A Pyle Inscription

Howard Pyle sometimes drew a little picture when he signed his books, like in this copy of the 1901 edition of The Wonder Clock which he inscribed on November 5, 1901.

Howard Pyle at the Metropolitan Museum of Art

Title-page drawing for The Wonder Clock (“1887” was changed to “1888” in the first edition of book)

No, you won’t find a major exhibition of Howard Pyle’s work at the Metropolitan Museum of Art in New York - for that you’ll have to go to Chadds Ford, Pennsylvania (RIGHT NOW!), Wilmington, Delaware (starting November 12!), and Stockbridge, Massachusetts (next year!), where his work is genuinely appreciated.

Trapped somewhere in the bowels of the Met, however, are a couple of Pyles from The Wonder Clock, acquired in 1926, when his stock was still pretty high. The drawings are rarely - if ever - seen by the general public, but the museum has done something good with six of them: they’ve posted high resolution scans on their website, so we can really inspect them, instead of relying on the just-OK reproductions in various editions of the book.

I would’ve liked the drawings to have been scanned in color to better see Pyle’s alterations, but it’s possible to detect some here and there. I’ve posted scans of a few of the illustrations as they initially appeared in Harper’s Young People to show the extent of the changes. Some are quite radical since Pyle began illustrating the stories in his Pepper and Salt style - more “vignette-y” with floating banners - but eventually switched to a square format with blackletter titles. And when he began preparing the pictures for the book he made them all uniform.

I’ve already pointed out that Pyle altered the title of “Master Jacob” - but here you can see that he pasted his new lettering onto the original drawing.

Three of the Met’s originals come from the “The Clever Student and the Master of Black Arts” which initially appeared (with “Black Arts” hyphenated) in Harper’s Young People for February 23, 1886. Pyle must have drawn them in late 1885, then altered them for use in The Wonder Clock in early 1887. A memorandum book in the Harper and Brothers Archive shows that he delivered these revisions to art editor Charles Parsons on March 5, 1887.

“The Princess walking beside the Sea” (above) in Harper’s Young People became “A Princess walks beside ye water, into whose basket leaps ye ring” in The Wonder Clock (below). Apart from the title, note what Pyle did to the princess’ crown.

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“The Master of Black-Arts with a Hen” in Harper’s Young People became “The Master of Black Arts bringeth a curious little Black Hen to the King” in The Wonder Clock. Who knows where the blackletter title with an illustrated initial went to.

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And “What happened to the Master” in Harper’s Young People became “What happened to the Master of Black Arts after all his tricks” in The Wonder Clock.

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Finally, “The Princess and the Pigeons” (above) from Pyle’s story “Mother Hildegarde” in Harper’s Young People for May 25, 1886, became “The Princess dwells in the oak tree where ye wild pigeons come to feed her” in The Wonder Clock. As far as I can tell, Pyle only altered his initials - and the title - in this one.

The Staff and The Fiddle and Hints of Parrish

Howard Pyle’s headpiece for “The Staff and The Fiddle” in Harper’s Young People for August 31, 1886. It was later included - with some slight variations to the hand-lettering - in The Wonder Clock. It anticipates the work of Maxfield Parrish, no?

Initial J (with witch enclosed)

And here’s another witch by Howard Pyle from the same story as my previous post. It’s more roughly executed than, say, this initial “T” from The Wonder Clock, but it’s still quite charming.

June 29, 1886: Master Jacob, Proto-Parrish

Howard Pyle's headpiece for his fairytale "Master Jacob," first published in Harper's Young People for June 29, 1886, and later (reduced and with new lettering by Pyle) in The Wonder Clock.

Beautiful pen-work with great design and characterization to boot.

This is where Maxfield Parrish came from.

March 1, 1887

Readers of Harper's Young People for March 1, 1887, would have seen this lovely "Bearskin" headband by Howard Pyle for the very first time. Later, Pyle changed his hand-lettering when preparing the illustration for its appearance in The Wonder Clock, as you can see below. I don't know... I kind of like the bolder, heavier style of the first incarnation, but Pyle was trying to give all the hand-lettered titles a more or less consistent "point size" and weight for the book, hence the tweaking. Rumor has it that the artist George de Forest Brush once owned the original pen and ink drawing.