof we will
know where we are I do not think the illustrations in the first
chapter will be important enough for your traveller to use it as a

specimen but it is all right to set up I do not think it necessary to
make the margins larger for an Edition da luxe put some special
feature in, and print on different paper and run it off after the
ordinary sheets thats the simplest* Shall send more chapters to-
day. Yours
Joseph Pennell.
313
The following letter will be better understood if I

' ' ' '
say that the work of art was an early portrait of Mr.

Van Dyke. The ''introduction'' was for the proposed
Catalogue of Etchings and the "Rembrandt notes" for ' '
Rembrandt Drawings and Etchings which Van Dyke

had then under way.
9. 18. 192.4
Dear Van Dyke I return the work of art. I dont wonder you love
it cute and too sweet by far to go in with my hoary bearded
its real
brigands. But I'd like to see the others. And really if it ever gets
out .... it really will be a book. But I should like to see the Chase.
Who has it? You are not only"a love", but a "dear" to be willing
to write the introduction, and I will tell Brett so. As to the book,
your idea is just or almost just mine, to reproduce all the prints
small, in this way.
Block about z x z, letter
press, name, date, size,

this will be all made
ready. Keppels have a

Mss catalogue, and then
I will add too a nice,
Pennellesque description
of how when and where
each was done. Just the
sort of thing to make
Howard Mansfield
squawk and faint.
As to the Rembrandt
notes of course I should like to do them, but it will take some
collaboration and you would let me have your Mss. or proofs, so
that should not contradict everything you say. But it would be a
I
most interesting thing to do.

Yours
Joseph Pennell
314
P.S. In the catalogue also there would be one or two original
plates as for the size it would be the same as the Graphic Arts
Books a new edition of the Etching book comes out shortly and
I think, as they do, it would cost about dollars fifteen, with a fine
edition besides or maybe only a limited fine edition much more

expensive.
As
to the Rembrandt notes, I suppose you have all your material at the
College. It would only be necessary I think to get all the repro-
ductions out, and the authorities, and go over the lot and if you
had a dear sweet typist on the library premises I think it could do
all the notes to be talked down in a day, roughly any way or it
could be done at the N. Y. Library I think we could get a room,
anyway I should like to do it.

iz. 5. 192.4
Dear Fisher Did the New York Macmillans offer you the new
edition of Etchers and Etching. It is out here. Mclntyre of Little
Brown and Co. is coming over in Jan. or Feb. with piles of proofs
of my book The Adventures of an Illustrator which I hope you will
take as you are in it and of it, and also I think it would be nice if
you would have him put up at the Reform his name is Alfred R.
Mclntyre keep the card till he comes. As you know he's a New
Englander and will not in any way shock anybody, but he likes
decent things and would appreciate it-
Here we sail gaily on the waves of prohibition which is not
dry I am going to dinner with John Lane to-night, and that will
not be dry, he says and hold ups and radio, murders and movies
and we are become the richest and the best country in the world,
and we are it, though we neither know nor care what we are.
Yours
Joseph Pennell
Have you seen E. L, Tinker's Lafcadio Hearn in America Dodd
Mead It is good and knocks stuffing out, of things.
315
TO MR. EDWARD LAROCQUE TINKER

I2-. 7.
^
1914
My dear E. L. T. Well you have got in the limelight and dragged
your little devilkin after you really you have made I believe
a real portrait of that unreal thing and he is not nice, and I now
must believe he did many things he has been accused of doing, and
many others that he has not even been accused of attempting. He
was nothing really but a mongrel tough with a strain of Irish
Greek and some nigger, I guess, nastiness and cleverness in him.
I hate him and despise him he was a Villon without his charac-
ter and a Dumas without his power though he was fed up on
French a perfect degenerate mongrel he could not write and
his stuff mostly as commonplace journalese as his
you quote is
illustrations all him is his Japanese stories all that

that redeems
I have read of them only translations and adaptations prigs (he
even rounded on the Japs) You have done a good piece, and a very
thorough piece of work which has been worth doing but you have
uncorked a bottle and let out the imp in it and it is a very evil
foul thing that has got out of the bottle. But the funniest thing is
the way your "crickets" chirp the one in The Evening Post last
evening was divine you have an
"urge"
he wants a purge and a pill. And the rest are just as funny and all
sign their names and devil of a won was ever hearn

f Oh Lor I dident mean 1
I to do that J
tell of befo. Stillyou have done what all the other extensive, but
not final, on him could not do did not do were afraid
authorities
to do but you have done it and done the book well I am yours
Joseph Pennell
Why the deuce did not he wear a pair of horn giglamps.
Hearn and his

friends take a walk
New erleens takes
to the woods
TO SUSANNA S. KITE (" TEACHER SUE*')

12.. iz. 192.4
My dear friend Susanna Kite should have answered thy letter of

I
eleventh mo. second long ago, I have however thought it over and
other letters, somewhat similar, that I have received. I cannot, I
regret, support the appeal for I am of the opinion that if Friends
wish to establish missions or send missionaries to convert the
heathen, they need not go outside the limits of the City of Phila-
delphia. These may not be the views held by Friends to-day, and in
the days of George Fox conditions were entirely different and I am
strongly of the opinion that Friends have changed also. Much good,
I have had ample evidence, was done by Friends who went abroad
during the war excepting to Russia where they have gone since
but I cannot believe that the religions of the heathen, if the Japan-
ese and especially the Chinese and Mahomedans are heathens, are
in any way inferior to our own if lived up to as the natives of these
countries do. While here to-day we or the world's people or

most of them in this country either know nothing of the Christian
religion or deny it or are absolutely contemptuous of it. Under
these circumstances and believing that charity begins at home
and honesty, decency, uprightness should be taught the vast mass
of foreign degenerates who have overrun and overturned the tra-
ditions of this country and of our city and so far as I know Friends
are doing nothingô stem this tide in our midst I must decline to
subscribe. Thy letter dear teacher Sue brings everything back to
me though it was only the other day that I was trying to set down
in writingsome of the memories of my early days. I hope thee will

understand my point of view and reasons and I remain sincerely thy
friend and
thy pupil
Joseph Pennell
The only one in which I
letter is characteristic, the
have found the honest statement of his honest opinion
that the work of Christian missionaries is cut out for
them at home.
3*7
TO MR. ALFRED R. MdNTYRE

Hotel Margaret
12.. 2.X.
1914.
Dear Mr. Mclntyre What foresaw and warned you of has
I
happened I begged, beseeched and insisted that the first chapter

should be made right before anything else was done this was
ignored and Rudge has been going ahead for months setting up or
hammering out typed galleys though he said he could do it all in a
month but luckily could not but Friday things came to a head
when paragraphs with two began to appear with only
line initials
about two lines of space between found this came first from my
I
typist who has original ideas as to pars and spacing, that these had
been improved by your typist that comments had been made on the
copy and that finally red circles had been added where some one
else thought there should be paragraphs. All this I found out when
on Saturday I got the Mss. back and found from the 4th to i4th
Chapter an incredible mess I have gone over the whole, however,
and after twelve hours solid work part with Rudge's Excellent
Proof Reader things are right the spelling too is lurid but you
had the first chapter and did not correct nor did Rudge the English
spelling the only decent form but the rest has been changed to
American I dont care which you use so I have told them to change
the first Chap to Ammurrican or any dam thing they like and the
rest of the book must be uniform. But as I said had my advice been
followed, the first Chapter got right and the rest set Chap by Chap
and each got right ten Chaps would not have got wrong because
the printers did not know what they were at and thought they were
following copy and form they had never seen It is the most perfect
example of the fact that American hustle is the slowest way of doing
anything I ever saw But I believe it is right now and can go ahead
the Mss. goes back to-day Meanwhile the photoengravers have
vanished Golly what a country. Yours
Joseph Pennell
It maybe wondered how in the midst of difficult

proofs he found time for printing. But his letter to Mr.
and Mrs. Tinker shows that he did.
TO MR. AND MRS. EDWARD LAROCQUE TINKER
Hotel Margaret
12..
30. 192.4
Dear Tinkers I am very sorry and sad I cant come especially after
all the
inducements
you offer.
But this is my reason
A r
and this my marked

condition.
As to the idea about Cable which I freely give you Is that the
distinguished and he dont realize what a ten strike he has made
author should give, from those who are left, the Creole idea of
Cable, it would be most
interesting
and raise a horrid row, but would be a record of a side of New
Orleans life
That the little manikin never

knew and you, Mr. Author, alone
could make known
Au revoir
Joseph Pennell
Collectors will welcome this letter concerning his
prints :
TO MR. CHARLES SESSLER

i. xs .
19x5
Dear Mr. Sessler. As the plate Limehottse has not been published and
the print is not signed, it is evidently one o a number printed with-
out my knowledge and the prints stolen while in the care! of an
English printer for proving they turn up frequently he did quite a
business in them. You can therefore, or rather I shall expect you to
destroy the print, and well, return the purchaser's cash or if you
wish to send it here and accompanied by $i2L.oo, I will sign it
if the print is worth anything I am not blaming you in the affair
but these are the facts a similar case occurred last week.
Yours
Joseph Pennell
Never
buy anything of mine
which is unsigned

4, 2.6. 19x5
Dear Fisher I am sorry,
but not surprised, you dont approve of the
get-up of my book, but I do not agree and for the following reasons
all my important books that you have issued, Vierge, Keene,
Lithography, Etching, Pen Drawing, have been this size or larger,

and they have sold why not this the two-double columns are
traditional and why not follow tradition? Though I know it is a
very difficult book to make up so that the text and illustrations fit
but it is being done and you must admit the type is very legible
and the illustrations tell far better so I think artistically. I am
right and I hope you will take it.
Yours
Joseph Pennell
P.S.The Booze question grows more acute every day, for there are
every day more spies, cowards and curs in the country who sell it
and themselves for a drink.
j.p.
3 zo

5. z8. 192.5
"
Dear Fisher What you issuing a new
say about Mactnillans
edition of Etchers and Etching at $10.00" is news to me too, for they
have not said a word to me about it ... But I will find out about
it and you know.
let
You however wrong about the ist edition, there was a fine
are
edition which was limited and sold out but there was also an
ordinary edition of which they sold a lot all of it and so did
you it has gone up in price, and there was a second ordinary
edition last year and I believe that was sold also and I hope they
are doing a third but I have as yet had no account though they
paid me in advance royalties for the entire second edition I be-

lieve As to my also getting a royalty from you that would be very-
nice but I have not heard a word of it. These books have been a
success and notices mean anything I know however that
if sales
artists care for them and even at that high price buy them for
Pen Drawing has gone through 4 eds
Lithography z
Etching z
and you say a third is to be done. Why not do a new one of Lithog-
raphy?
I have for a long while wanted Timothy Cole to do a similar
book on Wood Engraving

Last autumn the English Macmillans brought out London which I
illustrated and I'll tell you how it was reviewed the illustrations
not being copyrighted were taken and stuck in the virtuous rubbish
heap called Sunday papers without any payment and without any
notice of the book, simply saying they were from the book that
was all the notice the text got and then editors stole the illus-
. . .
trations the drawings and used them to illustrate other articles

in their papers about London, never referring to the book at all.
This is American cuteness and the copyright law is so rotten you
cant prevent it.
Yours
Joseph Pcnncll
CHAPTER XLVIII
THE ADVENTURES OF AN ILLUSTRATOR: THE
BOOK AND THE EXHIBITION
PENNELL'S fatigue was creeping into his letters., but

no one not with him day after day could realize how
great it was and how amazingly he conquered it and
attended to the innumerable details demanding his
attention. Fatigue developed occasionally into illness
but, after a short rest, he was more industrious than
ever, making up for lost time. In the spring and summer
of 192.5with "The Adventures" going through the
,
press, scarcely a day passed without its proofs: galleys,

page proofs, revises without end; the process engraver
in daily attendance, and the filling in of text and illustra-
tions, immensely difficult because of the page of two
columns, at critical stages calling for visits to Mr.
Rudge's printing house at Mount Vernon. He was also
seeing the new Pennell Club book through the press,
though, fortunately, this took him no farther than the
Pynson Printers in West Forty-Third Street, where Mr.
Elmer Adler was all consideration. The miracle was that
he found time to renew the correspondence with two
old English friends: Morley Fletcher who proposed to
send him a student from California, and Butler Wood of
the Bradford Gallery, from whom he sought advice to
help two committees, one of artists, one of museum
3x2.
Adventures of an Illustrator: Book and Exhibition
directors, in the difficult art of not only exhibiting fine

work but selling it. To Mr. Grasberger in Philadelphia,
he reported progress of the Thackeray book.
TO MR. GEORGE J. C. GRASBERGER

8. 4. ic>i5
Dear G. J. C. G. I have gone over and arranged the copy with

Adler he is very keen and I think we can make a decent thing of
the book. He has an idea which is not bad That Agnes ReppHer
and I as President should sign the book this certainly will make
it more valuable.
Will you ask her. She wont have to sign it yet The page for the
signatures can be sent her they would be placed on the page giving
the numbers of the copies.
Yours
Joseph Pennell
In the letter to Morley Fletcher, the reason for sym-

pathy with Fernand Lungren was the havoc worked in
his studio by the recent earthquake in California from
which Fletcher and his belongings suffered nothing.
Lumsden's book was a treatise on Etching published
earlier in 192.5. The "going down" of Mouquin's, due
to industrious and enterprising ''dry agents" was a
serious loss to Pennell. As I have pointed out, Mou-
quin's was the one place in New York which had for
him something of the atmosphere of old haunts in
London and on the Continent, and where he met a
group of artists, architects and writers with whom he
was sure of the good talk and gay battles he loved. The
food was of the kind he approved no stodgy table d'hote,
"
no messy platter" dinner, no messier salads. And the
wine, until the coming of prohibition, was the best
3^3
in town, the most reasonable in price. The good wine

disappeared with the Eighteenth Amendment, but not
all wine, and Pennell believed there was no decent dining
without wine. To Mouquin's he was sure to take friends
from the other side who would feel at home there. In
19x1 it was Doctor Bakker, once Secretary of the Inter-
national, always a friend, over on business from Holland;
in 192.4, Emil Orlik, after the sittings; in 192.5, just
before the end, Doctor Terey, Director of the Budapest
Gallery, who preferred the haunts of artists to more
correct restaurants. Mouquin's closed, where were we
to go? Theyears in passing do not make it easier to
change the habits of a lifetime.
TO MR. F. MORLEY FLETCHER

8. 30. 2.5.
Dear Fletcher I am glad you are all right and your things too. I
have not seen the boy you are sending or heard from him. But you
must know or you will find out that many of the people who start
east to conquer, this effete country or this part of it petre out
before they arrive or soon after they get here I get any amount
of letters wanting to know just how and with how little knowl-
edge and most of all how little work they can make a fortune out
of etching but this discovery of yours may be and I hope is
different it so happens however that the only etcher who can
really make etchings or rather did make them comes or came

from San Francisco he has now gone to Paris and from what I
have seen that he has sent over seems to have gone to pot in the
plates I have seen doing the same old stunt but he saw and did
Frisco. But I hope your boy will be different.
I used to meet the same crowd in London there they fell upon
me and I saw more of them in a week there, than I do in a year here.
But thank heaven Brooklyn is further from New York than London
and besides they are not given travelling studentships to come
324
here and I dont have to pay their subway fare back as I used to
have to help to pay their steerage passage home when they sneaked
back reviling what they could not see or understand. I am truly
sorry for Lungren for I know what he has been through means
for I have by another means or from another cause been through
the same thing and there is nothing so terrible on earth only I
hope it is not so bad as you say and that he will come out better
than he thinks but it is an endless and an awful memory.
" "
Lumsden has wrote a book and I reviewed it and he dont
like what I said though I gave him the only decent notice I have
seen, and as a technical book it is the only up to date thing that has
been done in England and it is published at a reasonable price
too well he had and actually acknowledged it which most do
not mine to work on and out of.
I am infernally busy, so busy I dont know if I can give the time
to the class, and I dont know if it is worth while either for all they
want, most of them, as I have said, is to be taught how to make
money. But that and prohibition are the aims of the so-called
American people.
Golly what a country
and I am thankful it is no longer my own though I was born here
as most of the inhabitants were not but it gets dirtier and crook-
eder every day. Mouquin's has gone up and there is nothing like it
left But that was because the so-called or even the real American
cant take one drink but, must get drunk. I am sick of it all But
where can one go
Yours
Joseph Pennell
TO MR. BUTLER WOOD

9. 5. 1915
Dear Mr. Butler Wood. I am are) as people can be in a
as right (we
dry desert, I hope everything goes well with you I am writing to
ask if you can furnish me with any information, it may be printed,
as to the arrangements the City of Bradford makes for holding
exhibitions, i.e. how do you get your funds and also, and this is
32-5
specially what we want to know, how you get the funds to buy
works of art from these Exhibitions. My reason for writing is
because, though every village in this land has prohibition, they
want an art gallery too there are a vast number of them and they
show everything but buy nothing. Consequently artists are be-
ginning to refuse to contribute to them as it is not worth while.
A committee of artists, of which I am a member, has been appointed,
and a committee of Art Directors and we are to consult together, as
to the future and the question of the galleries getting works from
the Exhibitions, so I write you to ask if you can help us in the matter
with facts I can put before the conference. I hear from Morley
Fletcher who is running a school in Santa Barbara, California, hav-
ing as you know given up the Edinborough post, but he might as
well have started a school in Dingwall for all the touch he has
there with the art of the country though there is no art here only
cackle and copying. I saw that Lavery came over some weeks ago
but I have heard nothing from or of him.
Yours
Joseph Pennell

10. 4. 19x5
Dear Butler Wood Thanks for yourthings are not so bad
letter
in the way of "likker" as the
pure middle west, down at the
heel, Main Streeters call it as from the bleating, braying hypo-
crites who are trying to foist their lies on you say it is. We and
everyone else have all we want and can get it when we want only
it is mostly very costly an,d
frequently vile but the trouble is we
are become first class theives, liars, hypocrites, and a nation of
fools that is those of us who are niggers, Jews and mongrels,
" "
thats the type of tripe that talks of our English ancestors
But to make a short story long the world is rotten. I am sorry you
are retiring for I do not see any reason for a man who, like you,
can do things because the average man is only a poor machine
and looks forward to the time when he can stop should retire. Of
course that is the advantage of a profession you are your own boss.
I understand that you to thank you for your answer to my ques-
3 z6
tions which has arrived in time have "a city rate" and I
suppose other municipal galleries do, with you. But it is not so
here I only know of one that has, St. Louis the others though
in many cases the city maintains the buildings, it does not bother
about their upkeep, or if they do that, the Exhibitions and the sums
to purchase works come out of the pockets of the benevolent
rich who in certain cases give money to institutions to avoid the
income tax thats all there is about it. Save the gush of those who
get it the cash which belongs to the rotten government. The
Metropolitan and the Brooklyn Museums here annually have to
beg money from the City to pay their running expenses "and the
whole country is the same there are too damn many public
"
spirited citizens who want to pay their way into everything here
and do But what's the matter with Rutherstein giving his . . .
goods to Manchester instead of you? Oh we see what goes on we

even get The Times and learn more about New York from that than
from the New York papers. We have a meeting next week and
your letter will be read.
Good luck to you I hope now you are out of it you are taking
a holiday I am yours
Joseph Pennell
I am doing a book and the fool printers are driving me mad.
Before this second letter to Mr. Butler Wood was
written he embarked upon new work, overladen though
' * '
his shoulders were. To round out The Adventures ', he

planned an exhibition of his book in the making at
the Anderson Galleries where Mr. Mitchell Kennerley,
the president, never failed him, while Mr. Walter M.
Grant and Mrs. Higgins Smith, in charge of the exhibi-
tion rooms, were ever ready to work with him. The
first new enterprise is in a letter tojMr.
reference to this
Grant, written months before the exhibition could be
opened. But he was planning it on a scale that required
plenty of time and leisure to collect drawings and
books, prints and paintings.
32-7
TO MR. WALTER M. GRANT
Hotel Margaret
5.31. 192.5
Dear Mr. Grant The more I think about showing the making of the
Adventures Book, with you, in the first two weeks of December
mind the date the more it grows. And what you wanted could
appropriately be done, at the same, for we could
then have
a
water color
and a
print show
and in fact with our other books and things take over the whole
place. No such show has ever been held anywhere and artistically
and socially and you financially could make it hum It must be
did not only this it could travel over the whole country or the
Adventures could.
Its a big success
already
Yours
Joseph Pennell.
Itwas a tremendous undertaking, and to add to the

labour it involved was the further plan, never carried
out, of sending the collection from New York to the
Philadelphia Art Alliance, or holding it first in Phila-
delphia. He gave his reasons for the exhibition in his
Note to the Catalogue: "It is held for the purpose of
showing now that American Illustration is almost a
lost art, though it was the one distinctive art of America,
as Howard Pyle, an American Illustrator, said how
illustrated books, magazines and papers in a few cases
are, and once wqxe all made. The special feature of the
Exhibition is my book, The Adventures of an Illustrator*"
3 z8
He showed it in every stage: manuscript; proofs, from

the galleys to the last revise; drawings; prints; blocks;
reproductions; binding; representing not merely his
work, but the various processes through which an
illustrated book passes. The Anderson Galleries are
spacious. It was possible to set aside one of the two
smaller rooms for his prints, the other for his drawings,
and one large room for his pastels, water colours, oils.
Cases were reserved for his most important books. To
collect the wanted material was no light task. He was
often in the Galleries. The attendance was not only
large, but intelligent, sympathetic. People obviously
genuine, Pennell met halfway. The supercilious, the
superior, he could not stand. "I am delighted", a con-
<C
descending editor said. I am surprised", said Pennell.

The book, published on November twenty-third, and
the Exhibition, opened on December fourth, are the
chief subjects of his letters during the last four months
of 19x5 .
TO MR. GEORGE J. C. GRASBERGER
(Write to Brooklyn)
Century Association. New York
Dear G, J. C. G. I am sorry if I was unresponsive to your phone
but I had been at that book since 7 A.M. to-day, and I do not know,
that depends on Rudge, if I shall not have to go on to-night, again.
The phone rang four or five separate times and I answered each
time but no one answered me finally they sent up and got they
said on a third wire. Each time I was stopped in making a compli-
cated list.
Now it is very good of you to have taken all this trouble but
you suddenly spring this news on me over the dam phone instead
3x9
of talking or writing or even telling where I could see you or that
you would see me But

the Thing is
This
When do they want the Show? How long in November will it be
open? the first week in Dec. the Exhibition is here it must be
the first two weeks in that month November or the middle of

the month yth to rest.
If that will do, will Little, Brown approve, will Rudge be ready?
I do not know.
Nor do I know if the drawings and prints will be ready. Or how
much space there is. Or who is to make the Catalogue Pay the
expenses transport, insurance, packing, installation. You see I
cant, without knowing these things, give an absolute answer and
I know nothing. Please put this letter up to the Alliance and I
will do what I can If you had only told me where you were I could
have settled all and saved writing this letter and I dont know when
you will get it.
Yours
Joseph Pennell
TO MR. H. DEVITT WELSH

10. 8. 192.5
Dear Welsh I am glad things are going so well and that every-
thing pleases you it is a mighty good thing to see a new place and
people as you never do in Phila. I had already put you down for a
copy of the book. Now there is another matter but I dont suppose,
with you away anything can be done. I wanted to show your collec-
tion of books in the Anderson Galleries with my things in Decem-
ber that is from the first of December but I suppose that is off.
Is there any way of getting them? If not have either Mrs. Linn or
Bigelow got any number of them? Can you let me know? Excuse
this letter but I am rushed to death Yours
Joseph Pennell
330

ii. z8. 192.4
Dear Fisher The book came out on Monday Adventures I mean
and Etching a few weeks ago and neither have had any notice for
there is no room any longer in the American paper for anything but
graft, muck raking, Cooledge and likker. The country is so uplifted

and cultured that it is simply gaga I am sorry the book is so
late ....
But
I have heard of the binders strike you are getting up to us in
strikes but we have they say no coal and no one from cool feet
dares do anything.
But again
If youcan get the book bound Little Brown say the sheets have gone
to you why bring either of them out for Xmas? Why not bind
them or stick them in paper covers. As on the continent why not?
These books are not intended for ornament, or Xmas greetings
though far more appropriate than anything published, but for any
time and all time. So I would just fetch em when ready. The circular
is pretty well all right.
But not a word have I had from
Yes I heard of Bartlett's death
Hamilton but have heard a lot about him. I too have seen the re-
I
built St. Romain Hotel you must remember I have been over. Sir
Jack Lavery is here ... he is giving a show so am I of the book,

see the enclosed and all America is coming wish you were here.
Mclntyre of Little Brown is. Good Bye.

Joseph Pennell
This enclosed is good advertising and cost the publisher nothing.
J.P.
TO MR. GEORGE J C. GRASBERGER

n, 10. 19x5
Dear G. J. C. G. If you are coming about prints it is useless they
have sold everything but one or two ia the Etching Room at the
33*
The Life and Letters of Josepk Pennell
Show at the Anderson's. Some of them as much as eleven times
yesterday andhave given them every print I have and have by

I
no means caught up and wont till Xmas if then But have you
done anything about making up a set of proofs if it is not done
before the show closes it cant be done.
Yours
Joseph Pennell
33Z
CHAPTER XLIX
THE END OF A LONG LIFE DRAWS NEAR
(19x6)
JOSEPH PEN-NELL was fast reaching his allotted threescore
years and ten. He could afford, some might have thought,
to write Finis to his Adventures and indulge in the luxury
of idleness.To him, however, idleness was a fatiguing
occupation and his age, when he remembered it, was
a goad to redoubled effort, so much remained to be
done in so short a time. Besides, immediate calls upon
him were numerous. His press had been idle too long.
Dealers besieged him for prints. He could not keep up
with orders from the Anderson Galleries, where he was
ashamed to go, he would tell me, with sale marks
multiplying on etchings and lithographs. His book was
coming out in England, allowing no interruption to his
correspondence with Fisher Unwin. Engagements for
lectures could not be overlooked: one as far as Chicago
in February on the invitation of Mrs. Brewster, and one
as near as Glen Ridge in March, the Women's Club his
hostesses. Nor could he refuse to serve on the New York
Advisory Committee when asked by John E. D. Trask,
Chief of the Arts Department of the Sesquicentennial.
Once assured that conditions in this department prom-
ised to be ashe would have them, Pennell looked for-
ward to the work. It seemed a return to earlier days
when scarcely an International Exhibition was held any-
where that he was not on its committees and juries.
Trask, at San Francisco in 1915, learned something of
333
"
the general capacity", the "catholicity of mind'', as
he now wrote, gained by Pennell from his wide experi-
ences. He came to Brooklyn to discuss details, many
passed between the two, but the

letters New York
Committee had not held their first meeting when news
was received of Trask's illness and, after a tragically
short interval, his death. No further steps were taken
while Pennell remained in this world; nothing was done
to strengthen the Exhibition by his practical advice and
ceaseless energy. Matters were not settled with Trask
when he was asked to arrange a small show of his own
by Miss Mary Butler, now President of the Philadel-
phia Fellowship. She was in sympathy, had that talent
for perseverance in anything undertaken which to him
was one of the cardinal virtues, and it was a pleasure for
him to work with her. All this time readers of his book
were writing their appreciation and he was too punc-
tilious not to answer them promptly. One of the first
he heard from was Mr. William S. Kinney of Cleveland
and his acknowledgment was probably the letter with
which he opened the correspondence of the New Year.
TO MR. WILLIAM S. KINNEY

i. 3. 2-6
Mr. W. S. Kinney
Dear Sir Thanks for your letter. My Adventures have now been
published one month, have sold fairly well, extensively damned by
all the
Critics
God help *em
Gentiles,Jews
and experts
334
WITH MRS. BRBWSTBR IN CHICAGO
Pennell
Last Photograph of Joseph
The End of a Long Life Draws Near
who call themselvesby the name, but yours, save from friends, is
the first have received about the book, and I want you to
letter I
know it. Truly as I have said, we are a nation of cowards, for even
those who read the book and hate it are afraid to say so. Even in
their insular ignorance, they loathe it. But most have bought it for
a rize or rise or to get my autograph any number of them have
written. I am very glad you have all the books And I expect to go
to Cleveland next summer, I should have been there last and done
possibly the Etching If the hustling printer had not taken to do

1 8 months, what could have been done decently in any country but
this in 8. I am yours
Joseph Pennell
P.S. I have none of my old Etchings scarcely.
TO JOHN E. D. TRASK
Hotel Margaret,
Brooklyn
i, 14, 192.6
Dear Trask. Your invitation is mean your
a pleasant surprise, I
request that should join the New York Committee for Art of the
I
Sesqui. I shall be glad to accept if you can inform me or the

Exhibition authorities can that the Art Department has sound and
adequate financial support and the needed funds in hand to carry on
and carry out the work. If this question can be satisfactorily an-
swered, nothing will give me greater pleasure than to join your
Committee and do my best to make a successful and an artistic
Exhibition or rather to work with you with this aim. I also want
to congratulate you on your appointment as Chief of the Art
Department.
Yours
Joseph Pennell

i. 19. i$z6
Dear Trask. On consideration I will join the New York Committee,

on one condition, that as all m the other national and international
335
Exhibitions I have been connected with during the last twenty five
years, I am made a member of the Jury of Awards also. Yours

Joseph Pennell

i. 2.4. 192.6
Dear Trask. I have not answered your last letter, because I wanted
to seriously consider the matter of my serving on the New York
Jury of Selection. I am afraid in my last letter I did not make my
meaning and desires plain. Why, if I serve on the New York Jury
of Selection I think I should be made a member
of the Jury of
Awards. I however have no wish to dictate to you or to tie your
hands in any way. But on the other hand if I join your New York
Committee which I am willing to do and invite or accept or help
to do so certain artists, whom I think, and the other members of
the New York Jury may think are doing work worth showing and
deserving of awards, I do not wish to have my views my knowl-
edge, and my experience completely upset or ignored, by another
and superior jury, without the chance to defend the work of men
whom I have helped to select, and in whom I believe. I know of
what I speak, for I see what is happening in almost every exhibition
all around me and I want a chance to defend myself and those
"
artists in whose work I believe. You are good enough to say You
(I) are the most important man in your (iny) field". This is very
if as you say I am
and I think I am worthy a
flattering, place on
the Jury of Awards a place I have held on every International
Exhibition in Europe and all in this country in which the United
States has participated since 1900 in Paris and in some in which
the United States has not participated. I am not asking this for my-
selfbut to defend the art and artists I believe in, for I do feel that
the time has come to make a stand against some of the present
tendencies in American art. You may say I would not be the only
juror know that but I also know I can defend my point of
I
view, andI know that in the Graphic Arts, it is that

point of view
which won for America international fame and this point of view
is being
forgotten and ignored but I should like to think that in
the 1 5oth anniversary of my country to be held in my native city
I had a part in upholding this art a part in defending what I

know and you are good enough to say I know to be right. You
also know I will work and I should only be too
glad to have the
chance and the opportunity for the dignified
upholding of the
Graphic Arts in America.
Yours
Joseph Pennell
TO MISS MARY BUTLER

i. 2.6. 192.6
Dear Miss Butler. Well am glad you have enough prints of my

I
"
drawings for the show You ask in what public collections" in
Philadelphia my prints are. There is an institution called the
Pennsylvania Academy of Fine
Arts
which has or had a set of my Panama Lithographs though this
is known to any one especially the great John
apparently not
Frederick Lewis and Co. The Penna Historical Society I believe has
some prints of Philadelphia but when I offered them the entire
collection of my they answered that they had some-
lithographs
thing better to spend their money on
lately they bought a few for
more than they need have paid for the whole set. I know of no more
of my prints in public collections in the Squashennial City. Yours
Joseph Pennell

i. 31. ic)z6
Dear Miss Butler. I suppose our last letters crossed, though I have
not heard from you since, I also suppose, when you ask, "How
much would a set of your lithographs cost" you mean the Panama
Lithographs. A complete "set" of my lithographs would, if they
could be got, make quite a hole in the money bag of Joe Widener!
So big he might even have to sell his Rembrandts. But as to the
Panama Lithographs, believe Keppcls have a set of them that some
I
one has sent in to be sold. It would be very nice to have this in some
337
public institution in Philadelphia where they could be seen, not packed

away hidden or lost or forgotten! As is this set given the Penna Aca-
demy. It is very nice of you to suggest, that my things should be in
Philadelphia but Philadelphia has never shown any interest in them
though some Philadelphians have. But I wish you could find out
what has become of the Panama Lithographs given to the Penna
Academy? Yours
Joseph Pennell
Do you know anything of the Art Section of the Sesqui?
TO MRS. WILLIAM P. BUFFUM

2.. 10.
19x6
My Dear Mrs. Buffum. If that is the way we are to address each
other. It certainly was a
surprise to get your letter though others
have come too, from the school, Alice Shipley also wrote but I
never imagined I would hear again from Germantown. Not that I
wished in any way to offend Germantown but I was almost sure
I should, but as I have not I am very
glad. I certainly too am sur-
prised that Friends Library should get the book though I am glad
too, that they have got it. But I am sure if some one wrote such a
book Germantown, Jim Cope "the Marquis" tried to, I
in our
believe and I should like again to see his book we had a copy I
think But if my book had been written then it would have been
rec'd with very different feelings and in a very different
spirit by
Friends, as his (the Marquis') was. No, your infant, as all other
infants are,was wrong in saying that Friends " were just like other
people" They were not
and they were proud despite their
beliefs that they were a peculiar people, apart and not like the
world's people and they proved it, or Philadelphia Friends did in
war which wrecked the world But as for
the worthless useless
Germantown School, and as for this letter, we are like the rest of
the world become a race of hypocrites I went to one school re~
union, but never again. I get communications from the School
officials and Germantown meeting officials written in an illiterate

gibberish worthy of to-day instead of the stately language of the
heads of Philadelphia Yearly Meeting. No,
Philadelphia Friends
338
have completely changed. The last time I went to Germantown

meeting the men and women were sitting together and right in
the middle of meeting a man Friend leaned over and invited me
to dinner and though he gave me a good [glass of wine I have
never been to Friends meeting or in that man's house since
Friends have changed and all I have tried to do is to record a
little of the life I knew and loved and hated. I am much obliged for
the very kind things thee says about my life, it has, in its way,
been an interesting one, and a full one, and it still is, in a curious
way, but the world is changed like the Friends, and every thing,
and almost every one I have known, is gone, but somehow I stay
on, but my future is in the past which is gone too, but it was good
to get thy letter.
Joseph Pennell
TO MR. BUTLER WOOD

There plenty to drink if you pay for it but in this land of
is still
spies, Jews and wooden headed nutmegs and old maids no one knows
how long it will last.

3. i. 192.6
Dear Butler Wood. I ought to have answered your letter sooner but
I have been busy over a number of things I have just seen the
catalogue and a notice that the International has had a show at

Bradford but I have, I note with Ricketts and Shannon been care-
fully dropped from that by
the great and good
Gassoway
i
Scott of Connor
i
Howard
but he is still it or on the
Way.
And was he, for I think the first time taken in? or were the Brad-
ford people let in and was he given lunches and dinners by the
339
authorities and did you and Mr. "Tootle Too" and the Mayor hear
all about it. Or and nights in the dear dead past
are those days
too? Here we have Sir. Lavery among us, but I have
R. A. etc. etc.
not seen him, or for a long while noted at what hotel he is adver-
tised to be stopping but he had no use for mere artists especially
the rest of the imported crowd Sir (?) Lazlo and Harrington Mann
and a lot more. He may have come off socially, but artistically
nup. Still his idea of doing the millionaires surrounded by their
millions was not bad. Art here and now is
upon 'the town, only
there aint any, only Jews and they are everywhere, and as you say
setting up their standard, clumsy, lazy incompetent ugliness in

the place of beauty but remember that "not one stone of the
temple remaineth on another" and not one of these yiddish junk

heaps will they came with the war, they brought on the Avar to
last,
destroy everything but they will be almost destroyed, as they

always have been in the past, only a few, like measuring worms,
will grow again together for we must always have them with us.
I understand now about the Rushenstein pizness and dont wonder
Bradford turned it down. I brought up the art
gallery purchase
scheme at a meeting of Gallery Directors and artists but nothing
came of it they all (the Directors and the Galleries) live on gifts
and doles but they do get cash, millions all the time for dead
men's things so the artist has only to die to live. One middle west
prohibitionist left millions the other day on condition that a man
must be dead 30 years before his work is bought. Not like Sar-
gent the show in the Metropolitan was rotten. Sun-Light Soap has
gone I believe well, some two million dollars but all the English
paintings, drawings and books went for nothing I dont know if
it was a knock out or what but things like Etty went
few for a
dollars and so did Constable sketches. But the Rossettis and Burne
Jones were rotten and I think all the paint had been scrubbed off
them by the house cleaners. My book is out in England and I hope
you may see it.
Yours
Joseph Pennell
340
AT OUR HOTEL MARGARET WINDOWS
Portrait by Wayman Adams
TO MISS HELEN WRIGHT

3. ii. 19x6
Dear Miss Wright. Thanks for your very appreciative notice and
charming letter about the book. All
Editors are fools
so what can you expect? if a single Art Library, Art School,
I doubt
or any art institution will buy the book, they are all so busy rais-
ing funds and admiring themselves they have no time or money
for anything else beside which people read no more only listen
in
Please dont send the book here I shall, if you do,
i have to go down stairs to get it
2.
carry it up
3 unpack it
4 sign it
5 pack it up
6 carry it to the P. O.
7 weigh it
8 stamp it
3 find a box that will hold it
and then it will probably be stolen, so please keep it till I get to

Washington
Yours
Joseph Pennell
TO DR. HANS W. SINGER

3. z 5 19^6 .
Dear Singer Its an awful time surely since I have heard from you
or you from me.
You want to know how I am, well lately Ive been pretty battered
(
the result of being pretty busy, a big book, and a big show and a
big class pretty well knocked me out. But I am pretty well patched
up again Idont appreciate Orlik's portrait though the
way he made it as he says and he is probably right as Holbein
341
did with a glass is most interesting. I did not know anything

about the method before he did the plate. I am sorry that things are
not more flourishing with you and would be surprised if I
believed the lying Jew newspapers on the subject of Germany. In
which you and Italy are the only countries doing anything but I
dont believe them or any other Jew. As to what I am doing now the
book is finished, and I am writing to my publishers to send you a
copy of it mostly printing old etchings though I hope to do more
new things I have the subjects this year and I have had in the
Architectural Show at the Berlin Academy a room to myself but I
suppose it had no success; any way neither you nor I have evidently
heard anything about it I have not and this very morning I have,
I learn, been made a member of the Royal Antwerp Academy,
though I must admit I never before heard of it. And dont know how
they have heard of me!! The ists here are I think having their last
innings as they have had them in France and England how is it

with you? But the biggest American Collection that of John Quinn
which had some good things in it was withdrawn from sale lately,
while for one that did come up 114 works paintings drawings includ-
ing Matisse and Co. brought seven thousand dollars for the lot,
the highest price three hundred and that for an outsider there
is also a messed-up lot of stuff brought over
by the Carnegie Gallery,
Pechstein, Liebermann, Corinth, Stuck, Slevogt and Orlik what a
crew and what junk from them but really nothing new on show in
New York. Art here has been killed by coddling there is not an
old hen in pants or petticoats or without em that is not doing
good to art. Every town has a gallery and every millionaire dumps
it. The way they
his junk in grow is amazing, and the OLD things
in them incredible but one has got to die to be accepted, and in one
which got heaven knows how many millions the other day in
Kansas, got to be dead thirty years before they can be bought
but its the same everywhere in a different fashion the Metropolitan
does nothing for living artists they had this year shows of Sar-
gent which looked rotten and a great man here, Bellows did
you ever hear of him? which I did not see, but they both had to die.
Remember me to the family I wish I could get over. This place is
not fit to live in (we have all the likker* rum, brooch, booze we want,
342-
but you cant get a decent stein (of beer) or a decent thing to eat,
or read, or see, or hear,) its all chewing gum, cold storage, radio and
hypocrisy but its all in the book, which they dont dare damn,
dont get mad at, but read it.
Yours
Joseph Pennell
TO MRS. GEORGE P. DOUGLAS

3. z6. 192.6
My Dear Mrs. Douglas I am very much obliged for your interest-

ing letter, which would have been answered sooner if I had not
been pretty seedy. I have only been trying to see for myself the
things that are around us in the world to-day, that seem to me to
be worth seeing and to-day they are fewer and fewer everything
is growing more and more standardized. Architecture here is de-
generating universally
You had wonderful mills at Minneapolis I wonder if they still
exist. InChicago they have just put up two fine buildings and then
ruined the whole shore of Michigan Avenue by a box which is a
disgrace. I only hope you can see the difference. I do not know what
drawings you have got if you could have a little sketch, or blue
prints, or snap shots made of them I could tell you the titles but
please dont send the originals. I dont know your Mr. T. Buel. Mr.
C. C. Buel, former editor of The Century Magazine, had recently a
number and I dont think he has sold them. They were English
Cathedrals large drawings. But there are endless and wonderful
things in this country, full of character, but most of the people
specially the artists, so-called cant see it for they try to use other
peoples eyes and other peoples subject or repeat themselves

and are
blind leaders of the blind. If I have shown you that there is
only
beauty in the little bit of Minneapolis I have tried to draw, I am
glad. I believe some of the drawings are in the Museum hidden
away probably and I believe I am to have a show in some gallery
there soon.
As to Friends though I this morning rec'd a notice of, and
request to attend Yearly Meeting in Philadelphia, I am a broken
343
reed but Friends doctrine and the Friends I was brought up with
were the salt of the Earth. The names of your people are familiar
to me (Friends) but I dont know any of them personally, for I have
seen little of the Friends I grew up with for years though much
to my surprise since the Adventures have been printed I have had
some letters not objecting to it to my surprise from them.
Thanking you for your letter, I am
Yours
Joseph Pennell

4. 1 6. 192.6
My Dear Mrs. Douglas I did not know Mr. C. C. Buel had any
intention of selling his drawings less that he had sold them to
you. The titles you give are all right the station of what you call
the "subway" they called the "underground" and this Station
* ' ' '
which I drew is, I think, that at Charing Cross done before the
line was electrified when it was wonderful to look at but fearful
to travel in.
The Cole series of wood engravings is a very valuable one if the
proofs are printed from the original blocks and signed. I did not
know Mr. Buel had them. If you wish to know more about them
you might write to Timothy Cole
Ferris Lane
Poughkeepsie, New York

You might mention that I told you to do so. I do not know the
value of these prints but Keppels had some they sold for $10.00
each.
Yours
Joseph Pennell
344
CHAPTER L
THE END
No signs of weakness are in the letters of these last

months, no hint of waning power, no slackening of
interest, no loss of strong words to express it in. About
his work he was as keen as in his youth. His printing
was never better, his water colours grew in power and
beauty. He was as quixotic as of old in his fight for
truth, his hatred of shams, and he looked forward
eagerly to his labours on the Sesquicentennial Com-
mittee for the greater glory of the graphic arts. Even I,
living with him, working with him day by day, had no
warning that the end was near.
And yet, there were signs, had I believed such splendid
vitality, such unrivalled energy could ever be exhausted.
Hitherto his habit had been, if he started to print, to
stay at the press until time was just left for that scrupu-
lous cleaning-up of the printing room, before dinner, or
to let dinner go, if some absorbing problem remained
to be solved when dinner time came. But with the New
Year he began to shorten his hours and everything was
in spick and span order by two or three o'clock. In my
blindness I was not alarmed, only pleased that at last
he was willing to consider himself and not overtax his
strength in finishing to-day what might be put off until
to-morrow. Another sign was his willingness, after a
hard day at the press or a long day in the class, to take
345
a taxihome from the little restaurant in Manhattan

where we usually dined. As a rule he travelled by Sub-
way, not because he liked it better but because he dis-
liked the taxi more, and when he took a taxi I knew he
must be tired. In March I had reason for alarm. He had
a slight return of the serious illness of the summer of
192.3, with two doctors again

in attendance. In a week,
however, he was up and, to all appearances, none the

worse for it. He lost one Tuesday at the League, he
missed a promised visit with his class to the Gavarni
Exhibition at the Grolier Club. But the sympathy and
concern of his students made illness seem worth while,
Locke coming on from the Club laden with their offering
of flowers, their messages of regret, their appreciation
of the help Miss Grannis, Librarian at the Grolier, gave
to make up for his absence. That he was touched is
evident in his note of the next day to Miss Van Brunt.
TO MISS CATHERINE S. VAN BRUNT

3. 15. 192.6
^
Dear Miss Van Brunt. Thanks for your letter it is very nice to be
missed but I have had a rather nasty time but I hope its over or
I should have been at the Grolier. Locke came in with flowers and
praise of Miss Grannis and all of you for turning up and I think from
what he said, he certainly and all the rest of you had a good time
and a good tea I hope to be back on Tuesday He also says Miss
Kieffer is not back and that you have to do everything so dont
you kill yourself. Yours
Joseph Pennell
By the end of MarchI had almost ceased to

worry,
and the first
days of April provided pleasures that were
to him a stimulant. On the sixth Morley Fletcher and
346
The End
Fernand Lungren were in New York and dined with us,

their one evening before sailing for England. To see
Fletcher was to live again those happier days when they
worked together in London, in Milan, in Leipzig, before,
with the war, his world fell in ruins. On the twelfth
Rudo Sauter and his wife came, they also on their way
to England which for them is home, they also bringing
memories of those happier days, for Kudo's father is
Georges Sauter, Pennell's associate in the old Inter-
national struggles and triumphs. On the afternoon of
the fifteenth, he was looking at prints with his class in
the Metropolitan Print Room, all drinking tea after-
wards with Mrs. Flynn, a student who lived close by.
He had never been in better form, they thought. The
next evening, the sixteqnth, W. A. Rogers, the car-
v
toonist, up from Washington, joined us in the little

restaurant, John Flanagan and Ernest Lawson there as
usual. To Pennell, when he set out on his adventures
as an illustrator, Rogers, no less than Abbey, was the
great man who had arrived, for whom his respect was
deep. But they never met until the war brought them
together at the Pictorial Publicity meetings in New
York and the School for Disabled Soldiers which Rogers
managed and Pennell visited. The talk that Friday was
as it always is when two or more artists are gathered
together, and I remember I said as we went home, "A
good evening, more like the old London evenings."
44
Yes/' Pennell agreed, and he was so wide-awake that
he sat up late by his beloved window, now reading, now
looking out on the beauty of night in the harbour. And
early the next morning Saturday, April seventeenth
* *
the doctor was telling me your husband is a very sick
347
man", and within an hour a day nurse was at his side, a
night nurse engaged.

I give the dates to show Jiow sudden and swift was
his illness a virulent form of influenza and how im-
possible to have foreseen it. The danger was of its
developing into pneumonia, which it did only too
quickly. By Wednesday I knew there was no hope, short
of a miracle. He knew it though he admitted
himself,
it to me only once. "Stay with me
much as you can,"
as
he said; "this is our last week together." His body was
weak, but his mind clear and alert. Mr. William H.
Fox, our old friend and our near neighbour inJBrooklyn,
saw him on that very Wednesday evening when my
hope was fast ebbing, and could not believe that a man
who talked with such vigour, such keen interest, so
eager to hear the latest news of the Sesquicentennial,
could be as ill as we thought. Mr. and Mrs. Tinker came,
devoted, sympathetic always, but at a moment when
the nurse was afraid to let him see them. His class had
to be told and Locke, who lived across the street from
us, called daily but not once when Pennell was strong
enough for a visit. The announcement of his death was
the news most of his other friends had of his illness.
first
He, who was thought the most impatient of men, was

throughout this cruel week patience itself. He did as
the doctors bade him, was more concerned for his
nurses' comfort than his own, for himself asked nothing,
save that his bed might be moved into the front room
where he would have before him by day and by night
his Unbelievable City, his City Beautiful, the City that
he loved. When the doctor decided it was better not,
Pennell accepted the decision without a protest, though
348
The End
I realized how bitter was the disappointment. He talked

little,,but I knew his mind was wandering through the
past. "It has been a full life," he told me after a long
silence. And he spoke of Whistler, whose battles he
helped to fight, and Beardsley whom he helped to launch

"
into fame. "A beautiful life/' I added. Yes, a beauti-
ful life/* he repeated. His affairs were in order, his will
long since made, what he had to give, given to his

country, and he was sure of my care to order every detail
as he would have it we had discussed it so often. One
thing only worried him, the plate for the Cleveland
Print Club. He had been unable to get to Cleveland the
summer before, detained by his ''Adventures" going
through the press, and it was promised for this spring.
And how could he manage it now? he kept asking me.
The thought of failing a second time to keep his word
tormented him. He forgot none of the week's engage-
ments. The Academy of Arts and Letters was holding
annual meetings and giving its annual entertainments,
its
among other things a concert on Thursday afternoon.

He insisted upon my going, he had invited friends to his
box at Carnegie Hall, and for me to refuse him would be
to reveal my desperate anxiety.
The concert was long and I telephoned to explain my
delay. For I remembered his firm conviction of recent
years that I, who had travelled alone and unharmed
across the Atlantic and from one end of Europe to the
other, was fated to perish in the traffic at our front door.
If I was a few minutes late for dinner at Adelphi Terrace,
I would find him walking up and down his studio, with
Augustine ready to scold me for him: "Monsieur etait
bien stir que Madame itait vraiment ecrasee" Once, I was

349
delayed on to Mouquin's on a snow and ice-

my way
bound evening and he, with visions of my broken body
or at least a broken leg, was on the point of starting to
notify the police of disappearance when I arrived.
my
Now, as I feared, the telephone did not satisfy him.
"This time I believed it had really happened," he said.
Friday morning, the twenty-third his physical
strength was fast ebbing, but his mind had lost nothing
of its vigour. He asked me to write an overlong delayed
answer to a letter from his publisher, told me exactly
what he would have me say, listened to myanswer,
approved, mentioned other letters that should not wait.
And so the morning and early afternoon passed, his
weakness increasing with every hour. We were mostly
silent, breathing was an effort. About two he noticed that
the nurse, who had caught cold, was sitting between
doors and windows opened for his sake. He reproved me.
I should have shut them, and he watched with wide-
open eyes until she had moved out of the draft. He

spoke no more. Before half-past three the end came. He,
who had never time to rest, was at rest forever more.
On Monday, April twenty-sixth, Joseph Pennell made
his last journey to Philadelphia over the familiar
route, with him friends who, knowing him, appre-
ciated him as man and artist both and were more than
willing to pay him their last tribute as his pall-

bearers: Robert Underwood Johnson, his first editor and
Secretary of the Academy of Arts and Letters; Burton
J. Hendrick, Secretary of the Institute of Arts and
Letters; William Henry Fox, Director of the Brooklyn
Museum; B. Bishop, Secretary of the
J. Panama Com-
mission; Gari Melchers, President of the New Society;
350
THE FRIENDS' BURIAL GROUND, GERMANTOWN
by Joseph Psnndl
The End
Gifford Beal, President of the Art Students' League;

Edward Larocque Tinker, author whose friendship and
work he prized; Edward Robins, my brother. Friends
waited at the old familiar Meetinghouse in German-
town. The students from the League came in a body.
Philadelphia societies and clubs were represented. The
services, if services they should be called, in the small
austere room, were more impressive in their simplicity,
more solemn than any elaborate rites held in a great
Romanesque or Gothic church. In that tranquil place
where Friends had given testimony for long years, even
those who were not Friends seemed compelled by some
power within to speak what they knew of Joseph
Pennell, champion of truth, one who fought a brave
fight for the freedom of art and artists.
He was buried close to his mother and to the Aunt
Martha who had been dear to him, in the cemetery
which is just outside the Meetinghouse and as peaceful
in its way as Jordan's where William Penn lies under
the elms. It was a pale blue April day, the feeling of
spring in the air, the grass fresh in its first green, a

suggestion of blossoms here and there, one touch of
brilliant colour in the bank of flowers by the open
grave, they, no less than the spoken words, bearing their

testimony that a few understood the artist who never
sacrificed eternal truth to the popularity that passes.
And so him, in that Friends' Graveyard at German-
I left
town where two of his family and more than one of his
schoolmates were already at rest, only their names and
dates on the gravestones. I remembered his written
little
words: "And I want to He there too."
THE END
INDEX
ABBEY, EDWIN A., illustrator, L 38, 156, Art editors, i. 39
303; on St. Louis Exposition com- Art Students' League, ii. Z7i-z88
mittee, ii. 3 Art Workers' Guild, i. zi6
Academy Art Club, Philadelphia, i. 76 Arts and Crafts Exhibition Society, i. zoz,
Adams, Herbert, i. 67; of the Division of 330
Pictorial Publicity, ii. 193 Ashhurst, John, o the Pennell Club,
Adams, Wayman, does portrait of Pennell, ii. zzz
ii. 192., zi3, 142.; his "The Con- Assisi,i. 87
spirators," ii.
2.14 Atherton, Gertrude, i. 196
Addams, Clifford, paints Pennell, ii. 59,* Austin, Texas, ii. 254
Whistler's apprentice, ii. 300
Adler, Elmer, ii. 32.2. BACON, HENRY, architect, ii.
Z5o
"Adventures of an Illustrator, The," Baertsoen, Belgian artist, ii. 150, 151
ii. Z43, 307-313, 315, 318, 32.2., 3Z7- Bakker, Dr., once Secretary of the Inter-
national, ii. 324
33*> 334
Aldrich, Thomas Bailey, i.
155 Balestier, Wolcott, i. 155
Alexander, John, i. 156; ii. 61 Ballard, Ellis Ames, of the Pennell Club,
Alma-Tadema, Lawrence, i. 156 ii. zzz
Alps. See "Ovuii THE ALPS ON A BICYCLE" Barnard, Fred, i.
156
America, changes in, ii. 8i~86, 2.2.6, 2.27 Barnum, painter, i.
i3z
American,, Philadelphia paper, i. 79, 106 Barrie, Sir James M., his "Dear Brutus,"
American Academy of Arts and Letters, ii. z*3, zi4
ii.
zs6, 2,57, 2,59, 260 Bartlett, Paul, ii. zi, 155, 190, 241, Z59;
American art exhibitions, ii. 63, 64 refuses to join Art Club, ii. zoi; spon-
"American Illustration and Engraving," sors Pennell, ii. Z48; death, ii.
331
Bartlctt, Mrs. Paul, ii.
'
5,7, 8, io s> n, 45
ii.
_
155, 190, z4z
"American Venice, An," i. 76 Barton, Beulah, great-aunt of Pennell,
i. 10, Z9
Amiens, ii. Z7, 43
Anshutz, Thomas, student and (later) Barton, Martha, aunt of Pennell, i. 139-
teacher at Academy School, i. 34 143, 151, 154; death, 326
Antwerp, i. 165-168 Barton, Mary, aunt of Pennell, i. 10
Archer, William, i. 2.15 Barton, Rebecca A., married to Larkin
Architectural Review, L 338 Pennell, i. 6, 7. See also PENNBIX, MRS.
Armand-Dayot, Inspectcur G6n6rale dcs LARKIN
Beaux-Arts, ii. 155 Barton, Thomas, married to Ann Borton,
Armistice, the, ii. zxz i. 6
Armstrong, Walter, ii. izo Bashkirtseff, Marie, i, zo4

Arnold, Matthew, 109, 146
i. Bate, Francis, Secretary of New English
Art, early American attitude toward, Art Club, i. 2.16
i.Z4~z6; American, ii. 336 Bayard, Katharine, i. 134
Art clubs, i. 56, 57, 104 Beal, Gifford, President of Art Students'
Art criticism, i. 199-105 League, ii. i7*35 *
353
Index
Beardsley, Aubrey V., i.

156, 151, 310, Brewer, Mrs. Bessie Marsh, ii. 181
articles of Pennell on, i.
2.50, 2.51 Brewster, Mrs., ii. 333
Beatty, John, Director of Carnegie In- Brooks, F. Vincent, printer, ii. 77
stitute in Pittsburgh, ii.
56 Brown, Ford considered
Madox, the
"Beauty's Awakening," masque, i.
336 father of Pre-Raphaelitism, i. 118
Beauvais, ii. 17, 43 Brown Stone Period of art, i. 15
Beaux, Cecilia, i 35; ii. 61, 156 Brush, De Forest, artist, introduced to
Beekman, William, letter to, ii. 2.84 London, ii. 11

Beerbohm, Max, i. 174 Bryan, William J., ii. 161
Belgians, in London, ii. 150, 151 Bucke, Dr. Richard Maurice, his "Walt
Bell, Anning, ii. 113 Whitman," L 43, 44
Benson, John Howard, printer, ii. 178, Budapest, i.
135
183, 185; letters to, ii. 2.82., 2.83 Buel, C. C., associate editor of Century
Berditchev, i. 136 (Scnbncrs}, i. 39; ii. 343, 344
Besant, Mrs. Annie, i.
199 Buffum, Mrs. William P., ii. 338
Besant, Walter, i. 82.; his People's Palace, Buhot, Felix, etcher, i. 78, 101, 148
i.
199 Bull Run, i. in
Bi-Centennial Art Committee, i.
76 Burns, Charles Marqucdant, professor at
Bicycling World., i.
41 Pennsylvania School of Industrial Art,
Bigelow, Poultney, i. 188 i.
30, 31, 34; ii. 101, no
Billboards, ii. 111, 115, 2.17, 2,97 Burns, John, i. 141, 158, 199
Birmingham, Ala., ii 152. Bush-Brown, Mrs. See LESLEY, Miss
Bishop, J- B., Secretary of the Isthmian MARGARET
Canal Commission, ii. 103; at Pennell's Butler, Andrew, student of Pennell, ii.
funeral, ii.
350 184
Black, William, attacks Pennell, i. 2,11 Butler, Miss Mary, President of Philadel-
Black-and-Wkitt, i. 2.16 phia Fellowship, ii. 334; letter to,
Blackie, Prof. John Stuart, i. 118 ii. 337
Blaikie, W. B., i. 336

Blashfield, E. H., of the Division of CABLE, GEORGE W., his papers on Louisi-
Pictorial Publicity, ii. 193 ana and the Creoles, i. 49; at New
Bleibtreu, Mrs. See REINTHALER, Miss Orleans with Penneli, i. 54, 55, 57, 59,
Blum, Robert F., influenced by Ferris, 60, 63; lectures and sings, i. 109
i.
31; illustrator for Scribners, i, 38 Cadmus, Mrs. Mari Elatasa, ii. 175, 179;
Boldini, Giovanni, i,
336 letter to, ii.
183
Bone, Muirhead, ii. 163 Cafes, i. 131, 131
Borton, Ann, married to Thomas Barton, Calm, Mrs. Lester, student of Pcnnell,
i, 6 ii. 184
Borton, John, i. 6 Caine, Hall, ii. 173, 175

Boteler, Col. Alexander, i.
43, no Campbell, Helen, i. 69
Boyle, J. J., sculptor, i.
35 Canterbury, i. 111, 113, 138, 164, 179
4 *
Bracquemont, Joseph F. A., etcher, i.

78 Canterbury Pilgrimage, A," i, 111, 213
Braun, John F., his collection of Pennell 137, 138, 149
prints, ii. 143; President of Philadel- Carlyles, the, i. no
44
phia Art Alliance, ii.
189, 191-193; Carr, Comyns, i.
97; refuses Canterbury
letters to, ii.
149, 168, 189, 191, 197 Pilgrimage," i.
137
Brcnnan, influenced by Ferris, i. 31; il- Cartwright, Julia, her "The Artist m
lustrator for Scribntr's, L 38 Venice," i. 99
Brett, Mr., of the Macmillan Co., ii. 10 Casanova, Francesco, i* 107
354
Index
Casey, F. D., secretary of the Division of Crawhall, draughtsman, i. zSi

Pictorial Publicity, 193 ii. "Creoles of Louisiana, The," i. 73
Century (Scnbner's), art editors of, i, 39; "Cruise of the Norfolk Broads, A,"
early illustrations of Pennell in, i. 42.- i.
301
46> 50, 67, 73 Cust, Harry, editor of Pall Mall., L 2.49
Chalmers, Robert, i. 198 Custer, Mrs., i. 336
Chandler, Theophilus, i. no Cycling, the period of, i. 36, 37
Chant, Mrs. Ormiston, i. 2.16
Chartres,i.
145 Da fly Chronicle experiment, i.
2.91-2.94
Chase, William M, ii.
43 Dalmatia, i.
175-2.80
"Chelsea," i. 188 D'Annunzio, Gabrielle, ii. no
Chester, England, i. 139 Davies, Arthur B., artist, i.
133; ii. 2.1,
Chevrillon, Andre", of French Academy, 61, 310

ii.
2.57 Davis, Richard Harding, at Isthmus of
Chicago, ii. 81-84, z 8 Panama, ii. 104, 106
Chicago Columbian Exhibition, i.
2.59, Davis, S. Boyd, of the Pennell Club,
*6z ii. 2.12.
Christian Science Monitor, ii.

131 Davray, Henry, ii. 171
Claghorn, James L., i.
45, 75 Dawkins, R. G., ii. 12.8
Clarke, Sir Edward, i.
311, 313 Dawson, George Walter, President of the
Closson, engraver, i. 38 Water Colour Club of Philadelphia,
Claus, Emil, Belgian artist, ii. 150 ii. 2.78
Cleveland Print Club, ii. 349 Dayrolles, Adrienne. ^FISHER, MRS.W. J.
Clutterbrock, art critic of the Times, Day, Lewis F., i. 143
ii. 12.0, 2,55 De Morgan, Mrs. William. .SW PICKERING,
Cobden, Jane, marriage, i. Z4o EVELYN
Cockerill, Sydney, Director of the Fitz- "Devils of Notre-Dame, The," i.
2.69-
william Museum, ii. 12.8 171
Coe, Capt., his "Finals," i. 2.00 De Vinne, Theodore L., i.
39, 153
Cole, Alan S., official at South Kensing- Devon, i.
317, 318, 32.0
ton, ii. 88 Dibden, Mr., of Liverpool, ii. 2.2.
Cole, Timothy, engraver, i.
38, 119, 308, "Dick Turpin," L 180, 184, 187
39> 336; " 6* Dicksee, Frank, i. 156
Colcmaa, i. 133 Dillayc, Blanche, etchings of, i. 40
Colman, backer of the Star, i. 199 Dobson, Austin, i. 2.17
Columbus, Mississippi, ii. 152. Dodge, Louise, i. 175, 180
Colvin, Sir Sidney, letter of Galsworthy Dodgson, Campbell, ii. 137
to, ii. Donald, Sir Robert, Editor of Daily
165
ii.
Cooper, C. Colin, painter, i.
2.9 Chronicle,90-95
Cope, Walter, architect, i. 133, 137 Donnay, Maurice, of French Academy,
Copley, John, secretary of Sencfclder
ii.
157
Club, ii. 77; letters to, ii. 105, 117, 130, Donohuc, sculptor, i, 131
148, 154, 168, 169, 178, 180 Douglas, Mrs. George P., letters to,
Copley, Mrs. John, letter to, ii, 180 ii. 343, 344
Dowden, Edward, 102,
Cordova, i. 188 i.
Cornwall, i. 317, 318, 310 "Down by the River," i, 138

Cox, Harold, i. 1x7 Drake, A. W., art superintendent of the
Craigie, Mrs., i. 174 Century, L 39, 41, 44; letters to, i. 59, 63
Crane, Walter, i. 159, 104, 247 Drake, Frank, death, i.
131
355
Index
Dresden, ii. 19, 33, 34 Fletcher, Frank Morley, ii. 346, 347;
Duclaux, Madame. See ROBINSON, A. impressions of Pennell, i, 334; of the
MARY F. Royal College of Art, Edinburgh,
Dunthorne, Robert, print dealer, i.
157 ii. 178; runs school in California,
Duret, Theodore, i. 336, ii. 43 ii. 311, 316; letter of, to Mrs, Pennell,
Durham, 184-186
i, i.
334; letters to, ii. 30, 31, 139, 314
Duveneck, Frank, and the "boys," i. 82., Florence, i. 89, 118
134, 135; in Venice,

i. 82., 134, 135; Flynn, Mrs., ii. 347
in London, i. 137; in San Francisco, Foote, Mary Halleck, illustrator, i. 33
ii. 155; illness, ii. in Ford, Onslow, i.
156
Fortuny, Mariano, etcher, i. 78
EAKINS, THOMAS, of Academy School, Fothergill, Miss, i. 83
i-34 Fox, William Henry, ii. 43, 98, 141, 348;
i. 101, 102. at Pennell 's funeral, ii. 350
Edinburgh,
Edward VII, King, death, ii. 80 Fox, Mrs. William Henry, ii. 103, 141
Egan, Maurice Francis, i. 42. Fradeletto, Prof., manager of Venice In-
161 ternational Exhibition,
Eggleston, Dr. Edward, i. 113, 153,
ii. 51, 53, 58,
Ely, i. i8o-i8z 61,69
Emanuel, Frank, ii.
145 Fraley, Joseph C., patent lawyer, ii. 111
English Cathedrals, i. 136, 138-148, 164, Fraser, W. Lewis, art manager of the
179-187, 189-191 Century > i.
39, 106; criticises Pennell 's
Engravers, i. 38. See also WOOD ENGRAVING Winchester drawings, i. 147; death,
Etching, i. 44, 75; and photogravure, ii. 18, letters to, i.
147, 148, 156
Frederic, Harold, i.
135, 138
"Etching and Etchers," ii. 116 French Cathedrals, i.
113-130, 133, 240-
Etching Club, New York, i. 44, 75, 76 145, 153-159; ii. 17,43
Etching-printing, ii. 35, 36 "From Coventry to Chester on Wheels,'*
Etherington, cycling celebrity, i, 150 i. 101, 106
Eton, i. 117 Fromuth, Charles, painter, i, 35
Evangeline, grave of, i. 68 Frost, A. B., illustrator, i. 34
Evans, Cadwalader, i. 5 Furncss Period of art, i. 15
Evans, Elizabeth, cousin of Pcnncll, i. ii Furnivall, Dr. F, J., Chaucer scholar,
Evans, Hannah, cousin of Pennell, i. n; i.
149, 156, 188, 117
gives commission to Pennell, i.
33 Furse, Charles, i. 147, 151
FALLS, C. B., teacher of woodcutting, GALLATIN, A. E., letter to, ii. 311
ii. 177 Galsworthy, John, ii. 114; letter to Sidney
Farney, illustrator, i. 38 Colvin, ii. 165
Ferris, Gerome,31 i. Garnett, Dr., i. in
Ferris, Stephen, his influence on Pennell, Garnett, Mrs. Richard, L 157
i. 31, 44; his studio, i. 45 Genoa, i. 186
F&tes, French, i. 117-130 George V, King, coronation, ii,
90
Fetterolf, Edwin H., librarian, ii. no Gcrmantown, ii. 338
Field, Hamilton Easter, ii.
145, 199; Germantown Bicycle Club, i. 36
death, ii. 157 Gcrmantown Friends' Select School,
Fisher, W. J., of the Daily Chronicle, ii.
43 i.
18-13
Fisher, Mrs. W. J., ii. 43 Gettysburg, battle of, L 15
Flanagan, John, ii. 241, 347; makes Gibson, Charles Dana, president of the
medallion portrait of Penacll, ii. 114 Division of Pictorial Publicity, ii. 193
356
Index
Gideon, G. Dinsmore, student at the Grolier Club, ii. 52., 58

Pennsylvania School of Industrial Art, "Guilds of London, The," i. 162.
1.30 Gypsies, i.
70-73, 83, 134, 2,35
Gilbert, Cass, of the Division of Pictorial
Publicity, ii. 193 HADEN, SIR SEYMOUR, etcher, i. in,
Gilchrist, Mrs. Anne, i.
119 in, 136, 2.98; reception to, i. 78; his
Gilchrist, Grace, i.
113 promises, i.
138; at dinner of Society of
Gilchrist, Herbert, i. 119, 12.0 Illustrators, i.
2.98
Gilder, R. W., editor of Century (Scnl- Haggard, H. Rider, i.
155
w<?r'/), i. 39; on Penneil's Italian etch- Hall, Bernard, i.
2.63
ings, i. 101; letters to, i. 177, 2.2.5,
X2-8, Hamerton, Philip Gilbert, on the Saone
*-34> 3i8 trip, i.
164-178; advocates claims of
Girard, Stephen, i. 68 photographers, i.
12.1-2.2.3
Gladstone, Herbert, i. 198 Hamilton, John McLure, ii. 301; on St.
Glasgow School, i. 101 Louis Exposition committee, ii. 3 re- ;
Gloucester, England, i.
191, 192, ceives medal at St. Louis, ii. ii, paints
Godcy 'j, i, 38 Pennell, ii. 59; his "Gladstone," ii. 78;
Goodyear, W. H., teacher of drawing, on Penneil's help in war times, ii. 101;
i. 10 letters to, i. 161, 315 ,
ii.
5, 6, 93, 94, 98,
Gosse, Edmund, i. 81, 155, 156, 2.02., 2.17; 147, 149, 154, 155, 156
article by, i. 113; represents Century in Hamiltons, McLure, the, i.
315,- ii. 93,
London, i. 12.2, no
Gosse, Mrs. [Lady], i.
156 Harding, Warren G., ii. 118
Goulding, Charles, his printing shop, Hardy, Thomas, i. 155, 340
ii.
75, 76 Harland, Henry, i. 155, 117, 151
Goulding, Frederick, printer, i. 136, 137 Harper, Henry, i. 191
Goupil Gallery Exhibition, ii. 77, 87, Harper's Monthly, i.
38, 39; articles on
88 Scotland in, i.
194
Graham, Cunninghame, i. 199 Harper's Weekly, L 38, 191
Graham, Kenneth, i. 2,74 Harrison, Frederick, his Positivist meet-
Granada, i. 187, 189 ings, i. 199
Grand Canyon, ii. 108, 113 Harrogate, cycling meet at, i. 151
Grannis, Miss, Librarian at the Grolier Harrow, England, i. 117
Club, ii. 346 Harte, Bret, i. in
Grant, Col. Frederick, American Min- Hartrick, A. $., illustrator, i. 147; makes
ister in Vienna, i.
137 lithograph of Pennell, ii. 59; helps
Grant, Walter M,, ii. 317; letter to, ii. 318 start Senefelder Club and Press, ii. 76
Graphic,i. 38 Hassam, Childe, ii. 141

Grasberger, George J. C., originator of Hay, John, i. 83
Pennell Club, ii. in; letters to, ii. 198, Hebrides, i.
191, 117
199, 311, 32,3, 319, 331 Heinemann, William, publisher, i.
139,
Gray, W. E., photographer, ii. 40 308, 336; ii.
45, 172-
Greaves affair, ii. 87-89 Hendrick, Burton J., at Penneil's funeral,
ii.
Greece, ii. 114-130 350
Green, Frederick, clergyman, i. 198 Henley, of the National Observer> i. 196,
Gregor, Mr., printer, ii. in, 148 146-148

Griffin, Waiter, ii, 141 Henley, Madge, death, i, 171, 171
"Griffin of Fleet Street, The," i. x88 Henley, Nigel, i. 169
Griswold, i, 133 Henry, John, chum of Penncll, i. 17
357
Index
Herkomer, Hubert, his "An Idyll," James, Henry, i.

155, 117; articles by,
i. zii-113
i. 163, 197, 105; in Rome, i. 2.81-2.86;
his "Little Tour in France," i. 339;
"Highways and Byways," i.
^17, 310,
3^5> 339-34^ ii. 16 his "English Hours," h. 4
Hind, Lewis, editor of the Studio, i.
150 Janvier,Mr. and Mrs. Thomas, i. 336
Histories of American Art. See "AMERICAN Jastrow, Dr. and Mrs. Morris, ii. 43, 2.2.0,
ILLUSTRATION AND ENGRAVING" in
Holmes, Oliver Wendell, i.
155 Jews, 135, 136
i.
Homburg, i. 316 Joffre,Marechal, ii. 157

illustrator and painter, Johnson, Robeit Underwood, of the
Homer, Winslow,
Century, i. 39, 179, 336; ii. 141; at
House, Susannah, teacher, i.

15
Pennell's funeral, ii. 350; letters to,
i. ii. 81, 83, 84, 96, 109,
Houston, Texas, ii. 151 154, 155, 341;
Howard, Francis, originator of idea of
no
International Society, i. 330, 331 Johnson, Mrs. Robert Underwood, i.
336;
Howells, William Dean, with Pennell in ii. 141
Tuscan cities, i. 74, 81-98, his "Italian Johnson Club, i. 197, 116, 117
i.
Journeys," i 341 Jiingling, engraver, 38
Hudson River School, 15 i.
KEENE, CHARLES, of Pttmb, i. 145, 109.
Hughes, Arthur, i. 113, 188 See also
* '
WORK OIF CHARLES KEENE,THB' '
Hughes, Col. Henry D., of the Pennell Kekewich, Justice, ii. 40-41
Club, ii. 111
Kelly, Fitzinaurice, i. 155
Huish, Marcus B., of the Fine Art Society,
Kennedy, E. G., ii. 300, 308, 336
ii. 38
Kenneley, Mitchell, ii, 178, 317
Hunt, Mrs. Holman, her "afternoons,"
Kent, Rockwell, ii. 119
i. 188
Kcppcl, Dr. Frederick Paul, Third As-
Hunt, Violet, i. 148 sistant Secretary of War, i. 75; ii, 187-
189, 2.94
E, cycling publisher, i. 150 Kerr-Lawson, makes lithograph of
J.,
Illustration, the Golden Age of, in
Pennell, ii.
59; helps start Sencfelder
America,
37, 38 i.
ii.
Press, 76
"In the Mash," i. 41
Ketterlinus Lithographic Manufacturing
Ingelow, Jean, i. 145 Co., ii. no, 190
Innsbruck, ii. 164
Kiev, i.
136
International Society of Sculptors,
Kinney, William S., letter to, ii. 334
Painters and Gravers, i.
330-335; ii.
13, ii.
Kiralfy, Imre, 131
18-2.5, 34 Susanna
Kite, (Teacher Sue), i.
19;
lonides, Luke, ii. 40 letter to, ii.
317
i.
Irving, Henry, 161, 163 S. R., his
Koehler, "Original Etchings
"Italian Pilgrimage," i. 181, 187
by American Artists," i. 76
"Italy from a Tricycle," i. 161. See also
Kornsprobst, captain of the BoMstmrottm^
TUSCAN TOWNS
i. 168
Ives, Halsey C, Director of St. Louis
Kron, Karl, i. 160
Museum, ii. 3,
56; death, ii. 93, 94
Iwan-Muller, i.
150 LAMBDIN, JAMES R,, teacher of drawing,
i. 10
JACKSON, F. ERNEST, helps start Senefcldcr Lambotte, Paul, Belgian Directcur au
Press, ii. 76 Ministre dcs Sciences ct dcs Arts,
Jackson, Miss,, ii. ii.
153 151, 153
358
Index
Lane, John, i. 2.74; ii. 156 Gallatin, A. E., ii.

311; Gilder, Richard
Lang, Andrew, i. 81, 101, 102., 12.6, 155; Watson, i. 177, 1x5, xx8, 134, 318;
his leader on "A Canterbury Pilgrim- Grant, Walter M., ii. 318; Grasberger,
age," i. 149; his book, The Mark of George J. C., H.X98, 199, 312,, 3x3, 32.9,
Cain, i.
165 331, Hamilton, John McLure, i. z6i,
Lang, Mrs. Andrew, i. lox 3x5; ii.
5, 6, 93, 94, 98, 147, 149, 154,
Langhorne, i. 83 155, 156; Johnson, Robert Underwood,
Langley, Prof., i. 108 i.
X54, X55, 341, ii 8x, 83, 84, 96, 109,
Laon, i.
158 ixo, Kinney, William S., ii. 334; Kite,
Lavery, John, leader of Glasgow School, Susanna S.,ii. 3 17, Leinroth, Robert G.,
i-
33*> 336> " 340 ii. ux, X37, X58; Locke,
148, 176,
Lawson, Ernest, ii. 142., 347 Charles, 179, Lomas, Sidney C ,
ii.
League of American Wheelmen, i. 36 ii.

X5i, Mclntyre, Alfred R., ii. 3ix,
Lee, Vernon, i. 81, 83, 91, 12,9; on Urbino 318; Morris, Miss Catherine Wharton,
trip, i. 86; articles by, i.
99, 109, her ii.
185, 187, Morris, Harrison S., ii 50,
"Miss Brown," i. 118 5*-, 53, 54, 55, 5 6 > 57, 61, 66, 68, 99, 159,
Lc Gallicnne, Richard, writer for the Star t 161, i6x, Oppenheim, Mrs. Laurent,
i. 100 ii. x8i; Page, Walter Hines, ii. 166,
Lcgge, J. G., i. 117; in the Home Office, 167, 171; Pennell, Mrs. Joseph, i. 1x4,
i.
198 1x5, 1x6, 138, 139, 141, 143, 144, 145,
Legros, Alphonse, etcher, i. 78 146, 150, 151, i5x, 165-177, i8o-i8x,
Leinroth, Robert G., art manager, i. 35, 184, 185, x8i-x86, ii. 186, 187, 188, 189,
no; letter of, to Mrs. Pennell, i. in; xo4, X53, X54, x6o-x66; Peter, Mrs.
xu,
letters to, ii. in, 148, 176, 2.37, 158 Armistead 3d, ii. x68, 187; Pike, Mrs.
Leipzig Exhibition, ii. 137-140, 145 A. H., ii. 198, Robins, Edward, i. 107;
Leland, Charles Godfrey, i. 70, 71, 104, ii. 8, 158, i6x, 188, 196; Robins, Eliza-
117; uncle of Miss Robins, i. 46; starts beth, i. 49, 50, 54, 56, 58, 61, 6x, 68,
Art Club, 56 i.
69, 77, 79, Sx-98, 103, 105, no, in,
Le Mans, i. 143 nx; Robins, Helen J., i.
X57, x6i, x64,
Lemon, Arthur, artist, i. 8x, 12.1, 139, 140 2.71, 176, X78, X93, 305, 306, 3x4;
Le Puy, i. 242. ii.
9, 146; Rosenthal, Albert, ii, xx4;
Lesley, Miss Margaret (Mrs. Bush- Saunders, Henry S., ii. X4o; Sessler,
Brown]), i.
115 Charles, ii. 3x0; Singer, Hans W.,
Letters from.' Page, Walter Hines, ii. 166, i. x67; ii. ix, 15, 19, 33, 34, 35, 59, 75,
171; Parrish, Stephen, i. 45; Smith, 77, 100, ixo, ixi, 140, xx8, 2.31, X3x,
Edgar F., ii. 198 X35, 244, 341; Thomson, David Croal,
Letters to: Bcekman, William, ii. 184; i. x6o;ii. 6x, 178, 179, 301, 303; Tinker,
Benson, John Howard, ii. 2,82., 2,83; Edward Larocque, ii. 316; Tinker,
Braun, John F,, ii. 149, z68, 189, 191, Mr. and Mrs. Edward Larocque,
Z97; Brewer, Mrs. Bessie Marsh, ii. x8i; ii.
319; Trask, John E. D., ii. 335, 336;
Buffum, Mrs. William P., ii, 338; University of Pennsylvania, Provost
Butler, Miss Mary, ii. 337; Cadmus, of, ii. 199; Unwin, T. Fisher, i. 241,
Mrs. Mari Elatasa, ii, 183; Copley, X4x, X44, 316, 3x1, 3x4, 3x8; ii.
157,
John, ii. 105, 117, 130, 148, 154, 168, 159, 161, xx7, X30, X36, X38, X39, X43,
169, 178; Copley, Mr. and Mrs, John, *-55> *-59> 2-67, 3
JI > 3*5> 3>, 33 1 ? 3,
ii. 180; Douglas, Mrs. George P., Van Brunt, Miss, Catherine S. ii. x84,
ii.
343, 344; Drake, A, W., i. 59, 63; 346; Van Dyke, Dr. John C,, ii. 7, 8,
Fletcher, Frank Morley, ii. 30, 31, 139, 10, ii, 15, 18, x8, X9, 31, 44, 45, 51, 63,
3x4; Fraser, W. Lewis, i. 147, 148, 156; 65, 71, 7x, 73, 79, 8x, 86, 91, 101, 106,
359
Index
Letters to: Van Dyke (Continued') McKenzie, Roderick, ii. 151, 151
107, 108, 117, 119, 156, 168, 196, 117, McKenzie, Dr. Tait, his medallion por-
2.18, 304, 305, 314; Welsh, H. Devitt, trait of Pennell, ii. 114
ii. 193, 2.05, 330, Wood, Butler, ii. 165, MacLaughlan, Mr. and Mrs. D. S., i. 336
81, See also SHARP,
339, Wright, Miss Helen, Macleod, Fiona, i.
3x5, 32.6,
ii.
341 WILLIAM
Lewis, Allan, teacher of woodcutting, Macmillan, Frederick (Sir), friendship of,
ii. i. 108
2.77
Lewis, George, solicitor, ii. 39 Macmillan, George, ii. 118
Lincoln, England, i. 12.7, 181-184 Macmonnies statue, ii.
157, 158
Lincoln Highway, suggestion for, ii. 12.2, Madrid, i. 188
Linton, W. J., lectures, i. 109 Magazine of History and Biography, i. 40

Lippincott, Bertram, publisher, ii. 2.01 Mainz, Gutenberg Printing Museum,
Litchfield Cathedral, i. 140, 141 ii. 139
Lithography, ii. 76,* Centenary of, i.
2.99, "Makers of Modern Rome," i. 310
300, 304; Pennell's interest in,
303, Mallows, Charles Edward, i.
183-186,
2.99, 300, 303-308, Pennell's
law case 333
involving, 309-314; exhibition of, "Mammie Sauerkraut's Row," i. 161
South Kensington Museum, i. 3x8 Marchant, William, and the Greaves
4 ' ' '
Lithography and Lithographers, affair, ii. 87-89

i.
310, 32.2., 324, 32,7-32-9 Margaret, the, hotel, ii. 137, 141, 197
Locke, Charles, of the Mechanics' Ohio Marseilles, i, 187
Institute, ii. 176, 348; letter to, ii.
2.79 Martin, Dr. Benjamin Ellis, i. 113, 115,
Lomas, Sidney C., letter to, ii.
151 113
London etchings, i. 167-169 Martiques, i. 117
*'
London Garland, The," i. 196-398 Mason, Jane E., Pennell's first sale made
Louisiana. See NEW ORLEANS to, i. 30, 33.
Lowell, James Russell, hundredth an- Massingham, H, W., i.
104, 2.11; of the
niversary of his birth, ii. 2.13 Associated Press, 198; editor of the
Lumsden, his treatise on etching, ii. 313, Star, 100; Assistant editor of the Daily
3*-5 Chronicle , 149; death, 2.96
ii. 347; influenced Matthews, Brander,
Lungren, Fernand, by i.
155
Ferris, i.
31; illustrator for Scribner's, May, Phil, i. 147-149
i.
38; his studio, ii. 313, 315 Mayer, Mr., ii. 173
Lush, Montague, ii. 41 Melchers, Gari, President of the New
Lyttleton, Rev. Edward, i. 12.7 Society, ii. 350
Melville, Arthur, i. 181
MAARTENS, MAAR.TEN, i.
155 Mendenhall, Benjamin, married to Ann,
McCarter, Henry, illustrator, i. 35 daughter of Robert Pennell, i, 4
McClellan, ii. 79 Mendenhall, Moses, son of Benjamin, i, 5
MacColl, D. $,, art critic, i. 103, 2.47, Meynell, Alice, i. 155
Millais, i.
152. 119
McDougall, County Councillor, London, Millet, i. 156
i. Missions, foreign, ii, 3x7
115
McEwen, Walter, ii.
145 Mitchell, Dr. Weir, ii. 114
Macfall, Haldane, i, 150, 151 "Modernists," ii. 170
Mclntyre, Alfred R., ii. 308, 315; letters Moore, George, i. 194
to, ii. 311, 318 Moore, Norman, Warden of St. Bar-
Mackail, Leonard, ii.
151 tholomew's Hospital, i, 153, *6r
360
Index
Moore, Mrs. Norman, i. 161 Orlik, Emil., of the Arts and Crafts Acad-
Moran, Peter, i. zi, 45 emy, Berlin, ii. 2.78,
314; his portrait
Morgan, Isaac, i. 15 of Pennell, 310, 341
Morgan, Mary, married to John Pennell, Our Continent, Tourgee's, Pennell 's work
M
Mornce, James, ii. zi, 145
in, i, 48, 50, 56, 58, 61, 67, 69
"Our Italian Journey," i. 182.
Morris, Catherine Wharton (Mrs. Sidney "Our Journey to the Hebrides," i. zii,
Wright), her work criticised by Pen- 2.17, 2.18
nell, ii. 2.2.0,
2.85; letters to, ii.
2.85, 2,87 "Our Sentimental Journey," i. i6z, 165,
Morris, Harrison S , i, 336; ii.
98, 2.01; 179, 191, zo6
letters to, ii. 50, 52., 53, 54, 55, 56, 57, "Over the Alps on a Bicycle, "i, 318, 319,
61, 66, 68, 99, 159, 161, 162,, 2.2.0 3zz
Morris, Mrs. Harrison S., i. 336; ii. 2.2.0 Ouida, i.
83
Morris, Miss May, i. 157
Morris, William, i. 157-159, 102., 2,47 Pablo de Scgovte, English edition of, i. zo7,
Mouquin's, New York, ii. 2.41-2.42,, 32.3, Z40-Z45
3M 32-5 Page, Walter Hines, letters to, ii. 166, 167,
Mulhouse, i.
319 171; letters of, to Pennell, ii. 166, i7z
Murphy, J. F., i. 42. Paget, Miss, i. 83, 85, 87, 91
Murray, Gilbert, ii. iz8 Painter-Etchers' Exhibitions, i.
138, 188
Pall Mall, i. Z49
NATIONAL ExniBiTiON OF ARTS, .189
Palmer, Mrs. Potter, ii. 8z
National Liberal Club, i. 197, 198
Panama Canal, ii. 95-97, 101-105, no,
National Observer, L 246, 147, 171
in, 117, 337, 338
Neely, J., i. 45
Panama-International Exposition, ii. 107
Ncolith, the,ii. 76
Paris, i.
Z5Z-Z56; in wartime, ii.
183, 184
Nesmith, ii. 56
Parrish, Maxneld, i.
115
New English Art Club, i. zi7, 330
Parrish, Stephen, i. 35, 44, 115, izz, iz3;
New English Art School, i. 2,02. letter of, to Pennell, i. 45
New Gallery, i. 2.02,
Parsons, Alfred, i.
156, Z96
''New New York, The," ii. 71
Parsons, Charles, of Harper's, i. 41
New Orleans, 54-65; 2,51, Z53
i. ii.
Pater, Walter, i. 155
Newcomb, Miss Bertha, honorary secre-
Patmore, Coventry, i. 155
tary of Whistler Memorial sub-com-
Paul, Kegan, publisher, i. izi
mittee, ii. 2.4
Paulus, Belgian artist, ii. 150, 151
Norman, Henry, i, 179, 198, 117; on jour-
Peixottos, the, ii. 145
ney down the Franco-German frontier,
"Pen Drawing," i. 187, 191, zo6, zo8,
189
zi8-zzi, z65, z66; ii. zz6, Z3Z, Z43, 319
North, Ernest Dressel, ii, 135 Penn Club, Philadelphia, i. 76
Norway, Arthur H., author of "High- Pennell, Ann, daughter of Robert, married
ways and Byways," i, 317 to Benjamin Mendenhall, i. 4
OAKLEY, THORNTON, secretary of Water Pennell, Henry, brother of Robert, i. 4
Colour Club of Philadelphia, ii, 78 Pennell, John, cousin or nephew of Rob-
i.
OberteufTer, ii, 145 ert, 4
O'Connor, T. P., editor of the Star, i, 2.00 Pcnnell, Joseph, ancestry, i.
3-7; birch, i.
Ohl, Mrs., i, 336 7, 8; 9-14; early draw-

childhood, i.
ings, i. iz, 17-19; school days,

Old Point Comfort, Va,, i. iiz i. 14,
15, 18-13; becomes clerk

in coal com-
Oppenheim, Mrs. Laurent, ii, z8i; letter
to, ii, z8i pany's office, i, Z3, z8; seeks admission

Index
PEN-NELL, JOSEPH (ContinnecT) 164, 179-187, 189-191; attends cycling

meet at Harrogate, 151; his Merton
to Pennsylvania Academy School, i. 17,
Abbey drawings, i. 153; in High Savoy,
18; entered as student at Pennsylvania
i.
153, 154; in London (1885-1886), i.
School of Industrial Art, 18, early i.
clerk- 155-163; ideas of, 161, 161; goes to

productions, i. 19, 30; gives up
down to work at Acad- Antwerp, i.
165-168, on the Sa6ne
ship and settles
trip, i 168-178; on journey down the
emy School, i. 31; receives first serious Franco-German frontier, i. 189; in
commission, i. 33; leaves Academy and
Westminster (No. 16 North St.), i.
takes studio, i.
34, 35,
his interest in
first series of 195-199; as art critic, 199-105, in Paris,
cycling, i.
36, 37, 160,
i. 107-109; on the
to Bicycling Upper Thames, i,
etchings, i. 40; contributes
109; in Provence, i. no, in, at No. 6
World, i. 41; his first drawing in Scrtb-
Barton St , i. in, 113, 115, 133, 138-
ncrs (Calhoun's office), i. 42., begins
140, 146-151, 171, 301; in Paris and
War C'John Brown's Fort"), i.
Series
"Walt Whit- Switzerland, 114, 151-156; engaged on
43; illustrates Bucke's
French Cathedrals, i. 113-130, 133, 140-
man," i. 43, 44; receives commission
for etchings of Historical Buildings M5> 153-2-59; H._i7> 43; goes^ gypsy-
about Philadelphia, i. 44; invited to ing, i.

133-135; his studies in Kiev and
in- Berditchev, i.136, 137; goes to Chicago
help form Etching Club, i. 45; first
terview with Miss Robins, i. 46, 47;
Columbian Exhibition, i. 159-161;
Slade School Lectures,i.
163-165; Lon-
contributes to Our Continent, i. 48; com-
missioned to write articles on Louisi-
don etchings, 167-169; other ventures,
ana and the Creoles, i.
49; in New 171-174; in Dalmatia, i. 175-180; in
Orleans, i. work in Philadelphia, Italy, i. 181-186; in Spain, i. 187-189,
53-65;
i. 66-73; accepts commission to illus- 307; his lectures,i.
190, 191, 193; ii*
trate articles by Howells on Tuscan 111-114, 138, 177, 187, 191, 101, in,
cities, i. 74; recognition of his work, 113, 114, 115, 134, 147, 148, 151-154,
76, exhibits in exhibition of Phila- 157, 194, 197, 333; as art editor, i. 191
delphia Society of Etchers,

i. 78-80; 194, 338; an example of his energy and
joins Howells in Italy, i. 81; his im- tact, i. 194-199; his interest in lithog-
pressions of Howells, i. 81, 82., 85, 86; raphy, i.199, 300, 303-308; the great
collaborates with Howells, i. 81-98; on demand for his services, i, 301, 303; his
to Urbino, i. 86, 87; his Italian book on lithography, i. 304, 3x5, 310,
trip
311, 314, 317; his law case with Satur-
Series, i.
99-101; in Edinburgh, i. IQI,
101; in England, 102.; Amer-
returns to day Review, 309-314; in Holland, i.
i.
ica, 103; proposes marriage to Miss 314; in Devon and Cornwall, i. 317; in
Robins, i 107; work for Century in the the Alps, i. 318, 319; his attention to
South and elsewhere, i.
107-113; mar- details, 310-311; in North Wales,
i.
riage, i. 114; his first summer in Eng- i.

315; in Belgium,
Luxembourg, the
land, i.
115-117; how he worked, 1.115- Alps, and the Italian Lakes, i, 316,
117; his Chelsea drawings, i. 115-111; 317; his work in Society of Sculptors,
cycles to Canterbury ("A Canterbury Painters and Gravers, i. 330-335, ii.
Pilgrimage")? i- 12.2-, 113, *37, 138; 13, 11-15; tests motor bicycle, i.
340,
in Scotland, i.
191-194; his
12.3-116, 341; in Florence, i. 341, 343; with
trip from Florence to Rome on a tri- the Hewktts in Italy, i.
344; his
cycle,!, 118-130; in Rome, i. 130-33; in varied style, i.
344, 345; edits Moxon's
various Italian cities, i. 133; in Venice, "Tennyson," 347, 348;i.at St,
i.
133-135, returns to London, i. 136- Louis Exposition, iL 3-10; impressed
138; in Cathedral towns, i.
138-148, by New York sky-scrapers, ii. 10;
362
Index
work on Whistler Memorial Exhi- his bust, ii. 189; illness, ii.
2.95-197;
bition, ii.
13-2.0, illustration and etch- asked to serve on Advisory Committee
ing, ii. 16, 17, and the Whistler case, for the Sesquicentennial, ii.
333-337;
h. 38-41; in Adelphi Terrace House, ii. his prints in "public collections/' ii.
43, 47-49; elected to Century Club, ii. 337; made member of Royal Antwerp
51; in America, ii. 51-58, 81-86, 155- Academy, ii.
341, last days and death,
162,; portraits of, ii. 59, 192., 2.13, 2.14, ii.
345-350; funeral,
ii.
350, 351.
310, 341, elected to National Academy, Pennell, Mrs. Joseph, letters to, i. in,
ii.
69; purchase of his productions, ii. 114, 115, 116, 138, 139, 141, 143, 144,
70; adopts new methods, ii. 71-75; 145, 146, 150, 151, 151, 165-177, 180-
helps start Senefelder Club and Press, 181, 184, 185, 181-186, 335, ii. 186, 187,
ii. 76; at Roman International Exhibi- 188, 189, 104, in, 153, 154, 160-166
tion, ii. 78-80, his attitude toward Pennell, Larkin, father of Joseph, i. 3;
clubs, ii. 90, 91; on occasion of Prof. courtship and marriage, i. 7; relations
Ives's death, ii. 93, 94; Panama draw- with Joseph, i. 9; moves to German-
ings, ii. 101-106, no, in; in the West, town, i. 16, at Atlantic City, i. 109; in
ii. 107, 108; returns to Philadelphia, ii. England, i.
139-141, 151, 154, 180,
113-115; in Greece, ii. 1x4-130; experi- 184, 186; returns to America, i. 188;
menting, ii. 134, 135; in Germany, ii. illness, i. 197; returns to England,
137-141; his attitude during the World i. in, 114; death, i.
131
War, ii. 141-144; helps Belgian artists Pennell, Mrs. Larkin (Rebecca A. Bar-
in London, ii. 150, 151, 153, 154; on ton), mother of Joseph, i. 6, 7; death,
Royal Academy committee, ii. 151, i. 9, 64
152., 177; war work in England, ii. 163- Pennell, Mary, i.
4
177; resigns as president of the Sene- Pennell, Nathan, brother of Larkin, i. 7,
felder, ii. 177, 178; gives up flat at 14
Adelphi Terrace, ii, 177-180; makes Pennell, Robert, ancestor of Joseph, i. 3
will, 181, 182.; offered degree by
ii. Pennell, William, great, great grand-
University of Pennsylvania, ii. 181; at father of Robert, i. 6
the Front, ii. 182.; 183-
despair of, ii. Pennell Club, ii. 111, 111
186; in America in wartimes,
187- ii.
Perugia, i. 87
191, loi-iti; University of Pennsyl- Peter, Mrs. Armistead 3d, letters to, ii.
vania denies degree to, ii. 198-101; 168, 187

activities in America, 113-118; life in Peterborough Cathedral, i.
140, 141, 144
Philadelphia, ii. 119-111; suggests Philadelphia, churches, i. 68, 69; the
Lincoln Highway, ii, in; his sugges- Sketch Club, i. 76; ii. 119, 150; Pen-
tions for betterment of Philadelphia, ii. nell's book on, ii. 113, 114; Camac
111, 113; takes rooms in Brooklyn, ii. Street, ii. 111, 113, 119; life in, ii. 119,
137, 138; elected to Academy of Arts 110
and Letters, ii. 248, 149; resigns from Philadelphia Art Alliance, ii. 189, 190
presidency of Sketch Club, ii. 150, 151; Philadelphia Art Club, attacks Pennell,
art critic of Brooklyn Eagle, ii. 157; ii. 194
represents American Academy

of Arts Philip, Miss Rosalind Birnie, Whistler's
and Letters in Belgium, ii. 159, 160; executrix, ii. 38
post-war impressions of Europe, Photo-engravers, i. 39

ii.
159-169; his view of "Modernists," ii. Photography, i. 39; ii. 46

170; his work at Art Students' League, Photogravure, and etching, i. 119-113
ii. 171-188; tragedy of his possessions Pickering, Evelyn (Mrs. Ete Morgan), i.
in London warehouse, ii. 171, 171, 191; 81, 81
363
Index
Pike, Mrs. A. H., ii. 2.94; letter to, ii. 189 Rimini, i. 88
Pitman, Miss R. M. M., i.
2.90 Ripley, England, i. 147
Pittsburgh, ii. 51, in Roberts, David E., of the library of
Plantin Museum. See ANTWERP Congress, ii. 134
4
'Play in Provence," i. 131, 134 Robertson, David A., of the American

Podmore, Frank, i. 196 Council of Education, ii. 2.09
"Ponte San Trinita/' L 76 Robins, Edward, secretary of University
"Ponte Vecchio," i. 76, 100 of Pennsylvania, ii. 12.9; ii. 351; letters
i. 107; ii. 8, 188, 196
Poole, Reginald Lane, i. 311 to, 158, 162.,
Poore, Harry, painter, i. 35 Robins, Elizabeth, first interview with

"'Portfolio," ii. n, ii Penneli, i. 46, 47, collaborates with
Poynter, Sir Edward, ii. 151, 151, 167 Pennell, i. 47-49, 69, 72., 73; begins
Preston, Harriet Waters, i. 155, 161, 2.10, career as art critic (exhibition of
175-180 Philadelphia Society of Etchers), i.

79;
Printers, i. her first book, "The Life of Mary
39
Process, i.
38, 39 Wollstonccraft," i. 104, 12.1, 131, 150;
Prohibition, ii. 117 her connection with Manual Art
Provence, i. no, 131 Classes disapproved of by Penneli,
Putnam, Dr. Herbert, Librarian of Con- i. 104; becomes art critic on the
gress, ii.
2.34
American and the Press, i. 106; Penncll
i. 107; marriage,
Pyle, Howard, illustrator, i.
33, 38 proposes marriage to,
i. 114; letters to, i. 49, 50, 54, 56, 58,
QUAKERS, ii.
339, 343, 344 61, 61, 68, 69, 77, 79, 81-98, 103, 105,
Queen's Jubilee, i. 191 IIO, III, 112.
Robins, Helen J., i.
157, 158, 305, 306;
RADFORD, ERNEST, poet and socialist, letters to, i.
2.57, 2.61,164, 171, 176,
i.
157, 159 2-78> 2-93> 305, 36> 3*3; ** 9> *tf
Radford, Sir George, ii. 39 Robinson, A. Mary F. (Madame Du-
Raiguel, Miss, ii. 93 claux), i,
81-94, 109; an afternoon tea
Railroad etchings, ii. 2.14, 115 m, 117-119
of,
Raleigh, Walter, i. 155 Robinson, George, i. 118, 119

Rathbone, i. 102, Robinson, Mabel, i. 117
Raven-Hill, illustrator, 1, 147 Rodin, Auguste, president of the Inter-
Reform Club, ii. 90, 91 national Society, ii. ii, 11-14; his
Reims, 159 i. opening speech at the Whistler Ex-

Reinhart, Benjamin F,, illustrator, i.
38 hibition, ii. 17; his Whistler Memorial,
ii. 13, 51-62., 178, 179
Reisinger, Hugo, ii. 78, 136, 146
Rembrandt, Harmcnsz van Rijn, his Rogers, Harold, i. 198
paintings, drawings, and etchings, Rogers, W. A., cartoonist, ii. 241, 347;
ii.
304-306, 314^ quoted, i. 105
Repplier, Agnes, ii. no, 2.13 Roman International Exhibition (1910),
Rheinthaler, Miss (Mrs. Bleibtreu), ii. 78-80
ii.
175, 177 Rome, i.
130-133, 181-186,* xi. 97
Rhys, Ernest, i.
196 Roosevelt, Theodore, ii. no
Richards, William T., marine painter, Ropes, Joseph, teacher of drawing, i. it
L 2.8 Rosenthal, Albert, painter, L 35; ii. 113;
Rico, i. 2,07 letter to, ii.
114
"Ride to York after Dick Turpin, A." Ross, Robert, i.
155, 151
Set "DicK TURPIN" Rossetti, Dante Gabriel* i. 1x8
364
Index
Rossetti, William Michael, i.

119 i.
158, 159; writer of the art column
Rossetti, Mrs. William Michael, i. 118 of the Sfar, i. zoo; i, zij; ii, 173
Rouen, ii. 2,7, 43 Shipley, Alice, ii. 338
Rouiller, Alice, ii.
103 Shorter, Clement K., writer for the Star,
Royal Academy, i. zoi, 103, 330; its at- i. 2.00; editor of London Illustrated
titude toward lithography, i. 303, 304; News, i.
Z34
and the International, ii. 2.3 Sickert, Walter, i. 247; his attack on
Royal Belgian Academy, ii.
2.59 Pennell, i.
309
Ruskin, John, i. 83 Siena, i. z86
Singer, Dr. Hans W., i. z66 3 z^7; letters
SAINT GAUDENS, AUGUSTUS, in London, to, i. 2.67, ii. iz, 15, 19, 33, 34, 35, 59,
ii. 2.2. 75, 77, 100, izo, 12.1, 140, zz8, 2,31,
Saint Gaudens, Mrs. Augustus, ii. 61 z 3 z, z 35 , Z44, 341
St. Louis Exposition, ii. 3, 4 Sketch Club. See PHILADELPHIA
St. Niclolas Public School articles, i. 12.7 Sky-scrapers, etchings of, ii. z6
Salisbury Cathedral, i. 148 Slade School lectures, i. z63~z65, 190
Salkeld, John, i. 5 Smcdley, W. T., illustrator, i. 33
San Francisco Exhibition, ii. 152.-! 57 Smith, Edgar F., letter of, to Pennell,
San Gimignano, i. 88 ii. 198
Sa6ne, a trip on the, i. 168-178 Smith, George D., bookseller, ii. 3oz
Sargent, John Singer, i. 156; ii. 303; his Smith, Mrs. Higgins, ii. 317
"Madame Gautreau," i. 118; on St. Smith, Roswell, i. 66
Louis Exposition committee, ii. 3 Society of British Artists, i. 189, zoz
Sartain, Emily, art editor and artist, Society of Etchers, Philadelphia, i. 44,
i. 48, 67 75, 76; Exhibition of, i. 78-80
Saunders, Henry S., letter to, ii. 2.40 Society of Illustrators, i.
Z94-Z99
Sauter, Georges, i. 336; ii. 42., 347; arrest Spain, i.
z87-z89, 307
and internment of, ii. 164; artist, i. Sparling, Halliday, i. 158, 159
331; impressions o Penncll, i. 335; Spence, Robert, i. zi4, 190
letter of, to Mrs. Pennell, i. 335 Star> the, i. 199, zo4
Sauter, Mrs. Georges, i.
336; ii. 42. Stedman, Edmund Clarence, ii. 55
Sauter,Mr. and Mrs. Rudo, ii. 347 Steer, Wilson, i. 247
Savagc-Landor, A. Henry, i. 308 Stccvcns, George, on staff of Pall Mall,

Savannah, ii. 2,52, L 150
Scotland, i.
^-194 Stephens, Alice Barber, iL 9
Scott, Frank L., of the Century, i. 179 Stevenson, R. A. M. ("Bob") art critic,
Scribners. See Century i.
zo3, Z52.
Scrutton, Lord Justice, ii. 39, 42 Stevenson, Robert Louis, i. 152
Seelcy, Richmond, publisher, i.
99, 137, Stewart, Jules, ii. 145
140, 2.05-2.08 Stillmans, the, i. 8z
Senefelder Club, ii. 76, 99, 100, 12.0-12.1; Stockton, Frank, i.
95; papers of, i.
gives dinner to Donald, ii. 95; Honor- *33

ary Membership, ii. 130; Exhibition, Stone, F. D., Librarian of the Pennsyl-
H. 176 vania Historical Society, i. 40
Senefelder Press, ii. 76 Stone, Marcus, i. 156
Sessler, Charles, letter to, ii. 3x0 "Stones of Rome, The," L 131, 181
Seville, i. 2.88 Strang, William, i. 114, 2,47; in Royal
Sharp, William, i. 8x, 118, 117 Academy, ii. xo; draws Pennell, iL 59;
Shaw, George Bernard, his speaking, death, ii, Z36
365
Index
Stratton,H. F., student and master at the son, and then of Marriott Watson,
Pennsylvania School of Industrial Art, i.
2.47, 148, 2.80-2.82,
i.
30, 104, 105 Tonks, Henry, i. 147
Sullivan, E. J., illustrator, i, 247; ii. 41 Toulouse, 114, 115 i.
Sullivan. F. W., secretary of Society of Tourgee, Judge, his Our Continent, L 48, 67
4
Illustrators, quoted, i.
194, 195 'Trafalgar Square," i. 188
"Summer Voyage on the River Sa6ne, Trask, John E. D., ii. 333, 334; Art
A," i. zo6 Commissioner of the Panama-Pacific
"Sylvan City (A) or Quaint Corners in International Exposition, ii. 131;
Philadelphia," i. 69 letters to, ii. 335, 336
Switzerland, i. 114 "Trip of the Mark Twain, The," i.
50,
67, 69, 71
TARBELL, FRANK BIGELOW, Memorial to, Triibner, Carl, i. 12.1
ii.
109 Triibner, Wilhelm, artist, i. izi
Taylor, Walter, illustrator, ii, 2.01, no; Triibners, the, i. izo, izi
of the Pennell Club, ii. 2.1:21; death, Tuscan cities, Pennell' s work on, in
ii. 2.96 collaboration with Howells, i. 74,
Technique, ii. 155, z88 81-98, 187
Temple, Sir Alfred, Director of the
UNIVERSITY OF PENNSYLVANIA, offers de-
Guildhall Gallery, ii. 171, 300
gree to Pennell, ii. 181; retracts offer,
Terey, Dr., of the Budapest National
ii. 198-101; letter to Provost of, ii. 199
Gallery, ii. 41, 43, 324
i. 162.,
Unwin, T. Fisher, i. 198, in, 117, 308;
Terry, Ellen, 163
introduced to
ii. 143; criticises Pennell's Winchester
Thayer, Abbott, artist,
drawings, i. 148; London publisher of
London, ii. 2.2,
the Century, i. 179; his English edition
Thomas, Harriet, gives commission to
of PaUo de Sfgovie, i. 107, 240-145;
Pennell, i.
33
marriage, i. 140; walks with, i. 191; in
Thomas, Miss Jessie, secretary of the
Switzerland, i. 114; letters to, L 141,
Whistler Exhibition, ii. 17
241, 144, 316, 311, 314, 318; ii. 157,
Thomas, W. L., chief proprietor of Tfa
i. 2.95
159, 161, 117, 130, 136, 138, 139, 143,
Graphic,
z 5 5, 159, 167, 311, 315, 310, 311, 331
Thomas, M. Carey, Dean of Bryn Mawr,
Unwin, Mrs.T. Fisher, ii. 143,
1.32.3
Urbino, i. 86, 87
Thomson, David Croal, Goupil's London
manager, i. 240; manager of 1891 VAN BRUNT, Miss CATHERINE S., pupil of
Whistler Exhibition, ii. 300; letters Pennell, ii. 184; letters to, ii. 184, 346
to, i. 2.60; ii. 62., 178, 179, 301, 303 Van Dyke, Dr. John C, i.
308, 336;
4<
Thornycroft, Hamo, .156 Exhibition, i.
339; editor of American
*
Thouron, Henry, of the Pennell Club, Illustration and Engraving?' ii.
5;
ii. zzz volumes on Rembrandt, ii.
304; por-
Tinker, Edward Larocque, i, 73; ii. 114, trait*of, ii.
314; letters to, ii. 7, 8, 10,
151, 348; his "Lafcadio Hearn in ii, 15, 18, z8, 19, 31, 44, 45, 51, 63,
America," ii.
315, 316; at PcnneH's 65, 71, 71, 73, 79, 81, 86, 91, 101, 106,
funeral, ii.
351; letter to, ii. 316, 319 107, 108, 117, 119, 156, 168, 196, 117,
Tinker, Mrs. Edward Larocque, ii.
2.51, zi8, 304, 305, 314
348, letter to, ii.
319 Van Rcnsselaer, Mrs,, i. 80; her paper on
'*
Tomson, Arthur, i. 2.17, 247, z8o-z8z, American Etchers," i.76; her interest
340 in Cathedrals, i, 108, 150, 15 x, IAI-
Tomson, Graham, wife of Arthur Tom- 117; ii. 17
366
Index
Vedder, Elihu, i. 131, 2.81-186 i. 111; his Exhibition at Goupil's,

Venables, Canon, of Lincoln, i. 183 i,
140, at dinner of Society of Illustra-
"Venetian Fishing Boats," i. 133 tors,i.
198; his lithographs, 300, 303;
Venice, i. 91-37, 133-135; ii. 98, 99, witness in Pennell's law case, i. 311-
161-164 313; leader of International group,
Venice Exhibition, ii. 51-54, 60-68 i- 333-335; Biography, i. 348, 349;
Verona, ii.
165 ii. 4, 8, 37-46, 58, 64, 71, 116, 131,
133;
Vierge, i. 107 death, ii. 3; his etchings sold by King
"Views of the Old Germantown Road," Edward, ii. 11; misspelling of his
i.
40 name, ii. 19; and the Greaves affair,
Villars, Paul, correspondent of the Journal ii. 87-89; Journal, ii. 116, 116, 139,
des Dcbats, i. 198 143; a painting attributed to, ii. 199-
Volkmann, Dr., President of Leipzig 301; his letters to Thomson, ii. 301
Exhibition, ii.
138, 145 Whistler, Mrs., James Abbott McNeill,
Von Hermann, Prof. Paul, ii. 140 illness, i. 189, 194
Whistler, Mrs., sister-in-law of Whistler,
WAGNER, HERR, ii. 138, 145 ii. 40
Waldstein, Dr. Charles, ii. 118 Whistler v. Ruskin case, legal documents,
Walker, Emery, i. 157, 159, 108 ii.117
Walkley, A. B. writer for the Star, i. 100
s
Whistler case, ii. 38-41
Wallace, Annie, i. ii Whistler Memorial, ii. 13-10, 13-15,
Walton, E. A., leader of Glasgow School, 34> 35
i. Whistleriana, Pennell's, ii. 181, 107, 134,
331, 336
Waltons, E. A., the, ii. 43 135, 303
War posters, ii. 193, no, in White, Gleeson, editor of The Studio,
War Series, in Century, i 43, no i. 167
Ward, Mrs. Humphrey, ii. 50 White, Stanford, i. 109

Ward, Townsend, articles of, i. 40 Whitman, Mrs. Helen, i. 336
Watson, Marriott, i. 148, 180, on staff Whitman, Walt, i. 118, no; his house,
of Pall Mall, i.
150 ii. 139, 140
i.
Waugh, Frederick, painter, i.
35 Whitney, engraver, 38
Way, T. R., ii. 61 Wilde, Oscar, 49-51, 101
i.
Way, Mrs. T. R., ii. 145 Williams, Francis Howard, poet, i. 109
Webb, Sidney, i. 190 Williams, Mr. and Mrs. Talcott, ii. 114
Webb, William, i. 336 Williamsburg, Va., i. in
Wells, England, i, 189-191 Wilson, Edgar, i. 147
Wells, H. G., ii. 174 Wilson, Harry, i, 336
Welsh, H. Devitt, assistant secretary of Winchester Cathedral, i. 146-148
the Division of Pictorial Publicity, Winona, Minn., ii, 151
ii.
193; ii. 101, 2.2.0; letters to, ii. 193, Wirgman, Blake, i. 156, 163
105, 330 Wistcr, Owen, ii, 149
West, Benjamin, i. 14, 33 Wistcr, Dr., gives commission to Pennell,
West, William, of the Pennell Club, ii. in i-33
Whibley, Charles, art critic, i. 155, 196, Withers, Mr. and Mrs. Alfred, ii. 41,
103, 117, 151 90

Whibley, Leonard, i. 159 Wolf, Henry, engraver, i. 38
Whistler, James Abbott McNeill, etcher, "Wonder of Work, The," ii. 71, 73, 79,
i, 78, 117, 153, 308, 309; his influence 81,85,95,97,98,163
on Pennell, i. 100; ii. 75; his manner, Wood, Butler, of the Bradford Gallery,
367
Index
WOOD, BUTLER, (Continued} Wright, Miss Helen, of the Library of

ii, 3.1, 3i2.; letters to, ii. 165, 315, }^6> Congress, ii. 134, letter to, ii.
341
Wright, Mrs. Sidney. See MORRIS, CATH-
339
ERINE WHARTON
Wood, Sir Henry Trueman, xi. 173
Wood engraving, i. 38, 109 Yellow Book, L 2.73
Woodward, Ellsworth, ii. 2.51 York, i. 184, 186
Woolner, i, 118 Yosemite, ii. 107, 113
Woolston, Constance Fennimore, i.
83,
Young, Mahonri, makes bust of Penncll,
90 ii. 189
"Work of Charles Keen, The," i. 316,
317, 32.0
ZlMMERMANN, DR., ii, 2.1O
368
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Portrait by J. McLm Hamilton

PUBLISHED AT BOSTON IN MCMXXIX

All rights reserved

Published November, 192.9

First Impression of the

PRINTED IN THE UNITED STATES OF AMERICA

XXVIII THE WHISTLER CASE AND THE WHISTLER

XXXV THE LEIPZIG EXHIBITION 134

XLVI SERIOUS ILLNESS INTERRUPTS WORK 2.8<)

JOSEPH PENNELL WITH THE ART JURY AT ST. LOUIS 4

WREN'S CITY OUT OF THE ADELPHI TERRACE WINDOWS 48

THE PRINTER 52.

PORTRAIT OF JOSEPH PENNELL BY GEORGES SAUTER 58

THE TEA TOWER OUT OF THE ADELPHI TERRACE

ON THE WAY TO WORK IN PANAMA 104

JOSEPH PENNELL IN HIS STUDIO WHICH WAS A STUDIO 136

JOSEPH PENNELL WITH THE PICTORIAL PUBLICITY

JOSEPH PENNELL DRAWING IN THE STOCK YARDS,

THE CONSPIRATORS: JOSEPH PENNELL, j. MCLURE

JOSEPH PENNELL DRAWING OUT OF DOORS 2.36

ROLLING UP A PLATE AT PETERS 2.42.

Photograph by William Shewell Ellis, by permission of the

THE HOTEL MARGARET

JOSEPH PENNELL IN HIS LAST YEARS

BROOKLYN BRIDGE OUT OF OUR HOTEL MARGARET

WITH MRS. BREWSTER IN CHICAGO 334

through the kindness of Mrs. Brewster and the Chicago Tribune

THE FRIENDS' BURIAL GROUND, GERMANTOWN 350

on" was a phrase constantly on the lips of both. Pennell

journeys forwork. In the winter of 1903 he went to

ography" from Whistler's old Theodore Du-

fourth book in Heinemann's series Henry James's Eng-

lish Hours", published in 1905. The route enabled him

picked up dead, he made no further use of so unreliable

on American Illustration and Engraving which Van

letter to John McLure Hamilton was in answer to his

of enemies, but it was the secret of the distinguished

TO MR. JOHN McLURE HAMILTON

I do not doubt there will be a perfect deluge. It is very good of you to

be so sympathetic. I know that you really cared for his work.

gestions in a day or so.

absurdity of inviting works and then rejecting them but, as you

TO DR. JOHN C. VAN DYKE

You are good enough already to make a lot of valuable sugges-

scheme for a big illustrated American book I mean the illustrations

come. But this my is scheme.

Anyway here goes at it.

TO MR. EDWARD ROBINS

It is magnificently awful this is written in the midst of 6000

TO MISS HELEN J. ROBINS

TO DR. JOHN C. VAN DYKE

City that inspires me, that I love/' He etched his first

skyscrapers, six published, without text, in the March

His enthusiasm was catching. The plan for the Illus-

begins :' It is so beautiful I must go out and make more

immortal works;" another: "111 try to look in to lunch

was writing to McLure Hamilton, I have the honour