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 https://archive.org/details/josephpennelletcOOkepp 
 

 
 
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REPRINTED, BY PERMISSION, FROM 
 “THE OUTLOOK” OF SEPTEMBER 23RD, I9O5 
 
 JOSEPH PENNELL 
 
 ETCHER, ILLUSTRATOR, AUTHOR 
 
 BY 
 
 FREDERICK KEPPEL 
 
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 FREDERICK KEPPEL & CO. 
 
 4 EAST 39TH STREET, NEW YORK 
 
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 u x krRSRY 
 
 KE tp=EARCH INSTITUTE 
 GETTY RESEAR 
 
JOSEPH PENNELL 
 
 ETCHER, ILLUSTRATOR, AUTHOR, 
 
 BY 
 
 FREDERICK KEPPEL. 
 
 Of 
 
 /lONG producers of fine pictures of vari- 
 
 ous kinds it is the able and original illus- 
 trator who most quickly wins recognition and 
 fame, and of all artists it is he who is the most 
 necessary and most beneficial to civilization. 
 Literature is certainly the most enormous power 
 for good that we know, but many books and 
 periodicals would be maimed and incomplete if 
 unaided by an illustrator of the right sort. For 
 example, what a loss it would have been if that 
 familiar little masterpiece, Lewis CarrolPs 
 “Alice in Wonderland,” had been originally 
 printed and published without the admirable il- 
 lustrations of Sir John Tenniel ! 
 
 Unfortunately, this happy unity between 
 author and artist is none too general, and many 
 contemporary illustrations, although not neces- 
 sarily bad as pictures, are nevertheless “ from 
 the purpose,” as Hamlet says, and actually 
 fight against and weaken the text which they 
 attempt to elucidate and emphasize. 
 
 Next after the illustrator it is probably the 
 
really able original etcher to whom fame comes 
 quickly; and after him, in a descending scale, 
 come the portrait painter, then the painter of 
 other subjects, and, last of all in order of quick 
 promotion, the sculptor. His statue or group 
 cannot easily be multiplied, is difficult to move 
 from place to place, and for these reasons must 
 long remain comparatively unknown, while, on 
 the contrary, the picture of the illustrator is ex- 
 amined by thousands of people in thousands of 
 different places from the very day of its birth. 
 
 Of the many famous painters who thus 
 won early recognition by means of etching or 
 illustrating, or through both, I may mention 
 Whistler, Sir John Everett Millais (late Presi- 
 dent of the Royal Academy, London), the 
 Frenchmen Meissonier and Charles Jacque, and 
 one of our famous Philadelphians, Edwin A. 
 Abbey, R.A. In company with these emi- 
 nent names we may place the name of Mr. 
 Pennell. If, unlike the others, he is not yet 
 famous as a painter, it is solely because the pub- 
 lishers and the public have not hitherto allowed 
 him the time necessary for the making of oil 
 paintings, water-colors, and pastels ; but he 
 has produced a few beautiful pictures in these 
 mediums, although he has not yet exhibited 
 them. Moreover, he is still a young man. 
 
 4 
 
Callowhill street Bridge, Philadelphia. 
 (Joseph Pennell’s first etching, done in 1880.) 
 

 
 
In the Twilight. 
 
Joseph Pennell — like Whistler, Abbey, and 
 other famous artists of American birth — has won 
 name and fame in Europe before American 
 recognition came to him. He comes of good 
 old Quaker stock, and was born at Philadelphia 
 on the fourth of July, 1 860. He is the son of 
 the late Larkin Pennell, who was an eminent 
 member of the Society of Friends, and whose 
 first American ancestor came to our shores in 
 company with William Penn when the latter 
 made his second voyage from England to the 
 province of Pennsylvania. 
 
 I think that pictorial art — like music, rich 
 dress, and certain other artistic but worldly 
 vanities — was disallowed by the sternly con- 
 scientious first followers of George Fox ; but, 
 be that as it may, Joseph Pennell from his early 
 boyhood was resolved to become an artist, and 
 that indomitable “backbone” which distin- 
 guishes him as a man must have made difficult 
 things easy to him as a boy. 
 
 His training began at the Philadelphia Indus- 
 trial Art School, and was continued and com- 
 pleted at the Pennsylvania Academy of Fine 
 Arts. This was during the years when that 
 admirable man, the late fames L. Claghorn, 
 was its President. Mr. Claghorn belonged to 
 the very best type of American citizenship ; 
 9 
 
one of those essentially “big” and forceful 
 men — president of this, chairman of that, 
 trustee of the other public institution, but 
 withal thoroughly democratic and quite devoid 
 of all pretense or self-importance. This was 
 the man who first made me acquainted with the 
 work of Joseph Pennell, who was not then 
 twenty years old, and I well remember the 
 glow of pride on Mr. Claghorn’s handsome 
 face -as he showed me certain etchings repre- 
 senting street scenes in Philadelphia, and his 
 remark, “ This is original work by one of our 
 own boys; now what do you say to that !” 
 
 These first essays of the “ ’prentice hand” 
 were little more than the prophecy of what the 
 master hand was to do later, and yet they were 
 full of good augury. Some of the essential 
 qualities were already manifest — such as the 
 unerring eye for the picturesque, and also that 
 instinct for good drawing which we may com- 
 pare to the delicate natural ear for music which 
 renders it almost impossible for its happy pos- 
 sessor to sing a note out of tune. In both cases 
 competent instructors can — and indeed must — 
 develop and educate the gift which is inborn in 
 a true artist; but if this gift is not there, the 
 teachers can never create it. 
 
 In the vital quality of appropriateness 
 
 as 
 
At Lynchburg, Virginia, 
 
-I 
 
 — 
 
contrasted with irrelevancy, Mr. Pennell’s illus- 
 trations are certainly unsurpassed ; and it would 
 be as difficult to find among them a picture 
 which does not materially aid the text as it 
 would be to find one which, in itself, is not a 
 veritable work of art. But besides his acknowl- 
 
 edged' power as a draughtsman for illustration, 
 his technical knowledge of reproductive pro- 
 cesses gives him a distinct advantage over most 
 of his confreres, so that his ^rawing is pretty 
 sure to “ print” well in the page of a mag- 
 azine or a book, because he knows so well how 
 to make his picture with that particular end in 
 view. 
 
 Another rare endowment is his peculiar faculty 
 for giving to each one of his pictures its own 
 true local aspect, so that there is no mistaking an 
 American for an English scene or a Spanish for 
 an Italian view. Very few artists possess this 
 faculty of discarding their own particular national 
 point of view and of absorbing the changed 
 character ol different foreign countries — no two 
 of which are alike. The opposite condition is 
 strongly felt in the case of the portraits of 
 Americans whom we know, and which are 
 painted here by visiting foreign artists of consid- 
 erable reputation ; such pictures may display 
 all the brilliant cleverness of the modern French 
 
 1 3 
 
school, and may even be good as likenesses, yet 
 we are sure to suffer from the “ Frenchy ” 
 flavor which the foreign artist has unconsciously 
 superadded. 
 
 But all this while we are leaving Joseph 
 Pennell as a promising young art student in 
 peaceful Philadelphia, whereas his fame was to 
 be won a thousand leagues from his native city. 
 We must follow him to Europe, whither he 
 went in the year 1884 ; but, if we let him go 
 there alone, this chronicle would be so incom- 
 plete as to be quite worthless. Another good 
 Philadelphian must go with him, so inseparable 
 for the last twenty years is the work of the two, 
 although the one never does the particular work 
 of the other. 
 
 I well remember hearing that man of genius, 
 Henry Ward Beecher, say in a sermon, “ When 
 God gives a man a good wife, that man will 
 thereafter have little need to pray to his Creator 
 for other blessings.” We all know of the 
 beautiful union between Robert Browning and 
 his wife Elizabeth; but this historic intellectual 
 partnership was not more complete than that 
 between Joseph and Elizabeth Robins Pennell. 
 
 The parallel is not without divergences. As 
 poets the Brownings were (in a noble way) 
 <f two of a trade,” while Mrs. Pennell never 
 H 
 
Last of the Scaffolding. (Philadelphia Public Buildings.) 
 
makes a picture — although she understands pic- 
 tures so well ; but, on the other hand, Mr. 
 Pennell sometimes writes a book or a detached 
 article, and this is the particular province of his 
 wife. Another divergence from the parallel is 
 that, while Mrs. Browning was strong in her 
 intellect, her physical health was wretchedly 
 feeble, whereas I verily believe that Mrs. 
 Pennell hardly knows what it is to be tired 
 either in mind or body, or, if she does, she 
 never shows it. 
 
 The many Americans who have experienced 
 her charming and simple hospitality in London 
 would, I am sure, like to have me go on and 
 on with this part of my subject, and it is with 
 an effort that I “ keep my mouth as with a bit 
 and bridle,” and shorten all that I would like 
 to say in my enthusiasm for Mrs. Pennell. We 
 all know her books and magazine articles, but it 
 is not so generally known that she is the writer 
 of the widely read London letters of art criti- 
 cism, signed “ N. N.,” which for years have 
 regularly appeared in the New York “ Evening 
 Post” and in the “Nation.” To me these 
 articles are the best of their kind ; at least, I 
 have learned more from them than from the 
 writings of any other of the excellent writers of 
 contemporary art criticism, for not only is their 
 17 
 
author endowed with (t the pen of the ready 
 writer,” and thoroughly equipped with know- 
 ledge and understanding of her subject, but she 
 also takes the pains to gather and then distribute 
 definite, timely, and accurate information con- 
 cerning art and artists. Her latest book, re- 
 cently published, is the biography of her own 
 uncle, Charles Godfrey Leland, whose “ Hans 
 Breitmann Ballads ” made him famous a gen- 
 eration ago, and whose books on the Gypsies 
 are so well known. A much thinner disguise 
 than Mrs. Pennell’s “ N. N.” — which is 
 simply two letters taken from the middle of 
 her surname — is in the case of the ubiquitous 
 tf J ,” a gentleman who figures so inter- 
 
 estingly in her books of travel ; but intelligent 
 readers will have small difficulty in guessing the 
 identity of this mysterious “J ” ! 
 
 Thus it was that this bright and enthusiastic 
 young couple left Philadelphia and settled in 
 London ; and thus began their notable artistic 
 and literary work of the last twenty years. To 
 illustrate their position, let us consider the fa- 
 miliar case of new and intelligent tenants tak- 
 ing possession of an old house. The former 
 tenants may have been intelligent also, but they 
 had grown so used to their surroundings that 
 they never once thought of the many improve- 
 I 8 
 
Towers of San Ghimignano. 
 

ments which were obvious enough to the new- 
 comers. It was with the spirit of these new 
 tenants, then, that Mr. and Mrs. Pennell came 
 to “discover” Europe in the year 1884. 
 Things and scenes which were ordinary mat- 
 ters of course to the native Londoners, or the 
 natives of other parts of Europe, were to the 
 young American couple intensely interesting 
 novelties ; and it was thus that they saw and 
 felt them, and thus that they described them in 
 picture and book. Some of the earlier books or 
 single articles which Mr. Pennell illustrated in 
 Europe were written by his wife. The first ot 
 these books was “ Our Canterbury Pilgrimage,” 
 published in 1885. Then followed “Two 
 Pilgrims’ Progress” (1886), and “ Our Senti- 
 mental Journey” (1887). Later came Mrs. 
 Pennell’s charming book “ In Gypsy-land,” 
 which leads the reader through untrodden ways 
 in southeastern Europe. In 1889 appeared 
 “ Our Journey to the Hebrides,” and in 1890 
 “ The Stream of Pleasure,” which was jointly 
 written by Mr. and Mrs. Pennell, as was also 
 that important book “Lithography and Lithog- 
 raphers ” ( 1 898). 
 
 Of books written entirely by Joseph Pennell 
 we have “ Pen Drawing and Pen Draughts- 
 men ” (to which I shall devote a separate para- 
 
graph later on); “ Modern Illustration ” (1895); 
 “ The Illustration of Books ” (1896), being 
 the course of lectures delivered by him at the 
 Slade Art School ; and “ The Work of Charles 
 Keene ” (1897). He has also edited “ Pablo 
 de Segovie ” — the edition containing the beau- 
 tiful illustrations by Daniel Vierge — and “ Some 
 Poems by Tennyson,” which was done for 
 the sake of the Pre-Raphaelite illustrations 
 which appeared in Moxon’s edition about forty 
 years ago. 
 
 Next comes the list of Mr. PennelPs illus- 
 trations to the writings of various other emi- 
 nent authors. In 1884 was published “ Tus- 
 can Cities,” by W. D. Howells ; the notable 
 series of illustrations to the “English Cathe- 
 drals ” of Mrs. Schuyler van Rensselaer ap- 
 peared from 1887 to 1890; “The Saone,” 
 by P. G. Hamerton (1888); the reprint of 
 Washington Irving’s “Alhambra,” with an 
 introduction by Mrs. Pennell (1897); “A 
 Little Tour in France,” by Henry James, 
 ( 1 899) ; “ Italian Journeys,” by W. D. How- 
 ells (1901); “ East London,” by Sir Walter 
 Besant (1901); “ Castilian Days” (1903), by 
 John Hay; Andrew Lang’s “ Edinburgh ” ; 
 S. R. Crockett’s book on his own Scottish 
 country ; several books of the “ Highways and 
 
 22 
 
The Choir, St. Paul’s. 
 
Chelsea. (The Larger Plate. ) 
 
Byways” series; Maurice Hewlett’s “ Road 
 in Tuscany” (1904); and “ English Hours,” 
 by Henry James (1905). Mr. Pennell also 
 directed the illustrating of John Morley’s “ Life 
 of Cromwell,” besides contributing to it many 
 illustrations of his own ; and he has also fin- 
 ished the drawings for two books of special 
 importance — one of these is on the inexhausti- 
 ble subject of London, and the other is Marion 
 Crawford’s book on Venice. Most of us have 
 learned that when Mr. Crawford writes on an 
 Italian subject he is at his very best. 
 
 Truly this is an honorable record. But in 
 addition to Mr. Pennell’s illustrations for books 
 by these distinguished authors he has found 
 time to write at least one book of prime impor- 
 tance — seeing that it was the first book on a 
 new and significant subject, “Pen Drawings and 
 Pen Draughtsmen” (1889), a large and costly 
 work which has already gone through three edi- 
 tions. Thirty years ago there would have been 
 no need ol such a book, for before that period 
 the illustrator drew his design upon a piece ol 
 boxwood and handed it over to the tender mer- 
 cies of the wood-engraver ; often the engraver 
 spoiled the beauty of the artist’s design, but 
 whether he spoiled it or not he always, in en- 
 graving it, had to annihilate the actual picture 
 2 5 
 
which the artist had drawn. But with the in- 
 vention of what is vaguely called “ process ” 
 reproduction of a drawing all this is changed, 
 and to-day the first-class illustrator is in a posi- 
 tion to belie the old adage that “ you can’t eat 
 your cake and have it too these artists can eat 
 their cake but still have it. What they do is to 
 sell to the publisher, not their drawing, but only 
 the right to reproduce it. When this is done, by 
 means of photography and “ process” work, 
 the original drawing is handed back, intact, to 
 the artist, and he has then the right to dispose 
 of it as he pleases. 
 
 This revolution in reproductive methods for 
 the illustrating of books and periodicals has 
 caused (as all revolutions are sure to cause) 
 widespread suffering to innocent persons. The 
 wood-engraver for about four centuries had been 
 indispensable because his was the only kind of 
 picture which could be rapidly printed on a 
 machine press along with the type which printed 
 the pages of the book ; and it may here be added 
 that the American school of engravers on wood 
 had become the most artistic and expert in the 
 world. Then it was that the new “ process ” 
 method was perfected, and thereafter wood- 
 engraving was killed. The new method was 
 found to yield an unerring reproduction of the 
 26 
 
artist’s picture just as he had drawn it, and so it 
 came to pass that what John Ruskin calls “ the 
 noble human labor of the engraver ” got its 
 death-blow, and the world got one more demon- 
 stration of “ the survival of the fittest.” 
 
 Mr. Pennell’s forthcoming book, “ Ameri- 
 can Illustration and Engraving,” is awaited 
 with special interest. The efficient manner in 
 which he discharged his duties as chairman ol 
 the International Jury of Awards for Illustra- 
 tion, Etching, and Engraving at the St. Louis 
 Exposition warrants us in expecting an impor- 
 tant book, the more so as his early work, 
 “ Modern Illustration,” shows what he can do 
 when writing on this subject. 
 
 Besides these writings on art subjects, there 
 are others which record the prowess of Mr. 
 and Mrs. Pennell as bicyclists throughout the 
 Continent of Europe and even over the Alps. 
 Mrs. Pennell’s book, “Bicycling,” appeared 
 in 1885, and quite recently Mr. Pennell re- 
 visited the Alps on a motor cycle and made the 
 record of being the first man thus to traverse 
 eleven of the difficult passes in a single week. 
 Still another of his activities is represented by 
 the public lectures which he has delivered be- 
 fore certain art societies in England. 
 
 Let us now consider Mr. Pennell as an ori- 
 
 3 1 
 
ginal painter-etcher; for it is in etching that he 
 is, perhaps at his best. A French writer has 
 wisely said that while artists work daily at paint- 
 ing, it is only on their good days that they etch. 
 Another French authority tells us that no one 
 can do a thing thoroughly well unless he can do 
 it with ease. Both of these conditions apply to 
 Mr. Pennell as an etcher. The quality and 
 volume of his work as an illustrator we know ; 
 but yet, throughout these busy twenty years 
 and more, it is evident that when an extra 
 “ good ” day came to him he was pretty sure to 
 make an etching, and that etching was pretty 
 sure to be full of the painter-etcher’s prime 
 quality, namely, spontaneity and freshness. 
 Speaking on this subject, the great landscape 
 etcher Sir Seymour Haden has said to me : 
 “ An etching which occupies the artist for, 
 say, three days, is in fact the work of three dif- 
 ferent men; the artist’s mood is one thing on 
 Monday, another on Tuesday, and still another 
 on Wednesday ; but the freshness and unity of 
 an etching cannot be maintained unless the 
 artist knows exactly what he intends to do and 
 then does it at once.” And in Sir Seymour’s 
 pamphlet, “ About Etching,” he writes: 
 “ The painter, by overlaying his work, may 
 modify and correct it as he goes on. Not so 
 32 
 
Saint Martin’s Bridge, Spain. 
 


the etcher. Every stroke he makes must tell 
 strongly against him if it be bad, or prove him 
 a master if it be good. In no branch of art 
 does a touch go for so much. The necessity 
 for a rigid selection is therefore constantly 
 present in his mind. If one stroke in the right 
 place tells more for him than ten in the wrong, 
 it would seem to follow that that single stroke is 
 a more learned stroke than the ten by which 
 he would have arrived at his end.” “The 
 faculty of doing such work supposes a concen- 
 tration and a reticence requisite in no other 
 art.” 
 
 Whistler was of the same opinion, and 
 although it was not his habit to praise the work 
 of his brother artists, yet in London, when Mr. 
 Pennell made an exhibition of his own litho- 
 graphs, Whistler contributed to the catalogue 
 the following characteristic little note of intro- 
 duction : “ There is a crispness in their execu- 
 tion, and a lightness and gayety in their ar- 
 rangement as pictures, that belong to the artist 
 alone.” I may add that Mr. Pennell’s work 
 in lithography well deserves to be treated in 
 a separate article. 
 
 This impromptu spontaneity of his method 
 involves one little drawback — if it be a draw- 
 back at all : it is that in his architectural etchings 
 
 .35 
 
what the French call the orie?itation is reversed ; 
 west takes the place of east, and south of 
 north. But in this he follows the precedent of 
 Rembrandt, Whistler, and Seymour Haden. 
 The sole preoccupation of these masters was to 
 make an artistic picture, and they cared nothing 
 at all for observing the points of the compass. 
 The printing of course reverses the design as 
 seen on the etched copper plate. 
 
 To have seen Mr. Pennell at work etching a 
 plate is a thing to remember. He loves to 
 depict the towering buildings of crowded city 
 streets. Most etchers of such subjects would 
 make a preliminary sketch on the spot and after- 
 ward toil laboriously over the copper plate in 
 the retirement of their studios ; but Mr. Pennell 
 takes a far more direct course, and one which 
 would disconcert almost any other artist. He 
 chooses his place in the crowded street, and 
 stands there quite undisturbed by the rush of 
 passers-by or by the idlers who stand and stare 
 at him or at his work. Taking quick glances at 
 the scene he is depicting, he rapidly draws his 
 lines with the etching-needle upon the copper 
 plate which he holds in his other hand, and, 
 what to me seems an astonishing tour de force , 
 he never hesitates one instant in selecting the 
 exact spot on his plate where he is about to 
 3 6 
 
Classic London, St. Martin’s in the Fields. 
 

draw some vital line of the picture, each line of 
 it being a “ learned stroke” such as Seymour 
 Haden insists upon. 
 
 Of late he has become the printer of his own 
 plates. The fastidious Whistler was forced to 
 do the same. It is a troublesome operation, but 
 when an etcher prints his own proofs (provided 
 that he knows how to do it), we have the 
 satisfaction of knowing that each proof is exactly 
 what the artist intended it to be. With regard 
 to Mr. Pennell’s etched copper plates, it is not 
 generally known that he has already destroyed 
 most of them, including all the earlier ones. 
 This is a wise thing for an etcher to do just as 
 soon as his plate shows the first signs of deterio- 
 ration from the wear and tear of the printing- 
 press. 
 
 As a controversialist in matters concerning 
 art and artists Mr. Pennell’s earlier years in 
 London were stormy ones, and he certainly 
 succeeded in making several more or less sleepy 
 critical dignitaries “sit up” in amazement and 
 indignation at his audacity. One of them, a 
 really eminent critic, said to me on this subject : 
 “ How dare this rash young American upset 
 our accepted theories, and attack men of 
 established reputation !” But, little by little, 
 a change came about, and these solemn conser- 
 39 
 
vative folk awoke to the discovery that when 
 Joseph Pennell published some revolutionary 
 opinion, he was very apt to be in the right ! 
 The truth is that to his stern Quaker conscience 
 there is only one law — Right is right, and 
 must be upheld ; wrong is wrong, and must be 
 denounced, no matter who may be hurt or 
 who may be offended. Moreover, his criti- 
 cisms can be constructive as well as destructive. 
 It was he who discovered and first proclaimed 
 the extraordinary talent of Aubrey Beardsley, 
 and it was he who recalled from partial neglect 
 the merit of the illustrations of such great artists 
 as Charles Keene and Daniel Vierge. 
 
 Mr. Pennell’s attitude in his controversies 
 gave him a great advantage as compared with 
 the attitude of his own divinity and intimate 
 friend, the great Whistler. In Whistler’s con- 
 troversies the unpardonable sin of his opponent 
 was always committed against the personality 
 of the great man himself, whereas Mr. Pennell, 
 though hating the sin, continued to love the 
 sinner. I remember a quaint demonstration of 
 this, at a time when controversies were being 
 waged rather furiously. Being at his house, I 
 quoted to him the remark of Lady Teazle to 
 her husband. Sir Peter, in Sheridan’s “ School 
 for Scandal,” “I vow I bear no malice against 
 4 ° 
 
The Last of Old London. 
 
the people I abuse! ” “ No more do 1,” was 
 
 Mr. Pennell’s rejoinder ; “ personally they are 
 very decent fellows.” 
 
 Apart from the steady improvement in the 
 quality of his pictures (and that he is twenty- 
 five years older than when I knew him first), 
 
 I can perceive no change in Joseph Pennell. 
 A positive personality, he was himself from 
 the beginning, and he will remain so to the 
 end. His intercourse of twenty years with 
 many distinguished people in London has not 
 imparted to his speech even a trace of the Lon- 
 don accent, nor have the more ornate and cere- 
 monious manners of his British and Continental 
 friends changed him in the least from the simple 
 and kindly young Philadelphian whom I first 
 knew. As I write I can almost see him in his 
 London home, taking his ease in his library 
 and comfortably “dumped” down in his low- 
 seated wicker armchair. It was in this uncere- 
 monious, but characteristic pose, that Whistler 
 made his portrait — knees and elbows being well 
 in evidence. An outsider seeing him thus 
 would think (begging his pardon) that he was 
 a very lazy man. Joseph Pennell a lazy man! 
 Any one who thinks so still has evidently not 
 read the preceding pages. 
 
 43 
 
ETCHINGS BY 
 JOSEPH PENNELL 
 

Number 230, Strand. 
 

 
 
 Saint Paul’s. 
 
ETCHINGS 
 
 BY 
 
 JOSEPH PENNELL 
 
 The following etchings by Mr. Pennell can be supplied, 
 at present, by Messrs. Frederick Keppel & Co., No. 4 East 
 39th Street, New York. The plates are destroyed. 
 
 The Philadelphia Series 
 Callowhill Street Bridge 
 Chestnut Street Bridge 
 Last of the Scaffolding 
 Under the Bridges on the Schuylkill 
 Public Buildings, Philadelphia 
 Water Street Stairs 
 Street Sweepers 
 Sauerkraut Row 
 The Alleyway 
 
 Coal Wharves on the Schuylkill 
 Plow Inn Yard 
 Brass Foundry 
 Below Atlantic City 
 Chancery Lane 
 
 49 
 
The New Orleans Series 
 Inner Court 
 In the Twilight 
 ’Sieur Georges 
 Pilot Town, Louisiana 
 At Lynchburg, Virginia 
 An American Venice 
 
 The Italian Series 
 Towers of San Ghimignano 
 Street in Fiesole 
 A Narrow Way, Florence 
 The Swing of the Arno, Pisa 
 A Covered Street, Florence 
 In the Piazza, Pistoia 
 Porto Romano, Florence 
 
 The London Series, (No. i) 
 
 Chelsea 
 
 Chelsea (the smaller plate) 
 
 Statue of Charles I 
 Choir of St. Paul’s 
 Palace Theatre 
 Victoria Station 
 Copying Turner’s Paintings 
 Millbank 
 
 Black Friars’ Bridge 
 Start of the Coaches 
 
 5 ° 
 
The Entrance to Henry VII Chapel — Westminster Abbey. 
 
The New York Series 
 
 Park Row 
 
 The st L ” and the Trinity Building 
 
 Four Story House 
 
 Golden Cornice (ioo Broadway) 
 
 Union Square and the 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 
 
 Tribune and the Sun 
 
 White Tower 
 
 The Shrine 
 
 Statue of Liberty 
 
 St. Paul Building 
 
 The Thousand Windows 
 
 The Hole in the Ground 
 
 Union Square, Rainy Day 
 
 (t The Flat Iron ” 
 
 Old and New New York 
 
 The Cliffs 
 
 Wall Street 
 
 Times Building 
 
 St. Thomas and St. Regis 
 
 Fifth Avenue 
 
 53 
 
The Spanish Series 
 St. Martin’s Bridge 
 Bridge of Alcantara 
 Toledo 
 
 Castle of Cervantes 
 The Alcazar, Toledo 
 
 The London Series (No. 2) 
 
 Albert Hall 
 
 Admiralty 
 
 Bedford Place 
 
 Big Tree, Cheyne Walk 
 
 Bridge Street, Westminster 
 
 British Museum 
 
 Barber Shop 
 
 Bushey Park 
 
 Butchers’ Row, Whitechapel 
 
 Crystal Palace 
 
 Cheyne Walk, Chelsea 
 
 Classic London, St. Martin’s in the Fields 
 
 Coliseum, Trafalgar Square 
 
 Cumberland Gate 
 
 Cumberland Terrace, Regents Park 
 
 Clock Tower from the Surrey Side 
 
 Cannon Street Station from the River 
 
 Cowley Street, Westminster 
 
 Church of St. Mary le Strand 
 
 Dock Head 
 
 54 
 
Duke of York’s Column 
 
 Entrance to Henry VII Chapel, Westminster 
 Abbey 
 Exeter Hall 
 Empire Theatre 
 Foreign Office 
 From Tower Bridge 
 Greenwich Park, Number One 
 Greenwich Park, Number Two 
 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 
 
 Gaiety Theatre from Drury Lane 
 
 Grosvenor Road 
 
 Garrick Theatre 
 
 House Where Whistler Died 
 
 Hall, Lincoln’s Inn 
 
 Hall Door, Lincoln’s Inn 
 
 Haymarket Theatre 
 
 Hampton Court Palace 
 
 Hotel Victoria 
 
 Hyde Park Mansion 
 
 57 
 
Hippodrome 
 Hempstead Ponds 
 Hyde Park Corner 
 Institute, Piccadilly 
 
 King’s College, The Embankment Gate 
 
 Knightsbridge 
 
 Law Courts 
 
 Lindsay Row 
 
 Lincoln’s Inn Fields 
 
 Limehouse 
 
 Ludgate Hill, showing the Holborn Viaduct 
 
 London Bridge Stairs 
 
 Leadenhall Market 
 
 Last of Old London 
 
 Lambeth 
 
 Loundes Square 
 
 Lion Brewery 
 
 Magnificent Kensington 
 
 Marble Arch 
 
 Montague Street 
 
 Northumberland Avenue 
 
 Number 230, Strand 
 
 Narrow Street 
 
 On Clapham Common 
 
 Old Court, Lincoln’s Inn 
 
 Old London Churchyard 
 
 Pond, Clapham Common 
 
 Park Lane 
 
The Hall Door, Lincoln’s Inn. 
 

Rossetti’s House. 
 
Piccadilly from Park Lane 
 Park Gate 
 
 Queen Anne’s Mansion from the Lake 
 Rossetti’s House 
 
 Royal Entrance, Victoria Tower 
 
 Rainy Night, Charing Cross Shops 
 
 Royal Windsor 
 
 St. Augustin’s and St. Faith’s 
 
 St. Bartholomew’s Gate 
 
 St. Bartholomew’s, The Founder’s Tomb 
 
 St. Clement Dane’s 
 
 St. Dunstan’s, Fleet Street 
 
 St. James Park 
 
 St. James Palace 
 
 St. John’s Gate, Clerkenwell 
 
 St. John’s, Westminster 
 
 St. Paul’s 
 
 St. Paul’s, The West Door 
 
 St. Paul’s, South Porch 
 
 Swan at Leadenhall 
 
 “Sunlight Soap,” A London Shop 
 
 Shot Tower 
 
 Spitalfield Church 
 
 Steps of British Museum 
 
 Thames at Richmond 
 
 Thames from Richmond Hill 
 
 Thames Wharf 
 
 Tower Bridge 
 
 63 
 
Trafalgar Square 
 Tyburn, The Motor Car 
 Top of Regent Street 
 Temple of Pomona 
 Up to St. Paul’s 
 Villiers Street 
 
 Vale of Health, Hampstead 
 Victoria 
 
 Whitehall Court 
 
 Waterloo Bridge and Somerset House 
 Westminster Abbey, West Front 
 Waterloo Towers 
 White House, Tite Street 
 
 V 
 
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GETTY RESEARCH INSTITUTE 
 
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