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The volume is a series of conversational sketches that present the lives of notable 19th‑century Americans as models of ambition and perseverance. It opens with a vivid portrait of cartoonist Frank Opper, whose work for the “Morning Journal” and “Puck” is praised for its humor and precision. Through a narrated interview, Opper recounts his humble Ohio upbringing, early jobs as a printer’s devil, and the disciplined study that carried him from window‑card sketches to a staff position at a major illustrated paper. The narrative then shifts to sculptor F. Wellington Ruckstuhl, whose own recollections of childhood poetry, restless wanderings, and the decisive break from a lucrative store‑manager career illustrate the same theme of determination. The text weaves these personal anecdotes with reflections on artistic method, offering readers a mosaic of success stories grounded in real‑world experience.
Written in a leisurely, reportorial tone characteristic of late‑19th‑century biographical compilations, the prose blends informal dialogue with earnest moral observation. Its language is straightforward yet occasionally ornate, reflecting the period’s penchant for didactic storytelling. Readers who enjoy historical portraits of industrious figures, or who appreciate a blend of anecdote and moral reflection on the pathways to achievement, will find this collection both informative and inspiring.
The opening · free to read
A “Printer’s Devil” Whose Perseverance Wins Him Well-Earned Reputation as a Fun-Maker.
THE felicity of F. Opper’s caricatures is marvelous. His drawings for the Dinkelspiel stories, by George V. Hobart, in the New York “Morning Journal” have drawn to him the pleased attention of those whom he has caused to laugh at the happy expressions of his characters,—at the ridiculous expressions of the characters,—during Mr. Dinkelspiel’s “gonversationings,” particularly at Mr. Dinkelspiel’s earnest look.
He is a caricaturist of the “first water,” and in this connection I may say that a caricature too carefully drawn often loses its humor. Still Mr. Opper has proved his ability to finish a drawing smoothly. Those familiar with the back numbers of “Puck” will concede this and much more.
His life is an example of determination. I called, by appointment, at his house in Bensonhurst (near Bath Beach), a pretty suburb within the precincts of Greater New York. We stepped into his library.
He drew my attention to the pictures on the four walls of the room. “Those are all ‘originals,’ by contemporaries,” he said, “and there is one by poor Mike Woolf. We were intimate friends, and I attended his funeral.”
STUDIES OUT HIS IDEAS.
The conversation turned toward Mr. Opper himself, and I asked:—
“How is it you can conceive so many ridiculous ideas and predicaments?”
“It is a matter of study,” he replied. “I work methodically certain hours of the day, but very seldom at night. We will say it is a political cartoon on a certain occurrence that I am to draw. I deliberately sit down and study out my idea. When it is formed, I begin to draw. I never commence to draw without a conception of what I am going to do.”
“And when did you first put pencil to paper?” I asked.
“Almost as soon as I could creep. I was born in Madison, Ohio, in 1857, and as far back as I can remember, I had a determination to become an artist. My path often swerved from my ambition, on account of necessity, but my determination was back of me, and whenever an obstacle was removed I advanced thus much farther toward my goal.
“I went to the village school till I was fourteen years of age, and then I went to work in the village store. Both at school and in the store, every spare moment found me with pencil and paper, sketching something comical; so much so, indeed, that I became known for it.”
A PRINTER’S DEVIL.
“I remained in the store for a few months, and then went to work on the weekly paper, and acted the part of a ‘printer’s devil.’ Afterward, I set type. In about a year, the idea firmly possessed me that I could draw, and I decided that it was best to go to New York. But my self-esteem was not so great as to rate myself a full-fledged artist. My idea was to obtain a position as a compositor in New York, to draw between times, and gradually to land myself where my hopes all centered. So my disappointment was great when, on arriving in the city, I discovered that, to become a compositor, I must serve an apprenticeship of three years. I was in New York, in an artistic environment, and had burned my bridges; accordingly I looked for a place, and obtained one in a store. One of my duties there was to make window cards, to advertise the whole line, or a particular lot of goods. I decorated them in my best fashion.”
GOOD USE OF LEISURE TIME.
“All the leisure I had to myself, evenings and holidays, I spent in making comic sketches, and I took them to the comic papers,—to the ‘Phunny Phellow,’ and ‘Wild Oats.’ I just submitted rough sketches. Soon the editors permitted me to draw the sketches also, which was great encouragement. I met Frank Beard, and called on him, by request, and he proposed that I come into his office. So I left the store, after having been there eight or nine months, and ceased drawing show-cards for the windows. I drew for ‘Wild Oats,’ ‘Harper’s Weekly,’ ‘Frank Leslie’s,’ and the ‘Century,’ which at that time was Scribner’s publication; and later for ‘St. Nicholas.’”
It was then that Mr. Opper had an offer from “Leslie’s” to work on the staff at a salary, which he accepted.
“I was only a little over twenty years of age,” he continued. “I was a humorous draughtsman, and a special artist, also; going where I was directed to make sketches of incidents, people and scenes.”
Six years before, Mr. Opper had left the village school with a burning determination to become an artist. It can be seen how well he sailed his bark,—tacking and drifting, and finally beating home with the wind full on the sails. This shows what determination will do.
HIS CONNECTION WITH “PUCK.”
“Three years later,” said Mr. Opper, “I had an offer from the publishers of ‘Puck’ to work for them,—a connection which I severed not long ago, although I still hold stock in the company. I not only made my own drawings, but furnished ideas for others. I have always furnished my own captions, inscriptions and headings. Indeed, they are a part of a cartoon, or other humorous work. I think that I may say that ‘Puck’ owes some of its success to me, for I labored conscientiously.”
Mr. Opper walked over to a mantelpiece for two books of sketches, which he handed me to look at. They contained sketches of the country places he had visited on his summer wanderings.
“And you use these?” I asked.
“Yes; if I want a farmer leaning over a fence with a cow in the distance. I can use that barnyard scene And that bit of a country road can be made useful. So can that corncrib with the tin pans turned upside down on the posts supporting it, to keep the rats off. That old hay-wagon, and that farmer with a rake and a large straw hat can all be worked in. I always carry a sketch-book with me, no matter where I go.”
THE “SUBURBAN RESIDENT.”
On “Puck,” Mr. Opper was the originator of the “suburban resident,” who has since been the subject of much innocent merriment,—the gentleman with the high silk hat, side whiskers, glasses, an anxious expression, and bundles, and always on the rush for a train.
“I enjoyed those,” said Mr. Opper, with a laugh, “before I became a suburban myself.”
“MY LIFE?” repeated F. Wellington Ruckstuhl, one of the foremost sculptors of America, as we sat in his studio looking up at his huge figure of “Force.” “When did I begin to sculpture? As a child I was forever whittling, but I did not have dreams then of becoming a sculptor. It was not till I was thirty-two years of age. And love,—disappointment in my first love played a prominent part.”
“But as a boy, Mr. Ruckstuhl?”
“I was a poet. Every sculptor or artist is necessarily a poet. I was always reaching out and seeking the beautiful. My father was a foreman in a St. Louis machine shop. He came to this country in a sailing ship from Alsace, by way of the Gulf, to St. Louis, when I was but six years old. He was a very pious man and a deacon in a church. One time, Moody and Sankey came to town, and my father made me attend the meetings. I think he hoped that I would become a minister. But I decided that ‘many are called, but few are chosen.’ Between the ages of fourteen and nineteen, I worked in a photographic supply store; wrote one hundred poems, and read incessantly. I enlarged a view of the statue of Nelson in Trafalgar Square, London, into a ‘plaster sketch,’ ten times as large as the picture, but still I did not know my path. I began the study of philosophy, and kept up my reading for ten years. My friends thought I would become a literary man. I wrote for the papers, and belonged to a prominent literary club. I tried to analyze myself. ‘I am a man,’ I said, ‘but what am I good for? What am I to make of this life?’ I drifted from one position to another. Every one was sorry to part with my services, for I always did my duties as well as they can be done. When I was twenty-five years of age, the girl to whom I was attached was forced by her mother to marry a wealthy man. She died a year afterward, and I ‘pulled up stakes,’ and started on a haphazard, reckless career. I went to Colorado, drifted into Arizona, prospected, mined and worked on a ranch. I went to California, and at one time thought of shipping for China. My experiences would fill a book. Again I reached St. Louis. For a year I could not find a thing to do, and became desperate.”
MADE HIS FIRST SKETCH AT TWENTY-FIVE.
“And you had done nothing at art so far?” I asked.
“At that time I saw a clay sketch. I said to myself, ‘I can do as well as that,’ and I copied it. My second sketch admitted me to the St. Louis Sketch Club. I told my friends that I would be a sculptor. They laughed and ridiculed me. I had secured a position in a store, and at odd times worked at what I had always loved, but had only half realized it. Notices appeared in the papers about me, for I was popular in the community. I entered the competition for a statue of General Frank R. Blair. I received the first prize, but when the committee discovered that I was only a bill clerk in a store, they argued that I was not competent to carry out the work, although I was given the first prize medal and the one hundred and fifty dollars accompanying it.”
“But that inspired you?”
“Yes, but my father and mother put every obstacle in the way possible. I was driven from room to room. I was not even allowed to work in the attic.” Here Mr. Ruckstuhl laughed. “You see what genius has to contend with. I was advanced in position in the store, till I became assistant manager at two thousand dollars a year. When I told the proprietor that I had decided to be a sculptor, he gazed at me in blank astonishment. ‘A sculptor?’ he queried, incredulously, and made a few very discouraging remarks, emphasized with dashes. ‘Why, young man, are you going to throw up the chance of a lifetime? I will give you five thousand dollars a year, and promote you to be manager if you will remain with me.’”
HE GAVE UP A LARGE SALARY TO PURSUE ART.
“But I had found my life’s work,” said Mr. Ruckstuhl, turning to me. “I knew it would be a struggle through poverty, till I attained fame. But I was confident in myself, which is half of the battle.”
“And you went abroad?”
“Yes, with but two hundred and fifty dollars,” he replied. “I traveled through Europe for five months, and visited the French Salon. I said to myself, ‘I can do that, and that,’ and my confidence grew. But there was some work that completely ‘beat’ me. I returned to America penniless, but with a greater insight into art. I determined that I would retrace my steps to Paris, and study there for three years, and thought that would be sufficient to fully develop me. My family and friends laughed me to scorn, and I was discouraged by everyone. In four months, in St. Louis, I secured seven orders for busts, at two hundred dollars each, to be done after my return from France. That shows that some persons had confidence in me and in my talent.
“O, the student life in Paris! How I look back with pleasure upon those struggling, yet happy days! In two months, I started on my female figure of ‘Evening,’ in the nude, that now is in the Metropolitan Museum of Art. I finished it in nine months, and positively sweat blood in my work. I sent it to the Salon, and went to Italy. When I returned to Paris, I saw my name in the paper, with honorable mention. I suppose you can realize my feelings; I experienced the first flush of victory. I brought it to America, and exposed it in St. Louis. Strange to say, I rose in the estimation of even my family. My father actually congratulated me. A wealthy man in St. Louis gave me three thousand dollars to have my ‘Evening’ put into marble. I returned with it to Paris, and in a month and a quarter it was exhibited in the Salon. At the world’s Fair at Chicago, it had the place of honor, and received one of the eleven grand medals given to American sculptors. In 1892, I came to New York. This statue of ‘Force’ will be erected, with my statue of ‘Wisdom,’ on the new Hall of Records in New York.”
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