AMERICAN GRAPHIC AR WEITENRAMPF UNIVERSITY OF CALIFORNIA AT LOS ANGELES oi AT UBRAH& STUDY Lithograph by John S. Sargent AMERICAN GRAPH I C ART BY F. WEITENKAMPF Chief, Art and Prints Divisions, New York Public Library Author of "How to Appreciate Prints," etc. WITH ILLUSTRATIONS NEW YORK HENRY HOLT AND COMPANY 1912 146412 COPYRIGHT, 1912, BY HENRY HOLT AND COMPANY Published October, 1912 THE QUINN A BOOFN CO. PREIS RAHWAr, N. J. ME: 5*05 \AJ43o- A WORD OF EXPLANATION THE history of American painting and sculpture has been written more than once in recent years. That of the reproductive graphic arts as a whole remains to be told. There are such monographs as W. J. Linton's excellent and partly polemical record of American wood-engraving and Ripley Hitchcock's very useful vol- ume on etching in the United States, both published in the eighties of the last century. There is, too, D. McN. Stauffer's alphabetical record of our engravers on copper, an invaluable book of reference. But the only connected and comprehensive account of American graphic art ap- peared, strange to say, in German. In the last decade of the nineteenth century, the Gesellschaft fur Fervielfalti- gende Kunst, of Vienna, issued its monumental four- volume work on " contemporary reproductive art," the history of the achievement of the nineteenth century. In this, the American section was covered by the late S. R. Koehler for etching and wood-engraving and by the pres- ent writer for lithography. The story is one worth tell- ing in English. And it should be carried back to the early products of our art, of such a strong historical in- terest, and down to the most recent efforts at original expression, as we see them in the present revival of painter- etching, and in the individual adoption of the wood block and the lithographic stone as painter-media. VI The object of the present book is to group scattered facts in a brief but clear review of the whole field of American graphic art. It is not intended to present a detailed list including every artist who may have practised any of these arts in this country, but to offer a survey that will bring out salient or characteristic personalities and tendencies. In place of a formal bibliography, citation of literature on special topics is made at the proper places in the body of the book. Thanks are due to Messrs. Charles Scribner's Sons for permission to reprint certain paragraphs from my con- tributions to their magazine. F. W. CONTENTS PAGE CHAPTER A WORD OF EXPLANATION v I ETCHING: EARLY ATTEMPTS AND THE NEW YORK ETCHING CLUB PERIOD i II ETCHING: THE PRESENT REVIVAL 38 III ENGRAVING IN LINE AND STIPPLE: THE EIGHTEENTH CENTURY 51 IV LINE AND STIPPLE IN THE NINETEENTH CENTURY .... 75 V MEZZOTINT (THE ART OF ROCKER AND SCRAPER) .... 107 VI AQUATINT AND SOME OTHER TINTS 122 VII WOOD-ENGRAVING *37 VIII THE "NEW SCHOOL" OF WOOD-ENGRAVING 154 IX PAINTER-WOOD-ENGRAVING I7 1 X LITHOGRAPHY: A BUSINESS, AN ART 180 XI THE ILLUSTRATORS 20 5 XII CARICATURE 24 XIII THE COMIC PAPER 266 XIV THE BOOK-PLATE 291 XV APPLIED GRAPHIC ART: FROM BUSINESS CARD TO POSTER . . 312 INDEX 343 ILLUSTRATIONS Study. Lithograph by JOHN S. SARGENT Frontispiece PAGE Mud Boats on Thames. Etching by CHARLES A. PLATT ... 14 (Courtesy of F. Keppel & Co.) Theatre Royal, Haymarket. Etching by JOSEPH PENNELL ... 20 (Courtesy of F. Keppel & Co.) Summer at Easthampton. Etching by MRS. MARY NIMMO MORAN . 24 (Courtesy of F. Keppel & Co.) Mother and Baby. Dry-point by MARY CASSATT 34 A Bit of Mount Vernon St., Boston. Etching by CHARLES HENRY WHITE 40 (Courtesy of Harper fif Brothers.) Ralph Waldo Emerson. Etching by OTTO J. SCHNEIDER ... 44 Japanese Priest. Dry-point by CADWALLADER WASHBURN ... 44 The Poe Cottage, Fordham, New York. Etching by C. F. W. MIELATZ 48 Jonathan Mayhew. Line-engraving on copper by PAUL REVERE . 62 Andrew Jackson, after Sully. Stipple engraving by J. B. LONGACRE 76 Ariadne. Line-engraving, from a painting by John Vanderlyn, by A. B. DURAND 90 Cotton Mather. Mezzotint by PETER PELHAM 108 Sir Thomas Lawrence, after a painting by himself. Mezzotint by JOHN SARTAIN u6 New York from Governor's Island. Aquatint, after W. G. Wall, by JOHN HILL 126 Old Mills, Coast of Virginia. Soft-ground etching by JAMES D. SMILLIE 132 Old Dam. Aquatint by JAMES D. SMILLIE 132 Richard Mather, by JOHN FOSTER. The first known wood-engraving executed in the colonies 140 The Last Arrow. Wood-engraving after J. G. Chapman by J. A. ADAMS 140 The Haywain, after John Constable. Wood-engraving by TIMOTHY COLE 154 (Courtesy of the Century Co.) ix ILLUSTRATIONS PAGE Girl and Peonies, after Irving R. Wiles. Wood-engraving by HENRY WOLF X 66 (Courtesy of Harper & Brothers.) The New York Public Library. Black key-block of a two-color wood-engraving by RUD. RUZICKA 175 The two earliest known lithographs produced in the United States. Both by BASS OTIS 180 Washington. Lithograph by REMBRANDT PEALE 184 One of the " Campagne Sketches," a series of lithographs by WIN- SLOW HOMER 190 Flower-girl. Lithograph by WILLIAM M. HUNT 196 View on the Seine. Lithograph by H. W. RANGER .... 200 Limehouse. Lithotint by J. A. M. WHISTLER 202 A Scene from " Oliver Twist." A Scene from Cooper's " Leather Stocking Tales." Illustrations, engraved on steel, from designs by FELIX O. C. DARLEY 210 " There never was anything the least serious between us." Illustra- tion for Henry James's " Julia Bride," by W. T. SMEDLEY . 222 (Courtesy of Harper & Brothers.) Viewing the Battle of Bunker Hill, by HOWARD PYLE .... 230 (Courtesy of Harper & Brothers.) Illustration for " To-morrow's Tangle," by ARTHUR I. KELLER . . 238 (Courtesy of Bobbs-Merrill Co.) A Caricature of the War of 1812, by WILLIAM CHARLES . . . 250 One of the Anti-Tweed caricatures in Harper's Weekly, by THOMAS NAST 274 Cartoon, Puck, April 28, 1886, by JOSEPH KEPPLER .... 274 (Courtesy of Puck.) Book-plate of George Washington 294 A Group of Modern Book-plates by E. A. ABBEY, W. E. FISHER, W. F. HOPSON, E. D. FRENCH, S. L. SMITH, G. W. EDWARDS . 310 (Courtesy of Charles Scribner's Sons.) AMERICAN GRAPHIC ART AMERICAN GRAPHIC ART CHAPTER I ETCHING: EARLY ATTEMPTS AND THE NEW YORK ETCHING CLUB PERIOD THE first strong impulse toward the practice of painter- etching in this country came at the time of the founding of the New York Etching Club in 1877. There was a preliminary period of preparation extending over a dozen years, marked by the efforts of such men as Falconer, Cole, Warren and Forbes. Still earlier sporadic efforts take us back into the eighteenth century. According to W. S. Baker, Joseph Wright's portrait of Washington (1790) was probably the first etching executed by a painter. This profile, done " with much taste and freedom," said Baker, enthusiastically, was evi- dently copied in the similar one by Joseph Hiller, Jr. (1794) . The latter was described in a pamphlet ( 1907) by Charles H. Hart, who saw four impressions, all on the backs of playing cards, and found the original plate. It is recorded also that St. Memin etched two large views of New York City, and a business card for Peter Mour- geon, copper-plate printer from Pans. And one may go farther and extract from the pages of Dunlap's " His- tory of the Arts of Design in the United States," or Stauffer's useful work, or Ripley Hitchcock's little vol- 2 AMERICAN GRAPHIC ART ume on " Etching in America " (1886), packed with in- formation, names such as that of Pigalle (1797), who did title-pages, or John Rubens Smith (like D. C. Johns- ton, Hugh Bridport and others, he practised various methods), or Francis Kearny (said to have studied the soft-ground process as well). Dunlap himself was ini- tiated by Peter Maverick into whatever the latter might know of etching and executed a frontispiece for a " dra- matic trifle," published in 1797 or 1798 (a portrait of Wignell, the actor, in the role of Darby). As for oppor- tunity to study the technique of the art, printed directions existed here at least as early as 1794. In that year there was reprinted in Philadelphia the sixth edition of an English work entitled " The artist's assistant in draw- ing, perspective, etching, engraving, mezzotinto-scrap- ing, painting on glass, &c.," of which Chapter III, pages 33-37, is devoted to etching. A copy of the little book, bound up with seven other pamphlets into one volume, was in Washington's library. A picture of the Theatre in Chestnut Street, Philadel- phia, signed Gilbert Fox Aquafortis, was presumably done about 1800. And we cross over into the new cen- tury with Alexander Lawson, the engraver, who " had points made for etching and tried that." He found em- ployment with Thackara and Vallance, whose " attempts at etching miscarried." W. Birch's " Country Seats of the United States" (1808) are also to be noted, as is the crude view of the Battle of New Orleans, signed Francis Scacki. And William Charles executed in soft-ground etching and roulette, for Rees' Cyclopedia, ETCHING: EARLY ATTEMPTS 3 two facsimiles of drawings by Poussin. At this time, also, Dr. John Rodman Coxe experimented in etching on glass with fluoric acid, executing a little landscape which was published in the " Emporium of Arts and Sciences " (Philadelphia) for 1812. But all of this early history is little more than a record of names and attempts. Excepting possibly a few pro- ductions, such as those with which Benjamin West (1801- 2) is credited, or those signed by Thomas Middleton, an amateur (1814), there is hardly anything of that time that can be regarded as painter-etching. Not only was most of it a matter of application of the art to portraiture and other practical ends, as in John Baker's plates of The Battle of Bunker's Hill, and of Washington Cross- ing the Delaware, done early in the thirties, but etching was, furthermore, usually not employed in its purity, but as a basis for line-engraving. There was an early attempt to use etching as a repro- ductive art; that, too, came to nothing. Robert W. Weir said that about 1820 he "copied some of Rem- brandt's etchings so close as to be with difficulty de- tected," and he " was on the eve of turning my attention seriously to the publication of etchings from various old pictures in the possession of different gentlemen in New York, but ... it fell through after the first or second plate was finished." England, from which so much of our art influence came in those days, furnished models for us also in the fields of caricature and book-illustration by etching. In the first few decades of the nineteenth century, etched 4 AMERICAN GRAPHIC ART caricature of the period of the third and fourth Georges had a weak reflection here in the productions of William Charles; and, later, George Cruikshank was imitated, in manner and choice of subject, in the " Scraps," which were issued periodically for a time in the thirties and forties, by David Claypoole Johnston. The Dickens period of illustration by etching, in England, had likewise its imitation here. Yeager re-etched the Cruikshank plates for the American editions of " Harry Lorrequer " and other books, and Frank Bellew illustrated the 1853 edition of John T. Irving's " The Attorney " in the man- ner of Phiz. All of which is recorded here, not because of any noteworthy influence on the development of orig- inal etching, but simply on account of its historical interest. One must not look in this early work for any of the characteristics of etching that we have learned to appre- ciate and prize. As Hitchcock points out, the etchings shown at the early Academy exhibitions in New York no more deserved the name than did the engravings of Smillie. Dunlap spoke of etching as a mere " auxiliary to engraving," and that is precisely what it was in his day and for a generation and more afterward. The fact that etching was used as a first stage in line-engraving on steel would not necessarily promote original produc- tion. (Nevertheless, etching in its role of a handmaid to line-engraving was used with knowledge and delicacy by such men as James Smillie, A. H. Ritchie and R. Hinshelwood.) In one case, that of John Gadsby Chapman (painter of the Pocahontas picture in the rotunda of the Capitol ETCHING: EARLY ATTEMPTS 5 at Washington), a natural predisposition to a measured precision of statement, joined to a liberal use of the ruling machine for the skies, resulted in plates of a delicate, neat execution that have much of the formality of bank- note art. And in the occasional etchings of a profes- sional engraver such as Joseph Yeager, who etched por- traits and closely copied Cruikshank's plates for Ameri- can editions of some books illustrated by him, one ex- pects even less to find the freedom and swing of the needle used as a means of direct personal expression. Even George Loring Brown, who did a series of nine etchings in Rome (1853-55), published here in 1860 with the title " Etchings of the Campagna," was influ- enced by the conventions of the time. Like Chapman he affected finish and tone; but his effects are richer. Emanuel Leutze and E. J. Kuntze are listed among those who did some etchings at about this period. Hermann Carmiencke, who came to this country in 1851, executed plates with the completeness of effect of a Waterloo, or Dietrich ("Etchings of American, Italian and German Views," published by Emil Seitz, New York). T. F. Hoppin pictured the Escape of Captain Wharton and the Rescue of John Smith in peculiar, heavy outlines for the American Art Union (1848-50). The fact that the vol- umes on "Tuscan Sculptors" (1864) and "Italian Sculptors" (1868), by Charles C. Perkins, were illus- trated in etching by the author, is noted simply on ac- count of this somewhat unusual use of the medium. A highly valuable historical review of this introductory period was offered in the exhibition of nearly six hundred 6 AMERICAN GRAPHIC ART plates by about a hundred American artists, held in the Boston Museum of Fine Arts in 1881. It included work by Dunlap, D. C. Johnston, R. W. Weir, W. Franquinet (1845), W. W. Weeks (1845), Thomas G. Appleton (1847), Henry B. Gay (1849), J- G. Chapman, Wil- liam Wilson (1849) an d Edwin White (1849). And so we come to about the middle of the century, when painters began to interest themselves in the art. Whistler had begun his French set as early as 1858, and his Thames set in 1859, but there was no immediate response here to the appeal that his works constituted. It remained for the next generation to appreciate fully such works as his Kitchen, Vieille aux Loques and Black Lion Wharf. After them came his Venice plates, of a vivacity, a sureness of vision, a sense of adjustment of means, a pre-eminent mastery in selection, an exquisite- ness of execution that have placed him in the front rank of the etchers of all time. It is surely not necessary here to say more, to attempt to summarize what has been written of his etched work by the Pennells, Bacher, Menpes, Theodore Duret or Miss E. L. Gary. Two definitive catalogues of his plates have been issued, one by Howard Mansfield for the Caxton Club of Chicago (1909), the other by E. G. Kennedy for the Grolier Club of New York (1910), the latter sumptuously illus- trated with a reproduction of each etching. From the eighties to the present, the influence of Whistler has been decidedly felt in the work of our etchers. Meanwhile, however, we are in the sixties, and witnessing somewhat different tendencies and movements. ETCHING: EARLY ATTEMPTS 7 The late S. R. Koehler, in the chapter on the United States which he contributed to the important folio volume in German on contemporary etching (" Die Radirung der Gegenwart," Vienna, 1892-93), rather ingeniously points out that it was the rising French influence in art, after the middle of the century, bringing with it the note of individualism which was the real factor of importance in the development of painter-etching here. Before that, under the domination, successively, of England, Italy and Diisseldorf, with the accent on the subject in the picture, there were produced plates by men who worked in the spirit of the engraver, such as J. G. Chapman and George L. Brown, already referred to. In 1866 Cadart, the Paris publisher of etchings, came to the United States, held an exhibition of French etch- ings in New York City (in the Derby Gallery Chauncey L. Derby, 625 Broadway), and formed an American branch of the French Society of Etchers. A number of artists were interested through Cadart's efforts, Victor Nehlig, Edwin Forbes, J. M. Falconer, Charles H. Mil- ler, J. Foxcroft Cole among them. Forbes, who had been an artist-correspondent during the Civil War, did a series of Life Studies of the Great Army. They were only drawn by him on the grounded copper, however; the biting and printing were left to other hands. Falconer, who had made his first attempt in 1849, na d as Koehler says, " an open eye for the poetry of decay," and a peculiar, rough manner of presenting his views of streets and old buildings in New York, Boston and other cities, but he surely could work also in high finish. 8 AMERICAN GRAPHIC ART In the introduction to the fourth volume of the pub- lication of the Societe des Aquafortistes Francois, 1866, says Koehler, Castagnary wrote of Cadart's in- fluence here in rather superlative terms, as having won " a new continent for the cause." Some impetus to the practice of original etching was given by the Frenchman's efforts, but the results do not appear to have been far- reaching. Furthermore, an earlier impulse toward the practice of original etching is to be noted. Henry Russell Wray, in his " Review of Etching in the United States " (1893), writing with knowledge of Philadelphia affairs, records that as early as 1860 or '61, John Sartain illustrated the process of etching, by practical demonstration, for Thomas Moran and S. J. Ferris. The attention paid to etching as a possible means of expression for the painter began gradually to increase, and to be based on more seriousness and discrimination. The possibilities of the art were being more fully appre- ciated, the individual note became more pronounced. The little landscapes of A. W. Warren (died 1873), unpretentious, simple in method, showing much of what etchings should have, are among the most satisfactory results of this period. In 1872 Henry Farrer entered on the path since followed with such success by Pennell, Mielatz and others, by bringing out a series of views of New York. Farrer had an idyllic vein, a liking for tonality, a preference for sunset effects with the simple, direct expression of mood which they permit, all charac- teristics sure to win popularity and honest artistic feel- ETCHING: EARLY ATTEMPTS 9 ing withal. Also I have seen at least three plates by Wyatt Eaton, two heads and a study of a plant (1877). All these are not startling facts. There were neither dar- ing innovations nor brilliant achievements, nor even, on the whole, a full understanding of the problem presented. But there was decidedly creditable accomplishment and the soil was being successfully prepared. Ripley Hitch- cock comments on the too heavy inking of Forbes's Life Studies, lacking the refinements mastered in Paris, and on the too dry printing of Warren's little landscapes, which, says he, appeared to much better advantage when reprinted in later years, having lost much of their hard, dry character through intelligent printing. This throws light on the defective knowledge here, at that time, of an important factor in the production of prints. Mr. Sidney L. Smith told me that the first " retroussage " printing was done in Boston in the early seventies. Estes and Lauriat wanted to have an etching by Rajon after Bonnat (Italian children) printed, and turned over the electro to Daniels, a well-known copper-plate printer. He printed with a " clean wipe," as one does from a visiting card plate. But the original had been " retrous- saged," a method then unknown here (even S. R. Koehler did not know of it at that time, added Mr. Smith). Daniels fussed over the plate and finally worked out the matter by himself. Many of our etchers have since then been their own printers: Whistler, Pennell, Smillie, Yale, Mielatz, White and others. Meanwhile, at the Philadelphia Centennial Exhibition of 1876, the etchings included a number of plates by io AMERICAN GRAPHIC ART Americans, G. L. Brown, Forbes, Peter Moran, S. J. Ferris, Volkmar (two plates " done in Paris and exhibited at the Salon," says Wray). The medal was awarded to Peter Moran, of whose prints a dealer ordered twelve sets and published them in a portfolio. Publication of etchings was undertaken here- much earlier, however. Emil Seitz has been named, and Hitchcock records that F. B. Patterson (who secured plates and tools and en- deavored to interest such artists as C. S. Reinhart and E. A. Abbey) " began to deal in portfolios of French etchings soon after the Cadart exhibition," and issued a portfolio of Farrer's New York views in 1872. "By degrees," Hitchcock adds, " print collectors began to look for modern etchings." Notwithstanding all this, it appears that when the Fairmount Park Art Association (of Philadelphia), hav- ing purchased the Dying Lioness, issued an etching of the group by Peter Moran, it was met by most of the subscribers with forcible disapproval. They had ex- pected an engraving, asked " what is an etching," and gen- erally considered themselves swindled. There was evi- dently a field here for pioneer effort in improving the state of knowledge of the art. On May 2d, 1877, there was held the first meeting of the New York Etching Club. On that occasion, three men joined in the production of a little plate for the in- struction of their fellow-artists. James D. Smillie, whose knowledge of technical processes was unsurpassed in this country, "grounded" the plate; R. Swain Gifford, the landscape painter, drew the design; and Dr. Leroy M. ETCHING: EARLY ATTEMPTS n Yale, a physician and an enthusiastic and able etcher, worked the press. The original plate is to-day in the print room of the New York Public Library, and the print appears also as a frontispiece in J. Ripley Hitch- cock's " Etching in America." A delightful description of the production of this little plate was given by J. D. Smillie, who was particularly active in promoting and spreading interest in the art, in the preface to the illus- trated catalogue of the club's first exhibition. This initial show was held in 1882, and included foreign work. For a number of years the exhibitions of the club, with the quarto catalogue illustrated with etchings, formed an interesting pendant to the annual display of the American Water Color Society in the old Academy building at 23d Street and Fourth Avenue, New York City. A num- ber of artists responded, with discriminating understand- ing, to the impulse for painter-etching which made itself felt. In their different individualities they emphasized the variety of effect possible to the etching needle. Some of them ran to prettiness, to sweetness, to that smoothness of statement and choice and treatment of subject that find a readier response from the average man than does an appeal to a higher standard. We need not judge that harshly to-day. Was it natural on the artist's part, was it an intentional tempering of the atmosphere to the pros- pective purchaser's taste, was it perhaps a necessity thus to prepare the general public gradually for the apprecia- tion of good painter-etching? At all events, there re- mains so much work of more than creditable attainment, iz AMERICAN GRAPHIC ART that we can look back on this period with a satis- faction that does not need the apologetic attitude of patriotism. The movement was not limited to New York. Or- ganized interest and effort in the cause of painter-etching crystallized around similar organizations in other cities. The Boston Etching Club, founded in 1881, held its first exhibition in 1883, with a catalogue etched throughout, text and illustrations; among the members were E. H. Garrett, F. T. Merrill, F. G. Attwood and J. E. Baker. The Scratchers' Club, of Brooklyn, born in 1882, under the auspices of G. W. H. Ritchie, Walter M. Aikman, Carleton Wiggins, Benjamin Lander, Stanley Middleton, Charters Williamson, W. E. Plympton and Edwin E. Rorkey, lived for a few years. (I saw a reference to a Brooklyn Etching Club in the old New York " Studio " as late as 1890.) " Sometimes," says Mr. Aikman, " one of the members would have a plate to * bite,' and our friend George W. H. Ritchie pulled the proofs. We never had an exhibition for the simple reason that we never made enough plates to hold one." Both Boston and Brooklyn were antedated by Cincinnati and Phila- delphia, where organizations were established in 1880. The Etchers' Club in the former city included H. F. Farny, M. Louise McLaughlin, the ceramic artist, who wrote a little treatise on etching and had an exhibition of her work in New York in 1892; Emery H. Barton, Elizabeth Nourse and Caroline Lord. The Philadelphia Society of Etchers held its first exhibition in the same year (1882-83) as the New York club, and an etching ETCHING: EARLY ATTEMPTS 13 class formed in the Philadelphia Sketch Club also did much to popularize the art. Wray notes with satisfaction that the Philadelphia society was founded by men with a " much more ad- vanced knowledge of etching " than the rank and file of the New York association. The membership list in- cluded P. Moran, S. J. Ferris, Pennell, Parrish, B. Uhle, J. Neely, Jr., W. J. Le Fevre, Hermann Faber, H. R. Poore. Of the catalogue of this first Philadelphia show, " devoted exclusively to painters' etchings," there was issued also a special edition, quarto in size, with etched illustrations. It included 1,070 numbers, of which 356 were by American artists; the introduction was by S. R. Koehler, as was the one in the catalogue of the Boston Museum's exhibit of 1881. The latter comprised 548 pieces by 106 American artists, covering the country from New England to California, for even San Francisco is represented by some plates by Virgil Williams and pupils. Seven names stand for Cincinnati, two for Chicago and three for Indianapolis. The list includes also one plate by George Inness. In the same year (1881) the Royal Society of Painter Etchers in London held its first ex- hibit, to which the American artists, Bacher, Albert F. Bellows, Church, Duveneck, Falconer, Farrer, Gifford, Kruseman van Elten, M. N. and T. Moran, Parrish, Smillie, Vanderhoof and Otto Weber contributed. In- terest was stimulated also by Sir Seymour Haden's lec- tures on etching during the winter of 1882-3 in New York and 1883-4 in Philadelphia, and in other cities. So the seed was falling on receptive ground. Much of i 4 AMERICAN GRAPHIC ART the product is forgotten to-day, but much also stands as a noteworthy reminder of this spreading interest in a fascinating art. Indeed, not a little of the work is quite astonishing in its sureness, considering the comparatively slight experience of its authors. " In quick mastery of detail and ready adaptability," said Hitchcock, " it would be hard to surpass our etchers; but want of originality, lack of the personal inspiration behind the executing in- strument, the timidity or presumption of inexperience, and want of training in drawing, for example are be- trayed upon the copper plate as easily as upon the can- vas. . . . But criticism is met by one fact. All this production of etchings has been evolved from nothing within a very few years. A new field has been opened in American art." American etching of the second half of the nineteenth century will have an honorable place in the history of the art. Time spent in looking over the plates which painters such as R. Swain Gifford (who etched as early as 1864), J. C. Nicoll, Samuel Colman, Kruseman van Elten, Peter Moran, Thomas Moran, J. A. S. Monks, John H. Hill, Charles H. Miller and W. L. Lathrop found time to produce is well repaid. A noteworthy characteristic of their work is its sanity, its conservative abstention from undue striving after effect or forced individuality. Most of it is born of an understanding of the limits of etching though not fully of its resources and of its peculiar nature. It offers such contrasts as the big, picturesque swing and sweep of Thomas Moran's Gate of Venice, the light grace of F. S. Church, the finished effect of ETCHING: EARLY ATTEMPTS 15 Kruseman van Elten and the few lines and scratches of C. H. Miller's A Sun Shower. In the last the impression of an effect is gained in some way shorter even than the short-hand method of J. B. Jongkind, the Dutch etcher. In such a case, much depends on the printing; clean-wiped, such an etching would be a mere skeleton. There was, too, a group of men who devoted them- selves more or less exclusively, even if only for the time being, to etching, or who, at least, were best known in their capacity as etchers. Stephen Parrish (now paint- ing), whom Hamerton characterized as "sincere and straightforward," soon emancipated himself from what- ever influence of Appian has been found in his earliest works. His power developed rapidly, and he executed eighty-six plates in the years 1879-83. Charles A. Platt (since turned to landscape gardening), whose deft sure- ness and judicious and delicate suggestion were shown especially in his treatment of water, brings to mind such masters of that specialty as Haden and Storm van's Gravesande. A catalogue of Platt's plates was prepared by Richard A. Rice (1889), and of other etchers there are helpful dealers' exhibition catalogues in the case of Parrish (1886), Peter Moran (1888) and Thomas and Mary N. Moran (1889), and museum or society exhibi- tion catalogues in the case of J. D. Smillie, Blum, Pennell, Getchell and others, and a manuscript list (1906, in the New York Public Library) in that of Yale. James D. Smillie was, until his death in 1910, a living link between those days and the present, and there are others still etching to-day. Charles A. Vanderhoof, an 1 6 AMERICAN GRAPHIC ART excellent original etcher; Thomas R. Manley, who found interest in such subjects as the Hackensack meadows, and could give completeness of pictorial effect without insist- ence on detail; and Alexander Schilling, Joseph Pennell and C. F. W. Mielatz. Other names come to mind: W. C. Bauer, W. Goodrich Beal, Prosper L. Senat, Robert F. Bloodgood, Carlton T. Chapman. More yet can be gleaned from the Boston (1881) and Philadelphia (1882) exhibition catalogues or in Will Jenkins's Amer- ican chapter in Charles Holme's " Modern Etching and Engraving" (New York, 1902); not all, however, can be said to have enriched American etching by noteworthy additions. A great variety of method and manner and viewpoint is offered in the considerable product of those days. The bulk of the really noteworthy work was in land- scape. Figures appear much less frequently and animal pieces yet more rarely. Water always had a certain at- tractiveness on account of its effects of reflection and movement. River and harbor scenes were depicted by Farrer, Platt and others. Coast scenes, similarly bring- ing water and land into juxtaposition, likewise occasionally held the attention of etchers, Pennell, Mielatz, Moran, Parrish. J. C. Nicoll laid more weight on the water itself, as, for example, in his In the Harbor. In such a plate, or in the two or three attempts by M. F. H. de Haas, we get more of the feeling for, and understanding of, the sea. Koehler records promising beginnings in the same direction by Walter F. Lanfil, without farther results. ETCHING: EARLY ATTEMPTS 17 Among those who paid some attention to figure sub- jects in etching were J. J. Calahan, J. Fagan, F. M. Gregory, W. H. Shelton, J. W. Beatty, Joseph Lauber, H. N. Hyneman, L. Moran, F. W. Freer. All working with intelligent craftsmanship, but usually not in the spirit of painter-etching, striving for a completeness of effect that gives their work the appearance of having been done after paintings. Many of the artists of the day, in fact, were drawn to reproductive etching, even Winslow Homer (Saved and The Life Line}, whom one would have ex- pected to develop into a true painter-etcher. Alfred Brennan, a deft pen-draughtsman, showed picturesque qualities. I. M. Gaugengigl paraphrased some of his paintings of eighteenth century subjects in a free, swing- ing style. F. S. Church repeated in his plates the world of mermaids, nymphs, captive and love-sick lions and what not of his paintings, with a happy acceptation of appro- priate limits, in a light, summary, merely indicating man- ner in harmony with the playful spirit of his subjects. John Ames Mitchell, who was originally an architect and subsequently became editor of " Life," did some plates, mostly in Paris, among them a series of ten, A travers I'Exposition 1878, and a scene on the stage of the Paris opera house, all in a lively, graceful style, and with a touch of humor, qualities which we find later in his pen-sketches for " Life." Expression of American life was practically absent in the work of our figure etchers, if we except reproductive plates such as those in which Thomas Hovenden so well copied his bits of negro character (Dem was good old 1 8 AMERICAN GRAPHIC ART Times, etc.), or those in which T. W. Wood attempted to translate his own paintings. Animal subjects were even less frequently to be met with. One thinks naturally of the few plates by J. Fox- croft Cole, and of the sheep-pieces by J. A. S. Monks. Most noteworthy were the cattle-pieces of Peter Moran, in which completeness of effect is joined to a free and vigorous line, so that one does not get the impression of an attempt to imitate engraver-like finish. In them, elab- oration is joined to the " discretion which knows where to stop," wrote Mrs. Schuyler Van Rensselaer, who added that they showed no " finish " for the mere sake of finishing. Moran remained the artist-etcher, though occasionally succumbing, like Parrish and others, to the temptation of the time and of the publishers, by doing very large plates for wall decoration. While these large framing-prints are good of their kind, his smaller ones will remain the most valuable. Quantitatively, as already said, it is in pure landscape etching that the greatest amount of noteworthy effort appears, and with a refreshing understanding of the art and a wide range of personal expression. There is the " nervous vitality " of Thomas Moran, a master of tech- nical aids to serve his purpose. His prints vary from small ones in which effects are simply indicated, to large ones carried out in complete reproduction of paintings by himself and others. All are marked, however, by bold- ness in conception and vigor in execution, and, as Koehler puts it, " with a successful indication of color effect." There is the more serene temperament of H. D. Kruse- ETCHING: EARLY ATTEMPTS 19 man van Elten, with a happy choice of subjects likely to be popular (Twilight on the Housatonic et al.) skil- fully presented with a disdain of mere suggestion that leaves little to the imagination of the beholder. This last quality is apparent also in the painstaking minuteness, accentuated by dry printing, of John H. Hill, among whose best plates is one after his father, John W. Hill, a happy rendering of a placid landscape, with cattle fording a stream. B. Lander, too, was devoted to detail and tone. Again, there is the richness of color in Samuel Colman's characteristically individual scenes, original in conception, usually etched in strong lines with dry-pointed tones, and done in an artistic spirit that stimulates the imagination. Like Colman, R. Swain Gifford was a true painter-etcher. While attracted by motives in the Orient, Venice and Holland, he made his strongest appeal in the expression of the mood of the apparently monotonous scenery of the New England coast. He attained his effect with few lines, lightly yet firmly set down. James D. Smillie, a master of technical media, had to counteract the influence of years of service in the cause of line-engraving, with its formality, and of commissions to do reproductive work not always worthy of his powers. As I remember him, even to the end of his long and useful life he was his own severest critic. And whenever he had the opportunity to employ his mastery of etching, or dry point, or aquatint or mezzotint in the production of a plate done con amore, absolutely for its own sake, the result was apt to be a joy to the eye. One may single 20 AMERICAN GRAPHIC ART out, for example, his flower-pieces, drawn in dry point directly from nature, among them a bunch of pansies of remarkable variety and gradation. Pennell, referred to in his early days as " the Meryon of Philadelphia," is known particularly as an etcher of city views, a draughtsman of astounding sureness of eye and hand. He used and is using his art with quick resource- fulness, and with a simplicity and directness born of the ability, so necessary in etching, to select, and resulting in what some one, in his case, has called a " wise reticence in line." A well-illustrated monograph on his art, by the present writer, was published in Vienna in 1910. Mielatz, like Pennell, is identified closely with the beauty and in- terest and picturesque qualities of the city, especially of New York City. These, often unnoticed, his artist's eye sees clearly and his hand makes clear to us, with frequently a freshness of view that invests them with the interest of a new scene. His versatility is indicated by the fact that while Huneker well said of him, " His line is firm, virile, lean, even ascetic, rather than rich or luxurious," and concluded that he was therefore at his happiest in architecture, Mielatz was at about the same time doing his series of views at Georgian Court, Lakewood, which are noteworthy for vivacity and richness. A large proportion of all these artists worked in pure etching, but other aids were occasionally resorted to. Thomas Moran's command of such helps has been referred to. His wife, Mary Nimmo Moran, used the roulette in various plates, and " Scotch stone " (a substance used to reduce plates) in Twilight, Easthampton. Parrish Courtesy of K. Keppe! >t Co. THEATRE ROYAL, HAYMARKET Etching by Joseph Pennell ETCHING: EARLY ATTEMPTS 21 sometimes roughened his plate by acid or other means, S. J. Ferris employed roulette and stipple, and Road to the Beach, by C. F. W. Mielatz, an indefatigable ex- perimenter in technical processes, is executed in roulette, aquatint and soft-ground etching. The last-named process has been employed by J. D. Smillie, C. A. Vanderhoof, Henry Farrer (who showed a small plate at the New York Etching Club in 1888), Kruseman van Elten, and more recently by Mary Cassatt, A. T. Millar, George Senseney, or by Mielatz, again, as in his Pell Street Bal- cony, marked by what Huneker called " his delicate sense of color sparingly indulged in." The somewhat unfortu- nate effect of double printing in the sky of J. C. Nicoll's In the Harbor is caused by the employment of a double needle, and the late Dr. Yale told me that he occasionally used a half-dozen or so of needles set in one handle. The use of such short cuts is always of questionable appropri- ateness. Still another noteworthy factor in the production of most of these men is their efficiency as printers. Smillie was an excellent printer; so was Moran, whose plates are said to have given best results when he did the printing himself. Parrish knew how to get effects in printing, often leaving the sky blank, for example. Pennell has often been his own printer, and Mielatz is an expert at the press. Whistler's attention to this important part of the etcher's equipment is well known; the penciled butter- fly and " imp " is a familiar addition to proofs of his plates, and some of the latest photographs taken of him show him at the press. And not a few of the younger 22 AMERICAN GRAPHIC ART men who will be considered in the next chapter have realized the importance of the printer's art and have prac- tised it successfully. The fair sex contributed a notably large proportion of our etchers. Not a few of them worked in a more serious spirit than that which may have inspired Hood when he wrote in his lines on the " needlework art " of etching : " It scarce seems a ladylike art that begins With a scratching and ends with a biting." The exhibitors at the New York Club and elsewhere included a number of women. Their work was also shown separately at the Boston Museum in 1887, and at the Union League Club, New York City, in the follow- ing year, with a catalogue for which Mrs. M. G. Van Rensselaer wrote an interesting introduction. Of this number were Miss Cole (sister of Thomas), who experi- mented with the etching needle as early as 1844, Eliza Greatorex (another artist who has delineated the pictur- esque side of New York City for us), Mrs. Anna Lea Merritt (one of our few etchers of figure subjects), Mrs. E. L. Pierce Getchell, Mrs. J. H. Twachtman ("whose few little plates are treated with surprising freedom and lightness," wrote S. R. Koehler), Ellen Oakford, Gabri- elle D. Clements, Blanche Dillaye, Margaret W. Lesley (now Mrs. H. K. Bush-Brown), Mary Cassatt and Mrs. Mary Nimmo Moran. The best of their work deserves praise unmodified by any reference to sex and supposed ETCHING: EARLY ATTEMPTS 23 weakness, as the present writer pointed out in an article on " Some Women Etchers " in " Scribner's Magazine " for December, 1909. Mrs. Moran, a virile talent, with all her energetic em- phasis and bold directness, did not lose sight of the pictorial effect which occupied her primarily. Generally, her etchings are marked by energetic emphasis rather than delicacy or smoothness, yet Autumn, Edge of Georgica Pond, Easthampton, is of a sunny lightness. Miss Mary Cassatt has helped us to see the beauty in the relation between mother and child without calling in the adventitious aid of silly prettiness or saccharine senti- mentality. Her dry points, with their wise restraint of linear expression, robust in method and sensitive in feel- ing, are among the best work produced in this field by Americans. She lives in France, where she was first ap- preciated, and where until quite recently she was under- stood better, probably, than in her native land. While this wide-spreading movement, centering about the associations mentioned, was witnessed here, Whistler had found Venice. His Venice, a city of picturesque bits of canal, of inviting doorways and cool arches, light balconies and graceful architectural ornament. Such he showed her in a series of delightfully airy and sunny im- pressions of this Queen of the Adriatic as she appears to- day, without any paraphernalia of ducal grandeur and civic or ecclesiastical display and circumstance which lent its pomp to the Venetian scenes of quattrocento or cinque- cento painters such as the Bellinis. Interest does not center about any story concerned with the human figures 24 AMERICAN GRAPHIC ART in his etchings; they simply take their place as parts of the scene. With Whistler in Venice were Frank Duve- neck, Otto Bacher, Theodore M. Wendel and others, forming a little circle of American artists. Charles A. Corwin, George E. Hopkins and H. Rosenberg, in Italy at about the same time, produced only isolated plates, akin to each other in manner and subject. The Whistler influence has been felt to most recent times, even in the work of artists who subsequently assimilated it. Bacher has left an interesting record of those days in his book "With Whistler in Venice" (New York, 1908), and the sale of his collection after his death (1910) brought to light some plates by Americans whose work is not often seen: Duveneck, of course, but also Miss Arm- strong, S. L. Wenban and Wendel (whose style has been characterized as "delicate and charming"). Duveneck did three plates of the Ducal Palace, Riva, so much in Whistler's manner that they were actually taken for that artist's work. His only other plate ex- hibited was Desdemona's House (1881), so said Koeh- ler, but, at all events, the catalogue of the Bacher sale included nine plates by Duveneck beside the three " Ducal Palace, Riva " etchings. Wenban, an Ohio artist who did much of his work in Munich, and whose somewhat Haden-like A Bavarian Forest is said to have won high praise at the Salon, was addicted to detail, yet broad in manner. His work offers such contrasts as his Rushing Brook, of a Klinger-like hardness and precision, and the remarkably free and airy Brook in Winter. Bacher himself executed a number of etchings of un- Courtesy of F. Keppel A Co. SUMMER AT EASTHAMPTON Etching by Mrs. Mary Nimmo Moran ETCHING: EARLY ATTEMPTS 25 usual force, concerning which I recall two critical com- ments. Seymour Haden said of the Venice set: "The whole of it, accessories and all, evinces a strong artistic feeling. Bold and painter-like treatment characterizes it throughout. S. R. Koehler, writing of the Bavarian plates, notes that it was characteristic of Bacher that he " passed unmoved the Walhalla . . . and then stopped to make a loving study of a rickety old wooden bridge." Koehler adds, too, that later, under the influence of Whistler, Bacher's manner " o'erleaped itself and degen- erated into wildness. And yet it is impossible to close oneself against the telling effect of these plates. A stormy life surges in them." On the other hand, J. Alden Weir went his own ex- perimental way in a number of interesting and striking landscapes and some portraits. An article in the " Gazette des Beaux Arts " for September, 1911, holds out the prospect of a return to etching on his part John H. Twachtman echoed the delicate impressions of evanes- cent light and color effects of his paintings in a few etch- ings. Robert F. Blum produced some twenty plates, among them his own portrait and The Hag, of a peculiar richness and snap, all the more interesting as he discrim- inatingly avoided the transference of the Fortuny method of his pen-and-inks to trie copper, a tendency all too natural for the illustrator. Blum did one plate, by the way (The Modern Etcher, 1883: a portrait of W. M. Chase, who himself did a Jester and two or three other plates), by a process of photographing a pen-and-ink drawing on to a specially prepared ground. The result 26 AMERICAN GRAPHIC ART was a pen-and-ink drawing rather than an etching. It is not exactly easy to clearly define the difference. Its appre- ciation is based on recognition of the old truth that the nature of the medium imposes its character and its limits on the result, and that the etched reproduc- tion of a pen-and-ink drawing somehow does not have the same quality as an etching produced in the usual way. There was, in all that is here recorded, undoubtedly very much disinterested enthusiasm for an art that is pecu- liarly fitted for a certain intimate expression. The move- ment made up of all these individual efforts found support in the "American Art Review," which furthered the cause of etching in the same conspicuous and discriminating manner as Hamerton's " Portfolio " in London. Edited by that sapient German, Sylvester Rosa Koehler, it was one of the most noteworthy and distinguished art periodi- cals we ever had. It was issued at Boston during 1880 82, and before effacing itself with a graceful valedictory it published etchings (painter-etchings, generally) by a number of American artists, with critical appreciations by Koehler, and a catalogue, in each case, of the artist's work. Koehler's effective agitation, by the way, included also a large volume on etching in general (New York, 1885), and was carried on likewise by word of mouth. While he was delivering a lecture on etching at the Gotham Art Students' rooms in New York City, Shirlaw roughly sketched his portrait on a plate which, I understand, was bitten and printed from in the course of the address. Two impressions form part of the Avery collection in ETCHING: EARLY ATTEMPTS 27 the New York Public Library, one marked in pencil: " Nov. 27, '85, 2d impression at Mr. Koehler's lecture on etching, Gotham Art Student Rooms." The " American Art Review " went out of existence, but the seed was sown, and a number of sumptuous vol- umes, published in limited editions, and often in various forms to suit different pocketbooks (e.g., with " vellum proofs" at $100, "satin proofs" at $50 and "Japan proofs " at $35, all three with " remarques " " re- marques " must have had a rare attraction for the budding amateur and " regular impressions on etching paper at $12.50). There were "Original Etchings by American Artists" (1884), and "American Etchings" (1886), both with text by S. R. Koehler; " Recent American Etch- ings " (1885), " Notable Etchings by American Artists " ( 1886) , and " Representative Etchings by Artists of To- day in America " ( 1887), all three with text by J. Ripley W. Hitchcock; "Some Modern Etchings" (1886) ; and "Famous Etchers" (1889). Among the artists repre- sented in these publications were Bacher, Blum, James J. Calahan, J. Wells Champney, Church, Gabrielle D. Clem- ents, J. F. Cole, Samuel Colman, Elliott Daingerfield, Far- rer, J. L. G. and S. J. Ferris, F. W. Freer, E. H. Garrett, I. M. Gaugengigl, R. S. Gifford, F. M. Gregory, M. F. H. de Haas, Hamilton Hamilton, Wm. St. John Harper, Herman H. Hyneman, James S. King, H. D. Kruseman van Elten, Katherine Levin, Anna L. Merritt, Mielatz, Monks, Mrs. M. N., Peter and Thomas Moran, J. C. Nicoll, Parrish, Pennell, Platt, Joseph F. Sabin, Walter Satterlee, S. A. Schoff, W. H. Shelton, J. D. and George 28 AMERICAN GRAPHIC ART H. Smillie, Charles Volkmar, Frank Waller, T. W. Wood and L. M. Yale. Beside all the many names mentioned in connection with what I may call this " New York Etching Club period," there are still a considerable number more to be found in the catalogues of the Boston (1881) and Philadelphia (1882) shows, W. C. Bauer, Frank W. Benson, A. H. Bicknell, C. H. Eaton, John H. Niemeyer, William Sar- tain and many others. Some idea may thus be formed of the remarkable extent to which etching was taken up by American artists in those days. It was not all first- class work that they produced, not all done in the true etcher's spirit, but all illustrating, even by the surprising number of names, the rapid rise of interest among the public, the creation of a market. Market suggests dealer, and the full record of etch- ing in this country cannot be found, the complete list of those who practised the art in good, bad or indifferent manner cannot be drawn up, without referring also to the catalogues of certain print dealers. Such, for example, as Klackner's "American Etchings" (New York, 1888). In this latter, beside names mentioned elsewhere in this chapter, we find F. A. Bicknell, A. F. Bunner, M. J. Burns, C. C. Curran, Edward Loyal Field, O. H. von Gottschalk, George R. Halm, Louis K. Harlow, F. Leo Hunter, Daniel Kotz, C. Morgan Mcllhenny, E. F. Miller, Roland Rood, H. M. Rosenberg, C. H. Wood- bury and Theodore Wust. H. Bolton Jones (Winter), Robert V. W. Sewell (Canal Houses, Dordrecht), Car- roll Beckwith and R. C. Minor are still others who tried ETCHING: EARLY ATTEMPTS 29 their hands at etching, and at the exhibition of the New York Etching Club, as late as 1893, there appeared work by Robertson K. Mygatt, R. Cleveland Coxe and Leigh Hunt About this time also was formed the " Society of Amer- ican Etchers," which had for its object: " First, the eleva- tion of the art of etching; and second, the limitation of editions; every proof being guaranteed by the stamp of the Society." J. D. Waring was publisher for the Society, and Platt, Nicoll and Mrs. Moran were represented in the Society's exhibition in November, 1888. There were even some incursions into the field of book- illustration. Samuel Colman did plates for Alice Durand Field's "Palermo" (1885), and Dean Sage's "The Ristigouche and its Salmon Fishing " (Edinburgh, 1888) contained etchings by Platt, Henry Sandham and Mrs. A. L. Merritt. The last-named also executed some plates for a volume on her deceased husband, and in a book- seller's catalogue I came across editions of Goethe's "Faust" (1888) and "Hermann and Dorothea" (1889), both issued in Philadelphia, with etchings by Hermann Faber. Recent publications of the Bibliophile Society of Boston have contained etched portraits by W. H. W. Bicknell and James Fagan. Etching has also been called to the service of antiqua- rianism, of the interest in local and national history. Wil- liam Sartain etched Fraunces's Tavern for the Sons of the Revolution, W. H. Wallace and S. Hollyer illustrated New York City and Robert Shaw delineated, for the Colonial Society of America, buildings and places promi- 30 nently identified with the colonial history of our country. There was a certain use of etching for portraiture also. It had generally been used for that purpose as a prelim- inary to line-engraving, but in certain instances, as by H. B. Hall (in the seventies), portraits were done en- tirely in etching. The freedom of the etched plate as compared with the formality of the steel-engraving, made its appeal, and was exemplified by some artists. By Max Rosenthal and his son Albert, who did a series of por- traits of American historical characters; by S. Hollyer; and with particular sureness of hand and richness of effect by S. A. Schoff, who signed portraits of Joseph Rodman Drake, Hawthorne and wife, etc. Gustav Kruell and F. S. King, the wood-engravers, each made at least one effort with needle and acid, the former in a bust of George W. Curtis, the latter in one of Alexander Hamilton. Their colleague, Thomas Johnson, etched a number of portraits, varying somewhat in merit, but including the characteristic ones of Lincoln, Walt Whitman (the one with the hat), Cardinal Manning and the master printer, Theo. L. De Vinne. He also did one of S. P. Avery, which a number of the latter's friends presented to him on his eighty-first birthday. In our day, Jacques Reich has issued a number of carefully executed portraits of American statesmen, Washington, Jefferson, Franklin, Webster, Lincoln, Cleveland, McKinley among the num- ber. S. L. Smith, too, has signed some portraits, in- cluding one of Theodore Roosevelt. The remarkable amount of work produced in the period ETCHING: EARLY ATTEMPTS 31 extending from the early seventies to the early nineties, naturally implied public support, but the cause of painter- etching suffered in the end. Commercial possibilities be- came apparent and were exploited. Production, also, was cheapened. As the " Sun " pointed out in 1894, the pub- lishers of reproductive etchings killed the goose that laid the golden eggs ; the demand was large, and slow, artistic printing was replaced by quicker and cheaper methods. The story picture's appeal apparently also did its work. Not that I would warm up the old arguments regarding art for art's sake. We should all of us in time realize that we cannot ever get away entirely from the subject- matter in the work of art. The artist cannot appeal by technique alone, if that technique be a mere parade of its self-sufficient perfection, or indeed the result of school- acquired deftness barren of ideas, if it express no individu- ality, no mood, no sentiment, no lesson, no moral. But the cheaply effective sentimentality which is usually most sure of general applause has as its almost inevitable con- comitants a paucity of ideas worth while, a colorless artis- tic personality, a slickness of manipulation that conceals its essential weakness. And such a combination is of a depressing effect on art. True as this all is, in a general way, it sounds rather ungracious as an introduction to a paragraph on repro- ductive etching. For we had clever men who took up this branch of art, men of adaptative talent who rendered into black-and-white the canvases of celebrated artists or such as would be sure to bring returns. For the paintings were not always worthy of the talent exercised in their repro- 32 AMERICAN GRAPHIC ART duction, which the " Curio " pointed out as early as November, 1887. There's the rub, the element of weak- ness or at least a very considerable factor through which this art lapsed, after its day of success, of rich harvest for publisher and artist. The eternal law of the fitness of things is ever applicable. The virtue of appropriateness is so often lost to view. It seems sad to see decided ability employed in putting on copper hyper-sentimental presentation of home life ideals and other quite morally inoffensive pictorial stories and tracts, making an appeal wholly on the basis of the story. And, on the other hand, third or fourth rate talent might masquerade in the guise of originality in " painter-etch- ings " without any quality of personality or technique worth talking about. Reproductive etching, employed in the proper spirit, on worthy work, was its own best justification. It is, indeed, as Koehler, Wray, and no doubt many others have pointed out, an unfortunate popular prejudice which rejected any reproductive work while accepting inferior productions because they were " painter-etchings." Robert W. Weir's plan to reproduce various old pic- tures in the possession of New Yorkers, in etching, as early as 1820, has been referred to. It was not repeated until half-a-century later. In 1875 S. J. Ferris, a careful worker, who stippled and rouletted to get tone and color, etched a head after Fortuny and two plates after Knaus. The success en- couraged the publisher to order The Chariot Race, which was etched by Ferris and Peter Moran. Wray records ETCHING: EARLY ATTEMPTS 33 that prepared copper being not easily procurable at that date, these two artists " pounded out the bottom of a copper boiler, and coated it with their home-made prepa- ration." A few years later, James S. King, then in Paris, produced some heads after Rembrandt (drawn directly on the plate and sold to " L'Art " in 1882, says the artist) and Hals. They were executed with a knowl- edge of the process due partly perhaps to discriminating study of the works of Flameng and other French masters of the art. This newly-opened field was cultivated by the dealers with such energy that a number of artists were enlisted in the cause. It is a peculiar circumstance and denoted a somewhat unnatural condition, perhaps, that nearly all of these reproductive etchers were won from the ranks of painters and not from those of the professional en- gravers and etchers. Two men among these latter who were particularly well equipped for such work James D. Smillie and Stephen A. Schoff were almost entirely passed over. Smillie did some smaller plates after Bridg- man, Homer, Jacque, Pasini, for the " American Art Review " and a large and effective one after Huntington's Goldsmith's Daughter. Schoff, in his portrait of Mrs. C. F. Adams after Wm. M. Hunt, for instance, showed a formal, though not mechanical, manner that well ren- dered the " quiet nobility of the original." Koehler cites later work as examples of the freer style which he de- veloped, portraits of Gen. Devens after Vinton and of a young lady after Thayer, At the Piano after Fowler each showing an effective variation of treatment in ac- 34 AMERICAN GRAPHIC ART cord with the original. Sidney L. Smith, whose work is always marked by taste and discretion, also did some small plates of remarkable delicacy, used as book illus- trations, Bastien-Lepage's Jeanne d'Arc and Makart's Diana's Hunting Party as well as some etchings of art objects for the defunct " Studio " of New York. But in the list of names which we find signed to the reproductive etchings of those days there will be recog- nized a number of men known as painters, who were thus led to turn to the task of interpreting, with varying de- grees of success, their own works as well as those of other painters. Thomas Moran showed a truly " phe- nomenal skill "; Thomas Hovenden reproduced Dem was good old Times and others of his own paintings; Ham- ilton Hamilton signed such ambitious plates as The Com- municants after Breton (1886), The Fisherman's Court- ship (published by J. D. Waring, 1889), and Hovenden's In the Hands of the Enemy; Shirlaw translated E. John- son's The Reprimand. Charles Walter Stetson is also to be noted; his large plates after French artists, executed for a private gentleman in Providence, are characterized by Koehler as highly effective despite their wild daring and the etcher's deficient schooling. S. J. Guy, C. Y. Turner, F. Dielman, W. H. Lippincott, Leon Moran, C. R. Grant and others were similarly engaged in putting into black-and-white the works of various painters, prin- cipally Americans. To these are to be added others who were more completely identified with the etcher's art: James Fagan, H. Pruett Share, Miss Edith Penman, F. Raubichek (among whose plates was Evening Shadows, MOTHER AND BABY Dry-point by Mary Cassatt ETCHING: EARLY ATTEMPTS 35 after Minor). Also Parrish and Charles A. Walker, who rendered French landscapists or Mauve with fine adaptation to the original, though perhaps too strong a tendency to reproduce brush-marks rather than spirit. And Aug. Barry, who copied Charles H. Miller's Long Island landscapes with somewhat untutored force, and reproduced also Haden's Breaking up of the Agamem- non. There is much undoubted ability represented in this list of names, and some that is quite remarkable. Even considering the output in its entirety, one is struck by the quick conquest of technique, the very respectable degree of attainment. Yet one feels that in some cases the task was approached a little too light-heartedly. The quali- ties demanded of a reproductive etcher form a combina- tion not too common. To a knowledge of form and color he must add the ability to adapt himself with sym- pathy and understanding to the work which he is inter- preting, and to choose and combine various elements in the same, not to speak of that most necessary factor, patience. It does not seem that all the men, nor perhaps the majority of them, had the necessary equipment for the work which the publishers led them to undertake. The glamor of etching caused the latter to have pictures etched instead of engraved, but the example of Smillie, Schoff and Smith shows that the engraver's training may be an important factor in the success of such work. The abuse of reproductive etching, it appears, grew so great that the New York Etching Club took steps to close its exhibitions to most of these productions. 36 AMERICAN GRAPHIC ART Meanwhile, painter-etching languished. Koehler, as early as 1892, found that the various etching societies, organized with such enthusiasm, had been for years in a state of innocuous somnolence. And that condition of affairs cannot be laid altogether at the door of repro- ductive etching, for, after all, the two are, or should be, different in conception, execution and ultimate appeal. The urgency of publishers caused over-production, and turned legitimate interest into a fad. There came, also, a demand for elaboration, which, as Hitchcock said, " in- jured etching by blurring its legitimate characteristics." Effects of tonality were aimed at, in which the distin- guishing characteristic of the etching, the line, was over- looked and lost sight of. Finally, the art was cheap- ened, commercial products of course in " remarque " or " artist's " proofs found their place on the " bargain counter." As Walter Aikman once said to me, the " dry- goods store etchings at 67 cents " did it, " printed by boys." Discredit was brought on the whole business, with the inevitable result. When etching was on the wane, Koehler, Hitchcock, J. D. Smillie and Wray agreed, in their writings, that though commercially the fad was over, and production lessened, the average quality would be better. It would respond to a demand for, and understanding of, the personal force which makes a painter-etching what it is. That is, a distinct thing apart, with characteristics and qualities based on its very nature and therefore different from those in any other graphic art. Line-engraving, wood-engraving and etching have little ETCHING: EARLY ATTEMPTS 37 vitality to-day as reproductive arts; the half-tone, the photogravure, the heliotype and the straight photograph serve to furnish us with mechanically effective copies of works of art. But the etching as a means of direct ex- pression for the artist is coming to its own again. CHAPTER II ETCHING: THE PRESENT REVIVAL IN recent years, the appeal of the medium has again been heeded, the fascination of this art as a means of original creation has been appreciated by those of the younger generation. Classes sprang up under the guid- ance of J. D. Smillie and C. F. W. Mielatz at the National Academy, and of George Senseney and Charles Henry White at the Art Students' League, in New York City. Etchings have again formed a noteworthy addi- tion to the American Water Color Society's annual shows. General exhibitions as well as single-artist shows have been arranged in increasing numbers by print departments of museums and libraries, and by print dealers, in various cities, and effort in the middle west has crystallized around the Chicago Society of Etchers, formed in 1910, and broadening into a national inclusiveness. Yet despite all this activity, such a renaissance, by the very nature of the medium in which it finds expression, will come about quietly, unobtrusively. The movement is anything but startling or revolutionary. The spirit that is animating these younger disciples of needle and acid is that of pure etching, of the art with its advantages and limitations. In the best of this newer work the true nature of the medium is respected and is adapted 38 ETCHING: THE PRESENT REVIVAL 39 to each individuality, a necessity in the practice of any art. It is quite natural that in some of the earlier produc- tions by these recent arrivals the influence of certain vig- orous personalities in the annals of the art makes itself felt. So one may detect a reflection of Whistler, Mer- yon, Legros, Strang, Zorn or Helleu in the early work of some of our younger etchers. This personal bias is the almost inevitable outlet for individual temperament and point of view, which may at first attach itself to the prior expression which strikes the chord most sympa- thetic to it, until it finds itself, until the artist, passing through this transitory stage, attains his natural mode of expression. Some of the younger etchers have worked abroad mainly, but not a few have found inspiration in their own land, seeking subjects in city and country, from Gloucester to San Francisco, and presenting them with more or less clearly individual point of view. Often, indeed, have they revealed to us new phases, different aspects, even the very essence, of things which we had seen unseeing. Charles Henry White has again emphasized the old truth that there is beauty to be found in every-day sur- roundings and in our own land, and has set before us the picturesque qualities of street and alley, of water- front and factory district, in New York, Boston, New Orleans, Pittsburgh and other American cities. Many of his etchings have been reproduced as illustrations for his humorous and sprightly papers on various phases of 40 AMERICAN GRAPHIC ART city life, published in " Harper's Magazine." B. J. Olsson-Nordfeldt has offered clearly individual impres- sions of New York and particularly of Chicago. The titles of his Chicago series are an illuminating index to his preferences as to subject: Grain Elevators, Smoke, Coal-chutes, Gas Tank Town, Bessemer Converters. He has also rendered the spirit of Provincetown, whose whal- v 1 ing flavor likewise attracted young John C. Vondrous. v/ Henry Winslow, while insisting less, perhaps, on the to- pography of the locality than some etchers of particular places, and more on a personal viewpoint, has also chosen scenes in New York and elsewhere in his native land. ^ In his Norlands series Cadwallader Washburn pictured the meadows, woods and streams of Maine in the spirit of loving intimacy with nature which, as he has written himself, was his from childhood; and "O 2 / illustration of magazines and books led Sartain into active alliance with publishing interests. " Graham's Maga- zine " was begun in 1841 ; before that, as Sartain himself MEZZOTINT 115 wrote, magazines, when illustrated at all, used worn-out plates, but " Graham's " had a new plate engraved for each number. The success of the undertaking was im- mense, a circulation of 40,000 was reached, and Sartain w said that he had to engrave " four steel plates of each subject in order to keep pace in the printing of them with the increased demand." He issued and edited the " Foreign Semi-Monthly " and in 1847 owned and edited a quarto volume : " The American Gallery of Art." He did an enormous amount of work beside that which he furnished regularly to his own periodicals; so, in one summer, forty-five plates for annuals. Even such spurts of speed were accomplished as the scraping of the portrait of Espartero, on a " rush order," in one night. Un- fortunately, comparatively large editions meant rapidly wearing plates, and in such cases the later impressions are frequently ghostly shadows, perhaps touched up by roulette and graver into a fictitious semblance of pristine freshness. Sartain used roulette and line particularly in his smaller portraits; a full-length of William Maginn ( 1842) is quite in roulette. He did several portraits after Sully, the one of Charles Chauncey being reproduced by Stauffer, and the Horace Binney being possibly his best portrait plate. " Now I am to be sullied for sartain," is the remark attributed to some one whose portrait by Sully was to be " scraped " by Sartain. In such a portrait as the large ones of Robert Gilmor and Sir Thomas Lawrence, both after Lawrence, or in a rich male bust portrait after Henry Inman, Sartain showed what he could really do when opportunity offered. n6 AMERICAN GRAPHIC ART In them he reflected somewhat the achievements of Charles Turner and Samuel Cousins, the epigones of the great eighteenth century mezzotinters in England, who proved once again that extreme development of technical ability in an art is quite apt to precede its decay. This decadence was shown here, as in England, in the commercialization of technique into the so-called " mixed method," in which scraper, burin, roulette, ruling machine j and stippling were combined in a monotonous hodge- podge to produce superficial results easily and cheaply. As to the predominance of weak sentimentality and fic- titious grace in the u annual " plates, that was a general characteristic of this period of Victorian art, intensified somewhat, perhaps, by the fact that the softer effects of mezzotint were more easily perverted into an invertebrate mushiness than the insistent graver work of the line- engraving. Rarely were large portraits done here which recalled in a measure the thoroughness and richness of the earlier British work, or even the ease of that of the nineteenth century. Sartain's have been noted. There is one of Sir Charles T. Metcalfe, after A. Bradish (Montreal, 1844), by William Warner, whose work Stauffer calls " admirable." It is executed in an honest, vigorous and broad manner, which may be studied in New York in an interesting series of working proofs. Warner's John Swift, after Sully, is rich in effect; the unctuous grace of this painter seems to have spurred engravers to emulation. It is worthy of note, too, that William Page, the painter, was mezzotinting as early as 1834. A portrait Six THOMAS LAWRENCE After a painting by himself. Mezzotint by John Sartain MEZZOTINT 117 of Rev. James Milnor, with decided feeling for tones and color and chiaroscuro, and one of Edwin Forrest, are by him. For a short period the mezzotint shared with the line- ^ engraving the field of the large framing print. Here, also, Sartain's name is prominent. He signed, among others, King Solomon and the Iron Worker and Men of Progress: American Inventors (1862), both after Chris- tian Schussele, Leutze's John Knox and Mary Queen of Scots (Art Union of Philadelphia), Rothermel's Battle of Gettysburg, West's Christ rejected, and John Blake White's Gen. Marion . . . inviting a British Officer to Dinner (Apollo Association, 1840). T. Doney engraved The Jolly Flat Boat Men after G. C. Bingham (Ameri- can Art Union, 1845); A. H. Ritchie Mercy's Dream after Huntington, and Whitechurch Clay addressing the Senate after P.. F. Rothermel. Among Sartain's contemporaries who scraped portraits for the " American Whig Review " and other publica- tions in the forties, Thomas Doney and P. M. Whelpley were prominent. They were good craftsmen, both " cap- ital engravers," as Stauffer says, with a somewhat heavier touch than Sartain's, a tendency to work more on the plate and to produce a darker, more somber tone (accen- tuated by a blacker, colder ink) , recalling the daguerreo- type original a little more mechanically, perhaps. Doney's Distinguished Americans at a Meeting of the New York Historical Society (1854) contains over fifty portraits. There are others. H. S. Sadd, Sartain's son Samuel, * and S. H. Gimber. Thomas B. Welch and his one-time n8 AMERICAN GRAPHIC ART (about 1840-48) partner Adam B. Walter, who did a Washington after R. Peale, were both known as en- gravers in stipple and in mezzotint, a fact which in itself might explain a tendency to use the " mixed method " already referred to. This method was employed with light-hearted industry by H. Wright Smith (a pupil of Doney) , George E. Ferine, J. C. Buttre and others. Yet farther names which illustrate the use of mezzotint by engravers identified rather with work on copper in line and stipple are those of J. C. McRae (Bishop J. M. Wainwright, after Thomas Hicks, 1854), Illman & Sons (Washington Family, after Savage), and Illman & Pil- brow (portrait of Washington), on all of whose work one has no cause to insist beyond this citation of it as an example of the commercialization of mezzotint. The records of some, at least, of these men show pretty con- clusively that they began work on a more ambitious scale than that indicated by the smooth, characterless pot- boilers to which the exigencies of business held them; such must really be judged by some of their earlier and less familiar engravings. The tendency in " mixed method " portraits was, on the whole, toward burin-engraving. Line-engraving held its own to the final exclusion of mezzotint, and was in its turn supplanted, to a very great extent, by wood-engrav- ing. But the glamor of the golden period of British mezzo- tint never faded absolutely. In England, within the past twenty-five years, Thomas G. Appleton and others have responded to the interest of collectors and other art lovers MEZZOTINT 119 in one of the most notable pages of their country's art his- tory, reviving with much success the memories of those days of stately grace and bewigged dignity. Such tradi- tions wanting in this country, one could at most expect a utilization of the peculiar qualities of mezzotint to invest portraiture with its richness and sonority. That, William Sartain, the painter (son of John Sartain), did in various portraits, Washington after Schuessele (1864), John Brown, Gen. Braddock (1899), and in those, all in pure mezzotint, of Washington, Byron and Irving, the last two printed in brown, a color that has been found more satisfactory to many than an absolute black. Max Rosen- thai, who in etching and lithography has industriously served the interest in American portraiture, used mezzo- tint also, creditably, and in its pure form. Among his portraits are those of William Dunlap, Benjamin Harri- son and Washington, after Stuart. The most recent use of the mezzotint tools has placed them at the service of the color print, a field in which American artists of to-day do not stand second to their British contemporaries. It is often said that the old English mezzotints became best fitted for printing in color after a number of impressions in black had been pulled therefrom. The modern mezzotinters in" color rock and scrape their plates with direct reference to their immediate use for color printing. S. Arlent Edwards has achieved noteworthy and in- ternational prominence in this field. Catalogues of his work include plates after artists of quite different periods, styles and points of view, Gainsborough, Hals, Greuze, 120 AMERICAN GRAPHIC ART Da Vinci, Lancret, Ghirlandaio, Rembrandt, Vigee Le Brun, Morland, Holbein, Van Dyck, Luini, Botticelli. The great variety in method and subjects indicated by this list he has reproduced with a soft richness of color. In the latter he has not hesitated to vary occasionally from the originals. Such emphasis on the personal element in these translations from canvas to paper makes the product something to be collected for the sake of the engraver quite apart from consideration of the original artist. His plates are produced in one printing, absolutely without retouching by hand on the print. His Visit to the Board- ing School, after Morland, is considered by Frederick R. Halsey " his best, certainly technically." Charles Bird and J. S. King have also been enlisted in the service of this specialty, which has its circle of discriminating and admir- ing collectors. It is a pleasure to be able to record any noteworthy effort of our artists to enter the bypaths of original pro- duction in any of the reproductive graphic arts. In mez- zotint such cases are rare enough abroad and more so with us. One of our artists, at least, used this medium, and with a freedom of manner and a richness of effect that open up interesting possibilities in its use as a painter art. That was James D. Smillie, a master craftsman, whose Hollyhocks, a plate of quiet charm, is said to have been scraped direct from nature. At the American Water Color Society's exhibition of 1911 there were shown his Evening, Raquette Lake; Double Hollyhocks; A Piece of Jade and A Shoreless Sea, the last an unfinished plate, free in feeling, " the best he ever did," said Mr. Mielatz MEZZOTINT 121 to me. And it must be duly recorded here also that John Henry Hill, painter and etcher, was led by his admiration for Turner to copy in mezzotint a plate in the Liber Studiorum. In view of the fact that original etching is left almost / exclusively to etchers, and that our painters stick pretty closely to the canvas, it seems useless to hope that any of these same painters may turn occasionally to the medium which offers them such interesting and profitable by-roads to explore by way of mental diversion. Perhaps some of the specialists who have in recent years labored so well to revive the appreciation of painter-etching may be led to give attention to mezzotint. Perhaps Mielatz or some one inspired by him ? Possibly the attractions of the mon- otype may help to lead the way to an understanding of opportunities dormant in mezzotint. Perhaps! CHAPTER VI AQUATINT AND SOME OTHER TINTS AQUATINT is one of the graphic arts with which the public is least familiar. It is a response to the demand for tone, for a certain completeness of effect instead of the suggestion of the etching, for a fuller rendition of light and shade in place of the line after all, a conven- tion of the line-engraving on copper. The process was used in France, for the color prints of Debucourt, Des- courtis et al. f with complexity of manipulation and a superimposition of printings. These quite obliterated the traces of its characteristic features, the peculiarly reticu- lated grain caused by the powdered resin (dusted on to the plate or applied suspended in alcohol), which formed a sort of etching ground when the plate was put in the acid bath. This feature was prominent in English work, in which the evident prime ralson d'etre of the process, the imitation of wash drawings in water color or sepia, is quite apparent. Aquatinting was adapted to, and much used for, the illustration of books of travel and of pic- torial topography (such as the " Microcosm of London " and Richard Ayton's " Voyage round Great Britain ") after drawings executed in light outlines and flat washes of color or monotone. Such an extensive use was not to be expected in the United States, partly, perhaps, on ac- count of a lack of sufficient artistic talent and craftsman- 122 AQUATINT AND SOME OTHER TINTS 123 ship, and partly because time and public were not quite ripe. But the possibilities of the process evidently ap- pealed to some experimentative spirits here. In 1799 Edward Savage painted and engraved two pictures of The Constellation and L'Insuraent, one of the fight and another of the chace. Then, in May, 1811, some land- scape plates (views of Fort Putnam and Fort Clinton) appeared in the Philadelphia " Port-Folio," very crude, but accompanied by high-sounding and hopeful letter- press comments. Bass Otis, the portrait painter, tried his hand also at aquatinting. Playing at Draughts, after Burnet, is by him, as well as portraits of Philip S. Physick, M.D., and the Rev. Abner Kneeland. An earlier View of the Old Brick Meeting House in Boston, 1808, drawn by John Rubens Smith and engraved by J. Kidder, is much better and more artistic than the " Port-Folio " plates just mentioned, showing good contrasts of light and shade, with rolling clouds to counteract the straight lines of the buildings. Kidder's plates include several other Boston views, one (Court House] after his own design. His View on Boston Common, published in "The Polyanthos " (Boston, June, 1813), was referred to editorially as the work of " Master J. Kidder," and " his first essay in aquatinta." J. R. Smith himself did Pennsylvania, New York, and Rhode Island views, all large, (Catskill Mountain House appearing as late as 1 830) , some after his own designs, as was also a fireman's certificate. Two Hudson River Portfolio plates No. 2 : Junction of the Sacandaga and Hudson Rivers and No. 3 : Hartley's Falls appeared over his name. Stauffer notes 124 AMERICAN GRAPHIC ART two plates by Wm. Hamlin of Providence, the mezzotint engraver: Peacock and L'Epervoir (naval combat) and U. S. Ship Philadelphia at Tripoli (ship on fire). Francis Kearny, like Smith, tried his hand at various j media ; Dunlap records that he studied aquatint and other processes " principally by the aid of books." Still another line-engraver, William Rollinson, practised aqua- tint also; at the E. B. Holden sale (No. 2061) appeared a view of the New York Custom House, with the original drawing from which it was engraved, both by Rollinson. His View of New York from Long Island (1801) was from a drawing by J. Wood. Rollinson used both stipple and aquatint in a portrait of Washington after Savage, and in the portraits by Samuel Folwell aquatint and stipple also appeared in a combination " rather pleasing in effect, though showing an unpractised hand." Abner Reed, a stipple-engraver, also has at least one aquatint portrait to his credit, that of Rev. Jonathan Edwards, after Molthrop, as well as a series of Six Views, in Aqua- tinta taken from Nature (Hartford, 1810). And to the occasional aquatints by line-engravers there are to be added also the views by William Kneass and J. I. Pease (Fort Niagara, 1814), and one by F. Shallus, poor enough but with a certain freedom (in sky effect) in contrast with his fearful line portrait of Captain Cook. Particularly identified with the art in those early days was William Strickland, the architect. He did small views, such as View on the Susquehannah from a drawing by J. L. Morton (" Port- Folio," Feb., 1816) and scenes AQUATINT AND SOME OTHER TINTS 125 in the War of 1812 (" Analectic Magazine "). But he also signed a number of portraits of heroes of the war, Hull, Decatur, Jackson, Lawrence, McDonough. The use of aquatint for portraits was not common at any time; Strickland's full-length of Meriwether Lewis, St. Memim [sic!] Pinx t , done in coarse grain, gives some idea of his treatment in such work. A thin volume published in Baltimore in 1815, " The Art of Colouring and Painting Landscapes in Water Colours ... By an Amateur," has ten plates by Strickland, colored by hand. Still an- other landscape aquatinter was J. Drayton, and a good print colorist to boot (View near Bordentown, engraved and colored by J. Drayton}. Caricature, too, is represented here: in some of the plates of William Charles (John Bull and the Alexandri- ans, John Bull the Ship-Baker) and in a later, unsigned picture of John Binns, The Pedlar and his Pack. Charles, by the way, executed also plates after Row- landson for the " Vicar of Wakefield " and the " Town of Dr. Syntax," which he published. The ground had been prepared when John Hill and W. J. Bennett, both Englishmen, came to this country in 1816. Their works mark the culmination of this short period of successful practice of the art. Hill, who had been engaged on views after Turner, Loutherbourg and others, before he came to the United States, was the father of John William Hill (one of the group of Amer- ican Pre-Raphaelites) and the grandfather of John Henry Hill of West Nyack, N. Y., painter, etcher and admirer of Turner. John Hill executed a series of large plates 126 AMERICAN GRAPHIC ART after designs by Joshua Shaw (Picturesque Views of American Scenery, 1819) and W. G. Wall (the Hudson River Portfolio). This Hudson River series, an early tribute to the beauties of the " American Rhine," pre- sumably had a respectable sale. At all events, the plates passed into the hands of Henry I. Megarey of New York, and an edition was issued by him. For the benefit of collectors it may be noted that there was some re- numbering of the sheets, so that impressions exist with numbers different from those given in Stauffer's valuable work; e.g., 14, 2, 5, 20, instead of Stauffer's 5, 8, 10, 13, and so on. One of Hill's best-known plates best known mainly on account of its local interest to collectors is the view of Broadway, New York City, at Canal Street, Drawn and etched by T. Homer, aquatinted by J. Hill, printed by W. Neale, 1836. (This giving credit to the printer is not uncommon on nineteenth century copper- plates in line and other processes, J. Neale, Rollinson, Andrew Maverick, and later Butler & Long, Kimmel & Co., J. E. Gavit and W. Pate being among the names encountered.) Hill, who was a good craftsman and understood his art, appropriately used a coarser, more open grain for these large plates, which were, moreover, colored by hand. For his earliest works, the small magazine plates, published in black-and-white, such as Haddel's Point, S. C., Richmond, Va., and York Springs, Va., all after C. Fraser, he used a much closer grain, suited to the size of the picture. A slight matter this may seem at first sight, but in its way it is an exemplification of the necessity o AQUATINT AND SOME OTHER TINTS 127 of adjusting means to end. An unusual Hill item is the Mill at Marlborough, Md., after E. van Blom, cata- logued under No. 3560 at the E. B. Holden sale with the note " three states of a rare and undescribed aqua- tint; in colors, in tint and in black." Bennett, who became an N.A., also signed plates well known to collectors of views, particularly New York City views. Two of his most interesting plates are South Street, N. Y. (of which impressions exist in black- and-white before the kettle near the lower left corner, and colored with that implement added), and Fulton Street, both from his own drawings. Among his plates for the " New Mirror " is one of Hay Sloops on the North River (1843); the accompanying note states: " Fanny Kemble thought the sloops of the North River the most picturesque things she had seen in this country." His larger pieces include New York from Brooklyn Heights. Painted by J. W. Hill (1837), New York taken from the Bay near Bedlow's Island. Painted by J. G. Chapman, Engraved by J. W. [sic!] Bennett, printed in colors, the views of Baltimore, Boston and Troy, from his own designs, and the one of Buffalo after J. W. Hill, and particularly the View of the Great Fire 1835 and View of the Ruins after the Great Fire, both from paintings by N. Calyo, a scenic artist. And at least one more plate is to be noted in which Bennett had a hand, a departure into figure work: the portrait of Mrs. Maeder, late Miss Clara Fisher, engraved by Stephen H. Gimber and Wm. J. Bennett from the original picture by Inman, described in the catalogue of the E. B. Holden 128 AMERICAN GRAPHIC ART sale (No. 4896) as " excessively scarce "; Gimber's name is not mentioned by Stauffer, who lists this print. G. Lehman painted, engraved and hand-colored a series of Pennsylvania views (1829) and Annin & Smith, line and stipple engravers, and for a time also in the lithographic business, tried their hand at aquatinting as well, according to a sales-catalogue item : Springfield o. c. Maximus, painted by A. Fisher. In all the work spoken of, aquatint appears in flat tints, rather sharply circumscribed and consequently without gradations (excepting such as are effected through water- color washes), and with a resultant occasional stage- scenery effect. The only exception to this is found in the seven or eight hundred profile portraits of American worthies executed by Charles Balthazar Julien Fevret de Saint-Memin. From a crayon drawing in profile, made with the aid of the " physionotrace," which he reduced with a pantograph to a circle about two inches in diam- eter, he scratched a light outline on copper, finishing with fine aquatint and roulette. Thus, trace of the grain is practically lost in a sauce of grays and blacks. One of the two collections of proofs of these portrait plates formed the basis of the volume of 760 reproductions of such portraits by St. Memin, published by Elias Dexter, New York, 1862. The Grolier Club held an exhibition of his works in 1899. There was some stray use of aquatint until well into the fifties, notably for large views. Robert Havell, the English engraver, who did plates for Audubon's book on birds, executed a view of Baltimore (1847), an( 3 two AQUATINT AND SOME OTHER TINTS 129 panoramic ones of New York City (1844), which latter he published at Sing Sing. Henry Papprill engraved two large views of New York City, issued in 1849, one as seen from Governor's Island, after F. Catherwood, the other, which was re-issued 1855 with necessary changes in the names on some signboards, from St. Paul's Church, after J. W. Hill. Hill designed also the large view of New York City from Brooklyn, engraved by Himly, printed by McQueen, London, 1855. This engraver is no doubt the Swiss Sigmund Himely (born 1801), who worked in Paris, but did at least two other views of the metropolis, one (1851) painted by Heine, J. Kummer and Dopier (Heine and Dopier spent some time in this coun- try) , the other, Fue de New York. Prise de Weahawk, after Garneray, published in Paris, possibly much earlier, perhaps in the thirties. Another foreign-made view of the city is the well-known Winter Scene in Broadway (1857) by P. Girardet after H. Sebron, who was also in New York City at the same time as Doepler. The Hill-Himely (1855) view is possibly more often encoun- tered in its later state, entirely worked over with ruled lines by C. Mottram, whose name appears instead of Himely's. But, despite such occasional productions, whatever vogue aquatint had did not last much beyond about 1840. Line-engraving, and later on also lithography, took its place as a means of reproducing pictures of landscape. It was not until the movement for painter-etching took place in the seventies and eighties, that one man at least turned his attention again to the disused art. That was i 3 o AMERICAN GRAPHIC ART James D. Smillie; and he used aquatint as a painter art, as a medium for direct expression, as the painter uses paint and canvas, as Rembrandt or Whistler used etching or lithography. He was so versatile a craftsman, and his life was so busy a one, that he could not devote much time to this one specialty in graphic art, but in plates such as An old Dam near Montrose and Old Houses near Boulogne, he showed a mastery of technique which over- came some of the difficulties of the method and merged the flat, even tints into each other with more than a sem- blance merely of a gradual passing from light to shadow, giving quite a different conception of the process than had hitherto obtained. With him, too, we find variation of method to suit the particular purpose : Fairground, Mon- trose, with Sheep shows a crayon-like effect, Pansies is done with a very coarse grain, and so on. All the plates mentioned were shown at the American Water Color Society's exhibition in 1904. Quite recently, Charles F. W. Mielatz, a craftsman ever experimenting, has similarly disclosed somewhat un- expected possibilities in painter-aquatint. In his The Wave the art has undergone a transformation, has through scraping and other manipulations acquired a pli- ancy, a fullness of delicate gradation that once seemed hardly possible. Moreover, this is an interesting piece of color-printing in two tints, bluish green above and yel- lowish below, the two mingling in the center. The print- ing was done from one plate at one time, the color having been applied a la poupee. Again, the etching, Grand Cen- tral Depot at Night (1889), has a light tint of aquatint, AQUATINT AND SOME OTHER TINTS 131 which, having been put on after the etched lines, took off the sharp edge of the latter and modulated their incisiveness into something like the suaver effect of soft- ground etching. Finally, in Winter Night, he employed organdy, or something like it, to regulate the grain of the aquatint. The textile was laid onto a plate covered with etching ground and run through the press, exposing the plate wherever it was thus pressed through the ground. The plate was then subjected to the action of acid, and after that aquatinted. The process is there- fore in a measure akin to what is known as " sandpaper mezzotint." Mielatz used aquatint also in its more usual form, and as a reproductive art, in a series of New York City views done for the " Society of Iconophiles " after pictures on Staffordshire pottery, the proofs printed in blue ink. (The original stoneware, by the way, is de- scribed in R. T. Haines Halsey's " Pictures of Early New York on dark blue Staffordshire Pottery, together with Pictures of Boston and New England, Philadelphia, the South and West," New York, 1899.) Usually, however, aquatint is employed as an accessory to the etched line, either to add a tone in black (vide Goya or Klinger) or to serve as a basis to hold color (so used by French etchers to-day). John Henry Hill, in an etched view of Niagara, applied the grain on the falling water and foam with a delicacy similar to that of the sky of Dunstanborongh Castle in Turner's Liber Studiorum. His Moonlight on the Androscoggin, en- tirely in aquatint, was published in the " American Art Review." Helen Hyde executed at least one plate in 132 AMERICAN GRAPHIC ART black-and-white, a Japanese subject with the flat effect of Japanese wood-block tints and with a somewhat Goya- like darkness and solidity. W. F. Hopson has also em- ployed aquatint as an accessory. Likewise Addison T. Millar, to add tone to some of his etched plates, for instance, The Sheep fold, Laren (1904) and Moonrise, the Shipyard (1905). Millar has sometimes employed an unusual procedure; he has washed a drawing on a plate with prepared ink, then covered the plate with etching ground, immersed it in water, thereby dissolving the ink and lifting off the ground above it, thus baring the plate wherever it had been drawn upon. Aquatint was then applied, taking effect, of course, only on the bared por- tions. Mary Cassatt also did some aquatints printed in black, but used the process more notably in a fine grain, to hold color, in her dry-points intended to be printed with some- thing of the effect of Japanese chromo-xylographs. The color etchings of George Senseney, which, though aiming at completeness of tonal effect, are of a note- worthy spontaneity and freshness of view, are produced by a blending of soft-ground etching and aquatint. These two media, with the addition of rouletting, were used also in Mielatz's Road to the Beach (1890). Lester G. Hornby, too, has occasionally used aquatint and soft- ground etching in combination, both in color-work and in black-and-white. And in recent years Vaughan Trow- bridge for a while employed the aquatint ground in prac- tical purity, to express light and shade and tone by " stop- ping out," and as a means for holding color applied with go > -f s-s D AQUATINT AND SOME OTHER TINTS 133 a completeness of effect approaching that of the aquarelle or oil-painting, a fullness of color expression such as we find it in the color etchings of Thaulow, Laffitte and others, published in Paris. J. S. King, using aquatint as an accessory to get tones in reproductive etchings, applied the acid with a feather or brush in order to avoid the characteristic sharp edges. While the record of American achievement in this art of pleasing effects is not an extensive one, it embraces practically all its possibilities, presented with noteworthy, and at times masterly, craftsmanship. There are other methods of producing tints and tones on copper plates. Foul biting, sulphur, scotch-stone, and experiments such as etching zinc with rain-water (made by Mielatz), are noted in the chapter devoted to etching. There is sandpaper mezzotint, too, which Pennell has used occasionally to produce grained tint. Finally, there is the monotype, which may as well be considered with miscellaneous processes here, although its effect is rather closer to the mezzotint, which it resembles at least in this that it is produced by elimination from a dark basis, the lights being wiped out. The monotype is produced by painting on the plate with printer's ink, or oil colors (Bacher used "burnt sienna or ivory black with a medium"), applied in an even tint and then worked up with rags, brushes, stumps, brush-handles, fingers, any instruments to suit the artist's fancy and serve his purpose. Then, with the ink or color still wet, the plate is run through the press, with a re- sultant impression on paper that must of course be, in i 3 4 AMERICAN GRAPHIC ART each case, unique. (Hubert von Herkomer, in his " spongotype," did indeed invent a method of taking more than one impression, but the process is generally used as here described.) The process has a peculiar attraction for artists, from Castiglione's time to the present day. The monotypist within the proper limits of the art works with unrestrained freedom while at the same time con- siderable demands are made on his dexterity and experi- ence in order that the best results may be foreseen and produced. S. R. Koehler, in his German account of American etching, says: "The first to show such impressions pub- licly in America was Wm. M. Chase in New York; soon afterward Charles H. Walker in Boston discovered the process independently, and has since applied it with par- ticular preference, and Peter Moran and others followed them." Dr. Charles H. Miller, N.A., says that when in Rotterdam in 1879 he bought a monotype, a head of a girl of a Carriere-like mistiness, inscribed T. Cremona dip. I. Ciconi inc. This he showed to fellow members of the Art Club of New York, and it was subsequently exhibited in that city. Thereupon, says Mr. Miller, " Mr. Chase and others experimented with the fascinat- ing possibilities " of this process. Chase showed a mono- type at a black-and-white show at the Academy (N. Y.) in 1 88 1, and Peter Moran's exhibits at the first etching show in Philadelphia (1882-83) included some specimens of this fascinating art. Christian Brinton records also the enthusiasm of Joseph Jefferson for this medium, and the work in colors of Prof. Rufus Sheldon. AQUATINT AND SOME OTHER TINTS 135 Otto H. Bacher's method, already referred to, was employed, as Bacher records in his " With Whistler in Venice," by Duveneck and his class " as a means of amuse- ment," under the name of " Bachertype." In recent years the process has again attracted in- creased attention among artists. The late Louis Loeb, Augustus Koopman, E. Haskeil and Charles Warren Eaton have practised it. Loeb, Albert Sterner and E. Peixotto were among the members of a monotype club formed in New York City under the presidency of Leslie Cauldwell, according to Brinton. Eaton showed some prints, rich in effect, at the exhibition of the American Water Color Society in 1910, where there were also sev- eral interesting ones in color Girl at the Bath Tub, Girl near Mirror by Everett Shinn, who called them " pastel monotypes." Work in color was shown also by Rufus Sheldon at the Society's exhibition in 1908. The 1910 exhibit included also some monotypes by J. F. Burns, a newcomer. Noteworthy employment of the process has been made by C. F. W. Mielatz, who used it, with touches of color, in reproducing certain picturesque spots in New York City, in a series of plates done, and reproduced in photo- gravure, for the Society of Iconophiles (1908). But he has also executed a number of monotypes independently of this set, getting interesting effects with a pigment not intended for art or even color purposes at all, drawing in broad strokes which contracted when the plate was heated. Finally, in 1911, Albert Sterner held in New York an 136 AMERICAN GRAPHIC ART exhibition of monotypes, among them The Echo, The Model and The Gray Vase, which last-named the " Even- ing Post " singled out particularly for " the wonderful lights on the woman's flesh " and a " serenity of color " ; My boy was characterized as a " remarkable piece of mellow color." Sterner, working with brush, cloth or fingers, modeling with rapid energy, has shown what re- sults training, fine, sensitive, artistic temperament and flexibility of method can effect in this medium. All proper use of such processes by artists is certainly to be commended and desired. It gives new viewpoints, arouses interest, protects from the rut. CHAPTER VII WOOD-ENGRAVING WOODCUT illustrations appeared in the earliest books printed in Europe with movable type, as well as in the block books (e.g., " Biblia Pauperum "). So the earliest efforts to bring knowledge to wider circles through the printed page profited by the powerful aid of pic- torial representation. And wood-engraving, through its homely, straightforward vigor and its possibilities of more rapid multiplication and consequent wider circula- tion than engraving on copper, remained the reproductive art of most direct popular appeal, from its rudest begin- nings to the most highly finished products of recent times. With the development of line-engraving on copper wood- engraving sank into decay, so that in the eighteenth cen- tury, when the period of glorious achievement in French portraiture had already set in, the copper-plate, both in etched and engraved form, took possession also of the field of book-illustration. Wood-engraving, in the late seventeenth century and during the eighteenth, was rele- gated to the chapbook and other like means of reaching the common people. A taint of vulgarity seemed to cling to this misunderstood art, and it remained for Thomas Bewick to open the way for new and hitherto unthought-of possibilities. 137 138 AMERICAN GRAPHIC ART America formed, quite naturally, no exception to the general rule. The parallel with European conditions may be drawn even to this extent that the first engraving known to have been executed in this country was on wood. This was a portrait of the Rev. Richard Mather, sup- posed to have been engraved by John Foster, to whom Dr. Samuel Abbott Green devoted a volume: "John Foster: the earliest American engraver and the first Bos- ton printer" (Boston, 1909). Dr. Green reproduces two impressions of this print, and tells us that the inscrip- tion in ink, Johannes Foster sculpsit, on one of them, which was found by Wilberforce Eames as a frontispiece to a copy of Mather's life (1670) in Harvard Uni- versity, is in the handwriting of Rev. Wm. Adams of Dedham, who originally owned the book and knew Foster. This engraver did also the seal and arms of ye colony (appearing in " General Laws and Liberties of the Massachusetts Colony," 1672) and a map of New England (1677). This map, issued with Rev. W. Hub- bard's narrative of Indian troubles, was the first one engraved in this country. Subsequent response to whatever needs our colonies had for portraiture or views came practically all in cop- per-engraving, for which our silversmiths had a certain preparation in their training. The results were often very crude, but they were surrounded by the glamor of the copper-plate and its clean-cut lines. The rougher effects of the woodcut methods of the day appeared in printer's stock ornaments, in newspaper titles and occasional cuts, even in paper currency, printed from the wood block or WOOD-ENGRAVING 139 from type-metal. There was, for instance, the title de- sign of the " Boston Gazette " (March n, 1771) repre- senting Britannia and various attributes. Or such early attempts at newspaper cartooning as the snake divided into pieces representing the individual colonies, with the device Unite or die or Join or die, which appeared in vari- ous papers before the Revolution. This is attributed to Benjamin Franklin. Albert Matthews finds that McMas- ter was not warranted in absolutely asserting that " both the design and the cutting were the work of Franklin." On the other hand, Linton cites the report that Franklin cut the ornaments for his Poor Richard's Almanac on metal, in the manner of a woodcut, while Abel Bowen wrote : " I have evidence that Dr. Franklin engraved some devices on wood and that some were used in the printing of the Continental money." In "Father Abraham's Almanac" for 1859 there is a frontispiece representing a man at a telescope, with a four-line verse beginning " Oft have I viewed, in ad- miration lost." It is signed H. D., and the theory that the engraver is Henry Dawkins is invitingly obvious. There are to be recorded even such ambitious attempts as the series of profile portraits, each representing a man wearing a cocked hat. All are either printed from the same block or copied from the same original, but they are labeled, respectively, Bradley, Governor of Rhode Island, Columbus, Henry Lee, Samuel Adams and Rich- ard Howel. A few instances of known eighteenth century engravers are noted in Stauffer and elsewhere; Thomas Sparrow 140 AMERICAN GRAPHIC ART and Francis Dewing (who did also calico printing), both engravers on copper, produced also some woodcuts. The fragmentary appearance of this information is in accord with the sporadic nature of the work described. With us the renascence came, as in England, through the " white line." Late in the eighteenth century, Dr. Alexander Anderson, having first tried copper-engraving, and then cutting in relief on type-metal for newspapers, saw work by Bewick in 1793 an( ^ was l d to try box- wood. He re-engraved Bewick cuts ("Quadrupeds," New York, 1804, and " Emblems of Mortality "), mean- while studying medicine. He soon found much employ- ment from various publishers; of one of them, Samuel Wood, Anderson himself says : " I did an infinity of cuts for his excellent set of small books." The amount of work he accomplished was enormous; the New York Public Library has about 8,000 proofs in old scrap-books, apparently including not many duplicates. C. L. Moreau, in 1872, printed a collection of " one hundred and fifty engravings executed after his ninetieth year," and next year " Illustrations of Mother Goose's Melodies, de- signed and engraved on Wood by Alexander Anderson." Lossing says he did, on wood, " from sheet ballads, primers, business cards, tobacconist's devices, wrappers of playing cards, diplomas and newspaper cuts of every sort, to magazines, stately scientific treatises and large Bibles." An interesting example of his work, done at about his best period (1818), is the bust portrait of Washington (the one facing right!), printed from the original block as a frontispiece to " A Bibliography of WOOD-ENGRAVING 141 American Books relating to Prints," by H. C. Levis (1910). It is dark in tone, the face vigorously modeled without cross-hatching, and the background criblee (white dots on a black ground). At least two large engravings are recorded to his credit, Returning from the Boar Hunt, after Ridinger, a bold, vigorous piece of white-line engraving, and Water-jowl after Teniers. These were copied, it is said, from copper-plates, but it is a rather remarkable fact that Anderson, though orig- inally an engraver on copper, did not allow that fact to influence him in his work on wood. Even when copy- ing Shakespeare cuts after Thurston by John Thompson, he has toned down the metallic luster of the original by adhering strictly to the white line and preserving the es- sential character of wood-engraving, instead of twisting it into an imitation of copper-plate. That element should be fully appreciated. Wm. Clark, an old Philadelphia engraver, in a letter to the present writer, very aptly quoted the " Port Folio," 1812, page 14, with reference to Shelric and Fenvula, from Ossian, by Anderson, shown at the second / annual exhibition of the Academy of Fine Arts: "We have at all times been delighted on viewing the works of this excellent, useful and unassuming artist. Engrav- ings on wood, when finely executed, are of great import- ance, as they are printed with the letter press, take off large numbers of impressions, and are afforded at a low price, but the talent and skill necessary in this truly useful branch of the arts is not perhaps at present sufficiently appreciated." The recognition of Anderson and the in- 142 AMERICAN GRAPHIC ART elusion of a wood-engraver's work in so early an art exhibition are as noteworthy as is the understanding of both the commercial and the artistic possibilities of wood- engraving shown in this notice. It should be added, as farther indicating Anderson's standing, that he was an honorary member of the National Academy of Design. Benson J. Lossing issued a " Memorial " (1872), E. A. > \ Duyckinck a " Brief Catalogue of the Books illustrated I with Engravings by Dr. Alexander Anderson " (1885), and Frederick M. Burr a " Life " (1893). Anderson had four pupils, Garret Lansing, William Morgan (who " abandoned the graver for the pencil "), John H. Hall, and his own daughter Anna. John H. Hall, who began in 1826, and in 1830 found employment with Carter, Andrews & Co., did some of his best work, ornithological illustrations, in a spirit and manner showing that Bewick's influence had descended through Anderson to his pupil. He could be both deli- cate, as in some of his landscapes, and vigorous, as when he combined the white line and inky blacks. In an an- nouncement dated Albany, Oct. 20, 1826, he states that " it is a fact well attested, though not generally known, that engravings on boxwood, with proper usage, are more durable than either type-metal cuts or copper-plate en- gravings." Meanwhile, Abel Bowen, who began, as he says him- self, as early as 1805, brought the art to Boston about 1812, his apprentice, Nathaniel Dearborn, starting in business there for himself some two years later. Much of Bowen's production consisted of copies for American edi- WOOD-ENGRAVING 143 tions of English books, for example the " Young Ladies' Book " (1830). " Very remarkable for their fidelity to the original," says Linton, speaking of the cuts in the latter; " the distinguishing manner of each engraver is so exactly preserved that I was with difficulty convinced the cuts were not done from transfers." The proofs printed in Wm. Henry Whitmore's monograph on Bowen (Bos- tonian Society: 1887) are not particularly remarkable, but are, on the whole, good commercial work. William Croome, a pupil of Bowen, worked somewhat similarly to his master but subsequently turned to illus- trating and to designing for bank-notes. Other pupils of Bowen were G. Thomas Devereux, Mallory, Kilburn, B. F. Childs, George Loring Brown the painter and Ham- matt Billings the architect; this in the thirties. Bowen was a publisher of illustrated books. He brought out " The Naval Monument " (1816), " A topo- graphical and historical Description of Boston " (1817), " Picture of Boston " (1829), and others on the Massa- chusetts capital. That form of activity is found in a number of other cases. There was John W. Barber of New Haven, " draughtsman, engraver, author, editor and publisher," who issued a number of historical works, and who, it is said, devoted his energies not so much to accomplishment in engraving as to preaching " the Gospel by means of pictures." For at least one of his books, the one on Connecticut, he traveled about, collect- ing material and making sketches for the illustrations, just as Benson J. Lossing did, in later years, when pre- paring his " field books " of the Revolution and the War 144 AMERICAN GRAPHIC ART of 1812, the volume on the Hudson River, and similar books. Several other engravers became known as pub- lishers of illustrated books or periodicals. T. W. Strong issued " Yankee Notions," " Young America " and other serials. Joseph A. Adams, of whom more presently, was directly interested in the Harper Bible. Later in the cen- tury John Karst was projecting and publishing school books and A. V. S. Anthony was superintending for Os- good in Boston the preparation of finely illustrated books of poetry and other literature, planning text, pic- tures and all. Returning to our earlier engravers, we find William Mason introducing the art to Philadelphia in 1810, fol- lowed by his pupil Gilbert. The latter, as I am informed by Wm. Clark (who himself began his apprenticeship in 185 1 ), was connected with the " American Sunday School Union." Later there were Fairchild in Hartford and Horton in Baltimore. In 1829, Abraham J. Mason, an Englishman, came to America, was made an Associate of the National Acad- emy in 1830, and later became professor of wood-engrav- ing at that institution, delivering also a course of lectures on his art. But it seems that, although he also had a bookstore on Canal Street, New York City, he could not command a satisfactory income. All these and other names are recorded, with much interesting comment, in W. J. Linton's " History of Wood-engraving in America" (Boston, 1882), which appeared originally in the " American Art Review." De- spite this increase of engravers, and the large amount of WOOD-ENGRAVING 145 work turned out by Anderson alone, Linton says that " the cuts done in these days were few; the principal for toy books and similar juvenile works, published by Sam- uel Wood, Mahlon Day, Solomon King and other New York publishers." Yet Abel Bowen, as far back as 1812, when he issued a rather poorly executed card, " immedi- ately," to use his own words, " received orders from the principal publishers in the city." So there must have been some demand for such work. Linton notes that in the forties illustrated books began to increase, and, in fact, the change that came at this time is quite apparent. The " Family Bible," first pro- jected in 1837, was brought out by the Harpers in 1846, " embellished with 1,600 historical engravings by J. A. Adams, more than 1,400 of which are from original de- signs by J. G. Chapman," the exceptions being transfers of English cuts. Many of the smaller blocks were en- graved by pupils of Adams. There was no use of the white line here; it was all straight facsimile work, faith- ful rendering of Chapman's lines, which latter, further- more, were executed with a fineness and formal pre- cision and cross-hatching quite evidently intentionally reminiscent of copper-plate work. All of this had to be rendered literally, with a resultant mechanical hardness in the engraving. This feeling appears also in Chapman's " American Drawing Book," issued in several editions from 1847 on, with cuts by Kinnersley, Herrick, How- land, Wright, Bobbett, Bookhout; "the very perfection of mechanism," says Linton, but also " I know no other book like this, so good, so perfect in all it undertakes." i 4 6 AMERICAN GRAPHIC ART It was one evidence of the considerable English influ- ence on American wood-engraving, this quality which led Linton to speak of Adams as a possible American Thompson, this tendency to apply the methods of copper- plate engraving to the wood. This is referred to also by S. R. Koehler, in his chapter on the United States, in Vol. I (on wood-engraving) of " Die Vervielfaltigende Kunst der Gegenwart " (Vienna, 1887) . Yet the " Har- per Bible " in drawing, engraving and printing was a very remarkable production for its time. Linton calls attention particularly to Adams's inventiveness and skill in overcoming difficulties in preparing his engraved blocks for the press, and states that his " printing of his own engraving is equal to the best of any time." And of his engraving he says that the best work, such as the Massacre of the Innocents and Jacob's Dream, is " yet unequaled in this country [this in 1882!] and worthy to rank beside the best of the great old time in England." The Bible is the most easily accessible of Adams's works and the one by which he is on the whole best known, while the individual print by him probably most often cited with approbation is The last Arrow, again after a drawing by Chapman, done in 1837 f r tne " New York Mirror." The reference to English influence recalls the stimu- lating infusion of British blood through the addition of such men as Alfred Bobbett, John Andrew, George H. Thomas (who subsequently returned to England) and Robert Carter ("Frank Leslie") to the ranks of our native engravers. WOOD-ENGRAVING 147 The increasing skill of our illustrators also counter- acted on the engravers. Not only was facsimile repro- duction of pencil drawings called for, but washes placed on the block by the artist had to be rendered in lines. That developed interpretation. By 1852, in which year the Putnams issued Irving's " Sketch Book " and the " Knickerbocker History of New York," we had such able craftsmen as H. W. Herrick and E. J. Whitney (both designers also) and B. F. Childs to cut on wood the illustrations in a worthy manner. The " Sketch Book," at its time " the most beautifully got-up book that had appeared," had illustrations by Darley, Hoppin, William Hart and others, engraved by Richardson; the " Knicker- bocker History " was illustrated by Darley alone. In the latter book, one may indulge in interesting compari- sons of the work of Childs and Herrick (somewhat ad- dicted to inky shadows) and speculations as to the extent to which the manner of the individual engraver may have modified the design of the illustrator. To these and other issues from the presses of the Harpers and the Putnams there came a third strong influence toward the advance of American wood-engraving and book-illustra- tion, the American Tract Society, to whose activity in producing adequate illustration Wm. James Linton pays deserved tribute. Engraving became more delicate and clear in line, tints became smoother and greater attention was paid to tone. Kinnersley, Annin, Hayes, J. H. Rich- ardson, Benjamin F. Childs, Bogert, Jocelyn, Bobbett, Edmonds and Whitney are names found in the juvenile literature published by the Society. Whitney's work 148 AMERICAN GRAPHIC ART rather stands out, his engraving of Sir John Gilbert's drawings being particularly noteworthy, and some birds by Childs and Kinnersley after Herrick are of special interest. Furthermore, the Civil War called much illus- trated literature into being. To the names already mentioned are now to be added those of T. W. Strong, D. C. Hitchcock, S. P. Avery, W. Roberts, W. Howland, Lossing & Barritt, Bobbett & Edmonds, Bobbett & Hooper, J. W. and N. Orr, Jocelyn & Annin, Morse, Redding, Orr & Andrews, Richardson & Co., Richardson & Cox, Kingdon & Boyd. The fre- quent occurrence of firm names indicates a certain com- mercialization of production. About the fifties or sixties there came also the use of tint-blocks, in the manner of the old chiaroscuro prints. Much less elaborate, however; it was simply a matter of using an extra block to print one tint, say red, or blue, or light yellowish brown, in which some high lights, a few clouds for instance, had been cut out so as to appear white in the print. Wood-engraving was now the principal reproductive medium through which any graphic art was brought be- fore the greater public. It served for the illustration of books (including the schoolbook with its obvious influ- ence on the impressionable young mind), magazines, weekly illustrated journals, comic papers, and for such an occasional cut as might appear in the daily press, the " Herald " of New York, for instance. The illustrated daily did not exist in those days, but there were sporadic outbursts in the one-issue " blanket sheets." WOOD-ENGRAVING 149 All this magazine and periodical work necessitated a haste that neutralized much of the good effect which the possibility of larger, broader treatment may have had in counteracting the tendency to mere technical finesse. During the War, especially, illustrators and engravers no doubt had to work against time. A number of draw- ings made on the field by Leslie's artists, and preserved in the New York Public Library, bear written mem- oranda to guide those who had to re-draw the sketches on the block in the home office. While wood-engraving served temporary needs, it also answered more and more the demand for pictorial in- struction through the reproduction of works of art as well as of beauty of natural scenery. In the late sixties and the seventies there came an increasing improvement in technique, which found em- ployment in growing plans for elaborately illustrated books. Gift books, editions de luxe of the poets, volumes of travel and description were issued with a wealth of illustrations. Very likely there were not a few cases in which such undertakings were not well-advised, where the text even did not call for adornment, where the work had no raison d'etre beyond the production of a seller, an elegant adornment for the drawing-room table. No doubt, too, much of the engraving in these elaborate publications showed " an average of creditable medi- ocrity." Yet on the whole the tendency toward refine- ment must have tended also to refine public taste, and the encouragement afforded both designers and engravers no doubt resulted in mutual influence for good between 150 AMERICAN GRAPHIC ART the two, increasing ability on each side affecting the other. Linton declaimed vigorously against fineness, against meaningless niggling delicacy, against the weak dexterity that sought distinction in the imitation of the steel-en- graving. But he is careful to except from this condemna- tion the fineness that is necessary and fitting, such as is found in Henry Marsh's exquisitely delicate rendering of the downy, evanescent bloom on the wings of moths, the flabby softness of caterpillars, the horny hardness of beetles, in Harris's " Insects injurious to Vegetation " (1862, Mallory did some similar work in 1869) or in Closson's Winifred Dysart after George Fuller. A. V. S. Anthony's " tasteful supervision," during 1866-89, of the books published by Osgood of Boston, notably the quarto edition of Longfellow's works, had a good effect on the development of the art. Anthony was himself an engraver of ability and of distinction and elegance in style. Other engravers at this time were Marsh, J. P. Davis, Berlett, Kilburn & Mallory, Morse, Annin, Hayes, and John Andrew, under whose " careful superintendence " the engravings for the book " Pioneers in the Settlement of America " were executed. A note- worthy stimulus to good engraving was afforded by the publication of " Picturesque America " (Appleton: 1872- 74), which stands out even by the very size of the under- taking. In those two profusely illustrated volumes, op- portunity came to engravers such as John Tinkey, Morse, Harley, Filmer, Halliwell, J. A. Bogert, Langridge, Karst, N. Orr, J. H. Richardson, Anthony, Annin (whose WOOD-ENGRAVING 1 5 1 Walls of the Grand Canon, after Thomas Moran, is a particularly careful and fine example), F. O. Quartley, Slader, Henry Linton, Measom, Cranston, Robert Hoskin, Palmer, Alfred Harral, and W. J. Linton, the last eight Englishmen, some of whom, at least, became acclimated here. They reproduced the designs of Thomas Moran, Harry Fenn, John D. Woodward and other able draughtsmen. The " calm elegance and deli- cacy " of Hoskin, who was not carried away by the " new school," was emphasized by S. R. Koehler. Among the artists of English birth W. J. Linton was prominent. His work has a certain distinction in han- dling. It is " firm and honest " (which terms he himself uses to express " the first qualification of an engraver ") and it exemplifies to a marked degree his theory that the engraver should draw with the graver. It illustrates also his devotion to the expressiveness of the line and its pos- sibilities in rendering form, texture, substance and dis- tances. Those qualities he found disregarded in the at- tention paid to color and tone, which attained to its high- est development in the "new school." Said he: "The art of engraving is discoverable, even by the uninitiated, in the intention of the lines." After all that has been said, one would not look in his engravings for microscopic refinement in his lines. Yet, in spite of a certain direct vigor and boldness (" coarseness " he designates it), his method could produce such an interesting effect of light and tone as The Mayflower at Sea after Granville Per- kins. In his engravings as in his writings he exerted a strong plea for the engraver as an interpreting artist, yet 152 AMERICAN GRAPHIC ART his own vigorous individuality found adaptating changes of expression to suit the personality of the various artists upon whose work he was engaged. The cuts in " Picturesque America " form a remarka- bly interesting collection of well-engraved landscapes. The student of the art has rich opportunity here for sug- gestive comparison of differences in treatment. Koehler calls the book an epoch-making work, and quotes Linton as saying that it contains the best landscapes cut in Amer- ica; he himself adds that the companion work, "Pic- turesque Europe" (1875), mainly cut in England, was on the whole not so good as the American publication. The "Art Journal " begun by the Appletons in 1875 is also to be noted here, as is the " Aldine, or Art Journal of America " (begun in 1871), which latter included cuts by Davis & Spier, and early work by Juengling and Cole. The number of talented and adaptative craftsmen, not a few of them of English or German birth, was increas- ing. At the same time the development of technique brought about a tendency to greater elaboration, to more careful rendering of various textures and of color values. And this was strongly influenced by the alliance between the wood block and the camera. Before there was de- vised the process of photographing the drawing, painting or object to be reproduced on to the block, the drawing had to be executed directly on the latter with pencil or pen, in lines that had to be cut in facsimile by the en- graver. At most, there were added washes which the engraver had to render in lines. But now the original might be executed in any medium and size; pencil, char- WOOD-ENGRAVING 153 coal, oils or water color might be used. It was simply photographed, reduced in size when necessary, on to the wood block, and the engraver then fairly translated it into his own language. Furthermore, he did not destroy the original by cutting it away as he engraved the block, but the photograph on the block was to him simply a guide, while the original stood before him. The possi- bilities thus opened up were perceived and seized upon to a greater extent here than anywhere else, and there was formed a distinctly American school of wood-en- graving, which enjoyed a successful and lucrative period of brilliant achievement. The wish to render tones and color values led these new engravers to be deeply ab- sorbed in the imitation of textures, to the extent that even the brush-marks, for instance, when paintings were copied, were faithfully reproduced. Henry Marsh's re- markably true delineation of insects (1862) has been referred to. In some blocks after drawings by John La Farge (e.g., for " Songs of the old Dramatists," Boston, 1873, or those illustrating scenes in the Arabian Nights), done with a solid richness of effect, he proved the adapta- bility of his manner and hand, and of the art that he practised, to quite different problems. Such cuts, and others by other engravers, in a measure lead the way to the daring effects of the new school. In Bogert's Caught by the Snow (which appeared in " St. Nicholas ") after T. Moran, " a cut full of refinement and delicacy, without sacrifice of effect," there may be seen, for example, how long, sweeping lines, effectively crossed in white, could be made to indicate whirling snow. CHAPTER VIII THE " NEW SCHOOL " OF WOOD-ENGRAVING WITH. the wakening of new aims, of new ideals, there came changes in technique to meet changing demands. Broken, short lines, scattered in whatever direction seemed best fitted to reproduce a given detail, took the place of the more regularly cut and longer sweeps of the graver. The work, as T. D. Sugden puts it, was " more or less stippled and chopped up with dots, etc." It has been contended that J. G. Smithwick's engraving of C. S. Reinhart's Drumming out a Tory, in " Harper's Weekly" for February 3, 1877, cut, as Koehler says, " spot for spot," was the first published application of the new method. Again, Timothy Cole in 1906 wrote James E. Kelly that The Gillie Boy, from a drawing by Kelly, was the first thing of this kind which he engraved and the first ever done, and that he " will always regret . . . that his modesty prevented him from signing it." This appeared in " Scribner's " for August, 1877. But, at a ^ events, the illustrations engraved by Frederick Juengling (the " boldest and most inconsiderate experimenter among the pioneers of the new school," says Koehler) for articles dealing with the New York police force, the New York aquarium, " A Railroad in the Clouds," etc., appearing in " Scribner's Monthly " for 1877, made the first obvious, continued assertion of the new point of view. The draw- 154 >< V < -a K "NEW SCHOOL" OF WOOD-ENGRAVING 155 ings for these illustrations were executed by James E. Kelly (who subsequently turned to sculpture) in a sweep- ing manner, slapped down in broad brush-marks, blocked in with a disdain of finish that gave them the effect of results gained " by first intention." Care was taken to reproduce this style faithfully. The cut Engineer crossing the chasm over the Rimac (" Scrib- ner's," August, 1877, P- 449) was tne second one exe- cuted after Kelly's drawing. The first one had been re- jected by A. W. Drake (art director of the magazine) and Kelly as not correctly reproducing the design. Study of impressions from both blocks, in the New York Public Library, shows that much detail, indeed, was missed in the first attempt. The first Kelly illustration that has come to my notice appears on p. 581 of " Scribner's " for March, 1877; it bears no engraver's name, and is com- paratively timid. The second, on page 585, is signed with J. G. Smithwick's initials. But, as already said, it is with Juengling's cuts that the new method sets in with full swing. In this series of Kelly-Juengling cuts, designer and en- graver absolutely coincided; here was the opportunity to state the newly discovered possibilities of the boxwood and graver in straightforward, unmistakable terms. One can well imagine that these prints came as a shrill trumpet blast to gather adherents to the banner of the new dis- pensation. It seems as if artists, engravers, art editors and the public were fairly caught in the whirl of this new-found power, in the intoxication of this delight in astonishing achievement. One strong voice was raised in 156 AMERICAN GRAPHIC ART warning, that of W. J. Linton. He laid down his prin- ciples in an article on " Art in Engraving on Wood," which appeared in the " Atlantic Monthly," and for which he was denounced with some acrimony. (There exists a manuscript reply by Juengling, never published. ) Oppo- sition drew from his pen a little volume entitled " Some practical Hints on Wood-Engraving for the Instruction of Reviewers and the Public" (Boston, 1879). Finally y he issued his " History of Wood-Engraving in America " (1882). The critical and historical account of the devel- / opment of the art, particularly during 1840-70, will al- ways make this an indispensable book of reference. The portion relating to the work of the " new school " is of interest and value on account of the comments on the numerous examples given. Linton, while evidently striv- ing to be fair (he has plenty of good things to say, finds much to praise), protested vehemently against an undue and slavish devotion to textures and tones, to ultra-re- finement. He found, too often, the essential sacrificed to the unessential, while at the same time the very distinction of substance aimed at was missed. As an instance, among many, he pointed out Juengling's remarkably clever Pro- fessor, after Duveneck, with lip, cheek, eye, hair, coat and background " all of the same wooden texture." As a result, says he, lines of demarcation indicated by differ- ences in color are lost, and the Professor's cranium the hair having faded into the background appears mis- shapen and deeply gashed. He deplored so much real talent in all this new work misapplied, " spent on en- deavors to rival steel line-engraving or etching, in follow- "NEW SCHOOL" OF WOOD-ENGRAVING 157 ing brush-marks, in pretending to imitate crayon work, charcoal or lithography." It was the tendency to render substance rather than spirit, to imitate brush-marks rather than to imitate essen- tials, to which he objected. He insisted on the importance of the line, and of " drawing with the graver." That implied, with Linton, despite a certain flexibility of tech- nique, an adherence to some conventions, a translation into the language of the engraver rather than an inter- pretation. On the other hand, Timothy Cole quite recently, speak- ing of the changes brought about in modern wood-en- graving, says : " At last it became apparent that the old conventions were inadequate and that they had to go by the board. The line had to be tampered with in order faithfully to render the qualities characteristic of the artist's painting. In other words, the painting came to be deemed more important than the exploitation of the engraver's skill in the production of lines. All the old conception of reproducing textures a certain sort of line for this and another sort of line for that had to go." All very true, yet it was " exploitation of the engraver's skill " which called forth Linton's severest strictures. It is a question whether Cole, in the maturity of his power, has not to a certain extent approached Linton's point of view. As to photographing on the block, Linton points out that it was done in the London " Cornhill " days, long before the advent of our " new school." And when met by the statement that " the freest handling is not attain- 158 AMERICAN GRAPHIC ART able [by the designer] on the limited surface of a block," he asks : " Was Holbein cramped when he drew the Day of Judgment on a block three inches by two? " and con- cludes " There is an art in drawing on wood." To which one may add the graphic testimony of Adolph Menzel, who, being limited to twelve square centimetres in his illustrations to the works of Frederick the Great, drew an introductory vignette representing a cupid holding a huge compass, with the legend " XII centimetres ! Max- imum ! " and underneath " Hie . . . hie salta." Linton made a strong plea for the status of the en- graver as a thinking artist, who must interpret the orginal in his own language and way, and not slavishly imitate it ad absurdum. When the engravers are " drilled into superfineness," says he, " their work is scarcely distinguish- able. This utter subordination of the engraver destroys his individuality. Having no individuality of his own, will he be better able to appreciate the individuality (the real personality, I do not say only the outer clothes) of the painter? " The battle was fought and is long over; many of the actors in it are dead, most of those living have turned to other fields of activity. We to-day will probably agree that there was at least some basis of common sense and of esthetic reason in Linton's strictures, to which Jueng- ling wrote a reply, never published, but preserved. The late Sylvester Rosa Koehler summed up the matter in sane language in his German monograph on wood-en- graving, already referred to. American wood-engraving, he wrote, began to go its own way; the evolution was "NEW SCHOOL" OF WOOD-ENGRAVING 159 " justified, indeed necessary." He continues : " Linton bases on the erroneous assumption that wood-engraving through its material and its tools is irrevocably confined within the limits of what has already been accomplished," while, in fact, " wood-engraving must adjust itself to the character of contemporary art." And that contemporary art, that new movement of the seventies, he points out, was under the influence of France, of the " reign of tech- nique and color," and in its turn naturally influenced wood- engraving and illustration, so that the purely technical side, " the how rather than the what," became predomi- nant. The delicate pencil drawing had already given way to a great extent to wash drawings on the block, and now came large paintings, photographed in reduced form on the block. " Here, then, the wood-engraver was con- fronted by a new problem : he was no longer to draw, he was to paint ! " Much silly and ugly work resulted. " The boldness of the manner degenerated into coarse- ness; emancipation from abandoned academic rules seemed best proven by impudently violating all laws of nature and art, and particularly all demands of beauty." Gra- dations of tone and color, textures, the quality of pulsating air, all the things which the painter rendered through differences in handling of the brush, the superposition of layers of color, had to be translated by the engraver with his one instrument, the burin. Koehler cites particularly a cut, in the " Art Journal " for 1880, after a color sketch by Gaugengigl, simply an attempt at harmonizing certain colors, form being neglected. But he cites also Jueng- ling's reproduction of Monticelli as " a veritable triumph 160 AMERICAN GRAPHIC ART of wood-engraving." The imitative spirit went so far as the indication of the grain of the paper in white spots in water colors. " In the one-sided striving for tonality . . . the textures of the materials represented are but too often entirely overlooked." Koehler's conclusion is that all these efforts eventually bore good fruit. The final impression that he gives is that in the belief in certain underlying eternal laws of fitness and beauty, and of the necessary integrity of the line, he and Linton are after all on common ground. Linton ends his " History " by saying of the men of the " new school " : " Notwithstanding all my censures, the revival of wood-engraving is in their hands. They will outgrow their mistakes." When all is said, the fact remains that the " new school " did its work and did it well. After we have eliminated what was ill-advised or prompted by an over- weening confidence, a somewhat one-sided devotion to one principle, so very much remains that we can continue to feel great and justified pride in the results of the movement. It left the mark of its achievement indelibly inscribed in the annals of wood-engraving of all time. Not a few of the engravers identified with this " new school " were of foreign birth and early foreign train- ing, but the traditional assimilativeness of Uncle Sam was exemplified here, too. Their talents were enlisted by an impetus born of American soil, or at all events carried to its highest development here, and it was adapted in its expression to meet the needs engendered by that impulse. It is an honorable list that can be given here, a list of "NEW SCHOOL" OF WOOD-ENGRAVING 161 engravers including many whom we can class as Americans without any reference to foreign origin other than is made by the form of name. Frederick Juengling was " a bold, undaunted experi- menter, an enthusiast," of whom S. R. Koehler wrote a " Memoir," 1890. Frank Juengling's block after Whist- ler's dry-point of Riault, the engraver, showed what the imitative care of the " new school " could accomplish in straight line facsimile work. John G. Smithwick was for some time in partnership with Frank French, among whose works was a volume of " Home Fairies and Heart Flowers " (1886), heads of children from his own draw- ings, with text by Miss Sangster. Richard Alexander Miiller's ability was well exemplified in On the old Sod, from the painting by William Magrath. And there were furthermore S. S. Kilburn, William H. Morse, E. Schla- ditz, H. W. Peckwell, Richard George Tietze, William Miller, W. M. Aikman, S. G. Putnam, J. W. Evans, F. H. Wellington, F. W. Putnam, Victor Bernstrom, E. H. Del'Orme, Van Ness, J. H. E. Whitney, M. Haider and Miss Caroline Powell. All craftsmen with whom technical ability and artistic feeling produced the best results. Miss Powell, like Mrs. Anna Botsford Corn- stock (devoted particularly to natural history subjects), studied at the engraving school for women at Cooper Institute, New York City. This school was established in 1859 and continued until 1890 or '91, being managed successively by Robert O'Brien (1859-67), Linton (1868-70), Miss Charlotte B. Cogswell (1871-80) and J. P. Davis (1881 ). 1 62 AMERICAN GRAPHIC ART Thomas D. Sugden, an old engraver who learned his art with T. W. Strong, and who for years was in charge of the block and plate department of the Century Co., has compiled a manuscript volume, " Remarks on Wood Engraving, by One-o-them " (1904), unconven- tional comments accompanying a number of proofs. An enthusiastic devotee of the art he practised and loves, he points out such characteristics as the effective manner in which the lines follow the swirl of the waves in a cut by Tinkey of a storm on a coast, the " soft delicacy and sunlight " that pervade certain work by Davis, the method of using perpendicular lines to represent water used by Juengling, Chadwick and E. Anderson, for in- stance, in contrast to the horizontally lined lilies floating on its surface, in engravings by the last two. Sugden is responsible also for a droll 4-page " History of Wood Engraving in the United States in a Nutshell," 1903,^ set up and printed by himself in only four or five copies. Not a few of the engravers became identified with some specialty in style or subject, or became best known through some particular engraving. Thomas Johnson, who excelled in portraits, won praise for " calm and appropriate treatment " and " effective yet mild light effect." Gustav Kruell long devoted himself to portrait- ure, producing highly creditable work such as the vigor- ous head of Fletcher Harper, and the smaller heads in the series of musicians by himself and Johnson (1878). In time he developed a style of strength and distinction, in which a proper appreciation of tried convention and "NEW SCHOOL" OF WOOD-ENGRAVING 163 tradition is modified by a sane adoption and adaptation of new methods. His large portraits of Wendell Phil- lips, W. T. Sherman, Robert E. Lee, Beethoven, Darwin (with small " side whiskers "), Webster, Hawthorne and Lincoln (clean-shaven) gave him much opportunity for personal expression because he was not interpreting an- other artist, but rendering in the richness of his burin- stroke the matter-of-fact truthfulness of the camera's point of view. In the white-line modeling of his faces the personalities he pictures rise out of the impersonal reflection of the photograph into a fresh and most lively characterization, into a new significance, I had almost said. Frank S. King, who later turned to engraving on cop- per, numbered among his blocks such quite different un- dertakings as a series after Burne-Jones, a portrait of Modjeska after Carolus Duran, The Fog after F. S. Church and finished productions akin to Marsh's insects, for instance a peacock's feather ("Harper's Monthly," 1878) from a drawing by W. H. Gibson. His Lobster Pot (" Scribner's Magazine ") won strong approval from Linton because " the rock and the water are really dis- tinct substances, and the lobsters have the form and texture of lobsters." W. B. Closson apparently delighted and certainly ex- celled in the reproduction of hazy, vaguely defined effects such as appear in the lightness and delicacy of his en- graving from a drawing by William Rimmer (Magda- len), with its effect of soft, broken, crayon or charcoal lines, or even more in his excellent Winifred Dysart after 164 AMERICAN GRAPHIC ART George Fuller, cut for the " American Art Review." When, later on, he engraved blocks from his own designs, this preference for not too sharply circumscribed forms was still evident. Elbridge Kingsley gives rise to similar observation. He was particularly happy in presenting the rich, succu- lent foliage of Rousseau or Diaz, or the joyous hymn to nature that Corot sang, or D. W. Tryon's dreams of misty evening. In like manner he made of his engrav- ings executed from nature, transcripts of mood rather then of cold form, visions rather than views. He did fifteen illustrations " engraved directly from nature " for Whittier's " Poems of Nature." Ernst Heinemann successfully reflected the airy, trans- lucent manner of F. S. Church in that picture of a mermaid riding on a horse dimly outlined in a swirling wave, or in Nymphe des Eaux (" L'Art," November, 1889). But he showed also command of entirely different manners in the Guitar Player of Frans Hals, The Studio after T. Ribot (medal, Buffalo Exposition of 1901), or his best, the Plantin proof-readers. Influenced by the spirit of the new school, he was not carried away by its vagaries. John P. Davis, though one of the older men, changed his style with the times, and produced such blocks as the Dartmouth Moors after R. Swain Gifford, in which Linton, while criticising on technical grounds, finds the tone " of admirable quality." He, a link between the old and the new, was the last secretary of the Society of American Wood Engravers, "NEW SCHOOL" OF WOOD-ENGRAVING 165 Cole and Wolf, working to-day in the full maturity of their powers, have developed each an absolutely dis- tinct style. Theirs is a manner of expression born of a long experience which engendered a remarkable develop- ment of technique, placed always fully at the service of the particular artist whose spirit was being drawn from the canvas at a given time. That is the essential, the salient feature in the work of these two men, the regard for the personality behind the canvas. They are con- cerned not so much with that delight in the power over tools that may lead to a camera-like imitation of every brush-mark or sweep of the palette-knife, but rather in the transposition, into the language of the burin, of what the painter has said with brush and color. In the case of Cole, who was called to " Scribner's Magazine " by its art editor, A. W. Drake, as early as 1875, this is done with a simplicity of method and a broad, bold directness of expression that give his translations a personal dis- tinction. They bring us into touch with the thoughtful contemplativeness that grasps and enters into the great principles of life actuating the soul that have found voice in the technical mastery of the painting before it. It is that which constitutes the importance of his series after the Italian, Dutch, English, Spanish and French masters, begun in 1883 under commission from the Century Co. One can well understand that such a sympathetically crit- ical temperament should be attracted by the art of other days, which he has illumined also in written comment. " He handles his tool," says Miss E. L. Cary, " as a painter handles his brush, with the same freedom and 1 66 AMERICAN GRAPHIC ART dexterous control, and the same variation of stroke to meet various problems." Cole has shown manifold re- sources, " from the wildest unbridledness to the fault- lessly classical line," as Koehler once said. But his art has long since become clarified into the permanent ex- pression of calm and serene sureness to-day characteristic of this master. Where Cole impresses us as a thoughtful interpreter speaking to us in the rich tones of his own language, in Wolf we find suavity and raffinement dominant. Wolf, devoted particularly to the moderns, brings to his task sensitive adaptativeness, discriminating understanding and distinguished skill. These have served to disclose or re- call the beauties of art of various periods. In recent years he has copied, in a spirit in harmony with the in- tentions of the artists, a Corot for Mr. George A. Hearn; Jonghers's portrait of W. T. Evans; the portrait of a girl (Hispanic- American Society) and Balthasar Carlos (Metropolitan Museum), both by Velasquez; Ver Meer's Young Woman at a Window; Whistler's Miss Alexander and Manet's Boy with a Sword. As an interpreter of contemporary American figure painting, he has reflected the best spirit of that art in terms of his own and with sympathetic appreciation. That is evidenced in blocks after J. Alden Weir, Horatio Walker, J. W. Alexander, W. M. Chase, E. Tarbell. James G. Huneker said of him : " He has attacked all schools, all styles, from Frans Hals to Homer Martin, from interiors by Vermeer to the subtle tonal graduations of Whistler's mother. . . . The line ... is clean and significant. He has the From "Harper's Magazine." Copyright 1907, by Harper A Brothers GIRL AND PEONIES After Irving R. Wiles. Wood-engraving by Henry Wolf "NEW SCHOOL" OF WOOD-ENGRAVING 167 sense of tactile values. Vitality there is . . ., above all virility in company with poetic distinction." Honors in plenty have come to both of these men. Cole has won gold medals at the expositions in Chicago 1892, Paris 1900, Buffalo 1901 and St. Louis 1904, as well as other distinctions. Wolf was awarded various medals and other honors, including a gold medal at the Salon of 1895 an d silver medals at Paris (1900) and Rouen (1903). Most of the engravers of the " new school " were iden- tified with the " Society of American Wood Engravers," which issued in 1882, through the Harpers, a "Port- folio " which remains a noteworthy monument to that period of brilliant achievement. There are preserved, in New York, the diplomas which the Society won as a body at the International Exhibition of Art in Berlin, 1891, and at the International Exhibition of Graphic Arts, Vienna, 1895. (1 ^94 the Society again ap- peared in Berlin, its exhibit at the Chicago Exposition being shown in the National Gallery in the German cap- ital.) Honors came also to individual members at the Paris Exposition of 1889: a gold medal to Kingsley, silver medals to Closson and J. P. Davis, bronze medals to W. M. Aikman and S. G. Putnam, honorable mention to Kruell, Wolf and Henry Davidson, as is set down in the catalogue of the " Exhibition of the Society of Amer- ican Wood-Engravers " held in the Boston Museum, 1890. A like exhibition was held at the Grolier Club, New York City, in the same year. While the general movement exemplified by these vari- 1 68 AMERICAN GRAPHIC ART ous individualities was given a sort of official expression in the " Portfolio " of the Society of American Wood- Engravers, already referred to, there was also other col- lective presentation. The Scribners brought out " A Portfolio of Proof Impressions selected from Scribner's Monthly and Saint Nicholas" (1879), IO2 plates; a second series with the same title (1881), 50 plates; and a selection from both: "Selected Proofs from the First and Second Portfolios of Illustrations from Scribner's Monthly and Saint Nicholas" (1881), 57 plates. The first series included Cole's Gillie Boy, which has been spoken of, as well as his engraving of Whistler's Study in White, and Linton's Grand Canon of the Colorado after T. Moran. Still another collection of proofs was the "Longfellow Portfolio" (1881) of seventy-five plates, issued by Houghton, Mifflin & Co. An interesting undertaking was also the edition of Poe's "Raven" (1884) with illustrations by Dore cut on wood by Americans: Juengling, Claudius, Tietze, W. Zimmermann, Kruell, French, Bernstrom, Hoskin, R. A. Miiller, King, G. J. Buechner, R. Staudenbaur and R. Schelling. Huneker asserts that Dore's French engravers made everything of his work, while the Americans en- graved him too literally, the inference being, of course, that they showed up his weaknesses instead of glossing them over. It is a matter for congratulation that there are various public collections of the productions of this American school. The Boston Museum of Fine Arts, the Con- gressional Library at Washington and the New York "NEW SCHOOL" OF WOOD-ENGRAVING 169 Public Library have formed particularly large and fine general collections, and there are others on the walls of the Young Men's Christian Association in Orange, N. J M in the Newark Public Library and in the public library of Springfield, Mass. ("Aston collection"). The work of certain individual artists may be studied in collections of noteworthy fullness in certain places. Thus, W. T. Evans has presented to the National Gallery at Washing- ton a set of proofs of Wolf's engravings, and another may be seen at the Lotos Club in New York City. In Mt. Holyoke College there is a collection of the works of Elbridge Kingsley (catalogue by M. E. Dwight, 1901), and another selection is in the print room of the New York Library. This New York institution has also the various series of Cole's " Masters " in selected im- pressions, and a noteworthy collection of nearly five hun- dred pieces by Juengling. The latter includes a number of interesting proofs of small sections of various blocks, pulled on little scraps of paper; thus, the heads of John Brown and one of the soldiers and various hands, feet and other portions in John Brown going to Execution, after Thomas Hovenden, are each repeated a number of times on bits of paper an inch and a half square, or less, showing how the engraver progressively proved various portions of his block. So, too, a section of his How it happened after M. A. Woolf. Henry Wolf once told me that, as far as he knew, Juengling and he were the only ones to practise this method. In this Jueng- ling collection there are also some impressions from metal casts of engraved wood blocks, which casts 170 AMERICAN GRAPHIC ART were, of course, intaglio plates like etchings, instead of relief blocks. Adequate records of the achievements of this interest- ing and brilliant phase of American art are thus preserved in various places. CHAPTER IX PAINTER- WOOD-ENGRAVING THE development of reproductive wood-engraving which the United States witnessed in the last quarter of the nineteenth century, was carried to what was appar- ently the limit of its possibilities in the suggestion of tones and textures. The glorious period of success was as remarkable in its product as it was short in duration. The photo-mechanical processes, particularly the now ubiquitous half-tone, swept all before them, and only two noteworthy members of the group of men who made American wood-engraving famous Cole and Wolf are to-day still regularly practising the art as a reproductive process. Heinemann, Miller, E. H. Del'Orme, F. H. Wellington, Chadwick, S. G. Putnam and others entered the service of the photo-mechanical processes which sup- planted wood-engraving, and added to the plate of the half-tone that engraving by hand which emphasizes light and shade and corrects the dull uniformity of the screen. Frank French has written magazine articles illustrated by engravings by himself after his own designs. Thomas Johnson executed a number of portraits in etching. F. S. King and Walter Aikman have turned to copper-engrav- ing, notably in plates done for the Society of Iconophiles, portraits of American notables by King (whose " printer's devil " plate is noted among collectors) and copies of 171 172 AMERICAN GRAPHIC ART old New York views by Aikman. Oscar Grosch turned for a while to the engraving of his own designs on copper and to original etching. One might search out other like instances and extend the list of those who are exer- cising their artistic training in special fields other than that with which they were once prominently identified. A general resumption of the art of wood-engraving as a means of reproducing paintings does not seem prob- able. So, at all events, many of us have thought, but more recently experiments have been pointed to as show- ing that the shallow half-tone plate will not generally give as good an electrotype as will the wood block with its possibilities of deeper lines. Furthermore, the block, as William Aspinwall Bradley points out, gives clean-cut, sharply defined printing surfaces, instead of the monoto- nous, uniform mesh of the half-tone screen which, besides its deadly mechanical effect, is apt to smudge in printing. It is, of course, this same mechanical effect and the ab- sence of absolute high light that has led to the retouching of half-tone plates before turning them over to the printer. Bradley, when art editor of the " Delineator," put his idea to the test, in engravings by F. H. Wellington (died 191 1 ) and others. The decay of wood-engraving has been deplored in print and speech not a few times, and not infrequently in apparent forgetfulness of the fact that not only will neces- sity insure the survival of that which fits its case, but in this case the revival is already with us. But the art has arisen in a new form, or rather there is a renascence of an old form. We may or may not believe that there will PAINTER- WOOD-ENGRAVING 173 ever again be a general use of wood-engraving for the purpose of reproducing paintings or drawings or photo- graphs. But there is no doubt that an increasing number of artists have been turning to the wood block, as they have to etching or lithography, as a means of original, direct expression. Painter-wood-engraving is coming to its own. In this country, the desire for original work first took the form of engraving direct from nature by some of the men who had helped to bring reproductive wood-engrav- ing to its high state of development. The original work of Kingsley, who has printed some of his blocks in colors, and of Closson has already been spoken of. Others, likewise long known as discerning interpreters of the de- signs and paintings of others, the late Victor Bernstrom, Henry Wolf, Frank French, have felt the impulse of original creation and brought to its service their long training and artistic temperament. Wolf has seen " Lower New York in a Mist " and shown it with a delicacy, a " silvery tone," that recalls Whistler's rhapsody concerning the fairyland which London at night opened up to him. Bernstrom has some original blocks to his credit, landscapes. Wm. G. Watt, too, has recently en- graved his own designs on the wood. In the result of all these there is generally completeness of effect, the natural outcome of the engraver's previous activity. The spaces of their composition are filled with lines to indicate tone or local color. In the hands of the artists who are not professional wood-engravers, but who turn temporarily to wood and i 74 AMERICAN GRAPHIC ART graver as one of the means through which to find an outlet for what they see and feel, the medium is usually employed in a somewhat different way, although its char- acteristic nature is respected and understandingly utilized. Here, there is apt to be indication rather than fulfilment, decorative effect of line or space rather than insistence on detail. The rendition of form is simplified. Simple designs, flat tints of gray or black or color, are generally used. Particularly noticeable are a reversion to the line of the facsimile engraving (as we see it in cuts after Durer, for instance), with occasionally a touch of archa- ism; and the influence of the Japanese chromo-xylograph, or wood-engraving in color. But these influences, in the work which is worthy of serious consideration, appear in assimilation, not in imitation. The key-note in these prints is modernity; they are of to-day, and none the less original because based on experience of the past. A number of European artists have exemplified the widely varying possibilities of individual expression in this art of simple, straightforward and yet subtle effects, and it is a cause for gratification that some Americans have likewise begun to avail themselves of its resources. Even a cursory examination of all this work will show how responsive this art can be to the personal touch. Yet all this display of variety in conception, treatment and result is based primarily on an understanding of the peculiar nature of the tools used, on a recognition of both the range and the limits of their inherent potentiality. To know how to produce effects without torturing the PAINTER-WOOD-ENGRAVING 175 instrument beyond its proper functions is as necessary in art, as it is in literature to produce word-pictures without straining the language. The few American artists who have heeded the appeal of the wood block have tested its possibilities in quite varied styles and moods. And the result is most satis- factory where the artist does not lose his better self in the pursuit of the close imitation of other models, where foreign influences are absorbed in a healthy manner while the artist's own personality predominates. This is ap- parent, for instance, in the works of Arthur W. Dow, among them the Ipswich Prints, which he himself calls " simple color themes," of which an exhibition was held at the Boston Museum in 1895. In them the principles of color-printing from wood blocks are well illustrated. The late Ernest F. Fenollosa, writing of Dow's experi- ments in printing pictures in a few flat tints, emphasized the characteristics of the process, its limits, its salient features, the delicacy which lies in its very simplicity. " The artist," said he, " is as free with his blocks as the painter with his palette. . . . Pigment washed upon the wood, and allowed to press the sheet with a touch as delicate as a hand's caress, clings shyly only to the outer fibers, . . . leaving the deep wells of light in the valleys, the whiteness of the paper's inner heart, to glow up through it and dilute its solid color with a medium of pure luminosity." And farther: "This method . . . strengthens the artist's constructive sense in that it forces him to deal with simple factors. It stimulates the faculty of design. . . . Mr. Dow's 1 76 AMERICAN GRAPHIC ART application of it to Western expression and use remains an epoch-making event." It is this Western expression which forms the interest of these prints, the independent adaptation of the Japa- nese technique for the presentation of a point of view which carries no hint of mere imitation, but is the outcome of personal conviction. The Japanese manner is very much more insisted upon in the case of Miss Helen Hyde, who, furthermore, has lived in Japan and chooses Japa- nese subjects. She has presented some delicate and sub- dued color harmonies, such as we see them in old Japanese prints as they appear to-day, with the colors toned down by time or exposure. Yet with all this there is in her pictures an element of Occidental observation. To a Japanese, indeed, her w^rk may SPPTTI fact that we are told that she won a prize in Tokio in competition with native artists. The Japanese form is there, rather than the spirit. The gesture is Japanese, the language is English. And it is well that Miss Hyde, despite her Japanese robes, does speak her mother tongue though with an accent. While Miss Hyde is attracted by figure-subjects and flat tints, B. J. Olssen-Nordfeldt was evidently influenced by the landscapes of Hokusai and Hiroshige, and insists somewhat more obviously on the line. And in the latter he seems to see picturesque rather than decorative possibilities, foamy wave tops circum- scribed into rigidity by curly lines which yet in themselves have the restlessness of irregular rhythms. He gets away farther than Miss Hyde from the land of Fuji Yama, despite the still evident influence of its art. PAINTER- WOOD-ENGRAVING 177 An entirely different point of view is evidenced in the work of Howard McCormick, rugged, yet aiming in its way at full pictorial effect, covering the surface of the block with lines. Still, his is not the manner of the professional wood-engraver, and not suited to microscop- ical examination any more than the impressionistic can- vases of Monet or Pissarro or Sisley. It is a method well adapted in its vigor to his reproduction of the bust of Lincoln in which that homely, honest character has been pictured by the virile directness of Gutzon Borglum. Usually, however, he engraves after his own designs, as in some magazine covers, or in his series of Mexican sub- jects. In these latter he handles the graver (burin) with the sweep of the brush, using legitimate burin methods, but applying them with a free, flickering touch which gives a noteworthy impression of life and action and pulsating tone. Where McCormick fairly hews out his way in a dis- tinct style of his own, A. Allen Lewis shows a touch of frank archaism, joined, however, to an equally honest individuality of expression. His frequent use of tints of color, flat, but with the mottling of delicate variations produced by the texture of the wood, is reminiscent of the old " chiaroscuro " engravings. It is merely a matter of method, however; the work is essentially of to-day. Rud. Ruzicka fairly bathes his black line designs, executed with both vigor and lightness, in a light-brown tint relieved by white lights. The effect invests his metropolitan scenes, be it a skyscraper or A bit of old New York, with a delightful appeal to the imagination, personal in its 178 AMERICAN GRAPHIC ART presentation. W. F. Hopson, like Lewis, has been par- ticularly identified with the art of the book-plate, as have also Hugh M. Eaton and George Wolfe Plank, of Philadelphia, chief inspirer of the short-lived " Butter- fly " quarterly. In contrast to this art of the small there is the opposite, as to size, in the field of the print, the poster. It was once, before the more ambitious efforts of lithography, wholly the province of the wood-cutter, though a product, then, of rough-and-ready effects. The materials used may have seemed unpromising: wood-carver's tools ground down to the length of a boxwood-graver, the blade being grooved to prevent splitting in the wood, and very soft basswood, quite free from knots. Yet James Britton employed them with bold and broad effect in sev- eral vigorously drawn posters for the Connecticut League of Art Students, for a studio concert, etc. They bring us back to the old truth, that the artist who really has something to say will find his own way of saying it, and will win the medium to his style. All this is not so very much, quantitatively. Its sig- nificance lies in the effort to use this oldest of the repro- ductive media as a painter-art. Yet it is simply one of the forms of graphic art which offer by-paths for incur- sions which are not undertaken too often by American artists. The present gratifying revival of painter-etching in the United States is expressed almost entirely in the activity of those who make a specialty of etching; the painter who etches occasionally is rare indeed. Lithog- raphy is almost entirely neglected. Abroad in France, PAINTER-WOOD-ENGRAVING 179 England, Germany and Austria one finds much more active utilization of such possibilities on the part of artists, who turn from canvas or modeling clay to the etching plate, the lithographic stone, or the wood block (not to speak of forms of applied art such as interior decoration or the designing of furniture or advertisements). They bring the personal note which forms the value and attrac- tion of such efforts to present the objects of vision in various artistic forms. Such occasional changes of activ- ity must provide a veritable safety-valve, an opportunity for the " other view," a chance of escape from the " usual thing " whan that threatens to become too much a matter of manner, a road of return to the artist's own self. CHAPTER X LITHOGRAPHY: A BUSINESS, AN ART IT was a foregone conclusion that lithography should find its greatest development here through its commercial possibilities. The record of accomplishment in strictly original lithography is not extensive, while commercial lithography attained to a noteworthy degree of excel- lence. Nevertheless, the first attempts in the art, which had already been taken up enthusiastically by artists in Germany and France, were made here, too (in 1819-20), by a painter, Bass Otis. His two little drawings have little to recommend them but the interest of priority. They gave no hint of the possibilities exploited even at that time by Senefelder, Winter, Girodet-Trioson, Vernet, Guerin, Gros and others abroad. Our distin- guished countryman in England, Benjamin West, had tried both crayon and pen on the stone as early as 1801 (John the Baptist and He is not here} and 1802 (This is my beloved Son), and his son Raphael signed a study of an old tree in 1802. But over here we had, appar- ently, not been in a hurry to test the newly-discovered medium. Yet Dr. S. L. Mitchell, according to the " Na- tional Intelligencer" of Jan. 8, 1808, had a lithographic stone and ink in his possession at that time. However, after Otis's unassuming attempts, the facility of this new reproductive process evidently aroused some 1 80 The two earliest known lithographs produced in the United States. Both by Bass Otis. LITHOGRAPHY 181 interest. At all events, hardly seven years after Otis's essays appeared, Rembrandt Peale was awarded the silver medal of the Franklin Institute for his copy, on stone, of his own portrait of Washington. And we need not cite local pride or a backward state of art in this country as an explanation of the award. Peale really, in this work, showed an understanding of the possibilities of the stone which is worthy of note, and which, by the way, is not so apparent in other lithographs from his hand, the larger head of Washington, and the smaller portraits of John Warren, M.D., Rev. John E. Abbott, etc. " I was among the first of the artists," said he, " who employed this admirable method of multiplying drawings. . . . In 1826 I went to Boston and devoted myself for some time to lithographic studies, and exe- cuted a number of portraits and other subjects, and finally a large drawing of my portrait of Washington." His first lithograph was a portrait of Byron, done, like others of his drawings, for Pendleton. However, painter-lithography, as an autographic art practised by the artist similarly to etching, could not, from the nature of things, find much expression in a land in which the conditions of social and political develop- ment left little time for the cultivation of art for its own sake. Still, the artistic interest was not entirely wanting, even in commercial work, when men such as Henry Inman (who formed a partnership with C. G. Childs), Thomas Sully, Rembrandt Peale, and Thomas Doughty were taking part in the development of the new process. As a matter of fact, artistic lithography and the commercial 182 AMERICAN GRAPHIC ART product cannot always be separated in the work of these early days. Much of it was signed, thus representing distinct personalities, instead of bearing only the trade- mark of a firm name. But one finds also the signatures of geniuses deservedly unknown. The commercial importance of the new reproductive process was evident from the beginning. As early as 1825 John Pendleton was engaged in the business of lithographic printing in Boston, and Anthony Imbert in New York, and it was not long before firms sprang up in Philadelphia and other cities. Much of the work pro- duced was poor. Maverick, the New York engraver, busied himself also with lithography, one of his works being Daughter of Charles B. Calmody (1829) after Lawrence. Among the prints he issued is a view of Wall Street, New York City, the rarity and interest of which is in inverse propor- tion to its artistic value. It is signed H. R., which letters presumably stand for Hugh Reinagle, who signed in full a view of St. Paul's, in the same city, printed by Pen- dleton. In Philadelphia, Cephas G. Childs similarly practised lithography as well as copper-engraving. He became as- sociated in 1831 with Henry Inman, a versatile painter, with facility and a certain swing in his crayon drawings on stone. These include portraits, a view of Mount Vernon in which the branches of trees outline a spectral Washington, and the particularly well done Scraps (1831). Of the last, the figure of a little nude boy on a stone, a graceful and delicate bit of crayon work, is LITHOGRAPHY 183 especially noteworthy. Thomas Sully's portrait of R. Walsh jun. C. G. Childs dir. was also quite well exe- cuted. The services of other artists were enlisted in the cause of the " grease crayon." Such were four who occasion- ally drew for Imbert: Archibald Robertson (Grand Canal Celebration, 1825), A. J. Davis the architect (whose New York City views are well known to col- lectors), George Catlin the Indian painter, and David Claypoole Johnston (whose work is characterized by the colorless uniform gray of his portrait of Webster, after Chester Harding, 1831). Another artist who drew at least one view (Niagara Falls} for Imbert was G. Mar- siglia, N.A. Still other painters gave some attention to lithography, but not much of their work calls for special commendation. This may be due to a defective knowl- edge of drawing, or to insufficient study of the technique of lithography, or both. At all events, Lambdin's por- trait of Robert Owen has a decidedly amateurish aspect, and the Tomb of Washington, at Mount Fernon, by the landscape painter Thomas Doughty, done from a draw- ing made on the spot by J. R. Smith, and printed in 1832 by Childs and Inman, is not prominently good. Doughty, by the way, did from nature and on stone some fairly ac- ceptable animal studies (Summer Duck and Newfound- land Dog} for Childs and Inman, as did J. G. Clonney, the genre painter, somewhat later, for Mesier. Thomas Cole also made attempts on the stone, notably The Good Shepherd, with a delicate background of trees and clouds, published in 1849 with the inscription to the artists of 1 84 AMERICAN GRAPHIC ART America this print is respectfully dedicated by Maria Cole, 1842, and printed in tints by Sarony & Major. Finally, John William Hill, one of the American circle of Pre-Raphaelites, signed Hackett's Town (1845) an< ^ Rockland Lake, both drawn on the stone for Endicott &Co. Meanwhile there was an increase in professional lithographic artists, men who devoted their energies more continuously to this specialty. They, too, often signed their work, thus in a measure accenting the dignity of the artist in contrast with the lithographic firm name, although often, indeed, there was little to dignify by the name of art. Thomas Edwards, of Boston, was one of the first to draw in the crayon manner, and in portraits such as the one of James Tilton, M.D., the hesitation, the want of familiarity with the new medium is quite ap- parent. His Jacob Perkins ( 1826, printed by Pendleton) is already more free in execution. F. Alexander, Wil- liam Hoogland and J. R. Pennimann were other Boston artists, and the garrulous William Dunlap commends the work of John Bisbee and John Crawley Junior, who were employed by Endicott and Swett. I have seen no prints signed by either Bisbee or Crawley. A picture of Washington Hotel, Broadway, New York (1833) was drawn from nature and on stone by Moses Sweett, while the name is properly spelled on other prints, such as those in the "American Turf Register" (volume I, 1830), or the Irving . . . addressing his Countrymen after an Absence of 77 years. Other names met with are R. Cooke, J. M. Roberts and Charles Toppan under WASHINGTON Lithograph by Rembrandt Peale LITHOGRAPHY 185 some Imbert prints, W. Ball, W. Kelly, P. Hoas, E. Jones, according to my notes, which characterize their work as " poor." The interest in all this is antiquarian, rather than artistic. There were furthermore J. H. Colon (Inauguration of Washington, about 1830), A. Hoffy (Tompkins Blues of New York, City Troop of Philadelphia, colored plates by P. S. Duval, 1839) and R. J. Rayner (Portrait of Washington after Stuart). G. Lehman, like Hubard (portrait of Andrew Jackson, 1833), lithographed for Childs & Inman; I have seen a flamingo drawn by him from nature, of a noteworthy delicacy, as well as a lithotint in colors, The Pirates' Well. In the thirties some of Pendleton's prints were signed by J. H. Bufford, who later was in business for himself. His drawing of Inman's portrait of Wirt (Pendleton) is the best by him that I have seen. Signatures increase as we go on in chronological se- quence: Bouvier, Penniman (1844), C. W. Burton (panoramic view of New York, 1849). F. J. Fritsch's pretentious pictures of the 38th Regiment, Jefferson Guards (1843) an d the First Division (1844) both por- tray New York State Artillery organizations with the impartial inclusiveness that Banning Cock's company felt should have been accorded them in Rembrandt's famous " Night Watch." The interest in these two colored prints lies, however, in the fact that the first shows the City Hall and the second Castle Garden, and for that reason they were included in the exhibition of rare and important views of New York held in that city's library in 1912. Charles Gildemeister signed a View of the 1 86 AMERICAN GRAPHIC ART Narrows and a View of the Hudson River from Fort Lee, both published by Seitz in 1851 ; G. W. Fasel drew Heroic Deeds of former Times, six scenes in Indian war- fare (Seitz: 1851), and Bachmann a view of New York City. Gustavus Pfau and Hardtmuth, who both did por- traits for Nagel & Weingartner, J. H. Sherwin (1858) and C. Koppel (Jefferson Davis, bust portrait, nearly life-size, 1865) may also serve to indicate not necessarily importance, but the prevalence of signed work. The enlarging proportion of German names in this later work will be noted, as it will also in the record of firms. But much of the earliest work showed French influence. In fact, among Imbert's artists we find the names of F. Duponchel (1825), J. Bauncou and Canova, presumably brought over from France as P. S. Duval was by Childs & Inman to take charge of the lithographic department added to their general engraving business. Pendleton, too, had studied the art in Paris and brought the materials with him. The miniature painter and en- graver Hugh Bridport's portrait of John Vaughan, after T. Sully, also shows French influence and is somewhat in the style of his pupil, Albert Newsam (1809-64), a deaf-mute. Newsam was an assiduous student of French models. That is apparent in his larger portrait of W. Rawle, one of his best drawings, which stands out prominently from the many smaller colorless portraits which he pro- duced. It is shown notably also in the portrait of John G. Watmough after Inman, in the style of Grevedon, his finest and most stunning effort. He was originally LITHOGRAPHY 187 apprenticed to Childs to learn engraving on copper. After Childs had gone into partnership with Inman, and taken up lithography, Newsam produced many of his earlier and best works for that firm, and he was active also for years in the service of its successor Duval. De- voted principally to portraiture, he was most successful when copying, for when he drew directly from the life he faithfully reproduced the tired look of the sitters whom he could not animate on account of his bodily misfortune. His name is indissolubly connected with the history of lithography in the United States. J. O. Pyatt, his teacher at the deaf and dumb institute, wrote a " Memoir " of him (1868), and a catalogue of his " Lithographic Por- traits " was issued by D. M. Stauffer in 1901. Two collectors at least D. M. Stauffer and Charles Roberts have directed their energies in his direction, and the Pennsylvania Historical Society has a number of proofs which once belonged to Newsam. Childs himself produced creditable portraits, such as those of Miss Clara Fisher, John Adams (partly done with the scraper) and Gen. A. Macomb. The first shows deep, rich shadows in the hair; the last, printed by Pen- dleton, Kearny & Childs, is of a soft, miniature-like effect. The technique in this early work was that of the crayon drawing, with occasional use of the scraper, the stroke of the crayon being usually lost in a uniform, often rather grayish, tint. An especially effective example of this style at its best is found in M. E. D. Brown's portrait of William P. Dewees, after Neagle, printed by Lehman and Duval, 1833. Its deep, inky shadows and indefinite 1 88 AMERICAN GRAPHIC ART contours make it one of the most interesting examples of lithographic portraiture that this country has pro- duced. In a portrait of David B. Ogden and a reproduc- tion of a picture by Newton for " The Amateur and Cabinet," Brown fell much below the standard which he himself had set in this stunning portrait of Dewees. From the late thirties to the early fifties a little group of portrait artists turned out very respectable work, with an occasional infusion of decidedly artistic feeling. Charles Fenderich's series of political notabilities, issued 1837-1841 in Washington under the firm name of Charles Fenderich & Co., are rather uniformly dark, but fairly well modeled. His Garret D. Wall is the freest drawing by him that I have seen; Worth (1844), also, is quite good. F. D'Avignon likewise served his portraits in a lineless sauce of crayon tint; he ran to rich, shimmering grays instead of the sometimes dull heavy blacks that others affected. The series of large portraits after daguerreotypes by Brady, " Gallery of illustrious Amer- icans " (1850), is probably his most familiar work; the Baron Stow (Bufford, Boston: 1859) is one of his best in execution. A strong contrast to these is offered in his delicate miniature likeness of Ralph Izard (Boston, 1844). The firm of D'Avignon & Brainerd existed in Boston in 1859. Fabronius, a Belgian, who came to Philadelphia in 1855 and worked for Rosenthal and Duval, did good portraits. Martin Thurwanger, an Alsatian, who was in this country during 1850-55, employed the less-used LITHOGRAPHY 189 medium, pen and ink, for his very carefully executed por- traits, such as that of E. Biddle. Contemporaneously with this activity in the Middle and Eastern States, J. Lion, a Frenchman working in Louisiana for many years, was engaged to make a series of portraits of the legislature of 1836, which series, owing to the death of the projector, was never published in collected form. His portrait of J. J. Morgan, New Orleans, 1846, shows a little similarity in manner to the lithographs of Leon Noel. William Beer, of the How- ard Memorial Library, writes me that " the most cele- brated head by Lion is one of Audubon," and adds that Caspar Cusachs has about 100 lithographs by this artist. Very much later in the century, early in the eighties, Max Rosenthal did two hundred or so of small heads of Revolutionary and other notabilities with a light, smooth touch. If the crayon tint is in evidence in the drawings of most of the men who have been mentioned, the line is insisted upon in those of L. Grozelier (portraits of Charles Sumner, Lyman Beecher, 1854, and N. P. Banks, 1856) and C. G. Crehen (portraits of W. S. Mount, 1850, and J. C. Fremont, 1856). The former drew for Duval and for J. H. Bufford (in the fifties) ; the latter for Nagel & Weingartner. Both of them had some- thing of the manner of the Frenchman Julien, whose " drawing models " were so familiar in our boyhood days. Vincent Collyer, similarly, in his large Crayon studies from life, gave a suggestion of the style of Jose- 190 AMERICAN GRAPHIC ART phine Ducollet's modeles de dessin, perhaps a bit freer in treatment. And Jules Emile Saintin, a French painter who spent some years in this country, did a portrait of Stephen A. Douglas (1860) which is worthy of special mention. Lithography drew not a few engravers to its service, either directly as draughtsmen on the stone, or as man- agers or owners of establishments executing both en- gravings and lithographs. Childs and Maverick have already been referred to. V. Balch drew upon stone a portrait of Dr. Samuel L. Mitchell, published by Imbert. Annin & Smith, says Stauffer, " were for some time en- gaged in the lithographic business under the name of the Annin & Smith Senefelder Lithographic Co., of Boston. In 1831 they sold out the lithographic business to W. S. Pendleton, who continued the business as the Senefelder Co. of the same city." John Cheney drew on stone for Boston lithographers two tender, silvery-gray landscapes and a figure-piece, The Broken Heart. S. H. Gimber did lithographs beside engraving in stipple and mezzo- tint. Bridport stippled and lithographed, as did James Akin, apparently a " jack of all trades," druggist, res- taurant keeper, mechanical draughtsman, and what not. And J. B. Martin, of Richmond, executed a portrait of John Randolph of Roanoke, printed by Childs. John Rubens Smith, who practised in various media, brought out A Compendium of Picturesque Anatomy . . . on four Folio Lithographic Plates (Boston, 1827) ; James Smillie, the line-engraver, did at least one drawing for lithographic reproduction (View of Union Park, lith. by ONE OF THE "CAMPAGNE SKETCHES" A series of lithographs by Winslow Homer LITHOGRAPHY 191 Sarony &P Major, 1849) '> Kimmel & Forster (The Pre- servers of our Union, 1864) and H. B. Hall are credited with some work on the stone. A very large proportion of the production of the first half of the nineteenth century consisted of portraiture, but other fields were not neglected. There is a little gal- lery of landscape art, pictures mainly of topographical and local interest. Such are the somewhat dry " Views of Philadelphia and its vicinity," from paintings by J. C. Wild, " published by J. T. Bowen at his lithographic and print colouring establishment" (1848; copyright 1840), and the volume, " Scenery of the White Mountains, with 1 6 plates from drawings of Isaac Sprague. By William Oakes " (Boston, 1848: B. W. Thayer & Co.). Or the numerous views signed by Mrs. Frances F. Palmer in the forties and fifties, and published, some by F. & S. Palmer and many by Currier & Ives. Not only views of large cities (e.g., View of New York from Wee- hawken, 1849, or Suburban Gothic Villa, Murray Hill, New York), but vistas of small towns and villages, re- sponding to local needs and pride. E. Whitefield signed a number of views, among them a large one of Brooklyn from the United States Hotel, New York (1846). Two particularly fine examples of semi-commercial landscape work are Taghanic Fall, put on stone by David Glasgow (died Jan. 29, 1858, aged 24) after a draw- ing from nature by E. Whitefield, and Catterskill Falls, by Charles Parsons. Both are good, finished, workman- like productions; they have something of the manner of J. D. Harding, or perhaps of Calame. Parsons, for i 9 2 AMERICAN GRAPHIC ART many years manager of the art department of Harper Bros., executed a number of drawings on the stone, par- ticularly large pictures of noted vessels, and a view of New York City (1858). We were shown our country also as seen by foreigners. As the Frenchman Milbert had, in the twenties, depicted the scenery of the Hudson, so A. Kollner, of Diisseldorf, in the fifties, drew a series of American views published by Goupil & Co. Lithography, for a while, was much used in book-illus- tration. An early effort is the title-page design of " The Daughter's Own Book" (Boston, 1833), a female figure in the manner of the French romantic period, done by Pendleton's Lithography. Pendleton seems to have printed many illustrations, among them those for A. Bigelow's "Travels in Malta and Sicily" (1831). Hawthorne's " Visit to the Celestial City " was published in 1844 by the American Sunday School Union with droll lithographic plates. In the fifties, sixties and seventies firms such as Sarony, Major & Knapp and Julius Bien were active in this field. A characteristic example of the work of the first-named is " Graphic Scenes of the Japan Expedition, by W. Heine, executed in colors and tints " (1856). They were responsible also for the Composi- tions for Judd's "Margaret" (1856) drawn in outline by F. O. C. Darley and put on stone by Konrad Huber, and for other similar work by Darley and J. W. Ehnin- ger. Long before, in 1843, Sinclair of Philadelphia had printed outline Scenes in Indian Life, drawn and etched on Stone by Darley. Bien's product included the illus- LITHOGRAPHY 193 trations for " The House that Jack Built," " Five Little Pigs," etc., by H. L. Stephens, issued 1864-5 in editions of 100 copies, and the "Fables of ^Esop " (1867) by the same artist. Lithography was allied also to the comic art, in hu- morous weeklies such as " Puck," " Judge " or " The Wasp," as well as in separate sheets such as Thomas Worth's gaudily colored caricatures of negro life (" Darktown Fire Brigade " and the like). These last were printed and published by the New York firm of Currier & Ives (N. Currier, 1838-62, Currier & Ives, 1862-1901), who for many years before and after the Civil War issued a pictorial record of happenings, mur- ders, battles, shipwrecks, as well as portraits and views, with little art and much color. Portraits, also, they fur- nished, and war-time cartoons by L. Maurer and others. Also prints with no reference to specific events, such as the series of six dealing with The Life of a Fireman by L. Maurer and Charles Parsons, or the Summer Scenes in New York Harbor (1869) by Parsons and Atwater. Even as late as the Spanish-American War their pictures formed the simplest and most direct supply of the demand for illustration of passing events. Such prints were issued also by John L. Magee, of Philadelphia, in the fifties. Similar in purpose but better in execution were such prints as Lincoln on his Death-bed and Grant's Council of War, by Peter Kramer. A field in which the stone quite crowded out the wood block was that of the theatrical poster. The artists Matt Morgan and H. A. Ogden and the firms Strobridge Litho- i 9 4 AMERICAN GRAPHIC ART graphic Co., A. S. Seer and W. J. Morgan have been particularly identified with this form of lithographic activ- ity, into which there have been occasional incursions from without, so by Ernest Haskell and B. J. Rosenmeyer (portrait of Richard Mansfield). As in other countries, the music cover, cultivated in France notably by Chatiniere, was likewise the province of lithography, from the days of Pendleton to those of H. A. Thomas. A title-vignette for a song, printed by Pendleton, 1831, is signed Lopez; another piece of sheet music bears a portrait of Clay (Thayer & Co.'s Litho- graph, 1844) ; and J. D. Smillie designed a vignette or two. Many of the names mentioned in this chapter represent material for the history of commercial lithography, per- haps to be written some day? For us not a few of them have mainly the somewhat negative interest that they do appear on the prints, that they were not suppressed and covered by a firm name, that the artist was given his due. Such considerations take us naturally into the record of firms. Beside those named elsewhere in this chapter there were Childs & Lehman, Lehman & Duval (who lithographed the plates in J. O. Lewis's " Aboriginal Port-Folio," 1835), Kennedy & Lucas, P. S. Duval & Co., Pendleton, Kearny & Childs, and T. S. Sinclair in Philadelphia; Endicott & Swett, later Endicott (1832- 90), G. Hayward, in New York; T. Moore, successor of Pendleton, and himself succeeded by Thayer, W. Sharp & Co., in Boston; Wegner, Brueckner & Mueller in Pittsburg (A. D. Wegner drew portraits) ; R. H. LITHOGRAPHY 195 Pease in Albany; D. W. Kellogg in Hartford; and sim- ilar establishments in Washington, Baltimore and other cities in the third to sixth decades of the century. And if one comes down to more recent times, the list becomes too long for full citation. They were kept busy supply- ing demands for comic papers, posters, chromos, adver- tisements, cigar-box labels, cigarette cards, Christmas and other cards, supplements to periodicals, and the nu- merous other forms of pictorial production which came from the lithographic press. Not a few of these firms were united in the American Lithographic Co. A large proportion of this later work has been in color. Printed in color, that is, not hand-coloring such as it is found in Grandpapa's Pet, Drawn and lithotinted by John H. Richards expressly for Miss Leslie's Maga- zine, the first Specimen of this Art ever produced in the United States, Lith. of P. S. Duval, Phila. Early efforts in color-printing are encountered occasionally. For ex- ample, the cover, printed in colors by E. W . Bouve, Bos- ton, of " The Waif," edited by Longfellow (Cambridge, 1 845 ) . Or the bust portrait of Washington lithographed and printed in oil Colors by P. S. Duval & Son, Phila- delphia. Or the Interior View of Independence Hall, Philadelphia (1856) , on Stone by Max Rosenthal; Litho- graphed and printed in Colors by L. N. Rosenthal. The color-plates in J. F. Reigart's " Life of Robert Fulton " (1856) were produced by the same combination of de- signer and printer. Max Rosenthal, who came to Phila- delphia in 1849, we are to ld, "made the chromo-litho- graphic plates for what is believed to be the first fully 196 AMERICAN GRAPHIC ART illustrated book by this process in the United States, ' Wild Scenes and Wild Hunters.' In 1854 he drew and lithographed an interior view of the old Masonic Temple in Philadelphia, the plate being 22 by 25 inches, the largest chromo-lithograph that had been made in the country up to that time." Christian Schussele, an Al- satian, who came to Philadelphia in 1848, worked for Duval and subsequently turned to painting, is said to have learned chromo-lithography from Engelmann and intro- duced it here. He designed a card for P. S. Duval's Lithographic & Color Printing Establishment, which firm executed also his title for " Godey's " for 1850. After the early development of this new art through these two men came Julius Bien's large undertaking, the plates for the 1860 re-issue of Audubon's "Birds." Among his later color-work was a sheet of gems to illus- trate an article by Dr. George F. Kunz (1890) and a reproduction of Munkacsy's Christ before Pilate. A name of particular significance in the annals of litho- graphic color-printing is that of Louis Prang, who issued many prints, including reproductions of paintings. The culmination of his achievement is to be found in the rendi- tion of ceramic ware in the W. T. Walters collection, appearing in a sumptuous folio published in Baltimore in 1884. Finally, there must be noted the color-plates done by the Forbes Co. for the sumptuous publication: " The Bishop Collection. Investigations and Studies in Jade. Catalogue " ( 1906). With great improvement in commercial lithography there came comparatively few instances of artistic force FLOWER GIRL Lithograph by William M. Hunt LITHOGRAPHY 197 or individuality as we find it in the work, say, of Sarony, Morgan or Keppler to some extent. The incentive to original work, " painter-lithography," weakened. As has been indicated, the line bounding original work is not always easy to draw absolutely. Napoleon Sarony, identified with lithographic printing houses from his thir- teenth year, signed some pieces himself, executed with a graceful and facile touch and in a smooth manner. Shall David D. Neal's Captain John Paty and A. Nahl's Thomas O. Larkin (1863), both the work of California painters, be considered as original or as commercial litho- graphs? Or Seymour J. Guy's large certificate issued to subscribers to the Brooklyn and Long Island Fair in aid of the U. S. Sanitary Commission? Or the Campagne [sic!] Sketches, drawn with crayon and some scraping, with noteworthy freedom of touch, by Winslow Homer, during the Civil War, and published by Prang & Co. of Boston? Or even S. S. Frizzell's suave rendering, with crayon and some touches of the scraper, of W. M. Hunt's Elaine (1866) ? Decision is not quite so difficult if it be borne in mind that the fact that a painter happens to make a drawing for a lithographic house does not per se constitute the result a " painter-lithograph." It is a matter of expression of individuality, that is all. The question is simply, does the result clearly bear the impress of the artist's personality, is it an outcome of his own unhampered self? W. M. Hunt, in the sixties, showed true painter quali- ties in some original lithographs of a flower girl, a Savoyard (hurdy-gurdy player) and other simple sub- 198 AMERICAN GRAPHIC ART jects treated in a big way, with remarkable feeling for tone and color. About the same time (1870) G. W. Nichols of New York published a series of lithographs by painters, among them Twilight by A. Delessard, Twi- light by F. Rondel after a painting by George Inness, Plato by F. B. Mayer, and particularly Hagar and Ish- mael, a good, strong bit of work by Edwin White, who showed here the same quiet richness that marks some of his paintings. To these few names must be added those of Thomas Moran and J. Foxcroft Cole. Moran is known as a painter by the chromatic glories of his Turnerian Venice scenes and his depictions of the grandiose beauty of the Western United States. Similarly, he expressed in the black-and-white of the stone his love of bold, scenic ef- fects, towering mountains, forest giants, vistas of wild, stern nature. Two of his best-known lithographs are Solitude (a wood-interior: No. i of his Studies and Pic- tures, 1868) and South Shore of Lake Superior (1869). The last, a strong and picturesque performance, is his best, as he says himself; the stone was unfortunately de- stroyed by accident, when but ten or twelve impressions had been taken. A remarkable contrast to the vigor and sweep of such work is offered in the eight pastorals of Cole (six of them issued by L. Prang & Co. in 1870 as part I of an " Album of American Artists "), simple in subject and treatment, with a quiet charm in harmony with their characteriza- tion as pastorals. Cole, like Winslow Homer and East- man Johnson, was originally a lithographer in the estab- LITHOGRAPHY 199 lishment of Bufford; Homer's oeume includes a number of little cards of soldier life during the Civil War, issued by Prang as were the Campagne Sketches, but approach- ing the subject rather more from the humorous side. So there was promising material about the year 1870, but the period of active interest in the resources of the stone was short. And it was not until about 1896 that a revival of interest took place. Montague Marks, then editor of the "Art Amateur" (New York), enlisted the attention of various artists, J. Carroll Beckwith, J. Alden Weir, H. W. Ranger, F. Hopkinson Smith, Joseph Lauber, J. G. Brown, Ruger Donoho and Cleve- land Coxe, who at his instigation made attempts in lithography. A particular understanding of the effects which this medium makes possible to the artist was shown by Weir (who used the scraper in some characteristic studies of home life) and Ranger, whose On the Seine is an admirable rendition of a rainy day with its sky of tremulous gray and the reflecting glint of the wet stones. That is as far as it went. One drawing, at most two, apiece were had from these artists. That was all. Marks's idea of an " American Society of Painter Litho- graphers " (" Art Amateur," 1896, p. 105; 1897, p. 69) was not realized. With so little to record, one feels grateful for any farther sign of intelligent and discrim- inating interest in the art. Even the fact that Robert Blum and W. J. Baer did some retouching on a stone to which a pastel by Blum (Japanese peasant girl) had been photographically transferred for " Scribner's Magazine " is noted here as a historical detail. C. A. Vanderhoof, 200 AMERICAN GRAPHIC ART the etcher, once used the stone in the production of a series of covers for a magazine. And C. F. W. Mielatz showed the same devotion to the nooks and corners of New York City, which we know in his etchings, in a series of 12 lithographs issued by the New York " So- ciety of Iconophiles." This same society a few years ago brought out a set of skyscraper studies by Joseph Pennell. The last name recalls the fact that a large proportion of the best painter-lithographs of more recent date by American artists was produced abroad. The story of Whistler's introduction to lithography by T. R. Way (who says that he found in it " a medium which is more sympathetic and personal even than the copper-plate ") forms an interesting chapter in the his- tory of the art. He abandoned the medium for a time and ultimately resumed it to make it peculiarly a means of expression for his nervously sensitive artistic person- ality. Some of the greatest masters of lithography Isabey, Daumier, Gavarni had accustomed us to velvety blacks, to dark notes of a rich resonance. Even the most vaporous passages of Fantin-Latour had richness and depth and mass. The battle-pieces of Raffet were verita- ble paintings in black-and-white. The landscapes of Calame and J. D. Harding were essentially a matter of tones. And now came Whistler, did away with tones (except in his few lithotints), gave us crayon drawings in which the insistence was on the line, limited in quan- tity to the least possible, tremulous in its sensitive re- sponse to passing mood. With a joyous spontaneity Whistler set down these impressions of shifting grace * z >> O -C " a 2 > fcJD LITHOGRAPHY 201 in form and movement, with a touch as light as air, of an almost evanescent suggestiveness, sometimes height- ened by spots of color. His gray line and the summari- ness of his method show a marked difference from the rich, deep notes, and completeness of effect, characteristic of a Decamps, an Isabey or a Menzel. He added a highly interesting variant to the illustrations of technical possibilities in lithography that the nineteenth century has given us. Whistler singled out the crispness of Pennell's " Span- ish " series for special mention. Pennell has, indeed, made interesting trials of various resources of the stone, as in Poitiers: Church of St. Hilaire, or in those prints showing a castle on a hill, to the right of a broad road, with rich unctuous blacks, produced by crayon, brush and rags, with lights brought out by the scraper. But his preference has evidently been for the pure line of the crayon, the grainy effect of which is characteristic of most of his work. It is found in the numerous drawings made for Irving's " Alhambra " and the " Highways and By- ways " series of books on English counties, and in the Spanish and Holland series of lithographs. In the last- named, more satiety of effect is gained; this, finally, in his views of the Rouen Cathedral, sounds in deep, booming notes of black that throw the delicate treatment of dec- orated form into effective relief. John S. Sargent, in some studies of draped models drawn on transfer paper, shows much of the style and feeling that are admired in his remarkable water-color studies. His broad crayon-strokes and rich, dark shad- 202 AMERICAN GRAPHIC ART ows form an interesting contrast to the pencil-drawing- like manner of Whistler and thus illustrate the pliability of the medium in the happiest manner. E. A. Abbey is said to have made some attempts, of which I have seen only a caricature of Sir John Hare, the actor. And Mary Cassatt, of Paris, is represented solely by a Lady in a theatre box (1891), an " early and only attempt," as she says, of which but five impressions were taken. Robert J. Wickenden, on the other hand, took up the practice of the art with energy, and produced a number of prints, among which La Mere Pannecaye (a char- acter study of an old Frenchwoman, rendered with lov- ing appreciation) and La Rentree du Troupeau, shown at the Salon of 1894 and published in the same year in " Les Peintres Lithographes " (first issue). Albert Sterner, too, turned to lithography for a time when abroad, and produced particularly some portraits of distinction. " It is in his lithographs and his crayon and chalk portraits," said Christian Brinton, " that Mr. Sterner displayed the fullest measure of his ability," and adds that he is " subjective and sensitive to a singular degree." Home production to-day is almost nil. Not quite; some few things are to be recorded, about which the general public presumably knows little, principally be- cause they have been seldom exhibited. Ozias Dodge, in whom professional didactics are mingled with experi- mentative and inventive interest in reproductive proc- esses, held an exhibition of auto-lithographs in New York in 1902. Ernest Haskell drew some clever portraits of \< LITHOGRAPHY 203 Mrs. Fiske, the actress (1900-1901), used as posters, and some landscape sketches. Arthur B. Davies presented a dozen or so of delightful experiments, no two alike in method of production, the process sensitively adapted to various needs. John Sloan's incursions into this field are similar in spirit and subject to his etchings. A por- trait of Ernest Lawson by W. J. Glackens exists, I am told, in only three impressions. And Glenn Hinshaw, at the American Water Color Society, 1910, showed A Bit of old Paris, done on transfer paper. Clever essays, most of these; sporadic attempts, which, often seen by but a few, fade away again from notice without having had time to make a deep impression. There is not even the sustained impulse, the continuous effort, that would justify a reference to " voices crying in the wilderness." One may speculate ad libitum on this apathy, this want of recognition of a medium that in its supple responsiveness to the artist's intention offers so wide a field for the exercise of the varied shades of tech- nique that form the expression of different individuali- ties. Is it that the taint of commercialism continues to cling, in the mind of many, to the conception of lithogra- phy? Have the very men who have had practical ex- perience through their early apprenticeship in commercial lithography W. J. Baer, E. Potthast, A. I. Keller, Charles Broughton, the late Louis Loeb and C. Schrey- vogel been kept away by this experience? Or is the want of good printers, cited by more than one artist as the reason why he has not practised the art, the real cause of the trouble? 204 AMERICAN GRAPHIC ART Whatever the cause, there seems to be no immediate ground for the hope that this reproductive process may be taken up again as an autographic art, in spite of the rich means of expression which it offers the artist. Even its facility is in its favor. It does not lay upon the artist the burden of a long apprenticeship. In these days of transfer-paper we have done away with whatever incon- venience the direct working on the stone may imply. It is a mystery, almost, that an art so supple in expression, so rich in resources, so absolute in its reproduction of the artist's touch without the intervention of any other agency, should not have called forth a readier response to its appeal. CHAPTER XI THE ILLUSTRATORS THE history of the reproductive processes is to a great extent the history of book-illustration. In the preceding chapters it has been shown how line-engraving, etching, mezzotint, aquatint, lithography and wood-engraving have each had its period of application to the ever-present demand for elucidation or adornment of the printed page by means of picture or ornament. To a particularly high degree is this true of wood-engraving. Its office as an agent of pleasure and of pictorial instruction in connec- tion with the printing press has been of long duration. In this country, too, it long held practically undisputed sway until it was supplanted by the now ubiquitous half- tone. In the eighteenth century, what little we had of book- illustration an occasional portrait or map was really all that the writings of local divines, or other similarly serious publications, called for was done in copper-engraving. The glamor of elegance which hung about this latter medium in Europe (with us it was the glamor without the elegance) similarly overshadowed the humble wood block here. With the Revolution there came at least some native response to the demand for pictorial illus- tration of current events, and activity found still further opportunity to increase when political independence was 205 2o6 AMERICAN GRAPHIC ART assured. We were beginning, to take breath while build- ing up the nation, and to note natural beauties around us; also, pride in national achievements and local develop- ment called for tangible pictorial records. All of this is dealt with at length in the chapters on line-engraving, stipple, aquatint and mezzotint, and the dominance of these media extends well into the nineteenth century. Periodical literature played its prominent and impor- tant part in the fostering of engraving on copper and steel in the nineteenth century. The " New York Mir- i/ror " (begun in 1823) published much good work, par- ticularly views. Then came other ventures, " Family Magazine " (in the thirties), " Picture Gallery " (1843) and " Godey's Lady's Book." The last-named took great pains to inform its readers that no plates so fine were to be found in any magazine and that they were from designs expressly for " Godey's." This last is the best that can be said of them: poor as they were, they were generally after paintings or drawings by Americans. George G. White, C. Schussele, Mrs. Lily Martin Spen- cer, P. F. Rothermel, H. L. Stephens, E. Brown, John R. Chapin, James Hamilton the Philadelphia marine painter, Dallas, William Croome and H. Bispham were those whose works were thus reproduced between 1840- 65. The literary annuals and " tokens " and " keepsakes," so numerous in those days, were likewise illustrated with steel plates (generally in line, sometimes in mezzotint), as were the various u elegant publications, suited for the drawing-room table," as one advertisement put it, THE ILLUSTRATORS 207 " drawing-room books," collections of inanely sentimental " beauties " of the poets, volumes of local description, immortalizations of cemeteries. The plates in the Amer- ican editions of the volumes of that peripatetic British world-illustrator, William Henry Bartlett, were in many instances re-engraved by Americans. The steel-engraving as a means of direct illustration survived until after the Civil War. So, for example, in certain illustrations by F. O. C. Darley, among them the graceful and charac- teristic vignettes for the edition of Dickens, issued by Houghton and Mifflin. Or in the rather mechanical plates done after paintings by Alonzo Chappel (who died in 1890 or 1891) for the "National Portrait Gal- lery of Eminent Americans" (1862) and other publica- tions of Johnson, Fry & Co. Various people have dis- covered that Chappel based his work on fairly careful preparation in the study of necessary historical data. In my own case, my eyes were first opened to that fact by the comparison of his picture of the shooting of Elmer E. Ellsworth with a photograph of Francis E. Brownell, who shot Ellsworth's assassin, in order to verify the Zouave costume which the artist has put on him. Chap- pel, by the way, collaborated with Darley in the illustra- tion of the Stratford edition of Shakespeare, edited by W. C. Bryant (1886). That, I believe, was the last important work by either of them. It is to be noted also that the Cruikshank-Phiz-Leech period of etched book-illustration in England had a slight reflex in our country. The work of Yeager and Bellew is referred to under " Etching," as are the later etched 208 AMERICAN GRAPHIC ART illustrations by Colman, those for Dean Sage's book on the " Ristigouche," and Sloan's plates. Finally, there was some use of lithography for book- illustration, beginning in the thirties and applied in black-and-white, in tints, and even in the full colors of chromo-lithography, all of which is set down in the chap- ter on lithography. Barley's " Scenes in Indian Life " (1843) an d his illustrations for Irving's "Rip Van Winkle" (1848: American Art Union; re-issued, much reduced, in London, 1850, in six etchings on steel by Charles Simms), "Legend of Sleepy Hollow" (Ameri- can Art Union, 1849), Judd's " Margaret " (1856), all in outline, were etched on stone. John W. Ehninger em- ployed the same process for his outline plates for Irving's " Dolph Heyliger" (1851). The last-named artist's drawings for "Ye Legend of St. Gwendoline" (1867) were reproduced by photography, an unusual method, "because," said H. C. Bunner ("Harper's," October, 1892), "they were considered too delicate to entrust to the engraver's burin." But during all this time, wood-engraving, with its peculiar possibilities of direct and harmonious combina- tion with the type-printed page, was coming to its own. Even in the earliest, crude efforts one feels some of this connection between woodcut and type-metal printing, both relief processes. From the rehabilitation of wood-en- graving in the days of Anderson, to its consummate de- velopment about two or three decades ago, its applica- tion as a means of adornment and as a source of, and impetus to, pictorial instruction in connection with the THE ILLUSTRATORS 209 printed page was far-reaching and enormous in extent and incalculable in its effect on the public. The growing de- mand for illustration of historical works, schoolbooks and fiction called into being the professional illustrator, a class which rapidly increased in numbers and ability. One may note, in passing, the early occasional work of John Ludlow Morton or D. C. Johnston. But it is with the forties that there set in an impetus toward freer and more artistic drawing on the block. A partic- ularly noteworthy undertaking was the Harper Bible, with about 1,400 drawings by John Gadsby Chapman, executed with meticulous care in the spirit of the steel- engraving. Somewhat freer, but yet with something of the feeling of the English artist John Thurston, were the Shakespeare illustrations (1853) of T. H. Matteson, perhaps his best work. Peter Paul Duggan, N.A., exe- cuted some promising designs in his short life. William Croome, an accession from the ranks of the wood- engravers, illustrated John Frost's " Book of the Navy " (1843), "Songs for the People" (1849), an d other works with some spirit. And Hammatt Billings, who began life as a wood-engraver, became an architect, and designed the monument to the Pilgrim Fathers at Ply- mouth, illustrated a number of books, among them Whit- tier's poems (1849), Waverley Novels (1857-59) an< ^ writings of H. B. Stowe, Dickens, Pellico, S. S. Goodrich and others, in the fifties. With the opening of this new period, in the early forties, there appeared on the scene, and soon at the front, one who still stands on our records as perhaps the 210 AMERICAN GRAPHIC ART most noteworthy example, everything considered, of an " all around " illustrator that we have had, Felix O. C. Darley. Darley's industry was as great as his facility and versatility, and for years the phrase " illustrated by Darley " or " with designs by Darley " appeared with never-failing regularity in the publishers' announcements of new books. The swing of his style, his big grasp of both individual action and the movement of groups of bodies, give his work a distinction even to-day. His illus- trations, even if we pick faults in details of drawing, are really illustrations and not simply painfully exact draw- ings without any appreciable reference to the text, or pictures of " swagger " young men with stern brows, massive chins and padded shoulders, and the ever-beauti- ful young woman whom we are tickled to-day to accept as the only possible type of an American girl. Darley's industry and versatility recall the activity of Dore. Be- fore the mind's eye there rise his early Philadelphia street scenes, occasional "comics," title designs (as for "The Lantern"), and the illustrations for Irving's "Knicker- bocker History of New York," Poe, Wm. Gilmore Simms, Stories of Western and Southern life, juveniles, Frank Forester's sporting books, Tristram Shandy, Joseph C. Neal's humor, "Nick of the Woods," T. B. Thorpe (" the bee hunter "), Cooper (whom he illustrated both on wood and on steel over 500 designs for this author are credited to him), Dickens (the Boston edition, with all the English illustrations, " to which are added the unsur- passed designs by F. O. C. Darley and John Gilbert"), Lossing's "Our Country" (500 drawings), the outline ^ I I THE ILLUSTRATORS 211 compositions already mentioned and the later works, Evangeline and the Shakespeare plates. To all this must be added also the numerous bank-note vignettes and the large Civil War framing prints, March to the Sea, etc. The mere quantity of it is astonishing, but respect for this artist is much increased when one surveys this great output, and realizes the high average merit of it all. It was inevitable that such unceasing demand on his powers should develop a manner, but at its best and it was remarkably often at its best it approached so closely to a style as to challenge a definition of difference. And it imposed itself with a virile distinction that exerts its own peculiar charm, using that word in its best sense. There exist rough preparatory sketches for a number of designs later to be drawn on the block, unctuous little conceptions of vignettes. And there are also interesting examples of the use of the pencil in swirls where the line is used in masses to block out movement and com- position. These, again, can be contrasted with carefully detailed studies from nature, showing how facts care- fully observed, noted and stored up formed the founda- tion for Barley's easy presentation. The strong personality of Darley, while not actually imitated, seems to impress its character somewhat on the period before and during the Civil War. The swing and vigor of his style find a certain reflection in the drawings, somewhat exaggerated in strength, of Jacob A. Dallas, and in those of Frederick M. Coffin (" Fern Leaves from Fanny's Portfolio," 1854) and E. J. Whitney. In the fifties, various efforts to establish illustrated 212 AMERICAN GRAPHIC ART magazines naturally had their influence on the art of illus- tration. In some of the earliest ones, the " International Monthly" (New York, volumes 1-5: 1850-52), "Na- tional Magazine" (New York, volume i, 1852) and " United States Magazine," the cuts were, indeed, mainly copied from other sources. But the last-named had, at least, some drawings by John R. Chapin, as well as those for Major Jack Downing's " Letters" (1857) by J. H. Howard (who illustrated also Downing's " My thirty Years out of the Senate," 1859), and all three had por- traits by Samuel Wallin. Wallin, clever in his specialty, was much in demand, and drew all the heads in the " Illustrated American Biography" (1853-55), re-issued in 1867 as A. J. Jones's "American Portrait Gallery." He was better than J. A. Oertel, had more aplomb, but it is interesting to compare his portraits, always done with the same recognizable curves, manner more evident than characterization, with such a careful production as August Will's portrait of Alexander Anderson, published in the " Child's Paper" in 1867. f In the meantime, " Harper's Magazine " had come in 1851 to stay. The publishers made haste slowly in the art department, but gradually the illustrations increased and improved. Among this periodical's artists in the first decade of its existence were Frank Bellew, J. R. Chapin (who reappeared at the end of the eighties in the pages of the " American Magazine " and as the illus- trator of Edgar Fawcett's " Olivia Delaplaine "), F. M. Coffin, W. H. Davenport, Darley, Dallas, C. E. Doepler, Hinsdale, D. C. Hitchcock (the " Hitchie " of Vedder's THE ILLUSTRATORS 213 " Digressions of V.," 1910), Augustus Hoppin (illustra- tor of " Nothing to Wear," 1857, and later of books by W. D. Howells, G. W. Curtis, C. D. Warner, D. M. Craik and B. P. Shillaber), E. F. Mullen, Thwaites, H. L. Stephens, B. J. Lossing, T. Addison Richards and David H. Strother ("Porte Crayon"). The last three were artist authors, frequently illus- trating their own writings. Lossing not only drew the illustrations for nearly all of his popular books, such as the " Field Books " of the Revolution and the War of 1812, and "The Hudson from the Wilderness to the Sea," but the woodcuts also bear the signature of Lossing & Barritt as engravers. T. Addison Richards was prob- ably the first artist in this country to make a specialty of drawing acceptable landscape illustrations on the wood. He furnished both drawings and text for " Romance of American Landscape v and other volumes. " Porte Crayon " illustrated Southern life with pen and pencil, a number of his papers being gathered in book form under the title " Virginia illustrated." And while on this subject of artist-authors, there may be mentioned also T. B. Thorpe, Capt. George H. Derby ("The Squibob Papers, by John Phoenix. With comic Illustrations by the Author," 1865), H. W. Herbert (" Frank Forester " of sporting books fame), Thomas Butler Gunn (" Physi- ology of the New York Boarding House"), Augustus Hoppin, Charles C. Perkins, G. G. White, C. A. Barry and H. W. Herrick, the last three responsible for hand- books on drawing and painting. In later years the tribe increased greatly: Livingston Hopkins, J. Carter Beard, 214 AMERICAN GRAPHIC ART Dan. C. Beard ("The American Boy's Handy Book," 1883), Palmer Cox ("Brownie" books), A. F. Jaccaci, Wm. Hamilton Gibson, Frank D. Millet, Mary Hallock Foote, W. H. McDougall, C. S. Reinhart, Frank French, A. C. Redwood (stories of the war from the Southern standpoint), W. H. Shelton, Frederic Remington, George Wharton Edwards, George Gibbs, E. Seton Thompson and many more illustrated fiction of their own making or stories of their experiences and travels, amused the young idea or taught it how to shoot or do other things, or established reciprocal emphasis between their drawn and written humor. Some of them were rather better known as writers, who took up the pencil to add the force of graphic representation to their written word, as did also Frank B. Mayer, Edward Strahan ("Earl Shinn"), W. Mackay Laffan, Wm. H. Bishop, Roger Riordan. But this was a divagation, and we return to the Harper artists, of whom Carl Emil Doepler was a German with a facile style and a sufficient attention to detail to make pleasing illustrations. He was in this country during 1849-55, anc l among his very many designs were those for J. S. C. Abbott's "Life of Napoleon" (1871, the ilustrations notably numerous) and the Jacob Abbott " Rollo " books. A large percentage of the Harper draughtsmen were at one time or another engaged in the production of "comics ": Bellew, Darley, Hoppin, E. F. Mullen (one of Artemus Ward's illustrators and "friends all the year 'round"), McLenan and H. L. Stephens. THE ILLUSTRATORS 215 There was still another factor of note in all this move- ment, the spread of illustrated weekly journalism. In 1851 T. W. Strong brought out the first illustrated weekly worthy of note, the " Illustrated American News." Dal- las drew the title, and the illustrations were signed by Bellew, C. J. Brown, G. T. Devereux, Elliot, Egbert, Chapin, D. C. Hitchcock, John H. Goater, Hoppin, Mc- Donough, Magee, Masson, W. R. Miller, E. Purcell, Howell and Wallin. This publication ended the same year and was followed on January 4, 1853, by the " Illus- trated News" (issued by P. T. Barnum and Beach, of the "Sun"), which lived a year and passed into " Gleason's Pictorial," of Boston, in which city Ballou also issued illustrated publications. These unsuccessful efforts to found a weekly illustrated paper on a permanent basis were followed by " Frank Leslie's Illustrated Newspaper" in 1855 and "Harper's Weekly" in 1857. Leslie had been engaged on Gleason's; his weekly eventually came out also in a Ger- man edition, and one of its features was the reproduction, on a reduced scale, of illustrations in foreign periodicals. Among its artists were Joseph Becker, Albert Berghaus and Georgiana A. Davis (who in recent years drew for the Salvation Army's "War Cry"). There must be noted also the " New York Illustrated News " (volumes 1-6, 1859-62), with A. R. Waud, Lumley, Eytinge and Nast. The " Southern Illustrated News " (beginning in 1862), like the Palmetto series of schoolbooks or the novels by Clara Miihlbach issued in wall-paper covers, marked the brave attempt of the South to cultivate the 2l6 finer and gentler arts of peace under adverse circumstances, in the stress of battle for a separate national existence. In the seventies and eighties New York even had a daily illustrated paper, the " Daily Graphic," for which Fernando Miranda drew cartoons, and which got the early work of some illustrators to become more noted later: Frost, E. W. Kemble, C. D. Weldon. Philip G. Cusachs, a prolific and rapid worker, was at one time art-manager of this publication; photo-lithography was the reproduc- tive process used. Later, S. H. Horgan, I am told, brought out in the same publication the first half-tone published in a daily. As for the daily newspaper, there were occasional cuts in the " Atlas "(1842), " Mercury " and " Herald," and Valerian Gribayedoff, in his article on " Pictorial Journal- ism " ("Cosmopolitan," 1896), notes that the "Pitts- burgh Telegraph" in 1875 commenced using woodcuts in its Saturday issue. But illustration as a regular feature of the daily press came with the founding of " Truth " (New York) in 1877. However, that was not yet illus- tration of current events as we understand it to-day, for as it took the engraver two or three days to turn out a cut by the " soft metal process," he placed on hand a series of stock illustrations, used again and again. In 1883 illustration was tried by "The World" (New York), with which Gribayedoff came into contact the following year. From this starting point development came. Other papers followed suit, as well as the Ameri- can Press Association, with S. H. Horgan as art man- ager. Among the newspaper artists of the following THE ILLUSTRATORS 217 years were H. Coultaus and J. Knickerbocker of the " New York Herald," and John Durkin and O. H. von Gottschalk of the " Sun." To-day the number is large indeed, even if we except the comic artists. To the zinc etching, much used, there has been added the half-tone, with results often questionable in effect, but speedy of attainment. The " Ben Day " process of quick mechan- ical production of tints by " rapid shading mediums " has also been a time-saver. But if, in the earlier days of the nineteenth century, from which I had momentarily strayed, the illustrations in newspapers were practically non-existent, we did have the occasional " blanket sheet " of one issue. Such a one was that brought out during the Mexican War, " Brother Jonathan: Great Pictorial Battle Sheet" (New York, 1847). This was an amusing mixture of bona-fide por- traits of American generals, and French and other foreign cuts appropriated to do duty as delineations of Mexican life. These pictures of French cuirassiers and Italian brigands posing as Mexican soldiers and civilians consti- tute as pretty an example as one could find of the bare- faced " fake." In the literature relating to the Civil War which ap- peared during and soon after that great struggle, the names of Alfred R. and William Waud, Christian Schus- sele, T. R. Davis, Arthur Lumley, F. B. Schell often appeared, the last two mentioned being artist correspond- ents in the field, as was also Winslow Homer, whose originality was foreshadowed in this early work. No doubt engravers and artists often had to work against 218 AMERICAN GRAPHIC ART time in those troublous days, but it was probably good schooling. A scrap-book of pencil drawings made in the field by Frank Leslie's artists, to be redrawn on the block in the home office, shows in an interesting manner under what conditions the work was done and what short-hand cuts the artists made for the " re-drawers." With peace assured there came improvement in the reproduction of illustrations by wood-engraving, referred to in the chapter on that art, where the influence of " Pic- turesque America" (1872-74) is duly noted. In that work the landscape artists had their opportunity, partic- ularly Thomas Moran, Harry Fenn and J. D. Wood- ward. Fenn was the suggester and principal illustrator of the publication and was prominently identified also with " Picturesque Europe " and " Picturesque Palestine," beside executing the widely known designs for Whittier's " Ballads of New England," 1870, and " Snow-Bound," 1 88 1. Woodward's sure, skilful pencil was so much in demand that in 1881 he wrote to T. D. Sugden that he was " driven within an inch of my life." Other artists identified with landscape art were Henry Bisbing, who later removed to Paris to paint, and John A. Hows ("Forest Scenes," 1864, and "Forest Pictures in the Adirondacks," 1865). The latter drew for " Appleton's Journal" (begun 1869), in the pages of which we find also the signatures of R. S. Gifford, Granville Perkins (with marine subjects as his specialty), J. Hill, E. Forbes, A. C. Warren, Thomas Hogan (long associated with Frank H. Schell), W. M. Cary (scenes of Western life), W. L. Sheppard (illustrator of John Esten Cooke's novels THE ILLUSTRATORS 219 and of Carlton McCarthy's "Life in the C. S. A."), Frank Beard, Alfred Kappes (a painter of negro pic- tures, with a virile understanding of his subject), Will H. Low, Charles G. Bush (who drew also for the Har- pers), Winslow Homer, Mary A. Hallock (later Mrs. Foote), Paul Frenzeny, Darley and W. J. Hennessy. The last-named illustrated J. G. Holland, Mrs. Brown- ing, Longfellow, Stedman and Tennyson ; his twelve draw- ings of Edwin Booth in as many characters, engraved by W. J. Linton, 1872, are perhaps as well known as any of his work. At about the same time there were running " Every Saturday," " Our Young Folks " (Bos- ton, 1865-73), the "Riverside Magazine" (1867-70), and " Scribner's Magazine" (begun 1871). With en- larging opportunities came an increasing number of illus- trators. Beside those just mentioned there were E. B. Bensell, J. McNevin, W. Momberger, Thomas Nast (illustrations for "Robinson Crusoe"), I. Pranischni- koff. Sol Eytinge, Jr., drew illustrations for Dickens, which won the praise of that author, and for Lowell's " Vision of Sir Launfal," and became particularly well known through the mellow, kindly humor of his scenes from negro life. There came also the entrance of women artists into this field. Among the earliest were Lucy Gibbons, Jessie Curtis (subsequently Mrs. Shepherd), the dainty but undistinguished Addle Ledyard and Mary A. Hallock (later Mrs. Foote), who illustrated books by Longfel- low, Hawthorne and herself. Female illustrators a little later, in the eighties and nineties, included M. L. D. 220 AMERICAN GRAPHIC ART Watson, Irene E. Jerome ("Nature's Hallelujah," 1886, "The Message of the Bluebird," 1886; drawings of birds and flowers), Mrs. Jessie McDermott Walcott (child subjects), Allegra Eggleston (daughter of Ed- ward), Helen Rosa Lossing ( U H. Rosa"; daughter of Benson J.), L. B. Humphrey, L. J. Bridgman, Mrs. Allingham, Maud Humphreys, not a few of them weak or at most pleasingly pretty in their work. Both Mrs. Alice Barber Stephens and Mrs. Foote, through the breadth and vigor of their drawings, stand out from the rest. They connect directly with the present day, where we see Blanche Ostertag, Sarah S. Stilwell Weber, May Wilson Preston (with the unrestrained manner of Glackens), Mrs. Rose O'Neill Wilson (whose style com- bines a pleasing charm with unctuous breadth), and those clever products of the influence of Pyle, Elizabeth Shippen Green, Violet Oakley, Charlotte Harding and Jessie Willcox Smith (children a specialty) exemplifying the various possibilities resulting from the application of the female temperament to the problems of illustration. This diversion, brought about by the all too conveni- ent classification by sex, was of course anachronistic. We are supposed to be still in the seventies, and there are yet to be noted some designs drawn for reproduction by John La Farge, scenes from the Arabian Nights and the "Wolf Charmer" (which he later repeated in oils), personal, unconventional yet balanced, as all of this thoughtful artist's work was bound to be. And during all these years, the domain of the school- book was exploited and developed to a noteworthy ex- THE ILLUSTRATORS 221 tent. George G. White, Henry F. Farny, Alfred Fred- ericks and others signed the woodcut illustrations in the readers over which many of us pored at school. The preface of E. J. Lewis's "American Sportsman," 1857, in which White made his debut, emphasized his ability as a delineator of animals. He had a leaning toward the style of Sir John Gilbert, and eventually became con- nected with " sporting " and religious publications. The influence of the illustrated press continued, quite naturally. Henry James, in " Harper's Weekly," June 14, 1890, wrote of the " art of illustration in black and white, to which American periodical literature has lately given such an impetus, and which has returned the good office by conferring a great distinction on our magazines." And Joseph Pennell, in his book on pen drawings, says, in the section on America : " The principal credit for this development must be ascribed to the intelligent support which Mr. A. W. Drake, the art editor of the Century, then Scribner's Monthly, was the first to give to the group of young men who, about this time, returned from a course of several years' study in Munich with the idea of revolutionizing art in America." Late in the seventies, too, came that new movement in wood-engraving, emphasized with especial eclat in Juengling's cuts after James E. Kelly's remarkably free drawings for " Scribner's." In these Kelly designs, the line was absent; it was painted illustration, which we see in preponderance to-day, and it set problems for the engravers which were quite in line with the tendency to insist on tones and masses. And yet the eighties brought 222 not only a remarkable development of illustration, em- bracing the most brilliant group of men, as a group, that we ever had, but there came a widespread employment of the very medium which is essentially and incisively expressed in line, pen-and-ink. This artistic exploitation of the possibilities of the pen was exemplified in the work of a number of capable artists, notably Abbey, C. S. Reinhart, Alfred Brennan, W. T. Smedley and Joseph Pennell, who gives discrim- inating technical consideration of a number of them in his helpful book on " Pen Drawing and Pen Draughts- men " (1889). Pennell's book, by the way, is dedicated " to A. W. Drake, W. Lewis Eraser, Charles Parsons, Richmond Seeley, four men who should be honored for their encouragement of pen drawing," this list of four including three Americans. Edwin A. Abbey, " endowed," as Miss E. L. Gary says, " with the instinct for the exquisite and the old," reconstructed the seventeenth and eighteenth centuries for us in his drawings for " Old Songs " and Goldsmith's " She Stoops to Conquer " with a vividness and grace that quite obliterate the preparatory labor of his historical and antiquarian studies. Furthermore, the light, caress- ing strokes of his pen graphically illustrated the easy craftsmanship, the finest technique, which attains its re- sult with no trace of effort. " For grace and refine- ment," wrote Pennell, " he ranks second to none "; those were indeed the salient characteristics of his drawings. That appears also in his famous Shakespeare illustrations, in which W. H. Downes found refinement, tenderness, From "Harper's Magazine." Copyright 1908. by Harper A Brothers "THERE NEVFR WAS ANYTHING THE LEAST SERIOUS BETWEEN Us" Illustration for Henry James's "Julia Bride," by W. T. Smedley THE ILLUSTRATORS 223 grace, rather than dramatic force or grandeur. Human character eluded him in a measure. Large human sym- pathies he did not express. " The characters of Shakes- peare," writes Samuel Isham, " have become intimate personal friends; we are not to be put off with a jeweled stomacher, or an Italian terrace. Abbey did as well as any one has ever done, and gave us a series of graceful figures." Yet there is a charm, an atmosphere in all his work that saves it from being a cold record of antiquarian facts, and to the artist it is a delight in its command of the medium. Quite different in character is the work of Charles Stanley Reinhart, in whom a forceful directness was joined to what some one has described as a " quick grasp and holding of characteristics of various national and social types." This last point is emphasized in the arti- cle on Reinhart by Henry James (" Harper's Weekly," June 14, 1890): "He likes to represent characteristics, he rejoices in the specifying touch." For C. D. War- ner's "Their Pilgrimage" (1886) he furnished what James termed a " rich and curious pictorial accompani- ment," and his numerous designs for G. P. Lathrop's " Spanish Vistas " are set down by the same authority as " delightful notes of an artist's quest of the sketch- able." In contrast to the incisive rich blacks of Reinhart's tech- nique is the more suave, repressed method of W. T. Smedley, a method in harmony with the manners of the well-bred, comfortable middle class which he has depicted with particularly happy seizure of essential nature. He 224 AMERICAN GRAPHIC ART has had a keen eye for the individualities which the monot- onous sameness of fashionable attire often veils, as well as for the character that the very fit of the clothes them- selves discloses to the observant eye. This same sym- pathetic and subtle psychological analysis penetrating the social attitude of well-mannered people is carried also into his painted portraits with a quiet effectiveness that brings us close to his sitters and enlists our human interest. It is a different class that has been pictured with par- ticular success by A. B. Frost, that of our farming dis- tricts. Joel Chandler Harris said of him ( 1904) : " The one characteristic that marks all the work of Mr. Frost, the one quality that stands out above the rest, is its per- sistent and ever-present humor." But this humor was expressed through a genial sympathy for his subjects, so that we get real people In his drawings, people whose nature meets our sympathy and interest, and not the fool- ish " rube " of the comic sheets. Frost has, as H. C. Bunner puts it, " the charm of a convincing naturalness " ("Harper's Magazine," October, 1892). In his col- lection of drawings " Sports and Games in the Open " (1899), with their joy in out-door life, we feel this same whole-souled, kindly absorption in the point-of-view of the characters whom he despicts. Robert Bridges, writ- ing of Frost in the " Book-Buyer," March, 1894, quotes F. Hopkinson Smith as saying that " no man laughs effectively with pen or brush who does not laugh with his own soul first." He illustrated, with much finish, A. W. Tourgee's " Hot Plowshares " (1883), but better known, more spontaneous, more the outcome of his na- THE ILLUSTRATORS 225 ture, are his little drawings for F. R. Stockton's " Rud- der Range." His delightful treatment of two such dif- ferent books as H. C. Bunner's " Story of a New York House " and " Uncle Remus " is also to be noted. In delineating various types of American life he came across the negro at various times, his Music for the Dance and a negro version of " the ant and the cricket " being his most characteristic efforts in that field that I have seen. The black man was particularly cultivated by Edward W. Kemble ("Uncle Tom's Cabin"). Furthermore, in the apportionment of specialties, J. O. Davidson, of whom F. Hopkinson Smith, I think, said he " knows our ships, especially the older ones, as no other artist knows them," M. J. Burns and F. S. Cozzens became identified with the sea and its ships; J. Carter Beard with animal life; and William Hamilton Gibson with animal and plant life. Gibson used pen and pencil in a number of volumes (" Sharp Eyes," " Happy Hunting Grounds," "Pastoral Days") to familiarize a larger public in a charming and graceful manner with characteristic features of that life and with " the idyllic qualities of nature," as Horace E. Scudder put it in the " Book Buyer," February, 1888. Gilbert Gaul, H. A. Ogden (with Revolutionary times as a sub-specialty), W. H. Shelton, Rufus F. Zog- baum and Thure de Thulstrup illustrated military life. Zogbaum's work has a certain stiffness of drawing some- what appropriate in the delineation of humanity drilled into the impersonality of the soldier, whom he has de- scribed for us with pen and pencil. As for Thulstrup, 226 AMERICAN GRAPHIC ART though he has seemed most at home in military art, he has had to treat the most varied subjects, and has acquitted himself well, thanks to his good and facile draughtsman- ship, his easy command of materials. The West was pre-eminently the domain of Frederic Remington, who delineated its military types, frontiers- men, cowboys and Indians with a vehement realism and uncompromising fidelity, an unbiased and breezy freshness of original perception that were fascinating. His lan- guage was always to the point, even when not quite ade- quate, as possibly in some foreign military types. " What makes Remington's Indian sketches so real and so fine," wrote one critic, " is that he knows it all him- self." And Mrs. Schuyler Van Rensselaer, reviewing his illustrations for the " Song of Hiawatha " (1890), said: " Remington is always sincere, spirited, individual and interesting." One could not find a much greater contrast to Rem- ington's rough-and-ready use of pen-and-ink than Alfred Brennan's loving and insinuating courtship of the same medium. Pennell wrote that he " most certainly was and is the master of this school of American draughts- men," the school referred to being a group showing " in- telligent adaptation of the methods of Fortuny, Rico and Vierge, of the artists of ' Fliegende Blatter,' and of the draughtsmen of Japan." Those were the days when Frederick Lungren showed " great power of expression conveyed with very few and simple lines." Robert F. Blum drew stunning Fortuny-like things such as his por- trait of Joseph Jefferson as " Bob Acres," and Reginald THE ILLUSTRATORS 227 B. Birch, in his illustrations for " Little Lord Fauntle- roy," combined charm and sweetness and the artistic sense in a noteworthy manner. Brennan, who had a vein of extravagant fancy, was described as " unconventional and often startling," and again ("New York Tribune," Oc- tober 1 6, 1891) as "an assiduous cultivator of whimsi- cality as a fine art." He injected a quite personal ele- ment into whatever he did, a peculiar flavor which per- vaded even when he was simply re-drawing a photograph. Pennell comments thus on a drawing of a stairway: " There is nothing stupid and nothing photographic, and yet it was made from a photograph." In those days, photographs were not rendered directly in half-tone; they were re-drawn in pen-and-ink, and this work was done by men such as Kenyon Cox, Otto H. Bacher, Wiles, Thulstrup, Farny. I remember even some small pictures of golf-sticks, carefully delineated by W. H. Drake for the " Century " in 1892. There are plenty more names of illustrators who were actively engaged in this period of the eighties: E. H. Garrett, Frank T. Merrill, Henry Sandham (Canadian subjects), Frank M. Gregory ("Faust," 1888), Fred- erick Dielman (Susan Warner's "Wide, Wide World," 1888, and "Queechy," 1893), Charles Graham, W. A. Rogers, Henry F. Farny (finely drawn bits of Indian life), C. A. Vanderhoof, Alfred Fredericks. John W. Alexander drew some noteworthy portraits, that of Walt Whitman, for instance. The general field of illustration at that time is covered in chatty and genial comment in F. Hopkinson Smith's 228 AMERICAN GRAPHIC ART "American Illustrators" (1892), while individual fig- ures were considered in a series of articles in the " Book Buyer," in 1893-4, on Church, Smedley, Sterner, Kemble, Wiles, Remington, Gibson and others. In the nineties, B. West Clinedinst, H. Denman, Eric Pape, Charles Copeland, Charles Broughton, H. C. Ed- wards, W. Granville Smith and Andre Castaigne in various ways answered to the demand for illustra- tion. Many of the artists named were professional illustra- tors, entirely devoted to their specialty. But some were painters who placed themselves at the service of the sister art for a limited period or occasionally. Among these was also Walter Shirlaw, who in his drawings for Edward Eggleston's " Roxy," or in such magazine illustrations as those picturing rolling mills (a subject that attracted the painters Menzel in Germany and John F. Weir in this country), carried into the duodecimo or octavo page his predilection for rich, succulent tones and broad decorative effects. Pennell finds that he " gave some of the most artistic renderings of commonplace things ever produced in America." In what one writer (F. J. Mather, Jr., I think) calls the " shifting membership " of the craft, there were temporarily enlisted also such painters as Childe Hassam, Irving R. Wiles, W. L. Metcalf, E. W. Deming, Francis Day and E. H. Blashfield, who em- phasized pictorially the results of antiquarian and his- torical research, in " Italian Cities," by Mrs. Blashfield and himself. Three noteworthy instances of an incursion by a painter THE ILLUSTRATORS 229 into the domain of illustration are found in Kenyon Cox's pictures for Rossetti's " Blessed Damozel " (which Julian Hawthorne, in the "World," N. Y., 1886, pro- nounced as " of singular merit"), Will H. Low's " illus- trative designs " for the "Lamia" of Keats (1885), a d Elihu Vedder's accompaniment of drawings for the Rubaiyat of Omar Khayyam (1884). The last-named, beside their merit and value as illustrative drawings, gain much also from the circumstance that each page of the book is drawn, text as well as the surrounding design, by the same hand. That emphasizes the advantage and importance of having the book, as a mechanical product, one connected whole, " cast in one piece." Text and illus- trations are thus in harmony, instead of having the latter in no relation to the type, a separateness emphasized to- day by the frequent appearance of the plate as something extraneous to the book, on a sheet of different paper to hold the half-tone, tipped in loosely and coming out all too easily. This matter of unity in the design of a book was exemplified in a measure also by the 1887 edition of " Odes and Sonnets " by Keats, for which W. H. Low designed not only illustrations, in which, said the " New York Tribune" of December 13, 1887, he "approached his difficult task in a spirit of perfect sympathy and sin- cerity," and decorative floral panels for each page, but the cover and lining papers as well. Illustration as a decorative element was emphasized also in the thousand marginal drawings for "Ben Hur " (1891) by Wm. Martin Johnson, and the same artist's decorative borders 230 AMERICAN GRAPHIC ART for Reade's "The Cloister and the Hearth" (1893), as also in Albert Herter's illustrations and cover designs for Cable's " Creole Days " and " Grandissimes." And there was Ludvig Sandoe Ipsen's charming work in an edition of Mrs. Browning's "Love Sonnets" (1886), which has been described as a magnificent piece of decora- tive book-making; " Nothing like this has ever been done in this country before," wrote R. H. Stoddard at the time. It was indeed a time of holiday books and sumptu- ously illustrated editions, graced by the work of George Wharton Edwards (Spenser's " Epithalamion," 1895), Childe Hassam, Wm. St. John Harper (Keat's " Endy- mion," 1888) and W. L. Taylor (Owen Meredith's "The Earl's Return," 1886, Tennyson's "Holy Grail," 1887). There was, too, the archaizing effect of the designs made by the brothers Rhead George W., Fred- erick and Louis for "Pilgrim's Progress" (1898). The facile entrance of painters into this field indicates influences at work which characterize our book-illustration in these later days. The freedom in the choice of materials and in the size of the original drawing which the artist gained through the method of photographing the drawing on to the wood block and through the sub- sequent use of the half-tone, would naturally draw the painter occasionally into the service of the sister art. On the other hand, this same circumstance would lead the illustrator to the use of paint and brush, so that the line of demarcation between illustrator and painter be- came perhaps less clearly defined. The continued activity of various illustrators who came From 'Harper's Magazine." Copyright 1901. by Harper A Brothers VIEWING THE BATTLE OF BUNKEX HILL By Howard Pyle THE ILLUSTRATORS 231 into notice in the last fifteen years of the nineteenth cen- tury brings us to the present time. A particularly noteworthy connecting link between the last generation and the present was Howard Pyle. Not only by reason of his thirty years of prominent attainment, but also through the alertness of his point of view and his serious attitude toward his art, which gave him pre- eminence until the day of his death. A realist always; yet his realism, while stern, was never crass. With a style that seemed at first sight inflexible he combined a keenness of observation that served him in the treatment of scenes in widely different lands, times and strata of society. " Versatile," one would say, were there not the fear of a by-taste, in that term, of glib facility, partic- ularly foreign to him. The periods and subjects which he covered were varied indeed: seventeenth century Eng- land and France, the American Revolution and our Civil War, buccaneers, Robin Rood, the divers and fishermen of our coasts and Holmes's " One Hoss Shay " and " Autocrat of the Breakfast Table." For a time he was his own author, seemingly equally at home whether writ- ing of Robin Hood for boys, or recounting in vivid terms the exploits of " The Buccaneers and Marooners of America" (1890). "Nowhere," wrote Hopkinson Smith, " have I seen text better idealized or illustrations better described than in that series of articles by Pyle on the ' Buccaneers.' ' As Samuel Isham says: " Surely never before were pirates so satisfactorily bloody-minded offered for the delectation of youth." His picture of a seaman marooned sticks in the memory with all the pounding 232 AMERICAN GRAPHIC ART emphasis of its simple dramatic force. Pyle became par- ticularly identified with the authoritative illustration of eighteenth century America. To quote Isham again: " Pyle is the only man who seems to know thoroughly the colonial and revolutionary epoch. . . . He has represented the founders of the Republic as they were, sturdy, hard-headed folk, with strong characters and few graces, who wore the rather rigid costumes of the time with dignity and not like singers in comic opera or danc- ing masters." His careful historical correctness was free from possible pedantry through the success with which he projected himself into time, place and spirit of each scene that he portrayed. Pyle came down full into the present period, preserving to the end a steadfast, virile thoroughness in his extraction and presentation of essen- tial characteristics. Moreover, his use of the pen, with an archaic flavor that caused Pennell to characterize him as " a careful student of Duerer," was pretty well aban- doned, later on, for that of the brush. He painted his illustrations; that fact, in itself, brings him in touch with the younger men of this day, who are to a great extent availing themselves of this method of working for repro- duction. Yet one of the first men to come to mind among our illustrators of the present time, Charles Dana Gibson, has used pen-and-ink almost exclusively, and has in its use achieved his finest successes. From his earlier manner, in which he delineated Bishop Gitllem, Jonathan Trump, Penelope Peachblow and Dolly Flicker in various com- binations to fit evanescent jokes in the comic press, with THE ILLUSTRATORS 233 close-set lines to form tones and local color, he developed into a free insistence on the line per se. His command of the pen to-day is eminently noteworthy; he has used it rarely in illustration proper, usually in what for lack of a better term has been called " cartooning." A woman art critic once said of him, " As a chronicler of well-bred American life Mr. Gibson stands easily first," and the Gibson Girl, that rare creature of his fancy which, as shown in " The American Girl Abroad," won enthusiastic praise in the " Zeitschrift fur Bildende Kunst " as far back as 1897 still weaves her spell. But Gibson has broadened out enough from that to widen his outlook on humanity. There is added force and truth in his work when he enters more clearly the field of pictorial comment and with a smile presents humanity, particularly in this country (" Americans," 1900), in its failings and virtues, its love and its sadness. He has done this in continued performances such as the " Education of Mr. Pipp " (1899) and in single leaves from the book of life, scenes in drawing-room and street, on ferry boat and in the world of the stage, with gentle humor, satire were al- most too strong a word. The point is made by insisting enough on the obvious not to trouble the beholder with too much subtlety of thought or observation. And the manner of presentation, the technique, somehow, is also so obviously adequate as to satisfy both the average citi- zen and the artist or connoisseur. The " American girl " and her entourage has engaged the attention of more than, one illustrator. Howard Chandler Christy (Christy book fp? 1906: "The Amer- 234 AMERICAN GRAPHIC ART ican Girl"), A. B. Wenzell, Henry Hutt, Harrison Fisher are prominent figures in a group which strongly represents certain tendencies and characteristics of present- day illustration. Extraordinary technical facility is put to the task of evoking visions of types of girl and man, ideals of stately elegance and statuesquely athletic vigor that appeal to many. Perhaps they are gratified to feel themselves part of an imaginary world of such remarkable paragons of physical and mental excellence. It puts the beholder in a wonderful land where all is " swell," where beauty and luxury reign, a sort of enchanted isle without the sensuous languor of Cythere. A round of sumptuous drawing-rooms and opera boxes and fine functions, with an air of " upper ten " gaiety and the fine perfume of the automobile pervading it all. This long array of American girls and men of impeccable appearance, both creating and responding to a want, a fad of long duration perhaps, is interrupted in the case of an artist such as James Montgomery Flagg. To dash and facility he joins an evident strong sense of humor, a saving grace which restores balance in point of view, bringing us more into accord again with things as they really are. Flagg, like Gibson, is active not so much as an illustrator, but as a producer of individual drawings emphasizing each some particular idea, a form that enters the realm of pictorial satire. The other exponents, who have been named, of certain modern tendencies, have also, to a great extent, produced work that is issued independently, on its own account, and not in accompaniment of any continuous text. The art of book-illustrating, which has its finest success THE ILLUSTRATORS 235 in the intelligent wedding of picture and text, in the un- folding of originality within the limits set, has been and is practised, in these times, by a number of able and dis- criminating artists. Consideration of present-day illustration must be based on the principles of the art. Illustration must elucidate the text or adorn it; it may do both, but at all events it must be in harmony with the text. I have not in mind the occasional lapse on the part of an artist, the oversight that produces an unwarranted change in the appearance of a character, or an anachronism in costume, or the construction of a scene distinctly different from the author's description. Such matters may be left to the letter-writing reader of " literary supplements," who will be sure to air his discovery in his paper. Our illustration has suffered not so much from such mistakes as from a tendency to parade cleverness in place of thoroughness, to dazzle the eye by a display of glittering superficiality. One cannot expect all illustrators to adopt the method of a Menzel in his accompaniment of pictorial comment to the works of Frederick the Great. In fact, such a combina- tion of gradgrind industry, technical power and mental equipment as he possessed is rather rare. But one may at least ask that certain prominent creators of American types or matinee ideals shall not use a few models posing frankly as the most varying personages. The burden of duty toward art is borne rather too lightly when the same heroic " full dress " type is employed to represent both the society man and the Italian excursion boat fiddler. They have unfortunately produced others of this ilk, 236 AMERICAN GRAPHIC ART clever imitators, a diluted solution of their undoubtedly clever prototypes. Oliver Herford, in " The Astonishing Tale of a Pen-and-ink Puppet, or The Gentle Art of Illustrating," from one drawing of a man and one of a girl constructed manikins which he readjusted into cari- catures of the " he and she " drawings familiar to readers of books and magazines. Luckily we are not wholly dominated by this school, although it has often held the center of the stage, brilliant in the lime-light's glare. If there have been " stars " not free from glittering rant, we have also had a very good stock company. Smedley's delicate psychological analysis and Pyle's thoroughness and insight have been spoken of. To these two is to be added Arthur I. Keller, very prominently identified with recent de luxe editions of American classics (Longfellow's " Hanging of the Crane," etc.) and known also as the illustrator of Wister's " Virginian," F. H. Smith's " Caleb West " and many other books. His conscientious study of the authors' intentions and characters is embodied in a style that is free and spon- taneous. You feel that his illustrations are adequately in harmony with the written word, yet the artist is not merely a reflection of the author. The latter, as it were, speaks to us in the pictures through a discriminating per- sonality that has added life to the characters visualized for us. He seems particularly happy in the representa- tion of groups of people in their temporary mental and physical relations. It is work such as that of these three which constitutes THE ILLUSTRATORS 237 the real backbone of modern illustration and emphasizes the fact that cleverness, the use of dashing types and a brilliant, swagger style are not in themselves the sole ele- ments of the best art. Serious accomplishment appeared also in the illustrations of the late Walter Appleton Clark (an appreciation of whose broad, bold, sympathetic work appeared in the " International Studio " in 1907), F. C. Yohn, the late Louis Loeb and Albert Sterner. Sterner's drawings for " Prue and I," by G. W. Curtis, as Hopkin- son Smith said, " preserved the very essence and sweetness of the aroma of [this] charming story." His art is dealt with in an article by Christian Brinton, in " Putnam's Magazine " for July, 1907. Other names more or less familiar to the public in these days of the ubiquitous illus- tration are W. J. Aylward, Stanley M. Arthurs, Jay Ham- bidge, the Kinneys, Clifford Carleton, Orson Lowell, Ed- mund M. Ashe, W. D. Stevens, Frederic D. Steele, Jules Guerin (a painter of delicate visions of city scenes), J. R. Shaver, Thomas Fogarty, W. L. Jacobs, C. Allan Gilbert, C. K. Linson, G. Wright, Reuterdahl, F. Luis Mora, E. L. Blumenschein, Lucius W. Hitchcock, Ernest C. Peixotto, Vernon Howe Bailey, W. J. Glackens, L. May- nard Dixon, John Cecil Clay, Gordon Grant, John Edwin Jackson and Victor S. Perard. If they do not all ex- emplify fully the illustrator's function to illustrate, they do accentuate the great advance in the general level of technique. Also, individual temperament and predispo- sition have indicated pretty clearly the line of subjects for each one, so, that, for example, we look naturally to Glackens, not Grant, for pictures of the " lower order," 238 AMERICAN GRAPHIC ART to Bailey, not Guerin, for straightforward statements of urban architectural facts, to Steele, not Ashe, for delinea- tions of life on the docks. An element of importance is the great improvement of reproductive methods. The photo-mechanical processes have done incalculable good in facilitating and cheapening publication, and have brought good art where it was not so easily brought before. But they have not been an entirely unmixed good. Also, the ease of reproducing drawings done in wash or oils has dimmed to sight the essential significance of the line. The close relation be- tween printing-type and the line-drawn illustration, orna- ment or initial, is apt to be overlooked. Recognition of the importance of this harmony between component parts has caused the production of books with type, pictures, end papers and covers designed by one artist. Of Euro- pean artists, William Morris or Joseph Sattler are names that quite naturally come to mind, although they repre- sent different individual taste and temperament. As to the question of the raison d'etre of illustration, that is not one to be discussed here. It has been brought up repeatedly, for instance in a symposium of authors and writers in the " Bookman," 1904, and in the " Acad- emy " in the same year. Accepting illustration as an established factor, there are certain sane principles which may safely be insisted on. Why should a book be illus- trated at all hazards, whether the text calls for such addition or not? The only reason is that of effecting sales, as it is also in the case of pictures with little regard to the text, issued to attract attention. Why should not Copyright 1904. Used by special permission of the publishers, The Bobbs-Merrill Company Illustration by Arthur I. Keller. From "Tomorrow's Tangle," by Geraldine Bonner THE ILLUSTRATORS 239 some discrimination be shown in the choice of an illus- trator? When the New York " Times " of October 13, 1906, cited as instances the selection of E. W. Kemble to make drawings for the " Vicar of Wakefield " and Elizabeth Shippen Green to illustrate the " City of Dread- ful Night," its criticism was derogatory to the publishers, not to the artists. If then, finally, there is shown more frequently a regard for the book as a product, in itself, in its entirety, of craftsmanship governed by good taste, we may be content with such a counterbalance to the de- teriorating effects of over-production. CHAPTER XII CARICATURE THE corrective force of pictorial satire did not enter as a factor into the political development of this country until the first low rumblings of the coming revolutionary thunder storm made themselves heard. And even then, American production played no prominent part; the colo- nists were too busy in maintaining the contest, in legis- lative halls and later on the field of battle, to give native talent in caricature assuming that there was such much opportunity to develop. In the inevitable clash between French and British in- terests, in the uncertain times when the Revolution cast its shadows before, and during the war itself, caricature indeed had its part, but its execution was foreign. It was abroad that the aid of the comic art was exerted most vigorously in favor of the struggling colonies. Not only in the countries unfriendly to England, in France and Hol- land and Spain, but in England itself did these sharp attacks on the policy of the mother country appear. An exhibition of Mr. R. T. Haines Halsey's collection of cartoons of this period, held in New York a few years ago, offered a remarkable review of the nature and extent of this pictorial comment. In our present day of facile reproduction, when every third daily paper appears to have its cartoonist, when every little political local hap- 240 CARICATURE 241 pening is humorously pictured next day, the two and a half hundred cartoons in the exhibition referred to may not at first blush appear a great number. But when we consider that every one of these prints, poor even as some of them were, had to be more or less laboriously engraved on copper, the output seems decidedly large. These old cartoons are apt to comment on more general and far-reaching events and principles than the little hap- penings, or acts of individuals, of minor importance, which so frequently form the subject of the pictorial joke of our daily press, thrown away on the day it is published. There is usually little art to speak of in these old car- toons; often they are quite crude, although one occasion- ally comes across early designs by Gillray or Rowlandson which already foreshadow the facile style of those artists. But as historical documents these old engravings are of interest and value; in them, contemporary opinion is mir- rored in most graphic manner. In these prints the strug- gle between France and England for supremacy in the New World is reflected, and the rise of Scotch influence at the English court indicated. Then comes the Stamp Act period (to 1773), with prints nearly all friendly to America; in one of them, referring to budget troubles, an Indian appears taxed without representation. The Boston Port Bill (1774) called forth a series of mezzo- tints described in " The Boston Port Bill as pictured by a contemporary London cartoonist," by R. T. H. Halsey (Grolier Club: 1904) ; one of these deals with the reso- lution of the women of Edenton, N. C, to drink no more tea and wear no more British clothes. The largest group 242 AMERICAN GRAPHIC ART was that dealing with the Revolution, and it consisted of English, Dutch and French engravings. In the French and Dutch productions, Britannia figuring as a cow, being milked by France, Spain and Holland, while America saws off her horns (means of defense), is a favorite device. One of the Dutch artists shows John Paul Jones castigat- ing the queen of the seas, and a French picture depicts Arnold as a little boy enraged at seeing himself cheated out of the price of his treason. France's glory is dis- played in a scene in which she drives England from Amer- ica while the inhabitants joyfully dance around a pole sur- mounted by a liberty cap. The British caricatures, on the whole, were also not unfriendly to the colonies. They show a tendency to treat America as a wayward child, a dupe of her confederates Monsieur Louis Baboon (France), Don Diego (Spain) and Mynheer Frog (Hol- land), which three are frequently and vigorously attacked, as is the home government. The American rattlesnake holding two British armies (Burgoyne's and Cornwallis's) in its coils, and ready for a third, is a striking production. The chapter is closed by a picture published in 1783, with the inscription: " Britannia : * Come, come, shake hands, and let's be friends.' " America : * With all my heart, I've gained my ends.' ' But the troubles of this period called forth also at least a few caricatures by colonial talent, notably some by Paul Revere, the silversmith. Whether or not that worthy took his famous ride, he did his share in comment- CARICATURE 243 ing pictorially on the attitude of Britain to her colonies. Not only in his famous Boston Massacre print, but in allegorical compositions, A View of the Year 1765 and Stamp Act repealed (the obelisk print, 1766), both deal- ing with the Stamp Act. Likewise in caricatures : The Resclnders, The Able Doctor, or America swallowing the Bitter Draught (tea forced down her throat), June, 1774, The Mitred Minuet around the Quebec Bill, October, 1774, and America In Distress, February, 1775, the last three published in the " Royal American Magazine." Sometimes an event of local interest would occasion a satirical design of home manufacture, the engraving of which might fall to one with a sense of humor or not. Of such sporadic cases a few are noted in the annals of engraving on copper. Nathaniel Hurd in 1762 cari- catured Dr. Seth Hudson and a certain Mr. Howe, con- victed of counterfeiting. Henry Dawkins is credited by Thomas Westcott ("History of Philadelphia") with several large plates " caricaturing events in the political history of Philadelphia in 1764." One of these last- named was probably the one showing the advance of the Paxton boys upon Philadelphia (1764), suggested by C. R. Hildeburn to be by James Claypoole, Jr., but believed by Stauffer to be probably the work of Dawkins, it being dedicated by " H. D." Two of these plates, relating to the election of 1764 and the " Paxton Boys," are re- produced in P. L. Ford's " Many-sided Franklin " (New York, 1899). Franklin himself is associated with the invention of two of the most noted satirical designs of the day. One 244 AMERICAN GRAPHIC ART was the device of a serpent, cut into pieces, one for each colony, with the motto Join or die or Unite or die. This appeared in the " Pennsylvania Gazette," the " Boston Gazette" and the "Boston News Letter" in 1754, the "Boston Evening Post" in 1765 (Stamp Act period), and again before the Revolution, in the " Pennsylvania Journal," 1774. Lossing, in his " Field Book of the Revolution," tells us that the loyal papers roundly con- demned this cut, a writer in " Rivington's Royal Gazette " calling it a " scandalous and saucy reflection." Albert Matthews, in his "The Snake Devices, 1754-1776, and the Constitutional Courant, 1765 " (Cambridge, 1908), says that the famous snake devices " presumably originally owed their existence to the suggestion of Franklin." The other Franklin cut represented Britain dismembered, a limbless trunk, turning tearful eyes to heaven, while beside her lie her legs, arms, hands and feet, repre- senting the colonies, cut off and leaving her helpless (I774)- James Parton, in his " Caricature and other Comic Art" (New York, 1877), calls attention also to another newspaper heading, the row of Boston Massacre coffins, mutely voicing the colonists' protest. And there was a bit of pictorial humor post festum, the nine copper-plates by E. Tisdale illustrating the 1795 edition of Trumbull's " McFingal." The period about the end of the Revolution was not notably productive of caricature. Perhaps the cause is to be found in the lack of home talent, perhaps in the fact that despite the politico-military cabaling of some generals CARICATURE 245 during the war and the growing difference between Fed- eral and Republican principles afterward, the country was united in the struggle for national existence. Dissenting opinion grew, however. William Maclay commented in his " Diary " on the excessive adulation of Washington and the monarchical tendencies of his followers. Oppo- sition to the " Father of his Country " took pictorial form as well. Lossing, in " Our Country " (Vol. 2, p. 1 123), records that on the day after Washington's arrival in New York, as president-elect, a caricature appeared, " full of disloyal and profane allusions." In it the president was shown mounted on an ass, in the arms of his body servant Billy. Colonel David Humphreys, leading the animal, is " chanting hosannahs and birthday odes," while the devil remarks that " the glorious time has come to pass when David shall conduct an ass." Yet in the cata- logue of the E. B. Holden sale, No. 1088 is described as the " only known caricature of Washington." This rep- resents " Mrs. General Washington, bestowing thirteen stripes on Britannia " with the lash. Most of the caricatures of the day, as will be seen, were anti-Federalist, but the idol of the Republican Party came in for at least one vigorous pictorial knock. In a pamphlet by Robert G. Harper, probably issued in 1797, entitled " Observations on the Dispute between the U. S. and France," the frontispiece presents a caricature of Jefferson in allusion to his alleged atheistic tendencies and his attachment to the cause of the French Revolution. Similarly, the doctrines of Thomas Paine were dealt with in a large and poor plate entitled Church and State, signed 246 AMERICAN GRAPHIC ART B. Picart, and issued, we are told, by H. D. Robinson, New York, "about 1800." A very crude print depicted an exchange of amenities in Congress (1798), of a kind that has again occurred much more recently in Washington, Matthew Lyon and Roger Griswold being the members implicated. Under this caricature were these lines : " He in a trice struck Lyon thrice Upon the head, enrag'd, sir, Who seiz'd the tongs to ease his wrongs And Griswold thus engag'd, sir." The plate appears in the " Historical Magazine " for January, 1864, where reference is made also to a carica- ture of an earlier fracas between these two gentlemen, in which Lyon is represented as the king of beasts on his hind legs. That, after all, was a record of a personal intermezzo. Of more significance was the comment on the proceeding which to this day is termed " gerrymander- ing." In 1811 the Massachusetts legislature rearranged the senatorial districts of the state so as to secure power to the Democrats, Governor Gerry signing the measure. In Essex County the arrangement as to towns was " par- ticularly absurd." Gilbert Stuart, seeing a map on which the towns thus selected were indicated by particular colors, noted the similarity to some monstrous animal. Indicat- ing the same with a few touches, he said to Russell, of the " Boston Centinel," " that will do for a salamander." " Salamander," was the reply; " call it Gerrymander." By the time the War of 1812 loomed in sight, the home CARICATURE 247 product in comic art became a little more prominent. Quincy's opposition to the " War act " of the Adminis- tration (1812) roused bitter attacks in squibs, epigrams and caricatures. One of the last, by William Charles, entitled Josiah the First, pictured Quincy as a king (in reference to his political domination), with crown and scepter, with an inscription in which he proclaimed himself King of New England, Nova Scotia and Passamaquoddy and Grand Master of the Noble Order of the Two Cod- fishes, the last perhaps in reference to the " importance of the codfishery to the welfare of the Commonwealth of Massachusetts," as John Rowe put it when proposing the placing of the representation of a codfish in the state house at Boston, where it hung from 1784 on. The Embargo Act of April 14, 1812, was strongly denounced by anti-administration speakers and news- papers, and the land trade with Canada, which had become suddenly arrested by it, was represented by a bewildered serpent, stopped by two trees labeled respectively Em- bargo and Non-intervention. The Gallic cock stands by, joyously crowing. The passage of the Embargo Act in December, 1813, designed to prevent the furnishing of supplies to the enemy and the importation of British manufactures in professedly neutral vessels evoked a cari- cature designed and engraved by Alexander Anderson. A former embargo, during Jefferson's administration, was called by the opposition Federalists " a terrapin policy." In recollection of that, Anderson has the act of 1813 personified by a monstrous terrapin who has seized a violator of the law by the seat of his breeches, he crying 248 AMERICAN GRAPHIC ART out, Oh! this cursed o-grab-me [embargo spelled back- ward] ! The fling was aimed at the New England peo- ple, who were supposed to be saving their coasts from devastation, and filling their pockets at the same time, by supplying the British cruisers with provisions. On the repeal of the measure, the " Death of the Embargo " was celebrated in verses in the " Federal Republican," subsequently republished in the "Evening Post" (New York) with a design by John Wesley Jarvis, also en- graved by Anderson, whose burin thus served both sides. The cut illustrates a poem entitled the Terrapin's Address, and beginning: " Reflect, my friend, as you pass by, As you are now, so once was I." All these war prints will be found reproduced in Lossing's "Field Book of the War of 1812." The Hartford Convention naturally called forth Dem- ocratic attacks. The administration party issued a hand- bill (reproduced in " Harper's Popular Cyclopedia of U. S. History") in which the Federal Party is repre- sented by the devil and the Democratic by a comely young woman with a palm leaf. & The most noteworthy productions in caricature en- gendered by the war, however, were the dozen or so of prints by William Charles. It appears that he was a native of Edinburgh, who left that city for this country about i So i to avoid the consequences of having carica- tured some of the magistrates. He practised his art suc- cessively in New York and Philadelphia, and died in the CARICATURE 249 latter city, where he had a book and print shop, in 1821. His caricatures are typical of, the Rowlandson-Gillray period; one of them, John Bull making a new Batch of Ships to send to the Lakes, being evidently directly in- spired by Gillray's Tiddy-Doll, the great French Ginger- bread Baker, drawing out a new Batch of Kings. While not remarkable, they yet have a certain rough humor which no doubt made them popular in those days of excitement. A noteworthy one was A Wasp on a Frolic, or a Sting for John Bull, giving expression to the exulta- tion at the victory of the " Wasp " over the " Frolic," in which the somewhat obvious conceit of a huge wasp sting- ing John Bull was effectively utilized. Another one (September, 1813) celebrated Perry's victory in a pic- torial pun on the word " perry," the name for the fresh juice of the pear, which is apt to produce uncomfortable digestive phenomena. King George is seated, his hand on his stomach, writhing in pain, rejecting offers of more " Perry " from Queen Charlotte, who holds an open bottle, from which is spouting foam bearing the names of the American vessels in the battle. Various inscrip- tions add to the humor of the print, which is emphasized also in these lines in a ballad of the day: " On Erie's wave, while Barclay brave With Charlotte making merry, He chanced to take the belly-ache We drenched him so with Perry." " Charlotte " was one of the British vessels, and a pun on the queen's name is intended, of course. Charles 250 AMERICAN GRAPHIC ART issued also prints relating to embargo (The Cat let out of the Bag, a later impression of which has the title The Tory Editor and his Apes giving their pitiful Advice to the American Sailors), the Hartford Convention, or Leap, no Leap, and the ones entitled John Bull and the Baltimoreans, Johnny Bull and the Alexandrians (he de- mands their flour, tobacco, provisions, ships, " everything except your porter and perry. . . . I've had enough of them already") and Bruin become Mediator or Negotiations for Peace. Another naval victory, that of the " Hornet " over the " Peacock," February, 1813, brought Amos Doolittle into caricature. His engraving (reproduced in Lossing's " Field Book of the War of 1812," p. 700) showed an immense hornet, alighting, with the cry Free trades and sailor's rights, you old rascal, on the head of a bull with the wings and tail of a peacock. (Doolittle, by the way, did also a hand-colored etching representing Napoleon hemmed in by the Russian bear, the British lions and other animals in the zoological garden of Europe's na- tional symbolism.) The years immediately succeeding the war do not ap- pear to have borne much fruit in comic art. Occasionally you will come across a print such as the etching Democ- racy against the Unnatural Union. Trial Oct. 14, 1817. Designed and executed by one who has neither place nor pension, or the colored aquatint showing John Binns carrying a pile of coffins, from which emerge Henry Clay and J. Q. Adams. It is entitled The Pedlar and his Pack, or the Desperate Effort, an Over Balance. OS 3^er 3 -=-. ^ , * ^*: * Ifl^l y3sii\j 4^13^1^ J: O? s 2 ^ ll^Mfi .^^ t S-5-s K ^Mjll^i CARICATURE 251 As Charles had been a rough reflex of Gillray, so David Claypoole Johnston (1797-1865) was a somewhat weak dilution of Cruikshank. Johnston evidently had no easy time to make ends meet; he did many things and used various methods, all with a certain technical fluency up to a certain point: portraits in lithography and stipple, book illustrations and caricatures in etching. The last he issued in oblong quarto booklets, under the title Scraps, during the thirties and forties, of five plates each, every plate including a number of sketches, the whole in the manner of Cruikshank's Sketch Book. On the last sheet of one of the parts he depicted himself figuring the price charged for each sheet, two cents " and no charge for letter press matter." A fair example of his work may be found also in " Outlines illustrative of the Journal of F A K Drawn & etched by Mr " (Boston, 1835), rather heavy and a bit coarse. The only political squib by him which has come to my notice was issued as late as 1863, a sheet on Jefferson Davis, The house that Jeff built. Scharf and Westcott, in their "History of Philadelphia," Vol. II, page 1063, tell us that his hits at dandies and local militia officers were re- sented and libel suits threatened, so that he temporarily abandoned art for the stage. Another Philadelphia cari- caturist was Edward W. Clay (1792-1857), "merci- less," Stauffer calls him. His The Nation's Bulwark. A well-disciplined Militia (Sketches of Character, No. I, 1829) is quite good-natured raillery, however; the na- tion's defenders there shown include portraits of actual individuals, among them C. G. Childs. Like Johnston 252 AMERICAN GRAPHIC ART he did many things, drew views of Philadelphia for Childs, engraved in stipple, drew on stone, designed for line-engravers. James Akin drew and published A down[w~\right Gabbler, directed at the eccentric and out- spoken reformer Fanny Wright, who was lecturing in 1833-6. The period between the War of 1812 and the Civil War had its good share of events to stir the public mind and exercise slowly growing facility in caricature. It is noteworthy that for some time to come the humor in the cartoons issued in separate sheets, lies not in any distor- tion in the drawing but in the underlying idea. The re- marks of the various persons in the pictures are inclosed in loops issuing from their mouths, in the manner ever- recurring again, and always marking a distinctly lower grade of the art, as in so many of the dreary continuous series drawn out through successive issues of our present- day newspapers. The designer, too, generally employed a number of figures to emphasize his point. He often offered a resume, so to speak, of the collective activity of a group of politicians and statesmen during a given period. To-day we have our pictorial comments so fre- quently issued that they deal each with some detail of the political situation, some individual affair or person- ality, and therefore often show a minimum of effort to emphasize a general principle. In those ante-bellum days, lithography appeared as a vehicle for caricature at an early date. A new Map of the United States, with the additional Territories on an improved Plan. Exhibiting a View of the Rocky Mountains surveyed by a Company CARICATURE 253 of Winnebago Indians in 1828 came from Imbert's estab- lishment, and is perhaps one of the earliest examples of the entrance into caricature of the lithographic art The latter was employed in this field a little later by H. R. Robinson, and then by Currier & Ives, whose long series of sheets, both caricatures and illustrations of public events, remain a store-house of interest to the student of the American phase of what the French call imagerie populaire. It was with the first administration of Jackson, as Joseph B. Bishop ("Century Magazine," June, 1892) notes, that caricature in this country became a more frequently employed factor in political contests. Jackson's robust personality formed good material for caricatures, both those assailing and those defending his acts and measures, the fight against the United States Bank, the affair of the " Kitchen Cabinet," and so forth. A favorite device of the caricaturist, the race between rival candidates for nomination or election, appears in A Foot-Race, showing Jackson and others, an etching somewhat in the style of Johnston. Jackson clearing his Kitchen and Rats leaving a fallen House, two etchings published in 1831 and re- ferring to the dissolution of the Kitchen Cabinet, were designed by Edward W. Clay, already mentioned. This artist, who, according to Scharf and Westcott's " History of Philadelphia " (Vol. II, p. 1063) , was " for more than twenty years a noted caricaturist," drew also A Boston Notion for the World's Fair (1844), aimed at the Aboli- tion movement. Parton's reference to burlesque proces- sions during the presidential campaign of 1 832 is a propos. 254 AMERICAN GRAPHIC ART The hickory pole, Nicholas Biddle as " Old Nick," and other features which figured therein, are akin to the catch- words employed by the cartoonists of that time. The war on the U. S. Bank (1837) called forth such pieces as the shinplaster caricature, Great Locofoco Juggernaut, in which Van Buren appears, and the two lithographs, The Modern Balaam and his Ass and New Edition of Macbeth, Bank-oh's Ghost, the last signed C and printed and published by H. R. Robinson. Sub-treasurers taking long Steps, also published by Robinson (1838), is signed Grennell. Still another publication by Robinson is a little volume by " Junius Junior," entitled " The Vision of Judgment" (1838), with Jackson caricatures signed N. Sarony. The candidate's race idea appears again in The Great American Steeplechase for 1844 (issued 1843 by H. R. Robinson). This publisher is the Robinson who, as Fred- eric Hudson says, in his history of American journalism, " lined the curbstones and covered the old fences of New York with his peculiarly characteristic caricatures during Jackson's and Van Buren's administrations." Then the Mexican War became the topic of interest, but apparently not with the quantitative result in the field of caricature that one might perhaps have expected to find. The few pieces which I have discovered are marked by much of the amused disdain for the opponent which is found in many of our caricatures of the Spanish-American War, but by none of the bitter prejudice which character- ized a few of the latter. Uncle Sam's Taylorifics (the Yankee snipping a Mexican in two with a huge pair of CARICATURE 255 shears) and The Mexican Commander enjoying the Pros- pect opposite Matamoras ( 1846), a lithograph by Sarony & Major, copyrighted by T. W. Strong, illustrate this spirit of complacent superiority. This Sarony & Major print is drawn with a certain freedom not common even to the best lithographic cartoons of the day. Of these caricatures drawn on stone and issued in sep- arate sheets, those bearing the name of Currier & Ives, who entered the field about 1848, are best known and most numerous. Caricature is the common and conveni- ent name for this pictorial satire, but the feature of dis- tortion was noticeably absent, down through the Civil War. As far as the skill of the artist went, the person- ages represented were depicted without exaggeration. The tendency was to draw groups of political leaders, with a free use of loops issuing from their mouths and inclosing sentiments which they are supposed to utter. The general effect of it all is somewhat stiff and labored. But it is an interesting series, this lot of cartoons of ante-bellum and war-time days, recalling much detail of our political history. As they did not appear at regular intervals, but at the time of stirring public events, most of them were concomitants of presidential campaigns. In 1848, Marcy, Cass, Douglas, Buchanan and Houston, towed " up Salt River " by fox-bodied Van Buren, are labeled Loco Foco Candidates traveling. Fillmore pro- tects the " government crib " in Fancied Security, or the Rats on a Bender. Webster, Scott and Pierce take part in the Great Foot Race for the Presidential Purse ($ioo } - 000 and Pickings} over the Union Course, 1852. When 256 AMERICAN GRAPHIC ART the slavery and state's rights controversies came to a head in the movement which resulted in the formation of the Republican Party, public feeling ran high and the campaign of 1856 brought out much anti-Fremont mate- rial. In The Great Republican Reform Party calling on their Candidate, Fremont is promising the prohibitionist, woman's rights lady, socialist, free love advocate, the Roman Catholic Church and the negro all they want. And in The Great Presidential Sweepstakes of 1856 Beecher and Greeley are helping along a sorry outfit con- taining Fremont, which appears again in The Mustang Team, the latter particularly free in drawing. One feels in such sheets, despite, or perhaps by very reason of, the expressed contempt for the new party, the feeling of un- certainty and unrest engendered by the approach of that irrepressible conflict, to which so many apparently tried to close their eyes, but which came on inexorably. Some phases of the slavery controversy had been touched upon by the satirist's pencil. For instance in E. C.'s depiction of Buchanan and the slave question, or Practical illustration of the fugitive slave law (the slaveholder astride of Webster on all-fours) or What's Sauce for the Goose is sauce for the Gander, a lithograph by E. W . C., E. W. Clay, no doubt, dealing with Northern protection of fugitive slaves. In most cases the pictures showed pro-slavery leanings. Abolitionism was repeatedly attacked, with especial emphasis on the dire effects of miscegenation. So in Prof. Pompey magnetiz- ing an Abolition Lady (a lithograph issued by T. W. Strong, the wood-engraver), and An Amalgamation CARICATURE 257 Polka, a lithograph by E. W . C. y our Philadelphia!!, Clay, again. Buchanan's attitude gave rise to such cartoons as L. Maurer ? s Ostend Doctrine: Practical Democrats carry- ing out the Principle with the president inactive, or South Carolina's Ultimatum, in which Gov. Pickens is shown as wanting Sumter, while Buchanan entreats: Don't fire till I get out of office. In another, Buchanan is riding the dragon of slavery, and exclaims, Pull down that fence, and make way for the " Peculiar Institution," the fence being Mason and Dixon's line; Fremont strongly objects. Lithography, however, did not monopolize this spe- cialty of caricature altogether. The woodcut served for a number of these comic sheets, T. W. Strong appear- ing as publisher in several cases, the designer usually anonymous, in one case signed in full: /. H. Goater. In one of Strong's cuts entitled Little Bo Peep and her foolish Sheep, the shepherdess, Columbia, seeing her sheep (the seceding states) departing, exclaims, Sick 'em, Buck / wish old Hickory were alive, he'd bring 'em back in no time. Then followed the presidential campaign of 1860, in which political feeling was at a high tension. One cannot recall any cartoon issued in New York which really gave expression to the Union sentiments which the election of Lincoln and subsequent events were to fan into a roaring flame. A few designs of well-tempered Republicanism, and as for the rest, evasive presentations of not fully relevant facts or of distorted views. In The Rail Can- didate, the railsplitter, carried by Greeley and a negro astride a rail marked Republican Platform, complains: 258 AMERICAN GRAPHIC ART " I begin to feel as if this rail would split me, it's the hardest stick I ever straddled." Other sheets in this series of lithographs are The Nigger in the Woodpile, An Heir to the Throne (Greeley and Lincoln compla- cently regarding the "heir," Barnum's " What-is-it ? " ) and The Impending Crisis, both by Maurer, and The irrepressible Conflict, the last two dealing with Seward's failure to obtain the Republican nomination, and Greeley's agency in the matter. Mr. Bishop, who had his in- formation from James M. Ives, stated that all of these caricatures of 1856 and 1860 were drawn by Louis Maurer. The latter, however, told me that they were not all by him, and identified a number of them as his work. These include, beside those which I have named as his, The Great American Buck Hunt of 1856, The Political Gymnasium, Letting the Cat out of the Bag, Honest Abe taking them on the Half Shell, Storming the Castle and The Great Republican Party. The Cur- rier & Ives lithographs have been reproduced in a volume with the title : " Caricatures pertaining to the Civil War . . . 1856-72," issued in New York, 1892, in an edi- tion of 150 copies. With the election of Lincoln the storm broke loose, and some of the caricatures produced in the white heat of excitement in those troublous times were among the most telling of the war. And they were often not the regular lithographed sheets, but sporadic woodcut issues. The conceit which showed the seceding states as mice scampering away from " Uncle Abe " in the guise of a cat, whose paw holds down a rodent labeled Virginia, and CARICATURE 259 which is appropriately entitled Virginia pausing, opens up the long series of these war-time pictures. In many cases they appeared on envelopes, which method of publication was a very much used means for the dissemination of both Northern and Southern views; the designs and mottoes thus issued were numbered by hundreds. There was much patriotic fervor, occasional bitterness and more often good humor. I'm glad I'm not in Dixie! Hooray! Hooray!; Come back here, you black Rascal! Can't come back nohow, Massa, dis Chile's contraban' ; Music by the Contra-Band and Good Noose for Traitors (in which a picture of a hangman's rope left no doubt as to the pun intended), are sufficiently clear in title and are average examples of the kind of humor thus disseminated through the mails. I have seen seven different repro- ductions in reduced size, on envelopes, of a remarkably popular early war-time caricature by Frank Beard, Why don't you take it?, representing Davis as a greyhound slinking off before the ferocious air of a bulldog (Gen. Scott) guarding a rib of prize beef (Washington). D. M. Stauffer did several of these envelope designs in 1862, in small editions, however. Others beside Beard made an early appearance in those days. Thomas Worth, for instance, in The Voluntary Manner in which some of the Southern Volunteers enlist, or Benjamin Day become a caricaturist only through the exigencies of the moment who depicts Lincoln and Davis as prizefighters, in a lithograph entitled Caving in, or a Rebel deeply humili- ated. A probably casual incursion into a vein of mild humor, 260 AMERICAN GRAPHIC ART on the part of E. B. & E. C. Kellogg, the Hartford lithographic firm, is entitled Forward March Uncle Sam's old Hens covering their Chickens on the way to Richmond, the hens being the gunboats steaming up the river and spreading their wings over the chickens, the soldiers marching on the banks. Another publisher's name out of the common is that of Hough, of Philadel- phia, on a lithograph which proclaims The Southern Con- federacy a Fact, because it has been acknowledged by the devil. It was during the war, too, that Thomas Nast began in a series of emblematic drawings that life-work which made him famous. Compromise with the South, refer- ring to the attitude of the Chicago Convention, made a notable hit in " Harper's Weekly," and was subsequently used as a campaign document. A. B. Paine, in his vol- ume on Nast (1904), quotes Lincoln: "Thomas Nast has been our best recruiting sergeant. His emblematic cartoons have never failed to arouse enthusiasm and patriotism." Lincoln naturally held the center of the stage in many of the pictorial lampoons of the war. The lukewarm or straight anti-Lincoln productions apparently greatly outnumbered those supporting him. Among the first may be named such lithographs as The political Rail Splitter driving the wedge " Irrepressible Conflict " into the log " Union," splitting it into North and South, or the one by Joseph E. Baker of Boston, Columbia demands her Children, she asking back her 500,000 sons, to which Lincoln remarks, " That reminds me of a story." This CARICATURE 261 phrase was used against Lincoln in various ways, and his love of humor was assailed most bitterly in a poorly drawn sheet entitled The Commander-in-Chief conciliat- ing the Soldiers' Votes on the Battlefield. This repre- sented him amid dead and wounded soldiers, saying, to the horror of the listeners : " Now, Marshal, sing us ' Picayune Butler ' or something else that's funny." On the other hand, Grand Sweepstakes for 1862 won by the celebrated Horse Emancipation, a lithograph signed Potomac, signalizes approvingly an important act of Lin- coln's administration. Occasionally there was a cartoon strong for Lincoln ; such was A little Game of Bagatelle, between Old Abe the Railsplitter and Little Mac the Gunboat General, a lithograph published by J. L. Magee of Philadelphia, and signed /. L. M. Your Plan and Mine, a Currier and Ives shdjpt, put the case even more strongly in Lincoln's favor; Tie completely subdues the South and keeps the negro free, while his opponent weakly attempts conciliation and is ready to restore the black man to slavery. Political caricature No. 2, 1864, pictures Miscegenation as the Millennium of Abolition- ism, and No. 3 of the same series prophesies The Aboli- tion Catastrophe, or The November Smash-up. But fate willed otherwise; Lincoln was re-elected, and the war was carried on to success for the North. Jefferson Davis' attempt to escape from the Union soldiers who had him in charge was chronicled in a more or less humorous manner in more than one print, even in a pamphlet en- titled " Jeff Petticoats," with " graphotype " illustrations " drawn by the celebrated artist Frank Bellew on the 262 AMERICAN GRAPHIC ART chemical blocks of the Intaglio and Graphotype Co. and engraved by them in the short time of two hours." These pictures usually did not go very much beyond the facts in the case, and there is really more point to the grim conception of Jef Davis on his own Platform or the last Act of Secession, in which that prominent representa- tive of the " lost cause " stands, with the hangman's noose about his neck, on a trap about to be sprung. Gen. McClellan likewise came in for some share of pictorial applause and criticism, mirroring the hopes which he aroused and the general opinion of his generalship. He appears in masterly inactivity at his Headquarters at Harrisburg Landing, in a lithograph by Potomac, who designed another one, The last Round, which was pro- McClellan in spirit. The old Bull Dog on the right Track (Grant) is contrasted with the protesting "little Mac," to the latter's disadvantage. In The true Issue, or that's what's the matter, Lincoln and Davis are hauling at opposite sides of a map of the United States, the former proclaiming " No Peace without abolition " and the lat- ter " No peace without separation," while McClellan stays their hands, with the sentiment " The Union must be preserved at all hazards." This last was probably issued at the time of the presidential campaign of 1864, which was the occasion of a number of cartoons friendly to the general in politics. One, by J. E. Baker, shows a wounded soldier forced by a negro guard to vote for Lincoln instead of the Democratic candidate, while the poll-clerks pretend not to see. The difficulties of his position were pictured three times at least in that familiar CARICATURE 263 conception of a circus-rider with each foot on a horse, the equines striving in different directions. In the one, a reproduction of a pen-and-ink drawing somewhat in the style of Augustus Hoppin, the horses are labeled re- spectively Letter of acceptance and Chicago Platform; in the second, Slow and Steady wins the Race, Lincoln rides " Slow and Steady," while McClellan's two steeds are "Brag and Bluster" and "Fawn and Cringe"; in the third, Little Mac in his great Two-Horse Act is striv- ing to control his mounts " Peace " and " War," with Lincoln as a clown standing by. This last sheet was one of T. W. Strong's woodcut publications, the drawing by J. H. Howard, a sort of weaker McLenan, and illus- trator of Major Jack Downing. Howard designed also the engraving of MacClellan as Hamlet holding the head of Lincoln : / knew him, Horatio; a fellow of infinite jest. . . . Where be your gibes now? The Grave of the Union, or Major Jack Downing'* Dream, drawn by Zeke (a lithograph issued by Bromley & Co., 1864) represents Lincoln, Greeley et al. burying the Constitution and free speech. There was at least some Confederate response through the medium of the comic art. The Battle of Bull Run brought forth a derisive whoop in the shape of a very poor lithograph from a pfothogr., and B. Duncan of Colum- bia, S. C., issued a series of better designed plates with the suggestive title Dissolving Views of Richmond, one signed with a monogram /. W. But the most interesting and, by all odds, best designed Southern production was a series of etched War Sketches by V. Blada, partly issued 264 AMERICAN GRAPHIC ART abroad (London, 1864). Drawn mainly in outline, with a quite free touch, these plates, though free from cari- cature except the slight exaggeration in such a case as Valiant men " dat fite mit Sigel " are satirical and vigor- ous arraignments of Northern principles and practice. Free Negroes in the North and in Hayti are contrasted, and the Substitute Office is derided. When we draw a line under the long Civil War column, and add up the total the sum is not so very impressive qualitatively. The possibilities of the period were per- haps not fully grasped by our caricaturists. In fact, we had no commanding figure among them, and we must go to Tenniel's cartoons in London " Punch " to get com- ments more in accord with the importance of this four years' struggle. This is said, of course, without reference to the ideas and point of view expressed in Tenniel's draw- ings. As far as his treatment of Lincoln was concerned, he joined with Tom Taylor in an amende honorable when the president was struck down by the assassin's hand. The years have gone and have begun to envelop the events of those war-time days in the haze of intervening time. In the lengthening perspective of the passing gen- erations, we are becoming able to regard even the bitterest examples of pictorial satire, both Northern and Southern, with more calmness of spirit, as documents mirroring the high-tension excitement of an exciting period. The preponderance of the lithographed separate sheets in the field of caricature came to an end soon after the Civil War. They continued to be issued, notably in the CARICATURE 265 distorted, though in a rough way funny, " Darktown " negro comics of Thomas Worth, but as an effective weapon in the political arena they gave way before the work of the comic press and the cartoons in the weekly illustrated journals. CHAPTER XIII THE COMIC PAPER THE comic paper entered more decidedly into the field of caricature not long after the Civil War. There had been previous attempts to found periodicals devoted to humor. "Yankee Doodle" appeared in 1856, with Charles Martin as the principal artist and Darley as an occa- sional contributor. " Yankee Notions, or, Whittlings of Jonathan's Jack-knife," issued as a monthly by T. W. Strong of New York, made its appearance in January, 1852. A year later it advertised a circulation of 15,000, which rose to 30,000 by December, 1853, and to 150,000 in September, 1854. It lived about fifteen years. Au- gustus Hoppin had a full-page drawing in each number, and the contributing artists included the best talent of its time and others: John McLenan, Frank Bellew ("the triangle"), Thomas Butler Gunn, Magee, Holcomb, G. F. F., Brown, H. Egbert, Jr., Folingsby, J. H. Howard, Dallas, Wattles, and one signing with skull and cross- bones. Some drawings appeared also signed " Carl," the pseudonym of G. W. Carleton the publisher, who later put a little bird under his sketches (as did "Dicky" Doyle of London "Punch"). His very amateurish though amusing manner is shown in " Our Artist in Peru " (1866) and other similar books. We have seen 266 THE COMIC PAPER 267 such pleasant dilettante foolery recently, particularly in Robert W. Wood's " How to tell the Birds from the Flowers " (1907), with its kinship to Lear. By 1859-60 Thomas Worth and M. A. Woolf were also among the contributors to " Yankee Notions," as well as, occasion- ally, W. L. Sheppard and, I think, E. F. Mullen. There were appropriations from foreign sources too, for while aspersions were cast more than once on the wit of London " Punch," that journal's cuts were not disdained and were used without credit given. McLenan was one of the most noteworthy artists of this group. His bohemian nature was evidenced both in the often carelessly sketchy drawing of his work, and in the dash and spirit, the rollicking humor in his " comics." As an illustrator he had to turn his hand to various things, even Collins's " Woman in White," but it is as a comic artist that he really made his mark. The late A. V. S. Anthony told me that D. C. Hitchcock discovered Mc- Lenan working in a pork-packing establishment in Cin- cinnati, where he used to make sketches on the tops of barrels. Among the books illustrated by him was " Noth- ing to Say " by Mortimer M. Thompson (" Doesticks "), issued at the time of the " Nothing to Wear " contro- versy. There came and went other periodical vehicles for humor: "The Lantern," edited, like "The Bubble," by John Brougham, one of whose drawings, hanging in the Players' Club, New York City, is signed Brougham, de- linquent; "John Donkey" (Philadelphia); "Young America"; "The Picayune" (outlet for the humor of 268 Mortimer Thompson) ; " The Carpet Bag " in Boston, with B. P. Shillaber; " Mrs. Grundy " (three months in 1865, Nast and Stephens the artists); " Phunny Phel- low" (Nast again); "Jolly Joker"; "The Punster" (Mobile, early seventies), and what others besides. C. G. Rosenberg even tried to establish a humorous daily, " Momus," in the fifties. The best of all, from the literary standpoint, was "Vanity Fair" (New York), with Fitz-James O'Brien, " Artemus Ward" (Charles F. Browne), George Ar- nold and C. G. Leland among its writers, and Henry L. Stephens, E. F. Mullen (illustrator of " Artemus Ward: His Book "), J. H. Goater, W. Fiske, H. Helmick, Ben Day (whose work was reproduced in " graphotype "), and Carleton as its principal artists. Stephens did the cartoons (with the exception of a few, e.g., one by the painter R. Wylie), a task for which he was equipped in a measure. His drawing, despite evident mannerisms, had grace and easy flow of line, but it lacked the vigor of expression and of characterization necessary in the make-up of a really successful cartoonist. " Vanity Fair" held from 1859 on until 1863. Possibly the reason for its failure was that the public had no stomach in those days for graceful fooling and literary humor. It was a time for vigorous blows in the field, on the rostrum, in the editorial column, from the caricaturist's pencil. There were a few references to incompetent of- ficers advanced by political pull, or to dishonest con- tractors, as in the small cut by Elihu Vedder depicting some soldiers who find their blankets more suited to use THE COMIC PAPER 269 as fishing nets than for their legitimate purpose. Or the pictorial comparison, Heroes of the war (penniless, maimed veterans) and He rose by the war (a fattened contractor). But there is not much that strikes you as a blow from the shoulder, a bull's-eye scored. When the cartoons do not show the distinctly anti-administration feeling that characterized not a little of the comic art of the day, they are apt often to give a lukewarm im- pression. It is not so much the telling force of satire that is felt as the mildly humorous comment of an amused spectator. About the same characterization will describe the cartoons in "Punchinello" (April, i87o-December, 1871), also by Stephens. We meet other familiar names under the cuts in this journal : A. Hoppin, J. H. Howard, F. Bellew, W. Fiske, Sheppard; and some new ones: F. T. Merrill (later known as an illustrator), George B. Bowlend, F. S. Cozzens and J. A. Mitchell, by whom there is one cut, in no wise foreshadowing his subsequent grace of style. It was with the advent of Thomas Nast, the Bavarian who caught the spirit of the time, that the sledge-hammer force of pictorial satire exerted in a just cause was felt in all its potency. In 1862, amid the clamor for "peace at any price," Nast, who had been doing illustrating successively for " Leslie's," the " New York Illustrated News " and " Harper's," drew for the last journal a double-page emblematic picture entitled Peace. It showed Columbia weeping at a Union soldier's grave, while the dead one's companion, stripped of arms, is shaking hands with a Southern soldier armed to the teeth 270 AMERICAN GRAPHIC ART and with one foot on the grave. " That picture made his reputation," said "Petroleum V. Nasby " (David R. Locke, whose "Struggles of P. V. Nasby," 1872, was illustrated by Nast), in an interview (1871) quoted by Frederic Hudson in his " Journalism in the United States," and added: " It was circulated by the million as a campaign document." Nast had done occasional small " comics," but in his large drawings he continued in this emblematic vein, often surrounding his central composi- tion with a number of smaller ones, and appealing now to patriotism and human justice, as in War in the Border States and Southern Chivalry, and again simply to the sentiments of domestic affection, as in Christmas Eve. But with the campaign of 1868 he entered definitely into political caricature. His strong defence of the Union cause, his arraignment of the Canal Ring in New York State and his castigation of the Tweed Ring in New York City were accomplished with fierce and fearless earnest- ness in a series of cartoons that form imperishable pages in the annals of caricature. In the case of the anti- Greeley compositions in the presidential campaign of 1872, one's admiration of Nast's bitter, unrelenting in- genuity in probing and laying bare every little weakness is tempered by sympathy for the chief object of his at- tacks, the distinguished journalist who suffered so under his defeat, and by respect for men such as Sumner, Curtis, Schurz and the principles they stood for. Nast's energy never failed him, and he had a remarkable power of em- phasizing the salient characteristics of a face. In time his strength waned, and his manner dropped into a multi- THE COMIC PAPER 271 tudinous display of labels all over the drawing, once lampooned in " Puck." It is, however, Nast of his best period whom we remember with satisfaction and with warm appreciation of his great service to the public. The story of his life has been well and sympathetically told by Albert Bigelow Paine (1904). His biographer traces to him the introduction of various symbolical devices dear to the caricaturist, the square paper cap of labor, the full dinner pail, the Tammany tiger, and the " inflation " rag baby of 1875. Nast's best work was done for " Harper's Weekly," and that journal's cartoon feature was adopted also by " Leslie's," which early in the seventies brought over Matt Morgan as a rival to Nast. Morgan had been connected with " Fun," in London, a number of his con- tributions to that journal being republished in a volume of "American War Cartoons" (1879). He had also drawn some startlingly bold cartoons for the London " Tomahawk," but these attacks on the Queen and the Prince of Wales were found too caustic, and the journal, begun in 1867, soon went out of existence. Morgan did not make his mark in this country as a political cari- caturist, however, although his artistic influence was felt in the periodicals with which he was connected, but in the domains of the poster and of scene-painting. Kep- pler also cartooned for " Leslie's " before he started his New York " Puck." The " Daily Graphic " had Th. Wust (1874-5), Charles S. Reinhart (1876), Grant Hamilton (1883), A. B. Fr st, E. W. Kemble and Fer- nando Miranda as cartoonists. And Mirall drew very 272 AMERICAN GRAPHIC ART mild and gentlemanly specimens of what the French call portraits-charges for " The Hour " in the eighties, por- traits of noted individuals, with a slight admixture of witty or satirical allusion. It was a sort of thing often well done in " Vanity Fair," of London, and by Bellew in the " Fifth Avenue Journal," of New York, and seen here notably in Puckographs, appearing in " Puck " and drawn usually by Keppler and occasionally by J. A. Wales and F. Graetz. What may be called social caricature, as distinct from political, continued mainly in cuts on the last pages of weekly and monthly publications. There were the little " comics " in the " bric-a-brac " section of " Scribner's," in the late seventies, drawn by Livingston Hopkins (who wrote and illustrated a comic history of the Uhited States and subsequently went to Australia to cartoon for the Sydney " Bulletin," see " Review of Reviews," January, 1893), F. B. Opper, F. S. Church, E. A. Abbey, Mullen, Addie Ledyard, M. A. Woolf, Bellew and Howard Pyle. Elsewhere, too, appeared those little tail- end " comics " which have long been a feature in many of our illustrated magazines. So the " Book of cheer- ful Cats," by J. G. Francis (1892), was made up of contributions to " St. Nicholas " and other publi- cations. While Nast was cartooning " Harper's Weekly " into a political force, attempts to establish journals entirely devoted to the comic art still went on. Frederic Hud- son, in his " Journalism in the United States " (New York, 1873), has a chapter devoted to this phase of our THE COMIC PAPER 273 periodical press. He stated his belief that the American public did not want its humor in weekly doses, but pre- ferred it in the morning paper, with its breakfast coffee. Recounting the different efforts to found a comic paper, he concluded: " and Puck, of St. Louis, how is he? " This same " Puck " was founded by Joseph Keppler (1838-94), who, coming from Vienna, where he had drawn for " Der Floh " and " Kikeriki," had first tried his fortunes as an actor in St. Louis, and had then started "Die Vehme" (1870) and after its demise "Puck" (1871). On the failure of " Puck" he came in 1873 to New York City, where he found employment as a car- toonist on " Frank Leslie's Weekly." In 1876 he became associated with Schwarzmann in the establishment of " Puck," a German weekly, which half a year later began to appear also in an English edition. Previous ventures in the field of humorous journalism had usually been modeled on the pattern of " Punch," at least as far as appearance was concerned. There was a full-page car- toon on the two middle pages, and in some of the publica- tions a half-page drawing on the front or title-page of each number. The drawings were invariably reproduced by wood-engraving, excepting toward the end of the Civil War, when there was an occasional cut in " Graphotype," or perhaps some other chemical process. These conven- tions were disregarded in " Puck," which offered three cartoons in each number, and with cartoons produced by lithography, was soon able to add the effect of color. At first the cartoons were printed in black-and-white; then two tints added from wood blocks were used, one 274 AMERICAN GRAPHIC ART at the top, the other at the bottom, both merging in the center. Further effect was gained by lightening by means of coarse white lines in the tints. Finally, Keppler's pre- dilection for color found fuller satisfaction in the com- pleter chromatic glory of hues and tints lithographically produced. It was uphill work at first; Keppler drew all three cartoons himself, like Mark Twain, " without out- side help," as well as some of the smaller illustrations and even occasional advertisements. But success came, and " Puck " gradually drew to itself the best talent in the land, and levied tribute also on its chief artist's father- land, Austria. Karl Edler von Stur and F. Graetz were successively imported from Vienna (Graetz's views on America, expressed with an incisive pen-stroke, were pe- culiarly interesting). Frederick Burr Opper, some of whose comics had appeared in " Scribner's Magazine," developed remarkably while with " Puck." T. Bernard Gillam, an Englishman by birth, who had cartooned for the " Graphic " and " Harper's Weekly," had in his drawing a severity of manner reminiscent of Tenniel. Eugene Zimmerman showed a tendency to grotesquery apparently suppressed somewhat. James A. Wales, one of the few caricaturists of American birth in those days, could hit off a portrait with a sure touch. Dalrymple never did better work than under the guidance of Kep- pler, " he is a born caricaturist," said the latter once to me. And there were Ehrhardt, a pen-artist of precise finish, and Syd B. Griffin, whose humor had an almost boyishly rollicking, irresponsible air. Charles J. Taylor was essentially an illustrator, good in his satires on so- THAT8 WHATS THE MATTER. - Cost T>m>. "Ai loaf u I COUKI Vom, -U: u yoo joiaj u do lxxit U? u One of the Anti-Tweed Cartoons in "Harper's Weekly," by Thomas Na--t Courtesv of "Puck" Cartoon, "Puck," April 28, 1886, by Joseph Keppler THE COMIC PAPER 275 ciety life in its female aspect; he illustrated Philip G. Welch's " Tailor-made girl " dialogues, " In the Four Hundred and out," and various works by H. C. Bunner and others. In recent years this journal has enlisted also the services of Joseph Keppler the younger, L. M. Glackens, Carl Hassmann, Albert Levering, Arthur Young (illustrator of " Hell up to Date," and whose cartoons evidence serious convictions on social condi- tions), Gordon H. Grant, Will Crawford, Frank Nan- kivell, representing as many different styles and almost as many specialties. During the early years of " Puck," when Keppler not only dominated the art department but did nearly all of the work, there was a noticeably foreign tone in his car- toons, a spirit, with a somewhat Gallic freedom of expres- sion, born of his Viennese origin. The somewhat auda- cious conception, Forbidding the Banns, is not very likely to be echoed to-day. In that picture, Garfield (in female garb) is about to be wedded to Uncle Sam, the officiating clergyman having a ballot-box for a head, and Schurz and Reid standing by as bridesmaids; W. H. Barnum, bearing a baby labeled " Credit Mobilier," rushes in, vigorously protesting against the continuation of the ceremony. " But it was such a little one " is the coy remark of the blushing bride. " A Selection of Cartoons from Puck by Joseph Keppler; with text and introduction by H. C. Bunner" (1893), issued in a limited edition, gives a bird's-eye view of the range of Keppler's talent. But the best review of his activity will be found in a bound set of the journal which he founded and made into a power. 276 AMERICAN GRAPHIC ART Keppler developed a partiality for large compositions with many figures; he was a sort of Makart in comic art. His son, who has taken his place on " Puck," while not entirely possessing the father's easy swing of flowing line, has a remarkable faculty of scoring telling hits with a minimum of figures. One could not better tell the story of the presidential campaign of 1908 than he did with three figures, Roosevelt as John Alden and the Repub- lican Party as Priscilla, Taft as Standish hovering in the rear. The mature coyness of the maid, the smile of self- satisfaction on the face of the vicarious suitor, are un- mistakable. The title is, of course: Why don't you speak for yourself? Keppler never allows side issues or details to becloud the main idea in his cartoons; it is this singleness of purpose which makes them so em- phatically effective. In 1887 " Judge " was founded, to counteract the Dem- ocratic influence of " Puck," I fancy. It received its first impulse toward more important rank through the advent of Wales from " Puck," that artist being followed sub- sequently by Gillam and Zimmerman, which latter artist here developed to the full his predilection for exaggera- tion. Grant E. Hamilton grew into a manner of note- worthy ease and freshness, shown also in pen-drawings of easy-flowing stroke done for the " New York Her- ald." Frank Beard, J. H. Smith (cowboy scenes), F. Victor Gillam (who, until the death of his brother, on whose style his own was modeled, used the signature F. Victor), Penrhyn Stanlaws (i.e., P. S. Adamson), Flohri, James Montgomery Flagg are among the other artists THE COMIC PAPER 277 whose work appeared in this weekly. " Puck and Judge," say A. B. Maurice and F. T. Cooper, in their volume on nineteenth century caricature, " led to a distinct advance in political caricature in this country." The third in the trio of comic weeklies, with the usual three cartoons in colors, which succeeded in maintaining a foothold for a number of years, was the " Wasp," of San Francisco, which subsequently became a general illus- trated weekly. There were other attempts to establish similar publications, but they usually did not hold out long beyond the political campaign which called them into being. The Garfield-Hancock struggle of 1880 evolved " Chic," with chief cartoonist in the person of C. Kendrick, better known as an illustrator of juveniles with colored pictures. Four years later " Judge's " efforts in behalf of Elaine were seconded by " Jingo," which died the usual early death. During that campaign of 1884 the strongest forces in caricature were arrayed on the other side. " Puck " offered a remarkable instance of sustained effort in its series of " plumed knight " and " tattooed man " conceits, mainly by Keppler and Gillam. The " tattooed " idea had appeared once before in " Puck," in an early issue of the German edition (1876), in which Columbia appears anything but a " gem," her body covered with the record of all sorts of rings and frauds and political misdeeds. And now the idea, utilized in a political dime museum drawn by Gillam, in which Elaine appeared among the " freaks " as a tattooed man, was exploited with an ingeniously varied insistence that was terrible in its effectiveness. Some of the cartoons 278 AMERICAN GRAPHIC ART were on a particularly high plane ; so Gillam's Phryne be- fore the Chicago Tribunal (Phryne being the tattooed man unveiled by Whitelaw Reid), a distinct appeal to the well educated. The attacks on Cleveland were equally bitter, and in the two succeeding campaigns his figure, in grossly caricatured obesity, was incessantly held up to ridicule. Free-trade friendliness to England, a nineteen collar and a number six hat, hypocrisy and self-love were some of the sins with which he was charged. The last- named attribute formed the theme of a drawing by Gillam in which Cleveland's figure, inclined in a bow, forms the contours of the United States on the map. In succeeding campaigns, Bryan came in for his share of attacks. Among the many cartoons directed against him there was one, unusually free in conception, by Ham- ilton, representing him as the " Angel of Darkness " showing the American voter possibilities of power and wealth, as seen from a high mountain. The Temptation is its obvious title. Shortly before the Spanish war, a cartoon by Victor Gillam, in which a diminutive Spaniard, looking into the mouth of an enormous American cannon, is admonished by Uncle Sam : Be careful, it's loaded, explained the state of affairs with expressive simplicity. The Spanish cari- catures issued during the war, usually variations on the theme of the " American hog," may seem to us stupid enough, but in such a production as Hamilton's The Spanish Brute adds Mutilation to Murder there is an appeal to national prejudice which is not pleasant to look upon. Even this war is already to an extent ancient his- THE COMIC PAPER 279 tory, which may be objectively studied, in its caricature aspect, in the volume " Cartoons of the War of 1898 with Spain, from leading foreign and American papers " (1899). While " Puck " and " Judge " were cartooning their way through the devious paths of politics, in the color-full blaze of chromo-lithography, there was established in 1883 a weekly devoted more particularly to social cari- cature, and going back to black and white, although a more rapid process was used, of course, instead of wood- engraving. That was u Life." It is an interesting group of artists who have at one time or another been in the service of this lively publication. Some of them were well characterized by John Ames Mitchell, editor of the journal, in his article on " Contemporary American caricature" in " Scribner's " for December, 1889. He speaks there of the " intellectual quality " of the delight- ful and droll conceits of F. G. Attwood (of whose draw- ings the Boston Museum of Fine Arts held an exhibition in 1901), of C. D. Gibson's "ability to draw a lady," a not too common faculty, of the " lively fancy, keen wit " of Oliver Herford. Further variations of outlook on the humorous side of our fellow-man were offered in the earlier volumes of " Life " by W. A. Rogers, W. H. Hyde, Albert Sterner, S. W. Van Schaick, C. Gray Parker, Palmer Cox, C. Kendrick, H. W. McVickar (il- lustrator of "Daisy Miller"), Alfred Gillam, E. W. Kemble ("Thompson Street Poker Club" and other phases of " Blackville " life, presented with much under- standing of negro character, unexaggerated), and John 280 AMERICAN GRAPHIC ART Ames Mitchell ("The Summer School of Philosophy at Mt. Desert," 1881, and "The Romance of the Moon," 1886). More recently there have been con- nected with it the painstaking and thoughtful Charles Broughton; T. S. Sullivant; Otho Gushing ("The Ted- dyssey," 1907), who outlines commanding and divinely proportioned Junos, Venuses, Apollos, Jupiters and Di- anas, both in their classic garb and in modern dress; James Montgomery Flagg, whose humor has a broad and spontaneous fling; and W. H. Walker, effective in the field of political satire. Chip, as F. P. W. Bellew, son of Frank Henry Temple Bellew, signed himself, furnished many of his amusing little pictures to " Life " (a number of them were repub- lished in a volume of "Chip's Dogs," 1895), and Mitchell paid pribute to his " limitless invention." Ideas are very necessary to the caricaturist. The elder Bellew, who in 1866 issued a book on the "Art of Amusing," had an inexhaustible fund of them, which never appeared to run short throughout his long career. His son was indeed a " chip of the old block " in that respect. F. M. Howarth was likewise well provided with this inventive- ness, which he exploited in series of pictures, with large- headed, stare-eyed figures, which enjoyed quite a vogue at one time. In Bisbee and the bright and prolific James S. Goodwin (died 1890) this faculty mainly served as a basis for drawings by others, their own artistic talent being a negligible asset. u Idea mongers " some one has called these useful members of the craft. " Puck," " Judge " and " Life " are in the field to-day, THE COMIC PAPER 281 but the curious digger after facts may find yet more tombstones to note in the cemetery of comic journalism's blasted hopes. " Sam, the Scaramouch " was begun in Cincinnati in 1885 ; " The Verdict " issued three volumes in 1898-1900; but it would be an idle task to continue the list here. It is a noteworthy fact that the power of the cartoon has been invoked even by religious journalism in the case of the "War Cry," and by the " Ram's Horn" (Chi- cago) in its war on drink. The artist for the latter pub- lication was Frank Beard, who came prominently before the public in his " Chalk Talks," and who wrote of the " Art of Caricature " in the " Chautauquan " of Feb- ruary, 1887. Caricature of the past has its function also in preserv- ing records of manners and customs, a fact considered in some detail in the present writer's articles on " Social History of the United States in Caricature " (" Critic," 1905). Figures that have disappeared from our streets, the old apple woman, the mutton-pie man, vagaries of fashion that had their little day, habits, such as whittling, that have lost their quality as national characteristics, these and other things were so much a matter of course in their day that the ordinary pictorial press did not note them, but the eye and pencil of the comic artist held them incidentally to illustrate the point of some joke, or directly ridiculed them. Much of our social caricature, for a long while, was taken up with the doings of the more or less " upper ten." Not a little of the resultant work no doubt deserved the late Alfred Trumble's 282 AMERICAN GRAPHIC ART stricture that it consisted of " pretty drawings that mean nothing to fit text that means less." But some of our best " comic artists " have given us mainly views of a life of simpler manners, homespun vir- tues and plain clothes. Frost's healthy and delightful humor, first shown in a tendency to grotesquery (as in " Stuff and Nonsense ") , has become mellowed with years into an appreciative con- templation of the amiable weaknesses of his fellow-man. His later drawings of our rural compatriots and of our sporting brethren are friendly presentations of human traits at which we smile while sympathizing with them. One of his colleagues has well said that " one of the greatest charms of Mr. Frost's work is the enjoyment the artist evidently takes in it himself." E. W. Kemble has cartooned for Leslie's and Harper's weeklies, but has always been best known as a delineator of negro life, a faculty which he em- ployed also in the illustration of " Uncle Tom's Cabin." W. L. Sheppard, illustrator of John Esten Cooke and W. D. Howells, also furnished many humorous draw- ings of the black man, done with a sympathetic truthful- ness to nature born perhaps of the artist's Southern origin. In that field he was emulated for a while by Peter Newell, who has since become well known through his " Topsys and Turveys," 1893, " The hole Book " and similar grotesque conceptions, and by his illustrated quatrains of the " wild flower " type, all done with a quaintness of drawing and humor peculiarly his own. To those who drew the negro without recourse to caricature THE COMIC PAPER 283 must be added also an earlier artist, Sol Eytinge, who gave us many kindly and genial pictures of the black man in his happy moods. Thomas Worth, on the other hand, in the gaudily colored Currier & Ives lithographs which not so long ago confronted one in many shop windows, chronicled the doings of " Blackville " in a revelry of distorted racial characteristics. He was identified for a while with " Texas Siftings " and furnished illustrations for the writings of " Bricktop." To those who remem- ber these illustrations or the earlier ones for Orpheus C. Kerr's "Smoked Glass" (1868) or R. B. Roosevelt's " Five Acres too much " it may come as a surprise to learn that he furnished designs also for the " Old Curi- osity Shop " (1872) ! Michael Angelo Woolf, originally a wood-engraver, never caricatured, but sketched what Leech called the " Children of the Mobility," ragged youngsters from the slums and the squatters' shanties of New York (once a picturesque subject for caricaturists), sometimes in par- ody of adult life, and not infrequently in pathetic appeals on behalf of the poor and unfortunate. A number of his drawings were collected as " Sketches of lowly Life in a great City" (1899). His " How it happened," shown at the National Academy in 1884, indicated an ambition to shine as a painter, and was accepted by the public as a remarkable bit of characterization of tenement house life. The many names mentioned show that not a few of our illustrators were enlisted in the service of the comic art early in their career; Abbey, Reinhart, Church, Frost 284 AMERICAN GRAPHIC ART may be cited as conspicuous examples. So, too, some turned to it after they had become known as illustrators : Bush, Rogers. The last two, identified with newspaper work, bring us to an interesting phase of the subject. In our day the cartoon has become a prominent feature of the daily press, which has enlisted the services of some very clever artists. The thing began, in fact, very soon after Gribayedoff did his series of humorous por- traits in the "World" (New York), in 1884. From that time on, the " World " had among its cartoonists Walter H. McDougall (who also wrote and illustrated " The Hidden City " and " McD.'s unauthorized history of Chris. Columbus"), D. McCarthy, Charles G. Bush and his successor Charles R. Macauley; the New York " Herald " Grant Hamilton, Charles G. Bush, Ch. Nelan (" Cartoons of our War with Spain," 1898), and W. A. Rogers ("Hits at Politics," 1899); the "Evening Telegram" (New York) C. de Grimm during 1884-87 (he was von Grimm before he left Austria for France) and Charles G. Bush; the New York "Recorder" Thomas Nast; the New York " Press " Leon Barritt. Bush, well characterized by J. A. Mitchell as " a man of positive convictions," for some years held a peculiar position as the dean of American cartoonists. His work had what the Germans call " moral seriousness," bore the stamp of sincere purpose, of a consistently high tone. These qualities, and the personality behind them, were appreciatively emphasized in " World's Work," 1901, and by S. H. Horgan in " Inland Printer," October, 1907. THE COMIC PAPER 285 Homer C. Davenport cartooned for the New York "Journal" and "Evening Mail"; he originated the Mark Hanna $-mark suit of clothes and the giant figure of the trusts. Frederick Burr Opper has drawn for the "New York Journal" the "Willie and his Papa" (1891), "Alphabet of Joyous Trusts" (1902) and "John, Jonathan and Mr. Opper" (1903) series. Op- per's newspaper work is quite different from that of his earlier days, the days of " Puck's Opper Book " ( 1888) . In a review of " This funny World as Puck sees it " (1890) the present writer said: "Mr. Opper's humor draws its happiest inspiration from the life of the middle and laboring classes, and in his sphere he is quite inimita- ble. As a rule, the element of caricature enters into his drawings with just enough force to accentuate the point of the joke he is illustrating." To-day the idea is appar- ently everything to him; drawing is subordinated into an almost elementary simplicity. Henry Mayer is with the " New York Times," and Boardman Robinson with the " New York Tribune." Of the last-named, the " New York Evening Post " said (Dec. 30, 1911) :" in draughtsman's tact and in power of summary characterization he should find a place among those who have achieved most honor in this work." Rollin Kirby's work in the " New York Even- ing Mail " has some similarity to the vigorous style of Robinson. In fact, the last three men named execute their draw- ings with an artistic feeling which is rather rare among newspaper cartoonists, many of whom work in a manner 286 AMERICAN GRAPHIC ART that is somewhat elementary, in some cases almost child- ishly so. Homespun humor and simple literalness in execution are typical of a class of this newspaper work. The list is quite long of those who have commented on public affairs with drollery, with humor, even with wit, but less often with satire. On the whole, the good- humored, a bit clownish spirit predominates ; the " sly dig " is administered, rather than the sting of the lash. John T. McCutcheon of the " Chicago Tribune " depicts " the sunny side," as some one has put it. The progressive expression on his head of C. W. Fairbanks in the series " Problems of the Vice-Presidency " is an amusing ex- ample of his humor which has a flavor both spontaneous and native. Various manners and methods may be found in the work of Charles L. Bartholomew ("Bart") of the " Minneapolis Journal " ; John DeMar, " Philadel- phia Record"; J. H. Donahey, "Cleveland Plain Dealer "; Fred Morgan, " Philadelphia Inquirer "; Rob- ert Carter and T. S. Sullivant, in " New York Ameri- can"; Fred Richardson, "Chicago Daily News"; Clif- ford K. Berryman, " Washington Star," and William H. Walker, " New York Evening Post." One result of this wide activity is the very frequent delineation of certain individuals, so that it becomes pos- sible to gather such an overflowing collection of material as we find it in Albert Shaw's " Cartoon History of Roosevelt's Career " (1910). ' The American cartoon, despite the undeniable amount of trash which its name has covered, is one of THE COMIC PAPER 287 the most interesting manifestations of our art. There is less self-consciousness about it than many other outlets for artistic energy to-day can show. It has less pose, a characteristic honesty that is above question. It finds itself in that situation in which, perhaps, the best art of all fruitful periods is found, since it is art in service to an actual daily need of utterance and expression." So said a writer in the " New York Evening Post " of De- cember 30, 1911. There is much truth in this, if we remember that it was written in the face of the work of half a dozen artists selected for exhibition at the City Club, New York. ' The modern cartoon is essentially journalistic," to quote Maurice and Cooper again, " both in spirit and execution." It is bound to be so, from the conditions of production; to think out and execute a cartoon a day is an undertaking that calls for quick work. Qukk pro- duction is the rule; as Bartholomew once said to a writer for "The World To-day" (February, 1904), "The American cartoonist must anticipate the news." The widespread use of caricature by papers, in which the daily artistic comments on passing events are each in turn crowded out by the following one, must of necessity weaken its corrective force. It is only the work of a few that stands out, or the occasional " hit " ; or the per- sistent insistence of a series of consecutive poundings on the same issue, as during a political campaign. There is, too, the danger referred to by the late C. G. Bush, in the words: " In my opinion, the objectionable features of some cartoons published to-day are largely due to the 288 AMERICAN GRAPHIC ART attempt to make the cartoonist a mere tool in the hands of the editor or the proprietor of the paper." A number of newspaper cartoons were reproduced by "Cartoons" while it lasted (1900); the same journal published also portraits and biographical sketches of C. K. Berryman, C. R. Macauley, Maurice Ketten, John De Mar, and F. Fox of the " Louisville Times." The " American Monthly Review of Reviews " and other publications have also at various times republished car- toons on questions of general interest, thus affording op- portunity for comparative study of opinions and of the art through which they were expressed. But it is not only the domain of political caricature that the daily paper has entered. It has come to cater extensively to humanity's willingness to laugh. Small doses of illustrated humor in daily issues, and more voluminous provision in special u comic " sections of those masses of printed sheets which overpower us on Sundays, offer a sort of continuous comic performance, where we formerly had it concentrated in an exclusively comic paper once a week. We are indeed carrying out Hudson's idea, cited before, that " no one can wait a week for a laugh; it must come in daily with our coffee," and we get it with our evening tea as well. There has been, and is, much simple, clean, healthy humor, though not of a particularly high type, in these " comics." But in this field of non-political caricature the influence of the daily paper does not appear to have been invariably good. There is much childishness in conception and execution, and, what is worse, bad taste. THE COMIC PAPER 289 The eternal ebullition of the all-dominating " kid," to the discomfiture of its elders, is not exactly a pleasing subject for the gaudy " Supplement " for which our chil- dren can hardly wait on Sunday. Wallace Irwin, in the " New York Times " of Oct. 22, 1911, characterized the colored comic supplements as " decidedly cockney, both in origin and method," and continued: "They are merely an American version of 4 Alley Sloper's Half Holiday,' showing the same tend- ency to make Peck's Bad Boy the hero, to celebrate the dill pickle as the classic model of wit, to weave the pun- draped Daffydil, and to indicate Comedy as a gentleman with green whiskers lying prone at the foot of a stairway with a galaxy of stars swimming round his fractured skull." It is no spirit of preciosity, of ultra-refinement, that prompts this attitude, but the exercise of ordinary good taste. Public taste has become somewhat vitiated by long continuance of " evil associations." The antics of the " slap-stick " element in comic art have dulled our powers of resistance and we look, at the very least, in- dulgently on the most vulgar vaudeville contortions in our daily and weekly charges of pictorial humor. The " good " work is even spreading to other lands in which our efforts are emulated in dull imitation of our most freakish efforts. Even Japan, land of the chrysanthe- mum and the color-print, synonym for sensitive exem- plification of art principles, is being hooliganized in its comic press. The news of the voluntary abandonment of the comic supplement by a Boston paper, some years ago, came like a ray of hope. And all of this may be 2 9 o AMERICAN GRAPHIC ART said without reference to any ethical viewpoint, in strict adherence to the domain of art, with which the present book is concerned. There has been an enormous increase in comic artists. Schools, even correspondence schools, for the art exist, and the demand, on the part of young men, for books in our public libraries on the art of cartooning, is suf- ficiently large. As if the true inwardness of pictorial satire could be taught by rote! But perhaps the kind which evidently pays so well as to have attracted special attention, can be? CHAPTER XIV THE BOOK-PLATE WHILE the activity of a nation in the making did not in colonial days leave time for a full development of taste for art, yet the spread of culture and the formation of collections of books brought about the use of the book-plate early in the eighteenth century. In fact, Charles Dexter Allen, in his " American Book-Plates " (New York, 1894; reprinted 1905), lists the book-plate of Johannes Williams, 1679. But tn ^ s was merely a printed label, the simplest indication of ownership apart from the name written by hand. The addition of an ornamental border, or an apt quotation was quite nat- ural, and thence grew decorative or pictorial embellish- ment. And so, then, our early engravers on silver and other metals, entering the field of line-engraving on copper, were called upon to produce ex-libris. Through the eighteenth century the following were more or less so employed: F. Dewing, M. J. Bruls, Henry Dawkins, Nathaniel Hurd, Thomas Johnston, James Turner, Amos Doolittle, J. M. Furnass, E. Ruggles, Jr., Spar- row, Paul Revere, Elisha Gallaudet, Joseph Callender, Richard Brunton ("An early Connecticut Engraver and his Work," by Albert C. Bates, Hartford, 1906), Abra- ham Godwin, A. Billings (an " elaborately designed but poorly engraved " book-plate of Richard Varick, 1801), 291 292 AMERICAN GRAPHIC ART Abernethie (Charleston, 1785), Bull, James Smither, J. H. Seymour, Francis Shallus, James Akin, Nathaniel Dearborn, William Hamlin, James Trenchard, S. Harris, S. Hill, P. and P. R. Maverick (the latter " a most pro- lific worker in the ' Ribbon and Wreath,' " writes C. D. Allen), Anderson, James Akin, Rollinson, Vallance, Al- lardice, Thackara, Kearny and not a few others. Some of these lived well into the next century, in the first half of which Annin & Smith and C. G. Childs also executed such signs of bibliothecal proprietorship, as did Dr. John Syng Dorsey. There was generally no particular originality in this work. Not only were English models followed, but some of the engravers were content to use the same design, with slight variation, for a number of plates. Hurd, for example, based the E. A. Holyoke, Thos. Dering (1749: the first plate by an American engraver that is both signed and dated), Theodore Atkinson, Wentworth, Robert Hale and other plates on the same design, in which figured, at the base of the escutcheon, a shell from which flowed water. Callender also re- peated himself, and P. R. Maverick. So these early men gave Chippendale, Jacobean and Ribbon and Wreath plates, in the approved manner, according to their lights, and with a certain simple dignity despite their limita- tions of craftsmanship. Of these early armorial plates, George Washington's is naturally of paramount interest. It was printed from after the Civil War, and has been counterfeited, the spurious copy being utilized at a sale in Washington in THE BOOK-PLATE 293 the sixties to give a fictitious value to the books to be auctioned off. Like William Penn's, it was presumably engraved in England. Allen, indeed, notes that in the Southern colonies, many men of cultivated tastes and aristocratic antecedents had their plates engraved in England, while in the North native talent was generally engaged. John A. Gade, in " Book-plates old and new" (New York, 1898), states that Thomas Prince's (1704) was the earliest one actually executed in America. These early book-plates were mainly armorial, and usually engraved in line on copper, although occasionally a woodcut was used. But the pictorial element also began to appear, at least to the extent of rows or piles of books, and the allegorical as well. Patriotism found vent in the employment of the American flag or the eagle, and T. C. Sparrow, in each of his few ex-libris engraved on wood, introduced the thirteen stars of the new nation. When our eighteenth century engravers broadened out from the scrollwork and scallops and conventional leaf designs (for which their practice as silversmiths had given them a certain fluency), the result is not always exactly happy. Note, for example, the shepherd, shep- herdess and lamb in Dawkins's plate for Benjamin Kis- sam, all three of a like woodenness. But it is difficult to keep purely artistic considerations unmixed with feel- ings of sympathy for the efforts of these early designers or of interest in the owners of the plates and in the spirit of time and place. Neither the pictorial nor the allegorical seem to have 294 AMERICAN GRAPHIC ART been particularly numerous, and they were apparently more affected by associations than by individuals. One recalls the plate of the Society for Propagating the Gos- pel in Foreign Parts (1704), representing the savage Americans rushing to the shore to meet an incoming ship in which stands a missionary holding out a book. Later came the plates for Harvard College; Linonian Library, Yale College (1804) and Mechanics' Library, New Haven (two funny little cupids at an anvil, with the motto " improve the moment "), both by Doolittle; Massachu- setts Medical Society (-^Esculapius healing a wounded stag, reproduced by Stauffer), Hasty Pudding Library (showing pot of pudding), American Academy of Arts and Sciences, all three by Callender; Harvard Porcellian Club (with a porker prominent) ; Monthly Library of Farmington, 1795 (a crude and queer affair, M. Bull's and T. Lee's sculp.} ; New York Society Library; Co- lumbia College Library, Apprentices' Library, Typo- graphical Society of New York, all three by Anderson; and New York State Agricultural Society (Ceres, with a sheaf of wheat). In such plates, owls, Minerva, Diana, Clio, lamps of knowledge, age guiding youth to the temple of learning, temples of honor, and similar devices add the force of their pictorial lesson. For the New York So- ciety Library a conception representing an Indian rever- ently receiving a volume from the hands of Minerva, was twice engraved by P. R. Maverick, another design having previously been cut by Elisha Gallaudet. Ann P. Shallus's Circulating Library, Philadelphia, is symbolized in the engraving by Francis Shallus in the form of a Book Plate of George Washington THE BOOK-PLATE 295 female with a cornucopia. And for an orphan asylum L. Simond designed, and Leney engraved, a picture of Christ blessing children. Among the private individuals who used similar em- blematic ideas in their book-plates were Bloomfield Mc- Ilvaine ( J. H. Seymour, engraver, from a design by J. J. Barralet) ; Williams and Samuel Walker (both musical instruments) and Henry Andrews (Minerva and owl), the first and last by S. Harris; Samuel Parker (Clio hand- ing a book to a kneeling youth) ; J. B. Swett and John Green, Jr. (both reminiscent of the dissecting room) ; McMurtrie (book-pile and serpent of .^Esculapius, Fair- man del., Kearny sc.) ; and James Parker, an old railway conductor, who launched into the pictorial with an elab- orate picture of the first railway train. P. R. Maverick depicted a young man reading, in his plate for Jacob Brown; a young woman similarly employed figures in that of the Farmington Village Library. Books, ink-pots and quills are of obvious applicability. The pile or row of books was occasionally used, by Doolittle and James Akin for instance; the library interior served for Ben- jamin Ogle Tayloe's plate. The American flag, cannon balls, an anchor and a ship characterize the activities of Lieut. E. Trenchard, and a soaring eagle figures in the plates of Brigham (engraved by writing-master Gershom Cobb), John Preston Mann, Abraham Bancker (by Maverick) and others; in W. L. Stone's (by R. Raw- don) the eagle is struggling with a serpent. And in Edward Livingston's ex-libris, by Maverick, the armorial design is supplemented by a dog barking at a squirrel. 296 AMERICAN GRAPHIC ART The plates of these early days, through the first quarter of the nineteenth century, bring before us a long list of names noted in various walks of life. Presidents, patriots of the Revolution, orators, signers of the Declaration of Independence, loyalists, merchants, preachers, authors, lawyers, physicians, military officers, honorable bearers of honorable old family names, bound together in this pictorial representation by love and respect for books. It is a wide field of human activity that rises through memory before the imagination at sight of such a collec- tion of book-plates. In earlier days, the book-plate, to a large extent, as we have seen, reflected the importance of heraldry in all the pomp of armorial bearings, and was, therefore, an em- blem of family dignity rather than an expression of per- sonal tastes. To-day the pictorial plate predominates, directly or symbolically illustrating a particular individ- uality. That, of course, does not exclude the oppor- tunity for an unobtrusive introduction of heraldic devices. But possibilities for a less hampered effort on the part of the artist are immeasurably increased. The ex-libris in its modern manifestations is based particularly and primarily on the individuality of the person for whom it was made. It is the result of a natural impulse to indicate ownership in a book by more than a simple sig- nature or a printed or typewritten label, by some device that shall be distinctive, that shall give some indication of the owner's character and tastes. In fact, this im- pulse, and the pleasure in its artistic expression, have led some people to have more than one book-plate, Henry THE BOOK-PLATE 297 Blackwell, for instance, C. H. Hart, Walter Conway Prescott, T. Henry Foster, W. G. Bowdoin, Dorothy Furman, E. P. B. Phillips, Frank R. Fraprie and George L. Parmele. In these little art products, then, not only the skill and individual attitude of the artist are expressed; the per- sonality and ideas of the one who orders the plate have a paramount influence on the result, and are, in fact, as one book-plate designer has well said, the keynote of the design. That does not alter the fact that ultimately the artist's personality may be the dominating one, and form the main reason why particular plates are sought after by the collector. The factors in the composition of the book-plate are, obviously, the relative mental attitudes of owner and artist, and the sympathy of each for the other's standpoint. It is this combination of elements which makes the charm of the book-plate. Mottoes, allegorical allusions, the portrait of the owner (alone and self-dependent or seated in his library) , pictures of favorite places, the paraphernalia of sports or other hobbies, rows of books labeled with the names of preferred authors, allusions to personal achievement, wit good and poor, the downright pun, such elements, with decorative setting, form material for ex-libris. There is plenty of opportunity for the display of poor taste. An apparent anxiety to avoid running counter to the Scriptural admonition regarding bushel-covered lights may result in a parade of self-advertisement that weighs down the designer's freedom of expression, as the Old Man of the Sea did Sindbad the Sailor. 298 AMERICAN GRAPHIC ART (Beraldi boldly asserts that "the worth of a bibliophile is in inverse ratio to the dimension of his ex-libris.") But if the owner may be too much in evidence, so, too, may the artist. An attempt to make a book-plate a com- pressed pictorial biography may prove fatuous, but it is equally unfortunate to make it a miniature mural decora- tion or poster, or to utilize it in the exploitation of super- advanced artistic idiotisms. Not stiffness, not even nec- essarily absolute seriousness, but a certain dignity is called for here; vagaries are out of order. The final purpose should always be kept in view. Appropriateness is a prime necessity, appropriateness in conception, design and execution, the last implying a proper regard for the reproductive medium. The prin- ciples of taste which govern our judgment of any prints hold good here as well. The book-plate may indicate the owner's taste with no distinct reference to him, as when A. A. Hopkins adopts an illustration from the " Hypnerotomachia Poli- philii " (Florence, 1499), or another a figure from Bot- ticelli's " Spring," or Oliver Wendell Holmes the cham- bered nautilus. Or the allusion may be more direct, as in Francis Wilson's plate, which represents a court- jester lost amid old volumes while time goes on unheeded. Lawrence Barrett showed a mask of tragedy and an open book, Laurence Hutton's a statuette of Thackeray. The one designed for Brander Matthews by Edwin A. Abbey depicts an Indian looking at a huge Greek mask of Com- edy, with the sentence Que pensez-vous de cctte comedic? A reproduction of Daniel Maclise's sketch of Lamb THE BOOK-PLATE 299 serves Frank Evans Marshall, Pan charmed shepherd and nymphs with his pipes, with le cosur au metier, in E. C. Stedman's device, and pen and sword were contrasted for George W. Childs. The library interior is a familiar form of indicating the love of literature, and the point is occasionally made more personal by showing the owner among his books. But the influence of literature on life may also be expressed allegorically, as in E. Irenseus Stevenson's plate (showing the serpent with the apple of knowledge) or John Herbert Coming's (by Henry Sand- ham) : Atlas supporting the world of letters. The love of both books and nature is indicated in a number of plates by a library interior with a window giving an outlook on fields and woods and brooks and sky: so in those of Georgia Medora Lee and Charlotte Anita Whitney. Jack London's " Call of the Wild " is personified by the head of a wolf. In Alexander Mel- ville Bell's, designed by himself, a pair of lips, a key and an open book play their symbolical part, which is not too difficult to interpret. There may be the reference to the owner's profession or occupation, the bookbinders at work in E. D. French's plate for Henry Blackwell, the skull and micro- scope in that by J. H. Fincken for Dr. Edwin S. Potter, the engraver's tools embodied in Samuel P. Avery's plate, as they had been in John Andrew's. Similarly the owner's hobbies or passions or favorite pastimes form a favorite theme; one has but to think, for instance, of the angling plates of Dean Sage, Heck- scher, Daniel B. Fearing, Howland or Joseph W. Simp- 300 AMERICAN GRAPHIC ART son (both owner and designer). Birds figure, of course, in the plate of Olive Thorne Miller, by W. E. Fisher; a hornbook indicates George A. Plimpton's specializing, as a collector, in educational publications. A new form of the old admonition not to steal was employed by Dr. George L. Parmele, a trumpeting herald bearing a banner inscribed: Ferloren! Verloren! Ein Buck. In such various ways does the ex-libris give us some idea of the owner's tastes, theories, pastimes, studies, work and surroundings. When a plate is to be made for a public or semi-public library, institutional aims are to be recorded and not personal tastes. In such a case, expression in terms of stately impressiveness rather than of sympathetic grace is called for. Without insisting on the choice, it may be said that the problem was happily solved in such plates as French's for Harvard's Hohenzollern Collection, Princeton University and the American Institute of Elec- trical Engineers; Spenceley's for the University of Mis- souri, Harvard University, Boston Public Library, Dav- enport Academy of Sciences and Library of the New Theater, New York City; Hopson's for the Blackstone Public Library, Branford, Conn. ; S. L. Smith's for the public libraries of Boston, Lynn, Bangor and the Dis- trict of Columbia, and for the Massachusetts Historical Society; and Garrett's for the Lowell City Library. The preface to the catalogue of the exhibit of the Club of Odd Volumes (Boston, 1898) stated that it included " many uninteresting and even extremely ugly things " THE BOOK-PLATE 301 gathered for the purpose of " showing how unsatisfactory the great number of book-plates used by the public li- braries, the libraries of colleges and of other institutions of learning, is." In like manner, Sheldon Cheney, writ- ing in the "Book-Plate Booklet" for February, 1909, on " The Public Library Book-Plate," speaks of the " great number of utterly wretched book-plates used in our public libraries," but notes also some satisfactory ones. These satisfactory ones are to be found not only among those which have gained from the stately formal- ity of the line-engraving. Not a few plates for libraries, reproduced in recent years by processes based on the initial action of the camera, have shown artistic feeling joined to an appreciative understanding of the problem. In fact, they are numerous enough to make choice dif- ficult, and it is a selection at random that results in the naming of W. E. Fisher's design for the Wadsworth Library, Geneseo, N. Y., Mrs. A. R. Wheelan's for the University of California, and George W. Edwards's for the Public Library of New London (nautical in spirit). Among commercial undertakings one would not so readily expect to find interesting material, but there are the plates of the Alton Railway and of the New England Telephone and Telegraph Co. (by W. C. Bamburgh). Clubs, on the other hand, naturally seem to offer oppor- tunities for the designer, and we have, indeed, such plates as those for the Authors' Club and the Grolier Club (the first one), both by George Wharton Edwards; the Cen- tury Association, New York, by James D. Smillie; Uni- versity Club of Boston, by E. H. Garrett; University 302 AMERICAN GRAPHIC ART Club of Washington, by Henry Sandham; Boston Brown- ing Society, by F. T. Merrill; Chicago Woman's Club, by Claude Bragdon, and Woman's Club, Wisconsin, by J. W. Spenceley. The ex-libris remains in its totality a " document," a phase of human activity which not only cannot be over- looked, but which repays study, and is of most varied charm. It appeals through personal, historical or lit- erary association, it attracts as an instance of art applied, as one of the many forms in which art may be made an integral part of daily life. Specifically the artist's prov- ince, when the basic ideas have been decided on, is the design, the co-ordination of the various elements into an orderly whole. Over-elaboration, here, is as objection- able as a slighting of essential possibilities. One of the problems always is the arrangement of name and motto ; a problem similar to that of the ornamental value of lettering on medals, exemplified, say, by the work of Pisanello. The medium employed the formal line-en- graving on copper, the free etching, the vigorous wood- cut, or the photo-mechanical processes frequently used to- day has also its distinct and important part in the result. Adjustment of medium to style we find in the best art of any kind, and so here also. From the heraldic magnificence and stately formality of the old line-engraving period we passed to the present- day free expression of thought, or of passing mood or whim. This expression is quite often transmitted by the immediateness of the photo-mechanical processes. But it frequently finds a medium also in the older method and THE BOOK-PLATE 303 in wood-engraving as well, and in this very diversity of means by which the modern viewpoint finds voice, lies a reason for a wider appreciation of this specialty in graphic art. The best traditions of line-engraving on copper were perpetuated by Edwin Davis French, in the late nine- teenth and early twentieth centuries, with signal success. He employed formalized foliage, as did Beham and other German masters, and with a sure control of his particular decorative vein that drew endless diversity of effect from the same motive without ever striking a forced note. There is in his art a dignified beauty of decorative line, a calm nobility of expression and a sonority of utterance that give it a commanding position, a place apart, that have made him a classic in our records of the art. J. Winfred Spenceley turned to book-plate engraving on copper at about the same time as French, from whose style his own differs in having more variety in design and a somewhat freer touch. This effect was heightened by his use of the etching needle, particularly in landscape work. One has no desire nor reason to make invidious comparisons between two artists who not only were good friends, but neither of whom the lover of book-plate art would care to miss. A happy combination of adaptative- ness and individuality, of dignity and a certain free, etcher-like touch in his landscapes, are the predominant characteristics in Spenceley's work. Similar notes of di- versity are felt in the line-engravings of Sidney L. Smith and W. F. Hopson, who exhibit that combination of variety in treatment with dignity and restraint in expres- 3 o 4 AMERICAN GRAPHIC ART sion which produces the happiest results in these marks of bibliophilic proprietorship. Hopson has exercised the mastery of the practised engraver also on the wood block, which medium W. J. Linton, A. Allen Lewis, George Wolfe Plank, Hugh M. Eaton and Rud. Ruzicka have also employed, as has William Miller, in a cut of noteworthy delicacy after a design by E. Hamilton Bell. J. H. Fincken (who uses also etching and stipple), Dr. A. J. Brown (working in the spirit of E. D. French), Frederick Spenceley and A. N. Macdonald also express themselves in the formal stateliness born of the union of burin and copper-plate. E. H. Garrett speaks, and with fluency and grace, in the freer language of the etch- ing needle, which has served the purposes also of W. H. H. Bicknell and S. Hollyer (whose plate for Mary An- derson has been described as a " most charming bit of engraving"). And there are also the etchers who have turned aside to do a book-plate, usually their own only, rarely another for a friend, C. F. W. Mielatz, E. L. Warner, Dr. L. M. Yale (for Dr. A. M. Gerster), Thomas Johnson, James D. Smillie, R. F. Williams. The combination of graver and copper-plate imposes its limits and its distinction on the work of the en- gravers named, which, while differing in style and in degree of freedom, bears in every case a certain stamp of reserve. For the artist who draws for the photo- mechanical process no such technical limits are set; the very facility of reproduction invites free expression and tempts those who have a tendency to go beyond proper artistic bounds. It is decidedly to the credit of our THE BOOK-PLATE 305 younger designers of book-plates that the whole of their work, subjected to so many influences, and with so many opportunities for going astray, is so satisfactory. At its best, though usually pictorial, it is not overloaded, but simple and direct in intent and execution. A number of designers have devoted themselves more or less habitually to this specialty: L. S. Ipsen, Wilbur Macey Stone (with preference for floral themes), George Wharton Edwards, Jay Chambers, William Edgar Fisher, Mrs. Albertine Randall Wheelan, George R. Halm, D. McN. Stauffer (who did half a hundred plates), Louis J. Rhead (pictorial, with decorative poster reminiscences), Sheldon Cheney, Howard Sill, E. B. Bird, Hugh M. Eaton, H. C. Brown, and The Triptych ("A few Book- Plates and other Dainty Devices," 1900, and " Book-Plates designed, engraved and printed by the Triptych," New York, 1906). Simple lines and flat sur- faces, with some employment of color, are characteristics which mark much of this modern work. In the " Book-Plate Booklet " have appeared articles, often accompanied by lists of plates, on W. E. Fisher, C. Valentine Kirby, Arthur H. Noll, Claude Bragdon (who made the pertinent statement that " a book-plate should be simple and personal"), Emma J. Totten, Arthur Wellington Clark (not averse to a pictorial pun), Francis T. Chamberlain, Margaret Ely Webb, Mrs. A. R. Wheelan (an " artist thinker "; her designs mostly sym- bolical, with a "Western flavor"), E. J. Cross, G. H. Gihon (etcher), Mrs. Mary Eleanor Curran, the last four of California, French, J. W. and F. Spenceley, Hop- 3 o6 AMERICAN GRAPHIC ART son, Fincken and Plank. And to these may be added the names of Christia M. Reade, Mrs. Bertha Jaques, Ralph Fletcher Seymour and Emma Kipling Hess, prom- inent in the " book-plate number " of the " Sketch Book " (Chicago) for May, 1903, as also those of Mary L. Prindiville and Frank Chouteau Brown, subjects of arti- cles in " Ex Libris " (1896-97). In the activity indicated by all the names mentioned the amateur has had his part, and a creditable one, wit- ness Stauffer, A. J. Brown, H. C. Eno, Cheney, A. H. Noll and A. W. Clark. A number of able artists have devoted all or much of their energy to this form of art, fascinating to many. But one notes with a shade of regret the comparatively few cases in which an American painter or other artist has turned aside from brush and canvas, or other media, to design an occasional plate. Some who have turned to the designing of a book-plate are: Elihu Vedder, E. H. Blashfield, W. H. Lippincott, Winslow Homer, Howard Pyle, Henry Sandham, James E. Kelly, C. R. Lamb, A. F. Jaccaci, George Gibbs, Joseph Lauber, Joe Evans (plate for Richard Hoe Lawrence, 1881), Thom- son Willing, Victor S. Perard, Henry Mayer and A. F. Matthews. To them may be added the architects Russell Sturgis (Avery Architectural Library, Columbia Uni- versity: in form of tablet), Charles I. Berg, A. W. Brunner, George Fletcher Babb (Theodore L. De Vinne plate, with books in a cartouche, flanked by hermes) and Howard Van Doren Shaw. We seem still too much dominated by the idea that THE BOOK-PLATE 307 art, " high art," is painting or sculpture, and that most other forms can be left to the artist-artlzan or treated as a bit of byplay. The realization must come that art, after all, should be the general application of principles of beauty in our daily life, and that this application is not unworthy of the best talent. The committee in charge of the exhibit of the Club of Odd Volumes in Boston, 1898, in the preface to the cata- logue, summarized its impressions of American achieve- ment thus : " Although America was one of the last of the nations to be affected by the book-plate revival, it has taken the lead in the matter of artistic plates and in the number of good plates produced. ... It must be remembered that the great impetus came only about five years ago. In this short time, with the encouragement of enthusiastic collectors, our book-plate engravers and designers have placed this country ahead of all others in quantity as well as quality of work." The call of the book-plate has become widespread and has occasioned a voluminous literature. The work of our American designers is dealt with in general in a number of books beside those mentioned elsewhere in this chapter. So in W. M. Stone's "Women Designers of Book-Plates" (published for "The Triptych," New York, 1902), the designers including a number of Americans, Mrs. Wheelan, Mrs. Beulah M. Clute, Bessie Pease, Mrs. Annie Hooper (who won a prize in a competition " instituted by the Buffalo Society of Artists "), Pamela Colman Smith, Miss Bonsall and Miss Hallowell of the 3 o8 AMERICAN GRAPHIC ART Plastic Club of Philadelphia, and others, even a prodigy of four and a half years. In the bibliography of our sub- ject there figure furthermore Henry W. Fincham's " Ar- tists and Engravers of British and American Book- Plates " (New York and London, 1897) ; W. G. Bow- doin's " The Rise of the Book-Plate " (1901) ; " Book- Plates of To-day" (1902) edited by W. M. Stone; " Book-Plates of well-known Americans " by Clifford N. Carver; Allen's "Ex Libris: Essays of a Collector" (Boston and New York, 1896), and Zella Allen Dixson's " Concerning Book Plates: a Hand Book for Collectors " (1903). Periodical articles are listed in C. D. Allen's " American Book-Plates " and in Bowdoin's book. And a number of monographs on individuals have appeared, beside those on French and Spenceley, noted elsewhere. From the Troutsdale Press were issued volumes on E. H. Garrett (1904), D. McN. Stauffer, Ipsen, Spenceley, Herbert Gregson, Elisha Brown Bird (1907), Louis J. Rhead, Mrs. Marguerite Scribner Frost, Ralph Fletcher Seymour and others. In each case there were reproduc- tions of a selection of plates by the artist in question, with descriptive text, the latter being by W. H. Downes, W. Porter Truesdell, F. C. Brown, W. G. Bowdoin and others. A similar publication on Jay Chambers was ad- vertised by " The Triptych," in 1902. Personal reasons, literary associations, the love of pos- session, and particularly the diversity of artistic individ- uality displayed in these little plates, which may tell so much within a small compass, have brought about a spe- cialization, in this direction, of the collecting spirit. The THE BOOK-PLATE 309 names of Henry Blackwell, H. C. Eno, Dr. Charles E. Clark, the late John P. Woodbury, Wm. E. Baillie and many others may be found in lists in the Allen and Dix- son books, as also in Blackwell's articles in the " Book- Buyer " in the nineties, and in scattered references in " Ex-Libris " and the " Book-Plate Booklet." An at- tempt was made to unite interest in this subject into asso- ciated effort, by the founding of an American Book-Plate Society (Washington, D. C.), with its organ in the form of " Ex-Libris," which lived through four numbers (vol- ume i: July, i896-April, 1897). In 1907 was formed the California Book-Plate Society, the moving spirit being Sheldon Cheney, who during 1907-11 issued at Berkeley, Cal., the " Book-Plate Booklet," succeeding " California Book-Plates." This periodical, now pub- lished at Kansas City as the " Ex-Libran," helped to rouse and keep alive interest in the West. Collectors of ex-libris are to-day not only not few in number, but some of them notably W. Baillie and H. Blackwell have brought together particularly many of these plates. To the collector, furthermore, there is due directly or indirectly, the publication of most of the vari- ous writings dealing with the American side of our sub- ject. There are the pioneer contributions to periodicals by R. C. Lichtenstein and J. H. Dubbs, C. D. Allen's books, already noted, and his paper read before the Club of Odd Volumes (1901), and the monographs on E. D. French by Paul Lemperly (Cleveland, 1899) and Ira H. Brainerd (New York, 1908) and on J. W. Spenceley by Pierre de Chaignon la Rose (Boston, 1905) and J. M. 3 io AMERICAN GRAPHIC ART Andreini (1910). So the collectors themselves have worked well to preserve the record of American accom- plishment in a specialty which within its limits has offered the artist such varied opportunities. Exhibitions of book-plates some consisting entirely, others partly, of American work have been held at the Grolier Club (1894: "A classified List of early Amer- ican Book-Plates . . ." by C. D. Allen), at the Boston Museum of Art by the Club of Odd Volumes (the cata- logue, 1898, lists 2,218 pieces, over one-half of them American), the Caxton Club, Chicago (1898), the Lynn Public Library (Dr. Charles E. Clark's collection, 1907), Society of Colonial Dames (Colonial plates, 1908; cata- logue, with introduction by D. M. Stauffer), the Cali- fornia Book-Plate Society (Berkeley, 1908) and the New York Public Library (1910). The " Book-Plate Book- let " in 1907 announced that a permanent exhibit of plates from the collection of the Library had been set up in the library building at Berkeley, that the California State Library was preparing a traveling exhibit, and that four exhibitions of book-plates had been held at the Li- brary of the University of California, in connection with the summer library school. " One man shows " were de- voted to E. D. French in Cleveland (1899), the New York Public Library (1907) and the Grolier Club (1909) ; to J. W. Spenceley at the last two named places; and to Mrs. A. R. Wheelan in San Francisco (1904). Book-plates appear also in New York at the exhibitions of the Architectural League, the National Arts Club and the Salmagundi Club. By E A. Abbey Nannie Lamberfon Wilbur By S. L. Smith By G. W. Edwards A GROUP OK MODERN BOOK-PLATES (Courtesy of Charles Scribner's Sons) THE BOOK-PLATE 311 And there are permanent collections preserved in public institutions, the New York Public Library, Co- lumbia University, University of California (plates by California artists) and elsewhere; also in the British Museum, where is housed the large collection of British and American plates, brought together by Sir Augustus Wollaston Franks, and listed in a three-volume catalogue ( 1903-04) by E. R. J. Gambier Howe. In the light of these recent dates, the opinion of Arlo Bates (writing to the "Book Buyer," Feb. 10, 1888) that " the book-plate collecting craze seems to have died out in Boston," looks a bit premature. But perhaps it is true, after all; a craze has died out, not the interest. CHAPTER XV APPLIED GRAPHIC ART: FROM BUSINESS CARD TO POSTER SURELY, ours is the land of the advertiser. The re- sults of his activity confront us at every step. His en- terprise is colossal, his inventiveness remarkable, his per- sistence mind-penetrating. In general, effect is sought by repetition, by the force of unusual size, or brilliancy or garishness. However, the " ad " that is in good taste is becoming more common; the artistic one is still not over- whelmingly in evidence. We have yet to appreciate more generally that an advertisement may be effective both com- mercially and artistically. Not that there is a want of good drawing in many of the advertisements that we see in cars and elsewhere. But there is too often nothing beyond the dryest pictorial statement of fact. When you come across such a conceit as the one shown by Edward Penfield in a cover for a March " Harper," a young woman scurrying before the strong wind usually associated with that month (which has even whipped her copy of the magazine out of her hands), accompanied by a hare of sufficient, though self-contained, madness, it strikes with the pleasant effect of the unusual. Whether the fre- quent display of a lack of particular concentration or thought or a stimulating inventiveness is due to artist or client or the public it would, perhaps, be idle to discuss 312 APPLIED GRAPHIC ART 313 here. Perhaps, too, there may be certain condescension on the part of some artists who occasionally turn to such " minor arts." But a work will surely bear on its face the mark of the spirit in which it was approached. If it was treated as a " pot-boiler," it will appear as one; if it was undertaken with both the earnest desire and the ability to put all that was possible into it, the dignity of the intention ennobles the result. And so a beer-bottle label may rise to a height that many an easel painting does not attain. The artists of the Kiinstlerbund in Karlsruhe, Germany, saw this when they undertook, with the necessary knowledge and humility, the designing of such labels for bottles and tin cans, of business cards and advertisements. German art in this field is not by any means to be generally commended; the puerile overcrowd- ing of advertisements, the pretension that tries to make a mural painting of a poster, is not unknown in Teutonia. But the exercise of the great virtue of appropriateness which we find in the best work over there, caused a writer in the " Evening Post " of October 22, 1910, to say, with reference to the " 3d annual exhibition of advertising art " at the National Arts Club, New York City: "The prin- cipal lesson of the exhibition is how far superior the Ger- mans are to us in the pictorial advertisement." And farther on : " The thing to be advertised is forced upon you, and inoffensively forced." We have here an inter- esting illustration of the fact, pointed out by J. N. Laur- vik in a review of the same exhibition (" International Studio," December, 1910) in the words: " A proper sense of the fitness of things is the underlying principle of all 3 i4 AMERICAN GRAPHIC ART good art." Of course, all this is not said with the idea that we are to copy the Germans; it is the spirit in which some of them attack the problem that is held up to emula- tion. Nor is it implied that our artists lack ability; the mere thought would be silenced at sight of drawings by F. X. Leyendecker, Penfield, Maxfield Parrish and others who have at various times placed their pencils at the service of commerce. The strongly artistic element in our advertisements, and the importance of this phase of art, were well indicated by Frank Jewett Mather, Jr., in an essay entitled " Do the Arts make for Peace?" quoted editorially in "Art and Progress," April, 1912 : " And while our millionaires are wresting the accredited treasures of older art from aristocracy, in the most democratic fashion possible the illustrated magazine and even the advertisement are bring- ing a respectable and an improving grade of pictorial art to the millions. Here is a jumble of activities, vanities, cruder and finer desires, which shows at least that art is very alive in our civilization." But one feels that there might be a closer relation be- tween commerce and art, a better understanding. A peculiar comment on the existence of this possibility may be found in the fact that the same business interests which look, apparently unmoved, on omnipresent disfiguring bill- boards and signs, ugly and pretentious architecture and paper-littered streets, will speak primarily of the beauty and fineness of their home city when commending it to the outsider. Our present-day " ads," as we see them displayed on APPLIED GRAPHIC ART 315 cards in cars, are mainly text, with pictures thrown in by way of emphasis. They are usually statements of fact, pointed, sometimes humorous, printed on a card which is in part occupied by a picture. There is often no rela- tion between type and illustration, the decorative quality being absent. The display of humor is comparatively rare, and is apt to run to caricature. An example of the force of grotesque types, insistently presented in various circumstances, is offered by Mrs. Grace G. Wiederseim's peculiar infants singing the praises of a certain product with the haunting persistence of droll appeal. Another set of car-posters, effective both in drawings and text, was the " Spotless Town " series of a certain cleaning com- pound. There is not a little clever drawing in these advertise- ments. It is indeed a far cry from the few and unam- bitious efforts which were made at pictorial advertising in the days of wood-engraving, to the superabundancy of such material in these times of more rapid and cheaper reproductive processes. In the first half of the nineteenth century they did not go much beyond stock cuts such as the little railway trains, or ships, which puffed or sailed at the head of newspaper advertisements of transportation companies. A little later came the use of woodcuts of show fixtures bearing an assortment of hats or shoes (D. Haines engraved on copper, in 1822, a high hat on a stand on a card for Tweedy & Benedict, hatters) . Then there were such conceits as an elephant rushing along tri- umphantly bearing aloft a pennant on which appeared the name of the firm advertised, or a sandwich man with 316 AMERICAN GRAPHIC ART similar information. In the advertising columns of the "Illustrated American News" of 1851, a thresher, a piano, a carriage, a horse, top offers of those articles, while the letters " BANNERS," upheld by little nude figures, announce the business of a sign-painter. Such cuts were used also on business cards, a form of pictorial advertising not common now. In cigarette cards with portraits of actresses or pictures of military uniforms the pictures advertise indirectly, having, of course, no relation to the object sold. The same applies to the spool-cotton concern's cards with landscape sketches in color by Charles Graham, " exquisite," as H. A. Ogden described them to me. Continuing this retrospective record of this form of applied art, material is found also in the days of copper- plate engraving, particularly during the later years of the eighteenth century and the earlier ones of the nineteenth. Then, a number of our engravers were turning an honest penny in producing card plates for business purposes. One has but to run over the pages of Stauffer's book on American engravers, or of the catalogue of the exhibition at the Boston Museum in 1904, to see how frequently this was done. Paul Revere, Joseph Callender, William Hamlin (who engraved several cards for his own nautical instrument business), St. Memin (a card for Peter Mourgeon, " copper-plate printer from Paris," of New York), Peter Maverick and Childs & Carpenter (1822) were among the engravers of such cards, sometimes with lettering only, again with added vignettes to illustrate for the man who ran. Pictorial billheads were done by APPLIED GRAPHIC ART 317 Revere, Henry Dawkins, Hingston and Callender. And on the wood block, Alexander Anderson and Abel Bowen did similar cards in the earlier years of the nineteenth century. In the copper-plates, the formality and dignity of the medium was inevitably mirrored in the result, just as to-day the work shows the effect of the freedom afforded by the ease of reproduction through modern reproductive processes. A familiar form of advertising is the poster, and that was long the domain of the wood-cutter. The work was done on planks of wood, bassvvood, usually, perhaps; but mahogany was also used. T. D. Sugden, the wood-en- graver, wrote: " J. Morse . . . working for Mr. Welch's circus on mahogany blocks." And W. J. Linton, quoting B. J. Lossing (" Memoir of Alexander Ander- son," New York, 1872, p. 80) : "The younger Lansing then [1838] engraved only the large coarse theater bills, using mahogany for the purpose." He continues: " Joseph W. Morse, at that time with Strong, was, I believe, the first who engraved these on pine with an open graver, about 1840; and Strong first produced them, from designs by George Thomas, in combination of colors." Crude these things were at best, though effective in a simple way. The coloring was mainly on the chiaroscuro principle; a tint-block or two, with lights cut out in the shape of heavy white lines. Some of them were repro- duced in "The Modern Poster" (New York, 1895); these were done by the Metropolitan Print Co., in one case designed by Robert Joste. These woodcut posters were used well into the eighties, A. S. Seer issuing many, 318 AMERICAN GRAPHIC ART as also Richardson & Foos. They have been seen in New York's subway stations quite recently. Moreover, James Britton, who engraved some effective posters from his own designs a dozen years ago, showed what could be done with the simple tools used by the engravers of the Calhoun Co. (Hartford, Conn.), wood-carvers' tools ground down to the length of a boxwood graver, the blade being grooved to prevent splitting in the wood, bass- wood, quite soft and free from knots. Lithography has long since seized on the specialty of the poster. Indeed, Mr. Louis Maurer, the lithographer, has recollection of posters designed by Peter Kramer as early as 1863 or '4. Mr. Maurer, who was then with Major & Knapp, thinks also that Kramer, who, as H. G. Plumb says, produced some of the best theatrical posters before 1870, did such work on large plates of zinc, add- ing that the use of zinc as a substitute for the lithographic stone long antedated that of aluminum. Kramer, who was with Ferd. Mayer & Sons (Fulton St., New York), did for that house a humorous advertisement issued for the Liederkranz Carnival of February 4, 1871. Theatrical posters both the large for billboards and the small for windows were particularly numerous dur- ing the seventies and eighties. They were always either portraits of individual actors (H. A. Thomas, Napoleon Sarony and Joseph E. Baker signed many) or illustrations of scenes in the play, the more startling and thrilling the better. As several posters were sometimes made for one play, the boy in those days of the melodramatic Bartley Campbell and the resplendently scenic Kiralfy Brothers APPLIED GRAPHIC ART 319 (e.g., " Around the World in Eighty Days ") could often gain a fair idea of the delights in store by studying the pictures in the various shop windows. A collection of such posters shows much very poor work, with at best such smooth, sure crayon-drawing, as the facile and rather monotonous and fuzzy portraits by Baker for J. H. Buf- ford and Forbes Co. But there came also the rising influence of Matthew Somerville ("Matt") Morgan (1839-90), felt even in the later work of such a draughtsman as Vic. Arnold. Matt Morgan, brought over as a political cartooning antidote to Thomas Nast, found his success in scene paint- ing and poster art. He, too, did illustrative (not decora- tive) posters, but did them with noteworthy skill. Some of his works are remembered to-day; the design for the Kiralfy Brothers' Black Venus was one of them. Litho- graphs such as the two he did illustrating the frozen river scene in Jay Rial's Ideal Uncle Tom's Cabin, were effective in a scenic way. But he also executed portraits of actresses which, while drawn with a certain freedom in the figures, left nothing to be desired, in the faces, in the way of smooth, flat, uninteresting reproduction of the photographic original. Yet one must be thankful for the best of his productions, when compared with such indiffer- ent affairs as the one printed by A. S. Seer, for Daly's production of the Taming of the Shrew (1888). Much of Morgan's work was signed, and this very compliment paid to an artist's importance no doubt not only implied more than common ability to begin with, but awoke a natural desire to live up to the reputation. I found the 320 AMERICAN GRAPHIC ART monogram of Henry F. Farny on at least one poster, a Venetian moonlight scene done for Hartley Campbell's Galley Slave and printed by the Strobridge Co. And H. A. Ogden, who did a large number of the pictorial class, anonymously, signed his name to two done in 1896, for Madame Sans-Gene, each consisting of a single figure with some background and the lettering. They are prob- ably among his best, posters purely, and not illustra- tive. The Strobridge Lithographic Co. (with which Morgan was connected and for which H. A. Ogden has drawn scenes in many plays, from the late seventies to the pres- ent day), A. S. Seer, Forbes Co. of Boston (J. E. Baker, their artist), Thomas and Wylie (Dan Smith was with Thomas about 1885, says Louis Maurer), W. J. Morgan & Co. were prominently identified with this period. H. C. Bunner's graceful comments (to be referred to later) on America's part in the mural art of advertising were illustrated with an interesting series of reproductions of theatrical and circus posters by E. Potthast, Matt Morgan (both identified with the Strobridge Co.), Joseph E. Baker, Theodore Liebler, Hugo Ziegfeld (H. C. Miner-Springer Litho. Co.), F. M. Hutchins and one by A. Hoen & Co. Most of this was smooth, uninterest- ing work in which any artistic originality had little chance. Even when a French poster was used for Around the World in Eighty Days, it was a small affair drawn by F. Lix, engraved on wood, simply a collection of illus- trations with figures not over an inch high; not a poster, in effect. APPLIED GRAPHIC ART 321 Meanwhile, Cheret arose in France, but the influence of the principles which his work expressed was hardly felt here, except in frank imitations, such as the figure of a ballet girl announcing a run of the Black Crook at the Academy of Music (New York) in 1892. C. B. Cochran (in "The Poster," London, July, 1898) puts the date at 1894, and states that the poster design was bought in Paris by Eugene Tompkins and used here. Cochran records also that this Cheret poster was followed by two by Jacobi for Kiralfy's Eldorado and Koster & Dial's Music Hall, respectively, and these by the designs of Scotson Clark. There are recorded also such sporadic examples as Bradley's poster for The Masqueraders, F. A. Nankivell's Marie Hatton poster for Koster & Dial's " indeed a thing of beauty," wrote Cochran and Wilfred Denslow (sometimes a la Bradley, sometimes broadly humorous, as W. S. Rogers says), Will R. Barnes and others are named. Thus the merely illustrative commercial poster did not hold the field entirely. Decorative possibilities began to be appreciated and efforts were made to establish harmony between lettering and design. Charles Hiatt (" Picture Posters," London, 1895) and W. S. Rogers ("A Book of the Poster," London, 1901) each have chapters on American posters, in which many names are cited of which some are already but vaguely remembered. This new spirit was felt less, perhaps, in theatrical posters than in those issued by magazines and newspapers, in which the limitations imposed called for exercise of artistic ingenuity. The result, indeed, was not infrequently a revel in decora- 322 AMERICAN GRAPHIC ART tive effect without relation to the thing advertised, just as our magazine covers (used as posters) are often not cover designs, but simply pictures slapped on below a printed title. Nevertheless, there was much work of in- terest, and it all was stimulating. In fact there was for a while (about 1894-5) a verita- ble poster craze, which, as R. R. Latimer puts it (" The Poster," London, Aug.-Sep., 1898), "spread like wild- fire . . . and died away after about a year of frenzied enthusiasm." It had its own literature, among which was C. K. Bolton's " The Reign of the Poster " (Boston, 1895, 14 pages). A little poster periodical ("The Poster") was issued in New York in 1896. Collections were formed; for instance that of Charles Knowles Bolton (now librarian of the Boston Athenaeum), who brought out in May, 1895, a "Descriptive Catalogue of Posters chiefly American in the collection of Charles Knowles Bolton with biographical Notes and a Bibliography." Other collectors recorded are Alfred Bartlett, of Cornhill, William T. Peoples of New York, who specialized on French posters, Wilbur Cherrier Whitehead (catalogue printed 1895), George Dudley Seymour, of New Haven, spoken of by Elbert Hubbard in " Ex-Libris " for Janu- ary, 1897, and Henry Lawrence Sparks, whose collecting activity embraces various lands and comes down to the present time. Part of the Sparks collection was shown at the Salmagundi Club, New York, in 1912. Exhibitions were held also during this period, at the Brookline (Mass.) Public Library (Feb. 11-20, 1895, arranged by C. K. Bolton) ; at the Union League Club, APPLIED GRAPHIC ART 323 New York City, (Feb. 14-16, 1895); Pratt Institute (March, 1895: American and French work); Denver (Exhibition of artistic Posters, chiefly American, from the private Collections of J. H. Warren, " The Book Leaf," and the Denver Public Library, July 1895} ; C. S. Pratt's, 169 6th Avenue, New York City, October, 1895 (J. Brevoort Cox did a poster for this) ; Mechanic's Institute, Boston (the catalogue of which was heralded by a poster by Claude Fayette Bragdon, " after Willette," and E. B. Bird designed one for the poster exhibit of the " Mechanic's Fair," Boston, 1895) ; Rhode Island School of Design, Providence, 1895 (catalogue printed) ; by the "Echo" of Chicago, 1896 (catalogue printed); and at the Mercantile Library, New York City (Feb. 12-15, 1896) . The last-named exhibit consisted of the collection of the librarian, W. T. Peoples, comprising mainly French work, with the addition of loans of American posters, over 900 in all. Mr. Peoples subsequently loaned the pick of his posters to the Philadelphia Public Library, where they were shown for a time, and some of them were also borrowed by churches for receptions and like occasions. (" The Critic " of Feb. 23, 1895, found that the American designs did not carry so far as the French and therefore did better within four walls.) A little later ( 1899) there was an exhibit at the Fidelis Club, New York, where, ac- cording to Percival Pollard, 1,500 examples were shown. An earlier display at the Grolier Club, New York (1890) , included only French work. This club itself, by the way, contributed to the advancement of the movement by the issuance of a delicate and appropriate poster heralding 324 AMERICAN GRAPHIC ART its exhibition of Japanese prints and an address by How- ard Mansfield, in 1896. This poster, Mr. Mansfield tells me, was picked up in a lot by the late E. B. Holden, the lettering being added typographically. The theatrical poster, not particularly affected by this movement of the nineties, continued mainly in the beaten path of realistic representation, often on a very large scale, and not infrequently attracting attention principally by its huge proportions. There were exceptions, as al- ready noted. But in those days it was the magazine and book pub- lishers who were the main support of this new spirit in its short-lived tide of conspicuous success. " Art in pos- ter-making has in this country found its best inspiration, in most cases, from literature," said H. C. Bunner, in his chapter on the United States, in " The Modern Poster " (New York, 1895). The Harpers, the Century Co., the Scribners and others issued a series of posters (mostly small, for window display) advertising their magazines and books. The " Century Magazine " even went abroad, holding a poster contest in Paris in 1895 ; Lucien Metivet won with his January, 1896, Napoleon poster. Another foreign-made poster advertising the " Century's " life of Napoleon was the equestrian one by Grasset, who much later came before our billboard public again with his Bernhardt-Joan-of-Arc design. Boutel de Monvel was also laid under contribution by the " Century." However, home talent was widely enlisted and accom- plished noteworthy results. Posters for books were de- signed by Henry McCarter (a green tree with purple APPLIED GRAPHIC ART 325 birds for the Green Tree Library), Ethel Reed (A. M. Bagby's " Miss Traumerei," with a suggestion of the French romantiques, and Mabel Blodgett's " Fairy Tales"), Will H. Bradley ("The Modern Poster," a peacock, effective in green, blue and white, and R. D. Blackmore's " Fringitta "), E. A. Abbey ("Quest of the Holy Grail," lettering in harmony with drawing, well characterized as "bold and impressive"), I. R. Wiles, Peter Newell, Maurice Brazil Prendergast, Abby E. Un- derwood (" fashion artist for the New York Sun," said C. K. Bolton) and Will P. Hooper (a poster each for " Chimmie Fadden"), C. D. Gibson, H. C. Christy, F. B. Smith ("Tom Grogan " and "The Delft Cat"), Thomas Buford Meteyard (" Songs of Vagabondia " and "The Ebb Tide"), Vierge ("On the Trail of Don Quixote " ) , Palmer Cox ( for a new one of his " Brownie " books), E. W. Kemble (" Kemble's Coons"), Oliver Herford (" Artful Anticks "), and R. W. Chambers (for his " King in Yellow " and " Father Stafford ") . It will be noted that not a few of these artists thus helped to advertise books written, or illustrated, or both, by them- selves. It has, in fact, been a not uncommon practice to transplant some illustration in a book directly to the poster for the same. (More recently, F. Y. Cory, in a design in yellow on black, offered a summary and effective announcement of Josephine Daskam's " Memoirs of a Baby.") John Sloan, who in those days was quite Beardsley- like in manner, did a few publishers' announcements, such as the characteristic one for " Cinder Path Tales," in 326 AMERICAN GRAPHIC ART black on brown paper. Both he (for " Philadelphia In- quirer " and "Philadelphia Press") and McCarter " Lourdes," for the " New York Herald ") designed il- lustrations for stories in the " poster style," as he says. Sloan describes his own as " black and white, in flat tints," and adds that he was " started in this direction partly through a Japanese in Philadelphia, Beisen Kuboda, art commissioner to the World's Fair, Chicago." Here, the personal weight was presumably added to the general Japanese influence which in the second half of the nine- teenth century made itself felt in Caucasian art. McCar- ter's " Lourdes " illustrations R. W. Chambers character- ized as " intensely sincere and decorative," adding that neither the " Herald " nor the public liked them. It was, however, the announcements for magazines, more than those for books, which gave opportunity to poster artists. In these years, 1894-96, the " Century" issued designs by I. R. Wiles (July, 1894), George Wharton Edwards; Edward Penfield; Charles H. Wood- bury; Louis Rhead (Christmas number: woman holding aloft a peacock on a dish) ; the three prize winners in the mid-summer poster competition, 1896: J. C. Leyendecker (ist prize), Maxfield Parrish (2d), Baron Arild Rosen- krantz (3d) ; E. Potthast (highly commended in the same competition); H. M. Rosenberg (1896); E. B. Bird; H. M. Lawrence; and later F. Berkeley Smith. "St. Nicholas " used designs by Louis Rhead and Moores. " Scribner's " (for which H. C. Brown had drawn as early as 1891, and Victor S. Perard in 1892) employed L. L. Roush (1894), Francis Day, Kenyon Cox (March, APPLIED GRAPHIC ART 327 1895, figure and lettering in effective harmony), Birch, Will Carqueville, W. Granville Smith, L. J. Rhead, W. H. Low, W. T. Smedley, Sergeant Kendall (portraits of C. S. Reinhart and R. F. Blum as artist contributors) ; Geo. M. Reevs, H. McCarter, Hy Mayer ("Olympic Games " number). Furthermore, there were posters for "Harper's Bazar" by Rhead; " Lippincott's " by Will Carqueville and J. J. Gould, Jr.; "Atlantic" by R. R. Emerson (July, 1895); "Youth's Companion" by W. L. Taylor; "Illustrated American" by Archie Gunn; "Bookman" by Rhead and G. C. Parker; "Overland Magazine" by L. M. Dickson (1895) an d E. B. Bird; "Quarterly Illustrator" by W. J. Yegel; "Outing" by H. S. Watson; " Truth " by Hy Mayer and E. Haskell; " Chap Book " by W. H. Bradley and E. B. Bird; " Black Cat " by E. B. Bird; " Inland Printer " by Will Bradley (1894-5) and E. B. Bird; " Bostonian " by A. G. Learned; and " Moods " (Philadelphia) by John Sloan, who describes this periodical as the " nearest attempt a la 1 Yellow Book ' done in this country," and states that it went through a couple of numbers. The newspapers at this time (still 1894-95) availed themselves to a noteworthy extent of the aid of the poster in its new manifestation. Drawings by Miles C. Gard- ner, Wm. M. Paxton, Charles M. Howard, Ethel Reed and E. H. Garrett were issued for the " Boston Sunday Herald"; by Rhead for the "Boston Transcript"; by Frank King, R. F. Outcault (Easter number, 1895), M. de Lipman, Alder (had " all the go and deviltry and * chic ' that Guillaume possesses," said R. W. Chambers) 328 AMERICAN GRAPHIC ART for the " New York World," for which Dan Smith, in 1903, did a huge announcement of its anniversary number of May loth; by Charles Hubbard Wright (Easter, 1895) f r tne " New York Herald "; by de Yonghe for the "New York Times"; by Henry B. Eddy and E. Haskell for the Sunday issues of the "Journal" (New York) ; by Will H. Bradley for the Chicago Sunday " Tribune " and " Echo " ; by Biorn and Nankivell for the "Chicago Echo"; by Will W. Denslow for the "Chronicle," "Herald" and "Times-Herald," all of Chicago; by Ottmann for the " Chicago Tribune"; by Mrs. Alice R. Glenny for the woman's edition of the " Buffalo Courier "; by Claude Fayette Bragdon for the " Rochester Post-Express," and by Louis J. Rhead for the " New York Sun." As one looks over the list of the artists drawn to the service of the magazine and newspaper advertiser in those days, an interesting agglomeration of personalities is en- countered. The names of the many who were laid under contribution by the spirit of poster improvement empha- size the inclusiveness of the choice, though it did not always fall on those who showed peculiar fitness for the task or a full appreciation of its nature and possibilities. Discrimination, understanding and singleness of purpose were perhaps not always evident in the results, though they were in a remarkably large number of cases. At least the designs were usually in good taste, and the in- dividual artist was given some opportunity. Bradley was one of those who attacked the problem with serious intent. He brought to the task some of the APPLIED GRAPHIC ART 329 influence of Beardsley, more, perhaps, of the spirit of the old wood-engravers, and certainly a decorative in- stinct quite his own. The complete, a little involved, ex- pression of this bent toward ornamental fullness some- what detracted at times from the absolute effectiveness of his works as posters, an element less apparent in his color-plate for " Modern Posters," already referred to, than in some of his line work. The " Inland Printer " posters and particularly those for the " Chap Book " are noteworthy products by one who was a prominent exam- ple of what Percival Pollard, in " Poster," London, Feb- ruary, 1899, called " the earliest efflorescence of the Amer- ican poster." His poster for the " Historical Musical Exhibition under the auspices of Chickering & Sons " (Boston, 1902) is somewhat Parrish-like, with an eigh- teenth-century woodcut effect. It represents a taste for quaint, old-time spirit which has frequently been exercised, in this country, but not always with as good taste as here. Bradley even attempted a magazine for the " exclusive display of his various efforts in decorative art," with the title: "Bradley: His Book." Simplicity and directness, two important factors in the attainment of the poster's prime function, to advertise, to attract attention and to hold it, have marked the work of Edward Penfield, who has been particularly happy in some of his conceits. One of his " Harper " posters was referred to at the beginning of the present chapter; in another, a sportsman is so absorbed in his magazine that he entirely overlooks two hares almost within reach of his hand. His work is strong in its em- 330 AMERICAN GRAPHIC ART phatic directness of line and its broad, flat tints. Bunner used his " March hare " Harper design as a text for a little disquisition on native art: " In the lightness, fresh- ness and purity of that humor, in the composition, free without license and unconventional without extravagance, in the striking yet inoffensive use of color, in the frankness and unaffected innocence and happy simplicity of the whole thing, I find a quality which, I am grateful to think, comes to the American artist as his natural and honest birthright." Penfield himself, in his introduction to " Posters in Miniature," summarily states a basic prin- ciple : " A poster should tell its story at once a design that needs study is not a poster, no matter how well it is executed." The work of Louis Rhead, who was doing posters for the Harpers and the Century Co. as early as 1890-91 (see Gleeson White's article on him in the " Studio " for 1896), was striking, at times based on daring color schemes; it had not necessarily any relation to the thing advertised. As I remember his posters, even the colors were not always those of nature. These qualities were quite apparent in that design of a young woman walking in a field used by the " Sun." There was method in this outlandishness. Few lines, flat tints, the simplest possible composition were combined, in that particular poster, for instance, into a harmonious whole which, with a certain aloofness from material facts, attracted attention with a blare that had none of the shrillness of vulgar over- emphasis. In a second article on posters, in the " New York Times," February 23, 1896, Robert W. Chambers APPLIED GRAPHIC ART 331 gave much space to Rhead and those who " out-Rheaded him." To all the names already cited may be added the fol- lowing, listed by C. K. Bolton : S. Cruset, H. McVickar, Bertram Grosvenor Goodhue and Julius A. Schweinfurth (Boston Festival Orchestra, 1895). And the curious may find still more in the book by W. S. Rogers. A considerable number of the posters by the artists mentioned were reproduced in " Some Posters reproduced by Wm. Troyon Higbee " (Cleveland, 1895; the edition I saw was limited to 15 copies) and in " Posters in Minia- ture, with an Introduction by Edward Penfield " (New York, 1896), both of which books contained also por- traits of a number of the poster designers: Abbey, E. B. Bird, Bradley, Carqueville, C. D. Gibson, Nanki- vell, Penfield, Ethel Reed, Rhead, John Sloan, F. B. Smith, etc. In the days of the poster excitement that centered about the year 1895, even the art world was seized with the fever, to this extent that the National Academy of De- sign and the American Water Color Society in 1895 eac ^ used a poster designed by George Wharton Edwards, while Charles Herbert Woodbury is credited with one for the Society of Painters in Water Colors of Holland (exhibition in Chase's gallery) in the same year. The American Water Color Society's catalogue cover for 1895, by George Wharton Edwards, was a bit overloaded, per- haps, but well drawn and effective in its way. Inciden- tally it was a punning design, the young woman splash- ing " water " from the fountain, and the peacocks sug- 332 AMERICAN GRAPHIC ART gesting " color." In recent years, the water-colorists have used on their covers a vignette by F. S. Church. A poster, done no doubt in the early eighties, for a " Grand concert of the Gotham Art Students " (New York), printed by Thomas & Wylie, but drawn or in- spired quite evidently by artist or art student, illustrated a probably not uncommon error of the designer who has more respect for art than understanding of poster needs. It was chaste enough, but the attempt to be artistic in the figure and in the lettering resulted in a colorless affair and was fatal to clearness. Subsequent noteworthy efforts to advertise art do not come to mind, beyond an occasional affair such as the one by Britton, already referred to, for the Connecticut League of Art Students, or the simple, dignified per- formance of E. H. Blashfield for the twenty-fifth anni- versary of the Art Students' League, of New York, in 1900. Some of the little posters of this same League's " Society of American Fakirs " are of an effective direct- ness in their exuberant humor, for instance the one for the " fifteenth annual slam," Satan in black and red. The Society of American Artists used the figure designed for its catalogue cover by Will H. Low, and the National Academy of Design similarly uses its cover design. An element that must not be overlooked is the impetus given by business. Even among old woodcut posters I came across an announcement of " gifts," issued by Paul & Curtis, 594 Broadway, with the traditional Santa Claus preparing to slide down the chimney. In 1896 the New York " Poster " reproduced various designs for the Co- APPLIED GRAPHIC ART 333 lumbia Bicycle, including Maxfield Parrish's, which won first prize. Charles D. Farrand also did a poster for this bicycle, and Bradley one for the " Victor," in those days of the cycling fever. " Pearline " (1895) and Lundborg's Perfumes were decoratively advertised by L. J. Rhead; Hood's Sarsaparilla by various artists, in- cluding Bradley, who also heralded " Narcoticura," while R. Wagner, it appears, was engaged by tobacco houses. " Aetna Dynamite " was dealt with by Penfield (his design showed an Italian with a red flag, with a suggestion of a volcano in the background), and the Hartford Building and Loan Association as well as the Millyer Institute, Hartford, by Wilbur Macey Stone. In recent years some of the dry-goods houses as well as other business concerns have been testing the efficiency of the large poster on elevated and subway railroad stations. Or there may come such surprises as Jessie Willcox Smith's children in a home made cheerful by a certain brand of radiators. We have long been accustomed to seeing the shop win- dow turned into a portrait gallery of candidates in the weeks before an election. But where the poster has entered the political field as an argument it has quite naturally been typographical in the main, and only excep- tionally pictorial. In the latter case the vein of caricature is apt to appear; an effective newspaper cartoon may be reproduced on a large scale, or a pictorial skit drawn specially for the occasion, vide Tammany's " Spotter's Town " series in New York. In the campaign of 1903 in New York City the Citizen's Union in its fight for 334 AMERICAN GRAPHIC ART Seth Low against Tammany utilized designs by Chester Loomis and Ella Condie Lamb. Allegorical figures (usu- ally one) stood for the various departments of the city's government or for matters of vital public interest, and served as a sort of background for pithy printed state- ments and comparisons. Police, Charities, Health, Parks, Schools, Tenements, Transportation, Honesty, and " Our City " were thus treated in simple and direct manner. These, as well as work by G. W. Edwards, James Preston, W. W. Fawcett, F. D. Steele, R. E. Gould Co. and O. J. Gude Co. were shown at an exhi- bition of artistic posters and advertising matter held by the Municipal Art Society of New York at the National Arts Club of that city in 1906. So we have come to more recent times, and the ques- tion naturally arises: did the ebullient poster enthusiasm of '95 leave any good results? In reply, one need but make the time-honored comparison of " before using " and " after." Since the advertising world swallowed the dose of '95, things have not been quite the same. Not that everything is rosy; the very diversity of racial ante- cedents, of training and environment, of esthetic and ethical viewpoint, in our land, especially in that congeries known as the metropolis, produces much that is objection- able in the general whoop to be heard. But it strikes one that the average artistic merit, and the average taste, of the pictorial advertisement is better and at the same time applied with more appropriateness and effectiveness than " before the poster war." And if, as was said at the beginning of the chapter, much of our poster and APPLIED GRAPHIC ART 335 car advertising is typographical rather than pictorial, that may perhaps be due to the fact that our growing taste for better art has not yet overcome our national tendency to talk. Occasional opportunities for review are offered, as in the exhibits of advertising art at the National Arts Club. On memory and on catalogues of such shows one may draw for names of those who have used their artistic capabilities in this field, Robert J. Wildhack, F. G. Cooper, Orson Lowell, Walter Meyner, Gil Spear, Syd- ney Adamson, Darwin Teague and others. In the field of public entertainments on a large scale we have had the poster for the Electrical Show, Madison Square Garden (New York City, 1905), signed " B" and printed by Seiter & Kappes; or that of the Pan-American Exposition, Buffalo (1901), produced by Gies & Co., an iridescent personification of Niagara Falls. The latter is different indeed from such an affair as that of the Lewis & Clark Exhibition, the usual bird's-eye view, though effective, perhaps, through the very positiveness of its appeal. A disappointment is such a piece of work as the " proclamation " for the New Orleans Mardi Gras of 1904. (I name here posters which happen to have come my way, without pretense at general inclusiveness, for the poster is elusive indeed.) Here, too, may be noted the chaste announcement of the I5oth anniversary of King's College, 1904. The circus poster has gone on its accustomed way of effective illustration of the alliterative and imaginative grandiloquence of the text. T. Arthur Jacobsen's hurdle- 336 AMERICAN GRAPHIC ART jumpers for " Squadron A. games," and Max F. Klep- per's equestrian scene for the military tournament, both in New York City, were attempts to characterize shows by typical pictorial generalities rather than by depiction of specific acts. In recent years there has appeared occasionally, on very large theatrical posters, the use of a figure or two, life size or over, in combination with a minimum of text drawn in huge letters, the whole forming a not unpleas- ing effect. Once or twice, too, a welcome change from the mammoth illustrative poster has been found in the swirling lines of Hy Mayer or the vivaciousness of Archie Gunn. And Ernest Haskell has drawn several studies of Mrs. Minnie Maddern Fiske which attracted attention by their very reticence, which stood out by the simplicity of means by which they were produced. There was that head in profile to left, crayoned with an almost pertly incisive characterization; the small " Becky Sharp" in full-length; the seated figure for Mary of Magdala, with its aroma of Byzance and mosaics. It was unusual to see a painter-lithograph actually appear on a billboard, the unaltered reproduction of the artist's own touch, not seen dimly through the intermediate work of the practised lithographer. S. de Ivanowski's almost life size full-length presentation of Nazimova attracted attention on similar grounds. There was dignity in the archer used for Ulysses, by Stephen Phillips (no signature but that of the Metro- politan Printing Co.). And some years ago the same printers signed an announcement of The Ajax of Sopho- APPLIED GRAPHIC ART 337 cles enacted by the Greeks of New York at Clinton Hall; appropriate in style, modern, yet with a classic strain, with a suggestion of Greek vase decoration in its color. Quite different in style, with kinship to Forain, was the drawing by Boardman Robinson used by the Coburn Players at Columbia University in 1911. And there was that series of window posters put out one season by Francis Wilson, sketches, by various artists, of that actor of facile fun-making. Without the help of any craze, posters and advertise- ments are being produced which command attention by their good qualities. Some commercial ones have been mentioned incidentally while discussing earlier work. More recently there has been seen an occasional effort to do something out of the ordinary in magazine posters. One recalls with amused satisfaction Frank A. Nanki- vell's " Mr. Bibliocrank " crowded out of his house by his books (done for the defunct " Literary Collector") engraved on wood by the artist, and tinted from two color blocks etched on zinc. Arthur Wesley Dow's de- sign for " Modern Art " edited by J. M. Bowles will al- ways remain an interesting example of true artistic feel- ing and mood expressed with a simplicity of means, and a terseness of statement in its uninvolved composition and color, that form a straightforward and effective response to the prime requisites, the basic demands in poster art. Generally, the magazine poster to-day is a printed list of contents for the current month with a noteworthy illus- tration of that issue thrown in, or a reproduction of the cover. For the cover of the magazine, changing each 338 AMERICAN GRAPHIC ART month, is a poster in itself, a striving for novelty, in fitful anxiety to be heard and seen. The unchanged cover, become a household word like the old one for " Har- per's," or the one by Vedder which long served the " Cen- tury " is the exception. The cover is an " ad." Pic- torial, too, like so many posters and advertisements, pic- torial not infrequently without the slightest reference to the general nature of the magazine or the contents of the specific number. The spirit of thoughtless devotion to a type, and to the flourish of an up-to-date manner, is felt here as in illustration. In fact, cover designing is often enough simply illustration. The list of names that appear on cover designs includes those of many able artists. Among them are Will Brad- ley, Wm. Martin Johnson ("Harper's Bazar," 1893- 95), Maxfield Parrish, George Wharton Edwards, Jo- seph C. and Frank X. Leyendecker, George F. Tobin, Guernsey Moore, Binner, Jessie Willcox Smith, Henry Hutt, John Cecil Clay, and Victor S. Perard. Not a few of their products are, as already indicated, drawings on covers rather than cover designs. But there are always some which show that the artist really had something to say, something that had to do with the matter in hand. The West has had its " Sunset " posters, often repro- ducing the cover design and often very good. Meth- fessel has done some of these, and particularly Maynard Dixon; there is quiet humor in the latter's design for December, 1904: Santa Claus with an Indian on one arm and a cowboy on the other. These " Sunset " drawings APPLIED GRAPHIC ART 339 have a freshness and swing born of the soil and with no weakness of super-sensitive preciosity or swagger up- to-dateness. There has been a noteworthy improvement in the get-up of dealers' catalogues, an improvement with which the influence of such publications as u Printing Art " and " The Graphic Arts " has presumably had something to do. This has extended also to some of the railway guide- books. Penfield, Haskell, Perard are a few among those who have decorated the catalogues of book-sellers and of various industrial concerns. Signatures, however, rarely appear on the products of this phase of art, which was dealt with in " Twentieth Century Cover Designs " (1902), a collection of nine essays issued by V V H. and E. L. Briggs. Cover designs, meaning, of course, paper covers, nat- urally suggest book-covers of cloth or leather. Those, however, are not quite within the province of our survey, and there must not be more than a mere reference to a specialty in which Walter C. Greenough (see " American Bookmaker," July, 1890), Alfred Brennan, Miss Amy Sacker of Boston, and very many others have done good work. But since we have got away from the advertising at- mosphere which has pervaded much of the present chap- ter, a few lines may be given to the holiday card. To-day that represents a form of activity enlisting both native and foreign energy, and so extensive and commercialized that detailed consideration is not called for here, beyond the recording of the fact that there are some evidences 340 AMERICAN GRAPHIC ART of individuality, as in the designs of Mrs. Bertha E. Jaques and others in Chicago and elsewhere. In such the tendency is toward decorative rather than pictorial effect. The earlier history of the Christmas card in this coun- try is interesting on account of the names associated with it. The first ones, flower cards, were designed by Mrs. O. E. Whitney, who, it is said, based her idea on the decorated business card of Louis Prang, the lithographer, shown at the Vienna Exposition of 1873. Then came the impetus given by the Centennial Exhibition of 1876. In 1880, Prang arranged a competitive exhibition at the American Art Galleries, New York, Samuel Colman, Richard M. Hunt and E. C. Moore being the judges. The prizes were won by Rosina Emmet ( ist), Alexander Sandier (2d), Alfred Fredericks (3d), and Anna G. Morse (4th). At a second competition in 1881, the judges being Samuel Colman, John La Farge, and Louis C. Tiffany, the first prize went to Elihu Vedder, the sec- ond to Dora Wheeler (later Mrs. Keith), the third to Charles Caryll Coleman, the fourth to Rosina Emmet (later Mrs. Sherwood). At a third competition, 1881, two groups of prizes were awarded, one by the ballot of artists and art critics, the other by popular vote. The first group went to Dora Wheeler (ist), Miss Lizbeth B. Humphrey (zd and 3d), Alfred Fredericks (4th). The " popular " prizes were won by Dora Wheeler (ist), Walter Satterlee (2d), Frederick Dielman (3d), Miss Florence Taber (4th) . For the fourth competition, 1884, Mr. Prang commissioned twenty-two artists of APPLIED GRAPHIC ART 341 standing to paint cards, which were then entered in a competition. The artists were J. Carroll Beckwith, E. H. Blashfield, Robert F. Bloodgood, I. H. Caliga, Thomas W. Dewing, Frederick Dielman, Rosina Em- met, Frederick W. Freer, Alfred Fredericks, I. M. Gaugengigl, W. St. John Harper, Lizbeth B. Humphrey, Will H. Low, Leon Moran, Percy Moran, Thomas Moran, H. Winthrop Pierce, A. M. Turner, Douglas Volk, J. Alden Weir, C. D. Weldon, Dora Wheeler. The prizes were awarded by dealers' vote, and were taken by C. D. Weldon, Will H. Low, Thomas Moran and Frederick Dielman, in the order indicated. To these names were added, in the same firm's Easter card list for 1887, those of Fidelia Bridges, Henry Sand- ham, Lizbeth B. Comins and others. A number of de- signs by these artists are reproduced in " Christmas cards and their chief Designers," by Gleeson White, who says of these cards : " The charm of the coloring is not to be attributed entirely to a larger number of color printings, or superior chromo-lithography; both these factors no doubt helped to give the peculiarly harmonious result; but one can feel beyond this, that the artists em- ployed recognized from the first the limitation of all me- chanical reproduction, however perfectly manipulated, and designed accordingly." The story of these Prang competitions is told in the catalogue of the Prang sale (Boston, 1899) and in an article in the "Evening Post" (New York) for De- cember 9, 1911, where attention is called to the "very real influence in the education of taste " exerted by these 342 AMERICAN GRAPHIC ART bits of pasteboard. It is for this last reason that I have given this matter so much space, and for the spirit of the projector who laid so many well-known or promising artists under contribution. Here was one example of the application of art to things near at hand, the entrance of art into daily life. And the problem of such service on the part of art without a loss of its ideals, a service that shall be just to both parties, is always with us. To indicate just two possible openings: cards of invi- tation and menus are pretty generally executed under the name, and in the spirit, of large commercial houses. To find an artist's signature T. Sindelar's, for instance on the bill of fare of some banquet, is the exception. The Kit-Kat and other clubs of artists have occasionally sent out cards of invitation designed by members. And in the eighties and nineties, exhibitions of the works of indi- vidual artists, arranged by dealers, were occasionally ad- vertised by cards designed by the artist in question. But such scattered instances do not, of course, indicate any general interest in an application of artistic principles, as a matter of course, to daily commercial needs. Where the artists have an incentive to put their ener- gies really to the task we get results that attract because they are attractive within the bounds of appropriateness. Always one reverts to the old truth that the medium, the object and the artist's personality must be considered in combination. INDEX INDEX Abbey, Edwin Austin, book-plate, 298 ; caricatures, 272, 283 ; etch- ings, 10; illustrations, 222, 223; lithographs, 202; poster, 325, 33* Abernethie, 57, 65, 282 "Academy," cited, 238 Academy of Design: See National Academy of Design. Academy of Fine Arts, 141 Academy of Natural Sciences, 82 Adams, Joseph Alexander, 91, 144, 145, 146 Adamson, P. S., 276 Adamson, Sydney, 335 Advertisements, chapter xiv, 334; on copper, 79, 316, 317; on stone, 195; on wood, 140, 315, 316, 317, 318; See also Cards; Posters. Aid, George C., 44, 48 Aikman, Walter M., etchings, 12; line-engravings, 104, 171, 172; wood - engravings, 161, 167; cited, 36 Aitken, Robert, 57, 63-64, 65, 72 Akin, James, 68, 80; book-plates, 292, 295; caricatures, 252; lith- ographs, 190 Alder, 327 "Aldine, or Art Journal of America, The," 152 Alexander, F., 184 Alexander, John W., illustrations, 227; paintings reproduced, 166 Allard view of New York, 52 Allardice, Samuel, 80-81 ; book- plates, 292 Allen, Charles Dexter, cited, 291, 292, 293, 38, 309, 3io Allen, James, 55 Allingham, Mrs., 220 Allston, Washington, 100 Aluminum used in lithography, 318 American Antiquarian Society, 58 American Art Galleries, New York, 340 " American Art Review," 26, 27, 33, 131, 144, 164 American Art Union, 5, 88, 117, 208 American Bank-Note Co., 95, 96 American Book-Plate Society, 309 " American Bookmaker," cited, 339 "American Gallery of Art," 115 American girl, illustrated, 233, 234 American Lithographic Co., 195 "American Magazine," i8th cen- tury, 56 "American Magazine," igth cen- tury, 212 "American Monthly Review of Reviews," cited, 288 American Press Association, 216 American subjects, in etching, 39- 43 ; in line-engraving, 86, 88, 89 American Sunday-School Union, 144, 192 American Tract Society, 147 " American Universal Magazine," 72 American Water Color Society, ii, 38, no, 130, 135, 203; pos- ter, 331, 332 "American Whig Review," 117 "Analectic Magazine, The," 75, 125 Anderson, Alexander, book-plates, 292, 294; caricatures, 247; line and stipple engravings, 71, 81, 93, 104; wood-engravings, 140- 142, 145, 208, 247, 248, 317; his portrait, 212 Anderson, Anna, 142 Anderson, E., 162 Anderson, I., 83 Andreini, J. M., cited, 309-310 Andrew, John, 146, 150, 299 Andrews (Orr & Andrews), 148 Andrews, Joseph, 87, 89, 92, 100, 142 Andrews, William Loring, cited, 52, 55, 58, 59, 60, 62, 66, 67, 70, 73, 105, 109 345 346 INDEX Animal subjects, in etching, 18; in illustration, 220, 221, 225; in lithography, 183, 185; in wood- engraving, 140, 141, 142, 148, 150, 163 Annin, William B., 147, 148, 150, 151; Annin & Smith, 128, 190, 292; Annin & Smith Senefelder Lithographic Co., 190 Annuals, 98-100, 114, 115, 116, 206 Anthony, Andrew Varick Stout, 144, 150; cited, 267 Apollo Association, 88, 97, 117 Appian, A., influence of, 15 Appleton, Thomas G., 6 Appleton & Co., 150, 152 " Appleton's Journal," 218 Aquatint, 19, 21, 45, HI, chapter vi, 122-133; accessory to etch- ing, 131-133; in color, 122, 125, 126, 127, 128, 130, 132; for il- lustrations, 122, 123, 125, 126, 127; as a painter-art, 130-133 Archer, John, 82 Architectural League, 310 Armstrong, Miss, 24 Arnold, Vic, 319 "Art, L'," 33, 164 " Art Amateur, The," 199 Art Club, New York, 134 " Art Journal," 159 " Art and Progress," 44, 314 Art Students' League, New York, etching class, 38; poster, 332 Art Union. See Apollo Associa- tion; American Art Union; Art Union of Philadelphia; Western Art Union. Art Union of Philadelphia, 117 Arthurs, Stanley M., 237 " Artist's assistant in drawing " [etc.], cited, 2 Ashe, Edmund M., 237, 238 Aston Collection, Springfield, Mass., 169 "Atlantic Monthly," cited, 155 "Atlas" (1842), 216 Attwood, Francis G., 12, 279 Atwater, 193 Atwood, John M. (Story & At- wood), 68 Audubon, John J., 128, 196 Avery, Samuel Putnam, wood- engravings, 148 ; his portrait, 30; his book-plate, 299 Avignon, F. d', 188 Aylward, W. J., 237 B., poster, 335 Babb, George Fletcher, 306 Bacher, Otto H., etchings, 13, 24, 25, 46; monotypes, 133, 135; pen drawings, 237; cited, 6 Bachmann, 186 Baer, William J., 199, 203 Bailey, Vernon Howe, 237, 238 Baker, George H., paintings re- produced, 79 Baker, John, 3 Baker, Joseph E., caricatures, 260, 262; etchings, 12; posters, 318, 3i9, 320 Baker, William Spohn, cited, i, 66, 70, 98, loo Balch, Vistus, 100 Ball, W., 185 Ballou, Maturin Murray, 215 Bamburgh, W. C., 301 Bank-note engraving, 5 ; early, 54, 61-62; on wood, 138, 139; igth century, 75, 80, 94-97, 101, 103, 106; vignettes, 96, 143, 311 Barber, Alice. See Stephens, A. B. Barber, John Warner, 63, 143 Barker, William, 55 Barnard & Dick, 82 Barnes, Will R., 321 Barnum, Phineas Taylor, 215 Barralet, John James, 71, 82, 83, 94, 295 Barritt (Lossing & Barritt), 148 Barritt, Leon, 284 Barry, August, 35 Barry, Charles A., 213 Bartholomew, Charles L., ("Bart"), 286, 287 Bartlett, William Henry, 101, 207 Barton, Emery H., 12 Bassett, W. H., 81 Basswood, for posters, 318 Bastien-Lepage, Jules, paintings reproduced, 34 Bates, Albert C, cited, 62, 291 Bates, Arlo, cited, 311 Bauer, W. C., 16, 28 Baulch, A. V., 101 Bauncou, J., 186 Beal, W. Goodrich, 16 Beard, Dan. C., 214 Beard, Frank (Thomas Francis), 219, 259, 276, 281 Beard, James Carter, 213, 225 Beardsley, Aubrey, influence of, 325, 327, 329 INDEX 347 Beatty, John W., 17 Becker, Joseph, 215 Beckwith, H. E., 103 Beckwith, J. Carroll, 28, 199, 341 Beer, William, cited, 189 Bell, Alexander Melville, 299 Bell, E. Hamilton, 304 Bellew, Frank Henry Temple, 4, 207, 212, 214, 215, 266, 269, 272, 280 Bellew, Frank P. W. ("Chip"), 280 Bellows, Albert F., 13, 86 Bennett, William James, 84, 91, 125, 127, 128 Bensell, E. B., 219 Benson, Frank W., 28 Beraldi, Henri, cited, 298 Berg, Charles I., 306 Berghaus, Albert, 215 Berlett, 150 Bernstrom, Victor, 161, 168, 173 Berryman, Clifford K., 286, 288 Best, E. S., 89 Bewick, Thomas, influence of, 137, 140, 142 Bible illustrations, in line-engrav- ing) 59i 73~74> 80; in wood-en- graving, 140, 144, 145, 146, 209 " Bibliographer," 62 Bibliophile Society, Boston, 29, 105 Bicknell, Albion Harris, 28 Bicknell, Frank Alfred, 28 Bicknell, W. H. W., 29, 105, 304 Bien, Julius, 192, 193, 196 Bierstadt, Albert, 85, 86, 101 Bigg, W., 72 Billheads, engraved, 56, 316, 317 Billings, A., 57, 291 Billings, Hammatt, 143, 209 Billings, Joseph, 62 Bingham, G. C., 117 Binner, 338 Biorn, Emil, 328 Birch, Reginald Bathurst, 226-227, 327 Birch, Thomas, 83 Birch, William, 2, 78, 83, 84 Bird, Charles, 120 Bird, Elisha Brown, book-plates, 305, 308; posters, 323, 326, 327, 331 Bisbee, 280 Bisbee, John, 184 Bisbing, Henry, 218 Bishop, Joseph B., cited, 253, 258 Bishop, William H., 214 Bishop Collection: Jade, 196 Bispham, H., 206 Blackwell, Henry, cited, 309 Blada, V., 263-264 "Blanket Sheets," 148, 217 Blashfield, Edwin Rowland, book- plates, 306; card, 341; illustra- tions, 228; poster, 332 Blom, E. van, 127 Bloodgood, Robert Fanshawe, 16, 341 Blum, Robert Frederick, etchings, 55, 25, 27, 46; lithograph, 199; illustrations, 226, 327 Blumenschein, Ernest Leonard, 237 BIyth, Benjamin, 109 Bobbett, A., 145, 146, 147 Bobbett & Hooper, 148 Bogardus, James, 94 Bogert, J. A., 147, 150, 153 Bolton, Charles Knowles, cited, 322, 325, 331 Bona del, 68 Bonner, Capt. John, 55 Bonsall, Miss, 307 " Book-Buyer, The," cited, 224, 225, 228, 309, 311 Bookhout, E., 145 Book-illustration. See Illustration. " Bookman, The," cited, 238 " Book-Plate Booklet," 301, 305, 309, 310 Book-plates, 56, 104, 105, 178, chapter xiv: 291-311 Booth, T. D., 87 Borglum, Gutzon, sculpture repro- duced, 177 Boston views and plans, in aqua- tint, 123, 127, 131; in etching, 7, 39; in line-engraving, 52, 55, 56, 58, 62, 64, 104; in mezzo- tint, 1 08 Boston Art Club, 92 Boston Etching Club, 12 " Boston Evening Post," carica- tures, 244 "Boston Gazette," 139, 244 " Boston Magazine," 58, 72 Boston Massacre, 62, 63, 243, 244 Boston Museum of Fine Arts. See Museum of Fine Arts. " Boston News Letter," caricatures, 244 Boston Port Bill, 241 " Boston Transcript," cited, 58 Bourne, publisher, 82 348 INDEX Boutet de Monvel, 324 Bouve, E. W., 195 Bouvier, 185 Bowdoin, W. G., cited, 308 Bowen, Abel, 77, 139, 142-143, 145, 3i7 Bowen, J. T., 191 Bowes, Joseph, 57, 72 Bowlend, George B., 269 Bowles, J. M., 337 Boyd, wood-engraver, 148 Boyd, Edwin, 76 Boyd, John, 77 Bradish, A., 116 Bradley, Will H., 321, 325, 327, 328, 329, 331, 333, 338 Bradley, William Aspinwall, 172 Brady, daguerreotypes, 188 Bragdon, Claude Fayette, 302, 305, 323, 328 Brainerd (D'Avignon & Brainerd), 1 88 Brainerd, Ira H., 309 Brennan, Alfred, book-covers, 339; etchings, 17; pen drawings, 221, 226, 227 Breton, Jules, paintings repro- duced, 34 Bridges, Fidelia, 341 Bridges, Robert, cited, 224 Bridgman, Frederick Arthur, painting reproduced, 33 Bridgman, L. J., 220 Bridport, Hugh, 2; lithographs, 186, 190; stipple, 77 Briggs, V. H. and E. L., cited, 339 Brigham, Clarence S., 58 Brinton, Christian, cited, 134, 135, 202, 237 British Museum, American book- plates in, 311 Britton, James, 178, 318, 332 Bromley & Co., 263 Brooklyn, Scratchers' Club, 12 "Brother Jonathan: Great Pic- torial Battle Sheet" (1847), 217 Brougham, John, 267 Broughton, Charles, 203, 228, 280 Brown, caricaturist, 266 Brown, A. J., 304, 306 Brown, C. J., 215 Brown, E., 206 Brown, Frank Chouteau, 306, 308 Brown, George Loring, 5, 7, 10, 97, TOO, 143 Brown, H. C., 305, 326 Brown, John George, 199 Brown, M. E. D., 187-188 Browne, Hablot Knight ("Phiz"), imitated, 4, 207 Brueckner, 194 Bruls, M. G. de, 55, 291 Brunner, Arnold W., 306 Brunton, Richard, 62, 291 Bry, T. de, 51 "Bubble, The," 267 Buechner, G. J., 168 Buell, Abel, 55, 62 Buffalo Society of Artists, 307 Bufford, J. H., 185, 188, 189, 319 Bull, M., 292, 294 Bunker Hill, Battle of, 3, 63, 64 Bunner, Andrew Fisher, 28 Bunner, H. C., cited, 208, 224, 275, 320, 324, 330 Burgis, William, 55, 56, 108 Burne-Jones, E., paintings repro- duced, 163 Burnet, John, 123 Burney, 81 Burns, J. F., 135 Burns, Michael J., 28, 225 Burr, Frederick M., cited, 142 Burr, George Elbert, 47 Burt, Alice, cited, 88 Burt, Charles, 79, 88, 89, 90, 92, 97, 106 Burton (Burton & Edmunds), 95 Burton, C., 82, 98 Burton, C. W., 185 Bush, Charles G., 219, 283, 284, 287-288 Bush-Brown, Mrs. H. K., 22 Butler & Long, 126 "Butterfly, The," 178 Buttre, John Chester, 102, 103, 118 Buxton, 55, 69 C., caricaturist, 254 C., E., caricaturist, 256 C., E. W. See Clay, E. W. Cadart, A., publisher, 7, 8, 10 Calahan, James J., 17, 27 Calhoun Co., 318 Calico printing, 53, 140 California Book-Plate Society, 309, 310 "California Book-Plates," 309 California State Library, 310 Caliga, Isaac Henry, 341 Callender, Joseph, 57, 72, 316, 317; book-plates, 291, 292, 294 Calyo, Nicolino, 127 INDEX 349 Campbell, R., 81 Canot, 52 Canova, 186 Cards, business, i, 56, 57, 79, 80, 140, 196, 316, 317, 340; holiday, 1 95> 339-34 2 ; f invitation, 80, 104, 342; visiting, 79. See also Tickets. Caricature, 139, 202, 210, 233, chapter xii, 240-265 ; the comic paper, 148, 193, 195, 224, 232, chapter xiii, 266-290; news- papers, 216, 252, 284-290, 333; in aquatint, 125 ; in etching, 249, 250, 251, 253, 263-264; in lithog- raphy, 193; in mezzotint, in; color in, 279; English imitated, 4 "Carl" (G. W. Carleton), 266 Carleton, Clifford, 237 Carleton, G. W., 266, 268 Carmiencke, Hermann, ^5 Carolus Duran, painting repro- duced, 163 Carpenter (Childs & Carpenter), 316 "Carpet Bag, The," 268 Carqueville, Will, 327, 33 1 Carter, Robert ("Frank Leslie"). See Leslie, Frank. Carter, Robert, cartoonist, 286 Carter, Andrews & Co., 142 Cartoons. See Caricature. " Cartoons," 288 Carver, Clifford N., cited, 308 Cary, Elizabeth Luther, cited, 6, 165, 222 Cary, W. M., 218 Casilear, John W., 85, 97 Casilear, Durand, Burton & Ed- munds, 95 Cassatt, Mary, etchings, 21, 22, 23, 132; lithograph, 202 Castagnary, J. A., cited, 8 Castaigne, Andre, 228 Catalogue covers, 331, 332, 338, 339 Catherwood, F., 129 Catlin, George, 183 Cauldwell, Leslie, 135 Caxton Club, Chicago, 6, 310 Centennial Exhibition, Philadel- phia (1876), etchings at, 9; in- fluence of, 340 Century Co., 161, 165, 324, 330 " Century Magazine," illustrations, 221, 227; posters, 324, 326; cited, 253 Certificates, engraved, 56, 79, 104, 123 ; lithographed, 197 Chadwick, Charles Wesley, 162, 171 Chaignon la Rose, Pierre, 309 Chamberlain, Francis T., 305 Chambers, Jay, 305, 308. See also Triptych, The. Chambers, Robert W., poster, 325 ; cited, 326, 327, 330 Champlain, " Voyages," 51 Champney, J. Wells, 27 Chandler, G. Walter, 45, 46 Changed plates, 67-68 Chapin, John R., 206, 212, 215 Chapman, Carlton T., 16 Chapman, J., 67, 71 Chapman, John Gadsby, etchings, 4 Si 6, 7; illustration, 145, 146, 209; works reproduced, zoo, 127 Chappel, Alonzo, 102, 207 Charles, William, caricatures, 4, 125, 247, 248-250, 251; soft- ground etchings, 2, 81 Chase, William Merritt, 25, 134, 166 " Chautauquan, The," cited, 281 Cheney, Ednah D., cited, 100 Cheney, John, 93, 100, 190 Cheney, Seth Wells, 91, 100 Cheney, Sheldon, book-plates, 305, 306 ; cited, 47, 301, 309 Cheret, Jules, influence of, 320-321 " Chiaroscuro " wood - engraving (tint-blocks), 177, 317 "Chic," 277 " Chicago Daily News," carica- tures, 286 Chicago Society of Etchers, 38, 47 Chicago " Tribune," caricatures, 286 Child subjects illustrated, 220 " Child's Paper," illustrations, 2i Childs, Benjamin F., 143, 147, 148 Childs, Cephas G., book-plates, 292; line-engravings, 80, 81, 84; lithographs, 182, 187, 190, 252; caricatured, 251 ; Childs & Car- penter, 316; Childs & Inman, 181, 183, 185, 186, 187; Childs & Lehman, 194; Pendleton, Kearny & Childs, 194 "Chip" (F. P. W. Bellew), 280 Chippendale style in book-plates, 56, 292 350 INDEX Christmas cards. See Cards, Holiday. Christy, Howard Chandler, 233- 234, 325 Chromo-lithography, 195, 208, 273. 274 Church, Frederic E., paintings re- produced, 84, 86, 90 Church, Frederic Stuart, carica- tures, 272, 283 ; cover design, 332; etchings, 13, 14, 17, 27; illustrations, 228 ; paintings re- produced, 163, 164 Ciconi, I., 134 Cigar box labels, 195 Cigarette cards, 195 Cincinnati Etchers' Club, 12 City Club, New York, 287 Civil War, in caricature, 193, 251, 255, 257-264, 268-269, 270, 271 ; in etching, 7; in illustration and wood-engraving, 148, 149, 217- 218, 231; in lithography, 198, 211 Clark, A. (Rawdon, Clark & Co.), 82 Clark, Arthur Wellington, 305, 306 Clark, Jonas, 63 Clark, Scotson, 321 Clark, Walter Appleton, 237 Clark, William, 141, 144 Clarke, Thomas, 71, 72* 73 Claudius, 168 Clay, Edward W., 251, 253, 256, 257 Clay, John Cecil, 237, 338 Claypoole, James, Jr., 56, 57, 103, 243 Clements, Gabrielle De Veaux, 22, 27 Cleveland " Plain Dealer," 286 Clinedinst, Benjamin West, 228 Clonney, James G., 87, 183 Closson, William Baxter Palmer, 150, 163, 167, 173 Club of Odd Volumes, Boston, 300- 301, 307, 309, 310 Clute, Beulah M., 307 Cobb, Gershom, 295 Cochin, C. N., 66 Cochran, C. B., cited, 321 Coffin, Frederick M., 211, 212 Cogswell, Charlotte B., 161 Cole, 109 Cole, Miss, 22 Cole, J. Foxcroft, etchings, i, 7, 18, 27; lithographs, 198, 199 Cole, Thomas, lithograph, 183; paintings reproduced, 85, 90, 100 Cole, Timothy, 152, 154, 157, 165, 166, 167, 168, 169, 171 Coleman, Charles Caryll, 340 Col Iyer, Vincent, 189 Colman, Samuel, 14, 19, 27, 29, 208, 340 Colon, J. H., 185 Colonial Society of America, 29 Color, in aquatints, 122, 125, 126, 127, 128, 130, 132; in etchings, 21, 45, 47, 132; in line-engrav- ings, 56, 62, 63, 78 ; in litho- graphs, 185, 193, 195, 196, 273- 274, 279; in mezzotints, no, 119, 120; in monotypes, 134, 135; in posters. See Posters (practically all references to posters indicate color-work) ; in wood-engraving, 148, 167, 173, 174, 175, !77, 3*7 Coloring, print, 56, 62, 63, 78, 191, 195 Columbia Bank-Note Co., 94 Columbia University, book-plate collection, 311 " Columbian Magazine," 72, 98 Comic papers, " Comics." See Caricature. Comins, Lizbeth B., 341 Comstock, Anna Botsford, 161 Concord, Engagement at, 63 Cone, Joseph, 77, 103 Confederate caricatures, 263-264 Confederate publications, 215-216, 219 Congdon, Thomas Raphael, 47 Congressional Library, 168 Connecticut League of Art Stu- dents, 178, 332 Conny, or Cony, John, 53, 54 Cooke, R., 184 Cooper, F. G., 335 Cooper, Frederic Taber, cited, 277, 287 Cooper Institute, New York City, 161 Copeland, Charles, 228 Copley, John Singleton, 108 Corbould, Henry, 81, Cornwallis, Surrender of, 64 Corot, J. B. C., paintings repro- duced, 164, 1 66 Corwin, Charles A., 24 Cory, Fannie Young, 325 " Cosmopolitan, The," cited, 216 INDEX Coultaus, Henry C., 217 Counterfeiting, 61-62, 94 Covers, catalogue, 331, 332, 338, 339; magazine, 177, 337, 338 Covey, Arthur, 47 Cox, wood-engraver, 148 Cox, J. Brevoort, 323 Cox, Kenyon, 227, 228-229, 326- 327 Cox, Palmer, 214, 279, 325 Coxe, Dr. John Rodman, 3 Coxe, Reginald Cleveland, 29, 199 Cozzens, Frederick Schiller, 225, 269 Craig, W. M., Cranston, wood-engraver, 151 Crawford, Will, 275 Crawley, John, Jr., 184 Crehen, Charles G., 189 Cremona, T., 134 " Criblee " manner, 141 " Critic, The," cited, 281 Croome, William, 96, 143, 206, 209 Cross, E J., 305 Cruikshank, George, imitated, 4, 5, 207, 251 Cruset, S., 331 " Curio, The," cited, 32 Curran, Charles Courtney, 28 Curran, Mary Eleanor, 305 Currier, Nathaniel, 193 Currier & Ives, 191, 193, 253, 255, 258, 261, 283 Curtis, Jessie, 219 Cusachs, Caspar, 189 Cusachs, Philip G., 216 Gushing, Otho, 280 Cyclopedias. See Encyclopedias. D., H. See Dawkins, Henry. " Daily Graphic," 216, 271, 274 Daingerfield, Elliott, 27 Dakin, T- H., 82 Dallas, Jacob A., 206, 211, 212, 215, 266 Dalrymple, L., 274 Danforth, Mosely Isaac, 82, 91, 92, 100 Danforth, Perkins & Co., 95 Daniels, John H., printer, 9, 62 Darley, Felix Octavius Carr, bank-note vignettes, 96; illus- trations, 147, 207, 208, 209-211, 212, 214, 219; designs repro- duced in lithography, 192, in steel-engraving, 89, 101, 210 Davenport, Homer C., 284 Davenport, William H., 212 Davidson, Henry, 167 Davidson, Julian O., 225 Davies, Arthur B., 203 D'Avignon, F., 188 D'Avignon & Brainerd, 188 Davis, Alexander Jackson, 98, 183 Davis, Georgiana A., 215 Davis, John Parker, 150, 152, 161, 162, 164, 168 Davis, Theodore R., 217 Davis & Spier, 152 Dawkins, Henry, 56, 57, 62, 139, 243. 3*7 5 book-plates, 291, 293 Day, Benjamin, caricatures, 259, 268 ; Ben Day process, 217 Day, Francis, 228, 326 Day, Mahlon, 145 Dearborn, Nathaniel, 57, 65, 142, 292 Declaration of Independence, 64, 90, 96 De Haas, M. F. H. See Haas, M. F. H. de. Delaplaine, Joseph, 75, 76, 91 Delessard, A., 198 " Delineator, The," 172 DerOrme, Edward H., 161, 170 DeMar, John, 286, 288 Deming, E. M., 228 Denman, Herbert, 228 Dnslow, William Wallace, 321, 328 Derby, Capt. George H. ("John Phoenix"), 213 Derby Gallery (Chauncey L. Derby, New York City), 7 Devereux, George Thomas, 143, 215 Deville, H., 40, 48 Dewing, Francis, 53, 55, 140, 291 Dewing, Thomas Wilmer, 341 Dexter, Elias, 128 De Yonghe, 328 Diaz de la Pena, N. V., paintings reproduced, 164 Dick, Archibald L. (Barnard & Dick), 82 Dickens, Charles, works illustrated by Americans, 4, 99, 101, 207, 209, 210, 219, 283 Dielman, Frederick, 34, 227, 340, 34i Dies, bank-note, 94 Dillaye, Blanche, 22 Diplomas, engraved, 104, 140 352 INDEX Dixon, L. Maynard, 237, 327, 338 Dixson, Zella Allen, cited, 308, 309 Dodge, Ozias, 41, 202 Dodson, Richard W., 91, 92 Doepler, Carl Emil, 129, 212, 214 Dog collars, engraved, 53, 79 Domenichino, 93 Donahey, J. H., 286 Doney, Thomas, 117, 118 Donoho, Ruger, 199 Doolittle, Amos, 57, 60, 63, 64, 65, 71, 74, 80, 104; book-plates, 291, 294, 295 ; caricature, 250 Door-plates, engraved, 53, 79 Dore, Gustave, designs engraved by Americans, 168 Dorsey, John Syng, 292 Doughty, Thomas, lithographs, 181, 183 ; paintings reproduced, 85, ico Dow, Arthur Wesley, 175, 176, 337 Downes, W. H., cited, 222, 308 Drake, Alexander W., 155, 165, 221, 222 Drake, William Henry, 227 Draper, John, 83, 95 Drayton, J., 125 Dry-point, 19, 23 Dubbs, J. H., 309 DuCreux, " Historiae Canadensis," 5i Duerer, Albert, influence of, 232 Duggan, Peter Paul, 209 Duncan, B., 263 Dunlap, William, etchings, 2, 6; design reproduced, 81; his por- trait, 119; cited, i, 4, 70, 79, 108, 112, 124, 184 Duplessis, Joseph Sifrede, 66, 92 Duponchel, F., 186 Durand, Asher Brown, bank-note designs, 96; line-engravings, 57, 84, 85, 90, 91, 92, 93, 95, 97, ioo, 103, 106; mezzotint, 113; his paintings reproduced, 89; as a painter, 85 ; portraits of, 68, 92 Durand, Cyrus, 94 Durand, John, 90, 96 Durand & Co., 95, 103 Durand, Perkins & Co., 95 Duret, Theodore, cited, 6 Durkin, John, 217 DuSimitiere, Pierre Eugene, 66 Duval, P. S., 185, 186, 187, 188, 195, 196; P. S. Duval & Co., 194; P. S. Duval & Son, 195; Lehman & Duval, 194 Duveneck, Frank, 13, 24, 46, 135; his paintings reproduced, 156 Duyckinck, E. A., 102, 142, 207 D wight, M. E., 169 Eames, Wilberforce, cited, 55, 138 Earle, Ralph, 63 Eaton, Charles H., 28 Eaton, Charles Warren, 135 Eaton, Hugh M., 178, 304, 305 Eaton, Wyatt, 9 Eckstein, John, 77 Eddy, Henry B., 328 Edmonds, Charles, 147, 148 Edmonds, Francis W., paintings reproduced, 86, 88 Edmunds, 95 Edwards, George Wharton, book- plates, 301, 305; covers, 338; illustrations, 214, 230; posters, 326, 331, 334, 338 Edwards, Harry C., 228 Edwards, S. Arlent, 119-120 Edwards, Thomas, 184 Edwin, David, 70, 71, 72, 75, 80 Egbert, H., Jr., 266 Eggleston, Allegra, 220 Ehninger, John Whetton, 192, 208 Ehrhart, J., 274 Elliot, 215 Ellis, George B., 100 Elten, H. D. Kruseman van. See Kruseman van Elten. Emerson, R. R., 327 Emmes, Thomas, 54 Emmet, Rosina. See Sherwood, R. E. Emmet, Thomas Addis, 102 " Emporium of Arts and Sciences," 3, 75 Encyclopedias illustrated, 2, 74, 80, 8 1 Endicott & Co., 184 Endicott & Swett, 184, 194 English influence, in book-plates, 292-293 ; in caricature, 4, 249, 251, 274; in illustration, 5, 207, 221 ; in wood-engraving, 146, 'Si Engraving, Line (copper and steel), 36, in, 122, 124; i8th century, chapter iii, 51-74; igth century, chapter iv, 75-106, 118, 128, 129; crude tools of early engravers, 92-93 ; mechanical de- vices, 96 ; in combination with INDEX 353 etching, 3, 4, 90, 91, with stip- ple-engraving, 78; influence on wood-engraving, 142, 145, 146, 150, 209; colored, 56, 62, 63, 78; used for book-plates, 291-295, 299, 302, qca. for illustration. j 4 , 64, 72-Ti. 80-8: '07-102. IPS! 2^7 A ', as a " painter-art, 105. See also Bank-note engrav- ing; "Mixed manner." Engraving on wood. See Wood engraving. Envelopes, Civil War, 259 Estes & Lauriat, 9 Etching, in, 119, 121, chapter i, 1-37, chapter ii, 38-50 (painter- etching is emphasized throughout these chapters; reproductive etch- ing, 3, 17-18, 19, 31-35, .132) ; as a basis for line-engraving, 3, 4, 90, 91; aids (roulette, aqua- tint, etc.), 20, 21, 133; color in, 21, 45, 47, 132, 250; on glass, 3 ; soft-ground, 2, 21, 41, 45, 47, 81, 132; used for book-plates, 302, 304, 305, in caricature, 249, 250, 251, 253, 263-264, for il- lustration, 3, 5, 29, 207 Etching classes, 12, 13, 38, 41 Etching Clubs. See Boston Etch- ing Club; Cincinnati Etchers' Club; New York Etching Club; Philadelphia Society of Etchers; Scratchers' Club, Brooklyn. European influence, 58. See also English influence; French influ- ence. Evans, Joe, 306 Evans, John W., 161 Evans, William T., 166, 169 " Evening Mail," New York, cari- catures, 285 " Evening Post," New York, cari- catures, 248, 286; cited, 136, 285, 286-287, 313, 341 " Evening Telegram," New York, caricatures, 284 " Every Saturday," 219 Exilious, John, 80, 84 " Ex-Libran," 309 " Ex-Libris," 306, 309, 322 Ex-libris. See Book-plates. Extra-illustrating, 101 Eytinge, Sol, Jr., 215, 219, 283 F., G. F., 266 Faber, Herman, 13, 29 Fabronius, D., 188 Fagan, James, 17, 29, 34 Fairchild, wood-engraver, 144 Fairman, Gideon, 80, 81, 83, 91, 93, 95, 295 Fairmount Park Art Association, Philadelphia, 10 "Fakes," 68, 139, 217 Falconer, J. M., i, 7, 13 " Family Magazine," 206 Fanning, J. B., 78 Farny, Henry F., etchings, 12 ; pen drawings, 221, 227; posters, 320 Farrand, Charles D., 332 Farrer, Henry, etchings, 8, to, 13, 16, 27; soft-ground etchings, 21 Fasel, George W., 186 " Father Abraham's Almanac," 139 Fawcett, W. W., 334 Federal Hall, New York, 64 Female artists. See Women ar- tists. Fenderich, Charles, 188 Fenn, Harry, 151, 218 Fenner & Sears, 82 Fenollosa, Ernest F., cited, 175 Ferris, Jean Leon Gerome, 27 Ferris, Stephen J., 8, 10, 13, 21, 27, 32-33 Field, Edward Loyal, 28 Field, Robert, 72 Fielding, Mantle, 71 " Fifth Avenue Journal," 272 Filmer, John, 150 Fincham, Henry W., cited, 308 Fincken, James H., 299, 304, 306 Fisher, A., 128 Fisher, William Edgar, 300, 301, 305 Fiske, W., 268, 269 F'agg, James Montgomery, 233, 276, 280 Flameng, Leopold, 33 Flohri, 276 Flower-pieces, in mezzotint, 120 Fluoric acid used in etching on glass, 3 Fogarty, Thomas, 237 Folingsby, 266 Foote, Mary Hallock, 214, 219, 220 Forain, Jean Louis, influence of, 337 Forbes, Edwin, i, 7, 9, 10, 218 Forbes Co., 196, 319, 320 354 INDEX Ford, Paul Leicester, cited, 72, 92, 243 " Foreign Serai-Monthly," 115 "Forester, Frank" (H. W. Her- bert), 213 Forrest, Ion B., 77 Forster (Kimmel & Forster), 191 Fortuny, influence of, 25, 226 ; paintings reproduced, 32 Fossette, H., 82 Foster, John, 138 Foul biting, 133 Fourdrinier, P., 53 Fowler, Frank, 33 Fox, F., 288 Fox, Gilbert, 2 Framing prints, 87, 88, 147, 211 Francis, J. G., 272 "Frank Leslie's Weekly." See Leslie, Frank. Franklin, Benjamin, as a carica- turist, 139, 243-244; portraits of, 30, 66, 67, 68, 70, 78, 89, 90, 109, no, in Franklin Institute, 181 Franks, Sir Augustus Wollaston, 311 Franquinet, W., 6 Fraser, C., 126 Fraser, W. Lewis, 222 Fredericks, Alfred, 221, 227, 340, 341 " Freeman's Journal," 59 Freer, Frederick W., 17, 27, 341 French, Edwin Davis, 105 ; book- plates, 104, 299, 300, 303, 304, 306, 308, 309, 310 French, Frank, 161, 171, 173, 214 French influence, in etching, 7, 8 ; in lithography, 186 ; in posters, 320-321, 337 Frenzeny, Paul, 219 Fritsch, F. J., 185 Frizzell, S. S., 197 Frost, Arthur Burdett, caricatures, 216, 271, 282, 283 ; illustrations, 224-225 Frost, Mrs. Marguerite Scribner, 308 Fuller, George, 150, 163-164 " Fun," London, 271 Furnass, J. M., 291 G., N., designer, 64 Gade, John A., cited, 293 Galland, John, 71 Gallaudet, Edward, 87, 100 Gallaudet, Elisha, 57, 291, 294 Gardner, Miles C., 327 Garner ay, 129 Garrett, Edmund Henry, book- plates, 300, 301, 304, 308; etch- ings, 12, 27; illustrations, 227; posters, 327 Gaugengigl, Ignaz Marcel, card, 341 ; etchings, 17, ^^ ; paintings reproduced, 159 Gaul, Gilbert, 225 Gavit, John E., 126 Gay, Henry B., 6 " Gazette des Beaux-Arts," cited, 25 Gerrymander, 246 Getchell, Edith Loring Pierce, 15, 22, 48 Gibbons, Lucy, 219 Gibbs, George, 214, 306 Gibson, Charles Dana, 232-233, 2 795 posters, 325, 331 Gibson, William Hamilton, 163, 214, 225, 228 Gies & Co., 335 Gifford, R. Swain, 218; etchings, 10, 13, 14, 19, 27; his paint- ings reproduced, 164 Gifford, Sandford R., 85 " Gift books," 99-100 Gihon, G. H., 305 Gilbert, wood-engraver, 144 Gilbert, C. Allan, 237 Gilbert, Sir John, 148 ; influence of, 221 Gildemeister, Charles, 185-186 Gillam, Alfred, 279 Gillam, F. Victor, 274, 276, 278 Gillam, T. Bernard, 274, 276, 277, 278 Gillray, James, 241 ; influence of, 249, 251 Gimber, Stephen H., 82, 127, 128 190 Gimbrede, J. N., 77 Gimbrede, Thomas, 75, 77 Girsch, F., 103 Girardet, P., 129 Glackens, L. M., 275 Glackens, William J., 42, 203, 220, 237 Glasgow, David, 191 Glass, J. W., 90 Glass, etching on, 3 Gleason, Charles K., 47 " Gleason's Pictorial," 215 Glennie, 84 INDEX 355 Glenny, Alice R., 328 Goater, John H., 215, 257, 268 Gobrecht, Christian, 77, 80 " Godey's Lady's Book," 98, 196, 206 Godwin, Abraham, 57, 74, 291 Goldbeck, Walter Dean, 47 Goodhue, Bertram Grosvenor, 331 Goodman, Charles (Goodman & Piggot), 76 Goodwin, James S., 280 Gotham Art Students, New York, 26-27, 332 Gottschalk, Otto H. von, 28, 217 Gould, J. J., Jr., 327 Gould, R. E., Co., 334 Coupil & Co., 192 Graetz, F., 272, 274 Graham, Charles, 227, 316 Graham, George, 77, 113 " Graham's Magazine," 92, 98, 114, 115 Grant, C. R., 34 Grant, Gordon H., 237, 275 " Graphic, Daily." See " Daily Graphic." "Graphic Arts, The," 339 Graphotype, 261, 268, 273 Grasset, Eugene, 324 Greatorex, Eliza, 22 Green, Elizabeth Shippen, 220, 239 Green, Samuel Abbott, cited, 58, 108, 138 Green, Valentine, in Greenough, Walter C., 339 Greenwood, John, no Gregory, Frank M., 17, 27, 227 Gregson, Herbert, 308 Grevedon, Henri, influence of, 186 Gribayedoff, Valerian, 216, 284 Griffin, Syd B., 274 Grimm, Constantin de, 284 Grolier Club, New York City, 6, 52, 57, 66, 90, 128, 167, 227, 241, 310, 324 Grosch, Oscar, 105, 172 Gross, J., 77 Grozelier, Leopold, 189 " Grundy, Mrs.," 268 Gude, O. J., Co., 334 Guerin, Jules, 237, 238 Gunn, Archie, 323, 336 Gunn, Thomas Butler, 213, 266 Guy, Seymour Joseph, 34, 197 Haas, M. F. H. de, etchings, 16, 27; painting reproduced, 97 Haden, Sir Francis Seymour, lec- tures in the United States, 13; etchings copied, 35; cited, 25 Haid, J. C, 67 Haider, M., 161 Haines, D., 80, 315 Haines, W., 77 Half-tone process, 37, 171, 172, 216, 217, 229, 230 Hall, Henry Bryan, 30, 68, 102; lithographs, 191 Hall, John H., 142 Halliwell, 150 Hallock, Mary A. See Foote, Mary Hallock. Hallowell, Miss, 307 Halm, George R., 28, 305 Halpin, Frederick, 68, 79 Hals, Frans, paintings reproduced, 33 I0 9. Ir 9. I ^>4. J 66 Halsey, Frederick Robert, cited, 120 Halsey, R. T. Haines, 53, 131, 240, 241 Hambidge, Jay, 237 Hamerton, Philip Gilbert, cited, 15, 26 Hamilton, Grant E., 271, 276, 278, 284 Hamilton, Hamilton, 27, 34 Hamilton, James, 101, 206 Hamlin, William, aquatints, 124; book-plates, 292 ; line-engrav- ings, 57, 75, 80, 316; mezzo- tints, no-ni Hardie, Martin, cited, 44 Harding, Charlotte, 220 Harding, Chester, paintings repro- duced, 183 Hardtmuth, 186 Harley, 150 Harlow, Louis K., 28 Harper, William St. John, 27, 230, 341 Harper Brothers, Family Bible, 144, 145, 146, 209 ; influence on illustration, 14.7. 192. 214. 219;^ posters, 324, 330; WUUll-Chgrav- ings, 167 " Harper's Magazine," covers and posters, 312, 329, 330; illustra- tions, 40, 212-213; cited, 208, 224 " Harper's Popular Cyclopedia of United States History," cited, 248 356 INDEX " Harper's Weekly," cartoons, 272, 274, 282, by Nast, 260, 269-270, 271; illustrations, 215; wood- engravings, 154; cited, 221, 223 Harral, Alfred, 151 Harris, I., 55 Harris, Samuel, 7, 292, 295 Harrison, William, Jr., 72 Hart, Charles Henry, cited, i, 58, 64, 66, 67, 70, 102, 109, 113 Hart, James M., 85 Hart, Thomas, in Hart, William, 85, 147 Hartgers view of New York, 52 Haskell, Ernest, covers, 339; etch- ings, 47, 48; lithographs, 194, 202-203; monotypes, 135; post- ers, 327, 328, 336 Hassam, Childe, 228, 230 Hassmann, Carl, 275 Hatch, George W., 82, 95, 100 Havell, Robert, 128-129 Hawthorne, Julian, cited, 229 Hayes, wood-engraver, 147, 150 Hayward, George, 194 Healy, George Peter Alexander, 92 Hearn, George A., 166 Heath, Charles, 95 Heath, J., 76 Heine, W., 129, 192 Heinemann, Ernst, 164, 171 Heliotype, 37 Helleu, Paul, influence of, 39, 42 Helmick, H., 268 Hennessy, William J., 219 Herbert, Henry William ("Frank Forester"), 213 Herford, Oliver, 236, 279, 325 Herkomer, Hubert von, 134 Herrick, Henry W., 145, 147, 148, 213 Herring, James, 76, 78, 91, 102 Hess, Emma Kipling, 306 Hewitt, 84 Hiatt, Charles, cited, 321 Hicks, Thomas, n8 Higbee, William Troyon, cited, 33i Higgins, Eugene, 47 Hildeburn, C. R., cited, 243 Hill, J., illustrator, 218 Hill, John, 84, 125, 126, 127 Hill, John Henry, 14, 19, 121, 125, 131 Hill, John William, 19, 125, 127, 129, 184 Hill, Samuel, 72, 83, 292 Hiller, Joseph, Jr., i Himely, Sigmund, 129 Kingston, 317 Hinsdale, 212 Hinshaw, Glenn, 203 Hinshehvood, Robert, 4, 85, 86, 87, 89, 97, 99, 101, 103 Hitchcock, De Witt C., 148, 212, 215, 267 Hitchcock, J. Ripley W., cited, i, 4, 9, 10, ir, 14, 27, 36 Hitchcock, Lucius Wolcott, 237 Hoas, P., 185 Hoen, A., & Co., 320 Hoffy, A., 185 Hogan, Thomas, 218 Holcomb, 266 Holden, E. B., sale, in, 124, 127, 245 Hollyer, Samuel, 29, 30, 101, 304 Holme, Charles, cited, 16 Homer, Winslow, book-plates, 306; etchings, 17; illustrations, 219; lithographs, 197, 198, 199; his paintings reproduced, 33 Homer-Lee Bank-Note Co., 95 Hood, Thomas, cited, 22 Hoogland, William, 92, 184 Hooper, Mrs. Annie, 307 Hooper, Edward (Bobbett & Hooper), 148 Hooper, Will P., 325 Hopkins, George E., 24 Hopkins, Livingston, 213, 272 Hoppin, Augustus, 147, 213, 214, 215; caricatures, 266, 269 Hoppin, Thomas F., 5 Hopson, William Fowler, 105, 132, 178; book-plates, 104, 300, 303, 305-306 Horgan, S. H., 216, 284 Hornby, Lester G., 44-45, 48, 132 Homer, T., 126 Horton, 144 Hoskin, Robert, 151 Houdon, Jean Antoine, sculpture reproduced, no Hough, 260 Houghton, Mifflin & Co., 168, 207 " Hour, The," 272 Houston, H., 72 Hovenden, Thomas, etchings, 17- 18, 34; paintings reproduced, 34, 169 Howard, Charles M., 327 INDEX 357 Howard, Justin H., 212, 263, 266, 269 Howarth, F. M., 280 Howdell, 52 Howe, E. R. J. Gambier, cited, 311 Howell, 215 Howland, W., 145, 148 Hows, John A., 218 Hubard, 185 Hubbard, Elbert, cited, 322 Hubbard, Rev. W., 138 Huber, Konrad, 192 Hudson, Frederic, cited, 254, 270, 272-273, 288 Hudson River Portfolio, 123, 126 " Hudson River School," 85 Humphrey, Lizbeth B., 220, 340, 341 Humphreys, Maud, 220 Huneker, James Gibbon, cited, 20, 21, 45, 166, 168 Hunt, Leigh, etcher, 29 Hunt, Richard M., 340 Hunt, Samuel Valentine, 86 Hunt, William Morris, litho- graphs, 197-198 ; paintings re- produced, 33, 97, 197 Hunter, F. Leo, 28 Huntington, Daniel, paintings re- produced, 33, 85, 89, 90, 97, 117 Hurd, Nathaniel, 57, 103, 109, 243; book-plates, 291, 292; por- trait of, 108 Hurley, Edward Timothy, 41, 48 Hutchins, F. M., 320 Hutt, Henry, 234, 338 Hyde, Helen, 47, 131-132, 176 Hyde, William Henry, 279 Hyneman, Herman N., 17 Iconographic Society (Boston), 104 Iconophiles, Society of (New York), 52, 104, 131, 135, 171, 200 Illman, Thomas, 118 " Illustrated American News," 215, 316 "Illustrated News," 215 Illustration, chapter xi, 205-239; in aquatint, 122, 123, 127; in etching, 3, 5, 29, 207; in line-en- graving, 54, 64, 72-74. 80-82, 97- 102, 105, 205, 206; in lithog- raphy, 192, 193, 208; in mezzo- tint, 114-116, 206; in stipple, 75- 77, 82 ; in wood-engraving, chapters vii-ix. Imbert, Anthony, 83, 182, 183, 185, 186, 190, 253 " Impartial History," 59 Impressionism in etching, 15, (* Indian portraits, 112, 194 Indian subjects, 192, 194, '208, 2i6, 227 Ink, in mezzotints, 117 " Inland Printer," cited, 284 Inman, Henry, lithographs, 181, 182, 183, 187; his paintings re- produced, 81, 84, 87, 115, 127, 185, 186 Inness, George, etching, 13; paint- ing reproduced, 198 Intaglio & Graphotype Co., 261 " International Monthly," 212 " International Studio," cited, 41, 33 Ipsen, Ludwig Sandoe, 305 Irwin, Wallace, cited, 289 Isham, Samuel, cited, 70, 113, 231, 232 Ivanowski, Sigismund de, 336 Ives, James M., 258. See also Currier & Ives. Jaccaci, August F., 214, 306 Jackson, John Edwin, 237 Jacobs, William L., 237 Jacobsen, T. Arthur, 335 Jacque, Charles, paintings re- produced, 33 James, Henry, cited, 221, 223 Japanese influence, 132, 174, 176, 326 Jaques, Mrs. Bertha E., 47, 306, 340 Jarvis, John Wesley, caricature, 248; engravings, 70, 112; paint- ing reproduced, 71 Jefferson, Joseph, 134 Jefferson, Thomas, portraits of, 30, 66, no Jenkins, Will, cited, 16 Jennys, Richard, 108-109 Jerome, Irene E., 220 Jewett, William, 103 Jocelyn, wood-engraver, 147 ; Joce- lyn & Annin, 148 Jocelyn, Nathaniel, 85 " John Donkey," 267 Johnson, David, 85 358 INDEX Johnson, Eastman, as lithographer, 198; his paintings reproduced, 34 Johnson, Thomas, book-plate, 304; etchings, 30, 171; wood-engrav- ings, 162 Johnson, Thomas, of London, 108 Johnson, William Martin, 229, 338 Johnson, Fry & Co., 207 Johnston, David Claypoole, cari- catures, 4, 251, 253 ; etchings, 2, 6; illustrations, 209; lithographs, 183 Johnston, Elizabeth B., cited, 66 Johnston, Thomas, 55, 57, 108, 291 " Jolly Joker," 268 Jones, Alfred, 88, 89, 90, 91, 96, 97, 106 Jones, Benjamin, 57 Jones, E., 185 Jones, Hugh Bolton, 28 Jones, John Paul, 112 Jones, W. R., 76, 77, 78 Jongers, Alphonse, painting re- produced, 166 Jordan, William. See Triptych, The. Joste, Robert, 317 "Journal," New York, caricatures, 285 "Judge," 193, 276, 277, 279 Juengling, Frank, 161 Juengling, Frederick, 152, 154, 155, 156, 158, 159, 161, 162, 168, 169, 221 Julien, S., influence of, 189 Kappes, Alfred, 219 Karst, John, 144 Kearny, Francis, aquatints, 124; book-plates, 292, 295 ; etchings, 2 ; line-engravings, 83, 95 ; litho- graphs, 187, 194 " Keepsakes." See Annuals. Keith, Dora Wheeler, 340, 341 Keller, Arthur I., 203, 236 Kellogg, D. W., 195 Kellogg, E. B. & E. C., 260 Kelly, James Edward, 154, 155, 221, 306 Kelly, Thomas, 91, 92 Kelly, W., 185 Kemble, Edward Windsor, carica- tures, 216, 239, 271, 279, 282; illustrations, 225, 228; poster, 325 Kemble, Fanny, 127 Kendall, Sergeant, 327 Kendrick, Charles, 277, 279 Kennedy, Edward G., cited, 6 Kennedy & Lucas, 194 Kensett, John F., 85, 86 Keppler, Joseph, 197, 271, 272, 273, 274, 275-276, 277 Keppler, Joseph, the younger, 275, 276 Ketten, Maurice, 288 Kidder, J., 123 Kilburn, S. S., 143, 150, 161 Kimball, Katherine, 47 Kimmel & Co., 126 Kimmel & Forster, 191 King, C. B., 47 King, Francis Scott, etching, 30; line-engraving, 104, 171; wood- engraving, 163, 168 King, Frank, 327 King, James S., 27, 33, 120, 132 King, Solomon, publisher, 145 Kingdon & Boyd, 148 Kingsley, Elbridge, 164, 167, 169, 173 Kinnersley, Henry, 145, 147, 148 Kinneys, The (Troy & Margaret West Kinney), 237 Kirby, Rollin, 285 Kirby, Valentine, 305 Kit-Kat Club, 342 Klackner, C., publisher, 28, 103 Klepper, Max F., 336 Knapp, Joseph F. (Major & Knapp), 318; (Sarony, Major & Knapp), 192. Knaus, Ludwig, paintings repro- duced, 32 Kneass, William, 124 Knickerbocker, J., 217 Knoedler, publisher, 103 Koehler, Sylvester Rosa, cited, 7, 8, 9, 13, 16, 18, 22, 24, 25, 26, 27, 32, 33, 34, 36, 90, 92, ioo, 134, 146, 151, 152, 154, 158, 159, 160, 161, 165 Kollner, A., 192 Koopman, Augustus, 42, 47, 135 Koppel, C., 186 Kotz, Daniel, 28 Kramer, Peter, 193, 318 Krimmel, John Lewis, 87 Kruell, Gustav, 30, 162-163, *<>7 1 68 Kruseman van Elten, Hendrick Dirk, 14, 15, 18, 19, 21, ^^ INDEX 359 Kuenstlerbund, Karlsruhe, 313 Kummer, J., 129 Kuntze, Edward J., 5 Lacour, Peter, 64 " Ladies' Companion," 98 " Ladies' National Magazine," 98 " Ladies' Repository," 97, 98 La Farge, John, 153, 220, 340 Lafayette, portraits of, 66, 71, 83, 109 Laffan, William Mackay, 214 Lamb, Charles Rollinson, 306 Lamb, Ella Condie, 334 Lambdin, J. R., 183 Lander, Benjamin, 12, 19 Landscape, in aquatint, 123, 125, 126, 129, 130, 132; etching, 8, 9, 15, 1 6, 1 8, 19, 25, '40, 41, 42, 46; line-engraving, 84-86, 90, 100, 129; lithography, 129, 184, 190, 191, 198, 201, 203; mezzotint, no, 120, 121 ; stipple, 72, 78; wood-engraving, 150, 151, 152, 164, 166, 168, 173, 175, 218 Lanfil, Walter F., 16 Langridge, wood-engraver, 150 Lansing, Garret, 142, 317 " Lantern, The," 210, 267 Lathes, in bank-note work, 94, 96 Lathrop, William Langson, 14 Latimer, R. R., cited, 322 Lauber, Joseph, 17, 199, 306 Laurvik, J. N., cited, 313 Lawrence, H. M., 326 Lawrence, Sir Thomas, paintings reproduced, 182; portrait of, 115 Lawson, Alexander, 2, 80, 82, 83, 87, 113 Learned, Arthur G., 42, 327 Ledyard, Addie, 219, 272 Lee, Homer, 95 Lee, T., 294 Leech, John, influence of, 42, 207 Le Fevre, W. J., 13 Legros, Alphonse, influence of, 39, 42 Lehman, G., 128, 185 Lehman & Duval, 187, 194 Le Moyne, Jacques, 51 Lemperly, Paul, cited, 309 Leney, William Satchwell, 71, 76, 295 Lenox Library, 86 Lesley, Margaret W., 22 Leslie, Charles Robert, paintings reproduced, 90, 92, 100 Leslie, Frank (Robert Carter), 146, 149, 215, 218 "Leslie's Weekly," 269, 271, 273, 282 Leutze, Emanuel, etchings, 5 ; paintings reproduced, 90, 117 Levering, Albert, 275 Levin, Katherine, 27 Levis, Howard C., 140-141 Lewis, Arthur Allen, etchings, 42; wood-engravings, 177, 178, 34 Lewis, J. O., 194 Lexington, Battle of, 63 Leyendecker, Frank X., 314 Leyendecker, Joseph Christian, 326, 338 Lichtenstein, R. C., cited, 309 Liebler, Theodore, 320 "Life," 279-280; cited, 17 Lincoln, Abraham, portraits of, 30, 42, 67, 68, 89, 97, 163, 177, 193; in caricature, 257, 258, 259, 260- 261, 262, 263, 264; cited, 260 Linson, Corwin Knapp, 237 Linton, Henry, 151 Linton, William James, 151, 152, 168, 219, 304; cited, 139, 143, 144, 145, 146, 147, 150, 152, 156, .157, 158, 159, K>o, 163, 164, 317 Lion, J., 189 Lipman, M. de, 327 Lippincott, William Henry, 34, 306 Lithography, 80, 119, 128, 129, chapter x, 180-204; in carica- ture, 252-253, 255-257, 258, 259, 260, 261, 262, 264-265, 273, 274, 283; color in, 185, 193, 195, 196, 273-274, 279; in illustration, 192, 193, 208; as a "painter-art," 178, 181, 197-204; for posters, 178, 318-337 Lithotint, 185 Livingston, John, 79 Locke, David R. ("P. V. Nasby"), cited, 270 Loeb, Louis, 135, 203, 237 Long (Butler & Long), 126 Longacre, James Barton, 76, 77, 78, 81, 91, 102 "Longfellow Portfolio" (wood- engravings), 168 Loomis, Chester, 334 Lopez, 194 Lord, Caroline, 12 Lossing, Benson John, cited, 140, 360 INDEX 142, 143-144, 21, 213, 244, 245, 248, 250, 317 Lossing, Helen Rosa, 220 Lossing & Barritt, 148, 213 Lotos Club, New York, 169 Louisville " Times," 288 Low, Will Hicok, 104, 327; card, 341; cover, 332; illustrations, 219, 229; poster, 327 Lowell, Orson, 237, 335 Lucas (Kennedy & Lucas), 194 Lumley, Arthur, 215, 217 Lungren, Fernand Harvey, 226 Lynn Public Library, 310 M., J. L. (J. L. Magee), 261 Macauley, Charles R., 284, 288 McCarter, Henry, 324, 326, 327 McCarthy, Daniel, 284 McCormick, Howard, 177 McCutcheon, John Tinney, 286 McDermott, Jessie, 220 McDonald, A. N., 304 McDonough, 215 McDougall, Walter H., 214, 284 McEntee, Jervis, 85 Mcllhenney, Charles Morgan, 28 MacLaughlan, Donald Shaw, 43, 48 McLaughlin, Mary Louise, 12 McLenan, John, 214, 263, 266, 267 Maclise, Daniel, copied, 298 McMaster, John Bach, cited, 139 McNevin, J., 219 McRae, John C., 118 McVickar, Henry W., 279, 331 Magazine covers, 177, 337, 338 Magazine illustration. See Illus- tration. Magazine posters, 321, 324, 326- 327, 328, 329, 330, 337 Magee, John L., illustrations, 215, 266; lithographs, 193, 261 Magrath, William, paintings re- produced, 161 Mahogany, used in wood-engrav- ing, 317 Main, William, 79, 91 Major, Richard (Major & Knapp), 318; (Sarony & Major), 184, I 9 I , 255; (Sarony, Major & Knapp), 192 Makart, Hans, paintings repro- duced, 34 Mallory, 143, 150 Manet, Edouard, painting repro- duced, 1 66 Manley, Thomas R., 16, 41. Mansfield, Howard, cited, 6, 323- 324 Maps and plans, in line-engrav- ing. 55. 65 69. 73 > n wood- engraving, 138 Marin, John, 47 Marine subjects, in aquatint, 124, 127; in etching, 15, 16; in illus- tration, 225 ; in line-engraving, 97; in lithography, 192; in mez- zotint, in; in wood-engraving, 151, 218 Marks, Montague, 199 Marsh, Henry, 150, 153, 163 Marshall, William Edgar, 97 Marsiglia, Girlando, 183 Martin, David, painting repro- duced, 70, no Martin, Homer, painting repro- duced, 1 66 Martin, J. B., 190 Mason, Abraham J., 144 Mason, William, 144 " Massachusetts Magazine," 72, 83 Masson, 215 Mather, Frank Jewett, Jr., cited, 44, 46, 228, 314 Mather, Increase, portrait of, 54 Matteson, T. H., 101, 309 Matthews, Arthur F., 306 Matthews, Albert, cited, 139, 244 Maurer, Louis, caricatures and other lithographs, 193, 257, 258; cited, 318, 320 Maurice, Arthur Bartlett, cited, 277, 287 Mauve, Anton, paintings repro- duced, 35 Maverick, A., 79, 126 Maverick, Peter, book-plates, 292; etchings, 2 ; line-engravings, 57, 79, 80, 81, 83, 91, 98, 103, 104, 316; lithographs, 182, 190; stip- ple, 72 Maverick, Peter Rushton, book- plates, 292, 294, 295 ; line-en- gravings, 57, 80, 83, 84; stipple, 72 Maverick, Samuel, 83 Mayer, Ferd., & Sons, 318 Mayer, Frank Blackwell, 198, 214 Mayer, Henry, 285, 306, 327, 336 Measom, 151 Megarey, Henry I., 126 INDEX Melville, Francis, 47 Menpes, Mortimer, cited, 6 Menus, 103, 342 "Mercury," 216 Merrill, Frank Thayer, 12, 227, 269, 302 Merrill, Katherine, 47 Merritt, Anna Lea, 22, 27, 29 Meryon, Charles, influence of, 39, 43, 44 " Meryon of Philadelphia, The." See Pennell, Joseph. Mesier, 183 Metcalf, Willard Leroy, 228 Meteyard, Thomas Buford, 325 Methfessel, 338 Metivet, Lucien, 324 Metropolitan Museum of Art, New York, 104, 166 Metropolitan Print Co., 317 Metropolitan Printing Co., 336 Mexican War, 88, 217; in carica- ture, 254-255 Meyner, Walter, 335 Mezzotint, 19, 56, 91, chapter v, 107-121 ; in caricature, 241 ; color, no, 119, 120; in illustra- tion, 114-116, 206 Mezzotint, Sandpaper, 131, 133 Middleton, Stanley, 12 Middleton, Thomas, 3 Mielatz, Charles Frederick Will- iam, aquatints, 130-131, 132, 133; book-plate, 304; etchings, 8, 16, 20, 21, 27, 41, 48; litho- graphs, 200; monotypes, 135-136; as printer, 9, 21, 50; as teacher, 38; cited, 120-121 Milbert, J., 192 Military subjects, in illustration, 225, 226 Millar, Addison Thomas, 41, 46- 47, 132 Miller, Dr. Charles Henry, etch- ings, 7, 14, 15; paintings re- produced, 35; cited, 134 Miller, E. F., 28 Miller, W. R., 215 Miller, William, 161, 171, 304 Millet, Francis Davis, 214 H. C. Miner-Springer Litho Co., 320 Minneapolis "Journal," 286 Minor, Robert C., etchings, 28; paintings reproduced, 35 Mirall, 271 Miranda, Fernando, 216, 271 Mitchell, J., 109 Mitchell, John Ames, caricatures, 269, 279-280; etchings, 17; cited, 279, 280, 284 Mitchell, Dr. Samuel Latham, 180 "Mixed manner," 79, 91, 115, 116, 118 Molthrop, painting reproduced, 124 Momberger, William, 219 " Momus," 268 Money, engraved. See Bank-Note engraving. Monks, John Austin Sands, 14, 18, 27 Monotype, 121, 133-136 Montanus view of New York, 52 Montgomery, 56 Monticelli, A., painting repro- duced, 159 Moore, E. C., 340 Moore, Guernsey, 338 Moore, T., 194 Moores, 326 Mora, F. Luis, 237 Moran, Leon, 17, 34, 341 Moran, Mary Nimmo, 13, 15, 20, 22, 23, 27, 29 Moran, Percy, 341 Moran, Peter, 10, 13, 14, 15, 18, 27, 32-33, 134 Moran, Thomas, card, 341 ; etch- ings, 8, 13, 14, 15, 16, 18, 20, 27, 34; illustrations, 151, 153, 168, 218; lithographs, 198; as printer, 21 Moreau, C. L., 140 Morgan, Fred, 286 Morgan, Matthew Somerville ("Matt"), caricatures, 271; posters, 193, 197, 319, 320 Morgan, W. J., & Co., 194, 320 Morgan, William, 142 Morghen, Raphael, influence of, 79 . Morris, William, 238 Morse, Anna G., 340 Morse, Joseph W., 317 Morse, Nathaniel, 57 Morse, William H., 150, 161 Morton, John Ludlow, 124, 209 Mottram, C., 129 Mount, William Sidney, paintings reproduced, 86, 87, 88 Mount Holyoke College, 169 Mourgeon, Peter, i, 316 362 INDEX Mueller (Brueckner & Mueller), 194 Miiller, Richard Alexander, 161, 168 Mullen, E. F., 213, 214, 267, 268, 272 Municipal Art Society of New York, 224 Munkacsy, M., painting repro- duced, 196 Murray, Draper, Fairman & Co., 83, 95 Museum of Fine Arts, Boston, ex- hibition of etchings (1881), 6, 13, 16, 28, of etchings by wom- en (1887), 22, of early line- engravings, 58, 109, no, 316, others, 100, 167, 168, 175, 279, 310 Music cover, 194 Music titles, 57 Mygatt, Robertson K., 29 Nagel & Weingartner, 186, 189 Nahl, A., 197 Nankivell, Frank A., 275, 321, 328, 331, 337 "Nasby, Petroleum V." (D. R. Locke), cited, 270 Nast, Thomas, caricatures, 260, 268, 269-271, 272, 284, 319; il- lustrations, 215, 219; Lincoln cited in regard to, 260 National Academy of Design, New York, 134, 283; engravers mem- bers, 91, 142, 144; etching class, 38, 41 ; etchings exhibited at, ii ; posters used, 331, 332 National Arts Club, New York, 310, 313, 334, 335 National Gallery, Washington, 169 " National Gallery of American Landscape," 86 " National Intelligencer," cited, 1 80 " National Magazine," 212 "National Portrait Gallery of Distinguished Americans," 76, 78, 91, 102, 207 Neagle, John, paintings reproduced, 68, 92, 113, 187 Neagle, John B., 79, 81, 85, 91, 100 Neal, David D,, 197 Neale, John, printer, 126 Neale, William, printer, 126 Neely, J., Jr., 13 Negro subjects, 34, 193, 219, 225; in caricature, 256, 259, 261, 262; the negro figured also in the paintings of Mount, Woodville and others, noted on pages 86-88 Nehlig, Victor, 7 Nelan, Charles, 284 " New Mirror," 127 New Orleans, Battle of, 2 New York City, views, in aquatint, 124, 126, 127, 129, 130, 131; in etching, 7, 8, 10, 20, 21, 22, 29, 39, 40, 41, 42; in line-engrav- ing, 52-53, 55, 56, 58, 64, 69, 82, 83, 84, 97, 104, 172; in lithog- raphy, 182, 183, 184, 185, 186, 191, 192, 193, 200; in mono- type, J 35> in wood-engraving, i?3, J 77 " New York American," 286 New York Etching Club, i, 10, 12, 13, 21, 22, 28, 29, 35, 41 " New York Herald," caricatures, 276, 284; illustrations, 148, 216, 217, 326 New York Historical Society, 55, 104, 117 "New York Illustrated News," 215, 269 " New York Magazine," 72, 83 " New York Mirror," 98, 146, 206. See also " New Mirror." " New York Press," 284 New York Public Library, collec- tion of book-plates, 310, 311, of etchings, n, 15, 26, 27, of line-engravings, 89, 96, 102, of wood-engravings, 140, 149, 167, 168; exhibitions of New York City views, 53 ; Franklin list, 66 New York " Recorder," 284 " New York Times," caricatures, 285; cited, 239, 289, 330 " New York Tribune," caricatures, 285 ; cited, 227, 229 New York "World." See "World." Newark, N. J., Public Library, 169 Newell, Peter, 282, 325 Newsan, Albert, 186-187 Newspapers, illustrated, 148, 216, 217, 326; caricatures, 216, 252, 284-290, 333 Newton, Gilbert Stuart, painting reproduced, 188 Nichols, George Ward, 198 INDEX 363 Nicoll, James Craig, 14, 16, 21, 27, 29 Niemeyer, John Henry, 28 Noel, Leon, 88, 189 Noll, Arthur H., 305, 306 Norman, John, 57, 58, 59-60, 63, 64, 65, 67, 72, 73, 79 Nourse, Elizabeth, 12 Oakes, William, 191 Oakford, Ellen, 22 Oakley, Violet, 220 O'Brien, Robert, 161 O'Callaghan, E. B., cited, 73 Oertel, Johannes Adam, 85, 212 Ogden, H. A., 193, 225, 320; cited, 316 Okey, Samuel, 65, 109 Olsson-Nordfeldt, Bror J., 40, 43, 48, 176 O'Neill, Rose, 220 Opper, Frederick Burr, 272, 274, 285 Ormsby, Waterman Lilly, 94. Orr, John William, 148 Orr, Nathaniel, 148, 150 Orr & Andrews, 148 Osborne, Milo, 101 Osgood, Frances Sargent, cited, 92 Osgood, Harry Haviland, 40, 43 Osgood, James A., publisher, 144, 150 Ostertag, Blanche, 220 Otis, Bass, aquatints, 123; litho- graphs, 180; mezzotints, 112; paintings reproduced, 112 Ottmann, 328 " Our Young Folks," 219 Outcault, Richard Felton, 327 Page, William, 116 Paine, Albert Bigelow, cited, 260, 271 Palmer, wood-engraver, 151 Palmer, Frances F., 191 Palmer, F. & S., 191 Pape, Eric, 228 Papprill, Henry, 129 Paradise, John Wesley, 91 Parker, C. Gray, 279 Parker, G. C., 327 Parker, George, 77 Parrish, Maxfield, covers, 338; posters, 314, 326, 333; influence of, 329 Parrish, Stephen, 13, 15, 16, 18, 20, 21, 27, 35 Parsons, Charles, lithographs, 191, 192, 193; as art editor, 192, 222 Parte sculp, 68 Parton, James, cited, 244, 253 Pasini, A., paintings reproduced, 33 Pate, William, 126; Pate, W., & Co., 86 Patterson, F. B., print publisher, 10 Paxton, William M., 327 Peale, Charles Willson, 69, 109 Peale, Rembrandt, 118, 181 Pearson, Ralph M., 47 Pease, Bessie, 307 Pease, Joseph Ives, 79, 86, 87, 88, 124 Pease, R. H., 194-195 Peckwell, Henry W., 161 " Peintres Lithographes, Les," 202 Peixotto, Ernest C., 135, 237 Pekenino, Michele, 68 Pelham, Henry, 62 Pelham, Peter, 107-108 Pen-and-ink drawing, 221, 222- 224, 225, 226, 227, 232, 233, 234, 236; in caricature, 274, 276; in etching, 25 Pendleton, John, 181, 182, 184, 185, 186, 192, 194 Pendleton, W. S., 190 Pendleton, Kearny & Childs, 187, 194 Penfield, Edward, covers, 312, 339; posters, 314, 326, 329-330, 33i, 333 Penman, Edith, 34 Pennell, Elizabeth Robins, cited, 6 Pennell, Joseph, etchings, 8, 13, 15, 16, 20, 27, 41; illustrations, 222; lithographs, 200, 201 ; as printer, 9, 21, 49; sandpaper mezzo- tints, 133; cited, 6, 221, 222, 226, 227, 228, 232 Pennimann, J. R., 184, 185 " Pennsylvania Gazette," 244 " Pennsylvania Journal," 244 Pennsylvania Historical Society, 82, !8 7 " Pennsylvania Magazine," 57, 72 Perard, Victor Semon, 237, 306, 326, 338, 339 Ferine, George E., 118 Perkins, Charles C., 5, 213 Perkins, Granville, 151, 218 Perkins, Jacob, 94, 95 Perkins & Co., 95 3^4 INDEX Perkins & Heath, 95 Pfau, Gustavus, 186 Philadelphia, in caricature, 243 ; views in aquatint, 131, in etching, 2, in line-engraving, 84, 87, 252, in lithography, 191, 195, 196, in stipple, 78 "Philadelphia Gazette," 57 Philadelphia " Inquirer," 286, 326 Philadelphia " Press," 326 Philadelphia "Record," 286 Philadelphia Sketch Club, 13 Philadelphia Society of Etchers, 12, 13, 16, 28, 134 Phiz. See Browne, Hablot Knight. "Phoenix, John" (George H. Der- by), 213 Photographs re-drawn for illustra- tion, 227 Photography used directly for il- lustration, 208; used to place design on wood-block for the engraver, 152, 153, 157, 159, 230; influence of, 106, 238 Photogravure, 37, 135 Photo-lithography, 216 Photo-mechanical processes, use and influence of, 37, 106, 171, 238; for book-plates, 302, 304- 305 "Phunny Phellow," 268 Physionotrace, 128 Piazzoni, G., 47 Picart, B., 246 ' Picayune," 267 ' Picture Gallery," 206 'Picturesque America," 86, 150, 152, 218 'Picturesque Europe," 152, 218 ' Picturesque Palestine," 218 Pierce, Edith Loring. See Getch- ell, Mrs. E. L. Pierce. Pierce, H. Winthrop, 341 Pigalle, 2 Piggot, Robert (Goodman & Pig- got), 76 Pilbrow (Illman & Pilbrow), 118 Pine wood, in wood-engraving, for posters, 317 " Pittsburgh Telegraph," 216 "Plain Dealer," 286 Plank, George Wolfe, 178, 304, 306 Plans. See Maps. Plastic Club, Philadelphia, 308 Plate printers. See Printers. Plates, changed, 67-68 Plates, private, 102 Platt, Charles Adams, 15, 16, 27, 29 Players, The, 267 Plumb, Henry G., cited, 318 Plympton, W. E., 12 " Polyanthos, The," 75, 123 Politics, caricature in, chapters xii and xiii; the poster in, 333- 334 Pollard, Percival, cited, 329 Poore, Henry Rankin, 13 Pope, Mrs. Marion Holden, 47 "Porte Crayon" (D. H. Strother), 213 Porter, Edward G., 63 "Port-Folio," Philadelphia, 71, 75, 84, 123, 124, 141 Portraiture, in aquatint, 123, 124, 125, 127, 128 ; in line-engraving, 54-55, 58, 59-6i, 65-69, 73, 91- 92, 93, 102, 103, 171, 207; in etching, 3, 29, 30, 42, 119, 171; in illustration, 227; in lithog- raphy, 119, 181, 183, 184, 185, 186, 187, 188, 189, 190, 191, 193, 197, 202, 203, 251 ; in mezzotint, 106-119; in stipple, 69-72, 75-78, 91, 93, 102, 251 ; in wood-en- graving, 68, 139, 141, 162, 163, 176, 203 "Poster, The," London, cited, 321, 322, 329 "Poster, The," New York, cited, 322, 333 Posters, 178, 193, 195, 313, 315, 3*7-338; collectors, 322; exhibi- tions, 322-323 Pottery, Staffordshire, views on, 131 Potthast, Edward Henry, 203, 320, 326 Poupard, James, 57, 72, 79 Poussin, Nicholas, drawings re- produced, 3 Powell, Caroline A., 161 Prang, Louis, Prang & Co., 196, 197, 198, 199; holiday cards, 340-342 Pranischnikoff, I., 219 Pre-Raphaelites in the United States, 184 Prendergast, Maurice Brazil, 325 Preston, May Wilson, 220 Prevost, B. L., 66 Price, William, publisher, 56 Prindiville, Mary L., 306 INDEX 365 "Print Collector's Quarterly," cited, 46 Print dealers and publishers, 10, 28, 32, 33, 36, 39, 48, 103, 109, 112 Printers, plate, i, 80, 109, 126, 366 Printers' ornaments, 56, 138 Printing, of etchings, 7, 9, n, 12, 19, 21-22, 46, 49-50; of mezzo- tints, 117; of wood-engravings, 146 "Printing Art," 339 Probst, John Michael, 67 Prud'homme, John Francis Eugene, 77, 78, 91, ioo "Puck" (New York), 193, 271, 272, 273-276, 277, 279, 280 "Puck" (St. Louis), 273 "Punch" (London), 264; copied, 267, 273 "Punchinello," 269 "Punster, The," 268 Purcell, E., 215 Pursell, Henry, 53 Putnam, F. W., 161 Putnam, G. P., publisher, 147 Putnam, Stephen Greeley, 161, 167, 171 " Putnam's Magazine," cited, 237 Pyatt, J. O., 187 Pyle, Howard, book-plates, 306; caricatures, 272 ; illustrations, 231-232, 236; influence of, 220 Quartley, F. O., 151 Quinlan, Will J., 40 R., H. See Reinagle, Hugh. Rajon, Paul, 9 "Ram's Horn," 281 Ranger, Henry Ward, 199 Ranney, William, 86, 87, 88, 89 Raubichek, Frank, 34 Rawdon, Ralph, 57, 295 Rawdon, Clark & Co., 82 Rawdon, Wright, Hatch & Smillie, 95, loo Rayner, R. J., 185 Reade, Christia M., 306 Redding, wood-engraver, 148 Redwood, Allen C., 214 Reed, Abner, 54, 71, 124 Reed, Earl H., 47, 48 Reed, Ethel, 325, 327, 331 Reed, Thomas C., cited, 70 Reevs, George M., 327 Reich, Jacques, 30 Reinagle, Hugh, 83, 182 Reinhart, Charles Stanley, carica- tures, 271, 283; etchings, 10; il- lustrations, 154, 222, 223, 327; lithographs, 214 Remarques, 27, 36 Rembrandt, etchings copied, 3 ; paintings reproduced, 33, 120 Remington, Frederic, 214, 226, 228 Renault, J. F., 64 " Repository of the Lives and Por- traits of Distinguished Ameri- can Characters," 76, 91 Restrikes, 56, 62 Retroussage, 9 Reuterdahl, Henry, 237 Revere, Paul, 57, 58, 72, 105 ; bill- heads, 317; book-plates, 291; cards, 316; caricatures, 242-243; certificates, 56; portraits, 65, 67, 79 ; his " Boston Massacre " plate, 62, 63, 104 " Review of Reviews," cited, 272 Revolutionary War, in caricature, 240-244; in line-engraving, 59, 60, 61, 62-66; in illustration, 154, 213, 225, 231; in mezzotint, 109, 111-112; in portraiture, 65, 66-67, 70, 73, 79, 109,111-112 Reynolds, Sir Joshua, paintings re- produced, IOO, IIO, 112 Rhead, Frederick, 230 Rhead, George W., 230 Rhead, Louis J., book-plates, 305, 308; illustrations, 230; posters, 326, 327, 328, 330, 331, 333 " Rhode Island Literary Reposi- tory," 75^ Ribot, Theodule, painting repro- duced, 164 Rice, Richard A., cited, 15 Richards, John H., 195 Richards, Thomas Addison, 100, 213 Richardson, Fred, 286 Richardson, James H., 147, 150 Richardson & Co., 148 Richardson & Cox, 148 Rico, Martin, influence of, 226 Ridinger, Johann Elias, work re- produced, 141 Rimmer, William, drawing repro- duced, 163 Riordan, Roger, 214 Ritchie, Alexander Hay, 4, 68, 89, 91, 117 366 INDEX Ritchie, George Wistar Hodge, 12 " Riverside Magazine," 219 " Rivington's Royal Gazette," cited, 244 Roberts, B., publisher, 53 Roberts, Charles, 187 Roberts, J. M., 184 Roberts, John, 113 Roberts, William, 148 Robertson, Alexander, 84 Robertson, Archibald, 113, 183 Robinson, Boardman, 285, 337 Robinson, H. D., 246 Robinson, H. R., 253, 254 Rodgers, painting reproduced, 91 Rogers, W. S., cited, 321, 331 Rogers, William Allen, 227, 279, 284 Rollinson, William, aquatints, 124; book-plates, 292; a chaser of buttons, 53-54, 93 ; line-engrav- ings, 71, 74, 80, 81, 93, 103 Romans, Bernard, 55, 57, 63, 65 Rondel, Frederic, 198 Rood, Roland, 28 Rorker, Edwin E., 12 "Rosa, H." (H. R. Lossing), 220 Rosenberg, C. G., 268 Rosenberg, H., 24 Rosenberg, Henry M., 28, 326 Rosenkrantz, Arild, Baron, 326 Rosenmeyer, Bernard Jacob, 194 Rosenthal, Albert, 30 Rosenthal, L. N., 188, 195 Rosenthal, Max, etchings, 30; lithographs, 189, 195; mezzo- tints, 119 Rost, C., lor Roth, Ernest David, 45-46 Rothermel, Peter F., 89, 117, 206 Roulette, in aquatint, 128, 132; in etching, 20, 21 ; in line-engrav- ing) 79, 9 1 > in mezzotint, 115, 116 Roush, L. L., 326 Rousseau, Th., paintings repro- duced, 164 Rowlandson, Thomas, influence of, 125, 241, 249 Rowse, Samuel Worcester, 97 " Royal American Magazine," 62, 72, 243 . Royal Society of Painter Etchers, London, 13 Ruggles, E., Jr., 291 Ruling machine, 5, 79, 91, 94, 95, 116 Ruzicka, Rud., 177, 304 Ryland, W. W., 61 Sabin, J. Percy, 109 Sabin, Joseph F., 27 S acker, Amy, 339 S?.dd, H. S., 101, 117 St. Memin, Charles Balthazar Julien Fevret de, i, 66, 125, 128, 316 " Saint Nicholas," 168, 272, 326 Sa'intin, Jules Emile, 190 Salmagundi Club, New York, 310, 322 " Sam, the Scaramouch," 281 Sandham, Henry, 29, 227, 299, 302, 36, 34i Sandier, Alexander, 340 Sandpaper mezzotint, 131, 133 Sanford, Isaac, 57 Sargent, Henry, 112 Sargent, John Singer, lithographs, 20 i -202 Sarony, Napoleon, 197, 254, 318 Sarony & Major, 184, 191, 255 Sarony, Major & Knapp, 192 Sartain, John, 8, 119; mezzotints, 109, 113-116, 117 Sartain, Samuel, 117 Sartain, William, etchings, 28, 29; mezzotints, 119 Satin, impressions on, 69 Satterlee, Walter, 27, 340 Savage, Edward, aquatints, 123 ; line and stipple engravings, 64, 69, 70; mezzotints, no, 112; paintings reproduced, 118, 124 Scacki, Francis, 2 Scharf, T., cited, 251, 253 Schell, F. B., 217 Schell, Frank H., 218 Schelling, R., 168 Schilling, Alexander, 16, 41, 48 Schladitz, Ernst, 161 Schlecht, Charles, 103, 104 Schneider, Otto J., 42 Schoff, Stephen Alonzo, etchings, 27, 30, 33-34, 35 J line-engrav- ings, 97, 101 School book illustration, 220-221 Schreyvogel, Charles, 203 Schussele, Christian, illustrations, 206, 217; lithographs, 196; paintings reproduced, 89, 117, 119 Schwarzmann, Adolf, 275 Schweinfurth, Julius A., 331 INDEX 36? Scoles, John, 72, 73 Scot, Robert, 57, 80 Scot & Allardice, 81 Scotch stone, in etching, 20, 133 Scratchers' Club, Brooklyn, 12 Scribner's, Charles, Sons, 168 " Scribner's Monthly," caricatures, 272; illustrations, 199, 219; il- lustrations by the " new school " of wood-engravers, 154, 155, 163, 165, 168, 221; posters, 324, 326-327; cited, 279 Scudder, Horace E., cited, 225 Sears (Fenner & Sears), 82 Sebron, H., 129 Seer, Alfred S., 194, 317, 319, 320 Seiter & Kappes, 335 Seitz, Emil, publisher, 5, 10, 186 Senat, Prosper L., 16 Senefelder Co., 190 Senseney, George, 38, 45, 132 Sewell, Robert van Vorst, 28 Seymour, Joseph H., 59, 73, 80, 81, 295 Seymour, Ralph Fletcher, 306, 308 Seymour, Samuel, 80 Shakespeare illustrations, 90, 141, 207, 209, 2ii, 222-223 Shallus, Francis, 124, 292, 294- 295 Share, H. Pruett, 34 Sharp, William, English engraver, 106; copied, 55 Sharp, W., & Co., 194 Shattuck, Aaron Draper, paint- ings reproduced, 85 Shaver, J. R., 237 Shaw, Albert, cited, 286 Shaw, Howard Van Dusen, 306 Shaw, Joshua, 79, 126 Shaw, Robert, 29 Sheldon, Rufus, 134, 135 Shelton, William Henry, 17, 27, 214, 225 Shepherd, Jessie Curtis, 219 Sheppard, William L., 218, 267, 269, 282 Sherwin, J. H., 186 Sherwood, Rosina Emmet, 340, 34i " Shinn, Earl " (Edward Strahan), 214 Shinn, Everett, 135 Shirlaw, Walter, bank-note vi- gnettes, 96; an engraver, 85; etchings, 26-27, 34 > illustrations, 228 Sill, Howard, 305 Silversmiths, 53, 138 Simon, 112 Simond, L., 295 Sinclair, T. S., 192, 194 Sindelar, Thomas A., 342 " Sketch Book," Chicago, cited, 306 Slade, D. R., cited, 108 Slader, wood-engraver, 151 Sloan, John, etchings, 42, 43, 208 ; lithographs, 203 ; posters, 325- 326, 327, 331 Smedley, William Thomas, illus- trations, 222, 223, 224, 228, 236; posters, 327 Smillie, George Henry, 28 Smillie, James, line-engravings, 82, 85, 89, 90, 91, 93, 95, 97, zoo, 101, 106 ; etchings, 4 ; litho- graphs, 190 Smillie, James David, aquatints, 130; book-plates, 301, 304; line- engravings, 86, 96, 97, 101 ; etchings, 9, 10, n, 13, 15, 19, 20, 27, 33-34, 35; soft-ground etchings, 21; lithographs, 194; mezzotints, 120-121 ; as printer, 21 ; as teacher, 38, 41 ; cited, 36, 101 Smirke, Robert, designs reproduced, 82 Smith, B. E., 84 Smith, Dan, 320, 328 Smith, F. Berkeley, 325, 326, 331 Smith, Francis Hopkinson, litho- graphs, 199; cited, 224, 225, 227, 231, 237 Smith, George Girdler, 78; (An- nin & Smith), 128, 190, 292 Smith, Hezekiah Wright, 102, 118 Smith, J. Andre, 40, 43 Smith, J. H., 276 Smith, Jessie Willcox, 220, 333, 338 Smith, John Raphael, 112 Smith, John Rubens, 124, 183; aquatints, 123; etchings, 2; litho- graphs, 190; mezzotints, 112; stipple, 77, 79 Smith, Pamela Colman, 307 Smith, Sidney L., book-plates, 300, 303; etchings, 30, 34, 35; line- engravings, 62, 63, 104, 105 ; cited, 9 Smith, William D., 82 Smith, W. Granville, 228, 327 Smither, J., 55, 57, 65, 72, 292 368 INDEX Smithwick, John G., 154, 155, 161 Snyder, H. W., 75 Society of American Artists, 332 Society of American Etchers, 29 Society of American Fakirs, 332 Society of American Wood-En- gravers, 164, 167, 1 68 Society of Colonial Dames, 310 Society of Iconophiles, 52, 104, 131, 135, 171, 200 Soft-ground etching. See Etching. " Soft metal process," 216 Sonntag, Wm. Louis, paintings re- produced, 85 Sons of the Revolution, 29 "Southern Illustrated News," 215 Spanish-American War in carica- ture, 255, 278-279, 284; in lithog- raphy, 193 Sparks, Will, 47 Sparrow, Thomas, 54, 138, 291, 293 Spear, Gil, 335 Spenceley, Frederick, 304, 306 Spenceley, J. Winfred, 104; book- plates, 300, 302, 303, 306, 308, 309, 310 Spencer, Lily Martin, works repro- duced, 206 Spier (Davis & Spier), 152 Spongotype, 134 Sprague, Isaac, 191 Springfield, Mass., Public Library, 169 Squire, Maud Hunt, 47 Staffordshire pottery, views on, 131 Stamp Act, 241, 243, 244 " Stanlaws, Penrhyn " (P. S. Adamson), 276 Stansbury, A. I., 82 Staudenbaur, R., 168 Stauffer, David McNeely, book- plates, 305, 306, 308; caricatures, 259; cited, i, 54, 55, 57, 58, 62, 63, 65, 68, 69, 95, 97, 100, 107, 108, 109, 112, 113, 115, 116, 124, 126, 128, 139, 187, 190, 243, 251, 294, 3*0, 3*6 Steel, James W., 92 Steel, engraving on, 206, 207, and chapter iv in general Steel plates, 94, 95 Steele, Frederic Dorr, 237, 238, 334 Steeper, John, 56, 57 Stephens, Alice Barber, 220 Stephens, Henry L., caricatures, 268, 269; illustrations, 193, 206, 213, 214 Sterner, Albert, illustrations, 228, 2 37> 2 79; lithographs, 202; mon- otypes, 135, 136 Stetson, Charles Walter, 34 Stevens, Thomas Wood and Helen B., 47 Stevens, William Dodge, 237 Stipple engraving, 59, 64, 69-72, in, 113, 124; i9th century, 75- 79, 82, 91, 93, 116, 118, 128, 252; in etching, 21 ; in illustration, 75-77, 82 Stoddard, Richard Henry, cited, 230 Stokes, I. N. Phelps, cited, 52 Stone, Wilbur Macey, 305, 333; cited, 307, 308. See also Trip- tych, The. Story, Thomas C. (Story & At- wood), 68 Stothard, Thomas, designs en- graved, 81 Strahan, Edward ("Earl Shinn"), 214 Strang, William, influence of, 39 Strickland, William, 124, 125 Strobridge Lithographic Co., 193- 194, 320 Strong, Thomas W., wood-engraver, 148, 162, 215; publisher, 144, 317, of lithographs, 255, 256, of periodicals, 215, 266, of wood-engravings, 257, 263 Strother, David Hunter (" Porte Crayon"), 213 Stuart, Gilbert, and the "gerry- mander," 246 ; paintings repro- duced, 69, 71, 72, 75, 119, 185 " Studio " London, cited, 330 " Studio," New York, cited, 12, 34 Stur, Karl Edler von, 273 Sturgis, Russell, 306 Sugden, Thomas D., 154, 162, 218, 317 Sullivant, T. S., 280, 286 Sully, Thomas, lithographs, 181, 183; his paintings reproduced, 76, 77, .83, 92, 115, 116, 186 Sulphur, in etching, 133 " Sun, The," New York, illustra- tions, 217; cited, 31 "Sunset," 338; cited, 47 Sweert, Moses. See Swett. INDEX 369 Swett, Moses, 184, 194 (Endicott & Swett). Sydney " Bulletin," 272 Taber, Florence, 340 Tail pieces, 105 Tanner, Benjamin, 64, 70, 71-72, 75, 80, 81, 83 Tanner, Henry, 94 Tanner, Val lance, Kearny & Co., 95 Tarbell, Edmund C., painting re- produced, 166 Taylor, Charles Jay, 274-275 Taylor, William Ladd, 230, 327 Teague, Darwin, 335 Teniers, David, painting repro- duced, 141 Tennant, W., 56 Tenniel, Sir John, 264; influence of, 274 "Texas Siftings," 283 Thackara, James, 2, 80, 81, 292 Thayer, Abbott Handerson, paint- ings reproduced, 33 Thayer, B. W., & Co., 191, 194 Thomas, George, 317 Thomas, George H., 146 Thomas, Henry A., 194, 318 Thomas, Isaiah, publisher, 59, 73 Thomas & Wylie, 320, 332 Thompson, E. Seton, 214 Thompson, John, 141, 146 Thorpe, Thomas Bangs, 213 Thulstrup, Thure de, 225, 226, 227 Thurston, John, designs repro- duced, 81, 141 ; influence of, 209 Thurwanger, Martin, 188-189 Thwaites, William H., 213 Tickets, engraved, 57 Tiebout, Cornelius, 63, 69, 72, 74, 78, 80, 81, 82, 83 Tietze, Richard George, 161, 168 Tiffany, Louis C., 340 Tinkey, John, 150, 162 Tint blocks, in wood-engraving, 148 Tisdale, Elkanah, 63, 72, 73, 80, 81, 244 Titles, title-pages, engraved in line, 57, 81, 105 ; engraved on wood, 138, 139; etched, 2; maga- zines 210; music,' 57 Tobin, George F., 338 " Tomahawk," London, 271 Tomkins, P. W., 71 Toms, W. H., 53 Toppan, Charles, 184 Toppan, Robert Noxon, cited, 95 Totten, Emma J., 305 Transfer press, 94 Trenchard, James, 72, 292 Triptych, The (W. M. Stone, Jay Chambers, William Jordan), 305, 307, 308 Trollope, Mrs. Frances Milton, 99 Troutsdale Press, cited, 308 Trowbridge, Vaughan, 45, 132 Truesdell, W. Porter, cited, 308 Trumble, Alfred, cited, 281-282 Trumbull, John, paintings repro- duced, 63, 90, 91, 102 "Truth," New York, 216 Tryon, Dwight William, paintings reproduced, 164 Tucker, William E., 98 Turner, A. M., 341 Turner, Charles Yardley, 34 Turner, James, 54, 55, 56, 57; book-plates, 291 Turner, James Mallord William, a " Liber Studiorum " plate copied, 121 ; paintings repro- duced, 125 Twachtman, John H., 25 Twachtman, Mrs. John H., 22 Type-metal, engravings on, 57, 61, 62, 138, 139, 140, 142 Uhle, Bernhard, 13 Underwood, Abby E., 325 " United States Magazine," 212 Union League Club, New York City, exhibition of etchings by women, 22 University of California, 310, 311 Vallance, John, line-engravings, 2, 57, 81, 95; stipple, 77; book- plates, 292 Vanderhoof, Charles A., etchings, 13, 15, 16; soft-ground etchings, 21, 41 ; illustrations, 227 ; litho- graphs, 199 Vanderlyn, John, paintings repro- duced, 77, 90, 97 Van Elten, H. D. Kruseman. See Kruseman van Elten. "Vanity Fair" (London), 272 "Vanity Fair" (New York), 268 Van Ness, I. M., 161 Van Rensselaer, Mariana Griswold (Schuyler), cited, 18, 22, 226 370 INDEX Van Schaick, Steph. W., 279 Vedder, Elihu, book-plate, 306 ; card, 340; caricatures, 268; cover, 338; illustrations, 229; cited, 212-213 "Vehme, Die," 273 Velasquez, paintings reproduced, 166 "Verdict, The," 281 Verger, P. C, 64 Vermeer, paintings reproduced, 166 "Victor, F." (Victor Gillam), 276 Vierge, Daniel, poster, 325 ; influ- ence of, 226 Vinci, Leonardo da, 119; "Last Supper " reproduced, 79 Vinton, Frederic Porter, paintings reproduced, 33 Visscher view of New York, 52 Volk, Douglas, 341 Volkmar, Charles, 10, 28 Vondrous, John C., 40, 43 W., J., 263 Wagner, R., 333 Walcott, Jessie McDermott, 220 Waldo, Samuel Lovett, 103 Wales, James Albert, 272, 274, 276 Walker, Charles A., 35, 134 Walker, Horatio, painting repro- duced, 1 66 Walker, William H., 280, 286 Wall, William G., 84, 126 Wallace, W. H., 29 Waller, Frank, 28 Wallin, Samuel, 212, 215 Walter, Adam B., 118 Walters, William Thompson, 196 "War Cry," 215, 280 War of 1812, illustrated, 83, 125; in caricature, 246-250 Ward, Townsend, cited, 82 Waring, J. D., publisher, 29, 34 Warner, Everett Longley, 304; etchings, 43 Warner, William, 116 Warren, A. Coolidge, 218 Warren, A. W., i, 8, 9 Washburn, Cadwallader, 40, 46 48 _ Washington, George, portraits of, I, 30, 54-55. 60, 6r, 66, 67, 69, 7, 71, 89, 92, 93, 97, 102, 109, no, in, 113, 118, 119, 124, 140; caricatures of, 245 ; portraits in lithography, 181, 182, 183, 185, 195; caricatures of, 245; crossing the Delaware, 3 ; inauguration, 64; book on engraving in his library, 2 Washington "Star," 286 "Wasp," 193, 277 Watson, Henry Sumner, 327 Watson, M. L. D., 219-220 Watt, William G., 173 Wattles, 266 Waud, Alfred R., 215, 217 Waud, William, 217 Way, Thomas R., 200 Webb, Margaret Ely, 305 Weber, Otto, 13 Weber, Sarah S. Stilwell, 220 Webster, Herman Armour, 40, 43- 44, 48 Wedmore, Frederick, cited, 43 Weeks, W. W., 6 Wegner, A. D., 194 Wegner, Brueckner & Mueller, 194 Weingartner (Nagel & Wein- gartner), 186, 189 Weir, Julian Alden, card, 341 ; etchings, 25 ; line-engraving, 105; lithographs, 199; paintings reproduced, 166 Weir, Robert Walter, 3, 6, 32, 98 Welch, Thomas B., 77, 78, 117-118 Weldon, Charles Dater, 216, 341 Wellington, Frank H., 161, 171, 172 Wellmore, E., 77 Wells, Newton A., 47 Wellstood, John Geikie, 94 Wellstood, William, 84, 86, 88 Wenban, S. L., 24 Wendel, Theodore M., 24 Wenzell, Albert Beck, 233 West, Benjamin, etchings, 3; lith- ographs, 1 80; paintings repro- duced, 117 West, Raphael, 180 Westall, Richard, designs repro- duced, 8 1 Westcott, Thomas, cited, 243 Western Art Union, 88 Western Methodist Book Concern, 88 Wheelan, Albertine Randall, 301, 305, 37, 3io Wheeler, Dora. See Keith, D. W. Whelpley, P. M., 117 Whistler, James Abbott McNeill, etchings, 6, 23, 24, 161 ; litho- graphs, 200-201, 202; as printer, 9, 21, 49; paintings reproduced, INDEX 166, 168; influence of, 25, 39, 46; cited, 173, 201 White, Charles Henry, 9, 38, 39- 40, 48 White, Edwin, 6, 198 White, George G., 206, 213, 221 White, Gleeson, cited, 330, 341 White, John, 51 White, John Blake, 117 " White line " in wood-engraving, 140, 141, 142, 145, 163 Whitechurch, Robert, 89, 117 Whitefield, E., 191 Whitmore, Wm. Henry, cited, 108, 143 Whitney, Elias J., 147, 148, 211 Whitney, J. H. E., 161 Whitney, Mrs. O. E., 340 Wickenden, Robert J., 202 Wiederseim, Grace Gebbie, 315 Wiggins, Carleton, 12 Wilcox, John A. J., 103 Wild, J. C, 191 Wildhack, Robert J., 335 Wiles, Irving Ramsay, 227, 228; posters, 325, 326 Will, August, 212 Willcox, Joseph, cited, 95 Williams, R. F., 47, 304 Williams, Virgil, 13 Williamson, Charters, 12 Willing, Thomson, 306 Wilmer, W. A., 77 Wilson, Alexander, 82 Wilson, Rose O'Neill, 220 Wilson, William, 6 Winslow, Henry, 40, 43 Winters, 56 Wolf, Henry, 165, 166, 167, 169, 171, 173 Women artists: book-plate design- ers, 301, 305, 307, 310; card de- signers, 340, 341 ; cover design- ers, 338, 339; etchers, 13, 15, 20, 21, 22-23 ; illustrators, 219- 220; poster designers, 315, 325, 328, 331, 333, 334; wood-engrav- ers, 142, 176 Wood, Joseph, paintings repro- duced, 75, 77, 124 Wood, Robert W., 267 Wood, Samuel, publisher, 140, 145 Wood, Thomas Waterman, 18, 28 Wood-engraving, 36-37, 53, 62, 68, 118, chapter vii, 137-153; the "new school," 97, 151, chapter viii, 154-170, 221 ; painter-wood- engraving, chapter ix, 171-179; advertisements, 140, 315, 316, 317, 318; book-plates, 293, 302, 304; caricatures, 247, 248, 257, 258, 263, 266-271, 273; illustra- tion, 205, 208-216; paper-money, J 38> 139; posters, 317, 318, 320, 332, 3375 color-work, 148, 173, 174, 175, 176, 177, 273-274, 317; printing, 146 ; tones vs. lines, 221, chapter viii ; instruction, 144, 161; durability of wood- blocks, 141, 142, 172; British in- fluence, 146, 151; imitation of copper-plate engraving, 142, 145, 146, 150, 209; designs photo- graphed on the block, 152, 153, X 57> X 59> 230; influence of photography, 106, 238 Woodbury, Charles Herbert, 28, 326, 331 Woodville, R. Caton, 86, 88 Woodward, John D., 151, 218 Woolf, Michael Angelo, carica- tures, 267, 272, 283 ; painting reproduced, 169 Worcester, Albert, 44 "World, The," New York, 216, 284; cited, 229 "World To-Day, The," cited, 287 "World's Work," cited, 284 Worth, Thomas, 193, 259, 265, 267, 283 Wray, Henry Russell, cited, 8, to, 13, 32, 36 Wright, wood-engraver, 145 Wright, Charles Gushing, 91, 95, ICO Wright, Charles Hubbard, 328 Wright, George Hand, 237 Wright, Joseph, i Wust, Theodore, 28, 271 Wylie (Thomas & Wylie), 320 Wylie, Robert, 268 Yale, Dr. Leroy Milton, 9, 10, n, 15, 21, 28, 304 " Yankee Doodle," 266 " Yankee Notions," 144, 266, 267 Yeager, Joseph, 4, 5, 207 Yegel, W. J., 327 Yohn, Frederick C., 237 Yonghe, De, 328 Young, Arthur, 275 " Young America," 144, 267 Young Men's Christian Associa- tion, Orange, N. J., 169 372 INDEX " Zeitschrif t fur Bildende Kunst," Zimmermann, W., 168 cited, 233 Zinc, used in lithography, 318 Ziegfeld, Hugo, 320 Zinc etching, 217, 337 Zimmerman, Eugene ("Zim"), 274, Zogbaum, Rufus Fairchild, 225 276 Zorn, Anders, influence of, 39 DUFFIELD OSBORNE'S ENGRAVED GEMS Signets, Talismans and Ornamental Intaglios, ancient and modern. By the author of "The Lion's Brood," editor of Livy's "Roman History," etc. With 32 plates figuring 700 gems, and numerous line drawings. Large 8vo. $6.00 net. Springfield Republican: " Fascinating to any serious student of art and will also appeal to that larger reading public always to be tempted by curiosities. . . . No form of art has had a more interesting history, or within the last century a more sensational history. . . . Appears to be without a rival in English." 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