Joseph Pennell

Joseph Pennell

(1857-1926)

American writer, lithographer, etcher and illustrator.

L: Pennel at his press in his Adelphi Terrace House appartment, by John McClure Hamilton (1853-1936)

Discussing the beginning of Emile Verpilleux’s color printmaking career with Antwerp St.Jacques' tower in last posting makes it inevitable mentioning Joseph Pennell, earliest promotor and encourager of Verpilleux' work. 

R: 1902 view from the window towards St. Pauls and Waterloo Bridge. Rare double sided newspaper supplement drawn exclusively for the october 25 edition. 

Back in London Verpilleux’ printed works weren't received very warmly but the appreciation of this monumental and influencial writer, illustrator, etcher, lithographer, Whistler’s friend and biographer, undoubtedly must have been of great help. Pennell and his wife, writer Elisabeth Robins Pennell (1862-1952) were (in) the centre of the London art world. 

The Pennells, born and trained in the US, moved to London around 1885. Like that other great pioneering American artist James McNeill Whistler (1834-1903) some 30 years before them.
L. Rare watercolor by Pennell; view from the window.

Whistler was to stay, the Pennells returned after a 30 year stay in London to America. Some texts say 1917, others claim just before the Great War.

The couple lived in posh nr. 3 Adelphi Terrace House, Pennell had his printing Studio there, overlooking the Victoria embankment, Waterloo bridge and the Charing Cross (also named Hungerford) Railway Bridge. Directly next to Charing Cross Station. The luxury houses were designed and build by the Adams brothers some 100 years before.

R: view from the window, railway bridge and embankment.

Adelphi Terrace seen from Hungerford Railway Bridge after completion  and before construction of the Victoria Embankment

Pennell's artwork on the www. is ofcourse abundant and accessible. But here are some rarely seen examples, views from and towards Pennell’s home in the Adelphi building (demolished in 1936). He was a great admirer of Whistler and obviously was impressed with Whistlers inovation: the “Nocturne” or night view. Inspiring him creating some wonderful and very atmospheric impressions of and from this London location. 

1891 lithographic drawing by Joseph Pennel,,
engraved by J.C. Griffiths for "Black and White"  August 22 edition.

Pennell an inspiration to  David Welsh (1937-) ?

These two editions of the same plate  (below) show that Pennell enjoyed experimenting and was  a true master over his materials, press, paper, inks and plates.

 Charing Cross Bridge and Railway station seen  from the Southbank

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After the departure of the Pennell's the appartment from 1919 was owned by Rolls-Royce excutive Claude Johnson (1864-1926). He died the same year as Pennell. Johnson was responsible for the creation of the legendary Spirit of Ecstasy. Her 100th birthday was celibrated 2011. 

It was modeled after Johnson's good looking secretary Eleanor Velasco Thornton in 1911. Johnson shared his secretary with Lord John Scot Montagu of Bealieu. Monty admired and shared with miss Thornton also her more feminine qualities. Traveling in the Mediteranian their ship, the SS Persia, was cowardly torpedoed without notice on December 30, 1915, sinking her and killing 300  of her 500 crew and passengers. 

Miss Thornton drowned, but Montagu survived. Driving a Rolls Royce all his life the view and sight of his mistress from behind (the steering wheel) must have been at least an ambivalent experience...........

Around Antwerpen School of Printmaking (IX)

Emile Verpilleux (V)

In the beginning there was:

Emile Antoine Verpilleux & Hubert Valentine Fanshaw.

Had I known this print, “the Tower”, published in “the Studio” 1910, I would have begun my Antwerp and Verpilleux  postings with it. But I didn't. We can safely assume it is his first. Probably he had just returned to London after his educational years in Antwerp. It is Antwerp’s St. Jacobs tower and for that reason I repeat here some already shown contemporary woodblocks.

L: A.v.d.J             R: Jean Claessens (1978-1963)

The mysterious artist mentioned in the 1913 article in "the Studio", "who knew the ropes" and succeeded in persuading young Verpilleux to change from painting into taking courses in printmaking with Eduard Pellens was most certainly Hubert Valentine Fanshaw (1878-1940). Fanshaw studied in the Sheffield Technical School, the Royal College of Art in London and in the Academie Royale des Beaux Arts in Antwerp. He immigrated to Canada in 1912 just before the second article on Verpilleux beginning of 1913 in the “the Studio” illustrated with two color prints by Verpilleux. Honouring Fanshaw for his foresight I show a selection of, his typical Canadian, prints here. And if I said they were by Walter J. Phillips you would believe me too. 

Two other artists followed Fanshaw to Canada a year later, in 1913: Walter Joseph Phillips (1884-1963) and the etcher Cyril Barraud (1877-1940) Also, in 1913,  Dresden trained German printmaker Henri Eric Bergman (1893-1958) immigrated to Canada and these 4 men were to become the founding fathers of the Society of Canadian Painter-Etchers/Engravers. As a watercolor painter Phillips took up etching only after 1914 (taught by Barraud who left for the War) and his block printmaking career started even later. These prints by Fanshaw showing how these men influenced each other creatively. Phillips has more then enough entries in the www. Bergman's and Barrauds work I shall discuss and show later. 


Another souvenir de Belge is Verpilleux' print "Malines" showing the majestic tower of St. Rombouts Cathedral in Malines (Mechelen). It should have been almost twice as high but the imbalance between ambition and reality left it an impressive 96 meters still. As we know today this medieaval financial crisis surely wasn't the first nor to be the last. 

A century after Verpilleux sat there nothing much has changed in mediaeval Mechelen. But I am quite sure Verpilleux is trying to tell us more then just showing a nice view. A procession seems to be going on and there's statue clearly visible. The statue (removed and replaced in 2006) is of Margareth of Austria Savoy (1480-1530) 

She choose Mechelen her residence ruling over the Lower Countries. In the end of her life processions were held to her health. She suffered and died of a bone marrow infection after a fall from her horse and after a not very happy life. But she was well loved by her subjects. Also since 1273 the famous Hanswijk procession devoted to Maria is held here every sunday before Ascension (end of april, beginning of may) for over 800 years. Followed by a horse drawn parade with historical themes and relics of St. Rombout. Although very small the horses and horsemen are clearly visible. Well well, Emile Verpilleux the teacher, hidden history lessons from a woodblock print. 


PS: thanks to Charles (see comments) here is Emil Orlik's (1860-1911) view on Mechelen (Malines) and St. Rombouts. He visited Belgium and the Netherlands in 1898.

Around Antwerpen School Printmaking (VIII)

Emile Antoine Verpilleux (IV)

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

It would be interesting comparing Verpilleux’s British Museum print with works by his colleagues of the period who also choose similar classic-revival buildings. The more I look at Verpilleux' prints the more I am convinced he deliberately choose a different approach from his colleagues. A view not done before (Edinburgh, York), an even grander panorama (river Thames), a daring perspective (Tower Bridge) or like here, a careful choosen detail of the front entrance of the British Museum.   

This section of a very recent photograph (right) showing  how accurate a woodengraver and printmaker he was. Nothing much has changed in a 100 years except for maybe the fashion. In earlier comments it was discussed photography may have been used creating composition. A posting is already in preparation showing the photogravures of enigmatic William Hyde proving the interaction, use and thin line between early photography and other forms of Art.  

The British Museum (designed by architect Robert Smirke) was opened in 1847. American etcher Joseph Pennell (1857-1926) when living in London (untill 1914) had his own studio on the Adelphi Terrace overlooking river Thames and also had a keen eye for  drama and perspective. He created these two British Museum prints. 

The two artists actually may even have met. Pennel also staging, suggesting crowds in the lower margins in most of his prints, like Verpilleux and August Lepère (see before postings). This is perticularly the case in both artists New York high-rise prints (later)   

Pennel also created this view of St. Pauls cathedral:  “St. Paul’s pavement”. 


(This print/etch sometimes wrongly titled "the London Stock Exchange" for reasons not difficult to understand as you can see later)  

The Paris Stock Exchange (“Bourse de Paris”), build in 1825, was a comparable classic decorative city landmark attracting many and various artists,

like this other great artist Emile Verpilleux may have met either in London or in Antwerp: Frantisek Tavik Simon (1877-1942). Simon is said to have visited Antwerp and Holland while living in Paris, the years Verpilleux studied there. He later stayed and worked in London when Verpilleux had returned in 1910. 
 

Anton Schutz (1894-1977) a German printmaker (left) who later immigrated to the US and made it to fame and glory as a printmaker of American city-scapes was here too.

And Luigi Kasimir (1881-1962), in spite of his Italian name, Austro-Hungarian innovator of color-etching was inspired creating one of his most interesting works here (above). It is certainly one of his most entertaining. Kasimir was in London too, have a look at both his and Verpilleux' Tower Bridge print here*

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Also by Luigi Kasimir is “Eglise Madeleine” a neo classical colonnade church. Building started before the French Revolution and was at last completed in 1842. Chopin’s funeral ceremony was held here a few years later in 1849. His last request was Mozart’s Requiem to be played. The service was delayed for two weeks allowing for the exception to be made for female choir members attending in the church. But invisible, singing from behind curtains was the comprise. 

In Berlin the “Altes Museum” by architect Karl Friedrich Schinkel was similarly build 1823-1830 on the Museum Insel. The entrance closely resembling the British Museum. Or is it the other way around. Just a coincidence?

In the Victorian era similar neo-classical buildings were designed and build in many places in the Old and New World. 


National Galleries, Banks and almost every Stock Exchange Building was designed with classic columns. Showing-(off) wealth (companies), good taste (city officials) and to impress mortals (tax and insurance payers). Creating a feeling of safety and stability. 
After a century and a half in the case of the National Galleries only this seems to have been justifiable architectoral symbolism. Like the stability they once symbolised  the columns have all but disappeared from modern buildings today. 

The list of similarly designed decorative and impressive buildings is as long as the list of artists and photographers portraying them. Sydney Jones (1881-1966) and his rendering of the Royal Exchange (above, collums of the Bank of England on the left) the last example for this posting.
  

The new Rome Stock Exchange was designed and rebuild just before the Victorian age and may have set the example and revival to Victorian Europe's city architects. In Rome they re used the actual columns (those that were left) of Hadrian’s palace.  Some 15.

Emperor Hadrian (76-135 AD) middlest of the Five Good Emperors might have walked the Londinium Hills during his visit in 122 AD, thus nicely closing the circle of this posting on Verpilleux' 3 British Museum pillars.

Question: Shall I continue with another posting on Verpilleux' prints , or move on ?

Around Antwerpen School of Printmaking (VI)

Emile Antoine Verpilleux (III).

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

 Thames view towards Charing cross (Hungerford) railway bridge.
Under Waterloo Bridge

Verpilleux' view of River Thames is a remarkable achievement in many ways. It's accurate, it's panoramic, has great colours towards a setting sun. And it's without any equivalent. The broad waters dramatically rushing towards the viewer. Again: remember this is not a painting but a woodblock print. On the far left South Bank: the bell tower of County Hall. The Victoria Tower and Clock Tower are in the centre. The two towers of White Hall Court and Cleopatra's Needle on the Victoria Embankment on the right.

Were the artist sat.

To emphazise his very low view point he shows a glimpse of one of those caracteristic Victorian lanterns on the Victoria embankment wall above him. Adding yet another element to the already very strong perspective.


Would it have been a painting and more known it would have been discussed and analysed by art experts all over the world. It would have hung in a prominent Museum on a prominent spot. But it's not. Not a painting, not well known, nor on display in any museum. Not even in London. A shame !

This above birds eye view of what Verpilleux is showing us from the centre of his print: Victoria Tower (the little yellow dot is where he sat.

Adelphi , Cecile and Savoy Hotels, around 1905,
 the pontoon  l.r. seen from Waterloo bridge.

Verpilleux choose a dramatic low view point. As low as he could find. On the surface of River Thames on a pontoon build in 1869 (it's no longer there) and in front of the Savoy Hotel and practically under Waterloo bridge. 
Thus, cleverly enabling him, placing the horizon and Westminster Bridge below the railway bridge with its caracteristic domed pillars and steaming engine driving towards Charing Cross Station. 

It is possibly the most depicted, painted and photographed London panorama.

View from the Cecile Hotel.

But there's really no equivalent to Verpilleux' print showing the greatness of River Thames. 

The only modern prints I know with a similiar scene and similar low perspective is "Pont Royal" with river Seine in Paris by German woodblock printmaker Heine Rath (1873-1923) 
and etcher Luigi Kasimir (1879-1937) with river Elbe and Hamburg.


There are many great and famous paintings of this grand panorama. Most but a handfull of artists however choose a higher position either from the Victoria Embankment, the bridge crossing or high up from the Savoy or Cecile (no longer there) Hotels. Painters, etchers and photographers.

From this perspective Claude Monet 1903 clearly choose higher grounds for this and countless other views in changing weather and atmosphere.


Here are some examples of the famous railway bridge as seen from Waterloo bridge. Massive White Hall Court dominating on the right.

French Impressionist Camille Pissaro (1830-1903): view from Waterloo Bridge (build 1865). Probably painted 1871, the year he visited London

American Impressionist Frederick Childe Hassam (1859-1935), 1929

Czech artist Frantisek Tavik Simon (1877-1942), one of the finest European painters and graphic artists of the xxth century, visited Antwerp and lived in Paris 1904-1914. This is his sketch of Thames tugboats and the railway bridge.

Andre Derain (1880-1954):  1906

And contemporary painter Claire Randall stood right above where Verpilleux sat. Restored RS Queen Mary (a restaurant) now moored at this location.

Under Waterloo Bridge in 1924 around the time Verpilleux sat there.  One of my favorite artists Dutch painter and etcher Willem Witsen (1877-1942) had a fascination for this spot too around 1905 (below). He made several paintings.

From the great many wonderful pictures I found researching Verpilleux' print these I cannot withhold sharing here: 

The railway bridge and the Victoria Embankment at night seen from the other (West) side, from Westminster Bridge. White Hall Court and Charing Cross station on the left, a 1904 photogravure (click!) by William Hyde (could find no biographical data). I will come back to him later. 


And Whistler's friend, American Joseph Penell (1857-1926) had a fascination for this bridge too: "under Charing Cross Bridge" and "Westminster and railway bridge" seen from Waterloo Bridge' South Bank.

In next posting I'll show a selection of the more celebrated and popular London and Thames impressionist views I found researching this article to emphazise the importance of Verpilleux' woodblock print. Impressionist views from the Grand Hotels on the Victoria Embankment between Waterloo Bridge and the Adelphi Terrace.


This posting has been my most extensive, time consuming and laborous contribution to this Blog so far. Leaving feedback and comments is always welcomed.