PEN-DRAWING :AND P EN DRAU G HTSM ENBY-.

lOSEPH^PENNELL

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CORNELLUNIVERSITY LIBRARY

THE BROWN-PENNELLCOLLECTION GIFT OF RALPH M. BROWN,IN

'01

MEMORY1941

OF HIS MOTHER ANNA MELIUS BROWN

DATE DUE

Cornell University Library

NC905 .P41 ++ Pen drawing and pen draughtsmen,

2their

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jjAYZl^^e^gl^3 1924 030 667 582olin

Overs

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PEN DRAWING

AND PEN DRAUGHTSMEN

^f

PEN DRAWING AND PEN DRAUGHTSMENTHEIR

ART TODAY WITH TECHNICAL SUGGESTIONS BY JOSEPH PENNELL

THEIR ME THODS A STUDY OF THE

WORK AND

LONDON & NEW YORK MACMILLAN & COMDCCCLXXXIXSi

^^

>/

.

.^O.,'

P

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COPYRIGHTBY

JOSEPH PENNELL1S89IT

A7-I70-

TO

DRAKE W. LEWIS ERASER CHARLES PARSONSA.

W.

RICHMOND SEELEYFOUR MEN WHO SHOULD BE HONOURED FOR THEIR ENCOURAGEMENT OF PEN DRAWING AND PEN DRAUGHTSMEN IN AMERICA AND ENGLANDI

DEDICATE THIS BOOK

PREFA CEpOPULARsided thatit is

ilhistration is the

product of the nineteentJiit

centtiry.

It has neveris

been treated seriously,

and

to-day

covers such a wide field

and

so

manybest

impossible to discuss

more than one of its phases at a

time.

The

illustrators are as conscientious in their profession as the best painters or sculptors.

Butliaveis to

zuith

the

enormous grozuth of and demand for,art,

illustration, drauglitsmen

appeared ivho care nothing at all for theirproduce more than any oneelse,

whose only desire apparentlytlie

and who

threaten, oiuing to

cheapness

and

rapidity wit/i which they

work and

the avidity with zuhic/i certain publishers seize

upon the

results,

to

drag

illustration doion to theirhio-h

owii

low

level.

I haveandto

endeavouredgive,

to

show what a

standard the

best illustration reaches,tJie

for puif OSes of study,

the most notable examples from all over

world.

I aminit

afraid

my

book

may

not appeal very strongly to the book-love^', sincethe established lazus of book-making,tJie

I have

transgressed

many of

and

tJiought

more of facing

the text with

appropriate illustration than of the size

and shape of the page.book decorationis

In some

cases the actual appearanceto me.

of the drawing asof sacrificing either

very unpleasant

Butand

it

zuas a case

practical examples for study, orthe bookis to

else

herebe

there the decoration of a page.to the

If

have any value,

it

must

of use

student ; therefore, in certain

places

I have

not kept to traditional forms.

I

object as

much

as any one to the

meaningless

and senselesstlie

dotting of pictures over the margin

and

their eccentric

arrangement oneccentricity,tive form.

page,

and I think

it

will be realised that necessity,tJie

and

not

has occasioned any placing of

cuts in oilier

than the true decora-

vmIt IS also because the bookis

PREFACEintended primarily for the student that

I publishand

tmtch

work

tJiat

has been seen before, gathered

from

every available sotirce

piLt together,

I

Iiope it ivill be found,

not in a Iiapliazard mamier, but as carefullyto

asit

I

could.

Manyfrom

artists

have been consulted in the selection;;

many

otJiers

will probably be a surprise to see their drawings herezvJiom,

I think

there are verynot included

few

ignorance of their work,

I have

omitted.

I

Iiave

examples of very original men like Majiet and Jean B/iraud,for, tJioughtlieir

I admire

zaork as the supreme expression of individualityit,

andtlie

originality, it is only

of value from the man who producesworthless.

and

t lie

copy by

student

is

worse than

And

for

thebe

same reason examples of many well-known comic

draughtsmen will notliumour which cannottechnique.

found ;

their

reputation

is

based on

tJieir

wit

andtJieir

be imitated, ivhile the studentcritic

can leai'n notliing

from

I trust

tlie

may

not be obliged to point out that

I have

foigotten

any ivell-known pen draughtsmen or important pen drawings published duringtlie

last

half century, within

zvhich time

pen drawing has taken rank as a separateone,

art.

If I have unwittingly overlooked any

I shall

be only too glad, if

I amTlie

allozved the chance, to insert or describe his spelling of some

work on a futureartists

occasion.

of the names of

lesser

known

may

be questioned, while

there

is

at least one

man

zvhose nationality

may

be

wrongly given.

But when

artists themselves spell theirto

names

in three or four fashions,

I

cannot be expected

knozu which

is

right ;

I have

tried to use the most

common form.

And

when

they are continually changing their nationality, one cannot tell to

what country

they really belong.

Where old

reproductions have been used

it

has not been for cheapness, butat the time the drazvino-s were

because these reproductions were the best

made

published,

and

because

if

I had commissionedartists

and

Ulessrs.

willing to

order drazoings from

Macmillan wereit

of established reputation,

is

extremely

doubtful, even

for

this purpose, if they

would have surpassed

the best

work theyin the

had alreadymaking of

done,

and my

object

has beenthe

to sliozo their best zvork.

While

the book

I have had

interestzvitli

and enthusiasm, generosity andvery feio exceptions, these fezo tohesitation

encouragement of the leading publishers

my great

surprise have come altogether

from France, and I have no

in saying that they have prevented

my

including cither any zoork of certain artists

or that which

I speciallyand

desired.

Many

critics

literary

men have

allozaed themselves to be carried

away

PREFACEin praiseto

ix

of drawings whicli

artists cannot respect,

and have

even devoted volumes

the zL'ork of 7ny bookis

men and women whose names aretechnical,

not in the folloiving pages.

But

and

unless a draiuing possesses techniquesocial,

I

care not

a jot or a

tittle

for

its

ifitellectical,is

or spiritual qualities.

Withoutto

technical merit such zvork

useless

for

study.

I have made no endeavour

estimate the value of the drawing of the artists represented, nor to claim for

them any place amongwill be

the immortals.is

I

believe

much ofart.

the zvork will live

and

known

as long as there

any real

love

for

But

since all the greatest

menit IS

here represented, with one or two exceptions, are livingimpossible tois it

and working

to-day,

form any

estimate of the place they will occupy in the future,

nor

my

business to do

so.

In

the preparation of the book, instead of having, as in most cases, authorities

to consult

and acknowledgment

to

make for information gained from

tlicm,

I can my

only say that there are no authorities on

my

subject, this

indeed being one ofas

reasons for writing.

No

works of importance,

so

far

I

have been able to

discover, have been written

upon pen drazuing

since the introductionart.

of process

which has madeacknowledgmentsauthorities,

it

into a separate

and

distinct

However, I have deep

to

make

to artists,

the real but usually unconsultedall, to

and ignored

to publishers, and,is

above

my

wife.to

This book, which

the outcome

of Mr. Richmond Seeleys offer

publish

a small Iiandbook on pen drawing, zvould never have appeared in

its present

form,

had

not Mrs. Pennell devoted

much time

to

the writing

from my

dictation ofit,

the text.

She has managed

all the correspondence

in connection with

and

relieved

me of

the

drudgery of the work.

Without her aid and encouragement,

the almost insurmountable difficulties, altogether unforeseen but encountered at

every

step,

could not Jiave been overcome.next thank Messrs. Macmillan, especiallytheillustrations to

I must

Mr. Frederick Macmillan,beso

for their generosity in allowingpermissionto use

complete,

for their

or reproduce drazoings which have appeared in their publications,the most

and for

their willingness to reject process block after process block,

imperfect of whicJi perhaps not half a dozen people in the zoorld would havecriticised.

The Century Company, my friends and patronsfor publisherstheo-reatest

to-day are

art patrons

who

ever lived,

Jiave freely lent

me

all the drazoings

I wanted from

their unrivalled collection.

In

this

matter

I am

particularly

Xindebted to

PREFACEMr. CharlesF.Chichester,t/ie

assistant

treasurer,

and Messrs.

A.

jr.

DraJce and W. Lewis Fraser, the art editors.lias

Mr. David Douglas of Edinburgh

lent

me

tlie

plate

by

Amand-

Durand

after

Mr. George

Reid.

Messrs.

George Routlcdge and Sons have

also contributed the blocks after

Randolph Caldecott engraved by Mr.to

Edmund

Evans.

Messrs.

Harper have given me permissionand Parsons from She Stoopsto

use;

t/ie

two drawings

by Messrs. Abbey

Conquer

and Mr. Charlesto select

Parsons, the late head of their

Art Department,

ivas

good enoughin

drawingsMessrs.

and have

electros

under

his supennsion

made from them

Neiu York.

Carrcre and Hastings undertook the printing of an edition of Blum's draivnig

fromand

their book on the Ponce de

Leon Hotel ;

zvhile

Messrs. Cassell, CharlesCo.,

Scribners Sons ofCo.,

NewAs

York, Bradbury,

Agneza and

and R.

See leytJieir

have furnished me with editionsto

and

plates

and

blocks

from

different publications.

the great

mass of French, German, Ltalian, andit

Spanish work,

zaith the exception

of original drazvings,zvhich,

zuas obtained

throughhas on

the Electrotype

Agency, the proprietor of

Mr. D.

T.

N'ops,

several occasions gone toin other matters.

much

trouble in obtaining certain electros, as well as

Butartists

after all there

would

be

no illnstraled publications zverereceived directlyIt

it

not

for

and

engravers,

and from them I have

more sympatJiyspecify

andthe

substantial assistance thaninteresting letters

I

ever could have expected.received

is useless to

many

I have

from

all quarters

of the world.

But

when

in several cases these letters have been

accompanied by original drazvings

as freely given as they have been gratefully accepted,to acknozaledo'c the kindness.

I

hardly know hozu dulyto

Onput

commissioning^

Martin Rico

make a

drazvino-,

he gave

me

zaith

it

another quite as importantas heit,

the

one zvhich begins the chapter

on his zvork

simply,at

as a petit soLu-enir.

Casanova, reftsinglittle

toit

make a drazuing

any

price,

sent

instead zvhat he called a

sketch

;

appears as a fullfage photogravure.indebtedness to jMessrs.

I must

also specially acknozvledge]]lro-nian,JJ^.

my

Alpred Parsons, E. A. Abbey,

L.

JJ\llie,

George Reid, David Murray, Mackmurdo and

Home. HarryzvJiile

Furniss, Linleyleast

Sambourne, and thethe kindly aid

artists

of Pick- Me-

Up;

I must at

refer to

and

interest

of Adolf JMenzel,

Vierge,

Dantan, Mine. Lemaire,

Messrs.latter

W. AL

Rossetti,to

Elozoard Lflc, Charles Kecne,

and

/.

G. Lego-e, the

having attended

many

difficult

business details for

me

in Paris.

But

PREFACEthe list IS endless.to be able to

xi

I have already

tried to thank each individually

;

I am glad

again thank all

collectively.

Messrs. Dalziel with the greatest possible generosity

a

generosity which

can only be appreciated when 1 say that these draiuings were lent solely for the

purpose of endeavouring

to

surpass their

own

ivoodcuts, in

which I have succeeded

fu7-nished meF.

with the original draioings by Sir Frederick Leighton, iMessrs.Poynter,

M. Brown and

which were published in

their

Bible

Gallery.

Messrs. Dalziel and Swain have not only givenabout the greatest period of Englishintimately associated, butnegative

me much

invaluable information

illustrationalso

with

which they were

so

Mr. Szoain has

furnished me with the photographic

from which

the

Sandys plate was made.

As

to

the photo-engravers

who havesoughtto

been particularly successful in the reproduction of drawings,

I

have

give them due credit where their zvork appears.to

I

have not space

mention all the

collectors

I have

bothered,

all the

collections

I have waded

through, but

I must

at least alloiv myself the pleasure

of again thanking Mr. J. P. Heseltine for lending me the draioing by FrederickWalker, Mr.

Edmund

Gosse for his book plate by

Mr. Abbey, and Mr. Hallto

for

the

drawing by

the

same

artist

from She Stoops

Conquer.

There-

authorities of the British

and

Sojith

Kensington Museums will probably

member mein therebelled,

as one

who has given them an immense amount of muscular'the fact that

exercise

mere carting of bound magazines ;

they not only never

save on one occasion in the British

Museum,

but were willing to aid

7ne by other

than physical means,also explain that

calls for

my

very best thanks.

I must IBtU

when I say

that

American printing

is

the best,editions.this.

refer especially to magazine zvorkthis

that

is

the rapid printing

of large

would not

be

true in

speaking of the printing of a book likeit,

Messrs.

Clark have taken the greatest possible pains with

and have

been

completely successful.

I do

not believe

it

could have been better printed anywhere.

Westminster, August

1889.

CONTENTSLIST OF ILLUSTRATIONS

INTRODUCTION PEN DRAWINGTitian

IN

.... ....THE PAST:

PAGExviiI

5

13

Some Comparative Heads

Old and New

16

Rembrandt

PEN DRAWING OF TO-DAYSPANISH AND ITALIAN WORKMariano FortunyDaniel ViergeG.J.

.

25

35

404445

FavrettoF.

Raffaelli

A.

Montalti.

464851

Antonio Faeres

Louis Galice and Ferrand Fau

Martin RicoE. Tito A.

....

52

57 5861

Casanova y Estorach

GERMAN WORKAdolf MenzelW. Dietz

.....

69 73 74

H. Schlittgen

Robert Haug and Hermann Luders

n79

Ludwig MaroldA.

Oberlander

So

XIV

CONTENTSPAGE

Albert Richter and other ArtistsA.

in "

Universum

8285

Stucki

.

.

Waldemar Frederick

....

868795

PEN DRAWING

IN

FRANCE.

Leon Lhermitte

.

Edouard Detaille

Madeleine LemaireE.P.

DantanG.

Jeanniot

Louis Leloir

Maxime LalanneUlysse Butin

Drawings of SculptureH. Scott

MarsA. A.

LANgoN

Lalauze

M. DE Wylie

Caran D'Ache

PEN DRAWING

Introduction

Frederick Sandys

Ford Madox BrownE.J.

Poynter

Sir Frederick Leighton

William Small W.T.L.

WVLLIE

Blake Wirgman

..... .... ..... ..... ...... ..... ..... ..... ..... ..... .... .... ..... ..... ..... ..... .

.... ......

.

.

97

99100103

1091

.

.

1012

1

114121

124125

126128

IN

ENGLAND

.

147

150153

157

158 159 160162165

Frederick Walker

George du MaurierCharles KeeneLiNLEY SAMBOURNE

Harry FurnissGeorge Reid

Walter Crane

Randolph Caldecott

..... ..... ....J.

.... .... .... .... ....Raven Hill.

167 i68

173

174 176 179182 184187

Maurice Griffenhagen

Hugh Thomson, Herbert RailtonLeslie Willson and

Alfred Parsons

....

190

CONTENTSPEN DRAWINGEdwinC.S.

XVI'AGE

IN

A.

Abbey

ReinhartB.

ReginaldH. F.

Birch

Farny

Howard PyleArthurB.

Frost, Frederick Remington, E. W.

Alice Barber

Arthur

B.

Frost

Robert Blum

Alfred Brennan

Frederick Lungren

Harry FennKenyon Cox

Wyatt Eaton

.... .... .... .... .... .... .... .... ....AMERICA.

201

204

207208

Kemble

2

10

215

Caricatures

217 21S

220224"2

.

.

7

228231

A FEW WORDS ON PEN DRAWING ELSEWHERE ARCHITECTURAL PEN DRAWING PEN DRAWING FOR BOOK DECORATION MATERIALS FOR PEN DRAWING TECHNICAL SUGGESTIONS FOR PEN DRAWING..

239 249273281

REPRODUCTION OF PEN DRAWINGS HOPES AND FEARS FOR PEN DRAWING INDEX

289.

......

301

311

^

LIST1.

OF ILLUSTRATIONS

Titian.

Landscape.

Process block

XXV. 1882, p.2.

239

Maxime Lalanne. LaAlbert DuRER.Vandyke.Studyp.

.......;

PACK

unsigned.

From

the Gazette des Beaux-Arts^ vol.. .

14

Porte St.-Antoitte,par.

K\-as^.iirAa.Tci.

Process block

;

unsigned..

From.

Zrt

Hotlande a Vol d'Oiseait3.

H. Havard, Ouantin,Process block..

p.;

237

.

for a figure.

unsigned..

From.

Life of Diirer by C..

Ephrussi, Quantin,4.

177

.

.

Head

of a child.

Process blockp.

;

unsigned.

Yxovci Aijtoine. .

Vandyke ; Sa Vie.

et

son CEiivre, par Jules Guififrey, Quantin,5.

59

.

.

.15 .16 .17.

D. G. ROSSETTI.

Study of a head.p.

Woodcut by. .

J.

D. Cooper..

From.

the English Illus..

trated Magazine, 1884,6.

38

.

19

Louis Desmoulins.Moderne,vol. vi.

Portrait of

Georges Ohnet..

Process block. .

;

unsigned.. .

From La.

Vie

1884,

p.

35457

.

7.

Louis

Galice.

Portrait

ofp.

Mme. Madrazo.. .

Process block.

;

unsigned...

From La.

Vie

Moderne,8.

vol. vii.

1885,

Louis Desmoulins.vol. vi.

Portrait of

1884,

p.

324

9.

Vandyke.

10.

Head of Snyders. Process Rembrandt. Head of an old man.Arts, vol. xxxii. 1885,p.

......... ........

.19 .202021

M. Jundt.

Process block

;

unsigned.

Yxom La

Vie Moderne,

block

;

unsigned.

Yxova Ajitoine Vandyke,