A3
AS
36
A473
no.56
1927

IBRARY OF THE
ERSITY OF VIRGINIA
TY
UN
1819
OF
VIRGINIA
PRESENTED BY
PUBLISHER


A CATALOGUE
OF A
MEMORIAL EXHIBITION OF
THE WORKS OF
JOSEPH PENNELL
(KINDLY LENT BY MR. JOHN F. BRAUN OF PHILADELPHIA)
56
AT THE
AMERICAN ACADEMY OF
ARTS AND LETTERS
633 WEST 155TH STREET
NEW YORK CITY
ACADEMY
OF ARX
HOSMENT
LETTERS
AMERICAN ACADEMY OF
ARTS AND LETTERS
1927
PRICE 25 CENTS

بهبود شکاری
america.
J
2-2

A CATALOGUE
OF A
MEMORIAL EXHIBITION OF
THE WORKS OF
JOSEPH PENNELL
(KINDLY LENT BY MR. JOHN F. BRAUN OF PHILADELPHIA)
AT THE
AMERICAN ACADEMY OF
ARTS AND LETTERS
633 WEST 155TH STREET
NEW YORK CITY

ACADEMY
OF ARTS
OFORTYNITY
INPRATION
ACHIEVEMENT
LETTERS
AMERICAN ACADEMY OF
ARTS AND LETTERS
1927
(ACADEMY PUBLICATION NO. 56)
1

ติ
AS
36
.A473
no.56
1927
GIF
MAR 4


By Paul Thompson
Зверевшим


JOSEPH PENNELL
MEMBER NATIONAL ACADEMY
OF DESIGN. MEMBER NATIONAL
INSTITUTE ARTS AND LETTERS,
FELLOW AMERICAN ACADEMY
ARTS AND LETTERS, MEMBER
ARCHITECTURAL LEAGUE OF
NEW YORK. MEMBER PHILA-
DELPHIA SOCIETY OF ETCHERS,
MEMBER PHILADELPHIA
SKETCH CLUB, HONORARY MEM-
BER THE PRINT CLUB OF PHILA-
DELPHIA. MEMBER NEW YORK
SOCIETY OF ETCHERS, MEMBER
SOCIETY OF ILLUSTRATORS,
MEMBER INTERNATIONAL SO-
CIETY OF PAINTERS, SCULPTORS
AND GRAVERS, LONDON. HON-
ORARY ASSOCIATE ROYAL BEL-
GIAN ACADMEY. MEMBER T
SQUARE CLUB. MEMBER SO-
ACADEMY NOTES

2
THE AMERICAN ACADEMY
CIETE DES PEINTRES-GRAVEURS
FRANCAISE. MEMBER ART WORK-
ERS' GUILD OF LONDON. HON-
ORARY ASSOCIATE OF AMERI-
CAN INSTITUTE OF ARCHITECTS.
HONORARY ASSOCIATE OF
ROYAL INSTITUTE OF BRITISH
ARCHITECTS. MEMBER THE NEW
SOCIETY. MEMBER ROYAL
ACADEMY OF ANTWERP
AWARDED MEDAL ART CLUB OF
PHILADELPHIA. AWARDED MED-
AL COLUMBIAN EXPOSITION,
CHICAGO. AWARDED GOLD MED-
AL, PARIS UNIVERSAL EXPOSI-
TION 1900. HONORABLE MENTION
PARIS SALON. AWARDED SILVER
MEDAL PAN-AMERICAN EXPOSI-
TION, BUFFALO. AWARDED GOLD
MEDAL DRESDEN.
AWARDED GRAND
PRIZE
ST.
LOUIS EXPOSITION.
AWARDED
GOLD MEDAL LIEGE.
AWARDED
GRAND PRIX MILAN. AWARDED
GRAND PRIX BARCELONA.
AWARDED GRAND PRIZ, BRUS-
SELS.
AWARDED GOLD MEDAL
ACADEMY NOTES

OF ARTS AND LETTERS
3
S
AMSTERDAM.
AWARDED GRAND
PRIZ, FLORENCE. AWARDED
MEDAL PAN-PACIFIC EXPOSI-
TION, SAN FRANCISCO
REPRESENTED
LUXEMBOURG.
CABINET DES ESTAMPES, PARIS.
UFFIZI GALLERY, FLORENCE.
MODERN GALLERY, VENICE.
MODERN GALLERY, ROME. BRIT-
ISH MUSEUM. SOUTH KENSING-
ΤΟΝ MUSEUM, LONDON. LI-
BRARY OF CONGRESS, WASHING-
TON. ART INSTITUTE OF CHI-
CAGO. BROOKLYN MUSEU M.
BERLIN GALLERY. DRESDEN
GALLERY, MUNICH GALLERY.
THE PRADO, MADRID. METRO-
POLITAN MUSEUM. CLEVELAND
MUSEUM OF ART.
ETCHINGS
AND MONOGRAPHS


JOSEPH PENNELL
Almost every one who is elected to
an Academy such as this has some
friendly casuist to inquire how he of
all men happened to be chosen for
academic distinction. Doubtless that
inquiry was made about Joseph Pen-
nell when he became a member of this
body in 1921. He was thought to be a
radical, a reformer, a progressive, a
flouter of constituted authority-in
short a most unacademic person. But
those who did such thinking imagined
vain things. All his life Pennell was a
pronounced conservative. Again and
again he and Whistler wrote and
talked of the preeminence of tradition
in art. It was their joint hobby.
5
ACADEMY NOTES

6
THE AMERICAN ACADEMY
Neither of them advocated revolt but
rather a bettering of that which had
been received from the past. Pennell
had neither love nor respect for ultra-
modern art because it was not
founded in craftsmanship—the tradi-
tion of the shop. It had thrown aside
training and skill and had taken up
with superficial effect. As for illus-
tration and printing, with which he
was directly concerned, the machine
had ruined both of them. The rush
and greed of modern life had spoiled
everything. Neither he nor Whistler
at any time criticized academic insti-
tutions but rather those members
within the institutions who were nul-
lifying principles and making sport of
tradition. Pennell regarded his elec-
tion to the American Academy of
Arts and Letters as the highest of
many honors he had received, and I
have reason to know that Whistler up
to the day of his death would have
ACADEMY NOTES

OF ARTS AND LETTERS
7
1
f
f
f
I
e
accepted eagerly an election to the
Royal Academy, the members of
which he had scoffed at for the better
part of his life.
Pennell was born a Quaker in
Philadelphia, in 1860, and by heritage
was a man of peace. The actualities
of war when he came to see them on
the French front were so revolting
that they made him ill. He could do
no work there and came away empty-
handed. Even in verbal warfare he
was ill at ease and rather unhappy.
Only those who knew him intimately
could quite appreciate his caustic com-
ment and his often bitter criticism of
society, government, literature and art.
He knew what was the right thing
to do and how it should be done and
it was the Quaker in him that would
tell the truth and shame the devil.
He exaggerated, to be sure, but he
needed the exaggeration to make the
truth apparent. It was no waspish or
AND MONOGRAPHS

8
THE AMERICAN ACADEMY
bearish nature that was making itself
manifest. He was the kindliest of
souls and the most faithful of friends,
as his long years of devotion to
Whistler should bear witness. Those
who knew him were not disturbed by
his candor even when it was directed
against themselves. They recognized
under it the truth and honesty of the
man.
As for his denunciation of modern
life in America it was leveled against
those who had thrown overboard the
decencies of the eighties and nineties
for the indecencies of the newer twent-
ies, and not against America itself.
Only yesterday, in writing a note for
his Memorial Exhibition at Philadel-
phia, I had the chance to say: "He
loved America best of all and scolded
about her because he loved her. There
is hint of this in the last chapter of
his last book, The Adventures of an
Illustrator. At the head of the chap-
ACADEMY NOTES

OF ARTS AND LETTERS
9
1
e
I
S
16
ב
f
01
1
He
ter he placed a reproduction of his
mezzotint of the Statue of Liberty-
the great figure looming splendidly
against the light of the setting sun.
The title he gave it was 'Hail
Columbia.' And in his will he left
(with Mrs. Pennell's consent) all his
collections, all his prints and plates,
and a not inconsiderable fortune in
money to the Library of Congress-
to America. A superficial view of
either Pennell or Whistler will not do
because-well, because of its super-
ficiality.
t The Adventures of an Illustrator is
autobiographical and in it more than
once Pennell insists he was a born
illustrator. If that be not entirely
conceded it must be admitted that he
was precocious beyond his years. At
sixteen his drawings got him into the
School of the Pennsylvania Academy
of Fine Arts, though they were at
first rejected, together with some
ed
re
of
P
AND MONOGRAPHS

IO
THE AMERICAN ACADEMY
marines he had sent to an Academy
exhibition. That is not so remarkable
perhaps as the fact that at this time,
through Stephen Parrish, he saw, ad-
mired and tried to follow the etchings
and drawings of Fortuny and Rico.
They were the very best of pen-and-
ink men and Pennell's immediate ac-
ceptance of them was almost a stroke
of genius. He did not know then that
Blum, Brennan and Lungren were
following the same trail, and that
Alexander Drake, Art Editor of the
Century Magazine, was lending them
practical aid and comfort. But he was
shortly to meet that group and to
work with Drake whom he never after
ceased to praise.
In 1880, armed with a letter of in-
troduction (which he forgot to de-
liver), he bearded Drake in his den
and showed him some sketches he had
made for an article, "A Day in the
Marsh." Drake approved of them, and
ACADEMY NOTES

OF ARTS AND LETTERS
II
took the young illustrator down to
the editorial rooms where he met
Robert Underwood Johnson, and got
an order for the article. Pennell had
already chosen a colleague to write
the article and the editors even ap-
proved of that. It was a great day's
work and Pennell, after a luncheon
with Drake, went home with his head.
in the clouds. In recalling that early
adventure he writes with jocose
humor: "It is extraordinary how
much sense I had, but then I was a
born illustrator. And I think R. U.
Johnson might, in his Remembered
Yesterdays, have said as much of me."
But he had nothing to complain of at
that time. He was well started, under
the best of influences, with the best of
editors, and with the best of methods.
Many an artist has spent the first half
of his life getting back to the point
where Pennell started.
AND MONOGRAPHS

12
THE AMERICAN ACADEMY
Once launched he made rapid pro-
gress. The Century Magazine sent
him to New Orleans to illustrate
Cable's Creole Days and in 1882, when
he was twenty-two, he started on his
first European trip to illustrate (for
the Century again) Howells's Tuscan
Cities. He was at first somewhat
overwhelmed by London and Paris
but he kept his eyes open and his
fingers busy. He worked-all his life.
he worked without ceasing. The im-
mediate goal in Europe was Italy and
the work in hand the illustrations for
the Howells book, but he did other
and independent sketches for A Can-
terbury Pilgrimage and Our Senti-
mental Journey, books done with Mrs.
Pennell writing the texts. He saw all
kinds of art, and met artists, authors,
publishers,—all kinds of people from
Böcklin to Vernon Lee. In the sum-
mer he went up to Venice, met Duven-
eck, Bunce and the group of Ameri-
ACADEMY NOTES

OF ARTS AND LETTERS
13
1
1
can artists studying there, and in the
autumn went on to London to meet
Gosse and Lang and more artists.
Returned to the United States he was
married to Miss Elizabeth Robins (the
"E" of the Adventures) and together
they went back to Europe, he to do
the illustrations for English Cathedrals
for which Mrs. Schuyler Van Rens-
selaer furnished the text and the
Century Magazine the press.
His
His success with the English Cathe-
drals series was immediate.
drawings were not only illustrative but
they were picturesque, dramatic, more
than half-romantic. Infallibly he
picked the right spot, the salient
group, the proper light. He was
working with pen-and-ink more than
with wash and getting effects of bril-
liant light by forcing the blacks
sharply against the whites. It was
the Fortuny-Rico method which he
had adopted. But before he had
AND MONOGRAPHS

14
THE AMERICAN ACADEMY
finished with this series he saw that
the light effects were truer to Spain
and Italy than to England and that
he was not getting the subdued light,
the atmosphere, the envelope of the
North. A change began then and
there. The next series, The French
Cathedrals with Mrs. Pennell's text,
shows not only a change in the light
and air but also the more frequent
use of the washed drawing and the
etching. He was to go on with
changes in method and medium to the
end because he was never satisfied
with his work and was always reach-
ing out for some newer means of ex-
pression. Perhaps Whistler, whom
he met in Paris at this time had some
influence in turning his attention to
tone to the envelope. But Pennell
was little beholden to any one for his
art. He was partly "a born illus-
trator," as he asserted, but perhaps
more largely a self-made one.
ACADEMY NOTES

OF ARTS AND LETTERS
15
e
+
us
af
P
His versatility in theme, method
and medium, as we look back upon his
work, seems extraordinary. During the
succeeding years he sketched palaces,
temples, sky-scrapers, factories, coal
breakers, canal locks; he pictured
gardens, streets, waterways, canyons,
mountains, and he did them in ink,
pencil, charcoal, pastel, wash, etching
and lithograph. The illustrations that
he made for books by Henry James,
Maurice Hewlett, Marion Crawford,
Philip Gilbert Hamerton, John Hay,
and a dozen others were not mere
repetitions of the same manner and
medium. Each series was different
after its kind, each an attempt to
break out a new sail and run a shorter
or a better course. And his Wonder
of Work series, which he had in hand.
up to the last, was always an outlet
for experiment. He made up books.
of his own with texts and plates of
Greek temples, London streets, Pan-
AND MONOGRAPHS

16
THE AMERICAN ACADEMY
ama locks, Pennsylvania coal mines.
The wonder was not about his sub-
jects but about his treatment of them
-how he could picture familiar thems
over and over and yet each time give
a new view and lend a new instrest.
And quite aside from the quality
of his output, the quantity of it seems
enormous. It was not merely illus-
trations for fifty books and two dozen
magazines but huge lithographs of
current happenings for newspapers,
series of etchings for exhibitions, war
posters for different governments.
His activities reached out into many
departments. He wrote six volumes
of his own and collaborated with Mrs.
Pennell in writing nine more. While
in London he was connected with The
Daily Chronicle and other newspapers,
wrote art criticism, succeding Bern-
ard Shaw as art critic on The Star,
and fought in his column for Aubrey
Beardsley and Whistler. In addition
ACADEMY NOTES

OF ARTS AND LETTERS
17
C
I
he was for a time Professor in the
Slade School of Fine Arts and also
lectured elsewhere in London, as later
in New York and Chicago. In more
recent years he had an etching class
in the Art Students' League, talked at
the Metropolitan Museum, and wrote
letters of protest to the New York
Times while doing etchings from his
Brooklyn window, working in water-
colors and oils and writing his Ad-
ventures of an Illustrator. His en-
ergy was unabated to the last.
I suppose it is proper to admire
the person of one idea who does one
thing and does it supremely well, but
what about the person who does a
hundred things and does all of them
well? A dash at fame with an early
masterpiece and a succeeding silence
of long years may be counted as at
0 the least worth while, but what about
t the carry-on for fifty years and a
growth in power with each succeeding
C
AND MONOGRAPHS

18
THE AMERICAN ACADEMY
www
year? Had Pennell died at thirty we
should have had his brilliant clear-cut
Cathedral drawings. Those would
have placed him close to Rico and
Vierge and his etchings would have
been ranked with the early Whistlers
which he so much admired, but we
should have missed the sombre power
of his later charcoals, the massive
quality of his lithographs, the richness
of his mezzotints and the loom and
lift of his sky-scraper etchings. The
exactness of his early work gave way
gradually to a wider vision, a broader
handling and an increased mastery.
His later work is the better and per-
haps the more enduring.
I am disposed to make this state-
ment even regarding his writing, be-
cause there has been here and there
in the daily press some shallow criti-
cism of the style of his Adventures
of an Illustrator, and because he was
a member of this Academy and some-
ACADEMY NOTES

OF ARTS AND LETTERS
19
te
ne
thing Addisonian in sentence was per-
haps expected of him. I should like
to say with such positiveness as I can
command, that his Pen Drawing and
Pen Draughtsmen, his Etchers and
Etchings, and his Lithographers and
Lithography are the best and most in-
forming books on those subjects in
existence. As for their style, if one
turns to the earliest volume, on Pen
Drawing, he will find it written in
quite calm and faultless English. In
the Etchers and Etchings he became
somewhat more colloquial, in the
Scammon Lectures given at the Art
Institute of Chicago he was conver-
sational, and in his last book, The Ad-
ventures, he was so intent upon color
that he practically sacrificed form.
Now this change of style can not
be put down to ignorance of the lan-
guage, for I believe it was a designed
change. Pennell was an artist and
the primary business of art is expres-
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20
THE AMERICAN ACADEMY
sion and effect. He knew very well
that the Discourses of Sir Joshua
Reynolds were not the best models of
style wherewith to reach the youth of
today. They were written to be read,
not talked at an audience. He needed
the spoken rather than the written
language. This he used in the
Scammon Lectures. They were the
most informal talks imaginable but I
venture to think that the student
audience got more information from
those talks than from any course of
lectures ever delivered from that
platform. They reached the student
mind and had the desired effect. Just
so with The Adventures. It was writ-
ten as Pennell himself talked in con-
versation and reveals his pronounced
personality. And everyone who reads
it must concede that it is most read-
able, interesting, and colorful. Well,
what value is there in any book that
is not readable, interesting and color-
ACADEMY NOTES

OF ARTS AND LETTERS
21
11
al
el
el
ful? And after all does not the end
justify the means? Pennell thought
so at least and who shall say he was
not right?
Joseph Pennell was not only an ex-
cellent illustrator, etcher and litho-
grapher but he was a forceful writer.
In addition he was an energetic
speaker and a famous character in the
art and life of his time. He was
something of a crusader, if you will,
but that was entirely to his credit.
He spoke for the truth, and the right,
and fought for common decency, com-
mon honesty and common sense in
American life. That may not be the
primary aim of this Academy, but such
things are surely not beside its pur-
pose. Not one of us but honored his
convictions and admired his bravery
in setting them forth.
JOHN C. VAN DYKE
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22
THE AMERICAN ACADEMY
Portrait of Joseph Pennell by Way-
man Adams. Lent by the Sketch Club
of Philadelphia.
ACADEMY NOTES

OF ARTS AND LETTERS
23
CATALOGUE
Views on the Old Germantown Road,
Philadelphia. Mostly printed in Journal
of Pennsylvania Historical Society, 1880
on
1. Rising Sun Tavern
2. Wakefield, Fisher's Lane
PHILADELPHIA, 1882-1923
3. Chestnut Street Bridge, Large
4. Marble Yard, Chestnut Street Bridge
5. Schuylkill River
6. Under the Bridges, On the Schuylkill
7. Water Street Stairs, Large
8. Street Sweepers
9. Plow Inn Yard
10. Bridge over the Susquehanna at
Harrisburg
11. Philadelphia from League Island
12. Up Broad Street from Spruce Street
13. Rush Fountain, The Water Works
14. Pennsylvania Arcade, Philadelphia
15. Girard Trust Building, No. 1
16. Independence Square
17. The Shrine of Commerce, Girard
Trust Co.
18. Stock Exchange
19. Temples, Old Water Works
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24
THE AMERICAN ACADEMY
20. St. Peter's Spire
21. William Penn's Grave, Jordan
22. The Ugliest Bridge in the World,
Philadelphia and Camden Bridge
23. Christ Church, East End
24. Fourth Street Meeting House
25. Sogno Mio, No. 1
26. Sogno Mio, No. 2
WASHINGTON 1882-1923
27. Former Site of National Park,
Washington
28. The Nave, Washington Cathedral
29. The Cathedral from the Park
VIRGINIA, 1882
30. At Lynchburg, Large
ITALY 1883-1910
31. The Piazza, San Gimignano, frontis-
piece
32. Ponte Vecchio, Florence
33. Ponte del Trinita, Florence
34.
Plazza del Comune, Pistoia
35. In Pistoia
35a. Archway, Pistoia
36. The Landing Place, Leghorn
37. San Giorgio, Venice, Large
38. Shipping, Venice
39. Distant Venice
ACADEMY NOTES

OF ARTS AND LETTERS
25
1
40. Oar Makers, Venice
41. The Byzantine House, Venice
42. Lagoon, Venice
43. Near the Abazzia, Venice
44.
The Rialto
45. The Doge's Palace and Ducal
Tower, Venice
46. On the Riva from Pennell's Window
47. Café Orientale, Venice
48. Rebuilding the Campanile, Venice
49. Venice at Work
50.
Rebuilding the Victor Emmanuel
Monument, Venice
51. Old and New Rome
52. St. Peter's from the Pincian
SPAIN, 1904
53. The Bridge at Alcantara
54.
Puerta Visagara
FRANCE, 1883-1914
55. Le Stryge
56. Le Puy
57.
Coutances, No. 3
58. Amiens
59. Amiens from the Old Town
60. Towers of the Bishop's Palace,
Beauvais
61. The Transept, Beauvais, Aquatint
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THE AMERICAN ACADEMY
62. South Door, Beauvais
63. The West Front, Rouen Cathedral
64. The Flower Market and Butter
Tower, Rouen
65. West Tower from the Cloisters,
Rouen
66.
Gros Horloge, Rouen
67.
Market Place, Rouen
ENGLAND
68. Covent Garden
69. Chelsea, Large
70. Burlington House
71. Lion Brewery
72. Skating on the Serpentine
73. The National Gallery, Exterior
74. Making a Masterpiece, Matthew
Webb
75. Primitives-Copying Botticelli in
the National Gallery
76.
Green Park
77. New Oxford Street
78. Lion Brewery, Aquatint
79. Charing Cross, Lithotint
80. Searchlights, St. Paul's, St. Paul's in
Wartime, Mezzotint
81. Queen Anne's Statue, St. Paul's
82. Big Tree, Cheyne Walk
83. Mist on the Thames, Aquatint
ACADEMY NOTES

OF ARTS AND LETTERS
27
er
84. British Museum, the Portico
85. Bunyan's Tomb
86. Classic London, St. Martin's-in-the-
Fields
Cumberland Gate
Cumberland Terrace, Regent's Park
87.
88.
89.
Cannon Street
River
Station from the
90. The Dock Head
91. Doorway, Henry VII Chapel
92. Entrace to Henry VII Chapel
93. Entrance to Charter House
94. Exeter Hall
95. Fountain, Court Temple
96. London Bridge to Tower Bridge
97. Gothic Cross, Charing Cross
98.
Greenwich from the River
99. Gate of the Temple
100.
Grosvenor Road
101. Hampton Court, Long Water
102. Hampton Court Palace
103. Hyde Park Mansions
104. Horse Guards
105. The Institute, Piccadilly
106. Ludgate Hill Showing the Holborn
Viaduct
107.
Leadenhall Market, No. 2
108. The Music Shop on the Strand
109. Montagu Street
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28
THE AMERICAN ACADEMY
110.
Monument, London
111. The Pond, Clapham Common
112. The Obalisque, from the Stairs
113. Park Crescent
114.
Portland Place Church
115. Rainy Night, Charing Cross Shops
116. Russell Square
117. St. Bartholomew's, The Founder's
Tomb
118. St. Clement Danes
119. St. Dunstan's, London
120. St. James' Park
121. St. James' Gate, Clerkenwell
122. St. John's, Westminster
123. St. Paul's, Fleet Street
124. St. Paul's Pavement
125.
Sunlight Soap
126. The Thames at Richmond
127. Tyburn, The Motor Car
128. Villiers Street, No. 2
129. Whitehall Court
130. Waterloo Bridge and Somerset
House
131. Westminster Abbey, West Front
132. Works at Waterloo
133. White Tower, Westminster
134.
London over the Embankment
Gardens
135. Yorkshire Terrier
ACADEMY NOTES

MY
29
OF ARTS AND LETTERS
On
airs
136. London Night, Whiskey and Tea,
Mezzotint
137. Westminster from my Window,
(Mezzotint)
138. Wren's City, Mezzotint
139.
Shop
under
set
Tont
at
Charing Cross Bridge at Night,
Upright, Mezzotint
140. London from My Window, Mezzo-
tint
141.
Thames Embankment, Aquatint
142. Over Waterloo Bridge, Church and
Work out of my East Window
143. Building the Wooden Pier, Dover
144. Lower Moor Works, Bradford
145. Brick Fields, Birmingham
146. Small Heath, Birmingham
147. The Docks at Cardiff, Coal
148. The Great Stack, Sheffield
GERMANY, 1911
149. The New Rhine, Duisberg
150. Landing Place, Duisberg
THE WONDER OF WORK, COAL
AND OIL, PENNSYLVANIA, 1909
151. The Great Incline
152. The Abomination of Work
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30
THE AMERICAN ACADEMY
THE WONDER OF WORK, STEEL,
PENNSYLVANIA, 1909
153. Pittsburgh, No. 1
154. The Station, Pittsburgh Inclined
Railway
155. In the Works, Homestead
CHICAGO, 1910
156. The Lake City
157. The Lake Front, Sunset
158. Under the Bridges
159. The Tracks
PANAMA, 1912
160. Gatun Lock
161. Bishop's Walk
YOSEMITE, 1912
162. The Temple, Grand Canyon
163. The Falls, Yosemite Valley
SAN FRANCISCO, 1912
164. Russian Hill
165.
California Street
166. On the Barbary Coast
167. From the Bay
GREECE, 1913
Acro-Corinth from Corinth
168.
169.
Ægina
ACADEMY NOTES

OF ARTS AND LETTERS
31
L
ec
170. The Home of the Baa Laam
171. The Holy Trinity of the Castles
NEW YORK, 1904-1926
172. Lower Broadway
173 The White Tower
174. The Shrine
175. St. Paul's Building
176. The Flatiron Building
177. The Cliffs
178. St. Thomas' and St. Regis'
179. The Golden Cornice, No. 2
180.
Palisades and Palaces
181. New York from Weehawken
182. New York from Brooklyn Bridge
183. In the Mist of the Morning, Mezzo-
tint
184. Hail America, Mezzotint
185. The Cliffs of West Street, Mezzo-
tint
186. The Cross of Gold, Cedar Street
Building, Mezzotint
187. Cortlandt Street Ferry, Mezzotint
188. The Flatiron Building, Mezzotint
189. Sunset, Williamsburgh Bridge
190. New York from Hamilton Ferry
191. New York from Governor's Island
192. Concrete Carrier, Edison Works,
Brooklyn
AND MONOGRAPHS

32
THE AMERICAN ACADEMY
193. Telephone and Telegraph
Foundation
194. The Bridge, Aquatint
195. The Bay, Aquatint
196. The White Way, Aquatint
197. The Standard Oil Building, No. 1
198. The Cliffs, Aquatint
199. The Foundations, Saks Building
200. The Woolworth, through the Arch
201. The Elevated
202. The Stock Exchange, New York,
1923
203. Brooklyn Heights, from the Ferry
RAILROAD ACTIVITIES, 1919
204. The Clock, Grand Central, New
York
205. The Ferry House, Cortlandt Street
Ferry from the Jersey Side
206.
Within the Ferry, Cortlandt Street
207. The Train Shed, Philadelphia
208. Trains that Come and Trians that
Go, Pennsylvania Railroad, Phila-
delphia
209. Steam and Power, Pennsylvania
Railroad, Philadelphia
210. The Commuters, Pennsylvania
Railroad, Philadelphia
211. Back from Atlantic City, Pennsyl-
vania Railroad, Philadelphia
ACADEMY NOTES

OF ARTS AND LETTERS
333
212. The Lair of the Locos, Pennsyl-
vania Railroad, Philadelphia
213. The Horseshoe Curve, Pennsyl-
vania Railroad
214. The Portico, Pittsburgh
215. Falls Station, Niagara
216. The Cleveland Bridges
217. Bridgeland, Chicago
218. Ead's Bridge, St. Louis
219. City Bridge, St. Louis
220. From the Station to the Capitol,
Washington
221. Portico, Penn Station, New York
222. Roundhouse, Pennsylvania
road, New York
LITHOGRAPHS
SPANISH SERIES, 1896
Rail-
223. The Apartments of Washington
Irving, Alhambra
224. The Posada, Granada
225. Gate of the Alhambra
HOLLAND SERIES, 1890
226. Zaandam
FRENCH, 1890-1915
227. Rheims, Large
228. Mont St. Michel
AND MONOGRAPHS

34
THE AMERICAN ACADEMY
www.
ENGLISH SERIES, 1890-1911
229. Teignmouth Bridge
230. Biddeford
231.
Ilfracombe
232. The Harbor, Ilfracombe
233. A Bridge
234. Whitby Abbey, Yorkshire
235. High Street, Penzance
236. The Harbor
237. (See 35a)
238. Coronation of King George V and
Queen Mary in Westminster Ab-
bey, June 22, 1911
NEW YORK, 1900-1914
239. From Ellis Island
240. Building a Skyscraper, Night, New
York
241. Statue of Liberty
242.
Nassau Street
243. New York in 1904
244. Broadway Looking toward Post
Office
245. New York in 1904 in Color
246.
COAL-PENNSYLVANIA, 1910
Shenandoah
247. The Trolley Line, Wilkes Barre,
Pa.
248.
249.
250.
༡:༡
ACADEMY NOTES

OF ARTS AND LETTERS
35
NIAGARA, 1910
248. Niagara Rainbows
249. The American Tivoli
PHILADELPHIA, 1912
250. Market Street Elevated
251. Water Works
252.
Fairmount Tunnel
253. Independence Square, 1912
254. Morris House, Eighth Street
255. Main Street, Germantown
256. Doorway at Wyck
257. Dining Room, Stenton
258. Hallway, Chew House
259. Carpenter's Hall, Philadelphia, Pa.
260. Train Shed of Broad Street Station
261. The Liberty Bell
262. Independence Hall
263. The Temple, Girard Trust Com-
pany
ITALY, 1911
264. The Harbor, Genoa
265. Rebuilding the Campanile, Venice
YOSEMITE, 1912
266. The Sentinel from the Floor of the
Valley
267. The Lower Falls
AND MONOGRAPHS

36
THE AMERICAN ACADEMY
GRAND CANYON, 1912
268. The Walled City
269. Mist in the Canyon
WASHINGTON, 1912
270. Early Morning in the Park
271. Colon
PANAMA, 1912
272. French Canal and American Crane,
Mount Hope
273. The Approach to Gatun Lock
274.
275.
Guard Gate, Gatun Lock
Dinner Time, Gatun
276. The End of the Day, Gatun Lock
277. The Jungle
278. The Cut Toward Culebra
279. The Cut from Culebra
280. The Cut at Paraiso
281. Between the Gates, Pedro Miguel
Lock
282. The Bottom of Pedro Miguel Lock
283. The Walls of Pedro Miguel Lock
GRECIAN TEMPLES, 1913
284. Across the Steps of the Acropolis
285. Sunrise over the Acropolis
286. The Erechtheum, Acropolis
287. Egina, The Temple from Within
ACADEMY NOTES

ད་
37
OF ARTS AND LETTERS
ne
288. Girgenti, from Temple to Temple
Paestum
289.
GERMANY, 1914
290. Grain Elevator, Hamburg Harbor
291. The Zeppelin Starts
292. The Zeppelin Shed
ENGLISH WAR WORK, 1916
293. The Iron Mine
294. In the Land of Iron and Steel
295. Making Pig Iron, The Base of the
Blast Furances
296. The Big Gate of the Big Shop
297. The Great Tower, Pig Iron
298. The Perambulator
299. The Great Hammer
300. The Presses
301. The Urns, Casting Big Shells
302. The Shell Factory
303. The Gantry
304. Cutting and Turning a Big Gun
The Old Gun Pit
00
305.
00
306.
Taking the Big Gun Away
307. Gun Testing
308. The Balloon Shed
309. The Big Bug
310. The Great Chimney, The Motor
Park
311. Shot
AND MONOGRAPHS

38
0
THE AMERICAN ACADEMY
AMERICAN WAR WORK, 1917
312. The Balloon Shed
313. Birds of War
314. The Riveters
315. The Flying Locomotive
316. The Armor Plate Press
317. The White and Black Hammers
318. The Little Men of the Big Hammer
319. Forging Shells, The Slaves of the
Wheel
320. Shell Factory, No. 1
337.
340.
341.
DR
321. Shell Factory, No.2, From Shop
343
to Shop
322. Casting Shells
323. The Gun Pit, No. 1
324. The Gun Pit, No. 2
325. Making a Turbine Engine
326. Making Propeller Blades
327. The Collier
328. The Old and the New
329. Ready for Service Again
330. Building Submarine Chasers
331. Submarines in Port
332. Submarines in Dry Dock
333. Building Destroyers, No. 1
334. Building Destroyers, No. 2
335. In the Dry Dock
336. Building the Battleship
ACADEMY NOTES

IY
39
OF ARTS AND LETTERS
17
337.
Ready to Start
338.
The Prow
TS
1.mer
Joy-
339. Battleship Coming Home
ST. LOUIS, 1917
340. The Cathedral, St. Louis
341. Ead's Bridge
DRAWINGS IN PEN AND INK AND
OTHER MEDIUMS
342. Domfort
343.
Trouville
344. The Church, St. Louis
345.
Valley of the Seine from Maison
Brule
346. The Beach, Trouville
347. The Dead Church, New Orleans
348. The Campers
349. Brewers' Hall, The Doorway
350. Brewers' Hall, The Fireplace
351. Brewers' Hall, The Council
Chamber
352. Brewers' Hall, The Kitchen
353. Brewers' Hall, The Façade
345. Brewers' Hall, The End Wall
355. Brewers' Hall, The Main Room
356. Brewers' Hall, The Doorway
357. Brewers' Hall, Doorway
358. The Fortress, Granville
AND MONOGRAPHS

40
THE AMERICAN ACADEMY
359. The Church, Lisieux
360.
Poitiers
361. Fishing Fleet, Harbor of Honfleur
362. Mont St. Michel, Inner Gate
363. Old Houses, St. Louis
364.
Creuilly
365. Portrait of Joseph Pennell by H.
Devitt Welsh
366. Mont St. Michel, La Grande Rue
367. Whitechapel Shops
368. The Mouth of the Seine
369. Stokesby
370.
Ouistreham
371. Fontaine Henri
372. Watching at Night, St. Mary's
Shrine
373. Prospect Park, Pastel
374. From the Garden at Sunset, Char-
coal Sketch
375.
376.
Beaumont le Roger, the Abbey
A Wood Road on Pont de l'Arche
377. Mont. St. Michel, the Gateway
378. Mont. St. Michel la Merveille
379. St. Michel from the Mainland
380. The Cross at St. James
381. Summer Days in Spain
382.
Clock Tower, Honfleur
383. Ferries, Crayon Drawing
Mw
ACADEMY NOTES

Y
4I
OF ARTS AND LETTERS
384. Poet's Corner at Westminster Ab-
bey, Crayon Drawing
385.
Marché au Bois, Caen
onfler
386.
Ludgate Hill
387. Staten Island, Crayon Drawing
Pontorson
388.
389.
The Road to Jumiéges
by E
390.
The Seine near Les Andelys
391.
Rue
Cromwell's Tomb, Westminster
Abbey
392. Fishing. Boat Leaving Dieppe
ary's
et, Ch
Abbey
e l'Arch
teway
eille
and
AND MONOGRAPHS

42
THE AMERICAN ACADEMY
CATALOGUE OF BOOKS
EXHIBITED IN CASES
From the Library of the American
Academy of Arts and Letters
1. THE WHISTLER JOURNAL
Elizabeth Robins Pennell and Jos-
eph Pennell
Brown cloth covers
Philadelphia-J. B. Lippincott Com-
pany, 1921
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
2. ETCHERS AND ETCHINGS
Large copy-Third edition-Joseph
Pennell
Light tan buckram covers
New York-The MacMillan Com-
pany, 1925
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
3. LITHOGRAPHY AND LITHO-
GRAPHERS
Large copy-light yellow buckram
covers-Joseph Pennell and Eliz-
abeth Robins Pennell
ACADEMY NOTES

EMY
43
OF ARTS AND LETTERS
an
Jos
Om-
Oe
0
но-
rad
Eliz
New York-The MacMillan Com-
pany, 1915
Second Edition
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
4. JOSEPH PENNELL'S PICTURES
IN THE LAND OF TEMPLES
Dark brown cloth and paper covers
London-Wm. Heinemann. J. B.
Lippincott Co., Philadelphia, 1915,
London edition
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
5. JOSEPH PENNELL'S PICTURES
OF PHILADELPHIA
Dark brown cloth and paper covers
Philadelphia-J. B. Lippincott Com-
pany, 1926
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
6. JOSEPH PENNELL'S PICTURES
OF THE WONDERS OF WORK
Dark brown cloth and paper covers
Philadelphia and London-J. B. Lip-
pincott Company, 1916, American
edition
AND MONOGRAPHS

44
THE AMERICAN ACADEMY
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
7. JOSEPH PENNELL'S PICTURES
OF WAR WORK IN ENGLAND
Light brown cloth and paper covers
London-Wm. Heinemann
Philadelphia--J. B. Lippincott Com-
pany
London edition, 1917
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
8. JOSEPH PENNELL'S PICTURES
OF WAR WORK IN AMERICA
Dark brown cloth and paper covers
Philadelphia and London—J. B. Lip-
pincott Company, 1918
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
9. JOSEPH PENNELL'S LIBERTY
LOAN POSTER
"Text book for artists and amateurs,
governments
printers"
and teachers and
Brown board covers
J. P. Lippincott Company, 1918
Presented to the American Academy
ACADEMY NOTES

OF ARTS AND LETTERS
45
3
of Arts and Letters by Joseph
Pennell
10. THE GRAPHIC ARTS
Brown cloth binding-Joseph Pennell
The Scammon lectures 1920, pub-
lished for the Art Institute of Chi-
cago by the University of Chicago
Press, Chicago, Ill., 1921
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
11. PEN DRAWING AND PEN
DRAFTSMEN
Fourth edition-Joseph Pennell
New York-The MacMillan Com-
pany
London, T. Fisher Unwin, Ltd., 1920
American edition
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
12. HIGHWAYS AND BYWAYS IN
DORSET
Blue cloth covers, Frederick Treves
MacMillan & Co., Ltd., St. Martins
Street, London, 1920, fourth edition
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
AND MONOGRAPHS

46
THE AMERICAN ACADEMY
13. HIGHWAYS AND BYWAYS IN
THE LAKE DISTRICT
Blue cloth covers-Arthur G. Bradley
MacMillan & Co., Ltd., St. Martins
Street, London, 1919-fourth edition
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
14. HIGHWAYS AND BYWAYS IN
EAST ANGLIA
Blue cloth covers-William A. Dutt
MacMillan & Co., Ltd., St. Martins
Street, London, 1914, third edition
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
15. THE ADVENTURES OF AN IL-
LUSTRATOR
Trade editions-Joseph Pennell
Tan cloth covers
Published by Little, Brown & Co.,
34 Beacon St., Boston, Mass., 1925
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
16. THE ADVENTURES OF AN IL-
LUSTRATOR
Limited editions-Joseph Pennell
Tan cloth covers
ACADEMY NOTES

OF ARTS AND LETTERS
47
Published by Little, Brown & Co.,
34 Beacon St., Boston, Mass., 1925
Autographed-Lent to the American
Academy of Arts and Letters by
Robert Underwood Johnson
17. THE LIFE OF JAMES MCNEIL
WHISTLER
Dark grey board covers-Elizabeth
Robins Pennell and Joseph Pennell
Sixth edition
Philadelphia, J. B. Lippincott Com-
pany
London-Wm. Heineman
American edition
Presented to the American Academy
of Arts and Letters by Joseph
Pennell
18. HOW TO CYCLE IN EUROPE
Joseph Pennell
Bound copy of article printed in
Harpers' New Monthly Magazine,
April, 1898
Presented to the American Academy
of Arts and Letters by a friend
BOOKS LENT BY MR. AND MRS.
EDWARD LAROCQUE TINKER
19. OUR SENTIMENTAL JOURNEY
Vellum covers-Joseph Pennell and
Elizabeth Robins Pennell
AND MONOGRAPHS

48
THE AMERICAN ACADEMY
Longmans, Greene & Co., London
and New York, 1888, first edition
Lent by Edward L. Tinker
20. OUR JOURNEY TO THE HE-
BRIDES
—
Light blue cloth Covers - Joseph
Pennell and Elizabeth Robins Pen-
nell
New York-Harper and Brothers,
Printers and Publishers, Franklin
Square
1889-Autographed
"To Francis
Tinker, the story of a Toilsome
Tramp through a sad Country, in-
scribed by Elizabeth Robins Pennell,
February 3, 1927"
Lent by Mrs. Edward Larocque
Tinker
21. A CANTERBURY PILGRIMAGE
Paper covers
Ridden, Written and Illustrated by
Joseph and Elizabeth Pennell
New York-Scribner's, 1885
Lent by Mrs. Edward Larocque
Tinker
22. PLAY IN PROVENCE
Tan cloth covers-Joseph Pennell
and Elizabeth Robins Pennell
New York, The Century Company,
1892
ACADEMY NOTES

OF ARTS AND LETTERS
49
Second editions-Autographed
"These Memories of the Gayest of
Gay Summers are inscribed by Eliz-
abeth Robins Pennell, February 3,
1927"
Lent by Mrs. Edward Larocque
Tinker
23. CASTILIAN DAYS
Green and gold cloth covers-John
Hay
Boston and New York-Houghton,
Mifflin & Co.
The Riverside Press, Cambridge
Third edition, 1903.
Lent by Mr. Edward L. Tinker
24. ITALIAN HOURS
Red-brown and gold cloth covers.
Henry James
Boston and New York-Houghton,
Mifflin Co., 1899-Autographed
"This is now Mr. Tinker's Book,
Joseph Pennell, 12-19-23"
25. HIGHWAYS AND BYWAYS IN
YORKSHIRE
Blue cloth covers-Arthur N. Nor-
way
London-MacMillan & Co., Ltd.,
St. Martin's Street, 1911-third edi-
tion
Lent by Mr. Edward L. Tinker
AND MONOGRAPHS

50
THE AMERICAN ACADEMY
26. LONDON
Red cloth covers-Sidney Dark
New York-Charles Scribners'
Sons, 1884-First edition
Illustrations were made in 1908
Lent by Mr. Edward L. Tinker
27. THE CREOLES OF LOUISIANA
Red covers-George Washington
Cable
New York-Charles Scribners'
Sons, 1884-First edition
Lent by Mr. Edward L. Tinker
Th
www
The
A
Tw
Our
Tus
Old
The
Cyc
En
The
Th
Ou
Fre
Aq
Th
Th
Pl
To
Ma
ACADEMY NOTES
OF ARTS AND LETTERS
51
BOOKS WRITTEN AND
ILLUSTRATED BY
JOSEPH PENNELL
Walt Whitman
The Sylvan City
The Creoles of Louisiana
A Canterbury Pilgrimage
Two Pilgrims' Progress
Our Sentimental Journey
Tuscan Cities
Old Chelsea
The Plantin Museum
Cycling, the Badminton Library
English Cathedrals
The Saone, A Summer Voyage
The Stream of Pleasure
Our Journey to the Hebrides
French Cathedrals
Aquitaine
The Jew at Home
The Castle Line
Play in Provence
To Gypsyland.
Makers of Rome
Highways and Byways Series: Cornwall
and Devon, Norfolk and Essex, North
Wales, Yorkshire, Lake Country
The Alhambra
AND MONOGRAPHS

52
THE AMERICAN ACADEMY
The Raiders' Country
The Norfolk Broads
A Little Tour in France
Italian Hours
English Hours
Castilian Days
Italian Journeys
Charing Cross to Saint Paul's
Over the Alps on a Bicycle
Our Philadelphia
The Road in Tuscany
Gleanings from Venetian History
London Stock Exchange
City Series:
London (2); New York,
Venice
San Francisco
The New New York
Our House
Pictures of the Wonder of Work: The
Panama Canal
In the Land of Temples
War Work in England, War Work in
America
Making a Liberty Loan Poster
Nights
London
ACADEMY NOTES

OF ARTS AND LETTERS
53
BOOKS WRITTEN BY
JOSEPH PENNELL
Pen Drawing and Pen Draftsmen
The Illustration of Books
The Graphic Arts
Charles Keene
Introduction to Pablo de Segovia by
Vierge
Etchers and Etching
The Adventures of an Illustrator
IN COLLABORATION WITH
ELIZABETH ROBINS PENNELL
A Canterbury Pilgrimage
Our Sentimental Journey
Two Pilgrims' Progress
Stream of Pleasure
Journey to the Hebrides
Play in Provence
Lithographers and Lithography
Life of Whistler
The Whistler Journal
AND MONOGRAPHS





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3/15/54