WMH Q Nnenan nnecoancano 7 IO UOcU UUYOOOSUS /
fy See ee ete + = er
®
“ .
° « “os . ”
+ * « *
io +
.
.
a en er ee e “
ee Tei en ee ee ee
4°
¥ ea ek re ~ 4
% *
4 4
ay +
ck es Sef aah
4 *
( “
* %
Pi ~ “ . ee ee eee ee ee he oe ae ay Ue Sa ey ey ep t - 3 ~
- a4 4 < “ 4.4
Seer oe ee eee fe
4 *
« Glides mind
.
¢
: a 4
’ no8 Pate wer ae te
2 at
ele
.
* ary Pe eee ee eee ee . ”
“ é
oe
aod
” 4
«
,
Digitized by the Internet Archive
in 2021 with funding from
The Metropolitan Museum of Art
https://archive.org/details/catalogueofexhibOOunse_ 11
CATALOGUE
OF AN EXHIBITION OF
ETCHINGS — .@ | os ae "LONDON, AMIENS BEAUVAIS AND ROUEN
‘ BY | > Se
WITH AN INTRODUCTION BY
FITZROY CARRINGTON 7
&
| FREDERICK KEPPEL & CO. 4 East 39TH STREET .
NEW YORK.
DECEMBER 47x 7o 8187, 1907 _
CATALOGUE
OF AN EXHIBITION OF
ETCHINGS
OF
LONDON, AMIENS
BEAUVAIS AND ROUEN
ey
JOSEPH PENNELL
HB
WITH AN INTRODUCTION BY
FITZROY CARRINGTON
a
FREDERICK KEPPEL & CO.
4 East 39TH STREET
NEW YORK
DECEMBER 4TH To 31st, 1907
ie or 5
a 28 ae mat ‘ve ao 2 ae Rey} vs at oe Borer: ry big i é vate Rita ~ ie at ia
: \ 4° aa - rv me AD iy etek BY BM Fa iles i Vi “ gsc ys “4 a ; AGE Garg ek ak
- . 4 ey th eves | F ~ ' i 44 ae 7 e p ‘ j °
7
ER? ah, sey on at cae: | Li iit eina hy hee OY pes
fe onda whiegess
et rae Bi) “eap ae
Hy HN Wee eae ee vey!
ii Pt AA BS a She
i . ss We if i st oe my, :
ee ge aie roe ia ‘ . , | mse
Sat dy 4h ey nen
INTRODUCTION
N | EVER was the old adage, “ Beauty resides in the eye of the beholder,” more strikingly exemplified than in
these London etchings by Mr. Pennell. From the time of Hollar—whose records of Old London, before the great fire of 1666, are invaluable as historic documents— draftsmen of varying ability have portrayed isolated buildings or scenes which have ap- pealed to them; but not one of them has
recorded for us with such completeness, and in a manner at once so satisfying and so beautiful, as has Mr. Pennell, the range of artistic material which London presents,
from St. Paul’s, magnificent in its sooty grandeur, to that crowning monstrosity of misdirected energy, the Crystal Palace.
London is changing. Commerce and con- venience, beyond doubt, are served by such a badly needed thoroughfare as the newly constructed Kingsway; but in the “march
of progress” many a familiar and long-to- be-remembered building has vanished, and
forever. Of some of these, Mr. Pennell, fortunately, has preserved for us a record — a record not merely of the outward and visi-
ble appearance of a building, such as any photographer can give, but of the peculiar spirit which resides in it and in its environ- ment —for, to those who can apprehend it, houses, public buildings, churches, whole
3
streets, indeed, possess, not less than per-
sons, an individuality peculiar to them- selves, which differentiates them one from
another in a manner unmistakable to the seeing eye.
That it is he who has revealed to us Lon- don, and the beauty of the City in the full- tide of its busy, every-day life, is as little to be questioned as that to Mr. Whistler is due
the honor — who would now be rash enough to withhold it ?—of having first felt and in-
terpreted the beauty of night — night which
could not be painted, so the critics asserted — in his beautiful ‘“ Nocturnes.” Americans both, yet to each of them has London — dear old smoky London, queen among
cities —shown her heart, to each of them
revealed the beauty and the poetry with
which she is saturated. In the “Tower Bridge,” with a few
scrawled lines anda little printer’s ink, what a wealth of sunset glory he has captured! How beautiful the mellow quiet that broods
over “The Dock Head”! Such etchings as these, done in what might be called Pennell’s bolder, more synthetic manner, seem to
mark the beginning of yet another phase of his ever-changing, ever-progressing, art — and who ean prophesy, in the case of an
artist of such resource and variety, com-
bined with such industry as is possible only to an American, where it may lead him?
On the river, Pennell’s themes, and his treatment of them, are open to comparison with the work of the supreme masters, Whistler and Haden. Leave the water- front, and the territory is well-nigh all his own. ‘True, Whistler, in a number of his later plates and in his lithographs, has left
us a priceless and imperishable record of
such things as interested him — little shops at Chelsea, the Old Clothes Exchange at
4
Houndsditech, or what not—but he has searcely touched the rich mine from which
Mr. Pennell has taken many of his latest
and most satisfying artistic treasures. The
palaces, the Abbey, St. Paul’s, are Pennell’s
owh. Lincoln’s Inn Fields has furnished
him with themes for some of his most beau-
tiful plates, almost lacelike in their delicacy ;
“Classic London— St. Martin’s in the Fields” and ‘The Chureh of St. Mary le
Strand” are beautiful in the simplicity of their treatment, altogether satisfying; and
who has better rendered the complex and
never-ceasing flow of traffic than has he in such plates as “ St. Dunstan’s, Fleet Street,”
“Ludgate Hull,” or “ Leadenhall Market,” and by means so simple and so seemingly
inadequate?
Study any of the figures in these plates,
the horses, the cabs or ’busses. They are, in the main, ghosts, suggestions only; but
how well they take their places in the com-
position, how necessary they are, with how
few and simple strokes are they indicated!
The ‘‘ bobby,” the swell, the City man, the
newsboy, the flower-vender — the essential characteristics of each are there, yet the en- semble is never sacrificed to the individual. We may talk of Callot; he, master that he
was, drew his figures — hundreds, thousands
of them; but has he better conveyed, or as well, the sense of movement, of mass, as has Pennell in these London plates?
It is outside the scope of this note to consider them all, or even a small portion of them. Space forbids, and the etchings included in this latest London series num- ber nearly one hundred; but certain char- acteristics they haveincommon. From the
very beginning Mr. Pennell has had a re- markable sense of arrangement, of pattern, and in these etchings of London we see it in
5
greater perfection than ever. In “ Classic London” and ‘* St. Mary le Strand,” already mentioned; in ‘‘ Bridge Street, Westmin- ster,” “‘ Victoria Tower, Westminster,” and
many another, how much of their charm depends upon the way in which they are placed upon the plate, the adjustment of the scene to the space it is to occupy, a wise reticence in line, and a use of blank spaces
where such were needed to bring out the beauty of an individual building, or to add dignity to the composition as a whole! All of these London etchings should be seen and studied. In each will be found some- thing, many things, to attract and charm, presented in a manner so direct, so seem- ingly simple and free from artifice, that one
entirely forgets the means whereby they got
themselves done, and enjoys only the result.
FirzRoy CARRINGTON.
From ‘‘ Pennell’s London Etchings.”’
Reprinted, by permission, from J7Zz22-
sey’s Magazine, October, 1907.
CATALOGUE.
THE LONDON SERIES.
The plates of the entire London series and of the Amiens
15
and Beauvais series are now destroyed.
Leadenhall Market.
Ludgate Hill, showing the Holborn Viaduct.
Classic London,— St. Martin’s-in-the-Fields.
St. Paul’ e
Trial proof, before much additional work in the
sky, in the foreground and on the building to the
left.
The Same.
The finished plate.
Cheyne Walk, Chelsea.
The House Where Whistler Died, No. 74 Cheyne Walk.
Lindsay Row.
Showing the house where Whistler painted the portrait of his mother.
Great College Street.
Rossetti’s House.
On Clapham Common.
‘The Pond, Clapham Common.
Westminster Abbey, West Front.
The Admiralty,
Seen from the archway which forms the en-
trance to Scotland Yard.
St. Clement Dane’s.
~I
eer
16
17
18
19
29
30
dL
33
34
36
37
38
39
40
The Haymarket Theatre.
St. Dunstan’s, Fleet Street.
‘The Gothic Cross.
In front of Charing Cross Station.
The Great Gate, Lincoln’s Inn,
Lincoln’s Inn Fields.
‘The Old Court, Lincoln’s Inn.
The Hall, Lincoln’s Inn.
Entrance to the Hall, Lincoln’s Inn.
Greenwich Park, Number One.
Trial proof, retouched in india ink, by the artist,
as an indication for further work.
\
The Same.
The finished plate.
Greenwich Park, Number Two.
Waterloo Bridge and Somerset House.
King’s College, The Embankment Gate.
Trafalgar Square.
Albert Hall.
St. Bartholomew’s Gate.
Entrance to Henry VII’s Chapel, Westminster Abbey.
Trial proof, before the additional work in the
foreground.
The Same.
The finished plate.
The Dock Head.
The Clock Tower, from the Surrey Side.
London Bridge Stairs.
Waterloo Towers.
Whitehall Court.
The Tower Bridge.
St. Paul’s, The West Door.
Second state.
41
42
43
44
45
46
47
48
49
Bridge Street, Westminster.
The Great Cranes, South Kensington.
Cumberland Terrace, Regent’s Park.
No. 230 Strand.
The Thames, from Richmond Hill.
Hampton Court Palace.
The Crystal Palace.
Trial proof, before much additional work in the
sky, and on the terrace in the middle distance.
The Same.
The finished plate.
At Richmond,
St. James’s Palace.
Cumberland Gate, Regent’s Park.
The Marble Arch.
The Coliseum.
Trial proof, before the birds and the clouds in
the sky, and before much additional work on
the columns of the buildings to the right and left
of the composition, the roof of the houses, ete.
The Same.
St. Mary-le-Strand.
The Last of Old London.
St. Bartholomew’s, The Founder’s Tomb.
St. John’s Gate, Clerkenwell.
Spitalfield’s Church.
St. Augustin’s and St. Faith’s.
The Gate of the Temple.
The Guild Hall.
There were only three or four satisfactory im-
pressions of this plate.
Cannon Street Station.
Lambeth.
Hempstead Ponds,
66 Royal Windsor.
67
68
Bushey Park.
Showing the famous Horse-chestnut Avenue,
which is the finest approach to Hampton Court
Palace.
The Vale of Health.
The memory of Keats, Leigh Hunt, Cowden
Clark and their friends will always hang around
this place.
THE FRENCH SERIES.
AMIENS.
69 The West Front, Amiens,
The Cathedral of Amiens, begun in 1220, is in
purity and majesty of design perhaps the finest
existing medieval structure. It is 469 feet long,
213 across the transepts, and about 150in height
of nave-vaulting. The incomparable fagade has
three huge porches covered with the richest
sculpture, two galleries, the lower arecaded, the
upper filled with statues of kings, and a great
rose and gable between two low, square towers.
The interior is simple and most impressive.
70 Amiens.
BEAUVAIS.
71 The Transept, Beauvais.
The Cathedral of Beauvais is a fragment con-
sisting merely of choir and transepts, begun in
1225 with the intention of surpassing all other
existing churches. The plan failed, owing to
stinted expenditure on the foundations, which
proved too weak for the stupendous superstrue-
ture. The choir, presenting the most beautiful
13th century vaulting and tracery, is 104 feet
long and 157 from vaulting to pavement. It
possesses superb medieval glass. The great
transepts are Flamboyant.
Towers of the Bishop’s Palace, Beauvais.
La Place, Beauvais.
South Door, Beauvais.
North Side, Beauvais. 10
ROUEN.
76 The West Front, Rouen Cathedral.
The Cathedral is one of the most impressive
existing. The wide front ranges in date from
the Romanesque to the Flamboyant. The
Florid south tower (Tour de Beurre) is notable.
The transepts possess fine rose-windows and
admirable seulpture in profusion about their
rich gabled portals. The length of the cathe-
dral is 447 feet; the height of the nave 92.
17 The Cloisters and the Transept Tower, Rouen Cathedral.
78 The Flower Market and the Butter Tower, Rouen.
79 West Tower, from the Cloisters, Rouen.
80 West Tower, from Rue de la Grosse Horloge, Rouen.
81 Grosse Horloge.
82 Market Place, Rouen.
83 Old Rowen, St. Maclou.
84 Rouen, from Bon Secours.
85 Porch of St. Maclou, Rouen.
86 West Front of St. Maclou, Rouen.
87 ‘Tower of St. Ouen.
The abbey chureh of St. Ouen, a celebrated
monument of great size and harmony of design,
was built in the 14th and 15th centuries, except
the fagade, which was finished only recently in
a somewhat earlier style than the remainder.
The central lantern is as famous for grace and
lightness as that of Burgos. Other beauties are
the porch of the south transept and the admir-
able grouping of the apse and radiating chapels.
The length is 453 feet; the height of the nave,
106.
11
; oo — Ss
= ' .. “ a
e-.- on
te ren
~ See 3e5
i. 7 em Stone eee
Oe ee - wee P~— a» — @ ~-av~ wba Sa a ae 2
i ee eae a>
- + we Ry oS ly A AS oe ey orn 9 OGTR Os He ey a
on nee eee —2 9 nw 2-2 Ssuae pads d ba ig beh doe ie
patina be be ee - SERED Dh Oe ol cael ver eA mah ote mm oa
‘ 6a ea --
Spo oy oe SP NG A my 0 ay ah = L ditindllgedioaedotnenes hea ee nes
A A A nme Pa on en De
Pr ie iO a a we ee ete eee ee
php le Hacde'fealiue.ab Paabie de —* eee ee on
: odegnne dee | ++ ore
them d at kadle th alt head nag doheede i ee ae ota -
a eh aig me Gre aoe my oe ee ee See ee Fn SS ah me a aren’ Eh eee, PAP tne
Mah kedetinthaipaten, die Dae ey SRR 8 eR oe : 0 9 en tO Ue FO 8 ah nt i ib oS mi yor al etm tah ome es ee
A
~ = ~ es 2 inden imag acinar ae ie he SN APO ef meet are ee ge mena ome mg eae tog tage COR ae een ener ctens A a OE Oy Nike enrik «Raid arpgonicteys Linon tae tee it ets “ on sop
eigrve aan em Greet hmm oy Ueaéoame © te coettpier tery e oa ace oe - BP Re RE Om ly Pee a eee Shae al nay cna age ieey we
a aes “ rs Oe ee an denne tie en ean _——w : See me eee meen ni op ne ee se ae omy iy toa ees eee ~ lee et, ane. tee ee — - pare - Oy oe ~ ee ” te me > ”
Micra ete ee rs i baker dinin A s A ath edee, aah de eet ee ee ee MPP oO aN ees eo ene Som ma thw ere w tae rie ere io SE SS Se ne dee toe eribanie Shs ap rarer eee
ees OOD Pr ree wie ale
dundee ditto ae, ee 10 nena rede tomb RE ADORE TORE ND mS Pe Pre om ange aoe eh reap ea ee Eh mee we oh aah Sop ee ny ee eee tee dn teil del g
2 rR ene wy A ole Oe ogee fo eee
*- SP Ge Ay nD eh MND i knaan th ae he. dete toni eee ee ee ee a Sa en arte bees ee. eae wees
0 = — ob Selenide, beaten ee) Sp Ss aay
SA wee sey mre tide Sn REAP io a ow mew ye ot edbedene ie hie ie ee ee es
Sle me an nae epee. J PPR ge w= wee fod grap ey da tee ty
AH Ow. excdtndines dnltedeae det ee ee ished Sede denn noe le bie tae reap ke at eee ae ee ee ne
8 el ge ee ye Flr ong ee A rg one me gen nip pets pee bee
ee Hee <7 “4
ate deeds deem eae hae eee ee be tes
SF 8 eng he re oe eee POA 8 NO Er SO ny mae ay 2 I 9 a ea -+- ee ie ee
es Oe te Nt ee oS Sn To enchant eh mignng ogee ph ach bene ae eee ee Be ee bpd digas die ee ee ee Oe ee
9-0 oR ay mere me oe ey 10 NO ANS ny “tre ry mn wey mary oe
aa 5 *
aK pana op
aha Cee sa 2b ee
pas Bee. een ne ee - nee tin tenn ti tee i ebapeae gelliodlr yale "olds Pah tein ee ee
9 eee 8 OTe AO oe se ety tend wed month minG> enap > ori ae) anna rnigl PAE irk ge SS mS norm et pe doe
Pe ketpatee ee ee ee Se -- A am ee eee ee
ice ie ee
eadeemia oe Pie dee eas Sie ee pee
4 ewe Te Re AEP ee th ew St I Sot + © aon mire een weet ase a deere de ig dite oe eee ee Fhe EDX 5 dro Sf ae ye Cady MeL Sole Sie Rip Hamre. belterteone Wegner Se ree hole we rahahe empw exit meee lh es oneay os Sa Dan ee ee ee Rall Oath sdttloheceectegeenat gee wee
hendpias
+ ~ Metin de tee ten en et
Me te a4 ” ~
Snbeaclaacatene, pitas lene tee hee ine at I 8 err wo awe weeny ona : weed Fe ae ye hs rah nn se rl and ne Nuh cre aon oe ee ea 5 Tr orden eng mah aden gone pra ee eo Sie Se eer ee es
Fe An may fron wate iota eae ae te Meee tee ee et brenda ioe Bt SAN OH 0s ona aia manera any waar mmnep aeobuid «lobo Ae sort ene th aan A wt nae) pegenn gta Ant siede tia ~ Pt rth 9 ol ib ly a and Pk er etaw, te weer
a me Nat
; » oo hr tes hy - r alee ean bee tee i ee Cae ees ne ~ : ie eo ee ee SP Se i np ae PPO re ag ane.
8 ot 8 ee ee he Bae Sree eer aa eo" ote draco deindeiedes oP ipo ee ee
ie ee eee Pee me : ee Sly nth 4 nd age @ pee Cro deredin, Te a aera > mill anno dh meray map om gh oth oa ees oF ~2 hes 9 gree a z ‘ . FSO BAD ES pee ee
parti sre cope Sp eb ie s an bo 4 iad ad edededp ace aie, bie ee ee .
=e rie aces bone es
SO. ee we le pried tabbed bie ee ee
hin es dak Iie dee eee Det
- eo se oy ee eb oligos
ror = sisTets : . are eb steAlpshtted- tend oS et ae Setbaary ; a
‘ ; * a "Al Seanad note “aya ‘Sew —— - of ee = bet = Pte ge 3 joke NG ra 4 5 :
Saw) Deiat : : ‘ Ph ea Bier De ne ee finite ae Se oe ie ee Sie oa
+ $4 eee Pandiaaden Dee a Si dbp are <reyp oes cnaliee ab eag o fda enue inaean der nee at ee ae a a: ‘ “ pdbiodeetitia ke Do Se ee Rea teers, . pene ee, ee ae Ripmciele bokt ears ~ aracdeiee alle . bat? fo
Ry i =p i We digg eb pina eee ee
nae oe lg mp nae nage a aiden
PP eb ey oy ; eT ee br een ee ee Oe ee ine ap
est Neem eiried eae gee ae aoe Se be he ee ‘° LSE dein Sa dlietee bilan doe, ee : a 4 e
ne ee oe a epowees es
my rw i he oa ohn 9 re aca . Devic dene a aren 2 : Soe
Rtrd pte te ay ha anoe aaoe pdr pO) mb gpm oe
oe lg <ngyenpryeom nyt aed degetnes fats
2 ea ar Se a are
ne epg et > Bet ye wee ng ag a inl mtv nb ao alt ig Sook me ee PS le oe Bn ki - ~ 5 arenes eget PO ee Pe a ee ae ee aes DI tal tr et fh Ca ee eR oie eae Ps
ay ec ant ent abort at oe eae ee 2 om atl nl anh as baa iy on ibe 1a ne Sih np ea oe rah ey a
$8 nh ey a ny a aingh vil teabaivab ting tek. le ih ee oe ey a wml : ey bee Rig te a ee Pe oO a teehee 3 pee 7 9- aka Me lene bale ie dele ted ede. oe oe ak eed be Nh ome ka ee aneph amsdh oh aly onryh sendy oa wo freme 4 fF pn eee ton : 4 4 ap a op oe She) le mgm pan 8 soe go ig pow - : pees EMR aL eRe ee Re ee : “7 Seats ene hee) SU ep AO A vo Rc barah ish fold cre ety adh oom ede Fe “ nips Help edad and Landy ool BS RB ah ond wee eh ea eae ie a. “ Sd oe Soy ts ib eG ap Ng ay ed as peer ar
. Lareoareae natn atce ae: ¥ ir eel ee hia tnt sel awa ote am
hein ana » He ¢ - i on i «aly cme ipo. gliynes i on oY le ports to te ~ = : aia: tenn A dor ey 2 ore ree.
me b Bet dee ees ee b-bd db eek
ap ni oh i «aly medio eae, Be des oe be ee er et . i ; Se ewe 2 DOE 20 ee ee
leaps ~ ry “ r ‘ 2+ 4 Pe ee, *
erly . Lae a . “ has pee tats erwin ehesyons
ae ta eae
ate
Ose 6 Ob 8 Fos .
2 Rhee brett ete
pie bere St ea sh ip ar Sip oy a oy 8 tt ate . mee Sg ee — ee é s- Sele tgteotee
bite
Rohe Fie ee be gis
Sibis ee
See we
are
Past:
giaye. eee
' i
ee a te Carat! eene ety
hier na
fers Coc ae ae ee a eivieie
view :
fereieien Pelee! Pe peves,
we ¥tOs
SSS ieee
i Pe 6 bys aoe ba
.
*
aisle
7}
loin ®
fee a! ee
e
C/E OORTE Belay
*
le te>
fisine bs
o: Pree sy PEF Swe ne
tb
lelele: 7 ’
Veeters
Pieler a eras t
ele *
. oe epe He aes
ve
. i Shele-eis
Slt Bee Ptelele
4
ehere elkiels ~Ohe! Cig e -e
»
*
* .