Ss ~ = oy ! : LEVYS SPACES. pi ac as MEDI ATIOn i Pr giv’ Wy l o f ; J. ie ’ il by) << M (Yer ee ee ee ee) Ee ee ee ee ee 2 } f Es = RY /! 2 I : = ee SS S IN ALD. vi va ifr Soa Ae ae < - h. t= 5 4 a . ¥ J ere A EY ae, i a . COPYRIGHT BY ; J. B. LIPPINCOTT COMPANY, 10926 - + = en i _ ——— n fy % 2 « ' | ée. pa J 7 —¥ nt oP wpe 7) wi 4 Ph MEMORIAL EXHIBITION OF THE WORKS OF THE LATE JOSEPH PENNELL HELD UNDER THE AUSPICES OF THE PHILADELPHIA PRINT CLUB AND THE PENNSYLVANIA MUSEUM, IN MEMORIAL HALL, FAIRMOUNT PARK PHILADELPHIA, FROM OCTOBER isr TO OCTOBER 31st, 1926 PUBLISHED BY THE PRINT CLUB OF PHILADELPHIA PRINTED BY J. B. LIPPINCOTT COMPANY 1926 JOSEPH PENNELL MEMBER NATIONAL ACADEMY OF DESIGN »- MEM- BER NATIONAL INSTITUTE ARTS AND LETTERS FELLOW AMERICAN ACADEMY ARTS AND LETTERS MEMBER ARCHITECTURAL LEAGUE OF NEW YORK MEMBER SALMAGUNDI CLUB »* MEMBER PHILA- DELPHIA SOCIETY OF ETCHERS « MEMBER PHILA- DELPHIA SKETCH CLUB + HONORARY MEMBER THE PRINT CLUB OF PHILADELPHIA »- MEMBER NEW pene mOCIE TY OF ETCHERS * MEMBER SOCIETY OF ILLUSTRATORS »- MEMBER INTERNATIONAL SO- CIETY OF PAINTERS, SCULPTORS AND GRAVERS LONDON « HONORARY ASSOCIATE ROYAL BELGIAN ACADEMY + MEMBER {PARIS SOCIETY OF AMERI- CAN PAINTERS - MEMBER T SQUARE CLUB « MEM-— BER SOCIETE DES PEINTRES-GRAVEURS FRANCAIS MEMBER ART WORKERS GUILD OF LONDON - HON- ORARY ASSOCIATE OF AMERICAN INSTITUTE OF ARCHITECTS * HONORARY ASSOCIATE OF ROYAL INSTITUTE OF BRITISH ARCHITECTS - MEMBER THE NEW SOCIETY - MEMBER ROYAL ACADEMY OF ANTWERP HONORABLE MENTION PARIS EXPOSITION AWARDED MEDAL ART CLUB OF PHILADELPHIA AWARDED MEDAL COLUMBIAN EXPOSITION CHI- CAGO »* AWARDED GOLD MEDAL PARIS EXPOSITION HONORABLE MENTION PARIS SALON - AWARDED SILVER MEDAL PAN-AMERICAN EXPOSITION 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 PRIX BRUSSELS - AWARDED GOLD MEDAL AMSTERDAM » AWARDED GRAND PRIX FLORENCE - AWARDED MEDAL PAN-PACIFIC EXPOSITION SAN FRANCISCO REPRESENTED LUXEMBOURG .« CABINET DES ESTAMPES PARIS + UFFIZI GALLERY FLORENCE MODERN GALLERY VENICE - MODERN GALLERY ROME - BRITISH MUSEUM - SOUTH KENSINGTON MUSEUM LONDON .- LIBRARY OF CONGRESS WASH- INGTON - ART INSTITUTE OF CHICAGO - BROOKLYN MUSEUM - BERLIN GALLERY - DRESDEN GALLERY MUNICH GALLERY - THE PRADO MADRID - METRO- POLITAN MUSEUM - CLEVELAND MUSEUM OF ART UNDER THE PATRONAGE OF CALVIN COOLIDGE PRESIDENT OF THE UNITED STATES HIS MAJESTY, ALBERT I KING OF THE BELGIANS HIS MAJESTY, VITTORIO EMMANUELE III KinG oF ITALy HIS MAJESTY, ALFONSO XIII KING oF SPAIN HIS EXCELLENCY, GASTON DOUMERGUE PRESIDENT OF THE FRENCH REPUBLIC HIS EXCELLENCY, SENOR DON JUAN RIANO y GAYANGOS AMBASSADOR OF SPAIN HIS EXCELLENCY, BARON pve CARTIER ve MARCHIENNE BEtc1an AMBASSADOR HIS EXCELLENCY, THE RIGHT HONORABLE SIR ESME HOWARD, G.C.M.G., K.C.B., C.V.O. AMBASSADOR OF GREAT BRITAIN HIS EXCELLENCY, NOBILE GIACOMO pre MARTINO Roya ITatian AMBASSADOR HIS EXCELLENCY, SENATOR HENRY BERENGER AMBASSADOR OF THE FRENCH REPUBLIC HONORARY COMMITTEE JOHN F. BRAUN, Cuarirman WAYMAN ADAMS, A.N.A. GIFFORD BEAL, N.A. CECILIA BEAUX, N.A. CHARLES W. BECK, Jr. EDWIN HOWLAND BLASHFIELD, N.A. TIMOTHY COLE, N.A. CAMPBELL DODGSON, C.B.G. ALICE McFADDEN EYRE JOHN FLANAGAN, A.N.A. WILLIAM HENRY FOX DANIEL CHESTER FRENCH, N.A. CASS GILBERT, P.N.A. CHARLES GRAFLY, N.A. GEORGE J. C. GRASBERGER OLIVER DENNETT GROVER, A.N.A. JOHN McLURE HAMILTON ROBERT J. HARSHE CHILDE HASSAM, N.A. ROBERT UNDERWOOD JOHNSON, B.S., Pu.D. DAVID KEPPEL Pee CitN CAVERY.R A. TLD, R.S-A., RHA; WILLIAM B. LINN GARI MELCHERS, N.A. HARRISON S. MORRIS ROBERT von MOSCHZISKER ELIZABETH ROBINS PENNELL GEORGE WHARTON PEPPER DAVID A. REED AGNES REPPLIER, Litt.D. EDWARD ROBINS : EDWARD LaROCQUE TINKER T. FISHER UNWIN JOHN C. VanDYKE ALFRED WITHERS EXECUTIVE COMMITTEE HOU ood la Mae ela Oe We & MEMORIAL EXHIBITION H. DEVITT WELSH, Cuyarrman EDWARD HOWARD SUYDAM, AssociaTE CHAIRMAN ELLIS AMES BALLARD JOHN F. BRAUN ARTHUR EDWIN BYE MRS. ANDREW WRIGHT CRAWFORD FISKE KIMBALL JOHN FREDERICK LEWIS J. BERTRAM LIPPINCOTT JULES E. MASTBAUM MRS. ROBERT von MOSCHZISKER MRS. FRANCIS THORNE PATTERSON ELI KIRK PRICE WILLIAM WEST CATALOGUE COMMITTEE _ J. BERTRAM LIPPINCOTT, Cuarrman EDWARD HOWARD SUYDAM, AssoctaTE CHAIRMAN JOHN F. BRAUN WILLIAM SCHOONMAKER H. DEVITT WELSH EXHIBITION ARRANGED BY EDWARD HOWARD SUYDAM H. DEVITT WELSH JOSEPH PENNELL T is fitting that this Memorial Exhibition of the works of Joseph | Pennell should be held here in Philadelphia where he was born, where he grew to manhood, where he first studied art, and from whence he went forth in the world to be an honor to his craft and to the city of his birth. It is true that at various times he said harsh things about Philadelphia, in common with New York, London, Paris, Berlin, but it was-a world condition rather than any local manifestation that he was condemning. And, after all, who shall say that he did not tell some wholesome and much-needed truths! Many there are at the present day who have thought his thoughts and believed his beliefs and yet have never had the hardihood of soul to utter them. It is further appropriate that this exhibition should be held in this Sesqui-Centennial year because 1876 was the year of Pennell’s birth in art. In that year he tried to enter the schools of the Penn- sylvania Academy of Fine Arts and was at first rejected. He was only sixteen and hardly had his eyes open. And then in this Sesqui- Centennial year, after long work, much happiness and some bitter- ness, his eyes were finally closed. Within those fifty years lies his whole career. It was a very active, forceful and famous career, as any reader of his Adventures of an Illustrator must realize. He was an illustrator, as he tells us in that autobiography, but he was also a lecturer, a newspaper writer, the author of many books, and a dis- tinguished figure in the art and literary world of his time. He knew almost everybody worth knowing in that world, was interested in every important movement, was the advocate of whoever or what- ever was right in art, and was himself an artist of high distinction. The report of his life and work in the Adventures is not over-reported. I was there during more than thirty of the fifty years and can bear witness to the truth of the story. 15 Pennell insisted always that he was born an illustrator and cer- tainly some early happenings seem to confirm it. At sixteen he was not only admiring the work of Abbey and Duveneck but he had fallen in love with the drawings of Fortuny and Martin Rico. That seems almost a stroke of genius. The usual artist-biography tells us how the young aspirant goes wrong in his early admirations and spends years in getting set right again, but here was Pennell at six- teen going right—tremendously right. Fortuny and Rico were, for pen-and-ink work, the very best examples any young illustrator could follow. The public that knows Rico only by his latter-day commercial paintings has little idea of the beautiful pen drawings that he made of Venice and Venetian architecture. I knew him so far back as 1883 and was astounded at the sketches of doors, windows, domes and chimney-pots that he would occasionally show me in his -note-books. It was the emphasis of the spot rather than the line that gave Rico’s work its brilliancy of light and the composition itself was an arrangement by blacks and whites rather than a grouping of objects in an atmospheric envelope. This made for the best repro- duction and printing and the illustrator is always a half-printer or at the least always keeps the reproductive process in mind. The work of Rico appealed to Pennell, as did also that of Fortuny, Casanova, Fabres. Other Americans were of the same faith. Duveneck and Abbey, though each in method peculiar to himself, were working in the most modern spirit, and Blum, Brennan and Lungren were attracting attention to themselves in the Century Magazine with A. W. Drake to encourage them. It was to Drake that Pennell owed his first intelligent guidance, and the sources of inspiration in pen drawing for all of them were Menzel, Meissonier, Fortuny, Rico, Casanova. Other gods came later but these were in the beginning and Pennell was fortunate in his finding them at such an early age. ‘They were “‘an inspiration for what I was soon to do”, as he expressed it. The results in work were almost immediately apparent in the drawings made for the Century Magazine. The very early ones were 16 naturally hesitant, but in 1883, when Pennell first went to Europe to illustrate Howells Tuscan Cities, the drawings indicated some more settled convictions. They were in the style of Rico. Even such etch- ings as On the Arno, 1883, a view of the Ponte Vecchio, showed the influence of Rico, though there was also a large something peculiarly - Pennellesque about them that persisted with him to the end. Both the influence and the personality were apparent in the splendidly picturesque etching of 1883, Ducal Urbino seen from the Valley: Pennell had already arrived when he took up his first monumental work—the English Cathedrals, for which Mrs. Schuyler Van Rens- selaer wrote the text. At twenty-three he was an accomplished craftsman—heaven only knows how or why, unless we agree with him that he was “a born illustrator’. For his training had been slight, sporadic, and of little worth. But from the beginning his obser- vation and his industry had been enormous. He worked and taught himself and became erudite through test and experiment. He believed always in the gospel of work. The drawings for the English Cathedrals as related to hie later performances seem a little exact—sometimes too articulate. That was possibly a shortcoming of the Rico method. The brilliancy of the light did away with atmosphere and left some sharpness of edge. Pennell was to remedy that later on. But here the sharpness shows at the start, more in the pen work than in the wash drawings, and perhaps some of it may be charged up to the wood-engraver. It can hardly be counted a defect, and perhaps should not be noted at all except as it shows Pennell’s recognition of it and his quick steps to change it. The French Cathedrals, tor which Mrs. Pennell wrote the text, were to show the change, and I| think almost anyone can see it by comparing such pen drawings as the Choir Stalls of Lincoln, Durham from Dun Cow Lane, The Angel Choir, Lincoln, Ely from a Garden in the Close, of the English Series with the Southern Portal Greot Gilles, the Western Portal of Le Puy, the South Portal of Chartres, the West Front of Bourges, of the French Series. There is a loosening of the line and some toning down of the brilliant contrast ute of black with white. A recognition of tonal qualities is more apparent, of course, in the wash drawings and the charcoals. Pen drawing and etching are sketching or they are nothing. Line is their primary reli- ance and tone is something that follows after. But how excellent are all these drawings, split words about them as we may! And how picturesque and illustrative! Infallibly he picked the right spot to work from so that his picture would compose well; infallibly he got the right light so that his blacks and whites— all that he had to work with—should reinforce one another, not too obviously but justly and truthfully. For this cunning of eye and hand, look at the early work, the Central Tower of Canterbury, the Durham from the Southwest, or St. Paul’s from Paul’s Wharf. And already he was master of almost all the mediums—pen, pencil, char- coal, wash, etching, lithograph. He used first one and then another, adapting the medium to the theme in hand and showing almost as much skill in one as in another. Notice this in the foggy air of St. Paul’s from Waterloo Bridge, the subdued light of Beauvais from the Market Place, the shadowed light of the Choir of Le Puy, the rain effect of the Notre Dame Main Facade. A more frequent use of char- coal was to grow with him and characterize his later and perhaps his stronger work. The power of massed blacks, the beauty of darkness mysteriously illumined by light, always attracted him. In 1883, at twenty-three, Pennell was well seated in the saddle and after that he rode—rode on incessantly until his death. Recog- nition (and there was abundance of it at this time) did not turn his head. He worked and strove for better expression and never spared himself. The quantity of his output in newspapers, magazines and books was large, and hundreds of his drawings never saw the light of publication. We did together the New New York for which he was to furnish 125 drawings. But he did nearly 250 from which the 125 were selected. And the almost endless variety that showed in drawing, etching and lithograph! There are writers of one book and painters of one picture, but Pennell was not of them. He got nothing by acci- dent and was not beholden to luck. He was a craftsman, knew his 18 mediums by heart, and carried on for fifty years ever striving to improve upon himself and set forth some new beauty in some more expressive way. In the last year of his life he announced that he would devote more time to painting. He was seeking even then a newer expression. His work, looked at today, seems enormous. He did books with Mrs. Pennell, with Cable, with Howells, James, Marion Crawford, Hewlett, and a dozen others. Quite by himself he did palaces in Italy, temples and monasteries in Greece, sky-scrapers and Grand Canyons in America. Hundreds of charcoal drawings were made to illustrate his own Wonder of Work, in peace and war, in temple, factory, wharf and canal, with scores of lithographs for illustrated newspapers, series of etchings for exhibitions, posters for governments. He made illustrations for fifty volumes, wrote six volumes of his own, and col- laborated with Mrs. Pennell in writing nine more. Besides all this he was, while in London, connected with the Chronicle and other newspapers, wrote art criticism and fought like a tiger for Whistler and Aubrey Beardsley. He was Professor in the Slade School, London, he lectured in English towns as later on in Chicago and New York. Up to the last he had an etching class in the Art Students League and, | venture to think, his pupils got more from him than any teacher they ever had. His Scammon Lectures at Chicago were unique and most effective in their giving out of practical knowledge about methods. I am putting down these doings of Pennell’s to suggest the quan- tity as well as the quality of his work. Almost anyone can do one thing fairly well if he hammers at it long enough, but to do a thousand things and do them all well,—that is quite another story. Toward the last his energy grew feverish through the agony of the war and the constant irritation of post-war days. He raved a bit, as which of us has not! But it was all for love of art which he believed should be founded in skilled craftsmanship, or for love of his country which he thought should be guided by common decency, common honesty and common sense. He loved America best of all and scolded about her because he loved her. There is suggestion of this in the last chapter 19 of the Adventures. At the head of the chapter is his mezzotint of the Statue of Liberty looming upward splendidly against the light of the setting sun. The title he gives it is “‘Hail America’’. And at the end he left (with Mrs. Pennell’s consent) all his collections, all his prints, and a not inconsiderable fortune in money, to the Library of Con- gress—to America. Philadelphia does well to honor Joseph Pennell by holding this exhibition for he was one of her most talented and illustrious sons. He was a member of many societies and here in America was a National Academician, and also a member of the American Academy of Arts and Letters; in addition, he had been medalled, mentioned, honored, and his prints conserved in a dozen countries, but, could he have known it, he would have been more pleased by this recognition from his native town than from any other source. He was a famous man and a great illustrator. And I, his long time and devoted friend, can close this brief notice of him in no better way than by repeating in paraphrase his own words about Whistler: ‘‘May his name and fame live forever’’! Joun C. Van Dyke A COLLECTION OF ETCHINGS - AQUATINTS - MEZ- ZOTINTS - LITHOGRAPHS - DRAWINGS IN PEN AND INK - CHARCOAL - PASTEL - WASH - PENCIL AND WATER COLOR OF THE LATE JOSEPH PENNELL LENT BY JOHN F. BRAUN - BOOKS - MANU- Peet te AND LETTERS LENT ~BY HH. DEVITT WELSH - WATER COLORS LENT BY THE MACBETH GALLERIES - OTHER ITEMS AS NOTED THE ETCHINGS “AND EI THOGRAPHS ON EXHIBITION ARE NUMBERED ACCORDING TO THE KEPPEL-BRAUN CHRONOLOGICAL LIST OF OCTOBER 1926 This Exhibition does 1n no way comprise all of the work of Joseph Pennell but due to the lack of space the Committee has exhibited only such prints, books, water colors, etc., as show the various phases of his work from the beginning 1n 1880 to the time of his death. ON AWM RW DN 14. 15. 16. 17. 18. 19. 20. 21. 22. a2: 24. 25. 26. 27. 28. 29. 30. ag: 32. 33: 34: 35- 36. 37: CATALOGUE COMPLETE LIST OF ETCHINGS AND LITHOGRAPHS OF JOSEPH PENNELL THE KEPPELL-BRAUN CHRONOLOGICAL LIST OF OCTOBER 1926 ETCHINGS VIEWS ON THE OLD GERMANTOWN ROAD, PHILADELPHIA Mostly printed in Journal of Pennsylvania Historical Society, 1880 on 9. The Wister House, Residence of Charles J. . Fair Hill Mansion . Rising Sun Tavern . The Fox Chase Inn . Old Stone Bridge at Nicetown . Stenton, The Residence of James Logan . Wakefield Mills, Fisher’s Lane . Wakefield, Fisher’s Lane . Little Wakefield, Fisher’s Lane Io. II. I2. 13. Wister The Morris House, Residence of Washing- ton in 1790 The Germantown Academy Robert’s Mill Mermaid Inn 13A. Black Horse Inn PHILADELPHIA 1882—1923 Chestnut Street Bridge, Small Below Chestnut Street Bridge Chestnut Street Bridge, Large Marble Yard, Chestnut Street Bridge Schuylkill River Under the Bridges, On the Schuylkill Coal Wharves on the Schuylkill The Last of the Scaffolding Public Buildings, Philadelphia Callowhill Street Bridge Water Street Stairs, Large Water Street Stairs, Small Street Sweepers Sauerkraut Row The Alley Way Chancery Lane The Brass Foundry Plow Inn Yard Below Atlantic City Bridge over the Susquehanna at Harris- burgh The Cavern Philadelphia from League Island City Hall, Small Up Broad Street from Spruce Street 23 38. 39- 40. Ar- 42. 43- . Girard Trust Building, No. 1 . Girard Trust Building, No. 2 . Independence Square . Looking through Independence Square . Independence Hall from Walnut Street, The City from Belmont St. Peter’s from Pine Street Pennsylvania Hospital Philadelphia, from Lemon Hill Rush Fountain, The Water Works Pennsylvania Arcade, Philadelphia Small . The Cliff, Water Works . Walt Whitman House, Camden . The Alley, Widener’s and Wanamaker’s . Front and Pine . The Shrine of Commerce, Girard Trust Co. . Stock Exchange . Rebuilding Locust Street . Second Street Market . The Good Mayor’s Portrait . Temples, Old Water Works . St. Peter’s Spire . Old Swedes’ Church . Twelfth Street Meeting House - William Penn’s Grave, Jordan 66. Sogno Mio, No. 1 . The Ugliest Bridge in the World, Phila- 67. Sogno Mio, No. 2 delphia and Camden Bridge 68. The State in Schuylkill . Christ Church, East End 69. The Castle State in Schuylkill . Fourth Street Meeting House 609A. Curtis Building and the Park WASHINGTON 1882—1923 70. Former Site of National Park, Washington 72. The Nave, Washington Cathedral 71. The Choir, Washington Cathedral 73. Concrete Tower, Washington Cathedral 74. The Cathedral from the Park LOUISIANA 1882 75. Pilot Town 79. Sieur Georges, New Orleans 76. In the Twilight, Pilot Town 80. Mme, Delphine’s, New Orleans 77. An Inner Court, New Orleans 81. Café des Exiles, New Orleans 78. The Organ Grinder, New Orleans 82. An American Venice VIRGINIA 1882 83. At Lynchburg, Large 84. At Lynchburg, Small 85. Entrance to Luray Cave, Virginia ITALY 1883—1910 86. The Piazza, San Gimignano, frontispiece 109. Upand Down in Siena 87. The Towers of San Gimignano oblong, 110. A Sienese Street from the Orchard 111. Siena 88. San Gimignano, Upright 112. Street of Stairs, Siena 89. Gateway, San Gimignano 113. Via Sant’ Agata, Siena 90. Storeyed Florence 114. In Siena 91. Porto Romano, Florence 115. The Calcine, Venice 92. Ducal Urbino, Florence 116. A Little Canal, Venice 93. A Narrow Way, Florence 117. San Giorgio, Venice, Large 94. A Covered Street, Florence 118. San Giorgio from the Lagoon, Venice, 95. On the Arno Large plate of Ponte Upright Vecchio 119. From the Garden, Venice 96. Ponte Vecchio, Florence 120. Shipping, Venice 97. Ponte del Trinita, Florence 121. Little Venice 98. Old Court, Florence 122. Distant Venice 99. Mercato Vecchio, Florence 123. A Doorway, Venice 100. Plazza del Comune, Pistoia 124. Oar Makers, Venice 101. In Pistoia 125. The Byzantine House, Venice 102. Archway, Pistoia 126. Yesterday and Today, Venice 103. The Landing Place, Leghorn 127. Lagoon, Venice 104. Pisa 128. Near the Abazzia, Venice 105. The Swing of the Arno, Pisa 129. The Rialto, Venice 106. The Old Arsenal, Pisa 130. Ponte Pinelli, Venice Fi 107. Street in Fiesole 131. The Light Lagoon, Venice 108. A Washing Place, Siena 132. Venice, No. 1 24 133. Venice, No. 2 137. Rebuilding the Campanile, Venice 134. The Doge’s Palace and Ducal Tower, 138. Venice at Work Venice 139. Building the Victor Emmanuel Monu- 135. On the Riva from Pennell’s Window ment, Venice 136. Café Orientale, Venice 140. Old and New Rome 141. St. Peter’s from the Pincian SPAIN 1904 142. St. Martin’s Bridge, Toledo 147. The Bridge at Alcantara 143. The Alcazar, Toledo 148. The Arch of the Bridge at Alcantara 144. The Hospital, Toledo 149. The Castle of Cervantes 145. Toledo 150. Vega 146. The Castles, Toledo 151. Puerta Visagara 152. Posada de la Hernmandad FRANCE 1883—1914 152A. Little French Street 184. A Castle, Aquatint 153. Chartres, No.1 185. West Front, Amiens 154. Chartres, No. 2 186. Amiens 155. The Mill near Fontainebleau 187. Amiens from the River 156. Le Stryge 188. Amiens from the Somme 157. The Devil of Notre Dame 189. Amiens from the Market 158. Marguery, Paris 190. Transept, Amiens 159. Canal Martiques 191. Amiens from the Old Town 160. Daudet’s Mill 192. Shrine, Amiens 161. Le Puy, A Study 193. Market Boats, Amiens 162. Le Puy 194. La Place Beauvais 163. Saint Nectaire 195. Towers of the Bishop’s Palace, 164. Coutances, No. 1 Beauvais 165. Coutances, No. 2 196. The Transept, Beauvais 166. Coutances, No. 3 197. The Transept, Beauvais, Aquatint 167. Place de L’Opera 198. North Side, Beauvais 168. Horse Chestnut Trees 199. The Buttresses, Beauvais 169. Nurse Maids in the Luxembourg 200. South Door, Beauvais 170. A Balustrade in the Luxembourg 201. Beauvais from the Boulevard 171. A Statue in the Luxembourg 202. The West Front, Rouen Cathedral 172. Champs Elysées 203. The Cloisters and the Transept Tower, 173. Garden of the Tuilleries Rouen 174. Luxembourg Garden 204. The Flower Market and Butter Tower, 175. Café Chantant Rouen 176. Palais Royal 205. West Tower from the Cloisters, Rouen 177. Brasserie du Lion Rouge 206. West Tower, Rue du Gros Horloge, Rouen 178. Café on the Bois 207. Gros Horloge, Rouen 179. Brasserie de l’Univers 208. Market Place, Rouen 180. Brasserie Lafayette 209. La Fléche, Rouen 181. Café d’Harcourt 210. Old Rouen, Saint Maclou 182. Café Tuilleries 211. Rouen from Bon Secours 183. Au Paradis des Enfants 212. Porch of Saint Maclou, Rouen 25 213 234. 215. 216; 217. 222. 22a. 224. 225. 226. vip lye 228. 229. 230. 231; 232, 233. 2s 235. 236. 23'7. 238. 239. 240. 241. 242. 243. 244. 245. 246. 247. 248. 240. 250. 251. DEQ, 253. 254. 255. 250. 257. 258. 259. 260. 261. West Front of Saint Maclou A Narrow Street, Rouen Tower of St. Ouen, Rouen The Avenue near Valenciennes Landscape near Valenciennes 218 219 220 221 Old and New Mills The Crater, Schneider’s Gun Factory near Creusot Church at Martigues Roofs, Cosne ENGLAND Etchings in London, dated 1894. Vauxhall Bridge The Quadrant St. Paul’s, Aquatint Leadenhall Market The Tower Bridge Construction St. Martin’s Columns Turn of the Tide The Theatre Oxford Street Greenwich Cab Stand, Charing Cross Smithfield Market To Rosherville Covent Garden Top of Haymarket Hoardings South London Lights, The Shot Tower, Aquatint Underground Station, Upright London Bridge Waterloo Bridge Cleopatra’s Needle, Aquatint Trafalgar Square The Griffin at Temple Bar The Griffin, No. 2 Nelson Monument, Trafalgar Square St. Paul’s Cathedral, Exterior, 1885 The Thames Embankment Ludgate Hill Choir of St. Paul’s Victoria Tower, Westminster Office of ‘‘Punch”’ Statue of Charles I. Chelsea, Large Chelsea, Small Dancing Blackfriars Bridge Farrington Street Cab Stand, Under Charing Cross Bridge Vauxhall Bridge Battersea Church Charing Cross 262. 263. 264. 265. 266. 267. 268. 269. 270. 271. 272. 273. 274. 275. 276. 277. 278. 270. 280. 281. 282. 283. 284. 285. 286. 287. 288. 289. 290. 2Q1. 292. 293. 204. 205. 296. 297. 208. 299. 300. The Porch, St. Paul’s A Rainy Night, Charing Cross British Museum Gatti’s A London Street Trocadero, London Euston Covent Garden, Large The Column, Nelson Burlington House Buckingham Palace Road From Charing Cross, Dent’s Shop Dent’s Shop, Three Doors Gloucester Road The Savoy, Lightly Etched Lion Brewery from the Embankment Little London, No. 2 The Sunny Shore, Drypoint Cheyne Row, The Rising Sun Cherry Gardens City of London School Tower of Westminster Cathedral Steamboats Coaling Up Covent Garden Church Hyde Park Corner The Burlington Arcade Penny Steamboats Skating on the Serpentine St. Paul’s Tower Hill Smithfield Market, No. 2 Palace Theatre My Tree Millbank National Gallery, Exterior National Gallery, Copying Turner’s Paintings A Manufactory of Constable’s Paint- ings How a Masterpiece Is Made : Making a Masterpiece, Matthew Webb 301. 302. 303. 304. 305. 306. 307. 308. 309. 310. Bile arze 313. STA. arse 316. 317. 318. 310. 320. 327. 222. 323: 324. 325. 326. 327- 328. 329. 330. 331. B32. 333- 334- 335> 336. 337: 338. 339- 340. 341. 342. 343: 344- 345. 346. 347- 348. Primitives—Copying Botticelli in National Gallery Church of St. Ethelburga Kensington Gardens Entrance to Lloyds Green Park The Fruit Shop, London Long Walk, Kensington New Oxford Street Toy Boats, Round Pond St. Paul’s over Blackfriars Westminster, over the Bridges Westminster Bridge Station Gloucester Road Station, High Street, Kensington Mansion House Station Newsstand, Charing Cross, Underground Victoria Station Waterloo, Roulette Lion Brewery, Aquatint Charing Cross, Lithotint Searchlights, St. Paul’s, St. Paul’s in Wartime, Mezzotint Blackfriars Bridge, Aquatint Dark Day on the Embankment, Aquatint Canterbury St. John’s Hospital Earl Court Station Queen Anne’s Statue, St. Paul’s The Tower, Large | St. Martin’s from National Gallery London Apartment Signals, Charing Cross Bridge The Metropole The Studio, London Piccadilly Warehouses on the Lower Thames Dalton’s Works, Lambeth Staple Inn, Moore St. Paul’s Churchyard Under Cannon Street Station The Balcony, London St. Fig Tree House, Lincoln’s Inn The Admiralty Acton Place Albert Hall The Barber Shop Bedford Place Big Tree, Cheyne Walk Mist on the Thames, Aquatint 27 349. 350. 351. 352. 353- 354: 355- 356. 357 358. 359. 360. B01. 362. 363. 364. 365. 366. 367. 368. 369. 3'70. 371. 372, 373: 374: 375: 376. 377: 378. 379- 380. 381. 382. 383. 384. 385. 386. 387. 388. 389. 390. 301; 302. 393- 394. 395- 396. 397- 398. Bridge Street, Westminster British Museum British Museum, the Portico Bunyan’s Tomb Bushey Park Butchers’ Row, Whitechapel Crystal Palace The Walk at Chelsea Cheyne Walk, Chelsea Clothworker’s Hall, London Classic London, St. Martin’s-in-the-Fields. Clifford’s Inn Hall Coliseum, Trafalgar Square Cumberland Gate Cumberland Terrace, Regent’s Park Clock Tower from the Surrey Side Clock Tower from St. James Park Cannon Street Station from the River Chelsea Church Tower Cowley Street, Westminster Cheapside Church of St. Mary-le-Strand Clifford’s Inn Hall, Door The Dock Head Duke of York Column Embankment Gardens Doorway, Henry VII Chapel Entrance to Henry VII Chapel Entrance to Charter House Entrance to Savoy Exeter Hall Fountain, Court Temple Eaton Square Empire Theatre Foreign Office Gate of London Gate of London, Second Plate From Tower Bridge London Bridge to Tower Bridge Greenwich Park, No. 1 Greenwich Park, No. 2 Great College Street Great Gate, Lincoln’s Inn Great Cranes, South Kensington. Gothic Cross, Charing Cross Goldsmith’s Grave, The Temple Guild Hall Greenwich from the River Gate of the Temple Gate of Burlington House 399. Gaiety Theatre from Drury Lane 447. Park Lane 400. Grosvenor Road 448. Parliament Street 401. Garrick Theatre 449. Piccadilly from Park Lane 402. Hays Wharf, London 450. The Pond, Clapham Common 403. House where Whistler Died, 74 Cheyne 451. The Obalisque, from the Stairs Walk 452. Park Gate 404. The Hall, Lincoln’s Inn 453. Park Crescent 405. The Hall Door, Lincoln’s Inn 454. Portland Place Church 406. Haymarket Theatre 455- Queen Anne’s Mansion from the 407. Hampton Court, Long Water Lake 408. Hampton Court Palace 456. Rosetti’s House 409. Hampton Court, The Long Palace 457. Royal Entrance, Victoria Tower 410. Hampton Court, The Lake 458. Rainy Night, Charing Cross Shops 411. Hotel Victoria 459. Royal Windsor 412. Hyde Park Mansions 460. Russell Square 413. In Hyde Park Corner 461. St. Augustin’s and St. Faith’s 414. Horse Guards 462. St. Anne’s from Piccadilly Circus 415. Horse Guards, A Parade 463. St. Bartholomew’s Gate 416. The Hippodrome 464. St. Bartholomew’s, The Founder’s 417. Hampstead Ponds Tomb 418. The Institute, Piccadilly 465. St. Clement Danes 419. In the Temple, London 466. St. Dunstan’s, Fleet Street 420. Kings College, The Embankment Gate 467. St. Dunstan’s, London 421. Knightsbridge, Lord Napier’s Statue 468. St. James Park 422. Lanark Wharf, F. J. Hay 469. St. James Park, Dry-point 423. Law Courts 470. St. James Palace 424. Lindsay Row 471. St. James Gate, Clerkenwell 425. Lincoln’s Inn Fields 472. St. Margaret’s, Westminster 426. Limehouse 473. St. John’s, Westminster 427. Ludgate Hill Showing the Holborn Via- 474. St. Mary-le-Strand, Small duct 475. St. Paul’s, Fleet Street 428. London Bridge Stairs 476. St. Paul’s Pavement 429. London over Hampstead 477. West Tower, St. Paul’s 430. London Skyscraper 478. St. Paul’s, The West Door 431. Leadenhall Market, No. 2 479. St. Paul’s from Bank Side 432. The Last of Old London 480. St. Paul’s from the Deanery 433. Lambeth 481. St. Paul’s, South Porch 434. Lowndes Square 482. St. Paul’s from Temple Stairs 435. Magnificent Kensington 483. St. Paul’s at Night 436. Marble Arch - 484. St. Stephen’s, Walbrook 437. Middle Temple Lane 485. St. Bride’s, Pilgrim Street 438. The Music Shop on the Strand 486. The Swan at Leadenhall 439. Montague Street 487. Sunlight Soap 440. Monument, London 488. Shot Tower, No. 1 441. Northumberland Avenue 489. Down the Thames 442. No. 230 Strand 490. Spitalfield Church 443. On Clapham Common 491. Steps of the British Museum 444. Old Court, Lincoln’s Inn 492. The Thames at Richmond 445. Old London Churchyard 493. The Temple from the Surrey Side 446. On the Thames 494. The Thames from Richmond Hill 28 495. 496. 497. 498. 499. 500. 501. 502. 503. 504. 505. 500. 507. 508. 500. 510. 5I1I. 512. 513. 514. 515. 516. Bre. 518. 519. 520. 521. 522. 523. 524. 525. 526. 527. 528. 520. 530. 531. 532. 533- 534- The Thames below the Bridges, Even- ing Thames Wharf Thames at Blackwell Tower Bridge The Tobacco Shop Tearing Down St. James Hall Trafalgar Square Tyburn, The Motor Car Top of Regent Street Temple of Pomona Up to St. Paul’s Villiers Street, No. 1 Villiers Street, No. 2 The Vale of Health, Hampstead Victoria Station Whitehall Court Waterloo Bridge and Somerset House Westminster Abbey, West Front Windsor from Eaton Waterloo Towers Waterloo Place Works at Waterloo White House, Tite Street White Tower, Westminster Westminster from St. James Park London over the Embankment Gar- dens Yorkshire Terrier London Night, Whiskey and Tea, Mezzotint The City, Evening Westminster from my Window, (Mez- zotint Wren’s City, Mezzotint Charing Cross Bridge at Night, Upright, Mezzotint London from my Window, Mezzotint Thames Embankment, Aquatint Shot Tower, No. 2, Mezzotint London from my Window, Dry-point Over Waterloo Bridge, Church and Work out of my East Window Over Charing Cross Bridge The Shot Tower between the Bridges Building the Wooden Pier, Dover 535. 536. 537: 538. 539- 540. 541. 542. 543. 544. 545- 546. 547- 548. 549. 550. 551. 552. 553- 554- 555- 550. 557- 558. 559- 560. 561. 562. 563. 564. 565. 566. 567. 568. 569. 570. 571. 572. 573: 574- 575- 576. 577- Lower Moor Works, Bradford The Quarry, Bradford The Railway, Bradford Dinner Time, Works near Sheffield Works at Green Gate near Sheffield — Coal and Coke, Park Gate The Great Main, Sheffield Pot Lands, Longport Brick Fields, Birmingham The Forges, Sheffield Fine Day on the River, Sheffield. The Bridge with Bunyan’s Chapel, Wake- field Coal Mines, Longport Black Lake, Bradford Work, Wolverhampton Castles of Work, Wolverhampton Springvale Furnace, Wolverhampton Work Castles, Wolverhampton The Mill Town Old and New England, Kirksdall Abbey, Leeds The Great White Cloud, Leeds The Docks, Leeds The River of Work, Leeds The Great Dump near Manchester Gas, Dudleyport Small Heath, Birmingham Iron Works, Five Towns Brick Country, Birmingham The Docks at Cardiff, Coal Steel Works, Wayth Chimneys, Bradford _ Coke, Wolverhampton Wolverhampton, Canal Welsh Works, The Football Field Gas and Electricity, London, House at Greenwich The Pottery Town Welsh Viaduct Birmingham from Granley Hill The Winding Stairs, Leeds The Furnaces, Leeds The Great Chimney, Bradford The Great Stack, Sheffield Welsh Coal Power 578. Welsh Copper 29 579- 580. 581. 582. 583. 588. 589. 590. 59I. 592. 599. 600. 601. 602. 603. 609. 610. 611. 612. 613. 614. 615. 623. 624. 625. 626. 627. 634. 635. GERMANY 1o11 The New Rhine, Duisberg The Canal, Duisberg The Haven, Duisberg Landing Place, Duisberg Cranes, Duisberg 584. 585. 586. 587. The Tracks of the Hut of the Cape of Good Hope Rhine Castles Coal Mine, Oberhausen Mouth of the Mine, Ruhrort BELGIUM to11 The Brussels Canal, A Modern Hobbema The Meuse Mill under the Cliffs Works at Charleroi Coal Mines near Charleroi Travelling Crane, Charleroi 593: 594- 595- 506. 597- The Dump, Seraing Grip, Seraing Belgium Blocks Belgium Cranes, Soft Ground Black Country River 598. Lock of the High Furnace THE WONDER OF WORK, COAL AND OIL, PENNSYLVANIA 1909 Colleries near Mauch Chunk Mining Town In the Mahanoy Valley Main Street, Mahanoy City The Shaft 604. 605. 606. 607. 608. The Great Incline Old Million Eyes The Crouching Lion The Things that Tower The Abomination of Work THE WONDER OF WORK, STEEL, PENNSYLVANIA 1909 Pittsburgh, No. 1 Pittsburgh, No. 2 Pittsburgh, No. 3 From Shenley Park Chimneys, Pittsburgh Railroad Station, Pittsburgh The Station, Pittsburgh, Inclined Railway 616. 617. 618. 619. 620. 621. 622. The Curving Bridge On the River, Pittsburgh On the Way to Bessemer Cranes, Bessemer Carnegie’s Works, Homestead In the Works, Homestead Edgar Thomson’s Steel Works, Bessemer CHICAGO 1910 The Lake City The Lake Front, Sunset The Lion of the Lake Front Under the Bridges The Lifting Bridge 628. 629. 630. 631. 632. The Jaws The Elevators The Tracks The Stock Yards Lake Steamers 633. The Lifting Bridge PANAMA 1912 The Cut from Culebra The Debacle of DeLesseps 636. 637. Gatun Lock The Cathedral, Panama 638. Bishop’s Walk ? 30 6309. 641. 643. 644. 645. 646. 647. 648. 649. 650. 651. 652. 662. 663. 664. 665. 666. 667. 668. 669. 679. 680. 681. 682. 683. 684. 685. 686. 687. 688. 689. 690. 691. 692. YOSEMITE 1912 640. The Falls, Yosemite Valley The Temple, Grand Canyon WILMINGTON 10918 642. The Sidewise Launch Ready to Launch SAN FRANCISCO 1912 Russian Hill The City from the Hills From Mount Tamelpais California Street Up and Down the Hills to the Bay From Stevenson’s House Sacramento Street Kearney Street Market Street At Hill Top 653. 654. 655. 656. 657. 658. 659. 660. 661. From the Bay The Playground, Sea-Rocks from Cliff House Telegraph Hill The Part of Telegraph Hill that was not Burned From Telegraph Hill The Isles of the Bay Sing Fat and Sing Chong Chinatown On the Barbary Coast GREECE 1913 Athens from the Tomb of Philipotes The Acropolis from the Observatory Ancient, Medieval and Modern Athens Athens from Mount Lycabettus Temple of Jupiter, Athens Quarry on Pentelicon Acro-Corinth from Corinth Egina 670. 671. 672. 673. 674. 675. 676. 677 Olympia Delphi from the Stadium The Home of the Baa Laam The Holy Trinity of the Castles Girgenti, The Temple on the Wall Quarry at Girgenti Scene at Taormina tna from Taormina 678. Taormina from the Theatre NEW YORK 1904—1926 Park Row The ‘‘L” and Trinity Building A Four Story House Golden Cornice, No. 100 Broadway Union Square and Bank of the Metropolis Times Building and 42nd Street Forty-second Street Lower Broadway Trinity Church Canyon, No. 1 Canyon, No. 2 Canyon, No. 3 The Tribune and The Sun The White Tower 693. 694. 695. 696. 697. 698. 699. 700. 701. 702. 703. 704. 705. The Shrine Statue of Liberty St. Paul’s Building A Thousand Windows The Hole in the Ground, 16th Street and Fifth Avenue Union Square, Rainy Day The Flatiron Building Old and New New York The Cliffs Wall Street Times Building St. Thomas’ and St. Regis’ Upper Fifth Avenue 706. 707. 708. 709. 710. 711. 712. 713- 714. 715. 716. 717. 718. 719. 720. 721. P32: 723: 724. 725: 726. 727- 728. 729. 730. 731. 732. 733: 734: 735: 736. 737: 738. 739- 740. 741. 742. 743. 744. 745. 746. 747- 748. 749. The Stock Exchange The Curve on the “L”’ The Golden Cornice, No. 2 The Unbelievable City Among the Skyscrapers Rebuilding Fifth Avenue The Bridges Palisades and Palaces New York from Weehawken New York from Brooklyn Bridge The West Street Building from the Singer Building In the Mist of the Morning, Mezzotint Hail America, Mezzotint The Cliffs of West Street, Mezzotint The Cross of Gold, Cedar Street Building, Mezzotint Cortlandt Street Ferry, Mezzotint The Flatiron Building, Mezzotint Woolworth Building Up to the Woolworth Sunset, Williamsburgh Bridge The Bridge at Hell Gate St. Paul’s New York from Brooklyn The City in 1915 New York from Hamilton Ferry New York from Governor’s Island New York from New Jersey Standard Oil Company Refining Station, Staten Island The Wells Coal Wharves, Staten Island, No. 1 Coal Wharves, Staten Island, No. 2 Building a Power House The New Edison Works, Brooklyn, The Palace of Industry The New Edison Building, Brooklyn Concrete Carrier, Edison Works, Brooklyn Concrete Power Plant, Edison Works, Brooklyn Building the Edison Power House Setting the Columns, Edison Works, Brooklyn Fraternity House, Madison Avenue The Orgy of Building Building New York The new New York Times Annex The Latest Tower Lodgings for Gents 750. 751. 752. 753- 754- 755: 750. 757: 758. 759- 760. 761. 762. 763. 764. 765. 766. 767. 768. 799. 770. 771. 772. 773- 774- 775: 776. 777- 778. 779- 780. 781. 782. 783. 784. 785. 786. 787. 788. 789. 790. 791 . 792. 793- 794. 795- 796. 797. 798. Standard Oil Building, No. 2 Caissons, Vesey Street Telephone and Telegraph Foundation The Bridge, Aquatint The Bay, Aquatint The White Way, Aquatint Towers at Night The Standard Oil Building, No. 1 The Cliffs, Aquatint The Leviathan New York from Ellis Island The Heights, Brooklyn Down the Bay The Statue, 1922 Fall River Boats Going Out Archway, Municipal Building, New York Cherry Hill The Excavations, 42nd Street The Bridge Building the New Saks Building The Foundations, Saks Building Polo Grounds Steam Shovel Soldiers and Sailors Monument The New Fishmarket The Woolworth, through the Arch The New Stock Exchange The Three Towers Municipal Building Warship Coming In. The Elevated Trinity Churchyard Liberty Tower From the Lowest to the Highest Not Naples, but New York The Bridges from Brooklyn The Plaza from the Park The Stock Exchange, New York, 1923 Brooklyn Heights from the Ferry Out of my Brooklyn Window The Deserted Ferry From West Street New York from Grace Court The River Front From Clark Street to Wall Street The Greatest Movie in the World The Tunnel, Montague Street Montague Terrace, No. 1, Pierrepont Place J Montague Terrace, No. 2 799. 800. Sor. 802. 803. 809. 810. 811. 812. 813. 814. 815. 816. 817. 818. 819. 820. 821. 822. 823. 824. 825. 826. 827. 828. The Ferry House from Pierrepont Street Orange Street The Harbor, Shipping The Docks from Columbia Heights Plymouth Church 804. 805. 806. 807. 808. Willow Street, Brooklyn Pineapple Street, Brooklyn Grace Church and Court, Brooklyn Fruit Boat, No. 2 The Biggest of All RAILROAD ACTIVITIES 1919 The Approach to the Grand Central, New 829. York The Clock, Grand Central, New York Waiting Room, Grand Central Concourse, Grand Central The Tracks, Grand Central The Ferry House, Cortlandt Street Ferry from the Jersey Side Within the Ferry, Cortlandt Street Rail Scape The Terminal, Weehawken From the Station to the Hotel, Pennsyl- vania Railroad Carriage Approach, Pennsylvania Station, New York The Arcade, Pennsylvania Station, New York Ticket Office, Pennsylvania Station, New York The Marble Hall, Pennsylvania Station, New York The Hall of Iron, Pennsylvania Station, New York Down to the Trains, Pennsylvania Station, New York Pennsylvania Railroad Station, Philadel- phia The Train Shed, Philadelphia Trains that Come and Trains that Go, Pennsylvania Railroad, Philadelphia Steam and Power, Pennsylvania Railroad, Philadelphia 33 830. 831. 832. 833. 834. 835. 836. 837. 838. 839. 840. 841. 842. 843. 844. 845. 846. 847. 848. 849. 850. 851. 852. 853. The Commuters, Pennsylvania Railroad, Philadelphia Back from Atlantic City, Pennsylvania Railroad, Philadelphia The Lair of the Locos, Pennsylvania Rail- road, Philadelphia Mauch Chunk The Viaduct, D. L. & W. at Nicholson, Pennsylvania The Horseshoe Curve, Pennsylvania Railroad The Portico, Pittsburgh The Riverside Station, Pittsburgh Falls Station, Niagara The Cleveland Bridges Bridgeland, Chicago Art and Industry, Chicago Freight Station, Chicago Ead’s Bridge, St. Louis City Bridge, St. Louis The Facade, Union Station, Washington From the Station to the Capitol, Washing- ton From the Capitol to the Station Flags Flying, Union Station, Washington The Concourse The Lackawanna Viaduct Pennsylvania Station, New York, Exterior Waiting Room, Union Station, Washington Portico, Penn Station, New York Roundhouse, Pennsylvania Railroad, New York . LITHOGRAPHS SPANISH SERIES 1887 . Entrance to the Hall of Ambassadors . Outside the Wall, Alhambra . Gate of the Vine . Court of Lions, No. 1 Court of Lions, No. 2 . The Apartments of Washington Irving, Alhambra . Doorway: Court of the Fishpond . Court of Fishpond . Street of the Dead . The Little Inn Yard . The Alhambra from the Fountains of Avellanos . Gate of Justice, Alhambra, No. 1 . Gate of Justice, Alhambra, No. 2 . House of the Weathercock: Pass of Lope . The Gate of Iron . The Fruit Shop, Granada . The Market Place, Granada . The Posada, Granada . Court of the Generalife . The Sierra Nevada . Gate of the Alhambra . Parador del Sol . The Alhambra, Granada, and the Vega . Tomb of Ferdinand and Isabella . The Coppersmith . The Alhambra from the Generalife . The Fountain of Lions 28. The Shabbiest Inn of Granada 29. The Albaycin, Granada 30. The Mosque 31. Lions of the Mosque 32. The Court of the Mosque 33. The Court of the Posada 34. The Garden of the Mosque, No. 1 35. The Garden of the Mosque, No. 2 36. The Tower of the Mosque 37. Tower of the Seven Stories 38. Entrance to the Alhambra 39. Court of Myrtles 40. Hall of Ambassadors 41. The Cypress of the Generalife 42. The Balcony 43. The Green Shop 44. Garden of the Generalife 45. The Great Window 46. Passade de la Tablados 47. The Shop with the Blue Tiles 48. In the Alhambra Wood 49. The Shop so. On the Banks of the Darro 51. The Bridge on the Darro 52. The Gate of Elvira 53. The Bridge at Cordova 54. The Inn Yard, Granada 55. The Shop of the Little Cat 56. The Court of the House of Peregil HOLLAND SERIES 1890 . Rotterdam . Schiedam . Outside Schiedam . Windmill, Schiedam . Zaandam, No. 1 62. Zaandam, No. 2 63. Zaandam, No. 3 64. Canal at Blauzay 65. Timber Mills, Zaandam 66. Windmills FRENCH 1890—1915 . Amiens Cathedral, 1898 . Rouen Cathedral . Rouen, No. 1 . Rouen, No. 2 71. Rheims, Large 72. St. Michel’s Mount and Bay 73. St. Michel’s Mount 74. Mont St. Michel 74A. Laon, The Market 103. 104. 105. 106. 107. 108. 109. IIo. IIl. II2. II3. 114. 115. 116. 132. 133. 134. 139. ENGLISH SERIES 1890—1o11 . Church at Topsham . Exeter . Teignmouth Bridge . Brickham Harbor . Training Ship, Dartmouth . Valley of the Tamar . Truro Cathedral from the River - Kynance Cove, The Lizard . Penzance . Newlyn . The Port, New Quai . Morwinstow Church . The Gateway, Clovelly . Biddeford . Appledore go. Barnstable gi. Ilfracombe 92. The Harbor, Ilfracombe 93. Devonshire 94. A Bridge 95- Whitby Abbey, Yorkshire 96. High Street, Penzance 97. The Dart 98. St. David’s Church 99. The Harbor 100. Totness 100A. Eglistone Abbey 101. Coronation of King George V and Queen Mary in Westminster Abbey, June 22, IQII 102. London NEW YORK 1900—1914 Liberty Tower Cortlandt Street Brooklyn Bridge Fourth Avenue Fulton Street The Elevated From Ellis Island Rebuilding Broad Street, November, 1910 Building A Skyscraper, Night, New York Statue of Liberty Building the Woolworth Building, New York The Skyscraper in Neolith, No. 3 Battery Park Broadway from Bowling Green Broadway Towers Stock Exchange Nassau Street Building the Building Flatiron Pine Street William Street Union Square Broadway above 23rd Street Times Building New York in 1904 Broadway Looking toward Post Office Broadway above Chambers Street Broadway at roth Street, New York New York in 1904 in color 117. 118. IIQ. 120. I2I. 122. 123: 124. 125; 126. 127. 128. 129. 130. 1512 COAL. PENNSYLVANIA tro10 Shenandoah Old Million Eyes, Coal Breaker, Mahanoy City, Pa. The Castle of Work, Wilkes Barre, Pa. 135. Coal Breaker near Wilkes Barre, Pa. 136. The Valley of Desolation, Mahanoy City, Pa. 137. The Trolley Line, Wilkes Barre, Pa. 138. Coal Breaker at Trenton, Penna. INDIANA 10910 Steel at Gary, Indiana 140. Oil, Whitby, Indiana 34 141. 142. 143. 144. 150. I5I. 152. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. 172. IgI. 194. 195. 198. 199. 200. 201. NIAGARA 1910 The Falls Station 145. The Rapids, No. 1 The Mystery of the Mist 146. The Rapids, No. 2 The Steel Bridge 147. Niagara Rainbows Building a Power House 148. Rainbows of Horseshoe Falls 149. The American Tivoli BELGIUM, CHARLEROI, THE LAND OF FIRE IgI11 The Works 153. The Great Gate The Travellers 154. Schneider’s Gun Factory, Creusot The Lake of Fire 155. Church and Steel Works, Belgium PHILADELPHIA 1912 Market Street Elevated 173. Dining Room, Stenton Market Street Bridge, Pennsylvania Rail- 174. Hallway, Stenton road 175. Hallway, Chew House Skyscrapers from Gladstone 176. Drawing Room, Chew House Sansom Street 177. Bed Room, Chew House Girard Street 178. Morris House, Germantown Water Works 179. Fairmount Park Fairmount Tunnel 180. Carpenter’s Hall, Philadelphia, Pa. Independence Square, 1912 181. The Union League, Philadelphia, Pa. Morris House, Eighth Street 182. Signer’s Chamber, Independence Hall Chew House 183. Signer’s Chair, Independence Hall Johnson House 184. Train Shed of Broad Street Station Main Street, Germantown 18s. The Liberty Bell Doorway at Wyck 186. State House and Drexel Building C. W. Wister’s, Book Room 187. Independence Hall C. W. Wister’s, Interior 188. Wanamaker’s, 1912 Bed Room, Stenton 189. The Temple, Girard Trust Company Bed Chamber, Stenton 190. Broad Street ITALY 1911 The Harbor, Genoa 192. Victor Emmanuel Monument 193. Rebuilding the Campanile, Venice YOSEMITE 1912 The Sentinel from the Floor of the Valley 196. The Falls by Night The Falls by Day 197. The Lower Falls GRAND CANYON 1912 The Black Gulf 202. The Temple Bright Angel Trail 203. The Cathedral Door The Walled City 204. Sunset in the Canyon The Facade of the Cathedral 205. Mist in the Canyon 36 206. 207. 208. 214. 215. 216. 217. 218. 219. 220. aati: 222. SEES 224. 225. 226. 240. 241. 242. 243. 244. 245. 246. 247. 248. 249. 250. 251. 252. 253. 254. 255. 256. 257. 258. 259. WASHINGTON 1912 The Facade Portico of the Inauguration From the Steps of the Library of Con- gress 200. 210. 211 212 The Way Up—tThe Steps of the Capitol The Avenue Early Morning in the Park The Dome of the Capitol 213. The Road Up PANAMA 1912 Colon The Administration Buildings, Official Ancon French Canal and American Crane, Mount Hope The Approach to Gatun Lock Guard Gate, Gatun Lock Dinner Time, Gatun The End of the Day, Gatun Lock The Jungle A Native Village Steam Shovel in the Cut at Bas Obispo Looking up the Cut from Bas Obispo, in the Cut at Las Cascadas The Cut toward Culebra The Cut from Culebra 227. 228. 229. 230. 23%: 232% 233. 234. 235. 236. 237. 238. 239. The Cut at Paraiso Between the Gates, Pedro Miguel Lock The Bottom of Pedro Miguel Lock The Walls of Pedro Miguel Lock Early Morning, Miraflores, Miraflores Lock Cranes at Miraflores Building the Walls at Miraflores Lock In the Cut Looking toward Panama, toward Ancon Hill The City of Panama, from Tivoli Hotel, Ancon The Entrance to the Canal from the Pacific The Bottom of Gatun Lock Steam Shovel at Work in Culebra Cut The American Village Building GRECIAN TEMPLES 1913 Across the Steps of the Acropolis The Way to the Parthenon Sunrise over the Acropolis Sunset on the Parthenon Columns of the Aisles of the Parthenon The Erechtheum, Acropolis The Parthenon Little Church Fete under the Acropolis Temple of Jupiter, Evening Acropolis from the Temple of Jupiter The Fallen Columns, Athens The Great Fete, St. George’s Day, Athens Temple of Nike, Athens The Odeon, Athens Base of the Temple at Eleusis Acro-Corinth from Corinth Corinth toward the Sea /Egina, the Temple from Within Egina, the Alter Olympia from the Hill to the River 260. 261. 262. 263. 264. 265. 266. 267. 268. 269. 270. 271. 272. 273. 274. are: 276. 277. 3 Delphi, the Treasury of Athens The Seats of the Mighty, Delphi Delphi, The Shining Rocks Sunium, The Wine Dark Sea, Temple of Poseidon Girgenti, Temple of Concord on the City Walls Columns of the Temple of Castor and Pollux Girgenti, from Temple to Temple Girgenti, Temple of Juno Girgenti, the Temple by the Sea Girgenti, the Temple on the Wall Girgenti, Within the Walls Temple of Juno, from the Ravine Sunrise, Temple of Concord, Girgenti Etna from Taormina Segesta, Sicily, Temple of the Canyon Segesta, the Theatre Pestum Temple of Thesus from the Acropolis THE LAND OF THE METEOR 10914 278. The Way up to the Mellor 283. The Way Down the Valley 279. The Cliffs of the Trinity 284. Castles above Kaalabakka 280. St. Stephanos 285. The Baa Laam and Meteor 281. Going up to the Baa Laam 286. The Baa Laam 282. The Prison 287. The Little Holy Family GERMANY 1914 288. The Mills of the Spree, Berlin 296. Grain Elevator, Hamburg Harbor 289. Power House, Berlin 297. Building a Turret at Krupp’s 290. Gas Works, Berlin 298. Old and New Germany, Zeppelin 291. Workmen’s Houses, Berlin 299. Birds Coming Home to Their Nest 292. Alexander Platz, Berlin 300. The Zeppelin Starts 293. Friederichstrasse, Berlin 301. Zeppelin over Leipzig 294. Building the Bismarck, Hamburg 302. The Zeppelin Shed 295. Ship Yard, Hamburg 303. General Electric Works, Berlin 304. Ober Baum Brucke, Berlin ENGLISH WAR WORK 10916 305. The Iron Mine 330. Making Armor Plate 306. Coal Mines 331. The Old Shipyard 307. In the Land of Iron and Steel 332. Munitions River 308. Making Pig Iron, The Base of the Blast 333. The Gantry Furnaces 334. The Gun Forge 309. From the Tops of the Furnaces 335. The Gun Shop 310. Furnaces at Night 336. Cutting and Turning a Big Gun 311. The Big Gate of the Big Shop 337. The Basilica of War 312. The Great Tower, Pig Iron 338. The Old Gun Pit 313. Within the Furnaces 339. The New Gun Pit 314. The Cauldrons 340. Bringing in the Gun 315. The Perambulator 341. Building the Great Turret 316. The Great Hammer 342. Fitting Guns in Turrets 317. In the Jaws of Death: Rolling Bars for 343. Shops at Night, Changing Shifts Shells 344. Ready for War 318. Steel Bars for Shells 345. Taking the Big Gun Away 319. The Presses 346. Five O’Clock 320. The Urns, Casting Big Shells 347. Made in Germany, The Great 321. Bottling the Big Shell Crane 322. Munition Works 348. Gun Testing 323. The Shell Factory 349. Munition City, Sheffield 324. Finishing Shells 350. By-Products 325. Evening in the Munitions Country 351. Peace and War 326. The Bay of the Thousand Girls 352. The Balloon Shed 327. Planing Big Shells 353- The Big Bug 328. Munition Town 354. The Great Chimney, The Motor 329. The Acolytes Preparing the Alter of the Park War God 355. Shot 38 356. 357- 358. 359. 360. 361. 362. 363. 364. 365. 366. 367. 368. 360. 370. 371. 372. 373- 374- 375+ 376. 377: 378. 379- 407. 408. AMERICAN WAR WORK 1917 Building the Camp The Camp, The New Architecture The Embarkation Camp, The Classic Grove The Old Hangar The Balloon Shed Aeroplanes at Rest on the Plain Birds of War The Larks Hydroplanes at Rest on the Beach Launching the Hydroplanes, Putting Out to Sea Unloading Ore The Forges The Riveters The Biggest Lathe in the World Building Engines for the Allies Making War Locomotives The Flying Locomotive The Armor Plate Press In the Land of the Brobdignac, The Ar- mor Plate Bending Presses The White and Black Hammers The Little Men of the Big Hammer Forging Shells, The Slaves of the Wheel Shell Factory, No. 1 Shell Factory, No. 2, From Shop to Shop 380. 381. 382. 383. 384. 385. 386. 387. 388. 389. 390. 391. 302. 393- 394- 395- 390. 397- 398. 399- 400. 401. 402. 403. 404. 405. 406. Casting Shells Shaping a Gun from an Ingot The Gun Pit, No. 1 The Gun Pit, No. 2 The Gun Factory The Gun Testing Ground Making Rifles Making a Turbine Engine Making Propeller Blades Transports The Collier The Old and the New Ready for Service Again Under the Shed The Boat Builders Building Submarine Chasers Submarines in Port Submarines in Dry Dock Building Destroyers, No. 1 Building Destroyers, No. 2 In the Dry Dock The Ants The Keel Building the Battleship Ready to Start The Prow Battleship Coming Home ST. LOUIS 1917 The Cathedral, St. Louis The Levee, from Ead’s Bridge 30 409. 410. Ead’s Bridge Tracks, Railroad Yard 7 r oO ON AM RW N H w wwwwwwrnyd NNN NN NN DN HH HW AW WB et Oe Oe OW DER Oo ee ene ite On eons std a on aR Pea ote ea ea CATALOGUE OF THE DRAWINGS IN PEN AND INK AND OTHER MEDIUMS . The Towers . Dumfront . Pont de l’Arche . Tronville . The Dieppe Castle . Harfleur, In the Old Harbor . Caudebec . Argentan, The River . Ecouché . Old House Bayeux . The Church Pont Audemer . Creully . The Church, St. Louis . Valley of the Seine from Maison Brule . Church and Market, Audemer . Le Havre, The Great Square . Falaise . The Beach, Trouville . Road to Petit Andelys . Fécamp, the Sea Port . Jumiéges . Argentan, The Chateau . Accous, the Old Market House . The Dead Church, New Orleans . Coutances . Seine Valley near La Bouille . The Campers . Brewers’ Hall, The Doorway . Brewers’ Hall, The Fireplace . Brewers’ Hall, The Council Chamber . Indian Exhibition . Brewers’ Hall, The Kitchen . Brewers’ Hall, The Facade . Brewers’ Hall, The End Wall . Brewers’ Hall, The Main Room . Camped Out, St. Maines Brewers’ Hall, The Doorway . The Castle, Gisors . Falaise, The Town . The New Rouen . Stokesby . Jumieges ~ 4I . The Fortress, Granville - Towers of Honfleur . The Church, Lisieux . Saal und Saron . East and West Side . Villerville Looking Toward Havre . Vire, The Church . The Fortress, Budapesth . Poitiers . East London Mission . Abbey St. Andrew Avignon . Granville, The Harbor: . Fishing Fleet, Harbor of Honfleur . Mont St. Michel, Inner Gate . Old Houses, St. Louis . Creully . Carville . Dieppe, The Market . Portrait of Joseph Pennell by Emil Orlick . At the Fish Market Door . Caricature of Joseph Pennell by Wyncie King—lent by H. Devitt Welsh . Portrait of Joseph Pennell by H. Devitt Welsh . Village near Lisieux . St. L6 . By the Church, Caudebec - Mont St. Michel, La Grande Rue . A Street in Bayeux . Granville, The New Town . St. L6 . Caudebec, from the Lillebonne Road . St. Valléry en Caux™ . White Chapel Shops . East London . The Mouth of the Seine . The Seine below Rouen . Conches . The Valley . Fecamp, the Churches . Chateau . Folligny . Brewers’ Hall, Doorway . Ouistreham . Mortain . The Cloisters, St. Wandrille . Fontaine Henry . Watching at Night, St. Mary’s Shrine . National Museum, Budapesth . Prospect Park, Pastel . From the Garden at Sunset, Charcoal Sketch . Beaumont le Roger, the Alley . On the Canal at Caen . . The Poplar-Lined Road . Ruins of the Castle Domfront . Dives sur Mer, Church of William the Conquerer . Road to Caux . The River Dives . The Gros Horloge Rouen . A Wood Road on Pont de 1’Arche . Mont St. Michel, the Gateway . Chateau of St. James . Rock Dwellings on the Seine near Duclair . Mont St. Michel la Merveille . Coutances . St. Michel from the Mainland . The Church, Montvilliers . Normandy Bye Road . The Cross at St. James . Sunday’s Gate, Drogheda . Summer Days in Spain . Church Door, Dieppe 42 113. 114. 115. 116. 117. 118. “ TIQ. 120. 21: 122. ee 124. 12k. 126. 127. 128. 1209. 130. 131; 132. T33: 134. 135. 136. 137. 138. 139. 140. I4I. 142. Caen Ferry at Duclair Clock Tower, Honfleur Tinchebray Fontaine Henry from the Park The Hills of the Seine Islands of the Seine Poe’s House, Stoke Newington Ferries, Crayon Drawing Vire, the Market Place Poet’s Corner at Westminster Abbey, Crayon Drawing Belgium, Church and Steel Works Fitzwilliam Museum, Cambridge, Wash Drawing Marche au Bois, Caen Ludgate Hill Stering Castle Staten Island, Crayon Drawing Pontorson The Road to Jumieges The Seine near Les Andelys The Seine at Caudebec Old Towns and Walls, Granville East London Caen Cromwell’s Tomb, Westminster Abbey The River near Caudebec East London, Old Warehouses Beaumont le Roger Fishing Boat Leaving Dieppe The Road to Domfront La CO MN AMNAW DN H WATER COLORS . The Long Light . The Gulls . Sunset and Fog . Sunsets that Come Down the Bay . Sun Behind the Clouds Autumn Sunset . Still Smoke . Early Autumn Sunset . The Harbor, loaned by John F. Braun . Sunset 43 II. 12. 13. 14. 15. 16. 17. 18. 19. 20. Gorgeous Sky New Moon and Evening Star Coming Back from Staten Island Governor’s Island Tramp Going Out, loaned by John F. Braun Governor’s Island Sea Fog Coming In Snow Clouds 8 A.M., loaned by John F. Braun New York at Night, loaned by John F. Braun “NJ an & W PORTRAITS . Portrait of Joseph Pennell, by Wayman Adams, loaned by Phila. Sketch Club . Portrait of ‘‘The Conspirators,’”’ by Wayman Adams, loaned by Wayman Adams . Portrait of Joseph Pennell, by Wayman Adams, loaned by The Chicago Art Institute . Portrait of Joseph Pennell, by H. Devitt Welsh loaned by H. Devitt Welsh . Bronze Plaque, by Adam Pietz, loaned by Adam Pietz . Portrait of Joseph Pennell, by William Oberhardt loaned by William Oberhardt . Portrait of Joseph Pennell, ‘Character Study, ”” by John McLure Hamilton loaned by H. Devitt Welsh 44 CATALOGUE OF BOOKS, MANUSCRIPTS, LETTERS, SKETCHES, AND PHOTOGRAPHS, EXHIBITED IN THE CASES THE WHISTLER JOURNAL Limited—autographed edition. Elizabeth Robins Pennell and Joseph Pennell. I Brown cloth cover. Philadelphia—J. B. Lippincott Company, 1921. Autographed. THE LIFE OF JAMES McNEIL WHISTLER Dark grey board cover. Elizabeth Robins Pennell and Joseph Pennell. 2 Sixth edition. Philadelphia, J. B. Lippincott Company. London— Wm. Heinemann. Autographed. LIFE OF JAMES McNEIL WHISTLER Gray board covers. Elizabeth Robins Pennell and Joseph Pennell. 3 First edition. 2 volumes. Philadelphia—J. B. Lippincott Company. London—Wm. Heinemann. 1908—autographed— “Elizabeth Robins Pennell and Joseph Pennell—Mr. H. D. Welsh’s copy.”’ AN ILLUSTRATION CATALOGUE OF THE WHISTLER MEMORIAL EXHIBITION Edition de luxe—grey board covers. T. R. Way’s copy. 4 Printed by the Ballantyne Press and published by Heinemann for the International Society of Sculptors, Painters, and Gravers in the New Gallery, Regent Street. Autographed—‘“Joseph and Elizabeth Robins Pennell, wrote the catalogue. None of the Committee did anything but cuss. Joseph Pennell.” CATALOGUE FOR WHISTLER MEMORIAL EXHIBITION Regular edition. 5 Grey paper cover. Autographed— “Catalogue by Joseph Pennell. Mrs. Pennell and I wrote the whole of this catalogue. Joseph Pennell.”’ OUR SENTIMENTAL JOURNEY Light blue cloth covers. Joseph Pennell and Elizabeth Robins Pennell. 6 Longmans, Greene & Co., London and New York. 1888—first edition. Autographed— “This is the American edition, Joseph Pennell.” 45 OUR SENTIMENTAL JOURNEY Pink cloth covers. Joseph Pennell and Elizabeth Robins Pennell. 7 Longmans, Greene & Co., London and New York. 1888—autographed—first edition. OUR SENTIMENTAL JOURNEY Vellum covers. Joseph Pennell and Elizabeth Robins Pennell. 8 Longmans, Greene & Co., London and New York. 1888—first edition. Autographed. OUR SENTIMENTAL JOURNEY Tan cloth covers. Joseph Pennell and Elizabeth Robins Pennell. 9 London—T. Fisher Unwin, Patternostre Square. New York—The Century Company, Union Square. Autographed. ETCHERS AND ETCHING Large copy—second edition. Joseph Pennell. 10 Light tan buckram cover. New York—The MacMillan Company, 1924. Autographed. ETCHERS AND ETCHING Large copy—first edition—Joseph Pennell. II Light tan buckram cover. New York—The MacMillan Company, 1919. Presentation copy—autographed—“‘To H. Devitt Welsh, who gave me some interesting information which I acknowledge by offering him this copy. 1-1-1920”. 12 A Reply to an Attack—published by Wm. Marchant & Co.—autographed. OUR PHILADELPHIA Edition de luxe. Extra autographed edition. Elizabeth Robins Pennell and Joseph Pennell. 13 Dark blue cloth covers. Philadelphia and London—J. B. Lippincott Company. IQI4. Autographed. Title page revised by Joseph Pennell. 289 copies of this edition have been printed. TWO PILGRIMS’ PROGRESS FROM FAIR FLORENCE TO THE ETERNAL CITY OF ROME Light green cloth cover. Joseph Pennell and Elizabeth Robins Pennell. 14 Boston—Little, Brown & Co., 1899. Second edition. ‘ Autographed— “This might be my signature, but is it? Joseph Pennell.” 46 OUR JOURNEY TO THE HEBRIDES Light blue cloth covers. Joseph Pennell and Elizabeth Robins Pennell. 15 New York—Harper & Brothers, Printers and Publishers, Franklin Square. 1889—autographed. OUR PHILADELPHIA Red cloth covers. Elizabeth Robins Pennell. Illustrated by Joseph Pennell. 16 Regular edition. Philadelphia and New York—J. B. Lippincott Company. 1914—autographed. 17 Photograph of Group on Shipping Board Tour. 18 Original Caricature of Pennell—Wyncie King. THE PORTFOLIO 19 Edited by Philip Gilbert Hamerton. January, 1885. Insert drawing—page 12—autographed. THE PORTFOLIO Edited by Philip Gilbert Hamerton. June, 1885. Insert drawing—page 116—autographed. THE PORTFOLIO Edited by Philip Gilbert Hamerton. September, 1885. Insert drawing—page 1'74—autographed. THE PORTFOL1O Edited by Philip Gilbert Hamerton. November, 1885. Insert drawing—page 214—autographed. THE PORTFOLIO Edited by Philip Gilbert Hamerton. May, 1886. Insert drawing—page 97. Drawing—Joseph Pennell—autographed. 20 Catalogue—original drawings—Aubrey Beardsley—autographed. 21 Photograph of Group at Luncheon—given by Charles Dana Gibson—Washington, 1918. 22 Journal of the Gypsy Lore Society, Oct., 1908—autographed. 23 Journal of the Gypsy Lore Society, July, 1908—autographed. THE JEW AT HOME Red-brown cloth covers. Joseph Pennell. » 24 New York—D. Appleton Company. 1892—autographed—‘“‘In making this I was told by J. Conrad, a native of Bertichif, that if I returned to that city the natives would honor me with crucifixion. This is H.D. Welsh’s copy. Joseph Pennell.” 26 The Nation—Volume No. 106—Feb. 28th, 1918. 27 Catalogue of Whistler Exhibition, introduction by Pennell. 28 The Sketch Club Year Book, 1918. 30 Catalogue of Walter H. Jessop’s Collection of Lithographs by Whistler—autographed. 31 Catalogue of Philadelphia Society of Etchers Exhibition, 1883—-autographed. 32 Catalogue of Whistler Exhibition—New York, 1910—autographed. Ay - 33 The Print Collector’s Bulletin—an illustrated catalogue—autographed. 34 American Magazine of Art, 1918—autographed. 35 The Westonian—Spring Number, 1926. 36 The Art World—March, 1918—autographed. 37 International Studio—January, 1922—autographed. LITHOGRAPHY AND LITHOGRAPHERS Unbound proof sheets. Joseph Pennell and Elizabeth Robins Pennell. 38 New York—The Century Company. London—T. Fisher Unwin, 1898. Autographed. ETCHERS AND ETCHING Large copy—edition de azo) cecpe Pennell. 39 Dark tan Japan cover. No. 19 of a limited edition of 100. New York—The MacMillan Company, 1919. Autographed. LITHOGRAPHY AND LITHOGRAPHERS Large copy. Japan vellum cover. Joseph Pennell and Elizabeth Robins Pennell. 40 Edition de luxe. This copy is No. 147 of a special edition for America. New York—The Century Company. London—T. Fisher Unwin, 1898. Autographed. Insert Page 183, lithograph by John McLure Hamilton. Autographed. LITHOGRAPHY AND LITHOGRAPHERS Large copy. Joseph Pennell and Elizabeth Robins Pennell. 41 Cream cloth cover. London, printed by Unwin Brothers at the Gresham Press for T. Fisher Unwin and pub- lished by him in 1898 at 11 Patternostre Square. Autographed—‘‘An expurgated copy from which the prints have been prigged. Pennell. H. D. Welsh’s imperfect copy”. LITHOGRAPHY AND LITHOGRAPHERS Large copy—light yellow buckram cover—Joseph Pennell and Elizabeth Robins Pennell. 42 New York—The MacMillan Company, I915. Second edition. Autographed. OLD CHELSEA Light green cloth cover. Benjamin Ellis Martin. 43 London—T. Fisher Unwin, 26 Patternostre Square, 1892. Autographed. PENNELL CLUB BOOK NO. 4 Variegated board cover. Thackery drawing. 44 Limited edition—110 copies of which this is No. 109. Autographed by Agnes Repplier and Joseph Pennell. 48 NIGHTS Dark blue cloth cover. Elizabeth Robins Pennell. 45 Philadelphia and London—J. B. Lippincott Company—10916. Autographed by Elizabeth Robins Pennell and Joseph Pennell—also by John McLure Hamilton. 46. Catalogue of an Exhibition of Lithographs of War Work in Great Britain and the United States—Joseph Pennell—Smithsonian Inst., 1918—autographed. A MAGNIFICENT FARCE 47 A. Edward Newton—autographed by Joseph Pennell. PENNELL CLUB BOOK—AUBREY BEARDSLEY AND OTHER MEN OF THE NINETIES Light yellow cloth covers. Joseph Pennell. 48 Limited edition—100 copies. This copy, No. 88, autographed. Privately printed by the Pennell Club of Philadelphia—1924. 49 A CANTERBURY PILGRIMAGE—English edition—London, 1885. 50 A CANTERBURY PILGRIMAGE—American edition—New York, 1885. PLAY IN PROVENCE 51 Edition de luxe—loaned by John F. Braun. Autographed. LARGE PLASTER MEDALLION 52 John F. Flanagan. Loaned by the sculptor. SMALL PLASTER MEDALLION 53 John F. Flanagan. Loaned by the sculptor. THE ALHAMBRA Green and gold cloth covers. Washington Irving. 54 London—MacMillan & Co., Ltd. New York—The MacMillan Company. 1896—autographed. THE ALHAMBRA Red cloth covers—small copy. Washington Irving. 55 London—MacMillan & Co., Ltd., St. Martins Street. New York—The MacMillan Company. 1898—third edition—autographed. 56 Bound copy of the Continent Magazine—July 12th, 1882 to Dec. 27th, 1882—autographed. THE ALHAMBRA Edition de luxe—large copy—dark red cloth covers. Washington Irving. 57 London—MacMillan & Co., Ltd. New York—The MacMillan Company. 1896. Limited edition—s5oo copies. Autographed. Also 12 autographed lithographs. 49 CASTILIAN DAYS Red cloth covers. John Hay. 58 Boston and New York—Houghton, Mifflin & Co. The Riverside Press, Cambridge. 1907. Fourth edition—autographed. THE NEW NEW YORK Red and gold cloth cover. John C. Van Dyke. 59 New York—The MacMillan Company, 1909. Autographed. THE NEW NEW YORK Red cloth cover. John C. Van Dyke. 60 New York—The MacMillan Company, 1909. Autographed. 61 Some modern etchings, containing an etching of the Pont San Trinita. AQUITAINE TRAVELER’S TALES Red cloth covers. 62 London—Chapman & Hall, Ltd., Henrietta St., Covent Garden, W.C. 1897—autographed. A LITTLE TOUR IN FRANCE Large copy—light blue paper and cloth cover. Henry James. 63 Cambridge—printed at the Riverside Press, 1890. Limited edition of 250 copies of which this is No. 211. Autographed. FRENCH CATHEDRALS Dark blue cloth covers. Elizabeth Robins Pennell. 64 New York—The Century Company. 1910—Autographed. ENGLISH HOURS Large copy—green paper and cloth cover. Henry James. 65 Cambridge—printed at the Riverside Press, 1895. 400 copies printed of which this is No. 348—illustrated. ITALIAN HOURS Red-brown and gold cloth covers. Henry James. 66 Boston and New York—Houghton, Mifflin Co. 1899—autographed. JOSEPH PENNELL’S PICTURES OF THE PANAMA CANAL Dark brown cloth and paper covers. 67 Philadelphia and London—J. B. Lippincott Company, 1913. Autographed— “Joseph Pennell. H. D. Welsh owns this. December 31st., 1917.” 50 JOSEPH PENNELL’S PICTURES IN THE LAND OF TEMPLES Dark brown cloth and paper covers. 68 London—Wm. Heinemann.—J. B. Lippincott & Co., Phila. American edition. Autographed—“Joseph Pennell. In H. D. Welsh’s book. December 31st, 1917.” JOSEPH PENNELL’S PICTURES IN THE LAND OF TEMPLES Datk brown cloth and paper covers. 69 London—Wm. Heinemann.—J. B. Lippincott & Co., Phila. 1913—London edition—autographed. 70 JOSEPH PENNELL’S PICTURES OE PHILADELPHIA THE QUARTO—An illustrated quarterly for ’96 Green cloth cover. 71 J. S. Virtue Company—26 Ivy Lane—London, E. C. Article by Joseph Pennell, “An English Illustrator.” Autographed—illustration—Joseph Pennell—page 59—autographed. JOSEPH PENNELL’S PICTURES OF WAR WORK IN ENGLAND Dark brown cloth and paper covers. 72 Philadelphia—J. B. Lippincott Company. London—Wnm. Heinemann. IQI7. American edition—autographed—“Joseph Pennell. The volume belongs to H. D. Welsh 12-31-1917.” Also an autograph in reverse. Also an experiment with autograph in back of the volume. JOSEPH PENNELL’S PICTURES OF THE WONDERS OF WORK Dark brown cloth and paper covers. 73 Philadelphia and London—J. B. Lippincott Company, 1916. American edition. Autographed— “Joseph Pennell. This is H. D. Welsh’s copy. December 31, 1917.”’ JOSEPH PENNELL’S PICTURES OF WAR WORK IN ENGLAND Light brown cloth and paper covers. 74 London—Wnm. Heinemann. Philadelphia—J. B. Lippincott Company. London edition—autographed. 1917. JOSEPH PENNELL’S PICTURES OF WAR WORK IN AMERICA Dark brown cloth and paper cover. 75 Philadelphia and London—J. B. Lippincott Company, 1918. Autographed. JOSEPH PENNELL’S LIBERTY LOAN POSTER ‘Text book for artists and amateurs, governments and teachers and printers.” 76 Brown board covers. J. P. Lippincott Company, 1918. Autographed—‘“‘To H. D. Welsh from Joseph Pennell, November, 1918.”’ 51 DISTINGUISHED AMERICAN ARTISTS—JAMES McNEIL WHISTLER Compiled by Nathaniel Pousett-Dart. 77 Introduction by Joseph and Elizabeth Robins Pennell. New York—Frederick A. Stokes Company. Autographed— “The rottenest made book I ever saw, Joseph Pennell.” PERSONALLY CONDUCTED TOURS Red cloth cover. Frank P. Stockton. 78 New York—Chas. Scribner’s Sons, 1899. Autographed. 79 Catalogue of an Exhibition of Etchings and Water Colors—Joseph Pennell. ENGLISH HOURS Light green cloth cover. Henry James. 80 London—Wnm. Heinemann—1905. Autographed. 81 Catalogue in two parts—Exhibition of Original Drawings and Lithographs of War Work in America—Joseph Pennell. THE STREAM OF PLEASURE, A MONTH ON THE THAMES Light blue and green cloth cover. Joseph and Elizabeth Robins Pennell. 82 London—T. Fisher Unwin, Patternostre Square—1891. Autographed. THE STREAM OF PLEASURE, A MONTH ON THE THAMES Light cream cloth cover. Joseph and Elizabeth Robins Pennell. 83 New York, The MacMillan Company, 1891. Autographed. 84 Pamphlet on Charles Marquatand Burns, 1922—autographed. PLAY IN PROVENCE Light tan cloth covers. Joseph Pennell and Elizabeth Robins Pennell. 85 New York—The Century Company. 1892— second edition. Autographed— ‘Memories of many summers. Elizabeth Robins Pennell. Joseph Pennell.” TUSCAN CITIES Brown cloth cover. William Dean Howells. 86 Boston—Ticknor & Co., 1886. Autographed—‘“‘Some of them by Joseph Pennell”. TUSCAN CITIES Dark leather cover. William Dean Howells. 87 Boston—Ticknor & Co., 1886. Autographed—“H. Devitt Welsh’s copy. This book contains about the last of American wood engraving and the first of process block.” THE GRAPHIC ARTS Vellum board binding. Edition de luxe. Joseph Pennell. 88 The Scammon lectures 1920, published for the Art Institute of Chicago by the University of Chicago Press, Chicago, Ill. Printed on Japan vellum—autographed. 52 ENGLISH CATHEDRALS Light tan covers. 89 New York—The Century Company, 1892. Fifth edition—autographed. ENGLISH CATHEDRALS Large copies—blue paper boards—Mrs. Schuyler Van Rensselaer—z volumes. 90 New York—The Century Company, 1892. Autographed. QUAINT CORNERS IN PHILADELPHIA — Green cloth covers. 91 Published—John Wanamaker, Philadelphia and: New York, 1899. Autographed—“I made some of these Joseph Pennell”. ENGLISH CATHEDRALS Dark blue cloth covers. 92 New York—The Century Company, 1892. Fifth edition—autographed. SALVE VENETIA Light blue cloth cover. Francis Marion Crawford. 2 volumes. 93 New York—The MacMillan Company. London—MacMillan & Co., Ltd., 1905. Autographed. RAIDERLAND—ALL ABOUT GREAT GALLOWAY Dark green cloth cover. S. R. Crockett. 04 Toronto—Wm. Briggs, 1904. Autographed. A SYLVAN CITY Green cloth covers. 95 Philadelphia—R. Continent Publishing Co. New York—Fords, Howard & Hurbert. 1883. Autographed— “Joseph Pennell among the others”’. THE MAKERS OF MODERN ROME Dark green cloth cover. Mrs. Oliphant. 96 London—MacMillan & Co., Ltd. New York—The MacMillan Company, 1897. Second edition. NEW ENGLAND BYGONES Brown and blue cloth covers. 97 Contains one illustration by Joseph Pennell. Philadelphia—J. B. Lippincott Company, 1883. Page 29 autographed— ‘Probably Pennell house on Fisher’s Lane, Germantown.” 53 G LEANINGS FROM VENETIAN HISTORY Red cloth cover. F. Marion Crawford. 98 London—MacMillan & Co., Ltd. New York—Phe MacMillan Company, 1907. Autographed. ITALIAN JOURNEYS Dark grey cloth cover. William Dean Howells. 99 London—Wnm. Heinemann & Co., 1901. Autographed. HAND BOOK OF ENGLISH CATHEDRALS Light red cloth cover. Mrs. Schuyler Van Rensselaer. 100 New York—The Century Company, 1910. Seventh edition—autographed. 101 TO GYPSYLAND —Joseph and Elizabeth Robins Pennell. TWO PILGRIMS’ PROGRESS Green cloth covers. Joseph Pennell and Elizabeth Robins Pennell. 102. Roberts Brothers, Boston. 1886. Autographed—‘“‘Our first trip to Italy. Joseph Pennell, and Elizabeth Robins Pennell.” THE GRAPHIC ARTS } Dark brown cloth cover. The Scammon Lectures for 1920, published for the Art Institute 103 of Chicago by the University of Chicago Press, Chicago, Ill. Autographed. PEN DRAWING AND PEN DRAFTSMEN | O.K’d proof sheets in portfolio—autographed. Joseph Pennell. PEN DRAWING AND PEN DRAFTSMEN Fourth edition—Joseph Pennell. New York—The MacMillan Company. London—T. Fisher Unwin, Ltd., 1920. Including corrected galley and proof sheets. Autographed. MODERN ILLUSTRATION Green cloth covers. Joseph Pennell. 104. London, Geo. Bell & Sons, York St. Covent Gardens and New York. 1895—autographed. OUR HOUSE IN LONDON OUT OF OUR WINDOW Dark grey board cover. Elizabeth Robins Pennell. 105 Boston and New York, Houghton, Mifflin & Co. Cambridge—Riverside Press, 1912. Autographed. THE SAONE, A SUMMER VOYAGE Dark yellow cloth. Philip Gilbert Hamerton. 106 University Press, John Wilson & Sons, Cambridge, 1887. Autographed. 54 A SUMMER VOYAGE ON THE RIVER SAONE Dark red cloth cover. 107 Boston, Roberts Brothers, 1887. Autographed— ‘A book by a man who was in many ways a better critic than many of his successors. Joseph Pennell’’. HIGHWAYS AND BYWAYS IN DORSET Blue cloth covers. Frederick Treves. 108 MacMillan & Co., Ltd., St. Martins Street, London. 1914— third edition—autographed. HIGHWAYS AND BYWAYS IN THE LAKE DISTRICT Blue cloth covers. Arthur G. Bradley. 109 MacMillan & Co., Ltd., St. Martins Street, London. 1919—fourth edition—autographed. HIGHWAYS AND BYWAYS IN DEVON AND CORNWALL Blue cloth covers. Arthur H. Norway. — 110 London—MacMillan & Co., Ltd., St. Martins Street. 1911—seventh edition—autographed. HIGHWAYS AND BYWAYS IN YORKSHIRE Blue cloth covers. Arthur H. Norway. 111 London—MacMillan & Co., Ltd., St. Martins Street. 1911—third edition—autographed. HIGHWAYS AND BYWAYS IN NORTH WALES Blue cloth covers. G. Bradley. 112 London—MacMillan & Co., Ltd., St. Martins Street. 1919—fifth edition—autographed. HIGHWAYS AND BYWAYS IN EAST ANGLIA Blue cloth covers. William A. Dutt. 113) MacMillan & Co., Ltd., St. Martins Street, London. 1914— third edition—autographed. HIGHWAYS AND BYWAYS IN DEVON AND CORNWALL Green cloth covers. Arthur H. Norway. 114 London—MacMillan & Co., Ltd. New York—The MacMillan Company. 1904—fifth edition—autographed. HIGHWAYS AND BYWAYS IN NORMANDY Green cloth covers. Percy Dearmer, 115 London—MacMillan & Co., Ltd. New York—The MacMillan Co. 1900—first edition—autographed. HIGHWAYS AND BYWAYS IN NORTH WALES Green cloth covers. Arthur G. Bradley. 116 London—MacMillan & Co., Ltd. New York—The MacMillan Company. I901—second edition—autographed. 55 HIGHWAYS AND BYWAYS IN EAST ANGLIA Green cloth covers. William A. Dutt. 117. London—MacMillan & Co., Ltd. New York—The MacMillan Company. 1901—first edition—autographed. CHARING CROSS TO ST. PAUL’S Dark blue cloth cover. Justin McCarthy and Joseph Pennell. 118 Large copy—limited to 100. New York—The MacMillan Company. London—Seeley & Co., Ltd., Essex Street, Strand, 1891. CHARING CROSS TO ST. PAUL’S Dark red cloth cover. Small copy. Justin McCarthy and Joseph Pennell. 119 New York—The MacMillan Company, 112 Fourth Avenue, 1893. Autographed. 120 Same bound in dark leather—loaned by John F. Braun. THE LITTLE BOOK OF LONDON Picture of street scene in London on wrapper. Joseph Pennell. 121 T.N.Foulis—London and Edinburgh. Autographed. VENICE THE CITY OF THE SEA Board cover. Joseph Pennell. 122 T.N. Foulis, London and Edinburgh—Boston—Leroy Philips. Autographed, “San Francisco, the city of the golden gate. 2 123 SAN FRANCISCO—The City of the Golden Gate. THE LITTLE BOOK OF LONDON Paper cover, Thames Scene, by Joseph Pennell. 124 T.N. Foulis—London and Edinburgh. Autographed. THE GREAT NEW YORK Board cover. Picture of lower Broadway on cover. Joseph Pennell. 125 Boston—Leroy Phillips. Autographed. THE GREAT NEW YORK Board cover. Picture of New York at night. Joseph Pennell. 126 Boston—Leroy Phillips. Autographed. 127 HAUNTS OF LONDON—Joseph Pennell. ETCHING IN AMERICA Grey-green cloth cover. J. R. W. Hitchcock. 128 New York, White, Stokes & Allen, 1886. Autographed—“Probably the first book in which my name appears. Joseph Pennell.” 56 THE WORK OF CHARLES KEENE Red cloth cover. Large copy. Introduction—Joseph Pennell. New York—R. H. Russell. 129 London—T. Fisher Unwin and Bradbury, Agnew & Co., Ltd., 1897. Autographed—-‘“‘Mr. Welsh’s copy of the life and works of the man whom Whistler said was the greatest British artist since Hogarth. Joseph Pennell, I9IQ”. Also autographed—“This book belongs to Homer Davenport, New York, 1906”’. THE ART OF CHARLES KEENE—Manuscript. 130 New York—published—The Century Company. Joseph Pennell. Autographed. PABLO DE SEGOVIA QUEVEDO—Vierge. Large copy. Vellum cover. 131 Comments on the work of Vierge. Joseph Pennell. London, printed by Unwin Brothers at the Gresham Press for T. Fisher Tisai and pub- lished by him in 1892. Autographed—“A good copy of Vierge, who was a big artist. Joseph Pennell. H. D. Welsh’s copy”’. THE ADVENTURES OF AN ILLUSTRATOR Limited edition. Large copy. Joseph Pennell. 132 Tan cloth cover. Published—Little, Brown & Co., 34 Beacon Street, Boston, Mass., in the year 1925. This is No. K of 15 copies of the limited edition of this book printed for presentation by Joseph Pennell. Autographed. THE ADVENTURES OF AN ILLUSTRATOR Limited edition. No. 51. Joseph Pennell. 133. Tan cloth cover. Published by Little, Brown & Co., 34 Beacon St., Boston, Mass., in the year 1925. Autographed. 134 THE ADVENTURES OF AN ILLUSTRATOR—regular edition. 135 Century Magazine—January and March, 1922. 136 Catalogue of the Exhibition of The adventures of an Illustrator—The Anderson Galleries. PEN DRAWING AND PEN DRAFTSMEN Large copy—fourth regular edition—Joseph Pennell. 137. +Light tan buckram cover. New York—The MacMillan Company. London—T. Fisher Unwin, Ltd., 1920. Autographed. PEN DRAWING AND PEN DRAFTSMEN Large copy—japan vellum cover—first edition. Joseph Pennell. 138 London and New York—MacMillan & Company, 1889. Autographed—Joseph Pennell— ‘original copy—first edition”. 57, PEN DRAWING AND PEN DRAFTSMEN Fourth edition—edition de luxe—Joseph Pennell. Dark red Italian hand made cover—large copy. 139 New York—The MacMillan Company. London—T. Fisher Unwin, Ltd., 1920. One ot three unnumbered cofies. Autographed— including sketch by Pennell of one of the “State in Schuylkill’? drawings. 140 Unbound O.K.’d. Proof sheets of fourth edition of Pen Drawings and Pen Draftsmen. 141 Manuscript of Address delivered during second Art Week, 1923. PEN DRAWING AND PEN DRAFTSMEN First edition—japan vellum cover—large, special copy—Joseph Pennell. 142 London and New York—MacMillan & Co., 1889. With an original drawing—Joseph Pennell—No. 18. Autographed— “With letter dated 15-12-1891. ‘Sirs: The sketch in the special copy of my book on the drawing about which you inquire is the Place in the Church of St. Volban at Abbeville. Yours truly, Joseph Pennell. Messrs. Henry Southeran & Co.” 143 THE GRAPHIC ARTS—Thumb Print of Joseph Pennell—Autographed, “his mark—her book,” Joseph Pennell, loaned by Mrs. Andrew Wright Crawford. ~ 144 Illustrated Catalogue of Etchings by American Artists—Albert Roullier’s Art Galleries— Chicago. PEN DRAWING AND PEN DRAFTSMEN First edition—dark brown cloth cover. Joseph Pennell. 145 London and New York—MacMillan & Company, 1889. Autographed—Joseph Pennell—“‘The first edition of my first big book. Used by Joseph Pennell for his fourth edition. Pages corrected for publication of the same.” 146 Corrected unbound galley proofs and manuscript—fourth edition of Pen Drawing and Pen Draftsmen. 150 Catalogue of Joseph and Elizabeth Robins Pennell’s Whistler Exhibition, Library of Con- gress—autographed. THE ILLUSTRATION OF BOOKS Brown cloth covers. Joseph Pennell. 151 London—T. Fisher Unwin, Patternostre Square. 1896—autographed. Autographed—‘“‘Dear Welsh—lIf the artists of the United States had studied this book, illustration in this country would not be as rotten as it is. Joseph Pennell, 5-12-1918.” 152 The Print Connoisseur—June, 1921—picture of Pennell—Oberhardt. 154 Etchings by American Artists. 159 Book of Drawings. Privately printed for Mr. and Mrs. F. T. Davies, 1891—autographed. 160 The American Magazine of Art—January, 1920—autographed. 161 Photograph of Joseph Pennell, Stephen Parish, Liberty Tadd, Henry R. Poore. 162 The Printing Art—October, 1919—autographed. 163 Over the Alps on a Bicycle—New York, 1898. 164 The Imprint—January, 1913. 165 to 183. Photographs of Joseph Pennell—William Shewell Ellis. THE ILLUSTRATION OF BOOKS Dark red cloth covers. Joseph Pennell. 184 New York—The Century Company. 1898. 8-sheet War Poster made for Film Division of the Committee on Public Information. 58 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 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 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 ote. The Committee wishes to thank: William Oberhardt for the drawing used as frontispiece. Little Brown & Company of Boston for permission to use the drawing of Joseph Pennell as a frontispiece. It originally appeared in the ‘“‘Adventures of an Illustrator.” Esler D. Schaffer for the loan of the lithographs numbered 241, 245, 260 and 264 from the “Land of Temples” series. J. B. 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