Love Will Tear Us Apart

It was in 1880, most likely, that 27-year-old Howard Pyle - then living and working at his parents’ house, but soon to be married - painted “St. Valentine’s Day in the Morning”. The black-and-white gouache measured about 18 x 15 inches or so, but the picture as engraved by Gustav Kruell was only 12.7 x 9 inches when it appeared in the February 26, 1881, issue of Harper’s Weekly.

As far as early Pyles go, the postman, the costuming, and the setting are as strong as usual - even then he was a master at depicting overcast days and the tangle of distant trees. But I confess that I don’t love the woman.

Helen “Teri” Card (1903-1971) - the comparatively early champion and dealer of illustration art - didn’t love her, either. And sometime before issuing her landmark, pulse-quickening “Catalog #4” of Pyleana in the early 1960s, Card tore off the offending half of Pyle’s original and tossed it. I wouldn’t have gone that far: the woman’s coy expression doesn’t feel right, but the rest of her is rendered nicely enough.

Card sold the surviving “better half” (see below) for $90 to collector Clifton Waller Barrett, and it now lives at the Brandywine River Museum.

Howard Pyle Meets Walter Crane

An illustration from Yankee Doodle by Howard Pyle (1881)

121 years ago today Howard Pyle met the celebrated British artist-illustrator-designer-decorator-author Walter Crane in Philadelphia.

Although Pyle’s known correspondence and writings are (so far) void of any Crane letters or mentions, Crane was clearly a big influence on Pyle - particularly on his work from the early 1880s, like Yankee Doodle, The Lady of Shalott and Pepper & Salt. And if Pyle didn’t necessarily acknowledge this, some critics did:

In the completeness and appropriateness of the cuts the book [Pyle’s The Merry Adventures of Robin Hood] reminds us of the best work of Mr. Walter Crane, and it can best be compared perhaps with Mr. Crane’s charming edition of the Grimm Fairy Tales... But as Mr. Crane’s art is thoroughly English Mr. Pyle’s is quite American. (The Literary World, September 22, 1883)

In 1891-92, Crane and a collection of his “Water-colours, Designs and Decorations” went on an extensive tour of the United States. In May they were in Philadelphia and Crane recalled in An Artist’s Reminiscences (1907):

My collection was shown at the Arts Club,...a dinner was given there in my honour and to inaugurate the opening. Among the guests I was interested to meet Mr. Howard Pyle, the distinguished artist, whose work I had so often admired in the American magazines. 

The champagne flowed very freely on this occasion as well as speeches, and nothing could exceed the hospitality of the Club. 

Altogether, we had a very good time at Philadelphia, and carried away many pleasant memories of the Quaker city.

Sounds like fun. But if only we knew what Pyle thought of the encounter, because a few months after it, a curious paragraph by Edward W. Bok (editor of the Ladies Home Journal) appeared in the Brooklyn Standard Union of December 24, 1892:

One thing is certain: no man has come over to us recently who created such an unfavorable impression with every one whom he met as did Walter Crane; and I say this with all due respect to Mr. Crane’s undoubted skill as an artist. But his personality struck every one as exceedingly disagreeable, and at no time have I heard of a single instance where he took the slightest pains to make himself agreeable. At two dinners at which Mr. Crane happened to, given, too, in his honor [sic], it seemed to me as if he threw a perfect damper upon both occasions. I recall one instance where Mr. Crane and Howard Pyle were thrown together, or, rather, seated next to each other at the table. Now, it is hard to imagine any one who could be unsusceptible to the deliciously frank and unrestrained charm of Howard Pyle’s conversation. But Mr. Crane was simply unmoved, the most unresponsive man in a delightful conversation I ever saw. I watched him closely upon this occasion and I actually believed that the man was bored more than he was interested. I have actually yet to hear of one kind thing said of Walter Crane in a social way during his American sojourn.

Maybe Pyle’s side of the story will turn up, one of these days.

Howard Pyle’s Wedding Pictures

“The Sailor’s Wedding” by Howard Pyle (1895)

It’s Howard Pyle’s wedding anniversary today: on April 12, 1881, the 28-year-old artist-author married the 22-year-old Anne Poole, daughter of the J. Morton and Ann (Suplee) Poole, in a Quaker ceremony in the parlor of the Poole house at 207 Washington Street in Wilmington. Pyle’s close friend and fellow illustrator, Arthur B. Frost, was best man and his sister, Katharine, was one of the bridesmaids. Lunch followed and later that day the couple took the train to Washington and stayed just a few blocks from the Executive Mansion at the Arlington House, the finest hotel in the city at that time (and not to be confused with Custis-Lee Mansion across the Potomac River in Virginia).

Somehow, weddings don’t show up too often in Pyle’s pictures. The image above, “The Sailor’s Wedding,” comes from his story “By Land and Sea” in Harper’s New Monthly Magazine for December 1895. Wilmingtonians might recognize Old Swedes Church in the background - a place Pyle was fond of, historically and aesthetically, and where his brother Walter married his first wife in 1884.

Pyle’s own nuptials more likely resembled the scene he presented in “A Quaker Wedding” (Harper’s Bazar, December 12, 1885). It’s tempting to call it a self-portrait, but Pyle was probably already balding and his sister recalled that the chairs were arranged in rows, with an aisle leading to a bow window, where the couple stood under a large bell made of white flowers. Even so, the mood and the crowd must have been akin to this.

“A Quaker Wedding” by Howard Pyle (1885)

And, just for the sake of completeness, here’s another Pyle wedding picture, from Building the Nation by Charles Carleton Coffin (Harper & Brothers, 1882).

“A Kentucky Wedding” by Howard Pyle (1882)

I might add that on April 12, 1911, Howard and Anne Pyle celebrated their 30th - and last - anniversary together by taking a day-trip from Florence to Pisa with their two daughters. I wish I had some pictures.

From “The Lady of Shalott”

A very early full-color illustration by Howard Pyle for Alfred Tennyson’s The Lady of Shalott, published by Dodd, Mead & Company - and copyrighted and deposited on this day in 1881.

November 5, 1881

"Suppose you let me take care of this young lady in future?" by Howard Pyle from Harper’s Weekly for November 5, 1881. It illustrates “John Paul” by an unknown author and shows yet another Pylean pen and ink technique - and an atypical one at that - as well as an atypically modern setting. It is of similar vintage and style to this drawing which I showed a while back. (Oh, and this one, too.)

Howard Pyle's Proto-Vuvuzela?

Almost, but not quite - as you'll discover when you read the accompanying, oddly-metered verse. "Jeremy Black's Fourth of July" by Howard Pyle appeared in Harper's Young People for July 5, 1881 (the issue, unlike this post, was wisely published before Independence Day). As far as I know, it never came out in book form, though it was later reprinted in The Albany Evening Journal for July 27, 1901. July 27th? Now I don't feel so bad.

I've always loved this unusual drawing and its scratchily confident lightness of touch, compared to Pyle's somewhat heavier, or more "deliberate" pen-and-inks for Robin Hood and Pepper and Salt, which began to emerge from his studio a few years later. It's similar to the one for - and dates from the nearly the same time as - A Perfect Christmas, but it's also very A. B. Frost-y and shows that Pyle was indeed influenced by his good friend and the best man at his recent nuptials (i.e. April 12, 1881).

If only vuvuzelas or lepatatas (if you prefer) sounded like the Thing, we all would be much happier.

"And blew as he'd not blown since he was born" by Howard Pyle

Jeremy Black's Fourth of July
by Howard Pyle

"I'll make a noise," said Jeremy Black,
As the days drew nigh
To the Fourth of July;
"I'll make more noise than a cannon, or pack
Of fire-crackers, or pistol, or gun,
Or cannon-cracker; I'll have more fun,
With fifty cents, than the rest of the boys
With a dollar's worth of powder and things -
With fifty cents I will make more noise
Than all the rest of the town, by jings!"

So he went down
To Abraham Brown,
The tinker back of the Blue Bell Inn,
Who mended the pans for all the town,
And he got him to make a Thing of tin.
Then both of them tinkered and talked and planned,
Between the mending of pot and kettle,
And drew the patterns with chalk in hand,
Until they managed the thing to settle;
And all the boys were eager to know
What kind of a Thing they kept tinkering so.
Was it anything like a cannon, or rocket.
Or Roman candle, or pin-wheel, or gun?
Was it small enough to go into his pocket?
Or could he lift it when it was done?
Would the thing go off, or would powder go in it?
And a dozen of such like questions a minute.
But Jeremy Black just gave a sly wink,
And they could not tell what in creation to think.

So Fourth of July came around at last,
And the day was fresh and the sun was bright;
Then just as soon as the night was passed,
At the earliest dawn of the dewy light,
The boys turned out
With noise and rout,
And loud halloo and lusty shout,
And racket of crackers, and boom and pop,
And ringing of bells, and sizz and splutter,
Till good folks trying to sleep would stop,
And get up and close the window and shutter.
But Jeremy Black just turned in his bed,
And down in the pillow he nestled his head,
And thought, with a grin,
How the Thing of tin
Would make enough noise to drown the din.
At length he arose and dressed himself.
And afterward managed his breakfast to eat;
Then took the Thing from the wood-house shelf,
And carried it with him out in the street.
Now all the boys came running to see
What ever the wonderful Thing could be -
And, lo! 'twas a fish-horn six feet long.
"Now stand a little away," said he,
"And you'll hear a noise so loud and strong
And deep and mighty that it will drown
All popping of guns and cannons in town."
Then all the boys stood back, while he
Stepped up to the fire-plug under the tree,
And rested thereon the end of the horn,
Then took a breath that was long and deep,
And blew as he'd not blown since he was born;
And out from the Thing came - never a peep!
He stopped, and wiped his mouth for a minute,
Then blew as if the dickens were in it.
He blew till the hair stood up on his head;
He blew till everything swam around;
He blew till his forehead and ears grew red;
But out of the horn came - never a sound.

At first the boys were half afraid
Of the terrible sound that would soon be made;
But after a while they began to chaff,
And then to giggle, and then to laugh.
Poor Jeremy knew that the noise was there -
It only required a little more air.
Once more he blows, till his muscles strain:
Not a sound. And then he began to know,
Though he had endeavored with might and main,
The horn was too large for him to blow.

L'Envoi.

As one goes over this world of ours
One frequently finds a Jeremy Black,
Who overrates the natural powers
The Fates have granted him - somewhat slack.
Those people who build, though they may not know it,
A horn so large that they never can blow it.

Howard Pyle at Yale University

Howard Pyle crossed paths with Yale University a number of times during - and after - his lifetime. In 1903 he delivered the Anniversary Address at the School of Fine Arts; his pictures were exhibited there in 1903 and 1909; in 1905 he designed the bookplate for the Yale Club's library; and his two eldest sons, Theodore and Howard, Jr., were attending the college when he died in Italy. Several of Pyle's letters reside there now, as do some original works of art - and early ones at that - which can be seen here.

And, in looking the Yale page over, I see that the works aren't very well identified. So here's more:

"At the Sign of the Griffin" was published with the title "The Press-Gang in New York" in Harper's Monthly for March 1882. It is one of three Pyle illustrations for the article "Old New York Coffee Houses" by John Austin Stevens. He painted it at the end of 1879.

"He Stops at the Sign of the Weathervane" illustrated Pyle's own poem "Tilghman's Ride from Yorktown to Pennsylvania" in Harper's Monthly for November 1881. The original probably dates from that year.

"The Dunkers - Going to Meeting," although published (without "The Dunkers" in the title) in the October 1889 issue of Harper's Monthly, was painted some nine years earlier, when Pyle initially prepared his article "A Peculiar People" following his November 1880 visit to Ephrata, Pennsylvania.

"Avary Sells His Jewels" was featured for Pyle's article "Buccaneers and Marooners of the Spanish Main" in Harper's Monthly for September 1887. I'm pretty sure Pyle painted this in early 1887 - maybe late 1886.

"An Old Government Toll Gate with Westward Bound Express" appeared in Harper's Monthly for November 1879. It was one of a dozen illustrations Pyle made for William Henry Rideing's "The Old National Pike." The two men travelled along the pike earlier in 1879 (which I mentioned in this post).

And "Isaac Walton" and "Richard de Bury Tutoring Young Edward III" are etchings made by William Henry Warren Bicknell after paintings by Howard Pyle for the Bibliophile Society in 1903.

A Perfect Christmas, 1881

One of the remarkable things about Howard Pyle the craftsman - or, in this case, the draughtsman - was his skillful use of so many different drawing styles. For a long time I was mostly aware of his pen and ink work as seen in Robin Hood, Pepper and Salt, The Wonder Clock, Otto of the Silver Hand, and his Arthuriad (i.e. his books readily available from Dover Publications). They were “what Pyle’s drawings look like” to me. In digging deeper into Pyle’s work, however, I’ve come across things that have thrown off my preconceptions.

“Do you live with Santa Claus in his own house?” for “A Perfect Christmas” by William O. Stoddard, was published - solely - in Harper’s Young People for December 20, 1881. The composition is dominated by the cut tree, but the whole drawing - full of short, straight strokes - almost looks like it was made of pine needles. Pyle used this technique here and there from about 1880 to 1882, and drew this one around the same time as - though it barely resembles - his illustrations for Yankee Doodle and The Lady of Shalott.

A Child Sunburned in December 1881

As I mentioned in an earlier post, it’s nice, if rare, to put an exact creation date on a work by Howard Pyle. In so many cases, we only know the publication dates, but those can be misleading: a Pyle fable (also already mentioned) written in late 1876 took nine years to appear in print, as did his article “A Peculiar People” written in late 1880 and published in 1889. These are extreme cases, of course, but the crazed stickler for accuracy in me bristles even when I can’t pin down a date to within a few months. Pyle sometimes dated his pictures, but for the most part we have to rely on his patchy correspondence to figure out when he was working on what.

Now here’s piece of good fortune: it’s the actual bill (transcribed below) that Pyle sent along with a completed illustration to Emily Sartain, art editor for Our Continent, a short lived magazine published in Philadelphia. (A fascinating figure in her own right, Emily Sartain was an artist and an engraver, a friend of Mary Cassatt, and had once been romantically linked with Thomas Eakins.)

The $60.00 illustration was “A child sunburned, and with many fluttering shreds of raiment” for Helen Campbell’s “Under Green Apple Boughs” and it appeared in the very first issue of Our Continent for February 15, 1882. The 5.2 x 5.8" wood engraving was by Frederick Juengling. The original art has not yet materialized, but two of its companions have, so no doubt it was a black and white gouache, measuring somewhere in the range of 12.5 x 13.5" to 13.5 x 14.75".

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I have not heard from the engraver French as yet [Note: Frank French engraved the second, fourth, and sixth illustrations in this series]

Wilmington Del

Dec 9th 1881

Miss Sartain

I send first illus. for Under Green Apple Boughs

I hope and think it will prove satisfactory. I have put the best work I could upon it. Of course you will understand it is coarsely done for reduction to proper size. I hope you will find it follows the text.

Will go right on with the other drawings. Inclosed please find bill

In Haste Yours &c

Howard Pyle

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Dr

Our Continent Publishing Co

to Howard Pyle Cr

For one illustration for story Under Green Apple Boughs - sixty dollars

$60 00/100.

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