More importantly, The Studio's editors solicited and commissioned prints for publication in its pages by leading as well as lesser known printmakers of the 1890s and beyond, both British and continental. No less that five Whistlers appeared in its pages by 1897, each bearing The Studio's distinctive blind stamp. Section III opens with a copy of The Studio's distinctive wrapper showing two practitioners of the applied and fine arts standing hand in hand under the branches of a stylized tree, each holding the symbolic implements of their creative professions. The Studio published a total of seven of his prints in its pages by 1900. Following these is a selection of twelve more prints typical of those found in the pages of The Studio including two color lithographs by important French printmakers of the day.
Whistler is represented with three prints.
Originally printed by Thomas Way, the Pennells later had them reprinted and bound as frontispieces into their co-authored book, The Whistler Journal , published in 1921. In a special limited edition of that book they also boldly autographed them. Here is Georgetown's copy opened to those two autographed prints. Pennell is represented by three of his London etchings, each dealing with St. Paul's, and all thought to have been drawn by 1900. Note Pennell's masterful treatment of the architecture of the building, especially its columns and their capitals, and note his skillful renderings of the comings and goings of the human throng in the foreground.