Dickens and His Illustrators
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Title: Dickens and His Illustrators
Author: Frederic George Kitton
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DICKENS
AND HIS ILLUSTRATORS
[Illustration: "And so as Tiny Tim observed, God bless us every one!"
Charles Dickens]
PLATE I
CHARLES DICKENS
From a scarce Lithograph by
SOL. EYTINGE, JUNR.
This Portrait was published during the Novelist's last visit to America
(1867-68), by Fields, Osgood & Co., of Boston, their advertisement
describing it as "an Authentic Portrait of Charles Dickens, drawn on
stone by S. Eytinge, Jr., whose Illustrations of Dickens's Novels have
been so popular." The late Mr. J. R. Osgood did not recall any actual
sitting for the Portrait, but remembers that Eytinge often saw Dickens
while making the drawing. The impression from which the present
reproduction was made is particularly interesting on account of the
quotation from "A Christmas Carol" in the autograph of Dickens.
_Lent by Mr. Stuart M. Samuel._
DICKENS
AND HIS ILLUSTRATORS
CRUIKSHANK, SEYMOUR, BUSS, "PHIZ," CATTERMOLE
LEECH, DOYLE, STANFIELD, MACLISE, TENNIEL
FRANK STONE, LANDSEER, PALMER, TOPHAM
MARCUS STONE, AND LUKE FILDES
BY
FREDERIC G. KITTON
AUTHOR OF "CHARLES DICKENS BY PEN AND PENCIL," ETC.
WITH TWENTY-TWO PORTRAITS AND FACSIMILES OF
SEVENTY ORIGINAL DRAWINGS NOW REPRODUCED
FOR THE FIRST TIME
_SECOND EDITION_
LONDON
GEORGE REDWAY
1899
TO
CHARLES DICKENS'S DAUGHTER
KATE PERUGINI
THESE NOTES UPON THE ILLUSTRATIONS
TO HER FATHER'S WRITINGS
_are respectfully dedicated_
BY THE AUTHOR
PREFACE
In the matter of pictorial embellishment, the writings of Charles
Dickens may be regarded as occupying a unique position. The original
issues alone present a remarkable array of illustrations; and when we
remember the innumerable engravings specially prepared for subsequent
editions, as well as for independent publication, we are fain to confess
that, in this respect at least, the works of "Boz" take precedence of
those of any other novelist. These designs, too, are of particular
interest, inasmuch as they are representative of nearly every branch of
the art of the book-illustrator; both the pencil of the draughtsman and
the needle of the etcher have been requisitioned, while the brush of the
painter has depicted for us many striking scenes culled from the pages
of Dickens.
The evolution of a successful picture, as exhibited by means of
preparatory sketches, is eminently instructive to the student of Art.
The present volume should therefore appeal not merely to the Dickens
Collector, but to all who appreciate the artistic value of tentative
studies wrought for a special purpose. The absolute _facsimiles_, here
given for the first time, enable us to obtain an insight into the
methods adopted by the designers in developing their conceptions, those
methods being further manifested by the aid of correspondence which,
happily, is still extant.
Referring to Dickens's intercourse with his Illustrators, Forster
significantly observes that the artists certainly had not an easy time
with him. The Novelist's requirements were exacting even beyond what is
ordinary between author and illustrator; for he was apt (as he himself
admitted) "to build up temples in his mind not always makeable with
hands." While resenting the notion that Dickens ever received from any
artist "the inspiration he was always striving to give," his biographer
assures us that, so far as the illustrations are concerned, he had
rarely anything but disappointments,--a declaration which apparently
substantiates the statement (made on good authority) that the Novelist
would have preferred his books to remain unadorned by the artist's
pencil. That the vast majority of his readers approved of such
embellishment cannot be questioned, for the genius of Cruikshank and
"Phiz" has done much to impart reality to the persons imagined by
Dickens. We are perhaps even more indebted to the excellent
illustrations than to the Author's descriptions for the ability to
realise the outward presentments of Pickwick, Fagin, Micawber, and a
host of other characters, simply because the material eye absorbs
impressions more readily than the mental eye.
That Dickens's association with his Illustrators was something more than
mere coadjutorship is evidenced both in Forster's "Life" and in the
published "Letters." From these sources we derive much information
tending to prove the existence of a warm friendship subsisting between
Author and Artists; indeed, the latter (with two or three exceptions)
were privileged to enjoy the close personal intimacy of Dickens and his
family circle. Recalling the fact that the Novelist not unfrequently
availed himself of the traits and idiosyncrasies of his familiars, it
seems somewhat strange that in the whole range of his creations we fail
to discover a single attempt at the portraiture of an artist; for those
_dilettanti_ wielders of the brush, Miss La Creevy and Henry Gowan, can
scarcely be included under that denomination.
During the earlier part of this century the illustrators of books
seldom, if ever, resorted to the use of the living model. Such experts
as Cruikshank, Seymour, "Phiz," Maclise, Doyle, and Leech were no
exceptions to this rule; but at the beginning of the sixties there arose
a new "school" of designers and draughtsmen, prominent among them being
Leighton, Millais, Walker, and Sandys. Those popular Royal Academicians,
Mr. Marcus Stone and Mr. Luke Fildes (the illustrators respectively of
"Our Mutual Friend" and "Edwin Drood"), are almost the only surviving
members of that confraternity; they, however, speedily relinquished
black-and-white Art in order to devote their attention to the more
fascinating pursuit of painting. While admitting the technical
superiority of many of the illustrations in the later editions of
Dickens's works (such as those by Frederick Barnard and Charles Green),
the collector and bibliophile claim for the designs in the original
issue an interest which is lacking in subsequent editions; that is to
say, they possess the charm of association--a charm that far outweighs
possible artistic defects and conventions; for, be it remembered, these
designs were produced under the direct influence and authorisation of
Dickens, and by artists who worked hand in hand with the great romancer
himself.
It is averred that "Phiz," who rightly retains the _premier_ position
among Dickens's Illustrators, placed very little value upon his
tentative drawings, which, as soon as they had served their purpose,
were either thrown upon the fire or given away incontinently to those
who had the foresight to ask for them. Fortunately, the recipients were
discriminating enough to treasure these pencillings, many of them having
since been transferred to the portfolios of collectors. For the
privilege of reproducing interesting examples I am indebted to Her Grace
the Duchess of St. Albans, Mr. J. F. Dexter, Mr. M. H. Spielmann, Mr.
W. H. Lever, Messrs. Robson & Co., the Committee of Nottingham Castle
Museum, and others. I am especially grateful to Mr. Augustin Daly, of
New York, for so generously permitting me to photograph the famous
"Pickwick" drawings by Seymour, together with a hitherto unpublished
portrait of that artist. The portrait of Dickens forming the
frontispiece to this volume is reproduced from a unique impression of a
very scarce lithograph in the possession of Mr. Stuart M. Samuel.
In order to give an effect of continuity to my Notes, I have lightly
sketched the career of each Artist, introducing in chronological
sequence the facts relating to his designs for Dickens. In several
cases, the proof-sheets of these chapters have been revised by the
representatives of the Artists to whom they refer, and for valued aid in
this direction my cordial thanks are due to the Rev. A. J. Buss, Mr.
Field Stanfield, Mr. A. H. Palmer, and Mr. F. W. W. Topham. Those of
Dickens's Illustrators who are still with us have furnished me with much
information, and have kindly expressed their approval of what I have
written concerning them. I therefore avail myself of this opportunity of
tendering my sincere thanks, for assistance thus rendered, to Mr. Marcus
Stone, R.A., Mr. Luke Fildes, R.A., Mr. W. P. Frith, R.A., and Sir John
Tenniel, R.I., whose mark of approbation naturally imparts a special
value to the present record. I am still further indebted to Mr. Stone
and Mr. Fildes for the loan of a number of their original drawings and
sketches for Dickens, which have not hitherto been published.
Owing to the circumstance that many of the so-called "Extra"
Illustrations are now extremely rare, my list of them could never have
been compiled but for advantages afforded me by collectors, in allowing
me to have access to their Dickensiana. The kind offices of Mr. W. R.
Hughes, Mr. Thomas Wilson, Mr. W. T. Pevier, and Mr. W. T. Spencer are
gratefully acknowledged in this connection, as well as those of Mr.
Dudley Tenney of New York, who has rendered me signal service in respect
of American Illustrations.
To Forster's "Life of Dickens" and to the published "Letters" I am
naturally beholden for information not otherwise procurable, while
certain interesting details concerning "Phiz's" drawings and etchings
are quoted from Mr. D. C. Thomson's "Life and Labours of Hablôt K.
Browne," which is more extended in its general scope than my
previously-issued Memoir of the artist.
I am privileged to associate the names of Miss Hogarth and Mrs. Perugini
with this account of Charles Dickens and his _collaborateurs_; to the
former I am obliged for permission to print some of the Novelist's
correspondence which has never previously been made public, while the
latter has favoured me with the loan of photographic portraits. Finally,
I must express my indebtedness for much valuable aid to George
Cattermole's daughter, Mrs. Edward Franks, the "cousin" to whom the
Novelist alluded in a letter to her father dated February 26, 1841, and
to whose "clear blue eyes" he desired to be commended.
F. G. KITTON.
ST. ALBANS, _September 1898_.
CONTENTS
PAGE
PREFACE vii
LIST OF ILLUSTRATIONS xv
GEORGE CRUIKSHANK 1
ROBERT SEYMOUR 29
ROBERT W. BUSS 47
HABLÔT K. BROWNE ("PHIZ") 58
GEORGE CATTERMOLE 121
ILLUSTRATORS OF THE CHRISTMAS BOOKS 136
JOHN LEECH 138
RICHARD DOYLE 149
CLARKSON STANFIELD, R.A. 153
DANIEL MACLISE, R.A. 161
SIR JOHN TENNIEL 172
FRANK STONE, A.R.A. 175
SIR EDWIN LANDSEER, R.A. 180
SAMUEL PALMER 182
F. W. TOPHAM 189
MARCUS STONE, R.A. 192
LUKE FILDES, R.A. 204
APPENDIX
I. ILLUSTRATORS OF CHEAP EDITIONS 219
II. CONCERNING "EXTRA ILLUSTRATIONS" 227
III. DICKENS IN ART 243
INDEX 249
LIST OF ILLUSTRATIONS
_No. of
Plate._ _Subject._ _Artist._
1. Portrait of CHARLES DICKENS SOL. EYTINGE, Junr. Frontispiece
2. Portrait of GEORGE CRUIKSHANK BAUGNIET Facing page 1
3. "Jemima Evans."--_Sketches by Boz_ G. CRUIKSHANK „ 4
4. "The Four Miss Willises."--_Sketches
by Boz_ „ „ 6
5. "Thoughts about People."--_Sketches
by Boz_ „ „ 8
6. "The Parish Engine."--_Sketches by Boz_ „ „ 10
7. Studies for Scenes and Characters.--_Sketches
by Boz_ „ „ 12
8. "Mr. Bumble Degraded in the Eyes of the
Paupers."--_Oliver Twist_ „ „ 14
9. "Mr. Claypole as he Appeared when his Master
was Out."--_Oliver Twist_ „ „ 16
10. "Oliver Amazed at the Dodger's Mode of
'Going to Work.'"--_Oliver Twist_ „ „ 18
11. Studies for Bill Sikes, Nancy, and the
Artful Dodger.--_Oliver Twist_ „ „ 20
12. Studies for Bill Sikes in the Condemned
Cell.--_Oliver Twist_ „ „ 22
13. Study for "Fagin in the Condemned
Cell."--_Oliver Twist_ „ „ 24
14. First Idea for "Fagin in the Condemned
Cell" and other Sketches.--_Oliver
Twist_ „ „ 26
15. Portrait of ROBERT SEYMOUR TAYLOR „ 29
16. "Mr. Pickwick Addresses the Club."--_The
Pickwick Papers_ R. SEYMOUR „ 32
17. "The Pugnacious Cabman."--_The Pickwick
Papers_ „ „ 34
18. "Dr. Slammer's Defiance of Jingle."--_The
Pickwick Papers_ „ „ 36
19. First Study for "The Dying Clown."--_The
Pickwick Papers_ „ „ 38
20. "The Runaway Chaise."--_The Pickwick
Papers_ „ „ 40
21. "The Pickwickians in Mr. Wardle's
Kitchen."--_The Pickwick Papers_ „ „ 42
22. Portrait of ROBERT W. BUSS R. W. BUSS „ 47
23. Unused Design for the Title-Page.--_The
Pickwick Papers_ „ „ 48
24. "The Break-down."--_The Pickwick Papers_ „ „ 50
25. "A Souvenir of Dickens" „ „ 52
26. Dolly Varden.--_Barnaby Rudge_ „ „ 54
27. Florence Dombey and Captain Cuttle.--_Dombey
and Son_ „ „ 56
28. Portraits of HABLÔT K. BROWNE and ROBERT
YOUNG From Photographs „ 58
29. "A Sudden Recognition, Unexpected on
Both Sides."--_Nicholas Nickleby_ H. K. BROWNE „ 64
30. Studies for the Cheeryble
Brothers.--_Nicholas Nickleby._ „ „ 68
31. Master Humphrey and the Deaf
Gentleman.--_Master Humphrey's Clock_ „ „ 72
32. "The Dombey Family."--_Dombey and Son_ „ „ 76
33. "Paul and Mrs. Pipchin."--_Dombey and Son._ „ „ 80
34. "Mr. Peggotty's Dream comes True."--_David
Copperfield_ „ „ 84
35. "Mr. Chadband 'Improving' a Tough
Subject."--_Bleak House_ „ „ 92
36. Dolly Varden.--_Barnaby Rudge_ H. K. BROWNE „ 98
37. Miss Haredale.--_Barnaby Rudge_ „ „ 110
38. Portrait of GEORGE CATTERMOLE From a Photograph „ 121
39. Quilp's Wharf.--_The Old Curiosity
Shop_ G. CATTERMOLE „ 124
40. The Death-bed of Little Nell (Two
Studies).--_The Old Curiosity Shop_ „ „ 126
41. The Night Watchman and The "Maypole"
Inn.--_Barnaby Rudge_ „ „ 130
42. The Murder at the Warren.--_Barnaby Rudge_ „ „ 132
43. Portrait of JOHN LEECH Sir J. E. MILLAIS, P.R.A „ 138
44. "Richard and Margaret."--_The Chimes_ J. LEECH „ 140
45. "John, Dot, and Tilly Slowboy."--_The
Cricket on the Hearth_ „ „ 142
46. "Caleb at Work."--_The Cricket on the
Hearth_ „ „ 144
47. "The Tetterbys."--_The Haunted Man_ „ „ 146
{From a Photograph, and}
48. Portraits of RICHARD DOYLE and
D. MACLISE, R.A. {from the Painting by } „ 149
{E. M. Ward, R.A }
49. Portraits of CLARKSON STANFIELD, R.A.,
and FRANK STONE, A.R.A From Photographs „ 153
50. "War" and "Peace."--_The Battle of
Life_ C. STANFIELD, R.A „ 156
51. "The Tower of the Chimes" and "The
Spirit of the Chimes."--_The Chimes_ D. MACLISE, R.A. „ 162
52. "Milly and the Old Man."--_The Haunted
Man_ F. STONE, A.R.A „ 176
53. Portraits of SIR JOHN {From a Photograph, and}
TENNIEL, R.I., and SIR {from the Painting by }
EDWIN LANDSEER, R.A {Sir F. GRANT, P.R.A} „ 180
54. Portraits of F. W. TOPHAM and
SAMUEL PALMER From Photographs „ 182
55. "The Villa D'Este."--_Pictures
from Italy_ S. PALMER „ 186
56. Portrait of MARCUS STONE, R.A From a Photograph „ 192
57. Studies for "Mr. Venus Surrounded
by the Trophies of his Art."--_Our
Mutual Friend_ MARCUS STONE, R.A „ 194
58. Monsieur Defarge and Doctor
Manette.--_A Tale of Two Cities_ „ „ 196
59. "Black and White."--_American Notes_ „ „ 198
60. "Taking Leave of Joe."--_Great
Expectations_ „ „ 200
61. Portrait of LUKE FILDES, R.A From a Photograph „ 204
62. Study for the Head of Neville
Landless.--_The Mystery of Edwin
Drood_ L. FILDES, R.A „ 206
63. Studies for Edwin Drood.--_The
Mystery of Edwin Drood_ „ „ 208
64. Studies for Mr. Jasper.--_The
Mystery of Edwin Drood_ „ „ 210
65. Study for "Good-bye, Rosebud,
Darling."--_The Mystery of Edwin Drood_ „ „ 212
66. Study for Mr. Grewgious.--_The Mystery
of Edwin Drood_ „ „ 214
67. Do. do. do. do. „ „ 216
68. Portraits of ALFRED CROWQUILL
(A. H. Forrester) and FREDERICK
BARNARD, R.I From Photographs „ 228
69. Portraits of F. W. PAILTHORPE and
CHARLES GREEN, R.I. „ „ 232
_The Frontispiece Portrait of Charles Dickens was photo-engraved by Mr.
E. Gilbert Hester, and the Collotype Plates were prepared and printed by
Mr. James Hyatt._
[Illustration]
PLATE II
GEORGE CRUIKSHANK
From the Lithograph by
BAUGNIET
This Portrait is a reproduction of a proof impression, showing the
retouching by Cruikshank himself.
DICKENS
AND HIS ILLUSTRATORS
GEORGE CRUIKSHANK
First Start in Life--Early Productions--"SKETCHES BY
BOZ"--Introduction to Dickens--First and Second Series of the
"Sketches"--Extra Plates--Additional Designs for the Complete
Edition--Portraiture of Artist and Author--Historic Value of
Cruikshank's Illustrations--Some Slight
Inaccuracies--Frontispiece of the First Cheap
Edition--Tentative Sketches and Unused Designs--"OLIVER
TWIST"--Incongruities Detected in a Few of the
Plates--Thackeray's Eulogium--Working Tracings and
Water-Colour _Replicas_--Trial Sketches--A Note from
Cruikshank to Dickens--Sketches of Bill Sikes in the
Condemned Cell--How the Design for "Fagin in the Condemned
Cell" was Conceived--A Criticism by Ruskin--The Cancelled
Plate--Cruikshank's Claim to the Origin of "Oliver
Twist"--Designs for Dickens's Minor Writings in BENTLEY'S
MISCELLANY--"The Lamplighter's Story"--Cruikshank's Last
Illustration for Dickens--"Frauds on the Fairies"--The
Artist's Remuneration--Death.
The name of George Cruikshank, which stands first in the long and
imposing list of Dickens Illustrators, is familiar to every one as that
of a pencil humorist of no common calibre, whose genius as a designer
and whose marvellous skill as an etcher have evoked enthusiastic praise
from John Ruskin and other eminent critics. He undoubtedly inherited his
artistic talent from his father, who was not only an etcher and
engraver, but (as George himself has recorded) "a first-rate
water-colour draughtsman." So experienced an artist was therefore
thoroughly capable of training his sons, George and Isaac Robert, for
the same profession.
Like most boys, George dreamt of the sea, aspiring to become a second
Captain Cook; but, happily, the death of his father compelled him to
take up seriously the work of designing, in order that he might assist
in maintaining his mother and sister. His first start in life
originated in a publisher seeing some of his sketches, which indicated
such unusual talent that he was immediately engaged to illustrate
children's books, songs, and other cheap literature peculiar to the
period. Then the young artist essayed the more profitable arena of
political caricaturing, distinctly making his mark as a satirist
Realising at this time his imperfections as a draughtsman, he determined
to acquire the art of drawing with correctness, entering the Royal
Academy as a student; but, finding it difficult to work on pedantic
lines, his resolution soon waned, and, after one course of study, he
left the place for a short interval of--forty years! Although he never
became the learned artist, nor was able to draw with academic accuracy,
he wielded his pencil with a facility and vigour that delighted all
beholders, and this deftness, combined with a remarkable sense of humour
and satire, speedily brought him commissions from every quarter.
It was as a book-illustrator that George Cruikshank undoubtedly
excelled, and some idea of his industry in this direction (during a
period of eighty years of his busy life) may be obtained from G. C.
Reid's comprehensive catalogue of his works, where we find enumerated
more than five thousand illustrations on paper, wood, copper, and steel.
This, however, by no means exhausts the list, for the artist survived
the publication of the catalogue several years, and was "in harness" to
the end of his long career. If the works described by Mr. Reid be
supplemented by the profusion of original sketches and ideas for his
finished designs, the number of Cruikshank's productions may be
estimated at about fifteen thousand!
Before his introduction to Charles Dickens in 1836, the versatile artist
had adorned several volumes, which, but for his striking illustrations,
would probably have enjoyed but a brief popularity. His etchings and
drawings on wood are invariably executed in an exceedingly delicate
manner, at the same time preserving a breadth of effect unequalled by
any _aquafortiste_ of his day. "Only those who know the difficulties of
etching," observes Mr. P. G. Hamerton, "can appreciate the power that
lies behind his unpretending skill; there is never, in his most
admirable plates, the trace of a vain effort."
* * * * *
[Sidenote: =Sketches by Boz, 1833-36.=]
Dickens's clever descriptions of "every-day life and every-day people"
were originally printed in the _Monthly Magazine_, the _Evening
Chronicle_ and the _Morning Chronicle_, _Bell's Life in London_, and
"The Library of Fiction," and subsequently appeared in a collected form
under the general title of "Sketches by Boz." Early in 1836 Dickens sold
the entire copyright of the "Sketches" to John Macrone, of St. James's
Square, who published a selection therefrom in two duodecimo volumes,
with illustrations by George Cruikshank. It was at this time that
Charles Dickens first met the artist, who was his senior by about a
score of years, and already in the enjoyment of an established
reputation as a book-illustrator. That the youthful author, as well as
his publisher, realised the value of Cruikshank's co-operation is
manifested in the Preface to the "Sketches," where Dickens, after
appropriately comparing the issue of his first book to the launching of
a pilot balloon, observes: "Unlike the generality of pilot balloons
which carry no car, in this one it is very possible for a man to embark,
not only himself, but all his hopes of future fame, and all his chances
of future success. Entertaining no inconsiderable feeling of trepidation
at the idea of making so perilous a voyage in so frail a machine, alone
and unaccompanied, the author was naturally desirous to secure the
assistance and companionship of some well-known individual, who had
frequently contributed to the success, though his well-known reputation
rendered it impossible for him ever to have shared the hazard, of
similar undertakings. To whom, as possessing this requisite in an
eminent degree, could he apply but to George Cruikshank? The application
was readily heard and at once acceded to; this is their first voyage in
company, but it may not be the last." Each of the two volumes contains
eight illustrations, and it may justly be said of these little vignettes
that they are among the artist's most successful efforts with the
needle. Although highly popular from the beginning, the "Sketches" were
now received with even greater fervour, and several editions were
speedily called for. As the late Mr. G. A. Sala contended, the
coadjutorship of so experienced a draughtsman as George Cruikshank, who
knew London and London life "better than the majority of Sunday-school
children know their Catechism," was of real importance to the young
reporter of the _Morning Chronicle_, with whose baptismal name (be it
remembered) his readers and admirers were as yet unacquainted.
During the following year (1837) Macrone published a Second Series of
the "Sketches" in one volume, uniform in size and character with its
predecessors, and containing ten etchings by Cruikshank; for the second
edition of this extra volume two additional illustrations were done,
viz., "The Last Cab-Driver" and "May-day in the Evening."[1] It was at
this time that Dickens repurchased from Macrone the entire copyright of
the "Sketches," and arranged with Chapman & Hall for a complete edition,
to be issued in shilling monthly parts, octavo size, the first number
appearing in November of that year. The completed work contained all the
Cruikshank plates (except that entitled "The Free and Easy," which, for
some unexplained reason, was cancelled) and the following new subjects:
"The Parish Engine," "The Broker's Man," "Our Next-door Neighbours,"
"Early Coaches," "Public Dinners," "The Gin-Shop," "Making a Night of
It," "The Boarding-House," "The Tuggses at Ramsgate," "The Steam
Excursion," "Mrs. Joseph Porter," and "Mr. Watkins Tottle."
Footnote 1: A set of the twenty-eight etchings, proofs
before letters (First and Second Series), realised £30 at
Sotheby's in 1889. Lithographic _replicas_ of the plates in
the Second Series were published in Calcutta in 1837.
Cruikshank also produced a design for the pink wrapper enclosing each of
the twenty monthly parts; this was engraved on wood by John Jackson, the
original drawing (adapted from one the artist had previously made for
Macrone) being now in the possession of Mr. William Wright, of Paris.
The subject of the frontispiece is the same as that of the
title-page in the Second Series. The alteration in the size of the
illustrations for this cheap edition necessitated larger plates, so that
the artist was compelled to re-etch his designs. These reproductions,
although on an extended scale, were executed with even a greater degree
of finish, and contain more "colour" than those in the first issue; but
the general treatment of the smaller etchings is more pleasing by reason
of the superior freedom of line therein displayed. As might be
anticipated, a comparison of the two sets of illustrations discloses
certain slight variations, which are especially noticeable in the
following plates: "Greenwich Fair;" musicians and male dancer added on
left. "Election for Beadle;" three more children belonging to Mr. Bung's
family on right, and two more of Mr. Spruggins's family on left, thus
making up the full complement in each case. "The First of May"
(originally entitled "May-day in the Evening"); the drummer on the left,
in the first edition, looks straight before him, while in the octavo
edition he turns his face towards the girl with the parasol. "London
Recreations;" in the larger design the small child on the right is
stooping to reach a ball, which is not shown in the earlier plate.
PLATE III
"JEMIMA EVANS"
_Facsimile_ of Unused Designs for "Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
Additional interest is imparted to some of the etchings in "Sketches by
Boz" owing to the introduction by the artist of portraits of Charles
Dickens and himself, there being no less than five delineations of the
face and figure of the youthful "Boz" as he then appeared. In the
title-page of the Second Series (as well as in the reproduction of it in
the octavo edition), the identity of the two individuals waving flags in
the car of the balloon has been pointed out by Cruikshank, who wrote on
the original pencil-sketch, "The parties going up in the balloon are
intended for the author and the artist,"--which may be considered a
necessary explanation, as the likenesses are not very apparent.
In the plates entitled "Early Coaches," "A Pickpocket in Custody," and
"Making a Night of It," Cruikshank has similarly attempted to portray
his own lineaments and those of Dickens; he was more successful,
however, in the illustration to "Public Dinners," where the presentments
of himself and the novelist, as stewards carrying official wands, are
more life-like. There exist, by the way, several seriously-attempted
portraits of Dickens by Cruikshank, concerning the earliest of which it
is related that author and artist were members of a club of literary men
known during its brief existence as "The Hook and Eye Club," and that at
one of their nightly meetings Dickens was seated in an arm-chair
conversing, when Cruikshank exclaimed, "Sit still, Charley, while I take
your portrait!" This impromptu sketch, now the property of Colonel
Hamilton, has been etched by F. W. Pailthorpe, and a similar drawing is
included in the Cruikshank Collection at South Kensington. Among other
contemporary portrait-studies (executed in pencil and slightly tinted in
colour) is one bearing the following inscription in the artist's
autograph: "Charles Dickens, Author of Sketches by Boz, the Pickwick
Papers, &c., &c., &c.,"--an admission that seems to dispose of
Cruikshank's subsequent claim to the authorship of "Pickwick."
PLATE IV
"THE FOUR MISS WILLISES"
_Facsimile_ of an Unused Design for "Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
It has been remarked that Cruikshank was so accurate in the rendering of
details that future antiquaries will rely upon his plates as
authoritative in matters of architecture, costume, &c. For example, in
the etching of "The Last Cab-Driver," he has depicted an obsolete form
of cabriolet, the driver being seated over the right wheel; and in that
of "The Parish Engine" we may discover what kind of public
fire-extinguisher was then in use--a very primitive implement in
comparison with the modern "steamer." In the latter plate, by the way,
we behold the typical beadle of the period, who afterwards figured as
Bumble in "Oliver Twist." _Apropos_ of this etching, Mr. Frederick
Wedmore points out (in _Temple Bar_, April 1878) that it is "an
excellent example of Cruikshank's eye for picturesque line and texture
in some of the commonest objects that met him in his walks: the
brickwork of the house, for instance, prettily indicated, the woodwork
of the outside shutters, and the window, on which various lights
are pleasantly broken. I know no artist," he continues, "so alive as
Cruikshank to the pretty sedateness of Georgian architecture. Then, too,
there is the girl with basket on arm, a figure not quite ungraceful in
line and gesture. She might have been much better if Cruikshank had ever
made himself that accurate draughtsman of the figure which he hardly
essayed to be, and she and all her fellows--it is only fair to
remember--might have been better, again, had the artist who designed her
done his finest work in a happier period of English dress." Mr. Wedmore
alludes to another etching in "Sketches by Boz" as being "perhaps the
best of all in Cruikshank as proof of that sensitive eye for what is
picturesque and characteristic in every-day London. It is called 'The
Streets, Morning,' the design somewhat empty of 'subject,' only a
comfortable sweep who does not go up the chimney, and a wretched boy who
does, are standing at a stall taking coffee, which a woman, with pattens
striking on pavement and head tied up close in a handkerchief, serves to
the scanty comers in the early morning light. A lamp-post rises behind
her; the closed shutters of the baker are opposite; the public-house of
the Rising Sun has not yet opened its doors; at some house-corner
further off a solitary figure lounges homeless; beyond, pleasant light
morning shadows cross the cool grey of the untrodden street; a church
tower and spire rise in the delicate distance, where the turn of the
road hides the further habitations of the sleeping town."
It may be hypercritical to resent, on the score of inaccuracy, an
occasional oversight on the part of Cruikshank; but it is nevertheless
interesting to note that in the plate entitled "Election for Beadle,"
Cruikshank has omitted from the inscription on Spruggins's placard a
reference to "the twins," the introduction of which caused that
candidate to become temporarily a favourite with the electors; in
"Horatio Sparkins," the "dropsical" figure of seven (see label on right)
is followed by a little "1/2d." instead of the diminutive "3/4d."
mentioned in the text; in "The Pawnbroker's Shop" it will be observed
that the words "Money Lent" on the glass door should appear reversed,
so as to be read from the outside; while in the etching illustrating
"Private Theatres," the artist has forgotten to include the "two dirty
men with the corked countenances," who are specially referred to in the
"Sketch."
The first cheap edition of "Sketches by Boz," issued by Chapman & Hall
in 1850, contained a new frontispiece, drawn on wood by Cruikshank,
representing Mr. Gabriel Parsons being released from the kitchen
chimney,--an incident in "Passage in the Life of Mr. Watkins Tottle."
George Cruikshank not unfrequently essayed several "trial" designs
before he succeeded in realising to his satisfaction the subject he
aimed at portraying. Some of these are extremely slight pencil
notes--"first ideas," hastily made as soon as conceived--while others
were subjected to greater elaboration, and differing but slightly,
perhaps, from the etchings; on certain drawings are marginal
memoranda--such as studies of heads, expressions, and attitudes--which
are valuable as showing how the finished pictures were evolved. The
majority of the designs are executed in pencil, while a few are drawn
with pen-and-ink; occasionally one may meet with a sketch in which the
effect is broadly washed in with sepia or indian-ink, and, more rarely
still, with a drawing charmingly and delicately wrought in
water-colours. Besides original sketches, the collection at the South
Kensington Museum contains a series of working tracings, by means of
which the artist transferred his subjects to the plates. There are no
less than three different suggestions for the frontispiece of the first
cheap edition of "Sketches by Boz," together with various renderings of
the design for the wrapper of the first complete edition, in which the
word "Boz" in the title constitutes a conspicuous feature, being formed
of the three letters superimposed, while disposed about them are several
of the prominent characters. Probably the most interesting in this
collection is a sheet of slight sketches signed by the artist, although
they are merely tentative jottings for his etchings. One of these
pencillings (an unused subject) represents a man proposing a toast
at a dinner-table, doubtless intended as an illustration for "Public
Dinners"; and here, too, are marginal studies of heads--including one of
a Bill Sikes type--together with a significant note (apparently of a
later date) in the autograph of Cruikshank, which reads thus: "Some of
these suggestions to Chas. Dickens, and which he wrote to in the second
part of 'Sketches by Boz'!"
PLATE V
"THOUGHTS ABOUT PEOPLE"
_Facsimile_ of an Unused Design for "Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
A large number of studies for "Sketches by Boz" may also be seen in the
Print Room of the British Museum, many of which are very slight. In some
instances we find the same subject rendered in different ways, and it is
worthy of note that a few of these designs were never etched; among the
most remarkable of the unused sketches is a rough drawing for the
wrapper of the monthly parts (octavo edition), with ostensible portraits
of author and artist introduced. This collection includes "first ideas"
for "Thoughts about People," "Hackney Coaches," "The Broker's Man," &c.,
and a careful examination shows that the sketches for the plates
illustrating "Seven Dials" and "The Pickpocket in Custody" are entitled
by the artist "Fight of the Amazons" and "The Hospital Patient"
respectively. In one of the trial sketches for "The Last Cabman," the
horse is represented as having fallen to the ground, the passenger being
violently ejected from the vehicle.
* * * * *
[Sidenote: =Oliver Twist, 1837-39.=]
On August 22, 1836, Charles Dickens entered into an agreement with
Richard Bentley to edit a new monthly magazine called _Bentley's
Miscellany_, and to furnish that periodical with a serial tale. George
Cruikshank's services as illustrator were also retained, and his design
for the wrapper inspired Maginn to indite, for "The Bentley Ballads,"
the "Song of the Cover," whence this characteristic verse is quoted:--
"Bentley, Boz, and Cruikshank stand
Like expectant reelers;
'Music!' 'Play up!' pipe in hand
Beside the _fluted_ pillars
"Boz and Cruikshank want to dance,--
None for frolic riper;
But Bentley makes the first advance,
Because he pays the piper."
The first number of the _Miscellany_ was issued in January 1837, and in
February appeared the initial chapter of the editor's story, entitled
"Oliver Twist, or, the Parish Boy's Progress," which was continued in
succeeding numbers until its completion in March 1839, with etchings by
Cruikshank.
The dramatic character of this stirring romance of low London life
afforded the artist unusual scope for the display of his talent; indeed,
his powerful pencil was far more suited to the theme than that of any of
his contemporaries. The principal scenes in the novel proved most
attractive to him, and he fairly revelled in delineating the tragic
episodes associated with the career of Fagin and Sikes. These
twenty-four etchings are on the same scale as those in the first
collected edition of the "Sketches," but they are broader and more
effective in treatment. In October 1838,--that is, about five months
before completion in the _Miscellany_,--the entire story was issued by
Chapman & Hall in three volumes post octavo, and there can be no doubt
that its remarkable success was brought about in no small measure by
Cruikshank's inimitable pictures. Nearly eight years later (in January
1846) a cheaper edition, containing all the illustrations, was commenced
in ten monthly parts, demy octavo, and subsequently published in one
volume by Bradbury & Evans. On the cover for the monthly numbers
Cruikshank has portrayed eleven of the leading incidents in the story,
some of the subjects being entirely new, while others are practically a
repetition of the etched designs. The plates in this edition, having
suffered from previous wear-and-tear, were subjected to a general
touching-up, as a comparison with the earlier issue clearly indicates,
such reparation (carried out by an engraver named Findlay, much to
Cruikshank's annoyance) being especially noticeable in cases where
"tones" have been added to wall-backgrounds and other parts of the
designs. Apart from actual proof impressions, the "Oliver Twist"
etchings are naturally to be found in their best state in _Bentley's
Miscellany_, where they are seen in their pristine beauty. In some of
the plates it will be observed that Cruikshank has introduced "roulette"
(or dotted) work with excellent effect, although, of course, this
disqualifies them as examples of pure etching. The first cheap edition
of "Oliver Twist," issued in 1850 by Chapman & Hall, contains a
frontispiece only by George Cruikshank, representing Mr. Bumble and
Oliver in Mrs. Mann's parlour, as described in the second chapter.
PLATE VI
"THE PARISH ENGINE"
_Facsimile_ of the Original Drawing for the First Octavo Edition of
"Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
It has been said that Cruikshank could not draw a pretty woman. At any
rate, he neglected his opportunity in "Oliver Twist," for he fails in so
depicting Rose Maylie, while his portrayal of Nancy is particularly ugly
and repelling, whereas she certainly possessed physical charms not
unfrequently found in women of her class. Although the artist has
imparted too venerable an appearance to the Artful Dodger, he has seized
in a wonderful manner the characteristics of criminal types in his
rendering of Fagin and Bill Sikes. In many of Cruikshank's etchings the
accessories are very _àpropos_, and sometimes not without a touch of
quiet humour. For example, in the plate representing Oliver recovering
from the fever, there is seen over the chimney-piece a picture of the
Good Samaritan, in allusion to Mr. Brownlow's benevolent intentions with
respect to the invalid orphan; while in that depicting Mr. Bumble and
Mrs. Corney taking tea, may be noticed the significant figure of Paul
Pry on the mantelshelf. Some of the designs are marked by slight
incongruities, which, however, do not detract from their interest. In
the etching "Oliver Plucks up a Spirit," it will be observed that the
small round table which the persecuted lad overthrows during his
desperate attack upon Noah Claypole could not possibly assume, by such
accidental means, the inverted position as here shown. In the plate
entitled "The Evidence Destroyed," the lantern (according to the text)
should have been lowered into the dark well, but doubtless the error
was intentional on the part of the artist, in order to secure effect; in
"Mr. Fagin and his Pupil Recovering Nancy," the girl is represented as
being exceedingly robust, whereas she was really "so reduced with
watching and privation as hardly to be recognised as the same Nancy."
Again, in the illustration depicting Sikes attempting to destroy his
dog, we see in the distance the dome of St. Paul's, while, as a matter
of fact, the desperate ruffian had not reached a point so near the
metropolis when he thought of drowning the faithful animal.[2] In "The
Last Chance," where the robber contemplates dropping from the roof of
Fagin's house to escape his pursuers, the rope (described in the
letterpress as being thirty-four feet long) is barely half that length,
and could never have extended to the ground; while the dog, who lay
concealed until his master had tumbled off the parapet, must have been
distinctly visible to all observers if he stood so prominently on the
ridge-tiles as here indicated. The latter etching is one of the most
fascinating of the series, for here Cruikshank has realised every
feature of the dramatic scene,--the harassed expression on the evil face
of the hunted criminal, the squalid tenements half shrouded by
approaching darkness, the excitement of the people crowding the windows
of the opposite houses; indeed, the tragic and repulsive element in the
picture constitutes a remarkable effort on the part of the artist.
Footnote 2: In a large water-colour _replica_ of this
subject, signed "George Cruikshank, Octr. 14th, 1873, in my
82nd year," the artist stated that the landscape represented
the old Pentonville fields, north of London.
PLATE VII
STUDIES FOR
SCENES AND CHARACTERS IN "SKETCHES BY BOZ"
_Facsimile_ of the Original Sketches by GEORGE CRUIKSHANK
In the centre of the sheet the Artist has written: "Some of these
suggestions to Chas. Dickens, and which he wrote to in the second part
of 'Sketches by Boz.'"
[Illustration]
In considering the story as a whole, it is difficult to say how much of
the powerful impression we are conscious of may be due to the
illustrator. In his famous eulogy on Cruikshank, Thackeray remarked: "We
are not at all disposed to undervalue the works and genius of Mr.
Dickens, and we are sure that he would admit as readily as any man the
wonderful assistance that he has derived from the artist who has given
us portraits of his ideal personages, and made them familiar to all
the world. Once seen, these figures remain impressed on the memory,
which otherwise would have had no hold upon them, and the Jew and
Bumble, and the heroes and heroines of the Boz Sketches, become personal
acquaintances with each of us. O that Hogarth could have illustrated
Fielding in the same way! and fixed down on paper those grand figures of
Parson Adams, and Squire Allworthy, and the great Jonathan Wild." Again,
with more especial reference to the "Oliver Twist" designs, the kindly
"Michael Angelo Titmarsh" wrote: "The sausage scene at Fagin's; Nancy
seizing the boy; that capital piece of humour, Mr. Bumble's courtship,
which is even better in Cruikshank's version than in Boz's exquisite
account of the interview; Sykes's[3] farewell to his dog; and the
Jew--the dreadful Jew--that Cruikshank drew! What a fine touching
picture of melancholy desolation is that of Sykes and the dog! The poor
cur is not too well drawn, the landscape is stiff and formal; but in
this case the faults, if faults they be, of execution rather add to than
diminish the effect of the picture; it has a strange, wild, dreary,
broken-hearted look; we fancy we see the landscape as it must have
appeared to Sykes, when ghastly and with bloodshot eyes he looked at it.
As for the Jew in the dungeon, let us say nothing of it--what can we say
to describe it?"
Footnote 3: The name of Sikes is frequently thus mis-spelt.
It is odd that Dickens himself first wrote it "Sykes," as may
be seen in the original manuscript of the story.
The complete set of twenty-four working tracings of the original designs
for "Oliver Twist," some of which exhibit variations from the finished
etchings, realised £140 at Sotheby's in March 1892. Water-colour
_replicas_ of all the subjects were prepared by Cruikshank in 1866 for
Mr. F. W. Cosens, which the artist supplemented by thirteen smaller
drawings and a humorous title-page, the entire series being reproduced
in colour for an _edition de luxe_ of "Oliver Twist," published by
Chapman & Hall in 1894. The Cruikshank Collections in the British and
South Kensington Museums include many of the artist's sketches and
"first ideas" for the "Oliver Twist" plates, as well as a number of the
matured designs. Here are several trial sketches for the monthly wrapper
of the first octavo edition, executed in pencil with slight washes of
sepia added; the original drawings for "Rose Maylie and Oliver" (known
to collectors as the "Fireside" plate, to which reference will presently
be made), and for "Mr. Bumble Degraded in the Eyes of the Paupers" (with
marginal sketches), the title of which is appended in Dickens's
autograph, where, instead of "the eyes," the word "presence" was
originally written. Here, also, we find the first sketch of Noah
Claypole enjoying an oyster-supper, with the following query written by
the artist: "Dr. Dickens, 'Title' wanted--will any of these do? Yours,
G. Ck." The proposed titles are then given, thus: "Mr. Claypole
Astonishing Mr. Bumble and 'the Natives';" "Mr. Claypole Indulging;"
"Mr. Claypole as he Appeared when his Master was Out,"--the latter being
adopted. On the back of a pen-and-ink drawing of "Oliver's Reception by
Fagin and the Boys," Cruikshank suggested a different title, viz.,
"Oliver Introduced to the Old Gentleman by Jack Dawkins." A beautiful
little water-colour drawing of the subject, entitled "Oliver Introduced
to the Respectable Old Gentleman," is in the Print Room of the British
Museum, where we may also discover a portrait of Oliver himself--a
profile study of the head as seen in the drawing now referred to. On the
back of a sketch of Mr. Brownlow at the bookstall (for the plate
entitled "Oliver Amazed at the Dodger's Mode of 'Going to Work'") is the
rough draft of an unsigned note in the autograph of Cruikshank,
evidently addressed to Dickens:--
"_Thursday Eg., June 15, '37._
"MY DEAR SIR,--Can you let me have a subject for the second
Plate? The first is in progress. By the way, would you like
to see the Drawing? I can spare it for an hour or two if you
will send for it."
PLATE VIII
"MR. BUMBLE DEGRADED IN THE EYES OF THE PAUPERS"
_Facsimile_ of the Original Sketch for "Oliver Twist" by GEORGE
CRUIKSHANK
The Inscription above the Sketch is in the Autograph of Dickens.
[Illustration]
I am enabled to reproduce in _facsimile_ a very interesting sheet of
sketches for prominent characters in "Oliver Twist," containing no
less than five studies of Fagin, including the "first idea" for the
famous etching of the Jew in the condemned cell. Still more noteworthy
are four studies of Bill Sikes in the condemned cell, evidently made
early in the progress of the book, thus seeming to indicate that the
artist conjectured this would be the fate of the burglar instead of the
Jew; or is it possible that the existence of these studies may be
considered as a corroboration of his assertion (in a letter to the
_Times_, presently to be quoted) that he, and not Dickens, must be
credited with the idea of putting either Sikes or Fagin in the cell?
Concerning Cruikshank's powerful conception of Fagin in the condemned
cell ("the immortal Fagin of 'Oliver Twist,'" as Thackeray styled him),
it is related by Mr. George Hodder (in "Memories of my Time") that when
the great George brought forth this picture, where the Jew is seen
biting his finger-nails and suffering the tortures of remorse and
chagrin, Horace Mayhew took an opportunity of asking him by what mental
process he had conceived such an extraordinary notion; and his answer
was, that he had been labouring at the subject for several days, but had
not succeeded in getting the effect he desired. At length, beginning to
think the task was almost hopeless, he was sitting up in bed one
morning, with his hand covering his chin and the tips of his fingers
between his lips, the whole attitude expressive of disappointment and
despair, when he saw his face in a cheval-glass which stood on the floor
opposite to him. "That's it!" he involuntarily exclaimed; "that's just
the expression I want!" and by this accidental process the picture was
formed in his mind. Many years afterwards Cruikshank declared this
statement to be absurd, and when interrogated by Mr. Austin Dobson, who
met the artist at Mr. Frederick Locker's house in 1877, he said he had
never been perplexed about the matter, but attributed the story to the
fact that, not being satisfied whether the knuckles should be raised or
depressed, he had made studies of his own hand in a glass, and
illustrated his account by putting his hand to his mouth, looking, with
his hooked nose, wonderfully like the character he was speaking of.
Respecting another illustration in the story, where "The Jew and Morris
Bolter begin to Understand each Other," Professor Ruskin observes that
it is "the intensest rendering of vulgarity, absolute and utter," with
which he is acquainted.
The latter portion of "Oliver Twist" was written in anticipation of the
magazine, in order that the complete story might be promptly launched in
volume form. The illustrations for the final chapters had consequently
to be produced simultaneously and with all possible speed, so that the
artist had no time to submit his designs to Dickens. One of these
plates, viz., "Rose Maylie and Oliver," depicted a scene in the new home
of the Rev. Harry Maylie; he, his wife, and mother, are seated by the
fire, while Oliver stands by Rose Maylie's side. When Dickens first saw
this etching he so strongly disapproved of it that the plate was
forthwith cancelled and another design substituted; but, the book being
then on the eve of publication, it was impossible to prevent a small
number of impressions of this illustration being circulated, and copies
of the work containing the scarce "Fireside" plate are therefore eagerly
sought after by collectors. Dickens, in expressing to Cruikshank his
disapprobation of this etching, undoubtedly realised the delicacy of the
situation, in the possibility of injuring the susceptibilities of the
artist, as the following carefully-worded intimation testifies:--
"I returned suddenly to town yesterday afternoon, to look at the latter
pages of 'Oliver Twist' before it was delivered to the booksellers, when
I saw the majority of the plates in the last volume for the first time.
"With reference to the last one--Rose Maylie and Oliver--without
entering into the question of great haste, or any other cause, which may
have led to its being what it is, I am quite sure there can be little
difference of opinion between us with respect to the result. May I ask
you whether you will object to designing this plate afresh, and doing so
_at once_, in order that as few impressions as possible of the present
one may go forth?
"I feel confident you know me too well to feel hurt by this enquiry,
and, with equal confidence in you, I have lost no time in preferring
it."
PLATE IX
"MR. CLAYPOLE AS HE APPEARED WHEN HIS MASTER WAS OUT"
_Facsimile_ of the Original Sketch for "Oliver Twist" by
GEORGE CRUIKSHANK
The Inscriptions are in the Autograph of the Artist.
[Illustration]
It seems, however, that Cruikshank did not immediately proceed to carry
out the author's wish, but endeavoured to improve the plate by
retouching and adding further tints by means of stippling, &c. In the
South Kensington Collection there is an early proof of the etching in
which the shadow tints are washed in with a brush, and the fact that
these alterations were subsequently carried out is established by the
existence of a unique impression of the plate in its second state. This
proof was probably submitted to Dickens and again rejected, for no
impressions having the stippled additions are known to have been
published. The substituted design, bearing the same title as the
suppressed one, does not much excel it in point of interest, as the
artist himself readily admitted; it represents Rose Maylie and Oliver
standing in front of the tablet put up in the church to the memory of
Oliver's mother, this etching appearing in _Bentley's Miscellany_ and in
all but the earliest copies of the book. The substituted plate (like
many others in the volume) was afterwards considerably "touched up," for
it will be noticed that in the earlier impressions Rose's dress is light
in tone, while subsequently it was changed to black.
A very circumstantial story relative to Cruikshank's connection with
"Oliver Twist" was published in a Transatlantic journal called _The
Round Table_, and reprinted immediately after Dickens's death in a
biography of the novelist by Dr. Shelton Mackenzie, who avers that he
had been informed that Dickens intended to locate Oliver in Kent, and to
introduce hop-picking and other picturesque features of the county he
knew so well: that the author changed his purpose, and brought the boy
to London: and further, that for such important alterations in the plot
Cruikshank was responsible. But the more remarkable portion of this
narrative is Dr. Mackenzie's account of his visit to Cruikshank in
1847, at the artist's house in Myddleton Terrace, Pentonville,
concerning which he writes:--
"I had to wait while he was finishing an etching, for which a printer's
boy was waiting. To while away the time, I gladly complied with his
suggestion that I should look over a portfolio crowded with etchings,
proofs, and drawings, which lay upon the sofa. Among these, carelessly
tied together in a wrap of brown paper, was a series of some twenty-five
to thirty drawings, very carefully finished, through most of which were
carried the now well-known portraits of Fagin, Bill Sikes and his dog,
Nancy, the Artful Dodger, and Master Charles Bates--all well known to
the readers of 'Oliver Twist'--and many others who were not introduced.
There was no mistake about it, and when Cruikshank turned round, his
work finished, I said as much. He told me that it had long been in his
mind to show the life of a London thief by a series of drawings,
engraved by himself, in which, without a single line of letterpress, the
story would be strikingly and clearly told. 'Dickens,' he continued,
'dropped in here one day just as you have done, and, while waiting until
I could speak with him, took up that identical portfolio and ferreted
out that bundle of drawings. When he came to that one which represents
Fagin in the condemned cell, he silently studied it for half-an-hour,
and told me that he was tempted to change the whole plot of his story;
not to carry Oliver Twist through adventures in the country, but to take
him up into the thieves' den in London, show what their life was, and
bring Oliver safely through it without sin or shame. I consented to let
him write up to as many of the designs as he thought would suit his
purpose; and that was the way in which Fagin, Sikes, and Nancy were
created. My drawings suggested them, rather than his strong
individuality suggested my drawings."
PLATE X
"OLIVER AMAZED AT THE DODGER'S MODE OF 'GOING TO WORK'"
_Facsimile_ of the First Sketch for the Etching by
GEORGE CRUIKSHANK
[Illustration]
Forster naturally characterises this story as a deliberate untruth,
related with "a minute conscientiousness and particularity of detail
that might have raised the reputation of Sir Benjamin Backbite himself,"
and points out that the artist's version, as here narrated, is
completely refuted by Dickens's letter to Cruikshank, which
unquestionably proves that the closing illustrations had not even been
seen by the novelist until the book was ready for publication.
Cruikshank, on reading in the _Times_ a criticism of Forster's
biography, in which this charge against Dickens was commented upon, at
once indited the following letter to that journal, where it appeared on
December 30, 1871:--
"_To the Editor of 'The Times._'
"SIR,--As my name is mentioned in the second notice of Mr.
John Forster's 'Life of Charles Dickens,' in your paper of
the 26th inst., in connection with a statement made by an
American gentleman (Dr. Shelton Mackenzie) respecting the
origin of 'Oliver Twist,' I shall be obliged if you will
allow me to give some explanation upon this subject. For
some time past I have been preparing a work for publication,
in which I intend to give an account of the origin of
'Oliver Twist,' and I now not only deeply regret the sudden
and unexpected decease of Mr. Charles Dickens, but regret
also that my proposed work was not published during his
life-time. I should not now have brought this matter
forward, but as Dr. Mackenzie states that he got the
information from me, and as Mr. Forster declares his
statement to be a falsehood, to which, in fact, he would
apply a word of three letters, I feel called upon, not only
to defend the Doctor, but myself also from such a gross
imputation. Dr. Mackenzie has confused some circumstances
with respect to Mr. Dickens looking over some drawings and
sketches in my studio, but there is no doubt whatever that I
did tell this gentleman that I was the originator of the
story of 'Oliver Twist,' as I have told very many others who
may have spoken to me on the subject, and which facts I now
beg permission to repeat in the columns of the _Times_, for
the information of Mr. Forster and the public generally.
"When _Bentley's Miscellany_ was first started, it was
arranged that Charles Dickens should write a serial in it,
and which was to be illustrated by me; and in a conversation
with him as to what the subject should be for the first
serial, I suggested to Mr. Dickens that he should write the
life of a London boy, and strongly advised him to do this,
assuring him that I would furnish him with the subject and
supply him with all the characters, which my large
experience of London life would enable me to do.
"My idea was to raise a boy from a most humble position up
to a high and respectable one--in fact, to illustrate one of
those cases of common occurrence, where men of humble
origin, by natural ability, industry, honest and honourable
conduct, raise themselves to first-class positions in
Society. And as I wished particularly to bring the habits
and manners of the thieves of London before the public (and
this for a most important purpose, which I shall explain one
of these days), I suggested that the poor boy should fall
among thieves, but that his honesty and natural good
disposition should enable him to pass through this ordeal
without contamination; and after I had fully described the
full-grown thieves (the Bill Sykeses) and their female
companions, also the young thieves (the Artful Dodgers) and
the receivers of stolen goods, Mr. Dickens agreed to act on
my suggestion, and the work was commenced, but we differed
as to what sort of boy the hero should be. Mr. Dickens
wanted rather a queer kind of chap, and, although this was
contrary to my original idea, I complied with his request,
feeling that it would not be right to dictate too much to
the writer of the story, and then appeared 'Oliver Asking
for More;' but it so happened just about this time that an
inquiry was being made in the parish of St. James's,
Westminster, as to the cause of the death of some of the
workhouse children who had been 'farmed out,' and in which
inquiry my late friend Joseph Pettigrew (surgeon to the
Dukes of Kent and Sussex) came forward on the part of the
poor children, and by his interference was mainly the cause
of saving the lives of many of these poor little creatures.
I called the attention of Mr. Dickens to this inquiry, and
said that if he took up this matter, his doing so might
help to save many a poor child from injury and death; and I
earnestly begged of him to let me make Oliver a nice pretty
little boy, and if we so represented him, the public--and
particularly the ladies--would be sure to take a greater
interest in him, and the work would then be a certain
success. Mr. Dickens agreed to that request, and I need not
add here that my prophecy was fulfilled: and if any one will
take the trouble to look at my representations of 'Oliver,'
they will see that the appearance of the boy is altered
after the two first illustrations, and, by a reference to
the records of St. James's parish, and to the date of the
publication of the _Miscellany_, they will see that both
dates tally, and therefore support my statement.
PLATE XI
STUDIES FOR
BILL SIKES, NANCY, AND THE ARTFUL DODGER
_Facsimile_ of Original Sketches by
GEORGE CRUIKSHANK
_Lent by Messrs. Robson & Co._
[Illustration]
"I had, a long time previously to this, directed Mr.
Dickens's attention to Field Lane, Holborn Hill, wherein
resided many thieves and receivers of stolen goods, and it
was suggested that one of these receivers, a Jew, should be
introduced into the story; and upon one occasion Mr. Dickens
and Mr. Harrison Ainsworth called upon me at my house in
Myddleton Terrace, Pentonville, and in course of
conversation I then and there described and performed the
character of one of these Jew receivers, whom I had long had
my eye upon; and this was the origin of 'Fagin.'
"Some time after this, Mr. Ainsworth said to me one day, 'I
was so much struck with your description of that Jew to Mr.
Dickens, that I think you and I could do something
together,' which notion of Mr. Ainsworth's, as most people
are aware, was afterwards carried out in various works. Long
before 'Oliver Twist' was ever thought of, I had, by
permission of the city authorities, made a sketch of one of
the condemned cells in Newgate prison; and as I had a great
object in letting the public see what sort of places these
cells were, and how they were furnished, and also to show a
wretched condemned criminal therein, I thought it desirable
to introduce such a subject into this work; but I had the
greatest difficulty to get Mr. Dickens to allow me to carry
out my wishes in this respect; but I said I must have
either what is called a Christian or what is called a Jew in
a condemned cell, and therefore it must be 'Bill Sikes' or
'Fagin;' at length he allowed me to exhibit the latter.
"Without going further into particulars, I think it will be
allowed from what I have stated that I am the originator of
'Oliver Twist,' and that all the principal characters are
mine; but I was much disappointed by Mr. Dickens not fully
carrying out my first suggestion.
"I must here mention that nearly all the designs were made
from conversation and mutual suggestion upon each subject,
and that I never saw any manuscript of Mr. Dickens until the
work was nearly finished, and the letter of Mr. Dickens
which Mr. Forster mentions only refers to the last
etching--done in great haste--no proper time being allowed,
and of a subject without any interest; in fact, there was
not anything in the latter part of the manuscript that would
suggest an illustration; but to oblige Mr. Dickens I did my
best to produce another etching, working hard day and night,
but when done, what is it? Why, merely a lady and a boy
standing inside of a church looking at a stone wall!
"Mr. Dickens named all the characters in this work himself,
but before he had commenced writing the story he told me
that he had heard an omnibus conductor mention some one as
Oliver Twist, which name, he said, he would give the boy, as
he thought it would answer his purpose. I wanted the boy to
have a very different name, such as Frank Foundling or Frank
Steadfast; but I think the word Twist proves to a certain
extent that the boy he was going to employ for his purpose
was a very different sort of boy from the one introduced and
recommended to him by, Sir, your obedient servant,
"GEORGE CRUIKSHANK.
"HAMPSTEAD ROAD, _December 29, 1871_."
PLATE XII
STUDIES FOR
BILL SIKES IN THE CONDEMNED CELL
_Facsimile_ of Original Sketches by
GEORGE CRUIKSHANK
[Illustration]
In 1872 Cruikshank issued a pamphlet entitled "The Artist and the
Author, a Statement of Facts," where he positively asserted that not
only was he the actual originator of "Oliver Twist," but also of
many of Harrison Ainsworth's weird romances; that these authors "wrote
up to his suggestions and designs," just as Combe did with regard to
"Dr. Syntax" and Rowlandson's previously-executed illustrations. In
another published letter, dated more than a year prior to that printed
in the _Times_, the artist emphatically declared that the greater part
of the second volume of "Sketches by Boz" was written from his hints and
suggestions, and he significantly added, "I am preparing to publish an
explanation of the reason why I did not illustrate the _whole_ of Mr.
Dickens's writings, and this explanation will not at all redound to his
credit." Indeed, so thoroughly was he imbued with this conviction, that
on April 20, 1874, in responding to a vote of thanks accorded him by the
Mayor of Manchester for an address on Intemperance, he reiterated his
statement relative to the origin of "Oliver Twist." The Mayor having
referred to the artist's designs in Dickens's novels, Cruikshank
intimated that the only work of the novelist he had illustrated was
"Sketches by Boz"; his worship remarked, "You forget 'Oliver Twist,'"
whereupon Cruikshank replied, "That came out of my own brain. I wanted
Dickens to write me a work, but he did not do it in the way I wished. I
assure you I went and made a sketch of the condemned cell many years
before that work was published. I wanted a scene a few hours before
strangulation, and Dickens said he did not like it, and I said he must
have a Jew or a Christian in the cell. Dickens said, 'Do as you like,'
and I put Fagin, the Jew, into the cell. Dickens behaved in an
extraordinary way to me, and I believe it had a little effect on his
mind. He was a most powerful opponent to Teetotalism, and he described
us as 'old hogs.'"[4]
Footnote 4: This is, doubtless, a reference to an article by
Dickens entitled "Whole Hogs," which appeared in _Household
Words_, August 23, 1851, protesting against the extreme views
of the Temperance party.
Unfortunately for Cruikshank's claim to the origin of "Oliver Twist," he
allowed more than thirty years to elapse before making it public. When
questioned on this point he would say that ever since these works were
published, and even when they were in progress, he had in private
society, when conversing upon such matters, always explained that the
original ideas and characters of these works emanated from him! Mr.
Harrison Ainsworth has recorded that Dickens was so worried by
Cruikshank putting forward suggestions that he resolved to send him only
printed proofs for illustration. In a letter to Forster (January 1838)
the novelist wrote, alluding to the severity of his labours: "I have not
done the 'Young Gentleman,' nor written the preface to 'Grimaldi,' nor
thought of 'Oliver Twist,' or _even supplied a subject for the plate_,"
the latter intimation sufficiently indicating that Dickens was more
directly concerned in the selection of suitable themes for illustration
than Cruikshank would have us believe. The author of "Sketches by Boz"
abundantly testified in those remarkable papers that his eyes, like
Cruikshank's, had penetrated the mysteries of London; indeed, we find in
the "Sketches" all the material for the story of poor Oliver, where it
is more artistically and dramatically treated. It is not improbable, of
course, that from Cruikshank's familiarity with life in the Great City
he was enabled to offer useful hints to the young writer, and even
perhaps to make suggestions respecting particular characters; but this
constitutes a very unimportant share in the production of a literary
work. To what extent the interchange between artist and author was
carried can never be satisfactorily determined; but of this there can be
no doubt, that Cruikshank's habit of exaggeration, combined with his
eagerness in over-estimating the effect of his work, led him (as Mr.
Blanchard Jerrold remarks) "into injudicious statements or
over-statements," which were sometimes provocative of much unpleasant
controversy. It is, however, no exaggeration to say that the pencil of
George Cruikshank was as admirable in its power of delineating character
as was the mighty pen of Charles Dickens, and that in the success and
popularity of "Oliver Twist" they may claim an equal share.
PLATE XIII
"FAGIN IN THE CONDEMNED CELL"
_Facsimile_ of a Trial Sketch by
GEORGE CRUIKSHANK
[Illustration]
[Sidenote: =Minor Writings in "Bentley's Miscellany."=]
Certain humorous pieces written by Dickens for Richard Bentley were also
illustrated by Cruikshank. The first paper, entitled "Public Life of Mr.
Tulrumble, once Mayor of Mudfog" (published in January 1837), contains
an etching of Ned[5] Twigger in the kitchen of Mudfog Hall, and the next
contribution, purporting to be a "Full Report of the Second Meeting of
the Mudfog Association for the Advancement of Everything" (September,
1838) is embellished with a very ludicrous illustration, entitled
"Automaton Police Office and Real Offenders, from the model exhibited
before Section B of the Mudfog Association." This design depicts the
interior of a police-court in which all the officials are automatic--an
ingenious rendering of the idea propounded by Mr. Coppernose to the
President and members of the Association. To the second paper the artist
also supplied a woodcut portrait of "The Tyrant Sowster," of whom he
made no less than six studies before he succeeded in producing a
satisfactory presentment of Mudfog's "active and intelligent" beadle.
Footnote 5: In the original title on the plate, Ned Twigger's
Christian name is incorrectly given as Tom.
In his juvenile days Dickens wrote a farce entitled "The Lamplighter,"
which, owing to its non-acceptance by the theatrical management for whom
it was composed, he converted into an amusing tale called "The
Lamplighter's Story." This constituted his share in a collection of
light essays and other papers gratuitously supplied by well-known
authors, and issued in volume form under the title of "The Pic Nic
Papers," for the benefit of the widow of Macrone, Dickens's first
publisher. The work, edited by Dickens, was launched by Henry Colborn in
1841, in three volumes, with fourteen illustrations by Cruikshank,
"Phiz," and other artists. The first volume opened with "The
Lamplighter's Story," for which Cruikshank provided an etching entitled
"The Philosopher's Stone," the subject represented being the unexpected
explosion of Tom Grig's crucible. This was the last illustration
executed by the artist for Dickens's writings,[6] and it may be added
that some impressions of the plate were issued in proof state "before
letters," but these are exceedingly rare. Although for many years
afterwards they continued fast friends, it may be (as Mr. Graham Everitt
conjectures) that Cruikshank found it impossible to co-operate any
longer with so exacting an employer of artistic labour as Charles
Dickens, who remonstrated, with some show of reason, that he was the
best judge of what he required pictorially,--an argument, however, which
did not suit the independent spirit of the artist. Of his genius Dickens
was ever a warm admirer, and remarking upon the exclusion of so able a
draughtsman from the honours of the Royal Academy, because, forsooth!
his works were not produced in certain mediums, the novelist pertinently
asks: "Will no Associates be found upon its books one of these days, the
labours of whose oil and brushes will have sunk into the profoundest
obscurity, when many pencil-marks of Mr. Cruikshank and Mr. Leech will
be still fresh in half the houses in the land?"
Footnote 6: Cruikshank designed the illustrations for the
"Memoirs of Grimaldi," 1838, but this work was merely edited
by Dickens, and therefore does not come within the scope of
the present volume.
It will be remembered that George Cruikshank published a version of the
Fairy Tales, converting them into stories somewhat resembling Temperance
tracts. Dickens was greatly incensed, and, half-playfully and
half-seriously, protested against such alterations of the beautiful
little romances, this re-writing them "according to Total Abstinence,
Peace Society, and Bloomer principles, and expressly for their
propagation;" in an article published in _Household Words_, October 1,
1853, entitled "Frauds on the Fairies," the novelist enunciates his
opinions on the subject, and gives the story of Cinderella as it might
be "edited" by a gentleman with a "mission." This elicited a reply from
Cruikshank (in a short-lived magazine bearing his name, and launched by
him in 1854), which took the form of "A Letter from Hop-o'-my-Thumb
to Charles Dickens, Esq.," commencing with "Right Trusty, Well-Beloved,
Much-Read, and Admired Sir," the artist contending that he was justified
in altering "a common fairy-tale" when his sole object was to remove
objectionable passages, and, in their stead, to inculcate moral
principles. There is no doubt, however, that Dickens's rebuke seriously
affected the sale of the Fairy Library.
PLATE XIV
FIRST IDEA AND SKETCH FOR
"FAGIN IN THE CONDEMNED CELL"
AND VARIOUS STUDIES FOR SCENES AND CHARACTERS IN "OLIVER TWIST"
_Facsimile_ of Original Drawings by
GEORGE CRUIKSHANK
[Illustration]
In 1847 Dickens instituted a series of theatrical entertainments for
certain charitable objects, the distinguished artists and writers who
formed the goodly company of amateur actors including George Cruikshank.
On one occasion they made a tour in the provinces, giving performances
at several important towns, and on the conclusion of this "splendid
strolling" Dickens wrote an amusing little _jeu d'esprit_ in the form of
a history of the trip, adopting for the purpose the phraseology of Mrs.
Gamp. It was to be a new "Piljian's Projiss," with illustrations by the
artist-members; but, for some reason, it was destined never to appear in
the manner intended by its projector. Forster has printed all that was
ever written of the little jest, where we find a humorous description of
Cruikshank in Mrs. Gamp's vernacular: "I was drove about like a brute
animal and almost worritted into fits, when a gentleman with a large
shirt-collar and a hook nose, and a eye like one of Mr. Sweedlepipe's
hawks, and long locks of hair, and wiskers that I wouldn't have no lady
as I was engaged to meet suddenly a turning round a corner, for any sum
of money you could offer me, says, laughing, 'Halloa, Mrs. Gamp, what
are _you_ up to?' I didn't know him from a man (except by his clothes);
but I says faintly, 'If you're a Christian man, show me where to get a
second-cladge ticket for Manjester, and have me put in a carriage, or I
shall drop!' Which he kindly did, in a cheerful kind of a way, skipping
about in the strangest manner as ever I see, making all kinds of
actions, and looking and vinking at me from under the brim of his hat
(which was a good deal turned up), to that extent, that I should have
thought he meant something but for being so flurried as not to have no
thoughts at all until I was put in a carriage...." When Mrs. Gamp was
informed, in a whisper, that the gentleman who assisted her into the
carriage was "George," she replied, "What George, sir? I don't know no
George." "The great George, ma'am--the Crookshanks," was the
explanation. Whereupon Mrs. Gamp continues: "If you'll believe me, Mrs.
Harris, I turns my head, and see the wery man a making picturs of me on
his thumb-nail at the winder!" The artist took part in several plays
under Dickens's management, but, although it is not recorded that he
created great sensation as an actor, it seems evident that his
impersonations met with the approval of the novelist, who was a thorough
martinet in Thespian matters.
That George Cruikshank was by no means a prosperous man is perhaps
explained by the fact that he never was highly remunerated for his work.
"Time was," wrote Thackeray, "when for a picture with thirty heads in it
he was paid three guineas--a poor week's pittance, truly, and a dire
week's labour!" The late Mr. Sala declared that for an illustrative
etching on a plate, octavo size, George never received more than
twenty-five pounds, and had been paid as low as ten,--that he had often
drawn "a charming little vignette on wood" for a guinea. On February 1,
1878, this remarkable designer and etcher--the most skilled
book-illustrator of his day--passed painlessly away at his house in
Hampstead Road, having attained the ripe old age of eighty-five. His
remains were interred at Kensal Green, but were ultimately removed to
the crypt of St. Paul's Cathedral, where a bust by Adams perpetuates his
memory.
[Illustration]
PLATE XV
ROBERT SEYMOUR
From an Unpublished Drawing by
TAYLOR
_Lent by Mr. Augustin Daly._
ROBERT SEYMOUR
Early Years--A Taste for High Art--Drawings on Wood for
_Figaro_ and _Bell's Life in London_--Essays the Art of
Etching--Designs for "Maxims and Hints for an
Angler"--Proposes to Publish a Book of Humorous Sporting
Subjects--A "Club of Cockney Sportsmen"--Charles Whitehead
and Charles Dickens--The Inception of "THE PICKWICK
PAPERS"--Seymour's Illustrations--The Artist Succumbs to
Overwork--Suicide of Seymour--Dickens's Tribute--Seymour's
Last Drawing for "Pickwick"--"The Dying Clown"--His Original
Designs--Seymour's Conception of Mr. Pickwick--Letter from
Dickens to the Artist--"First Ideas" and Unused Sketches--A
Valuable Collection--Scarcity of Seymour's "Pickwick"
Plates--Design for the Wrapper of the Monthly Parts--Mrs.
Seymour's Account of the Origin of "The Pickwick Papers"--An
Absurd Claim Refuted--"THE LIBRARY OF FICTION"--Seymour's
Illustrations for "The Tuggses at Ramsgate."
Concerning the artist who was primarily engaged in the illustration of
"Pickwick," very little has been recorded, owing perhaps to the fact
that his career, which terminated so tragically and so prematurely, was
brief and uneventful. The following particulars of his life and labours,
culled from various sources, will, I trust, enable the reader to
appreciate Robert Seymour's true position respecting his connection with
Charles Dickens's immortal work.
Born "in or near London" in 1798, Robert Seymour indicated at a very
early age a decided taste for drawing, whereupon his father, Henry
Seymour, a Somerset gentleman, apprenticed him to a skilful
pattern-draughtsman named Vaughan, of Duke Street, Smithfield.[7]
Although this occupation was most uncongenial to young Seymour, it
caused him to adopt a neat style of drawing which ultimately proved of
much utility. He aspired to a higher branch of Art than that involved
in the delineation of patterns for calico-printers; but for a time he
remained with Vaughan, pleasantly varying the monotony of his daily
routine by producing miniature portraits of friends who consented to sit
to him, receiving in return a modest though welcome remuneration. Still
cherishing an inclination towards "High Art," he and a colleague named
Work (significant patronymic!) deserted Vaughan, and, renting a room at
the top of the old tower at Canonbury, they purchased a number of
plaster-casts, lay-figures, &c., from which the two juvenile enthusiasts
began to study with great assiduity. In Seymour's case tangible results
were speedily forthcoming, for he presently painted a picture of
unusually large dimensions, quaintly described by his fellow-student as
containing representations of "the Giant of the Brocken, the Skeleton
Hunt, the Casting of Bullets, and a full meal of all the German horrors
eagerly swallowed by the public of that day." This remarkable canvas
was, it seems, a really creditable work, and found a place on the walls
of a gallery in Baker Street Baazar. Seymour, like many other ambitious
young artists possessing more talent than pence, quickly realised the
sad fact that, though the pursuit was in itself a very agreeable one, it
meant penury to the painter unless he owned a private fortune or
commanded the purse-strings of rich patrons. The artist's widow
afterwards declared that he invariably sold his pictures direct from the
easel; but there is no doubt that with him "High Art" proved a financial
failure, and he reluctantly turned his attention to the more lucrative
(if less attractive) occupation of designing on wood, for which he was
peculiarly fitted by his previous practice in clean, precise
draughtsmanship during that probationary period in Vaughan's workshop.
Footnote 7: In another account (written by a contemporary of
the artist) it is stated that Seymour was the natural son of
Vaughan himself, and that the child bore the name of the
mother, under whose care he remained until his father
acknowledged the paternity, when he took the boy into his
workshop.
Seymour was endowed by Nature with a keen sense of the ludicrous, and
this, aided by a knowledge of drawing, enabled him to execute designs of
so humorous a character that his productions were immediately welcomed
by the proprietors of such publications as _Figaro_ and _Bell's Life in
London_, to which were thus given a vitality and a popularity they did
not previously possess. Although at first the recompense was but scanty,
hardly sufficient, indeed, to procure the necessaries of life, yet
Robert Seymour felt it was the beginning of what might eventually
resolve itself into a fairly remunerative vocation. His talent speedily
brought him profitable commissions for more serious publications, while
his pencil was simultaneously employed in sketching and drawing amusing
incidents, especially such as related to fishing and shooting,--forms of
sport which constituted his favourite recreation. Living at this time in
the then rural suburb of Islington, he had many opportunities of
observing the methods of Cockney sportsmen, who were wont to wander
thither on Sundays and holidays, and whose inexperience with rod and gun
gave rise to many absurdities and comic fiascos, thus affording the
young artist abundant material for humorous designs.
Until 1827, Seymour confined his labours to drawing for the
wood-engravers. He now essayed the art of etching upon plates of steel
or copper, simulating the style and manner of George Cruikshank; he even
ventured to affix the _nom de plume_ of "Shortshanks" to his early
caricatures, until he received a remonstrance from the famous George
himself. Having attained some proficiency in both etching and
lithography, he determined to make practical use of his experience, and
in 1833 designed a series of twelve lithographic plates for a new
edition of a work entitled "Maxims and Hints for an Angler," in which
the humours of the piscatorial art were excellently rendered; he also
executed a number of similar designs portraying, with laughable effect,
the adventures and misadventures of the very "counter-jumpers" whose
ways and habits came under his keen, observant eye. These amusing
pictures, drawn on stone with pen-and-ink, and published as a collection
of "Sketches by Seymour," achieved an immense popularity, and were
chiefly the means of rendering his name generally familiar.
Seymour was very fond of horticultural pursuits, and took great pains in
cultivating his own garden; but the result of his efforts in this
direction proved disappointing, and when dilating upon his want of
success, it was suggested that the misfortunes of an amateur gardener
might be made the subject of some entertaining drawings. After pondering
over this idea, and mindful of the fact that he still possessed a number
of unpublished sketches reflecting upon the abilities of amateur
sportsmen, he resolved upon reproducing some of a sporting character.
His original notion was to bring out a work similar in plan to that of
"The Heiress," a pictorial novel which he illustrated in 1830, and he
first proposed the subject to the printseller McLean in 1835, and then
to Spooner, the well-known publisher. The latter highly approved the
project, and in discussing it they concluded it would be desirable to
supplement the pictures with suitable letterpress. The undertaking was
so far advanced that Seymour etched four plates, but, owing to
unforeseen delays on the part of Spooner, the matter was held in
abeyance for about three months, by which time Seymour determined to
issue the work on his own responsibility, and to endeavour to get H.
Mayhew or Moncrieff to write for it.
* * * * *
[Sidenote: =The Pickwick Papers, 1836-37.=]
When, in February 1836, Edward Chapman (of Chapman & Hall) called upon
him with reference to a drawing which the firm had commissioned him to
undertake, the artist mentioned the scheme of a work to be illustrated
by him, having, as a central idea, a "Club of Cockney Sportsmen."
Chapman thought favourably of the notion, and proposed that it should be
brought out in two half-guinea volumes; but Seymour, desiring the widest
circulation, insisted on the plan he originally conceived, that of
shilling monthly numbers. Then came the question, Who should prepare the
requisite text? Leigh Hunt, Theodore Hook, and other prominent writers
of the day declined to undertake it, and shortly afterwards Seymour,
having just been reading "Sketches by Boz," the humour and originality
of which highly delighted him, proposed that Dickens should be
asked to contribute the letterpress.
PLATE XVI
"MR. PICKWICK ADDRESSES THE CLUB"
_Facsimile_ of the Original Drawing for "The Pickwick Papers" by
R. SEYMOUR
_Lent by Mr. Augustin Daly._
[Illustration]
Mr. Mackenzie Bell has given (in the _Athenæum_, June 11, 1887) a
slightly different version of this part of the narration, and states
that Charles Whitehead, an early friend of Dickens, "used constantly to
affirm that he had been asked to write to Seymour's sketches, and that,
feeling uncertain of being able to supply the copy with sufficient
regularity, he [not Seymour] recommended Dickens for the task. This
appears very likely to have been the case," adds Mr. Bell, "as at that
time Whitehead, who was eight years older than Dickens, was already
known as a facile and fecund writer, his coarse yet powerful romance of
'Jack Ketch' having been very popular for some time. It is even possible
that 'The Pickwick Papers' may have been suggested to Dickens by a
passage in the preface of 'Jack Ketch,' where a humorous allusion is
made to the possibility of the author producing his more mature
experiences under the unambitious title of 'The Ketch Papers,' a work
which never appeared." It may be mentioned that Dickens had just sent in
his MS. of "The Tuggses at Ramsgate" for "The Library of Fiction,"
edited by Whitehead, who was already familiar with the budding
novelist's ability as an author. This carries us to the point whence
Dickens takes up the thread of the story, as printed in the preface to
the first cheap edition of "Pickwick" (1847), where he writes:--
"I was a young man of three-and-twenty when the present publishers
[Chapman & Hall], attracted by some pieces I was at that time writing in
the _Morning Chronicle_ newspaper (of which one series had lately been
collected and published in two volumes, illustrated by my esteemed
friend George Cruikshank), waited upon me to propose a something that
should be published in shilling numbers.... The idea propounded to me
was that the monthly something should be a vehicle for certain plates to
be executed by Mr. Seymour, and there was a notion, either on the part
of that admirable humorous artist or of my visitor (I forget which),
that a 'Nimrod Club,' the members of which were to go out shooting,
fishing, and so forth, and getting themselves into difficulties through
their want of dexterity, would be the best means of introducing these. I
objected, on consideration, that although born and partly bred in the
country, I was no great sportsman, except in regard of all kinds of
locomotion; that the idea was not novel, and had been already much used;
that it would be infinitely better for the plates to arise naturally out
of the text; and that I should like to take my own way, with freer range
of English scenes and people, and was afraid I should ultimately do so
in any case, whatever course I might prescribe to myself at starting. My
views being deferred to, I thought of Mr. Pickwick, and wrote the first
number, from the proof-sheets of which Mr. Seymour made his drawing of
the Club, and that happy portrait of its founder, by which he is always
recognised, and which may be said to have made him a reality. I
connected Mr. Pickwick with a club because of the original suggestion,
and I put in Mr. Winkle expressly for the use of Mr. Seymour."
PLATE XVII
"THE PUGNACIOUS CABMAN"
_Facsimile_ of the Original Drawing for "The Pickwick Papers" by
R. SEYMOUR
_Lent by Mr. Augustin Daly._
[Illustration]
The first monthly part of "The Pickwick Papers" appeared early in April
1836, consisting of twenty-six pages of text and four etchings by
Seymour. Judging from a letter written by Dickens at the time the scheme
was first proposed, it seems that the illustrations were to have been
engraved on wood. The artist was then excessively busy, for besides
pledging himself to produce four plates for each monthly issue of
"Pickwick," he had numerous other engagements to fulfil, so great was
the demand for his designs. Although a rapid executant, the commissions
he received from publishers accumulated to such an extent, that the
excessive strain resulting from overwork at starvation prices began
seriously to affect his health. Not only did the monthly supply of the
"Pickwick" plates constitute an additional demand upon his mental
resources, but he was harassed by the uncertainty of receiving from the
printer the proofs from which he deduced his subjects, these sometimes
being delayed so that very little time was allowed for the preparation
of the plates. Unhappily his brain was unable to bear such
pressure; constant business worries and anxieties induced symptoms of
insanity, and before he had completed the second quartette of etchings
for "Pickwick," the unfortunate artist committed suicide. This
deplorable act took place on April 20, 1836, in a summer-house in the
garden at the back of his residence in Liverpool Road, Islington, where,
by the aid of a string attached to the trigger of a fowling-piece, he
deliberately sent the charge through his head.
Seymour, we are assured, had not the slightest pecuniary embarrassment;
he was quite happy, too, in his domestic affairs, extremely fond of his
family, and naturally of a very cheerful disposition. His melancholy
fate caused a general feeling of regret among the public, with whom he
was a great favourite, and to whom he was then better known than Dickens
himself. In the second number of "Pickwick" appeared the following just
tribute to the merits of the artist: "Some time must elapse before the
void the deceased gentleman has left in his profession can be filled up;
the blank his death has occasioned in the Society, which his amiable
nature won, and his talents adorned, we can hardly hope to see supplied.
We do not allude to this distressing event, in the vain hope of adding,
by any eulogium of ours, to the respect in which the late Mr. Seymour's
memory is held by all who ever knew him."
In the original announcement of "The Pickwick Papers" we read: "Seymour
has devoted himself, heart and graver, to the task of illustrating the
beauties of 'Pickwick.' It was reserved to Gibbon to paint, in colours
that will never fade, the Decline and Fall of the Roman Empire--to Hume
to chronicle the strife and turmoil of the two proud Houses that divided
England against herself--to Napier to pen, in burning words, the History
of the War in the Peninsula;--the deeds and actions of the gifted
Pickwick yet remain for 'Boz' and Seymour to hand down to posterity."
This projected collaboration, alas! was speedily frustrated by the
unexpected tragedy, for Seymour had produced but seven plates when he
terminated his life, the following being the subjects of his designs in
the order of their publication:
_First Number._
"MR. PICKWICK ADDRESSES THE CLUB."
"THE PUGNACIOUS CABMAN."
"THE SAGACIOUS DOG."
"DR. SLAMMER'S DEFIANCE OF JINGLE."
_Second Number._
"THE DYING CLOWN."
"MR. PICKWICK IN CHASE OF HIS HAT."
"MR. WINKLE SOOTHES THE REFRACTORY STEED."
The Address issued with the Second Part contains an apology for the
appearance therein of only three plates instead of four, as promised.
"When we state," says the author, "that they comprise Mr. Seymour's last
efforts, and that on one of them, in particular, (the embellishment to
the Stroller's Tale,) he was engaged up to a late hour of the night
preceding his death, we feel confident that the excuse will be deemed a
sufficient one." Dickens had seen the unhappy man only once, forty-eight
hours before his death, on the occasion of his visit to Furnival's Inn
with the etching just referred to, which, altered at Dickens's
suggestion, he brought away again for the few further touches that
occupied him to a late hour of the night before he destroyed himself.[8]
In an unpublished letter (dated April 3, 1866) addressed by the novelist
to a correspondent who required certain particulars respecting
"Pickwick," he thus referred to the artist: "Mr. Seymour shot himself
before the second number of 'The Pickwick Papers' ... was published.
While he lay dead, it was necessary that search should be made in
his working room for the plates to the second number, the day for the
publication of which was then drawing on. The plates were found
unfinished, with their faces turned to the wall. It was Mr. Chapman who
found them and brought them away."
Footnote 8: The artist's son asserts that the last plate
Seymour etched for "Pickwick" (viz., "The Dying Clown") was
submitted to Dickens a fortnight (not forty-eight hours, as
recorded by Forster) before his death. It seems that
Seymour's final drawing was for a woodcut, executed for John
Jackson, the engraver, to whom the artist delivered it on the
evening of the fatal day, April 20, 1836.
PLATE XVIII
"DR. SLAMMER'S DEFIANCE OF JINGLE"
_Facsimile_ of the Original Drawing for "The Pickwick Papers" by
R. SEYMOUR
_Lent by Mr. Augustin Daly._
[Illustration]
In 1887 Messrs. Chapman & Hall appropriately celebrated the Jubilee of
"The Pickwick Papers" by publishing an _Edition de luxe_, with
_facsimiles_ of the original drawings made for the work, or, rather, of
as many of these as were then available. In the editor's preface it is
stated that four out of the seven drawings etched by Seymour for
"Pickwick" had disappeared, but it afterwards transpired that two of the
missing designs remained in the possession of the artist's family, until
they were sold to a private purchaser, who, in 1889, disposed of them by
auction. Of these drawings, therefore, only one, viz., "The Sagacious
Dog," is undiscoverable. The album in which the missing designs were
found also contained other original drawings for "Pickwick," as well as
the Dickens letter to Seymour and an excellent portrait of the artist;
this important collection included the three published designs (viz.,
"Mr. Pickwick Addresses the Club," "The Pugnacious Cabman," and "Dr.
Slammer's Defiance of Jingle,"--the latter differing slightly from the
etching), together with the first sketch for "The Dying Clown," and two
unpublished drawings (evidently alternative subjects, illustrating
incidents in the fifth chapter), respectively representing "The Runaway
Chaise" and "The Pickwickians in Mr. Wardle's Kitchen." All these
drawings, except that of "The Dying Clown," are outlined with
pen-and-ink, and the effects washed in with a brownish tint. Perhaps the
most astonishing circumstance in connection with this collection is the
extravagant sum it realised in the auction-room, for, as might be
anticipated, many were anxious to secure so valuable a memento. The
bidding was brisk until £200 was reached, when competition was confined
to the representative of Mr. Augustin Daly (of New York) and another
whose name is unrecorded, the result being that the prize fell to Mr.
Daly for £500--probably a record figure for such an item. No one
experienced greater surprise at this enormous price than the purchaser
himself, who assures me that, although he imposed no limit, it was never
his intention to offer so fabulous an amount; indeed, the sum he had in
his mind was not so much as a quarter of that at which this attractive
album eventually fell to the hammer. Owing to the generosity of Mr.
Daly, I am enabled to reproduce in _facsimile_ the whole of these
extremely interesting designs, which he brought to England expressly for
this purpose.
Seymour's method of work was to sketch with pencil or pen the outline of
his subject, and add the shadow effects by means of light washes of a
greyish tint. A precision and neatness of touch characterise these
"Pickwick" drawings, the most interesting of which is undoubtedly that
representing Mr. Pickwick addressing the Club, a scene such as Seymour
may have actually witnessed in the parlour of almost any respectable
public-house in his own neighbourhood of Islington. Here we have the
first delineation of the immortal founder of the famous Club, "that
happy portrait," as Dickens said of it, "by which he is always
recognised, and which may be said to have made him a reality." Seymour
originally sketched this figure as a long thin man, the familiar
presentment of him as a rotund personage having been subsequently
inspired by Edward Chapman's description of a friend of his at Richmond
named John Foster, "a fat old beau, who would wear, in spite of the
ladies' protests, drab tights and black gaiters." It is curious,
however, that in "The Heiress," illustrated by Seymour six years
previously, we find in the second plate a character bearing a striking
resemblance to Mr. Pickwick, and in "Maxims and Hints for an Angler"
(1833), the artist similarly portrayed an old gentleman marvellously
like him, both as regards physique and benignity of expression; indeed,
this seems to have been a favourite type with Seymour, and thus it would
appear that, in making Dickens's hero short and comfortable, he
only reverted to an earlier conception.
PLATE XIX
FIRST STUDY FOR
"THE DYING CLOWN"
_Facsimile_ of the Original Drawing for "The Pickwick Papers" by
R. SEYMOUR
_Lent by Mr. Augustin Daly._
[Illustration]
The drawing which ranks second in point of interest is the artist's
first idea for "The Dying Clown," illustrating "The Stroller's Tale."
The original sketch is a slight outline study in pen-and-ink of the
figures only, the facial expressions being cleverly rendered. In the
Victoria edition of "The Pickwick Papers" a _facsimile_ is given of a
later and more developed version of the subject; this differs from the
published etching, the alterations being the result, doubtless, of the
criticism bestowed upon the drawing in the following letter addressed by
Dickens to the artist,--apparently the only written communication from
him to Seymour which has been preserved:--
"15 FURNIVAL'S INN,
"_Thursday Evening, April 1836._
"MY DEAR SIR,--I had intended to write to you to say how
much gratified I feel by the pains you have bestowed upon
our mutual friend Mr. Pickwick, and how much the result of
your labours has surpassed my expectations. I am happy to be
able to congratulate you, the publishers, and myself on the
success of the undertaking, which appears to have been most
complete.
"I have now another reason for troubling you. It is this. I
am extremely anxious about 'The Stroller's Tale,' the more
especially as many literary friends, on whose judgment I
place great reliance, think it will create considerable
sensation. I have seen your design for an etching to
accompany it. I think it extremely good, but still it is not
quite my idea; and as I feel so very solicitous to have it
as complete as possible, I shall feel personally obliged if
you will make another drawing. It will give me great
pleasure to see you, as well as the drawing, when it is
completed. With this view I have asked Chapman and Hall to
take a glass of grog with me on Sunday evening (the only
night I am disengaged), when I hope you will be able to look
in.
"The alteration I want I will endeavour to explain. I think
the woman should be younger--the dismal man decidedly
should, and he should be less miserable in appearance. To
communicate an interest to the plate, his whole appearance
should express more sympathy and solicitude; and while I
represented the sick man as emaciated and dying, I would not
make him too repulsive. The furniture of the room you have
depicted _admirably_. I have ventured to make these
suggestions, feeling assured that you will consider them in
the spirit in which I submit them to your judgment. I shall
be happy to hear from you that I may expect to see you on
Sunday evening.--Dear Sir, very truly yours,
"CHARLES DICKENS."
In compliance with this wish, Seymour etched a new design for "The
Stroller's Tale," which he conveyed to the author at the appointed time,
this being the only occasion on which he and Dickens ever met. Whether
the novelist again manifested dissatisfaction, or whether some other
cause of irritation arose, is not known, but it is said that Seymour
returned home after the interview in a very discontented frame of mind;
he did nothing more for "Pickwick" from that time, and destroyed nearly
all the correspondence relating to the subject. It has been stated that
he received five pounds for each drawing, but it is positively asserted,
on apparently trustworthy evidence, that the sum paid on account was
only thirty-five shillings for each subject,[9] and that the artist
never relinquished the entire right which he had in the designs.
Footnote 9: R. W. Buss, the successor of Seymour as
illustrator of "Pickwick," records that ten shillings was the
price accorded to the artist for each plate.
As in the case of "The Stroller's Tale," there are noticeable
differences between the drawing and the etching of the last of Seymour's
published designs, depicting Mr. Winkle and the Refractory Steed. In
this plate it will be observed that, although the general composition is
identical with that in the drawing, the positions of the horse's
forelegs are reversed, and trees have been introduced on the left of the
picture.
PLATE XX
"THE RUNAWAY CHAISE"
_Facsimile_ of an Unused Design for "The Pickwick Papers" by
R. SEYMOUR
This Drawing illustrates an incident in the fifth chapter.
_Lent by Mr. Augustin Daly._
[Illustration]
An examination of Seymour's etchings for "Pickwick" shows that, in the
application of the dilute nitric acid to corrode the lines produced by
the etching-point, the artist was greatly troubled, and, in order to
save his designs and keep faith with the publishers and the public, he
was probably compelled to apply for help in his need to one of the
artist-engravers residing in his neighbourhood. It has been suggested
that certain faults in his plates caused by defective "biting" were
remedied by means of the engraving tool; but, so far as I have been able
to discover, there is no evidence of this. His plates possess the
quality of pure etching; indeed, in that respect they are superior to
those by "Phiz" in the same work. It should, however, be noted that
there are extant very few copies of "Pickwick" containing impressions
from Seymour's own plates; perhaps in not more than one copy out of a
hundred will they be found, and this scarcity is explained by the fact
that when the plates suffered deterioration through printing, the
artist's death prevented him from duplicating them, so that the subjects
had to be copied and re-etched by "Phiz." Seymour reversed his designs
upon the steel plates, so that when printed they appear exactly as
originally drawn. There is reason to infer, from an entry in the
artist's memorandum-book, that the first four subjects were etched
before he showed them to Dickens, and that they were afterwards
re-etched and modified in some degree to suit the author's views.
Besides these illustrations, Seymour is responsible for the design
appearing on the green wrapper of the monthly parts, which was engraved
on wood by John Jackson. A glance at this at once convinces us how
strongly the "sporting" element was at first intended to predominate,
for here are displayed trophies of guns, fishing-rods, and other
sporting implements; at the top of the page is seen the veritable Winkle
aiming at a sparrow, while below, seated on a chair in a punt,
peacefully reposes Mr. Pickwick with his rod, watching for a "bite"; in
the background of the picture may be recognised Putney Church, as well
as the old wooden bridge which once spanned the Thames at this point.
PLATE XXI
"THE PICKWICKIANS IN MR. WARDLE'S KITCHEN"
_Facsimile_ of an Unused Design for "The Pickwick Papers" by
R. SEYMOUR
This Drawing illustrates an incident in the fifth chapter.
_Lent by Mr. Augustin Daly._
[Illustration]
After the publication of "The Pickwick Papers" many veracious reports as
to its origin were circulated. In some of these statements Dickens was
entirely deprived of the credit of its inception, and partly to assert
his claim, but principally because he believed his readers would be
interested in the truth of the matter, he related the facts in the
already-quoted Preface to the first cheap edition. About two years later
he was considerably annoyed by the appearance of a pamphlet purporting
to give "An Account of the Origin of the Pickwick Papers," the author of
which was the "widow of the distinguished artist who originated the
work." Mrs. Seymour printed in her _brochure_ a distorted version of
Dickens's Preface, and attempted a reply thereto, by which she
endeavoured to show the fallacy of his statements. The following extract
from this privately-printed pamphlet sufficiently indicates the tenor of
Mrs. Seymour's attempt to prove that the honour belonged exclusively to
the artist: "Mr. Dickens edited a work called 'The Pickwick Papers,'
which was originated solely by my husband in the summer of 1835, and but
for a cold (which brought on a severe illness) which he caught on Lord
Mayor's Day, on taking his children to view the procession from the Star
Chamber, would have been written, as well as embellished, by himself;
this cause alone prevented him from doing so, as the numerous
periodicals he was constantly engaged upon had greatly accumulated
during his illness."[10] Although such a claim, so seriously maintained,
necessitated immediate refutation, Dickens allowed a considerable time
to elapse before making a formal denial thereof. With a view to future
action, however, he wrote to Edward Chapman for his recollections of the
primary events in the history of the work, and accordingly received from
him the following reply, dated July 7, 1849: "In November [1835] we
published a little book called 'The Squib Annual,' with plates by
Seymour, and it was during my visit to him to see after them that he
said he should like to do a series of Cockney sporting plates of a
superior sort to those he had already published. I said I thought it
might do if accompanied by letterpress and published in monthly parts;
and this being agreed to, we wrote to the author of 'Three Courses and a
Dessert' (a Mr. Clarke). I proposed it; but receiving no answer, the
scheme dropped for some months, till Seymour said he wished us to
decide, as another job had offered which would fully occupy his time.
And it was on this we decided to ask you to do it.... I am quite sure
that from the beginning to the end nobody but yourself had anything
whatsoever to do with it."
Footnote 10: In 1889 Mrs. Seymour's own copy of this
exceedingly scarce pamphlet (of which only three copies are
known to exist) was purchased by Mr. Daly for £74 at
Sotheby's. It contains a few slight corrections by Mrs.
Seymour.
Further publicity was bestowed upon the subject in a letter contributed
to the _Athenæum_ of March 24, 1866, by Seymour's son, who not only
repeated the principal arguments adduced by the pamphlet, but promised
further particulars in a subsequent communication. Whereupon Dickens,
rightly considering that the opportunity had now arrived for
emphatically repudiating the whole story, forwarded the following letter
for publication in the ensuing number of the _Athenæum_:--
"As the author of 'The Pickwick Papers' (and of one or two other books),
I send you a few facts, and no comments, having reference to a letter
signed 'R. Seymour,' which in your editorial discretion you published
last week.
"Mr. Seymour the artist never originated, suggested, or in any way had
to do with, save as illustrator of what I devised, an incident, a
character (except the sporting tastes of Mr. Winkle), a name, a phrase,
or a word, to be found in 'The Pickwick Papers.'
"I never saw Mr. Seymour's handwriting, I believe, in my life.
"I never even saw Mr. Seymour but once in my life, and that was within
eight-and-forty hours of his untimely death. Two persons, both still
living, were present on that short occasion.
"Mr. Seymour died when only twenty-four [twenty-six] printed pages of
'The Pickwick Papers' were published; I think before the next three or
four [afterwards corrected to "twenty-four"] were completely written; I
am sure before one subsequent line of the book was invented."[11]
Footnote 11: The unpublished sketch by Seymour in Mr. Daly's
collection, depicting the Pickwickians in Mr. Wardle's
kitchen, illustrates a scene described on page 50, so that
Dickens's memory was slightly at fault.
[Here follows the account of Mr. Hall's interview with the novelist, as
given in the Preface of the 1847 edition, and the letter thus
continues:]
"In July 1849, some incoherent assertions made by the widow of Mr.
Seymour, in the course of certain endeavours of hers to raise money,
induced me to address a letter to Mr. Edward Chapman, then the only
surviving business-partner in the original firm of Chapman & Hall, who
first published 'The Pickwick Papers,' requesting him to inform me in
writing whether the foregoing statement was correct."
A few days later Dickens wrote to his eldest son a letter in which he
says:--
"There has been going on for years an attempt on the part of Seymour's
widow to extort money from me by representing that he had some
inexplicable and ill-used part in the invention of Pickwick!!! I have
disregarded it until now, except that I took the precaution some years
ago to leave among my few papers Edward Chapman's testimony to the gross
falsehood and absurdity of the idea.
"But, last week, I wrote a letter to the _Athenæum_ about it, in
consequence of Seymour's son reviving the monstrosity. I stated in that
letter that I had never so much as seen Seymour but once in my life, and
that was some eight-and-forty hours before his death.
"I stated also that two persons still living were present at the short
interview. Those were your Uncle Frederick and your mother. I wish you
would ask your mother to write to you, for my preservation among the
aforesaid few papers, a note giving you her remembrance of that
evening--of Frederick's afterwards knocking at our door before we were
up, to tell us that it was in the papers that Seymour had shot himself,
and of his perfect knowledge that the poor little man and I looked upon
each other for the first and last time that night in Furnival's Inn.
"It seems a superfluous precaution, but I take it for the sake of our
descendants long after you."[12]
Footnote 12: This letter was first published in the
Introduction, by the late Mr. Charles Dickens the Younger, to
Macmillan & Co.'s edition of "The Pickwick Papers," 1892.
The "few papers" here alluded to were destroyed before the novelist's
death, with the exception of Edward Chapman's confirmatory letter.
Needless to say, both Mrs. Charles Dickens and Frederick Dickens
entirely corroborated the novelist's assertions respecting his own share
and that of Seymour in the origin of "Pickwick."
In concluding this account of a most unpleasant controversy, we may
reasonably surmise that had not Seymour communicated his idea to
Chapman, "Pickwick" would never have been written. The proposal for a
book similar in character certainly emanated from the artist, and in
this sense he was, of course, the originator of that work, while to him
also belongs the honour of inventing, pictorially, the portraits of the
Pickwickians. But it was "Boz, glorious Boz," who vitalised the happy
conception, by imparting thereto such prodigality of fun and so much
individuality that "The Pickwick Papers" at once leaped into fame, and,
as all the world knows, was received with acclamation by every section
of the public.
* * * * *
[Sidenote: =The Library of Fiction, 1836.=]
Coincident with the publication of the first monthly number of "The
Pickwick Papers," there appeared the initial part of a new serial called
"The Library of Fiction," which, under the editorship of Charles
Whitehead, was launched by the same publishers. Whitehead, whose name
has already been mentioned in connection with "Pickwick," became
acquainted with Dickens at the time the latter was writing "Sketches by
Boz," which he so much admired that he endeavoured to persuade the young
author to contribute something of a similarly striking character to the
projected "Library of Fiction." Dickens consented, and we find that his
amusing little story, entitled "The Tuggses at Ramsgate," constitutes
the opening paper. Several of the articles and tales in "The Library of
Fiction" were illustrated, and it is interesting to note that Dickens's
contribution to the first part was embellished with two designs by
Robert Seymour, engraved on wood by Landells. It is generally considered
that Seymour's woodcut illustrations are by far the best specimens of
his talent, and the engravers of that day were exceedingly happy in
reproducing the delicacy of touch and brilliancy of effect which
distinguished the drawings made by him direct upon the blocks.
Seymour's first design represents the Tuggs family and their friends,
Mr. and Mrs. Captain Waters, on the sands by the seaside, and it is
interesting to learn that the fat man seated on a chair in front is said
to be a portrait of the artist, as he appeared during the latter part of
his life. The second illustration, depicting the incident of the irate
Captain Waters discovering Mr. Cymon Tuggs behind the curtain, also
formed the subject of George Cruikshank's etching for the little story
when it was reprinted in the first edition of "Sketches by Boz,"
published about some three years later, and, in comparing the separate
designs, we find that they are almost identical, except that the two
prominent figures in the etching are in reverse of those in the
woodcut.
[Illustration]
PLATE XXII
ROBERT W. BUSS
From the Painting by Himself.
_Circa 1837._
ROBERT W. BUSS
Alteration in the Plan of Publishing "Pickwick"--The
Difficulty Respecting a New Illustrator--Buss Elected to
Succeed Seymour--Studies Art under G. Clint, A.R.A.--His
Painting of "Christmas in the Olden Time"--His Ignorance of
the Etcher's Art--Practises Drawing in Pen-and-ink--"THE
PICKWICK PAPERS"--Buss's First Plate Approved by the
Publishers--Failure of Subsequent Attempts--Expert
Assistance Obtained--Plates Cancelled--Buss
Dismissed--Substituted Designs by "Phiz"--"Pickwick"
Drawings by Buss--His Unused Designs for "Pickwick"--His
Illustrations for Marryat, Ainsworth, &c.--Accurate
Draughtsmanship--"THE LIBRARY OF FICTION"--Buss's
Illustrations for "A Little Talk about Spring and the
Sweeps"--His Paintings, Humorous and Historical--Some
Dickens Pictures--Drawings of Scenes in "Dombey and Son"--An
Unfinished Portrait of Dickens--Drawings on Wood for Charles
Knight--Exclusion of the Artist Buss's Pictures from the
Royal Academy--Endeavours to Obtain Pupils--Lectures on
Art--His Wife and Daughter Establish a School for Girls--A
Professor of Drawing and a Teacher of Science--Praiseworthy
Industry--Death of the Artist.
Charles Dickens's brother-in-law, the late Mr. Henry Burnett, was a
frequent visitor at the home of the novelist during the "Pickwick"
period, and years afterwards he vividly recalled the consternation,
disappointment, and anxiety of the young writer on receipt of the
melancholy news concerning the distressing fate of Robert Seymour, the
first illustrator of "The Pickwick Papers." Dickens greatly admired the
productions of that unfortunate artist, and, realising how successfully
he had so far portrayed the characters in the work, apprehended there
would be much difficulty in discovering a draughtsman who could
interpret him with equal felicity. Indeed, there was quite a dearth of
suitable talent, the only artist then living capable of etching his own
designs being George Cruikshank. Unfortunately, there was not much time
for consideration, as the third number of "Pickwick" had to be provided
for without delay.
The crisis brought about by the unexpected death of Seymour compelled
Chapman & Hall to promptly carry into effect a resolution they had
formed of issuing future numbers of "The Pickwick Papers" on an improved
plan, with a view to enhancing the attractiveness and popularity of the
work. They determined that each succeeding number should consist of
thirty-two pages of letterpress instead of twenty-four, and that there
should be two illustrations in lieu of four--an arrangement which held
good to the end. The difficulty respecting an illustrator to succeed
Seymour had now to be grappled with, whereupon the publishers called to
their assistance the eminent wood-engraver, John Jackson, who advised
them to approach Robert William Buss, as being the only artist of his
acquaintance likely to prove the most suitable for the purpose. Chapman
& Hall acted upon this suggestion, and Buss, after much persuasion and
at great personal inconvenience, agreed to temporarily relinquish very
important engagements in order to assist them in their dilemma.
PLATE XXIII
DESIGN FOR THE TITLE-PAGE OF "THE PICKWICK PAPERS"
_Facsimile_ of an Unpublished Drawing by R. W. BUSS
[Illustration]
Robert William Buss is referred to in an address issued with the third
part of "Pickwick" as "a gentleman already well known to the public as a
very humorous and talented artist." He was born on August 29, 1804, in
Bull-and-Mouth Street, St. Martin's-le-Grand, and in due course
apprenticed to his father, an enameller and engraver on gold and silver.
Like Seymour, he was inoculated with the prevailing mania for "High
Art," and this inclination becoming too strong to be thwarted, his
indulgent father not only permitted the cancelling of his indentures,
but even defrayed the cost of a year's study in Art, placing him under
his old friend George Clint, A.R.A. (a landscape painter, and
subsequently the President of the Society of British Artists), whose son
Alfred married the younger Buss's only sister. Having thus, at the age
of twenty-one, gained some practical experience in his adopted
profession, Robert Buss thought himself competent to start life on his
own account by painting portraits and subject-pictures. In this
direction he met with fair success, but it was as a painter of humorous
incidents that he first made his reputation, these finding eager
purchasers among well-known collectors and _connoisseurs_. Among his
earliest achievements was a painting representing "Christmas in the
Olden Time," which he exhibited in the gallery of the Society of British
Artists in 1838. This work, however, although warmly praised by the
critics, proved a most unhappy venture, as the price realised by the
artist for what represented the result of a year's labour hardly
recouped him for the expenses incurred by its production.[13]
Footnote 13: The picture afterwards changed hands for six or
seven times the amount originally received by the painter. It
eventually became the property of his daughter, the late Miss
Frances Mary Buss, for many years the Head-mistress of the
North London Collegiate School for Girls, in the
Drawing-School of which institution this interesting canvas
now hangs.
* * * * *
[Sidenote: =The Pickwick Papers, 1836-37.=]
It was doubtless this painting with which Buss was occupied when Mr.
Hall (of Chapman & Hall) called upon him respecting the illustrations
for "Pickwick." "Taken quite by surprise," relates the artist, when
recalling his association with Dickens's famous work, "I told him [Mr.
Hall] I had never in the whole course of my life had an etching-needle
in my hand, and that I was entirely ignorant of the process of etching,
as far as practice was concerned. He assured me it was very easy to do,
and that with my talent I was sure to succeed." After some hesitation,
overcome by Mr. Hall's promise that consideration would be shown towards
his want of experience, Buss yielded to the pressure thus put upon him,
and consented to put aside his picture (although most anxious to
complete it for exhibition at the Royal Academy), with a view to
embarking upon his new undertaking.
In preparing studies for his pictures, Buss had accustomed himself to
the use of bold effects, obtained by means of chalk or black-lead
pencils of various degrees of hardness, blackness, and breadth of point.
He therefore deemed it necessary to undergo a course of training which
would enable him to impart to his work that delicacy of touch so
essential in the art of etching upon copper or steel, and devoted
himself almost day and night (as there was really no time to lose) to
practice in drawing with pen-and-ink,--a fact (he observes) "of which
Mr. Hall was utterly and entirely ignorant." There are still extant a
few of these experimental efforts (chiefly figures and faces copied
from line engravings), including a sheet containing a dozen sketches of
heads--studies of characters in "Pickwick," apparently based upon
Seymour's etchings--which testify not only to his energy, but also to
his rapidly-acquired skill in the adoption of what was to him a novel
medium. In these drawings, by the way, he used ordinary ink for the
general design, diluting it for the delicate shades and distant objects,
thus assimilating the effect of his pen-and-ink work with the variations
resulting from the "biting-in" and "re-biting" of etchings.
PLATE XXIV
"THE BREAK-DOWN"
_Facsimile_ of an Unpublished Drawing by R. W. BUSS
Illustrating an incident in the ninth chapter of "The Pickwick Papers."
[Illustration]
After labouring incessantly for a period of three weeks, the artist felt
prepared to make his first attempt in etching, taking for his subject
"Mr. Pickwick at the Review." Referring to this plate, he says: "Of
course it was full of faults, inevitable to any one in the early stage
of practice in etching. But it was shown to Messrs. Chapman & Hall, and
approved by them, though not as one of the illustrations to be
published.[14] All this occupied much time, which was every hour
becoming more and more valuable, as the date of publication was close at
hand. I had barely time to prepare my two subjects for the next number
of 'Pickwick' in pencil and submit them for approval to the publishers,
who returned them, being much pleased with my efforts. The subjects I
selected were the Fat Boy watching Mr. Tupman and Miss Wardle in the
arbour, and the Cricket-Match." Buss now essayed to reproduce his
designs upon the plates; but the result proved disastrous, the too
violent action of the improperly diluted acid tearing up the
etching-ground, which also broke up under the needle, creating sad
havoc. Dreading the possible consequences of delay, he placed his
original drawings in the hands of an expert engraver, to be copied on
the plate and "bitten-in." "This work," remarks the artist, "he did very
well indeed, but, as might have been expected, had I had time for
thought, the free touch of an original was entirely wanting. The etching
itself failed, but the 'biting-in' was admirably done. Time was up. The
plates must be placed at once in the printer's hands, and so (there
being no help for it) the plates were printed, the numbers stitched and
duly published. Thus my name appeared to designs of which not one touch
of mine was on the plates." Had opportunities been given, Buss would
have cancelled these plates, and prepared fresh ones of his own etching.
The immediate effect of this fiasco was the termination of his
connection with "The Pickwick Papers," the artist being actually engaged
in preparing designs for the succeeding number when he received a note
informing him that the work had been placed in other hands. Under the
circumstances, it is not surprising that Buss felt this curt dismissal
very keenly, for it must be remembered that he ventured upon the
undertaking mainly to oblige the publishers, who, it appears, had
promised him every consideration on account of his inexperience with the
etching-needle.
Footnote 14: This design has been reproduced by
photo-lithography, impressions of which may occasionally be
found in copies of "Pickwick."
Forster disposes of the subject of Buss's association with "Pickwick" in
a very few words, merely observing that "there was at first a little
difficulty in replacing Seymour, and for a single number Mr. Buss was
interposed," thus intimating that the engagement was a temporary one. In
commenting upon this, the artist's son, the Rev. Alfred J. Buss,
expresses a belief that his father could not certainly have regarded it
in this light. "Is it reasonable to suppose," he asks, in _Notes and
Queries_, April 24, 1875, "that he would have consented to devote three
weeks of his time, at the most valuable season to an artist, to the
practice of an entirely new department of art, if it had been clearly
stated that his engagement was of the transitory nature Mr. Forster
would imply, and the more especially when we bear in mind that the price
to be paid for the etchings was only fifteen shillings each?" It was
Forster's scanty and misleading reference to Buss's engagement as
illustrator of "Pickwick" which induced the artist to draw up for his
children a concise and clear account of everything that transpired.
It is not recorded whether Buss and Dickens became personally
acquainted, nor, indeed, that they ever met. We may therefore surmise
that all business transactions were carried on through the publishers,
who probably forwarded to the artist proofs of the letterpress in order
that he might select therefrom the subjects for illustration. The third
number of "Pickwick" contains the only two published etchings by Buss
for that work, viz., "The Cricket-Match" and "The Fat Boy Awake on this
Occasion only." These plates, the effect of which was poor and thin,
contrasted unfavourably with the Seymour etchings immediately preceding
them, and were therefore suppressed as speedily as possible, others by
"Phiz" (Hablôt K. Browne) being substituted before many copies had been
issued.[15] In one of the latter an entirely different design is
given,--that is to say, instead of "The Cricket-Match," we have "Mr.
Wardle and his Friends under the Influence of 'the Salmon,'" depicting
an incident described in the succeeding chapter.
Footnote 15: The two cancelled etchings by Buss have been
copied on steel, but, being printed on India paper, are not
likely to be mistaken for the original plates. Impressions of
the Buss etchings are exceedingly scarce, only about seven
hundred copies of the number containing them having been
circulated.
The drawings by Buss for "Pickwick" have fortunately been preserved.
Besides the original designs for the published etchings, there are still
in existence several tentative sketches prepared by the artist in
anticipation of future numbers,--those, indeed, upon which he was at
work when he received his _congé_. Some of these sketches are vigorously
limned with pen-and-ink outlines and the effects laid in with a brush,
while others are rendered in pencil supplemented by washes of
indian-ink. The following is a complete list of Buss's original drawings
for "Pickwick":--
MR. PICKWICK AT THE REVIEW.[16]--_Unused design._--This
subject was etched by the artist as a specimen of his work
to be submitted to Chapman & Hall. Only two impressions are
known to exist, while the plate itself was irretrievably
injured through the surface being scratched with a piece of
coarse emery paper.
THE CRICKET-MATCH.[16]--_Published design._
Footnote 16: Reproduced in _facsimile_ in the Victoria
edition of "Pickwick," 1887.
PLATE XXV
"A SOUVENIR OF DICKENS"
From an Unfinished Painting by R. W. BUSS
_Size of Original Picture, 36 in. by 27 in._
_Lent by the Rev. F. Fleetwood Buss._
[Illustration]
THE CRICKET-MATCH.--_First sketch_, varying entirely from
the etching. The wicket-keeper is seen behind the fat man,
receiving the ball full in his face.
THE FAT BOY AWAKE ON THIS OCCASION ONLY.[1]--_Published
design._
THE FAT BOY AWAKE ON THIS OCCASION ONLY.--_First sketch_,
varying from the etching. Tupman is represented on his knees
by the side of Miss Wardle, who is holding a watering-pot,
while the Fat Boy is seen behind, facing the spectator.
THE FAT BOY AWAKE ON THIS OCCASION ONLY.--_Second sketch_,
varying from the etching. Here Tupman is standing, with his
left arm around Miss Wardle's waist, and the Fat Boy is in
front, in much the same attitude as represented in the
published design; indeed, there are very slight differences
between this sketch and the accepted drawing.
MR. WARDLE AND HIS FRIENDS UNDER THE INFLUENCE OF "THE
SALMON."[17]--_Unused design._
Footnote 17: Reproduced in _facsimile_ in the Victoria
edition of "Pickwick," 1887.
THE BREAK-DOWN.--_Unused design._ Pickwick, in an attitude
of despair, stands facing the spectator; behind him Wardle
is seen in the act of shaking his fist at the eloping party
in the retreating chaise; while a postboy on the left holds
the head of one of the horses belonging to the vehicle which
has come to grief.
MR. WINKLE'S FIRST SHOT.--_Unused design._ The central
figure is Winkle, holding his gun; close by stands Snodgrass
in an attitude of fear, while Pickwick and Wardle are
sheltering behind a tree.
STUDY FOR THE TITLE-PAGE.--_Unused design._ In this rough
sketch Pickwick is the prominent personage, as he stands
facing the spectator, with his right hand in the pocket of
his smalls, and his left arm resting on what appears to be a
mound of earth. Separately displayed upon the face of this
mound are medallion portraits, in emblematical frames, of
Pickwick, Snodgrass, Winkle, and Tupman, while above all is
suspended a female figure typical of Fame, blowing a
miniature trumpet and holding a laurel wreath over the head
of Pickwick. The letters forming the words "Pickwick Club"
are made up of various articles suggestive of conviviality
and sport--such as corkscrews, bottles, wine-glasses,
pistol, stirrup, &c.
These drawings sufficiently indicate that the artist possessed a decided
power with the pencil, which he turned to good account shortly after the
abrupt termination of his connection with "The Pickwick Papers." For
example, in 1839 he successfully illustrated, by means of etching, Mrs.
Trollope's diverting story, "The Widow Married," then appearing as a
serial in the _New Monthly Magazine_, and among the more remarkable of
his later efforts with the etching-needle are his designs for novels by
Marryat, Ainsworth, and other well-known writers of the day, many of the
plates being equal, in the matter of technique, to those by "Phiz," thus
denoting that, had an opportunity been afforded him, he might have made
his mark with "Pickwick." It may be said of Buss (as is asserted
concerning Cruikshank) that his works, whether in colour or
black-and-white, are regarded as affording authentic information
respecting costumes and other accessories; for he was exceedingly
conscientious in matters of detail, preferring to incur infinite trouble
to secure accuracy rather than rely upon his imagination.
* * * * *
[Sidenote: =The Library of Fiction, 1836.=]
Like Seymour, Buss was associated with Dickens in connection with that
ephemeral work, "The Library of Fiction." Besides "The Tuggses at
Ramsgate," the novelist wrote for its pages a paper called "A Little
Talk about Spring and the Sweeps," containing an illustration drawn by
Buss and engraved on wood by John Jackson, who, it will be remembered,
introduced the artist to Chapman & Hall. This short tale was reprinted
in the first complete edition of "Sketches by Boz," 1839, under the
title of "The First of May," with an etching by Cruikshank
depicting an incident differing entirely from that which forms the
subject of Buss's woodcut.
PLATE XXVI
DOLLY VARDEN
From an Original Water-colour Drawing by R. W. BUSS
_Lent by the Rev. A. J. Buss._
[Illustration]
* * * * *
As a painter of humorous scenes and historical events, Buss gained
considerable popularity. From 1826 to 1859 he contributed nearly every
year subject-pictures and portraits to the Exhibitions of the Royal
Academy, Suffolk Street Gallery, and British Institution, and among his
numerous canvases (many of which have been engraved) may be
mentioned:--_Humorous_--"The Biter Bit," "The March of Intellect," "The
Monopolist," "An Unexpected Reception," "Soliciting a Vote," "Chairing
the Member," "Mob Tyranny," "The Mock Mayor of Newcastle-under-Lyme."
_Historical_--"The Introduction of Tobacco by Sir Walter Raleigh,"
"James Watt's First Experience with Steam," "Hogarth at School,"
"Chantrey's First Essay in Modelling," "Nelson's First Victory over the
French Fleet." The artist was also occasionally inspired by Shakespeare
and Dickens, and it is specially interesting to note that he painted at
least three pictures of scenes in the novelist's works, viz., "Joe
Willet Taking Leave of Dolly Varden" (from "Barnaby Rudge"), exhibited
at the Royal Academy in 1844, and now in a South Australian public
picture-gallery; "The Cricket's Chirp" (Peerybingle, Dot, and Tilly
Slowboy, from "The Cricket on the Hearth," Chirp the First), exhibited
at Suffolk Street, 1846; and a representation of Trotty Veck peeping
into the basket containing his dinner of tripe which his daughter brings
him. In an album of studies and notes for his pictures (arranged by the
artist for preservation as an heirloom) may be found several sketches
for the first-named subject, and in addition to these are two small
water-colour drawings, oval in form, of scenes in "Dombey and Son,"
representing "Mr. Dombey more Magnificent than Usual," and "Captain
Cuttle visited by Florence Dombey," the latter being especially well
rendered. Whether these have ever been engraved I am unable to say, but
the probability is they have not. Curiously enough, the last picture on
Buss's easel purported to represent "A Dream of Dickens." This
unfinished canvas (still in the possession of a member of the artist's
family) contains a portrait of the novelist seated in his study, with
visions of scenes from his various works around him. The portrait is
adapted from the well-known photograph by Watkins, while the incidents
depicted are taken from the original illustrations.
Although Buss's large picture of "Christmas in the Olden Time" proved,
for the artist, a financial failure, it benefited him in being the means
of introducing him to Charles Knight (perhaps the most enterprising
publisher of that day), who, recognising in the young painter a diligent
student of manners and customs, engaged his services on the Pictorial
Edition of Shakespeare's Works, "Old England," the _Penny Magazine_, and
Chaucer's "Canterbury Tales," all of which were issued under Knight's
auspices. The Rev. A. J. Buss well remembers his father making these
drawings on wood blocks, which were engraved by Jackson, Sly, and
others, and recalls that, some years after, he obtained a commission
from Mr. Hogarth, a printseller, to execute some Christmas subjects for
reproduction by line-engraving.
After 1854 Buss's pictures were for some reason excluded from the Royal
Academy Exhibitions, and this so seriously affected the sale of his work
that he was compelled to have recourse to teaching drawing as a means of
supplementing a precarious income. As early as 1843 he had issued
circulars announcing a course of lessons in drawing on Dupin's method,
having previously purchased many expensive models, and rented a room in
Duke Street, Grosvenor Square; but all in vain, for not a single pupil
was forthcoming! He then prepared a series of lectures on English Comic
and Satiric Art, which he delivered in London and the chief provincial
towns in England, these being illustrated by large diagrams.
PLATE XXVII
FLORENCE DOMBEY AND CAPTAIN CUTTLE
From an Original Water-colour Drawing by R. W. BUSS
_Lent by the Rev. A. J. Buss._
[Illustration]
During the period of struggle for a livelihood, the artist's wife and
daughter came nobly to his assistance by establishing, in 1850, the
North London Collegiate School for Ladies (as it was then
designated), which developed into the leading school in the cause
of Female Education. In order to give it a higher grade than other
similar seminaries had then attained, Buss not only became its professor
of drawing, but teacher of science too, first devoting himself to the
study of Chemistry, Botany, Human Physiology, Mechanics, Hydraulics,
&c., and he soon became qualified for his self-imposed responsibilities.
His artistic capabilities here stood him in good stead, for they enabled
him to prepare large diagrams with which to illustrate his lectures; in
addition to this, he made his own models for demonstrating the science
of Mechanics--thus proving the power he possessed of adapting himself to
circumstances, in the earnest desire to obtain a living and in his love
for wife and children. "I do not think," observes the Rev. A. J. Buss,
when corresponding with me on this subject, "I ever knew a man so
industrious as my father. I have a clear remembrance almost from my
childhood of his industry,--early morning in his painting-room--up to
late hours drawing on wood and etching. He _deserved_ better fortune
than he secured; and I have only learnt to admire him the more, the more
I think of his career."
At the death of his wife, the artist led a very retired life, in a
studio most picturesquely fitted up with ancient furniture, and here it
was that he devoted the latter years of his life in preparing for
publication his lectures on Art, being aided and encouraged in his
congenial task by his affectionate daughter, the late Frances Mary Buss,
who subsequently gained high distinction in connection with Education.
This profusely-illustrated volume, printed for private circulation, was
issued in 1874, and bore the following title: "English Graphic Satire,
and its relation to Different Styles of Painting, Sculpture, and
Engraving. A Contribution to the History of the English School of Art."
Robert William Buss died at his residence in Camden Street, Camden Town,
on February 26, 1875, in his seventy-first year. The end came very
quietly and painlessly to him who had fought the battle of life so
honestly and so fearlessly.
HABLÔT K. BROWNE ("PHIZ")
I
An Illustrator required for "Pickwick"--Leech and Thackeray
offer their Services--Thackeray's First Meeting with
Dickens--"Mr. Pickwick's Lucky Escape"--Leech's Specimen
Drawing--HABLÔT K. BROWNE ("Phiz") Elected to Succeed
Buss--His Etching of "John Gilpin's Ride" Awarded a Silver
Medal--His Designs for "SUNDAY UNDER THREE HEADS" and "THE
LIBRARY OF FICTION"--Mr. J. G. Fennell's Reminiscences of
the Artist--Thackeray's Congratulations to "Phiz"--A Modest
Banquet--"Phiz" as an Etcher--Assisted by Robert
Young--Their First Plate for "Pickwick"--An All-Night
Sitting--Particulars Concerning a "First Edition" of
"Pickwick"--The Success of the Work Assured--The _Sobriquet_
of "Phiz"--The Artist's Signatures--Method of Preparing the
"Pickwick" Illustrations--Variations in Duplicated
Plates--George Augustus Sala's Opinion of the "Pickwick"
Plates--The Etchings Criticised--"Phiz's" Original Drawings
for "Pickwick"--His Tentative Designs--Differences between
the Drawings and the Etchings--Dickens's Hints to the
Artist--"Phiz's" Sketch of Mr. Pickwick--A Series of New
Designs--Vignettes for the Library Edition--Woodcuts for the
Household Edition--Frontispiece for "THE STRANGE
GENTLEMAN"--Illustrations for "SKETCHES OF YOUNG GENTLEMEN"
and "SKETCHES OF YOUNG COUPLES"--Sale of the Original
Drawings--"NICHOLAS NICKLEBY"--Dickens and "Phiz" in
Yorkshire--The Prototype of Squeers--A Significant
Memorandum--Mr. Lloyd's Recollections of William Shaw, a
Yorkshire Pedagogue--The "Nickleby" Etchings
Criticised--Particulars Concerning the Plates--The Original
Drawings--A Missing Design--Dickens's Instructions to
"Phiz"--Variations in the Illustrations--Pictorial
Wrapper--Vignettes for the Library Edition.
PLATE XXVIII
HABLÔT K. BROWNE ("PHIZ")
From an Unpublished Photograph
_Lent by Mr. Gordon Browne, R.I._
ROBERT YOUNG
From a Photograph by
W. GREEN
_Lent by Mr. R. Young._
[Illustration]
It is certainly extraordinary that within the space of a few weeks two
vacancies for the post of illustrator of "Pickwick" should have
occurred. It was about the beginning of June 1836 (the date of the
publication of the third part, containing his two etchings) when Buss
unexpectedly received the intimation that his services would be no
longer required, and no sooner had this fact become known than there was
quite a rush of aspiring artists eager to offer their professional aid,
among them being several who had already made a reputation as
draughtsmen--such as "Crowquill" (Alfred Forrester), Lee, and
others. It is of special interest to learn that John Leech and William
Makepeace Thackeray were also desirous of obtaining the appointment, but
the honour was destined for another. Thackeray had practised etching for
some years, having, while an undergraduate at Cambridge, taken lessons
of an engraver and printseller named Roe, who carried on his profession
in the University town, and under that gentleman's superintendence he
etched a series of plates illustrative of college life, which were first
published in 1878. Possessing a natural gift for drawing, the famous
satirist (in his early days) earnestly desired to follow Art as a
profession, and so far encouraged his bent by copying pictures in the
Louvre; but his studies seem to have been of a desultory character, and
of little value in making him a sound draughtsman. When, on returning to
London, he heard that a designer was required for the "Pickwick"
illustrations, he immediately sought an interview with Dickens at his
rooms in Furnival's Inn, taking with him some specimens of his work, and
more than twenty years afterwards, in responding to the toast of
"Literature" at the Royal Academy banquet, he thus referred to the
memorable incident: "I can remember when Mr. Dickens was a very young
man, and had commenced delighting the world with some charming humorous
works, of which I cannot mention the name, but which were coloured light
green and came out once a month, that this young man wanted an artist to
illustrate his writings, and I recollect walking up to his chambers with
two or three drawings in my hand, which, strange to say, he did not find
suitable. But for that unfortunate blight which came over my artistical
existence, it would have been my pride and my pleasure to have
endeavoured one day to find a place on these walls for one of my
performances." Although at the time he was doubtless surprised at, and
sorely disappointed by, "Boz's" want of appreciation, he afterwards
acknowledged there was some justification for it, and good-humouredly
alluded to the rejection of his services as "Mr. Pickwick's lucky
escape." Who can say whether "Vanity Fair" and "Esmond" would ever have
been written had this mighty penman been elected to succeed Buss?[18]
Footnote 18: According to the following anecdote, Thackeray
did not over-estimate his own powers as a draughtsman. Mr. M.
H. Spielmann tells us that after Edmund Yates had started an
illustrated magazine, which had but a brief existence,
Thackeray wrote to him: "You have a new artist on _The
Train_, I see, my dear Yates. I have been looking at his
work, and I have solved a problem. I find there _is_ a man
alive who draws worse than myself!"
Thackeray's schoolfellow and life-long friend, John Leech, also
submitted a design to Chapman & Hall, in the hope of being successful
where others had failed, but the little drawing, slightly tinted in
colours, depicting the amusing scene in the Bagman's story of Tom Smart
and the high-backed chair, did not indicate the possession by the artist
of the necessary qualifications. He was accordingly dismissed; but it
was reserved for this amiable man and accomplished draughtsman not only
to adorn with his pencil the pages of the "Carol" and other Christmas
books of Charles Dickens, but to be afterwards honoured by the
friendship and esteem of England's great novelist.
* * * * *
[Sidenote: =Sunday under Three Heads, 1836.=]
As all the world knows, the privilege of illustrating Dickens's most
popular work was secured by Hablôt Knight Browne ("Phiz"), this clever
designer being rightly regarded as artistic exponent-in-chief of
Dickens's creations. At this time he had barely attained his majority,
and, unlike Cruikshank, who came to the pictorial embellishment of
"Sketches by Boz" and "Oliver Twist" with a distinct reputation, was an
almost untried artist. About his eighteenth year, while serving his
apprenticeship with the Findens, the well-known line-engravers, Browne
was awarded a silver medal offered for competition by the Society of
Arts for "the best representation of an historical subject"--a large
etching portraying John Gilpin's famous ride through Edmonton. _Apropos_
of this etching Mr. Mason Jackson writes in the _Athenæum_, June 11,
1887: "Mr. Chapman (of Chapman & Hall) was delighted with 'John Gilpin's
Ride,' and forthwith applied to Browne, who thus succeeded Seymour and
Buss as the illustrator of 'Pickwick.'" After a careful comparison of
dates, I venture to point out the probability that it was not with a
view to the illustration of "Pickwick" that Edward Chapman paid his
first visit to Browne, as generally supposed, but for the purpose of
engaging his services as designer of some woodcuts for a pamphlet which
the firm was about to publish, entitled "Sunday under Three Heads--As it
is; As Sabbath Bells would make it; As it might be made." This brochure,
written by Dickens under the pseudonym of "Timothy Sparks," is prefaced
by a Dedication dated June 1836, and was therefore in progress prior to
the publication of the fourth number of "Pickwick," containing "Phiz's"
first designs, which appeared during the following month. When, in after
years, Mr. Morton Brune enquired of the artist concerning his share in
this little production, he replied: "The work of Dickens mentioned by
you was illustrated by me when quite a youngster, and I am sorry to say
I can give no information about it--recollecting nothing whatever."[19]
Besides a trio of heads (printed on both wrapper and title-page), there
are three full-page illustrations, engraved by C. Gray and Orrin Smith.
This excessively scarce pamphlet was issued as a protest against the
extreme views of Sir Andrew Agnew and the Sabbatarian party, and had
immediate reference to a Bill "for the better observance of the
Sabbath," then recently rejected in the House of Commons by a small
majority. "Sunday under Three Heads" was originally published at two
shillings, and now realises as much as £10 in the auction-room. There
are two or three _facsimile_ reprints in existence, but the
reproductions of the woodcuts are comparatively poor.
Footnote 19: As early as 1837 Browne designed (as an
advertisement for Bentley) a little woodcut (now very rare)
in which he depicted Charles Dickens leading by the lappel of
his waistcoat a burly and perspiring porter, who is seen
carrying a huge bale of copies of _Bentley's Miscellany_, of
which magazine the novelist was then the editor.
It should be mentioned that "Phiz" (together with Seymour and Buss)
assisted in the illustration of "The Library of Fiction," published by
Chapman & Hall in 1836-37, so that his artistic efforts were by no
means unfamiliar to the firm at this time. In his design facing page 293
of the first volume of that work there may be discovered the figure of
an obese individual who is the very counterpart of Tony Weller.
* * * * *
[Sidenote: =The Pickwick Papers, 1836-37.=]
An intimate friend of Hablôt K. Browne, Mr. John Greville Fennell
(formerly of the _Field_ journal), confirms my opinion that the artist's
earliest association with the writings of Dickens was his connection
with "Sunday under Three Heads"; but, as the engravings in that pamphlet
only bore the designer's initials, it is more than probable that Browne
himself was then an absolute stranger to the future novelist. Within a
very brief period, however, certain events conspired to bring about the
beginning of an acquaintance which ripened into a friendship that never
ceased during Dickens's life-time. Mr. Fennell writes: "It was I who,
while superintending E. & W. Finden's establishment, sold his first
drawing to Adolphus Ackermann, and induced him (H. K. B.) to reproduce
Buss's two illustrations (viz., The Cricket-Match[20] and The Fat Boy
Awake on this Occasion only), which I sent down to Chapman & Hall." It
was apparently through Mr. Fennell's intervention that the publishers
were enabled to recognise Browne's ability as an etcher, and to discover
in the specimens submitted to them that he was the very man to occupy
the position then recently vacated by Buss. He first heard of his
appointment from his generous rival, Thackeray, who at once made his way
to the artist's abode in Newman Street for the purpose of congratulating
him, and it is said that they immediately repaired to a neighbouring
public-house, where a banquet consisting of sausages and bottled stout
was held in honour of the occasion.
Footnote 20: So far as I am aware, no illustration by "Phiz"
of this subject is extant.
At this juncture, Browne (who considered line-engraving too tedious a
process) suspended operations at Finden's establishment, and, through
the friendly auspices of Mr. Fennell, his indentures were cancelled two
years before they had expired. In conjunction with a kindred spirit, he
hired a modest room as a studio, and employed his time in the more
congenial pursuit of water-colour drawing. As the result of a solemn
compact between them to produce three drawings daily, Browne, who worked
very rapidly, was enabled to pay his share of the rent by the proceeds
of his labours. In order to familiarise himself with the human form, he
attended the evening class at the "Life" School in St. Martin's Lane,
having as a fellow-pupil that famous painter of the "nude," William
Etty, who afterwards joined the ranks of the Royal Academicians.
In 1836 (when in his twenty-first year) Browne had acquired considerable
facility with his pencil, and soon proved that his selection as the
illustrator of "Pickwick" was thoroughly justified. By means of the
training he had undergone at the Findens, he had obtained a mastery over
the difficulties and mysteries of etching, which now proved eminently
serviceable. Buss declared that "Phiz" was by no means an expert when he
commenced working for "Pickwick," being compelled to obtain help from an
experienced engraver named Sands, who "touched up the drawings with his
own needle, adding shade where required, and then applied the acid and
did all the necessary 'biting-in' and 'stopping-out.'" The facts,
however, are rather over-stated, as witness that early effort (perhaps
unknown to Buss), viz., the etching of John Gilpin, which was
undoubtedly unaided work, testifying that the artist was then quite
capable of running alone. It is acknowledged, however, that, so far as
the "biting-in" was concerned, he invariably secured co-operation, not
on account of his own incapacity, but merely to save time, and for this
purpose he generally sought and obtained the requisite help of his
quondam fellow-apprentice, Robert Young.
Browne speedily communicated to Mr. Young the welcome intelligence
respecting the "Pickwick" appointment; indeed, we are told that he went
at once to his friend's chambers, and on entering said, "Look here, old
fellow: will you come to my rooms to assist me with a plate I have to
etch?" Mr. Young, who was still in the employ of Finden, had acquired
such a thorough knowledge of the art of biting-in designs upon steel
plates, that Browne realised the importance of securing his co-operation
without delay, and, happily for him, his friend readily acceded to his
wish; whereupon "Phiz" suggested that he should take his key with him,
as they might be late. The design having already been drawn upon the
plate, the two conspirators devoted the entire night to the operation of
biting-in, the outcome of which was the production of the plate
depicting the eventful meeting of Mr. Pickwick and Sam Weller at the old
White Hart Inn, perhaps the most notable illustration in the book. Mr.
Young's share of the undertaking consisted in the application and
manipulation of acid, which corroded the plate where exposed by the
needle--a troublesome and delicate operation, requiring considerable
experience, as, by too lengthy or too brief a subjection of the metal to
the action of the acid, the plate would be ruined, and the labour of the
artist rendered of no avail.
Mr. Young writes in reply to my enquiry respecting this and subsequent
collaboration: "I did not bite-in the whole of 'Phiz's' etchings. I was
some years abroad, during which he had assistance from two engravers,
Sands and Weatherhead. 'Phiz' was quite capable of doing this part of
the work himself, for he had two or three years' practice during his
apprenticeship at Finden's; but he had no time for such work, being
always fully occupied in etching or drawing on wood."
PLATE XXIX
"A SUDDEN RECOGNITION, UNEXPECTED ON
BOTH SIDES"
_Facsimile_ of the Original Drawing for "Nicholas Nickleby" by
H. K. BROWNE ("PHIZ")
Above the Sketch is written the following, in the autograph of
Dickens:--"I don't think that Smike is frightened enough [or that
Squeers is] earnest enough, for my purpose."
_Lent by Mr. M. H. Spielmann._
[Illustration]
The title-page of "Pickwick" intimates that the volume contains
"Forty-three illustrations by R. Seymour and Phiz," thus ignoring Buss's
contributions. The fact is (as stated in the preceding chapter) that
only a few copies of Part III., containing the two plates by Buss, were
issued, these being quickly superseded by a couple of new designs by
Browne; therefore, a copy of an absolutely first edition of the book
should include seven etchings by Seymour, two by Buss, and thirty-four
by "Phiz." Two plates, viz., "The Fat Boy Awake on this Occasion only"
and "Mr. Wardle and his Friends under the Influence of 'the
Salmon'" were etched for Part III. (after those in Part IV.), to take
the place of Buss's cancelled designs. In early copies of the first
edition all the plates were printed without titles, and throughout the
first twelve numbers each plate bore only a reference in figures to the
page which it was intended to illustrate. In the remaining numbers
(Parts XIII. to XX.) the reference figures were withheld, the plates
showing in the first published copies neither figures, titles, nor
publishers' imprint.
For the first three parts of "The Pickwick Papers" there was so limited
a demand that the publishers seriously contemplated a discontinuance of
the work, a fate which, from the same cause, threatened Thackeray's
famous novel, "Vanity Fair," in the early stages of its career. Happily,
such a disaster was averted by the appearance in the fourth part of Sam
Weller, who at once achieved such enormous popularity that the sale went
up by leaps and bounds, the number of copies disposed of increasing from
a few hundreds to several thousands. This was an extremely happy augury,
not only for author and publishers, but for the young artist whose
connection with the book began at this critical time, and the
extraordinary circulation so suddenly imparted to the work was doubtless
principally instrumental in obtaining for him other commissions, with
which he was soon overflowing. Browne's earliest printed plates are
signed "Nemo," and referring to this he says: "I think I signed myself
as 'Nemo' to my first etchings (those of No. 4) before adopting 'Phiz'
as my _sobriquet_, to harmonise--I suppose--better with Dickens's
'Boz.'" The third and succeeding plates bear the signature of "Phiz," a
sign-manual which presently became well known to all readers of the
novels of Dickens, Ainsworth, and Lever. Although he seldom appended his
surname to his designs, we not unfrequently find (in his woodcuts
especially) the initials "H.K.B.," in lieu of the more familiar
pseudonym. It seems the public could never quite realise that the
different signatures were those of the same artist, and were wont to
remark that "Browne's work was better than Phiz's."
The "Pickwick" illustrations were produced in couples, that is, two
subjects were etched on one plate, this being printed at a single
operation and the sheets afterwards divided. "Phiz" was exceedingly
rapid in his work when time was limited, and could design and etch a
plate in the course of a day, and have it bitten-in and ready for the
printer by the next morning. Unlike Seymour, he almost invariably drew
his subjects on the steel without reversing them, so that they appeared
reversed in the printing; it is evident, however, that he sometimes
failed to remember this when preparing his designs, so that occasionally
we find that his figures are left-handed, and other similar
incongruities. Doubtless, the artist's motive in thus copying his
drawings directly upon the plate was to facilitate operations, for in
this way he could dispense with the aid of a mirror.
A noteworthy consequence of the increased sale of the "Pickwick" numbers
was the serious deterioration of the plates caused by friction in
printing, as for every impression the plate must be inked and the
superfluous ink removed by wiping with the hand. In those days the
process called "steel-facing," by means of which the etched or engraved
surface is hardened, was unknown, so that, comparatively, only a few
impressions could be struck off before the plate indicated any
appreciable sign of wear-and-tear. The designs were therefore etched in
duplicate, and this appears to have commenced at the date of the
publication of the tenth part of "Pickwick." The system of duplicating
the plates readily accounts for the interesting variations observable in
different copies of the first issue; as, for example, the faces in the
illustration delineating Mr. Pickwick's first meeting with Sam Weller
are much improved in the _replica_, while other details are greatly
altered; in the original plate portraying Mr. Pickwick in the pound,
there are two donkeys and four pigs, while the later impression has but
one donkey and two pigs; in the etching where Master Bardell is seen
kicking Mr. Pickwick, the boy was first drawn with his head down, but
was subsequently represented with it raised, the attitudes of Snodgrass
and Winkle being also slightly changed; the second version of the plate
entitled "The Break-down" (which, by the way, bears a remarkable
resemblance to Buss's unused drawing of the same subject) differs
considerably from the first, and this remark applies to many of the
other designs; but it is chiefly in the earlier plates that these
variations are particularly noticeable. It is by no means surprising
that such unimportant alterations exist, for an artist like "Phiz" would
find it infinitely tiresome to slavishly copy, line for line, the
original designs, especially if he saw an opportunity for improving
them.
The late George Augustus Sala held the opinion that Hablôt Browne's
earlier illustrations to "Pickwick" are "exceedingly humorous, but
exceedingly ill-drawn," and believed that it was the amazing success of
the author which spurred the artist to sedulous study, thus conducing in
a remarkable degree towards the development of his faculties.
Remembering, however, that "Phiz" had only just attained his majority,
we cannot but admire the deftness and skill he then displayed in so
difficult an art as etching, for, although some of the illustrations are
marked by a certain grotesqueness, these plates are marvels of
_technique_.
In the preface to the first edition of "The Pickwick Papers" we read:
"It is due to the gentleman, whose designs accompany the letterpress, to
state that the interval has been so short between the production of each
number in manuscript and its appearance in print, that the greater
portion of the illustrations have been executed by the artist from the
author's mere verbal description of what he intended to write." It was
customary at this time for Dickens to call upon Browne, and hastily
explain his intentions respecting the chapters to be illustrated, and
from notes then made by the artist the requisite designs were evolved.
This satisfactorily accounts for certain inaccuracies in the plates, for
which, however, "Phiz" cannot justly be censured; for example, in the
etching representing Mr. Pickwick hiding behind the door of the young
ladies' seminary, the cook should have been the only person shown beyond
the threshold; and in the plate depicting the discovery of Jingle in
the Fleet, we see Job Trotter standing behind Mr. Pickwick, whereas,
according to the text, he had not entered the room at that precise
moment. On the other hand, we may detect some defects for which "Phiz"
must be held responsible; as, for instance, the inaccurate perspective
of the mantelshelf in the plate entitled "The Red-nosed Man
Discourseth," and the absence of proportion in the size of the figures
of Mr. Pickwick and the old lady in the etching portraying Christmas Eve
at Mr. Wardle's, a similar anomaly appearing in the etching of Mr.
Pickwick's encounter with Mrs. Bardell in the Fleet. Again, there surely
never existed so enormous a sedan-chair as that from the roof of which
Mr. Pickwick expostulates with Sam Weller when he attacks the executive
of Ipswich, or that into which Mr. Winkle bolts in his _robe de nuit_.
In the skating scene, curiously enough, there is no indication of skates
being worn by any member of the company. "Phiz" sometimes posed his
figures in attitudes which, if not physically impossible, are unnatural
and unpicturesque; it must be admitted, however, that he usually
succeeded where George Cruikshank invariably failed, that is, in
delineating pretty women, of whom his skilled pencil has given us quite
an extensive gallery.
A set of proofs of "Phiz's" plates sold for twenty guineas at Sotheby's
in 1889. A reprint of "Pickwick," published at Launceston, Van Diemen's
Land, in 1838-39, was illustrated by means of lithographic copies
(signed "Tiz") of some of the original etchings. At the same time there
appeared an American edition, issued in parts by Turney, New York, with
_facsimiles_ of the plates engraved on steel.
PLATE XXX
STUDIES FOR
THE CHEERYBLE BROTHERS
_Facsimile_ of Original Drawings by
H. K. BROWNE ("PHIZ")
_Lent by Mr. J. F. Dexter._
[Illustration]
It fortunately happens that, with two exceptions, the original drawings
by "Phiz" for "The Pickwick Papers" have been preserved; the missing
designs are "Mr. Wardle and his Friends under the Influence of 'the
Salmon'" and the vignette for the title-page, where Tony Weller is seen
ducking Stiggins in the horse-trough. Photogravure reproductions of all
the existing designs (some having Dickens's autograph) were published in
the Victoria edition by Chapman & Hall in 1887. The majority of the
drawings were executed in pencil or pen-and-ink, the effects washed in
with a brush, the remainder being entirely brushwork. The following is a
list of "Pickwick" designs by "Phiz" such as were merely tentative, and
therefore never etched:--
MR. WINKLE'S FIRST SHOT.--_Trial sketch_, illustrating an
incident in the seventh chapter. A sketch of the same
subject was made by Buss.
CHRISTMAS EVE AT MR. WARDLE'S.--_Trial sketch_, varying but
slightly from the approved design.
THE GOBLIN AND THE SEXTON.--_First sketch_, in pencil,
varying considerably from the etching. An attenuated sprite,
with sugar-loaf hat and arms akimbo, is seated on the top of
a flat gravestone beside Gabriel Grub, who, pausing in the
act of raising a bottle to his lips, gazes with astonishment
at his uncanny visitor. Behind is seen a church porch.
THE GOBLIN AND THE SEXTON.--_Second sketch_, similar in
character, but more complete. Positions of figures reversed,
and the goblin more robust. In the published etching the
artist has introduced as a background a view of an
ecclesiastical building, which bears some resemblance to St.
Alban's Abbey.
THE WARDEN'S ROOM.--_Trial sketch_, varying considerably
from the approved design. The attitudes of dancer and seated
figure are different, the man in the bed adjoining Mr.
Pickwick's throws up both arms and one leg, while in either
hand he holds a nightcap and beer-jug. Other figures are
introduced on the right.
In comparing the drawings with the plates, important variations are
sometimes apparent. In the remarkable etching, "The Election at
Eatanswill," the artist has introduced fresh figures, while others are
altered; in "Mr. Pickwick in the Pound," we see in the first state of
the etching two donkeys and four pigs, instead of one donkey and three
pigs, as in the drawing; in "Job Trotter encountering Sam in Mr.
Muzzle's Kitchen," the pretty housemaid was originally represented
sitting on Sam Weller's knee; in "The Valentine," the artist's first
intention was to portray Tony Weller without hat and cape; and in
"Conviviality at Bob Sawyer's," a human skeleton is visible behind Mr.
Ben Allen, which was omitted in the etching.
The interest of a few of these drawings is considerably enhanced by the
fact that they contain instructions and suggestions in the autograph of
Dickens. The first so treated is "Mrs. Leo Hunter's Fancy-dress
Déjeuné," the drawing differing in many respects from the etching,
chiefly in the attitudes and arrangement of the figures; under it the
author has written: "I think it would be better if Pickwick had hold of
the Bandit's arm. If Minerva _tried_ to look a little younger (more like
Mrs. Pott, who is perfect), I think it would be an additional
improvement." The design was altered in accordance with the spirit of
the criticism, and we find Minerva, instead of a plump and matronly
personage, the very opposite in the matter of physique. It is worthy of
note that in the first state of the etching the face of the Russian
officer in the rear bore too close a caricature resemblance to that of
Lord Brougham, the subsequent change in his appearance being due to some
remonstrance against the artist's freedom. The drawing depicting Mr.
Pickwick's first interview with Serjeant Snubbin contains the following
hint from the author: "I think the Serjeant should look younger, and a
great deal more sly and knowing; he should be looking at Pickwick too,
smiling compassionately at his innocence. The other fellows are
noble.--C. D." As a matter of fact, the drawing is more successful than
the etching, the Serjeant's face in the former indicating that it had
been obliterated and altered to suit Dickens's idea. In the original
design for the etching representing "Mr. Winkle's Situation when the
Door 'Blew to,'" the artist portrayed Mr. Winkle holding the candlestick
in front of him; but Dickens objected to this, and wrote at the top of
the drawing: "Winkle should be holding the candlestick above his head, I
think. It looks more comical, the light having gone out" The change was
made, but the curious thing is, neither author nor artist remembered the
fact that at the moment depicted Mr. Winkle had actually discarded the
useless candlestick. Under the same drawing Dickens penned the following
comment: "A _fat_ Chairman so short as our friend here, never drew
breath in Bath;" "Phiz" has also written in the margin: "Shall I leave
Pickwick where he is or put him under the bed-clothes? I can't carry him
so high as the second floor.--H. K. B." (Mr. Pickwick's rooms are
described as being in the "upper portion" of the house, but it would
seem that Dickens had originally placed him on the "second floor," which
suggests that the text was altered to suit the illustration. In reply to
this query the author wrote: "I would leave him where he is decidedly.
Is the lady full dressed? She ought to be.--C. D." Mr. Pickwick was left
accordingly; likewise the fat chairman, whose abnormal obesity was
reproduced in the etching as it appears in the drawing. In the sketch of
"Mr. Winkle Returns under Extraordinary Circumstances," the artist had
not made Sam Weller and the housemaid quite as Dickens desired,
whereupon the novelist appended the following queries: "Are Sam and the
housemaid clearly made out; and [would it not be be]tter if he was
looking on with his arm roun[d Mary?] I rayther question the accuracy of
the housemaid."[21] As the sketch, in its present state, realises
Dickens's ideas, we may assume that it was altered by the artist before
he transferred his design to the plate; indeed, there seems to be
evidence of this in the blurred appearance of the young couple in the
drawing, in the margin of which "Phiz" has written the following
instructions about the biting-in: "The outlines of the figures I have
etched with a broad point unintentionally; bite them slightly, that they
may not be too hard, especially Pickwick." The last of the drawings
containing the novelist's handwriting is that illustrating "The Ghostly
passengers in the Ghost of a Mail," this bearing the unusual signature,
"Charles {his} + {mark} Dickens," by which the novelist evidently
meant to express his satisfaction with the artist's treatment of the
subject. In the "English Humorists" Exhibition held in London a few
years since, there was a capital study by "Phiz" of Mr. Pickwick,
apparently an enlarged _replica_ of the familiar figure and pose as seen
in Seymour's illustration of him as he appeared when addressing the
Club; it is a water-colour drawing on buff paper, supplemented by
marginal sketches of the head and bust of Pickwick with his hat on,
together with two studies of hats; upon the side of the drawing is
inscribed the following memorandum: "Nankeen tights, black cloth
gaiters, _white_ waistcoat, blue coat, brass buttons, square cut in the
tails."
Footnote 21: The words in brackets are unfortunately cut off
the sketch.
PLATE XXXI
MASTER HUMPHREY AND THE DEAF GENTLEMAN
_Facsimile_ of the Original Drawing for "Master Humphrey's Clock" by
H. K. BROWNE ("PHIZ")
Beneath the Sketch is written the following, in the autograph of
Dickens:--"Master Humphrey ADMIRABLE. Could his stick (with a crooked
top) be near his chair? I misdoubt the deaf gentleman's pipe, and wish
he could have a better one."
_Lent by Mr. J. F. Dexter._
[Illustration]
In 1847 "Phiz" prepared six new designs for "The Pickwick Papers," which
were delicately engraved on wood; the series was issued independently,
and simultaneously with the first cheap edition of the book. These
drawings are undoubtedly superior to the etchings, being the more
matured work of the artist. The following were the subjects chosen: "Mr.
Winkle's First Shot," "The Effects of Cold Punch," "Mr. Pickwick at
Dodson and Fogg's," "The Kiss under the Mistletoe," "Old Weller at the
Temperance Meeting," "The Leg of Mutton 'Swarry.'" "Phiz" also
contributed to each of the two volumes of the Library Edition
(1858-59)[22] a vignette illustration for the title-page, the subjects
being Mr. Pickwick and the Wellers, and Sam Weller with the Pretty
Housemaid; they were engraved on steel from the original drawings in
water-colours. In 1867 the artist was seized with a form of paralysis,
the use of the right hand being so greatly impaired that he was unable
to make the forefinger and thumb meet; this compelled him to hold the
pencil or brush in a clumsy fashion, and to draw with a sort of
sweeping movement of the whole arm. It was under such distressing
conditions that in 1873-74 he executed a commission to illustrate
Chapman & Hall's Household Edition of "The Pickwick Papers." These
fifty-seven designs are necessarily extremely poor in treatment, and
painfully indicate the effect of the injury his hand had sustained;
indeed, the wonder is that he could draw at all. It must be admitted,
however, that much of the feebleness of the woodcuts is due to the
engraver, as the original outline sketches (which were transferred to
the boxwood blocks and there developed) exhibit in a wonderful degree
both freedom and precision of touch. A small collection of these
drawings was sold at Sotheby's in December 1887, each drawing realising
the average price of seven pounds. Sets of the "Pickwick" designs in the
Household Edition, coloured by F. W. Pailthorpe, have been issued as
"extra" illustrations.
Footnote 22: The early volumes in the Library Edition, issued
during 1858-59, have only vignettes on the title-pages. The
later issues of this edition (1862-68) contain several
illustrations, some of these being reprints of the plates in
the first edition, while others were specially designed.
* * * * *
[Sidenote: =The Strange Gentleman, 1837.=]
In 1836, as soon as Dickens terminated his connection with the
Reporters' Gallery in the House of Commons, he was induced to take a
considerable interest in the then newly-erected St. James's Theatre, and
even essayed to write for his friend J. P. Harley ("as a practical
joke," he afterwards explained) a comic burletta called "The Strange
Gentleman," which was adapted from "The Great Winglebury Duel" in
"Sketches by Boz." The little farce was published by Chapman & Hall
during the following year with a frontispiece by "Phiz," the subject of
the plate being suggested by the concluding scene, where the Strange
Gentleman proposes marriage to Julia Dobbs; the two seated figures are
vigorously drawn, and on a larger scale than those in the "Pickwick"
designs. "The Strange Gentleman" is perhaps the rarest of Dickens's
writings, and the extraordinary sum of £45 was realised at Sotheby's in
August 1892 for an exceptionally fine copy. It has since been
beautifully reprinted in _facsimile_, with a new frontispiece etched by
F. W. Pailthorpe.
[Sidenote: =Sketches of Young Gentlemen, 1838.=]
In the same year Chapman & Hall published a booklet (anonymously written
by E. Caswell) entitled "Sketches of Young Ladies," by "Quiz," with six
etchings by "Phiz," the author of which was erroneously believed to be
Charles Dickens, whose literary style it somewhat resembled. The "Young
Ladies" being referred to here in a rather ungallant fashion, Dickens
essayed (as a kind of protest) a similar work, in which he pokes fun at
the idiosyncrasies of youths of the sterner sex. Like its predecessor,
the "Sketches of Young Gentlemen" were written anonymously, and
similarly contained six etched illustrations by "Phiz."
* * * * *
[Sidenote: =Sketches of Young Couples, 1840.=]
In 1840 there appeared a third booklet, entitled "Sketches of Young
Couples;" of this Dickens was also the unavowed author, while "Phiz"
contributed the usual six etchings. In the third of these designs (only
two of which are signed) we are reminded of his presentment of the
Kenwigses in "Nicholas Nickleby," the illustrations for which story were
then occupying the artist's attention. These little productions were
issued in green paper covers, decorated with designs by "Phiz."
The sets of six original drawings for "Sketches of Young Ladies" and
"Sketches of Young Gentlemen" realised £40 and £39 respectively at
Sotheby's in 1897.
* * * * *
[Sidenote: =Nicholas Nickleby, 1838-39.=]
In the advertisement announcing the publication of "Nicholas Nickleby,"
it was stated that each monthly part would be "embellished with two
illustrations by 'Phiz'." This is not strictly accurate, for to the
twenty parts the artist contributed but thirty-nine plates, the full
complement, however, being made up with a portrait of the author (as the
frontispiece), engraved by Finden from the painting by D. Maclise,
A.R.A.
The most interesting of the "Nickleby" plates are undoubtedly those
depicting scenes at Dotheboys Hall, that representing Squeers at the
Saracen's Head containing the most familiar presentment of its amiable
proprietor. Thus, as he stood mending his pen, the novelist and artist
saw the living prototype, and had taken mental notes of the odd figure,
who, as will presently be related, was among the several schoolmasters
they interviewed.[23]
Footnote 23: Among the few drawings executed by "Phiz" for
_Punch_, there is a representation of an orthodox
pettifogging attorney perched upon a stool, whose portrait is
that of the very Squeers. It constitutes one of a series of
"_Punch's_ Valentines," and was published in the second
volume, 1842.
It was the novelist's intention to expose in this story the terrible
abuses practised in the cheap boarding-schools of Yorkshire, and, in
order that he might realise their true character, he determined to
investigate for himself the real facts as to the condition of those
notorious seminaries. Accordingly, at the end of January 1838, he and
"Phiz" started on this memorable journey, in bitterly cold weather, and,
visiting several schools in the locality, they came into direct contact
with the proprietors. One of these was William Shaw, the identical
schoolmaster who, some years previously, had been heavily fined for what
was represented at the trial as gross maltreatment of his pupils.
According to the following entry in the novelist's private diary (under
date February 2, 1838), there can be no doubt that he had this
individual principally in his mind when delineating the infamous
Squeers:--"Mem.--Shaw, the schoolmaster we saw to-day, is the man in
whose school several boys went blind some time since from gross neglect.
The case was tried, and the verdict went against him. It must have been
between 1823 and 1826. Look this out in the newspapers." Mr. Lloyd, a
well-known Glasgow comedian, who spent twelve months in Shaw's school at
Bowes, Yorkshire, afterwards testified to the truth of the _outward_
appearance of the man as described by Dickens and portrayed by the
artist in the pages of the novel, "allowing, of course, for both being
greatly exaggerated. A sharp, thin, upright little man, with a slight
scale covering the pupil of one of his eyes. Yes, there he stands, with
his Wellington boots and short black trousers, not originally cut too
short, but from a habit he had of sitting with one knee over the other,
and the trousers being tight, they would get 'rucked' half-way up the
boots. Then, the clean white vest, swallow-tailed black coat, white
necktie, silver-mounted spectacles, close-cut iron-grey hair,
high-crowned hat worn slightly at the back of his head--and there you
have the man." It certainly seems remarkable that Mr. Lloyd and others
who knew Shaw recollect him as a most worthy and kind-hearted gentleman,
but this perhaps is explained by certain facts concerning him and his
school that were published in the _Athenæum_, February 1894, together
with a commentary upon a reprint of the trial in which he was the
defendant.
It is a curious fact that several Yorkshire schoolmasters actually
claimed to be the prototype of Squeers; indeed, a member of the
fraternity (probably Shaw himself) declared that he remembered being
waited on by two gentlemen, one of whom held him in conversation while
the other took his likeness; "and although" (says the author in his
preface to the story) "Mr. Squeers has but one eye, and he has two, and
the published sketch does not resemble him (whoever he may be) in any
other respect, still he and all his friends know at once for whom it is
meant, because the character is _so_ like him." I think there can be no
doubt that both Dickens and "Phiz," when delineating Squeers, reproduced
too closely the idiosyncrasies of one individual, and that the author's
description, as well as the artist's presentment, bore so obvious a
likeness to Shaw, that he became the scapegoat for others worse than
himself, and suffered accordingly.
PLATE XXXII
"THE DOMBEY FAMILY"
_Facsimile_ of the First Study for the Etching by
H. K. BROWNE ("PHIZ")
The "Query" written beneath the Drawing is in the autograph of the
Artist. It was addressed to Dickens, and reads as follows:--"_Qy._
Whether 'twere better to have him standing thus, stiff as a poker, with
a kind of side glance at his daughter,--or sitting, as in the other?"
The Etching differs considerably from the Drawing.
_Lent by Mr. J. F. Dexter._
[Illustration]
In some of the etchings may be discovered slight incongruities (as, for
example, in the first plate, where Ralph Nickleby's hat is too small for
his head), while in others there is a palpable touch of exaggeration. In
the illustration, "The Country Manager Rehearses a Combat," the artist
has omitted to introduce the figure of the landlord who ushered into the
managerial presence Nicholas and Smike, and the broad-swords should have
been basket-hilted weapons. In the etching, where Nicholas instructs
Smike in the art of acting, Nicholas wears the rapier on the wrong
side, this oversight doubtless resulting from the non-reversal of the
design upon the plate. The "Nickleby" illustrations are, as a whole,
very successful; in many instances the expressions are capitally
rendered, although it is to be regretted that the artist did but scant
justice to the physical attractions of Kate Nickleby and Madeline Bray.
There were sixty-three quarto plates etched for the thirty-nine
illustrations in the story, each plate carrying two designs; some of
these were etched three times, while in seven instances the quarto plate
was reproduced no less than four times. In none of these duplicated
plates will be found such marked variations in detail as may be noted in
the _replicas_ of the "Pickwick" designs, so that the collector need
only seek for well-printed impressions.[24]
Footnote 24: The "Nickleby" plates were copied by J. Yeager
for the first American edition of the story.
All the original drawings for "Nickleby," with one exception, are still
in existence; they were disposed of on July 16, 1880, in Robinson &
Fisher's auction-rooms, when they realised in the aggregate rather more
than a hundred pounds. The missing design is that depicting Nicholas in
his capacity as tutor in the Kenwigs family. These drawings are executed
in pencil and wash, some being especially valuable by reason of marginal
notes in the autograph of the novelist. At the top of the original
sketch for "A Sudden Recognition, Unexpected on Both Sides" (kindly lent
by Mr. M. H. Spielmann for reproduction), Dickens has pencilled a note
to the artist, a portion of which (that within the brackets) has been
cut away: "I don't think that Smike is frightened enough [or that
Squeers is] earnest enough, for my purpose,"--a criticism which was
apparently not productive of much alteration in the direction indicated,
unless effected in the sketch before the subject was etched.
The late Mr. F. W. Cosens, who possessed several preliminary studies of
the Kenwigs children, had in his collection a note from Dickens giving
minute instructions to "Phiz" respecting the design for the plate
entitled "Great Excitement of Miss Kenwigs at the Hairdresser's Shop."
The novelist desired his illustrator to depict "a hairdresser's shop at
night--not a dashing one, but a barber's. Morleena Kenwigs on a tall
chair, having her hair dressed by an under-bred attendant, with her hair
parted down the middle and frizzed up into curls at the sides. Another
customer, who is being shaved, has just turned his head in the direction
of Miss Kenwigs, and she and Newman Noggs (who has brought her there,
and has been whiling away the time with an old newspaper) recognise,
with manifestations of surprise, and Morleena with emotion, Mr.
Lillivick, the collector. Mr. Lillivick's bristly beard expresses great
neglect of his person, and he looks very grim and in the utmost
despondency."
The original drawing for "Nicholas Starts for Yorkshire" presents
several important variations from the published plate, the positions of
the figures being considerably altered, the most remarkable differences
being that Ralph Nickleby and Squeers in the sketch are placed on the
side opposite the coach and more in the background, the coachman reading
the way-bill is transferred to the spot where Squeers now stands, while
there is another coachman looking over his shoulder, who is omitted in
the etching; the coachman with the whip (as seen in the plate) was not
introduced in the sketch. For the monthly parts "Phiz" designed a
pictorial wrapper; on either side of this wood-engraving is a corpulent
figure mounted on tall stilts, surmounted by an allegorical scene
typifying Justice, with cornucopia, &c., and below is seen the culprit
Squeers wading through a river, guided by imps carrying lanterns.
For the two volumes of the Library Edition of "Nicholas Nickleby"
(1858-59) "Phiz" prepared small designs, delicately tinted in
water-colours, which were engraved on steel as vignettes for the
title-pages; the subjects represented are "The Nickleby Family" and "The
Mad Gentleman and Mrs. Nickleby," the original drawings realising £14
each at Sotheby's in 1889.
HABLÔT K. BROWNE ("PHIZ")
II
"MASTER HUMPHREY'S CLOCK"--A Quaint Advertisement--Woodcuts
instead of Etchings--"Phiz's" Contributions--Instances of
his Exaggerated Grotesqueness--Mr. Frederic Harrison's
Comment--A Powerful Design--Illustrations in "The Old
Curiosity Shop" Criticised--Ruskin's Attack upon the Designs
in "Barnaby Rudge"--His Admiration of the Woodcut of
"Barnaby and Grip"--"Phiz's" Frontispieces--His Letter to
Dickens--An Amusing Epistle from Dickens to his Publisher--A
"Clock Dinner"--Original Drawing of Master Humphrey and the
Deaf Gentleman--Frontispiece for the First Cheap Edition of
"Barnaby Rudge"--Vignettes for the Library Edition--New
Designs for "Master Humphrey's Clock"--Portraits of Dolly
Varden, Little Nell, and Barbara--Sale of Water-Colour
Drawings--"MARTIN CHUZZLEWIT"--The Illustrations
Characterised--How they were Prepared--Slight Errors by
"Phiz"--The Original Drawings--Minute Instructions from
Dickens to the Artist--A Humorous Rejoinder--Sale of the
"Chuzzlewit" Designs--Vignettes for the Library
Edition--"DOMBEY AND SON"--The Plates Etched in
Duplicate--Introduction of the Oblong Form of Illustration--Method
of Obtaining _Chiaroscuro_--Some Anomalies in the Etchings--Working
under Difficulties--Dickens's Anxiety Respecting the
Designs--Studies for Mr. Dombey--A Letter of Instructions--Hints
to the Artist--Dickens Disappointed--The Etching of "Mrs.
Pipchin and Paul"--"Doctor Blimber's Young Gentlemen"--A Remarkable
Oversight--Explicit Directions from Dickens to "Phiz"--Original
Drawings for "Dombey and Son"--Slight Variations from the
Etchings--"Dombey" Sketches Presented to Dickens--A Portrait
of Little Paul--Pictorial Wrapper--Extra Plates--Criticism by
Dickens--Portraits of Alice and Florence Dombey--Frontispiece
for the First Cheap Edition--Vignettes for the Library Edition.
[Sidenote: =Master Humphrey's Clock, 1840-41.=]
Charles Dickens's next work, entitled "Master Humphrey's Clock," which
comprises "The Old Curiosity Shop" and "Barnaby Rudge," was first issued
in weekly instalments, as well as the customary monthly parts, the new
venture being thus announced: "Now wound up and going, preparatory to
its striking on Saturday, the 28th March, Master Humphrey's Clock,
Maker's name--'Boz.' The Figures and Hands by George Cattermole, Esq.
and 'Phiz.'" A novel feature of this undertaking was the illustrations,
which were not etched as hitherto, but engraved on wood and dropped into
the text, the total number of designs being one hundred and ninety-four,
including three frontispieces and twenty-four initials. Of these "Phiz"
produced by far the greater proportion, he being responsible for no less
than a hundred and fifty-three, including two frontispieces and all the
initials; the subjects of many of the latter, by the way, have no
connection with the letterpress. Some of the drawings are unsigned,
while others have appended to them the artist's initials or monogram,
occasionally reversed. At this time "Phiz" was almost as anonymous as
"Boz," but when "Master Humphrey's Clock" ultimately appeared in volume
form, his identity was fully established on the title-page as "Hablôt
Browne." The result of a careful analysis of the illustrations discloses
the fact that "Phiz" produced sixty-one for "The Old Curiosity Shop" and
"Barnaby Rudge" respectively, and seven for the miscellaneous papers
relating to "The Clock," exclusive of the initials. The greater number
of figure-pieces fell to his pencil, while the architectural subjects
were entrusted to his coadjutor, George Cattermole.
PLATE XXXIII
"PAUL AND MRS. PIPCHIN"
_Facsimile_ of the Original Sketch for "Dombey and Son" by
H. K. BROWNE ("PHIZ")
A subsequent and more complete Drawing of this subject is included in
the Duchess of St. Albans' Collection.
_Lent by Mr. J. F. Dexter._
[Illustration]
In many of the drawings (admirably engraved by S. Williams, Landells,
Gray, and Vasey) Browne hardly did himself justice, their exaggerated
grotesqueness tending to deprive these little pictorial compositions of
much of their artistic value. Observe, for example, the repulsive
features of Kit, his mother, and the child in the tenth chapter of "The
Old Curiosity Shop," and note how positively diabolical are his
representations of Sampson Brass and his sister, and of Dick Swiveller.
It is difficult to believe that the terrible-looking creature intended
for the Marchioness, in the fifty-seventh and sixty-fifth chapters,
would ever have developed into a "good-looking" girl, as she really did,
according to the text. It is probably such unpleasing illustrations as
these which induced Mr. Frederic Harrison in _The Forum_ to condemn,
with exceeding severity, the artist's propensity for caricature; "the
grins, the grimaces, the contortions, the dwarfs, the idiots, the
monstrosities of these wonderful sketches could not be found in human
beings constructed on any known anatomy." Other woodcuts are of
course excellent, especially those in which Mr. Pickwick and the Wellers
are resuscitated. One of the most striking, however, is the weird
water-scape showing the corpse of Quilp washed ashore--a vista of
riparian scenery which, for the sense of desolate breadth and loneliness
it suggests, it would be difficult to excel. An illustration deserving
special examination is the tailpiece for the chapter immediately
following the end of "The Old Curiosity Shop," where the artist has
depicted Master Humphrey in his arm-chair, surrounded by Lilliputian
figures, among which may be recognised some of the principal actors in
the story.
A careful comparison of the illustrations with the text of "The Old
Curiosity Shop" reveals certain slight inaccuracies on the part of the
artist. For example, in the twenty-seventh chapter we read that Quilp
leant upon his st
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