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.

Howard Pyle 100 Years Ago

What was Howard Pyle doing exactly 100 years ago?

Why, painting like mad on "Peter Stuyvesant and the English Fleet" (also known as "Coming of the English"). Seven feet high and almost twenty-five feet long, it was his largest picture to date.

The commission, arranged by his friend Frank Millet, had come in the winter of 1910: Pyle was to produce this and two other, even larger murals, plus two smaller pictures for the Hudson County Court House in Jersey City, New Jersey, before it opened in late summer.

It was an awfully tight schedule, but Pyle had been desperate to get just this kind of work, so it was worth the struggle. Adding to the burden, however, was a looming deadline with Charles Scribner's Sons to deliver the fourth and final volume of his Arthuriad, The Story of the Grail and the Passing of Arthur, set to be published that fall.

But Pyle was able to keep the book more or less on track and do his research and make careful, detailed preparatory studies for the murals. As the enormous canvases wouldn't fit in his own studio, he took over one of the three students' studios next door. He also hired his trusted disciples, Stanley Arthurs and Frank Schoonover, to help him.

By June 1, 1910, the trio had begun working on "Stuyvesant" at a feverish pace. Near month's end, Schoonover took the two photographs of Pyle shown here.

"What a pity to throw away such an opportunity," wrote N. C. Wyeth on July 4, soon after seeing Pyle and the Stuyvesant mural "which was completed, COMPLETED, I say, in one month and a day - and he brags about it!" Wyeth complained that "the picture is no decoration - not even a good illustration, that it is terribly unfinished and ill-considered from an artistic standpoint. No thought, of the higher quality, was attempted on the canvas. A shell of delineation, absolutely nothing else. Not even good drawing!" He also denounced the involvement of Arthurs and Schoonover, who he believed had done a little too much of the heavy lifting.

Notwithstanding, Pyle and the "Boys" (as he called them) attacked the second mural, "Hendryk Hudson and the Half-Moon," at the same breakneck speed. By mid-August Pyle had shipped it and "Stuyvesant" to Jersey City for installation and retouching. The Jersey Journal for December 8, 1977, describes what happened next:

He sent them on ahead, arriving several days after the murals.

Pyle found that the murals had already been placed on the wall and that two holes had been cut in each to accommodate ventilators. On top of that a four-inch strip of moulding had been placed around the Stuyvesant mural instead of a two inch strip. The four-inch strip covered his signature. He complained bitterly to Hugh Roberts, [the] architect, who told Pyle that his signature was small and that the workmen never noticed it.

Pyle and Roberts "had words" according to witnesses, but Millet stepped in and smoothed things over. Pyle then signed his name in letters four inches high, saying that Roberts could see the letters without his glasses. The mural is believed to be the only Pyle mural with double signatures.

Artist Charles Yardley Turner putting finishing touches on his Gen. Washington mural on the fourth floor, twitted Pyle by painting his name in letters five inches high.

Really, the signature trouble was a minor annoyance compared to the other issue, as seen in this simulated before-and-after of "Stuyvesant":

Here it is in context. (More photos of the place are here.)

Of course, Pyle would have radically changed his composition had he been informed of the pending duct work. In reviewing the building, Architects’ and Builders’ Magazine for November 1910 lamented, "In the Freeholders’ room, the charm of which beggars description, the marring of the magnificent mural decorations by ventilator openings is most regrettable, and should have been avoided at any cost."

Incidentally, adding insult to injury, dark brown drips of dirty water (or something) were oozing down the pictures from the vents when I saw them last, about ten years ago.

And I should say here that while I admit I'm genetically predisposed to like super-oblong pictures, I disagree with Wyeth's above assessment. I think "Stuyvesant" - and "Hendryk Hudson" for that matter - are strongly composed, nicely realized, and refreshingly different from many murals of the era which are often packed with idealized figures, statically posed in shallow space.

On the other hand, Wyeth's criticisms could apply to the third and biggest mural, "Life in an Old Dutch Town," which is far from Pyle at his best. As it happened, it went up weeks after the courthouse opened, and, for all Pyle's prepping, he made costly eleventh-hour changes to it.

"I think they are fairly good in certain ways, but are not so decorative as I hoped they would be," Pyle summed up to fellow artist Edwin Howland Blashfield (and he later told Arthurs that he had "lost money" on the deal, though I haven't checked his math). Frank Millet more bluntly confided (also to Blashfield), "Pyle’s things are a great disappointment to the architect and Mr. Gill [the contractor for the interior work]. I say nothing, but I think he has made a mistake in his scheme and in his color."

Well, maybe. Two out of three ain't bad, I say. And perhaps Pyle's wrathful ventilator venting poisoned the opinions of Roberts and Gill.

Not long after the end of the project, in November 1910, Pyle sailed to Italy to better prepare himself for the next mural commission - which never came.

June 27, 1904

"Anyone looking at Remington’s work feels that he has breathed the air of the Plains, and is at home there. It is necessary either to have lived with these things you are going to picture or else, by the imagination, see them as though you had lived with them.

"Colonial life appeals so strongly to me that to come across things that have been handed down from that time fills me with a feeling akin to homesickness - so, that merely to pick up a fragment of that period is all that is necessary to bring before me that quaint life - and my friends tell me that my pictures look as tho’ I had lived in that time."

Howard Pyle as quoted by Ethel Pennewill Brown and Olive Rush, June 27, 1904

Decoration for “A Song of Peace”

Howard Pyle’s “decoration” for Edwin Markham’s poem, “A Song of Peace,” appeared in Collier’s Weekly for June 14, 1902. And 108 years ago today - on June 20, 1902 - Augustus Saint-Gaudens wrote a “fan” letter to Pyle (not the first time, either) about this piece, declaring, “…The virility and poetry and the beauty of it are remarkable…”

Unfortunately, Saint-Gaudens’ letter has gone missing and the only evidence of it we have is the above line, quoted by Charles Abbott in his 1925 Pyle biography. Pyle’s reply, however, written on June 24, resides at Dartmouth College. In it, he offers to give the drawing to Saint-Gaudens and asks if he should “fill it out to a large square, completing the figures in procession.” Pyle sent the drawing in July, but I don’t know if he reworked it - or if it was burned in the sculptor’s studio fire in 1904 - as it has yet to come to light.

Note: Since writing this I’ve learned that the drawing was loaned by Mrs. Augusta Saint-Gaudens to the Detroit Institute of Arts in 1922, so perhaps it’s still out there, somewhere.

June 18, 1887

I hope this will make up somewhat for my long delay in posting anything - and for my even longer delay in posting a picture.

"'Boat ahoy!' I cried out, and then levelled my pistol and fired" appeared in Harper's Weekly for June 18, 1887. It illustrates Pyle's serialized pirate novel, The Rose of Paradise. The admirable but unsigned engraving measures 9.1 x 6.6 inches and is, I imagine, a much different animal than the as yet unlocated original which is either ink or watercolor wash on paper and measures about 10 x 15 inches.

I first saw this while rooting through the bins at Pageant Books and Prints, then near The Cooper Union in Manhattan. I think I actually staggered backward as though hit by a boom - and I still get a little seasick from its strength and simplicity. Although a finished picture, it calls to mind the Pylean epigram (via Charles DeFeo): "After the first half-hour of work, your lay-in should kill at a hundred yards."

May 11, 1906

“In Wilmington Lucia Guliana was placed on trial in the Federal Court on charge of having imported Rosa Caliente from Italy for immoral purposes. The girl was formerly an artist's model in Italy and one of the men summoned to serve on the jury is Howard Pyle, an artist, of Wilmington.”

The Reading [Pennsylvania] Eagle, May 11, 1906

April 30, 1893

"Illustration is such a dangerous thing. It is so apt to set the readers ideas into a fixed and hardened shape instead of allowing them to flow into and through the channel of words."

Howard Pyle to Mrs. Charles Fairchild, April 30, 1893

Willa Cather to Howard Pyle, April 26, 1906

"Will Mr. Howard Pyle accept through me the love and of seven big and little children to whom he taught the beauty of language and of line, and to whom, in a desert place, he sent the precious message of Romance."

Willa Cather to Howard Pyle, April 26, 1906, in a presentation copy of her book The Troll Garden

April 23, 1907

"I am in great danger of grinding out conventional magazine illustrations for conventional magazine stories. I feel myself now to be at the height of my powers, and in the next ten or twelve years I should look to do the best work of my life. I do not think that it is right for me to spend so great a part of my time in manufacturing drawings for magazine stories which I cannot regard as having any really solid or permanent literary value. Mr. [James Branch] Cabell’s stories, for instance, are very clever, and far above the average of magazine literature, but they are neither exactly true to history nor exactly fanciful, and, whilst I have made the very best illustrations for them which I am capable of making, I feel that they are not true to medieval life, and that they lack a really permanent value such as I should now endeavor to present to the world."

Howard Pyle to Thomas Bucklin Wells (assistant editor at Harper's Monthly Magazine), April 23, 1907

A Certain Howard Pyle Fan

This blog is all about Howard Pyle. But the other important artist in my life - really, the most important artist and the most important man in my life - has been and forever will be my father, John Schoenherr. He was a Pyle fan since childhood and he introduced me to Pyle's work when I was a boy.

I've written something about him here.

Queen Esther, 1902

Readers of Scribner's Magazine for April 1902 must have been startled on seeing "Queen Esther inciting the Indians to Attack the Settlers at Wyoming." It's certainly one of Howard Pyle's spookier images.

It illustrates Alfred Mathews' article "A Story of Three States" and the original oil was exhibited in 1903 and '04, then went missing. I gather its palette is similar to that of its companion piece, "The Connecticut Settlers entering the Western Reserve" (now at the Brandywine River Museum): black, white, and red oils loosely painted over an umber imprimatura. An engraver touched up the halftone plate - particularly in the foreground, skirt, headdresses - making the reproduction surprisingly crisp. And the red is much more fiery than it is here (I can't figure out why my scans "dull down" when I save them for the web).

The "Wyoming" in the title doesn't refer to the state, but to the Wyoming Valley of Pennsylvania, site of a Revolutionary War battle (and massacre) in the Summer of 1778. A note on the plate states, "The figure to the right is [Joseph] Brant, and the white man is [Colonel John] Butler." Pyle probably worked from this image of Brant.

April Fools from Howard Pyle, Part 4

I’m overwhelmed by fools - Howard Pyle’s fools, I mean: he just drew and painted too many to show all at once. But here’s one more, in yet another medium and style. It’s from “The Castle of Content” by James Branch Cabell (Harper’s Monthly Magazine, August 1903). It was titled “He thought of his love” in the magazine, but was exhibited as “Idleness.“ I saw the original oil a few years ago and noticed that it had been unscrupulously cut down (to fit a frame, probably!) and that the colors of the fool’s tights were reversed. I gather that Pyle, in his haste to finish, forgot which leg was green and which one was red and that the printer corrected his mistake.

April Fools from Howard Pyle, Part 3

This fool - a detail from the illustrated verse “Venturesome Boldness” (Harper’s Young People, August 26, 1884) - has the distinction of being one of Howard Pyle’s earliest known “fool” pictures and also one of his earliest known self-portraits. Yes, that him on the right. The same character appeared two months before in “Serious Advice” in Harper’s Young People for June 24, 1884, (but of that the less said the better) and in various illustrations after, including the frontispiece of Pepper and Salt.

April Fools from Howard Pyle, Part 2

This fool - or jester, if you will - is from Erik Bogh’s “The Pilgrimage of Truth” (Harper’s New Monthly Magazine, December 1900). Its title in the magazine was “Truth in the Fool’s Lodge,” but it was also exhibited as “Truth is Received by the Jester” and “Truth in House of the the Fool.”

Howard Pyle made this during the summer of 1900, while he was living, working, and teaching at Chadd's Ford, Pennsylvania. In fact, he made at least three versions of this scene (I think I’ve only seen this one, so I don't know how the others differ) as he struggled to find a medium which could be reproduced successfully. “I have had great difficulty with the Christmas work I am doing for Harpers,” he grumbled on August 3th. “It will have to be redrawn and will occupy me I think almost the entire month to finish the work.” And on September 7th he was still cranky: “The Christmas pictures, which were delaying me, took so much longer for me to do than I had expected that I am thrown back nearly a month in my work.”

April Fools from Howard Pyle, Part 1

Well, this fool is not from April per se, but from "The Quaker Lady" by S. Weir Mitchell (Harper's New Monthly Magazine, November 1890). Pyle painted the original in wash (ink, methinks) and Albert M. Lindsay engraved it on wood - about 1.25 x 1.25 inches.

April 1, 1901: Woodrow Wilson to Howard Pyle

"Tory Refugees on their way to Canada" by Howard Pyle (1901)

Although the second collaboration of Howard Pyle and Woodrow Wilson was not as “intense” as the first (on “George Washington” in 1895-96), “Colonies and Nation” still generated a fair amount of correspondence. “It seems extremely pleasant to be writing to you again in collaboration of such interesting work,” Pyle wrote in the fall of 1900. “It was exceedingly pleasant to see your name on an envelope again,” concurred Wilson, and over the next six months at least a dozen letters (and certainly more than that, though they have yet to resurface) travelled between Wilmington and Princeton as the two hammered out what pictures would best suit the text. (Apparently, too, Wilson himself visited Pyle at his studio on the morning of December 7, 1900.)

“I remember in our work upon the History of the Life of Washington you specified your subjects and I upon my part after carefully reading the manuscript was allowed to give my ideas concerning them from the standpoint of an illustrator,” Pyle had reminded Wilson, not long after beginning his illustrations. That spring, while planning the last handful of pictures, Pyle asked if he could “amend” Wilson's list of subjects (which also hasn't yet surfaced) and paint “Washington refusing the offer to make him King” and a scene from Shays’ Rebellion as they “typify that period of Anarchy following the Revolutionary War so critical, apparently, to the life of the country.” Pyle also thought a depiction of Washington’s Inauguration would be appropriate. Here is Wilson’s answer, which shows the level of ease that had developed between the artist and writer:

**********

Princeton, New Jersey,

1 April, 1901.

My dear Mr. Pyle,

I literally have not had ten minutes to consider your letter of March twenty-eighth until this morning. I hope that you will pardon the delay.

I like two of the subjects you suggest very much indeed, but not the first. I should think it a little dangerous, historically, to make a scene out of Washington’s refusal to be made dictator. It was really an incident of correspondence. I should fear that, in making a picture of it, we should be in danger of putting in too large an imaginative element.

I had rather set my heart on having you do a group of emigrating loyalists in the northern forests, a subject that appeals greatly to the imagination; or one of your delightful character sketches of a rural group (this time on the western frontier) debating Jay's treaty.

The scene from Shays' rebellion and the inauguration of Washington I entirely like.

In haste,

With warm regard,

Sincerely Yours,

Woodrow Wilson

**********

In the end, Pyle did not paint Washington refusing to be made king, nor a scene from Shays’ Rebellion (though he had, indeed, depicted these two subjects in the 1880s), and his picture of the inauguration only appeared when Wilson’s papers were collected in book form. But his “Tory Refugees on their way to Canada” (above) and “A Political Discussion” appeared in Harper’s Monthly Magazine for December 1901.

And here is Wilson's original letter...

Farewell March

Before March slips away entirely, let me acknowledge Jeff A. Menges' kind mention of my blog in his blog post, March is Pyle's Month.

Jeff, of course, is the proud and enviable selector and editor of one of the surprisingly few books with "Howard Pyle" in the title. His Pirates, Patriots, and Princesses: The Art of Howard Pyleis a great survey Pyle's work - most of it is in color and much of it hasn't appeared in print in over a century - and it appeals to both the casual admirer and the timeworn and jaded fanatic.

Thanks, Jeff!

March 29, 1899

"When I look ahead, the end seems so close and I have done so little that I almost despair of accomplishing anything. I feel as though I stood only on the threshold of real art with almost nothing to show for twenty three years of effort."

Howard Pyle to Frederic Remington, March 29, 1899

Down Fell the Fisherman, 1890

The tiny and terrific "Down fell the fisherman" from "Where to Lay the Blame" by Howard Pyle was first published in Harper's Young People for March 25, 1890, and then in Twilight Land in late 1894. It was a mere 1.5 x 4 inches in the magazine, so I've enlarged it a bit.

The American Art News on Howard Pyle, March 25, 1905

"Mr. Howard Pyle, as he said in his lecture at the Art [Students'] League on [March 18th], regards the making of compositions of extreme importance in an art student's training. This is the principal feature in the work of his class at Wilmington. He considers the main-spring of a composition to be 'mental projection,' or the power to so project one's mind into the picture as to actually live it. This power is contributed to by the multiplied experience of mature years, and by reading. 'No one,' Mr. Pyle says, 'requires as broad knowledge and wide reading as the pictorial artist of to-day.' He teaches the necessity of elimination - that is, after a composition is once created the eliminations are more important than the additions; also, to truly use black and white one must have color in mind. Mr. Pyle was especially interested in the compositions of Hugo Ballin and Remington Schuyler; their work he considers to be of great promise."

The American Art News, March 25, 1905

Into the River, 1893

What a passion comes over us sometimes for silence and rest! - that this dreadful mechanism, unwinding the endless tapestry of time, embroidered with spectral figures of life and death, could have but one brief holiday! Who can wonder that men swing themselves off from beams in hempen lassos? - that they jump off from parapets into the swift and gurgling water beneath?

Despite the grim subject matter - a suicide - this is one of my favorite Howard Pyle pictures. It's "Into the River" from The Autocrat of the Breakfast-Table by Oliver Wendell Holmes, printed by the Riverside Press in the fall of 1893. The plate is so small - only 2.9 x 4.5" - and the paper has yellowed, but the fidelity of detail is there thanks to its having been reproduced in photogravure rather than in halftone. It illustrates the passage quoted above.

Pyle painted the original in black and white oil on 8 x 12" board in mid-1893 - possibly at "Delamore," the mansion on the edge of Wilmington where he had moved his growing family between May 9th and June 10th of that year.

March 24, 1885: A Newspaper Puff

Howard Pyle's "A Newspaper Puff" appeared in Harper's Young People for March 24, 1885, and in Pepper and Salt later that year. For some reason, the verse was typeset in the magazine, but hand-lettered (by Pyle, of course) in the book version, shown here. Pyle had a little trouble with the orientation of his apostrophes, but who doesn't these days?

The original pen and ink drawing is at the Delaware Art Museum. For your convenience, here's the verse:

Twelve geese
In a row
(So these
Always go).
Down-hill
They meander,
Tail to bill;
First the gander.
So they stalked,
Bold as brass
As they walked
To the grass.

Suddenly
Stopped the throng;
Plain to see
Something's wrong
Yes; there is
Something white!
No quiz;
Clear to sight.
('Twill amuse
When you're told
'Twas a news-
Paper old.)

Gander spoke.
Braver bird
Never broke
Egg, I've heard:
"Stand here
Steadily,
Never fear,
Wait for me."

Forth he went,
Cautious, slow,
Body bent,
Head low.
All the rest
Stood fast,
Waiting for
What passed.

Wind came
With a caper,
Caught same
Daily paper.
Up it sailed
In the air;
Courage failed
Then and there.
Scared well
Out of wits;
Nearly fell
Into fits.
Off they sped,
Helter-skelter,
'Till they'd fled
Under shelter.

Poor geese!
Never mind;
Other geese
One can find,
Cut the same
Foolish caper
At empty wind
In a paper.

A Howard Pyle Bookplate: March 20, 1886

Design for an unused bookplate by Howard Pyle, 1886

"It was with me very much a work of love and I certainly should not care to part with it under ordinary circumstances. I have had a photo-engraved plate made, a proof of which has been sent me only this morning."

Howard Pyle to Edward H. Wales, March 20, 1886

Howard Pyle and Teddy Roosevelt Do Lunch

Theodore Roosevelt and his four sons by Arthur Hewitt (via NYPL Digital Gallery)

On March 19, 1904, Howard Pyle took the train down from Wilmington, Delaware, to Washington, D.C., for a 1.30 p.m. lunch at the White House. The meal was wedged in between President Theodore Roosevelt’s 11.45 a.m. chat with Admiral Dewey and a 2.30 p.m. meeting with Booker T. Washington. (I often wonder if Pyle met either men on his way in or out - though I should note that there were three other meetings scheduled between Dewey’s and Pyle’s). First thing that same day, Arthur Hewitt took several photographs of Roosevelt and his family, including the one shown above.

The purpose of Pyle’s visit was to talk politics: a Wilmington newspaper had asked him to write what he thought of Theodore Roosevelt's then two-and-a-half-year-old administration. “I have endeavored to do so as honestly and courageously as possible,” he told Roosevelt's secretary, William Loeb, on March 16, “but, now that it is done, I feel, in view of the fact that the President stands in the relation of a personal friend, I should submit the paper to him before publishing it - that is if you think he will care to see it.” Pyle figured that other newspapers might quote him, and he planned to expand the piece (which he also sent) into a magazine article - “Hence a certain added importance to the few words I have written.”

Roosevelt objected to some of Pyle’s unintentionally, yet interpretably critical comments and warned, “Anything that you say will be apt to be taken as the best that a personal friend can say for me, and therefore any condemnation from you will be received and quoted independently of anything that you say that is favorable.” So he asked Pyle to come and talk things over - and, presumably, get “on message.”

Unfortunately, as luck would have it, I haven’t yet found the article Pyle wrote and don’t know if it ever appeared in either the Wilmington newspaper or in the magazine; Pyle mentioned that The Outlook might publish it, but, in looking at 1904 issues, it seems that they didn’t. I'll keep looking.

Below is the page from Roosevelt’s datebook for March 19, 1904 (please pardon the scratchy printout from a microfilm reel at the Library of Congress).

Drexel Women's Basket-Ball Team of 1897

Why the Drexel Institute Women's Basket-Ball Team of 1897? Because these seven women were all art students (notice the word "Art" emblazoned on their uniforms) - and some of them were students of Howard Pyle. Maddeningly, however, they are not identified in the book from whence these photographs came - the 1897 Drexel yearbook called the Eccentric.

But there is someone I recognize. It's Pyle's pupil and future sister-in-law, Ellen Bernard Thompson. She's holding the ball in the first two shots and is in the very middle of the "action" scene. She was born November 11, 1876, in Germantown, Pennsylvania, studied with Pyle for several years and attended both the 1898 and 1899 Summer Schools at Chadd's Ford. There, she and Pyle's younger brother Walter met and fell in love. They were married in 1904. A huge show of Ellen Pyle's work was recently on display at the Delaware Art Museum (and I foolishly missed it) and some more about her can be found here. Of course, Ellen's daughter Caroline married N. C. Wyeth's son Nathaniel, thereby entwining the Pyles and Wyeths in the branches of the same gnarly family tree.

One more thing about the photos: the woman on the far left in the first shot, the far right in the second, and the far left in the third is, I think, Elfrida J. Lavino, who, as far as I know, was not a Pyle student. The fair- and frizzy-haired woman just to the left of Ellen in the first shot I believe is Paula Himmelsbach (not a Pyle student, either, but later a prominent painter and stained glass artist, and a teacher of Alice Neel). And the woman to the right of Ellen in that same photo might be Charlotte Harding (who was very much a Pyle student), but I'm not yet certain.

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.

He Would Shout Opprobrious Words...

"He would shout opprobrious words after the other in the streets" illustrated "A True History of the Devil at New Hope" by Howard Pyle in Harper's Weekly for December 18, 1897. It appeared untitled in the magazine, but was titled thus when published (reduced and solely in black and white) in Pyle's collection of tales called Stolen Treasure (Harper and Brothers, 1907). Pyle's bibliographers named it "How the Devil Haunted the Meeting House" - but it is, more accurately, a headpiece for the chapter of that title or for the story itself.

Pyle must have painted the original (which is still out there, somewhere in the ether) in oils - probably on illustration board. The reproduction shows how much mileage his work could get from even the most rudimentary two-color printing. It also shows the strong Japanese influence on his art: the high horizon line, the flattened space, the absence of shadow, and so on. The "Japonisme" of Howard Pyle is not often acknowledged, but it certainly shows up again and again from the late 1870's onward.

I grew up a few miles from New Hope, Pennsylvania, the once-quaint village in Bucks County on the Delaware River. But, like it or not, Howard Pyle's "New Hope" is in Rhode Island.

An Invitation from Howard Pyle

How would you like to have gotten this in the mail? It's an invitation - hand-lettered and decorated by Howard Pyle himself - for an event held 106 years ago tonight at 1305 Franklin Street, in Wilmington, Delaware. For those who trip over archaic ligatures and long s's, here is a transcription:

Mr Pyle presents his Compliments and will be happy if you will attend a Bohemian Card Party at his Studio on Saturday, the twelfth day of March, Nineteen Hundred and Four, at Eight o'clock in ye Evening. (Tobacco, Etc.)

A guest list has yet to surface, but one invitee was Henry Francis du Pont, 23, who later founded Winterthur Museum, and was the only son of Pyle's friend Colonel Henry Algernon du Pont. Young Henry brought along another guest, with the host's permission: "Any friend of your father’s son shall always be welcome under my roof," Pyle had assured him.

Pyle's students came, too, after having spent (according to Allen True) "a fine afternoon making things for the evening while [Pyle] painted at his mural decoration and swapped stories." True said they played "a very funny game called Muggins" and that "there was a fine crowd of young people - cards till about eleven when chafing dishes were spread around and we had a Dutch feed and some good singing. It was delightful all the way through and had a distinctive flavor very different from most occasions of the sort."

100 Years Ago: Ladies' Home Journal on Howard Pyle

The following, yes, fluff piece on Howard Pyle comes from the March 1910 issue of the Ladies' Home Journal. I don't know who wrote it and the part about his "vulnerable pocket" might be a stretch (more about that later), but it's entertaining nevertheless...


An Artist Without A Pose

It isn't often that one meets a successful artist devoid of affectation or the eccentricities of genius, but who is just a plain, every-day man, round-faced, jovial, with kindly eyes, a pleasant smile, and a mind absolutely abhorrent of pretense.

But that is Mr. Howard Pyle, the moving spirit of a unique and incessant colony of art workers in a studio at Wilmington, Delaware - a man who, by his own creative work and the wide influence he has exerted through his numerous pupils, is known as the founder of an American school of illustration.

He is the kindliest of men, a lover of children and loved by them, and his smooth face beams benevolence wherever he goes. There is no deception about the beam either. Every time he appears in the streets of Wilmington the youngsters are lying in wait for him, for they know his pocket is vulnerable. And he cannot resist their importunities.

For years he maintained a school for struggling artists, giving his service as critic and mentor free. Himself a painter, but chiefly renowned as a writer and illustrator of books and magazines, Mr. Pyle found his greatest pleasure during many years in imparting his knowledge to young men of promise, absolutely without remuneration.

Although he has discontinued this school, he still devotes half an hour every morning at his studio to criticism of those art works which are brought to him. His association is no longer with pupils but with brother artists, for he says, "I criticise their work as one artist criticises another."

This statement is characteristic of the intense modesty of the man. Those who bring their work to him are very far from regarding his criticism as merely that of a brother artist on an equality with themselves. He shuns all those things commonly known as theories or principles, disclaims any desire for the "uplifting of art," and avoids those high-sounding phrases which have become catch-words among artistic poseurs. Nor will he be tempted into the expression of any partisanship in favor of this or that "school."

His artistic creed is so simple and practical as to appear almost commonplace. Yet his pupils know well it is not; it is that art should represent what the people want, what they love; that the artist should base his work on simple statement of natural and psychological fact; that Americans should study at home in their own country, instead of flocking to France, where art, he thinks is "decadent," where the exhibitions, he says, are "decidedly bad in drawing and color," and where there are no longer any teaching artists who may be called "distinguished."

Then he will talk along quietly of his interest in the work of young artists, of his constant pleasure in helping them along over difficulties. He will speak of inspiration as a thing wholly normal to the normal man, and will tell you that all of his own work is done with no grandiloquent purpose, but only because he finds it natural and desirable to do it.

There is no pose about Howard Pyle: great as an illustrator, perhaps the greatest in America, he is equally as great as a man.

Where Was Howard Pyle Born?

Howard Pyle was born 157 years ago today in Wilmington, Delaware. But where in Wilmington? Readers of the Abbott or Pitz biographies might come away with the idea that he was born and raised at “Green Hill” (or “Greenhill” - and now “Goodstay”), the bucolic property on the outskirts of the city. While it's true that Pyle spent about seven years there - more time than at any of his other childhood homes - his father, William Pyle, only purchased the place when Howard was 18 months old.

The 1853 Wilmington City Directory, however, tells us that William Pyle, patent leather manufacturer, resided at 224 Market Street. Simple enough. But where was 224 Market Street? In those days, before citywide renumbering, it stood between Eighth and Ninth Streets. Market Street, then Wilmington's main thoroughfare, was busier at its commercial lower end, toward the Christiana River, but above Eighth and up to the Brandywine it was a quieter stretch lined with colonial residences and newer townhouses.

William Pyle’s older brother and business partner, Cyrus, lived across the street at No. 225 and their immediate neighbors were predominantly doctors, lawyers, and merchants. The house at 224 had been built on the grounds of the old Wilmington Academy, where the Declaration of Independence had been read in 1776, and where, in 1786, a visiting Benjamin Franklin (joined by Dr. Benjamin Rush and James Madison) performed an experiment with electricity. In 1832 the Academy was torn down and replaced with private homes. (A misplaced note of mine states that No. 224 in particular was erected in 1835.)

I don't know how long the Pyles stayed there - three years at the most. William Pyle married Margaret Churchman Painter on September 30, 1851, and I gather they set up house soon after - perhaps at No. 224. But on September 25, 1854, William bought “Green Hill” for $10,000 and the family moved on to more rural surroundings. At the start of the Civil War they left “Green Hill” and in the 1860s and ’70s wound up renting three other houses on Market Street.

As time went on, new buildings sprang up near No. 224 (or No. 826, after the renumbering), most notably the Masonic Temple or Grand Opera House, which opened in late 1871. It was separated from the Pyles’ old place by only one other townhouse. And at the turn of the century the Garrick Theatre was erected directly adjacent to the house, which had been used primarily for business since the 1880s.

So far I haven’t found too many images of the house, but here are a few...

This crude engraving comes from John Thomas Scharf’s History of Delaware (1888). The six windows on the far left presumably represent 224 (or 826) Market Street.

In this 1890s view, the house is partially obscured by a pole and a wagon, and sits to left of the place with the bright shutters.

In this photo, taken in 1906 at the latest, we see the house again partially obscured by a pole and butted up against the Garrick Theatre, which opened November 23, 1903. The sign on the wall between the second floor windows might have advertised the law practice of Benjamin and John Nields, which was located there for many years.

Later photos suggest that the building was re-sided or remodeled, but, either way, the original structure was pulled down long ago. And one of these days maybe we’ll know for sure whether or not Howard Pyle was born there on March 5, 1853.

NOTE: Another scrap of evidence can be found here.