When Howard Pyle “Struck Pan”

“The little pink finger and the huge black index came to a full stop under this commandment”

“Work is beginning to roll in upon me at last, and at last I think I have ‘struck pan,’” wrote Howard Pyle to his mother on February 28, 1878 - 135 years ago today. “My work is beginning to pay better too and I think before long I shall be able to pay off my debts to father in toto.”

Although I haven’t yet been able to find another use of Pyle’s idiom “struck pan” - it’s clearly a hybrid gold-mining term, somewhere between “struck pay dirt” and “pan out”.

Anyway, after over a year of living in New York, the 24-year-old Pyle had finally found himself making real headway as an illustrator. He credited his “A Wreck in the Offing!” as having “really launched me” - The Book Buyer for October 1888 said of it, “This drawing was published as a double-page engraving in Harper’s Weekly, and brought Mr. Pyle at once into prominence.”

But let’s let Pyle himself explain some of the work that he had been doing soon after his “first success” - and apologies in advance for his unfortunate racial slur:

I have just finished a picture for Harper’s Monthly of an old darky giving a lecture to a naughty little girl. It was quite a success and they are going to put it into the hands of the best engraver in New York City, Mr. Smithwick. They gave me two pictures to do for them in illustration to a most excellent story of modern Spanish life. They are beyond all comparison the best things I have ever done. I don’t think I am as a general rule inclined to be “cock almighty” about my work but for these two designs I can say that they are so far beyond anything I have ever done before that I can hardly realize their being my own work. They are not finished yet, but so far every touch I have put on them has improved them.

“She went by without looking at him”

The first one represents a Spanish caballero standing against the side of a bridge looking after his Dulcinea whom he has mortally offended by a lampoon written in a fit of jealousy. She is “soaring” past him with a scornful expression on her face and he is looking after her in a beseeching way. The scene is early morning and I think I have gotten a real feeling of early sunlight in the picture. I borrowed a Spanish cloak from an artist friend of mine that almost entirely covers the modern European dress and which with the addition of a sombrero gives him quite a picturesque look. I hired a Spanish woman’s costume in which I posed my female model Jenny Watts, a very pretty ladylike girl, and I tell you, she cut quite a shine!

Fermina opens the casket

The story goes on to say that after having thus mortally offended his sweetheart and being for some time unable to regain her love the cavalier finally succeeds by sending her a casket. In the casket was the pen with which he had written, broken; under the pen, a sheet of paper where was written in his blood “Retribution,” and under the paper his right hand. This, of course, “dropped” the girl. A very effective dénouement, I think. The scene I took for illustration was when she is just opening the box, or rather, had just opened it, the horror not yet fully dawned upon her mind. This was Mr. Alden’s suggestion. And I have made an illustration that some of my artist friends say shows not only talent but genius - I only hope it is so. Mr. Abbey says it is one of the best things that have been done in New York illustrating.

By the way, “The little pink finger and the huge black index came to a full stop under this commandment” was engraved, in the end, by Frederick Juengling, not John G. Smithwick, and published in Harper’s Monthly for July 1878. It illustrated “Daddy Will: A Glimpse of Ancient Dixie” by Charles D. Deshler. Pyle’s original black and white gouache painting showed up on the market in 2006, I think. And “She went by without looking at him” and “Fermina opens the casket” illustrated “Manuel Menendez” by Charles Carroll in Harper’s Monthly for August 1878.

Abbey and Pyle Entangled

Entangled - Drawn by E. A. Abbey, from a Sketch by H. Pyle (Harper’s Weekly, January 19, 1878)

In his memoir, A World Worth While: A Record of “Auld Acquaintance”, illustrator W. A. Rogers said:

In looking over an old file of Harper’s Weekly the other day I came across a picture of Colonial life under which was printed, “Drawn by E. A. Abbey from a sketch by Howard Pyle.” That was before Pyle’s wings were strong enough to enable him to fly alone. It was in the days when most of the work was drawn on wood, and Pyle never was successful in working on the block.

“Entangled” is the picture Rogers mentions. “This was redrawn by Abbey from my original drawing,” Pyle noted in his scrapbook. “My drawing was made before I left Wilmington and was accepted as an ‘idea’. I got, I think, twenty dollars for it.” After Edwin Austin Abbey tightened it up, Victor Bernstrom engraved it for the January 19, 1878, issue of Harper’s Weekly. An accompanying paragraph explained:

The costumes and accessories in our engraving on page 52 show that the artist designed to represent a scene in an American country house of the last century; but the story suggested suits all times and countries. The tell-tale chairs placed cozily side by side, the evident embarrassment of the young gentleman, in spite of his effort to look cool and unconcerned, and as if he had been leaning all the morning against the mantel-piece, are quite perceptible to the keen glance of the maiden’s father as he comes into the room. Likely enough he is a loyalist, while the suitor for his daughter’s heart and hand may be the son of a patriot. Out of this hint every reader may weave a romance for himself.

“Entangled” was published just when Pyle’s early career was turning a corner, when publishers - and fellow illustrators, like Abbey - were beginning to take him seriously.

And in looking at this picture again, I feel more and more convinced that in redrawing Pyle’s picture, Abbey used Pyle himself as the model for “the young gentleman.” There’s something about the height and body language and the shape of head and brow, the texture of the hair, the sideburns, the way the hands are tucked in the pockets... Not many photographs of a twenty-something Pyle have turned up, but take a look at these two - maybe you’ll see what I mean.

Photograph of Howard Pyle, c.1875

Photograph of Howard Pyle, c.1880-83

“An Old-time May Day in ‘Merrie England’”

“An Old-time May Day in ‘Merrie England’” by Howard Pyle (1878)

About a year after Howard Pyle made his illustration for “The Merrie Month of May” - used on the cover of St. Nicholas for May 1877 - he revisited the topic of “May Day” in the illustration shown here. It illustrated “The Story of May-Day” by Olive Thorne in St. Nicholas for May 1878.

In his scrapbook, Pyle wrote, “This picture was ordered by St Nicholas on the strength of the Carnival in Phila.” And of that picture Pyle scribbled: “This was my first seriously ordered work. I received the commission to paint this picture after having completed a drawing for Harper’s Weekly called a ‘Wreck in the Offing’. It is a labored composition but was much liked.”

“Carnival, Philadelphia, 1778” appeared in “The Battle of Monmouth Court-House” by Benson J. Lossing in the June 1878 Harper’s New Monthly Magazine. The original black and white gouache painting is now at the Delaware Art Museum. It differs slightly from the engraving shown here; evidently, the engraver altered Pyle’s image, or - more likely, I think - Pyle tweaked it after it was engraved, perhaps to ready it for the Salmagundi Sketch Club’s exhibition at the Kurtz Gallery in February 1879. At which time, the New York Herald heralded it as “a careful and good scene at carnival time in Philadelphia in colonial days.”

“Carnival, Philadelphia, 1778” by Howard Pyle (1878)

Howard Pyle Slept Here, Part 3

Yes, Howard Pyle slept here. He also worked here, about ten years before this photograph was taken.

The address is (well, was) 788 Broadway at Tenth Street in New York City, right next to James Renwick’s Grace Church. Fleischmann’s Vienna Model Bakery was on the street level, and, as Pyle’s friend James Edward Kelly recalled: “The upper floors of the building were full of little artist studios, like tiny cocoons, in which young artists tried to work out their daydreams.”

Pyle moved from 1267 Broadway (at 32nd Street) and into Room 31 of 788 Broadway on or about November 1, 1878. He wrote to his mother two days later:

I have looked all over New York and have seen all the studios that are to be seen and am sure that I have one of the nicest, pleasantest rooms in the city. It has a fine north light and two side lights looking out on Broadway. It is only two blocks above Scribners’ office and I can now go down to Harpers’ and return in half an hour, instead of its taking me a half day to complete the journey and its business as formerly. There is steam heat in the room and running water and altogether it is very satisfactory. The rent asked for it last year was thirty-five dollars a month. I have got it for twenty-three, and an allowance for fixing it up, calcimining the walls, etc.

Another friend, artist William Henry Shelton, remembered in his 1918 history of the Salmagundi Club (which met on Friday nights at Science Hall on Eighth Street, opposite the Mercantile Library, from February 1878 to October 1879):

Howard Pyle was one of the popular members of that period when a member’s popularity depended largely on the quality of his work. He was usually too busy to attend the meetings, but it was only a step from Eighth Street to the studio building adjoining Grace Church, and a committee of one was frequently appointed to bring him down. Sometimes he would be found writing, but more often with a sheet of Whatman’s paper on his easel moving backward and forward before a wet drawing by the light of a student-lamp, and not to be disturbed or enticed from his work by threat or persuasion.

(In his 1927 history of the club, Shelton presented this slightly variant picture: “There was a tarrying place at Science Hall in Eighth Street when it was usually my job to entice Howard Pyle to the meeting from his studio next to Grace Church. He would be found with a kerosene lamp on the floor, stretching a sheet of Whatman paper, or otherwise engaged, and not to be enticed.”)

But Pyle didn’t remain there long: it seems that he only took out a six-month lease on place - from November 1, 1878, to May 1, 1879 - and left the city when it was up. At any rate, the New York Herald of May 12, 1879, reported that “Howard Pyle has gone to Wilmington, Del., we regret to hear, to stay.”

It’s interesting to note that Pyle’s posthumously-published short story, “Huntford’s Fair Nihilist” (Harper’s Monthly, June 1913), centers on a young artist, based on Pyle himself:

He had come to New York from a provincial city two years before, with a great deal of talent and some excellent letters of introduction.

His talents found him plenty of work, his letters of introduction admitted him into pleasant homes, and his poverty spurred him on to those vehement efforts that were afterward crowned with so great a success.

Huntford used to breakfast and lunch at the old Budapest Bakery, where they had the best coffee and rolls in New York.

It’s a short leap from the Vienna Bakery to the “Budapest Bakery.” And another character in the story, Frederick Vollmer, an old German “Heraldic Designer,” was likely an amalgam of Joseph Vollmering (1810-1887), the German-born painter, and one “Rudolph B. Irontraut,” heraldic artist (also German-born, c.1822), who were both at 788 Broadway when the 1880 U.S. Census was taken, just over a year after Pyle had left.

The building, of course, is long gone, but Grace Church is still very much there. Some more details can be found here.

“Delaware, the land of peaches!”

“A Farm ‘Pluck’” by Howard Pyle (1878)

“There are few more beautiful sights than a peach orchard in full bearing, the vistas between the parallel rows of trees over-arched with dark green foliage, the verdant roof studded with ripe and ripening fruit, suggesting the gems of Aladdin’s cavern. Every where throughout the orchard are seen the figures of the ‘plucks,’ mounted on high step-ladders, drawing down the heavily laden branches of luscious fruit. Every where the air is burdened with the all-prevading [sic] fragrance of peaches.”

Howard Pyle on “The Peach Crop in Delaware” (Harper’s Weekly, September 14, 1878)

Howard Pyle enjoyed peaches, and he went to great lengths to ensure that his friends would enjoy them, too. A little over 114 years ago, during the height of Delaware’s peach season, he wrote this letter to Christopher L. Ward:

Rehoboth, Del., Aug. 9th., 1897.

Dear Chris:

I am sending to Carrie by tomorrow (Tuesday) morning’s train a basket of specially picked peaches, gathered as nearly perfectly ripe as possible, so that you will have to get them without loss of time and spread them out so they may keep. They will not, I think, last more than twenty-four hours, but some of them may not be so perfectly ripe as that. I shall try to send them in care of the Baggage Master so that there will be no delay in your getting them. If I cannot do that, they will have to go by Adam’s Express, in which case you must get them from the express office as soon as may be. I think you had better have some one meet the morning train.

You still linger with us in odds and ends of conversation and in continual recollection, for your visit was a great pleasure to us.

Very truly yours

Howard Pyle

“Carrie” was Caroline Tatnall Bush Ward, Pyle’s onetime neighbor and model, who married “Chris” on May 5, 1897. As Pyle said in the same 1878 article quoted above:

The Delaware peaches are not an exotic growth, like the grapes of the same name, but a strictly local production, excelled by no other fruit of the kind in the world. The quantity of peaches raised in the peninsula is still constantly on the increase, as facilities for transportation and the increase of canning establishments open ever wider markets for their sale. The latest statistics number the peach-trees of the peninsula at about five millions, covering fifty thousand acres of the best and most productive land, and representing in money an invested capital of nearly three million dollars.

Of the fresh fruit shipped to the markets of New York, Philadelphia, and other cities of the Middle States, there passed over the Delaware Railroad, in 1877, 4248 car-loads - over two million baskets - while at least an equal quantity would find its way to market by water. This year's crop is much less in quantity, probably not more than half an average crop, owing to the untimely frosts of late spring - a fact that has probably already unpleasantly impressed itself upon peach-lovers by the comparative scarcity this season of this most delicious and satisfying fruit.

Edwin Austin Abbey Died 100 Years Ago Today

“He is a comical little fellow, but quite the gentleman; he wears glasses, and being troubled with dyspepsia, has a habit of grinning in rather a ferocious manner.”

So wrote Howard Pyle about Edwin Austin Abbey in 1878. Pyle and Abbey became friends around that time and although Abbey moved more or less permanently to England the following December, they stayed in touch over the years. Pyle later said that the news of Abbey’s death on August 1, 1911, “came to me with a great shock of surprise, for I had not even known that he was sick.”

An article titled “Harper in Other Days,” which appeared in the New-York Tribune of December 3, 1899, included this anecdote-rich passage - which may not be entirely accurate - about the two illustrators when they first got to know each other:

EDWIN ABBEY AND HOWARD PYLE

Edwin Abbey, by all accounts, must have been the “Little Billee" of the lot [of staff artists at Harper & Brothers]; tradition says that the others used to gaze at his work, seeking hints from it in return for their admiration. Long after he removed his bodily presence to other scenes - his artistic presence is still in Franklin Square - those he left behind could point to the table where he had worked, and a great find among the lumber of the office was a portfolio full of clippings of Charles Keene’s work in “Punch” which Abbey had left there. But success and admiration never spoiled him, as witness the tradition of the enlistment of Howard Pyle. A tradition may not exactly reproduce facts, but it must be consistent with the character of its subject, if it lives. This one says that Howard Pyle used to bring sketches and ideas to the office, but for some time no particular notice was taken of him or of them. Some of the ideas were used, but the sketches always had to be redrawn. In those days Mr. Pyle could not draw. At last he was surprised to see one of his things engraved just as he had sent it in. While he was waiting with a properly dignified show of indifference for the check in payment to be mailed to his address, Mr. Pyle’s attention was one evening attracted by strange rhythmical hammerings on the lid of a coal box that stood on the landing outside the door of his address. In going out to see what these sounds might mean, he found another young man drawing. “Is this Mr. Pyle?" said the visitor. "My name is Abbey. I came to ask you to come up to the office and make one of us."

All these "great boys," as they may properly be called, since they have developed into great men, were among the objects of interest which were shown to country visitors in Franklin Square. They worked in separate boxes with the light, which was not a north light, by the way, coming in from the Pearl-st. windows, long before the days of Roebling's bridge or the elevated road, and, no doubt, they in their humble degree impressed the visitors even as the great editors impressed them. But they did not like this kind of glory; and that was how the system of "personally conducted tours" through the Harpers' building was brought to an end. The illustrators, instigated, instructed and led - so the story goes - by Mr. Abbey, made a plot by which, whenever they should ascertain from their scouts that tourists were approaching, each illustrator should simulate some specified wild beast. It would have been interesting to know what beast each played, whether Abbey took the lion’s part himself and made a monkey of A. B. Frost, and whether Thulstrup or Pyle acted like a bear, but these details could not be gathered in time for the present article. The effect, however, was that as soon as the regular show boy brought his party to that part of the building, saying, "There are the rooms where our artists work," the air was rent with growls, squeaks, grunts and roarings, and the visitors, peeping in, saw men on all fours. The visitors thought that the artists at Harper’s “acted very strangely,” and the report that those periodicals were Illustrated by a corps of lunatics might have spread and wrought harm had not Mr. Parsons interfered and induced the powers to put a stop to the institution of "showing around."

An Interrupted Performance

“An Interrupted Performance” by Howard Pyle (1878), engraved by Frederick Juengling (1880)

Most of Howard Pyle’s works appeared in print just months or even weeks after he finished them. But a fable he wrote in 1876 only showed up in St. Nicholas in 1885. And his 1880 article called “A Peculiar People” was kept on the shelf almost nine years before Harper’s Monthly published it.

“An Interrupted Performance” didn’t have quite that long to wait, but there’s an interesting explanation for the lag.

Pyle painted it in 1878 and showed it at an Art Students’ League exhibition in early November. The New York Herald for November 6, 1878, said: “The north wall was hung with sketch class drawings...and other black and white work. Among this we note...an excellent Howard Pyle ‘An Accident in the Circus.’”

The original was likely in gouache, but it hasn’t surfaced yet - unless it was burned or pulped, an unfortunate fate of many “leftover” works in Harper’s art department. So, for now, we only get to see Frederick Juengling’s 19.4 x 12.7" wood-engraving of it from Harper’s Weekly of July 31, 1880. It was accompanied by a lengthy editorial on the hazards connected with circuses:

THE CIRCUS

There is something terribly incongruous about an accident in the “ring.” The scene is one of amusement and festivity, and when a disaster occurs, the spectators are struck with a horror and bewilderment far greater than would be caused by a parallel event in the ordinary ways of life. Especially is the multitude stirred when the victim is a child, like the poor little acrobat in Mr. Pyle's admirable engraving on our double page. It seems then nothing less than shocking cruelty to train children for these exercises, and to force them to endanger life and limb for the entertainment of a curious and indifferent crowd. There are certain feats invented by overzealous managers that should be put a stop to, by law if necessary; but so much of it is only an attractive display of legitimately developed human strength and able horsemanship that we should hate to do without it.... [and so on...]

But why the two-year delay from finish to print? The Chicago Daily Inter Ocean of May 11, 1890, had this to say:

Charles M. Kurtz tells an interesting little incident about Howard Pyle in the New York Star: “Pyle is a tall, robust, solid-looking man, without any of that traditional expression which is supposed to belong to the conventional literary or artistic character. Pyle is a nephew, by the way, of the late Bayard Taylor [sic]. I never see him that I am not reminded of an incident of a dozen or, perhaps, fifteen years ago. Pyle then had a studio away up in Broadway near Thirty-second street, and was intent upon following a purely artistic career. He attended the Art Students’ League, and drew from models in his studio. One time he wrote a pathetic little story, entitled, if I remember rightly, “Death in the Circus,” and illustrated it by a large drawing in black and white. He hoped to sell the story and the drawing to one of the magazines, and sent it all around, with the usual result that follows when a writer is unknown. The day it came back from one of the publishers he said: “Never mind; I’ll lay it aside, and after awhile, when these people know me, I’ll sell it for a good deal more than I could get for it today.” Three or four years afterward I picked up a copy of Harper’s Weekly, and here was Pyle’s story and a full-page reproduction of his drawing. Both were exactly the same as when I had seen them originally. There is a lesson in this for a good many young literary and artistic aspirants.

Kurtz’s yarn is intriguing, but he may have been mistaken about the “pathetic little story.” Although Pyle supplied some of his own explanatory texts for his Harper’s Weekly pictures, the editorial on “The Circus” doesn’t sound like Pyle - and, besides, it’s not a story at all. He probably assumed that his picture could - and should - stand on its own.

The New York Times, however, couldn’t help itself and provided something of a story (or at least something pathetic) when it praised the handiwork of both Pyle and Juengling on November 7, 1880:

There is another picture of Mr. Howard Pyle, engraved by Juengling, fully worthy of extended comment. It is called “An Interrupted Performance.” Only some poor little devil of an acrobat who did not do his trick, and smashed his ribs, or broke his spine. The two ballerinas, with extended skirts and flesh tights, approach the fallen lad. Sleery, the clown, holds a bottle, and he and a group of circus people surround the fallen boy. There is the ring master, keeping out the crowd, assuring them “that it is of no consequence,” but back in the canvas, you see the mother of the lad, in tears, while along side of her is the monkey. You need not look for the daintiness of touch here, or copper-plate platitudes. Engraver has followed the sentiment of the artist, and worked with all his heart and soul to follow the touch, the method of the pencil and brush. “Poor Billy, a promising kid, was a-going to be a sawdust star some of these fine days, and there he lies limp and dying,” everybody in the pictures says that, and even the horse that looks on seems to know all about it. An artist bred to his calling could understand the ability shown in the special work of this print, and the street-corner arab would find out the sentiment in it.

Now, compare this 1878 circus scene to the one Pyle did in 1898.

(Amusing to note: in reporting on “The Ruin Wrought by the Recent Storm at Manhattan Beach,” the Detroit Free Press of December 31, 1880, “borrowed” the Harper’s Weekly lead: “There is something terribly incongruous about an accident on Christmas Day. The occasion is one of amusement and festivity and when a disaster occurs...”)

A. B. Frost to Howard Pyle

Howard Pyle (right) in the summer of 1878 as depicted by his friend and fellow illustrator Arthur Burdett Frost (Harper’s New Monthly Magazine, May 1879)

“I would love to go over the old times and the nice little sketching rambles we used to take, when we gathered cat-tails and scared the farmer by waving a big knife at him. I am pretty nearly as vigorous as I was then. I can stand a lot of hard walking with a gun and if it wasn’t for the rheumatism I think I am nearly as tough as I ever was.”

Arthur Burdett Frost to Howard Pyle, February 9, 1903

November 3, 1878

Referring to this picture, Howard Pyle wrote to his mother on November 3, 1878:

The composition class at the [Art Students’] League still occupies much of my attention. The subject last week was “Zekle’s Courtship.” I did not make a composition myself, however, as I was quite busy last week working on a design “The Interior of a Fishing Shanty,” which took me all week, cost me something for models, and at which I did not make a princely fortune. Mr. [Charles] Parsons liked it, however, and that was some satisfaction.

It was published as “Interior of a Fishing Station” in the following June’s issue of Harper’s Monthly, and it illustrated Part II of his article, “A Peninsular Canaan,” born out of travels on Maryland’s Eastern Shore the previous summer.

February 28, 1878

"I hope your patience has not entirely given out at my somewhat lengthened delay in writing. I will not attempt to offer any excuse as I deserve none but will simply throw myself at your mercy with the promise of doing or trying to do better in future."

Howard Pyle to Margaret Churchman Painter Pyle (his mother), February 28, 1878