THE BROTHERS DALZIEL
A RECORD OF FIFTY YEARS' WORK
1840-1890
THE
BROTHERS DALZIEL
A RECORD
OF
FIFTY YEARS' WORK IN CONJUNCTION WITH
MANY OF THE MOST DISTINGUISHED
ARTISTS OF THE PERIOD
1840-1890
_WITH SELECTED PICTURES BY, AND AUTOGRAPH
LETTERS_
FROM
LORD LEIGHTON, P.R.A.,
SIR J. E. MILLAIS, Bart., P.R.A., SIR E. J. POYNTER, P.R.A.,
HOLMAN HUNT, DANTE G. ROSSETTI, SIR JOHN TENNIEL,
SIR E. BURNE-JONES, Bart., JOHN RUSKIN,
AND MANY OTHERS.
LONDON
METHUEN AND CO.
36 ESSEX STREET W.C.
1901
LONDON:
PRINTED BY DALZIEL AND CO., LTD.
CAMDEN PRESS, 110 HIGH STREET, CAMDEN TOWN.
PREFACE.
Thomas Bewick, who revived the art of wood engraving in England, was
apprenticed to Ralph Beilby, as a copperplate engraver, in 1767. About
1770 he began to engrave on wood. The work at first was rough, and
chiefly for newspaper advertisements; but he soon saw the capabilities
of the material, and he rapidly developed into the great master of
his art. The excellence of his wood engraving may be said to have
culminated in his "Book of British Birds," the first volume of which
was published in 1797. For a century from that date the art of wood
engraving has been the most popular as well as the best method for the
reproduction of all classes of drawings, and during that hundred years
much beautiful work has been done.
Bewick's pupils were all artists in the fullest meaning of the
word--John Bewick (his brother), Robert Johnson, Luke Clenell, Charlton
Nesbit, Isaac Nicholson, and William Harvey. What a grand start the
first half of the century of wood engraving had with such great men!
In the second half--in which we claim to have had our share--were such
brilliant contemporaries as John Jackson, John Thomson, the Williams',
J. W. Whymper, Orrin Smith, Mason Jackson, W. L. Thomas, W. J. Linton,
J. D. Cooper, C. Roberts, Biscombe Gardner, Joseph Swain, and J. W.
Palmer--all true artists, draughtsmen, and painters, as well as wood
engravers.
Touching the old cry of defective reproduction, we say that at times
there could not fail to be some amount of depreciation, but never such
as justified the senseless and vulgar remarks made by certain critics,
which can only be passed over in consideration of their total want of
technical knowledge of the art, and of the conditions under which much
of the work was produced. Coarse epithets have been used towards men
who were devoting, with all possible earnestness, their skill to an
art for the reproduction of work for popular issues. Wood engraving,
being no exception to other arts, demands conditions necessary for the
production of perfect work. First, the man who makes the drawing ought
to know the capabilities of the material and should work accordingly;
second, the engraver should have all the true instincts of an artist;
and, third, he must have the full interval of time to perform his work
with proper care.
A large amount of wood engraving being done on the rush, it was a
common thing to "burn the midnight oil" and the engraver's eyes at the
same time, and it is a marvel that so much beautiful artistic work was
done under such conditions.
We have printed in this book many letters from distinguished artists
expressing their satisfaction with our rendering of their drawings,
with one object--to place beyond all doubt that if wood engravings were
produced under the conditions named, the results would always prove
satisfactory.
We have a letter before us from Sir Edward Burne-Jones, in which he
says: "I was quite unprepared for such fidelity."
By the introduction of the various "processes" by which artists'
drawings are nowadays made applicable for reproduction, the days of
wood engraving are practically over, and we have to bow to the new
light which we had long felt would come; and we need hardly say that,
for the reproduction of good pen work, with the new process by line
etching, the results are perfect.
Also, when we look at the reproductions of tint drawings by such
men as William Small, De Haenen, the Pagets, Caton Woodville, W. L.
and C. Wyllie, Edgar Bundy, Jacomb Hood, and many other artists of
distinction, by the half-tone process, and when we think (beyond all
this fine artistic work) of the vast mass of wonderful illustration
given to the public, week by week, of every conceivable class of
subject, direct from the camera, in which the draughtsman has no part
at all, and this work is generally of singular beauty and truth--we
feel that our occupation is gone. In saying this we wish to add that
we hail with satisfaction the marvellous results from these many
ingenious adaptations of photography, and the consequent wide spread of
the art of illustration, which has ever been our greatest delight.
In preparing the contents of this book it would have been impossible
to give the many specimens of our work but for the kind and liberal
spirit with which our requests were responded to by the various
publishers who had entrusted us with their commissions from our very
earliest days. Our best thanks are due, in the first instance, to
Messrs. Adam & Charles Black, for the loan of two engravings for
the "Abbotsford Edition of Scott's Novels," which were amongst our
first important works; the Art Union of London, for a specimen of
Kenny Meadows'; Messrs. Macmillan, for specimens from "The Ingoldsby
Legends," "Tennyson's Poems," and "Alice in Wonderland"; Messrs.
Bradbury & Agnew, for selections from Richard Doyle's work; Messrs.
George Routledge & Sons, for specimens from "Gilbert's Shakespeare" and
various "Fine Art Books"; Messrs. Herbert Virtue & Co., for several
from Millais' "The Parables of Our Lord" and "Dalziel's Bible Gallery";
Messrs. Blackwood & Son, for "Lays of the Scottish Cavaliers," by Sir
J. Noel Paton; Messrs. James Nisbet & Co., for "Lays of the Holy Land;"
Messrs. Longman & Co., for Tenniel's "Lalla Rookh"; Messrs. Smith,
Elder & Co., for "Framley Parsonage" and the _Cornhill Magazine_; Mr.
James Hogg, for "London Society"; Messrs. D. Appleton & Co., for "Poems
by W. Cullen Bryant"; Mr. John Hogg, for "Poems by Robert Buchanan";
Messrs. Chapman & Hall, for many illustrations to the works of Charles
Dickens; the Proprietors of the _Graphic_, for "The Sisters," by G. J.
Pinwell; and to Messrs. Ward and Lock, for "Dalziel's Arabian Nights"
and "Dalziel's Goldsmith."
Mr. Alexander Strahan has our warmest thanks for much help which he
kindly gave us in procuring many valuable representative specimens of
our work from his various publications.
And yet other thanks are due. Before publishing the letters to be found
in the following pages, it was necessary to seek the permission of
the writer of each, or the executors of those no longer with us. In
every case the response has been so kind and so reminiscent, that the
interest and pleasure derived from their receipt will remain till the
end with
George and Edward Dalziel
Hampstead
1901
LIST OF ILLUSTRATIONS.
SUBJECT. PAGE
OUR FATHER. GEORGE DALZIEL. From a Bust by his Son, Robert 3
Dalziel
OUR MOTHER. From an Oil Painting by her
Son, Robert Dalziel 5
PORTRAIT OF From an Oil Painting by his 7
Brother Robert
" EDWARD DALZIEL. From an Oil Painting by his 9
Brother Robert
" JOHN DALZIEL. From a Photograph 11
" THOMAS DALZIEL. From a Photograph 13
" WILLIAM HARVEY. From a Wood Engraving 15
" MARGARET DALZIEL. From a Photograph 20
ILLUSTRATED BY
THE EARL OF LEICESTER'S LEVEE. William Harvey 21
From the Abbotsford Edition of
"Kenilworth"
MACKAY, AS THE BAILIE NICOL Sir William Allan, R.A.,
JARVIE. From the Abbotsford P.R.S.A. 25
Edition of "Rob Roy"
CHILDREN IN THE WOOD. John Franklin 27
SLEEPING CHILD AND LAMB. William Mulready, R.A. 29
"EVANGELINE." From the Poetical Sir John Gilbert, R.A.,
Works of Longfellow P.R.W.S. 33
"L'ALLEGRO." Kenny Meadows 39
A BALL-ROOM. Frederick Walker, A.R.A.,
R.W.S. 43
"A LAY OF ST. DUNSTAN." From the
"Ingoldsby Legends" George Cruikshank 45
"THE LORD OF TOULOUSE." " " Sir John Tenniel 47
"THE WEDDING DAY." " " George Cruikshank 49
THE ADORATION OF THE MAJI. F. R. Pickersgill, R.A. 53
FAIRY DANCE. W. E. Frost, R.A. 55
"ORIANA." Tennyson F. R. Pickersgill, R.A. 57
SCOTLAND. From "An Overland
Journey to the Great Exhibition of Richard Doyle 60
1851"
JACK AND THE GIANTS. " 63
THE GIANTS. " 64
THE ARRIVAL AT COLOGNE. " 65
EVENING ON THE LAGO-MAGGIORE. " 67
"THE SALAMANDRINE." Dr. Charles Sir John Gilbert, R.A.,
Mackay P.R.W.S. 69
LUCY GRAY. W. Wordsworth " 71
KING LEAR. " 73
KING LEAR AND FOOL IN A STORM. " 75
LEAR FANTASTICALLY DRESSED WITH " 79
FLOWERS.
"THE LORD OF BURLEIGH." Tennyson Sir J. E. Millais, P.R.A. 83
"THE TALKING OAK." " " 87
"ORIANA." " Holman Hunt 90
"ST. CECILLIA." " Dante G. Rossetti 91
HALLELUJAH. Arthur Hughes 93
THE PEARL OF GREAT PRICE. Sir J. E. Millais, P.R.A. 95
THE UNJUST JUDGE. " 99
THE LEAVEN. Sir J. E. Millais, P.R.A. 103
"EDINBURGH, AFTER FLODDEN." Aytoun Sir J. Noel Paton, P.R.S.A.
107
"THE EXECUTION OF MONTROSE." " " 109
"THE SONG OF BETHLEHEM." Campbell J. R. Clayton 113
THE FINDING OF MOSES BY PHARAOH'S Sir J. E. Millais, P.R.A. 115
DAUGHTER.
"THERE'S NAE LUCK ABOUT THE HOUSE." " 117
"THRENODY." Ralph Waldo Emerson Edward Dalziel 121
THE VEILED PROPHET OF KHORASSAN.
From "Lalla Rookh" Sir John Tenniel 123
MAIDEN PLAYING THE MANDOLINE. From
"Lalla Rookh" " 125
ALICE IN WONDERLAND. " 127
THE SLEEPING GENIE AND THE LADY.
From "Dalziel's Arabian Nights" " 129
THE CRAWLEY FAMILY. Sir J. E. Millais, P.R.A. 131
LADY LUFTON AND THE DUKE OF OMNEUM. " 133
TEMPTATION.--Horace Saltoun " 135
LADY WITH HOUNDS. " 137
"COME AWA, COME AWA." Thomas Birket Foster, R.W.S. 141
Pringle
"THE GRAVES OF THE HOUSEHOLD." " 145
Mrs. Hemans
"LINES WRITTEN ON EARLY SPRING." " 147
Wordsworth
SWEET MAY MORNING.
From "Intimations of " 151
Immortality"--Wordsworth
GRANDFATHER NURSING A SICK BOY. John Pettie, R.A. 155
COACH AND HORSES. A. Boyd Houghton, R.W.S. 157
KISS ME. " 159
SIGURD. Sir E. Burne-Jones, Bart. 161
SUMMER SNOW. " 163
WORLDLY WISEMAN. J. D. Watson, R.W.S. 165
CRUSOE VISITS THE OLD CAPTAIN. " 167
ABJECT PRAYER. " 169
"LIFE'S JOURNEY." George Wither Frederick Sandys 171
"THE LITTLE MOURNER." Dean Alford " 173
CLEOPATRA. " 175
"THE LENT JEWELS." Richard Holman Hunt 177
Chevening Trench
"A NORTHERN LEGEND." W. Cullen Edward Dalziel 179
Bryant
"THE BATTLE-FIELD." " " 181
"THE MAIDEN'S SORROW." " Harrison Weir 183
"THE LADY OF CASTLE WINDECK." " Edward Dalziel 185
"THE EXILES OF OONA." Robert Thomas Dalziel 187
Buchanan
"THE DESERTED COTTAGE." Wordsworth Joseph Wolf 189
"AN EVENING WALK." " " 191
"THE LONG VOYAGE." Charles Dickens Frederick Walker, A.R.A.,
R.W.S. 195
"THE SCHOOLBOY'S STORY." " " 197
A WOMAN IN THE SNOW. " 199
TWO FANCY SKETCHES. " 200
"TRAMPS." Charles Dickens G. J. Pinwell, R.W.S 208
"CITY CHURCHYARDS." Charles Dickens " 209
THE SISTERS. " 211
"AN ENGLISH ECLOGUE." Robert G. J. Pinwell, R.W.S. 213
Buchanan
"THE BALLAD MAKER." " " 215
THORNHILL PRESENTING LADIES OF
GREAT DISTINCTION TO THE VICAR.
From "The Vicar of Wakefield" " 217
GEORGE PLAYING THE FLUTE TO THE
PEASANTS. From "The Vicar of " 219
Wakefield"
"MEG BLANE." Robert Buchanan A. Boyd Houghton, R.W.S. 220
"THE SAINT'S STORY." " " 221
THREE BLIND MEN. From "Dalziel's
Arabian Nights" " 223
KING ZEYN CONDUCTS THE
QUEEN-MOTHER TO THE VAULTS. From Edward Dalziel 225
"Dalziel's Arabian Nights"
THE GENIE BRINGS THE HATCHET AND
CORD. From "Dalziel's Arabian Thomas Dalziel 227
Nights"
"MEG BLANE." Robert Buchanan " 228
"CELTIC MYTHS." " " 229
"THE EXILES OF GLEN OONA." Robert William Small 231
Buchanan
"HAHON." " Edward Dalziel 233
MUSIC.--A MAN AT THE SPINET. J. M. Lawless 235
CAIN AND ABEL. From "Dalziel's Lord Leighton, P.R.A. 239
Bible Gallery"
MOSES VIEWS THE PROMISED LAND.
From "Dalziel's Bible Gallery" " 243
ESAU MEETING JACOB. From
"Dalziel's Bible Gallery" G. F. Watts, R.A. 245
JOSEPH PRESENTS HIS FATHER TO
PHARAOH. From "Dalziel's Bible Sir E. J. Poynter, P.R.A. 247
Gallery"
MIRIAM. From "Dalziel's Bible " 249
Gallery"
ELIEZER AND REBEKAH AT THE WELL.
From "Dalziel's Bible Gallery" Holman Hunt 251
ELIJAH AND THE WIDOW'S SON. From
"Dalziel's Bible Gallery" Ford Madox Brown 253
ABRAHAM PARTING WITH LOT. From
"Dalziel's Bible Gallery" Thomas Dalziel 255
JACOB AND THE FLOCKS OF LABAN.
From "Dalziel's Bible Gallery" " 257
HOSANNAH. From "Dalziel's Bible Simeon Solomon 259
Gallery"
DANIEL'S PRAYER. " Sir E. J. Poynter, P.R.A. 261
CHRISTIAN CLIMBING THE HILL
OF DIFFICULTY. From "Bunyan's E. G. Dalziel 263
Pilgrim's Progress"
OLD HONEST. From "Bunyan's Sir James D. Linton, P.R.I.
Pilgrim's Progress" 265
THE ATHEIST. " " Frederick Barnard 267
MONKEYS. From "Wood's Natural Joseph Wolf 269
History"
THE OLD YEAR AND THE NEW. Cartoon Paul Gray 273
from "_Fun_"
"FUN." J. F. Sullivan 274
THE CHOSEN CHAMPION. Cartoon from Frederick Barnard 275
"_Fun_"
OLD FATHER TIME. " Gordon Thomson 279
AN URBAN DELUSION. From "_Fun_" J. F. Sullivan 280,
281
THAT OR NOTHING. " G. J. Pinwell, R.W.S. 283
TO EVEN MONEY! " E. G. Dalziel 285
CHELSEA HOSPITALITY, UNDER A
CLOUD. From "_Fun_" " 287
PARK LANE. " E. F. Brewtnall 289
A DRAP O' THE BEST. From "_Fun_" William Small 291
MISTRESS AND MAID. " A. Boyd Houghton, R.W.S. 295
THE THEATRE OF NATURE. " Ernest Griset 300,
301
AN ILLOGICAL DE-DUCK-TION. " E. G. Dalziel 305
GOING HOME TO LOVE IN A COTTAGE. " F. A. Fraser 309
ARGUMENTUM AD HOMINEM. " J. Mahoney 311
OYSTERS. " Ernest Griset 313
ÀPROPOS TO A PROPOSAL. " Hal Ludlow 315
MADAME. From "Behind a Brass
Knocker" ("_Judy_") Frederick Barnard 319
MISTER MITE. " " " 321
ON THE USELESSNESS OF NURSERY
LORE. From "_Judy_" E. G. Dalziel 323
ON LOVE AS A PASSION. " " 325
CODLIN AND SHORT IN THE
CHURCHYARD. From "The Old Charles Green, R.I. 327
Curiosity Shop"--Charles Dickens
NELL STOPPING MISS MONFLATHER.
From "The Old Curiosity " 329
Shop"--Charles Dickens
AT THE DOLPHINS HEAD. From "The
Uncommercial Traveller"--Charles E. G. Dalziel 331
Dickens
"AM I RED TO-NIGHT?" From "The
Uncommercial Traveller"--Charles " 333
Dickens
THE MARQUIS'S CARRIAGE STOPPED BY
THE CROWD. From "A Tale of Two Frederick Barnard 335
Cities"--Charles Dickens
NICHOLAS NICKLEBY'S INTERVIEW
WITH MR. BRAY. From "Nicholas " 337
Nickleby"--Charles Dickens
PORTRAIT OF GEORGE DALZIEL. From a 340
Photograph
" EDWARD DALZIEL. From a 341
Photograph
" THOMAS DALZIEL. From a 342
Photograph
Dedicated
IN KIND REMEMBRANCE
OF THE
MANY FRIENDS WHOSE WORKS ADORN THE PAGES
OF THIS BOOK.
THE BROTHERS DALZIEL.
CHAPTER I.
_PARENTAGE--FOUR BROTHERS AND A SISTER, EBENEZER LANDELLS, THOMAS
BEWICK, WILLIAM HARVEY, AND SAMUEL LOVER._
We were members of a family of twelve children, and, with one
exception, we were born at Wooler, Northumberland, the youngest
having been born at Newcastle-on-Tyne. Our father spent a great part
of his time in horticultural pursuits, and in middle life took up
art as a profession. He also held a commission in the Northumberland
Militia. His sons, eight in number, inherited strong artistic tastes,
which they all carried out professionally, except the youngest,
Davison, who applied himself very successfully to commerce. The
eldest, William, whose art work was chiefly devoted to heraldic and
occasional ornamental decoration for MSS. books, also painted a little
in still-life subjects with remarkable fidelity; while the second
son, Robert, devoted himself to art, and obtained a fair reputation
as a portrait painter. He also studied landscape painting for some
time under Thompson, of Duddingston, and having practiced his art
successfully both in Glasgow and Edinburgh, he came ultimately to
London, where he died, having attained only his thirty-second year. The
next brother, Alexander, was a youth of rare artistic promise, and, had
he lived, must of necessity have made a great name for himself as a
designer and draughtsman in black and white; but early in life, while
living in London, he caught a chill, which terminated in consumption.
He, having returned to his mothers house in Newcastle-on-Tyne, died
before completing his twenty-third year.
The next brother, George, early in 1835,[1] being then nineteen,
came to London as a pupil to the late Charles Gray, an engraver on
wood, with whom he remained four years, and on the completion of
his engagement, he commenced operations on his own account, though
continuing on the most friendly terms with Gray. A few weeks later he
was joined by his brother Edward, and from that day we two have, for a
period of over fifty-five years, worked hand in hand together, as "The
Brothers Dalziel."
[Illustration: ALEXANDER DALZIEL,
OUR FATHER.
BORN, MAY 22, 1781; DIED, JUNE 30, 1832.
FROM A BUST, MODELLED BY HIS SECOND SON, ROBERT DALZIEL.
"_Alexander Dalziel, born at Wooler, in the County of Northumberland,
on the 22nd May, 1781; married at Lamberton, North Britain, on the 4th
day of January, 1805, to Elizabeth Hills, born at Mornington, North
Britain, on the 11th May, 1783._"
--EXTRACT FROM FAMILY BIBLE.]
* * * * *
In 1852 our brother John became associated with us. He was a skilful
and highly accomplished engraver; but his health, unfortunately, gave
way, and early in 1868 he was compelled to give up all artistic work
and went to reside at Drig, a delightfully picturesque locality,
surrounded on the one side by the Cumberland Lakes and hills, and on
the other by the broad sea, hoping that the fine bracing air of the
North would restore him to health, but unhappily the change came too
late, and he died in the summer of 1869.
In 1860 our brother Thomas, who had been educated as a copperplate
engraver, joined the "Brotherhood," and from that time devoted himself
entirely to painting and drawing on wood, contributing much excellent
work to the various books we produced. Among them may be mentioned
"Dalziel's Arabian Nights," "Dalziel's Bible Gallery"--of which we will
have much to say further on, and a beautiful edition of "The Pilgrim's
Progress," as well as many very charming drawings for nearly all the
Fine Art Books created by ourselves, or produced under our entire
supervision.
[Illustration: ELIZABETH DALZIEL,
OUR MUCH-BELOVED MOTHER.
BORN, MAY 11, 1783; DIED, FEBRUARY 4, 1853.
FROM A PICTURE BY HER SECOND SON, ROBERT DALZIEL. PAINTED ABOUT 1837.
_She was one of the brightest, the best, and kindest of women--a true
embodiment of all that is good and just._]
In the early part of our career, that is to say during the Forties,
we George and Edward, worked very much in association with Ebenezer
Landells, one of the original projectors and proprietors of _Punch_,
and from whom (the other original proprietors having resigned their
shares in a then unprofitable speculation) Messrs. Bradbury and Evans,
the printers, acquired a two-thirds share. Subsequently the entire
property passed into their hands. We may here state that while in
association with Landells, we engraved the picture, "Foreign Affairs,"
which was the first drawing contributed to _Punch_ by John Leech.
Landells was a man to whom illustrated literature, journalism in
particular, owes much. It is an old story, well known at the time, how
he parted with his interest in _Punch_, and how he lost the proceeds
in the _Illuminated Magazine_, which was edited by Douglas Jerrold.
Among his thousand and one journalistic ventures, he was the first to
project and produce the _Lady's Newspaper_, but in this, as in other
things, he was before his time and failed. He it was who suggested to
Herbert Ingram that an artist should be sent to follow the progress of
Queen Victoria on her first journey to Scotland; Landells undertook
the commission, and it was the success of, and great interest taken
in these pictures that had much to do with making the _Illustrated
London News_. The Queen was so much pleased, that she bought all
Landells' original drawings. He worked very much with Herbert Ingram,
and it was through him that we were engaged upon the second number of
the _Illustrated London News_. It was for him that we engraved the
prospectus block for _Punch_, also the covers for that journal drawn
by "Archie" Henning, William Harvey, and John Gilbert, as well as the
"H. K. B." drawings every week for "Master Humphrey's Clock." In fact
we were largely indebted to him for much sincere help at a time when
such help was invaluable, and at his house we had the advantage of
forming the friendship of Douglas Jerrold, the Brothers Mayhew, Mark
Lemon, and others connected with the foundation of _Punch_.
[Illustration: GEORGE DALZIEL.
BORN, DECEMBER 1, 1815.
FROM A PICTURE PAINTED BY HIS BROTHER ROBERT.
DATE ABOUT 1841 OR '42.]
Landells was a man brimful of ideas and full of energy. One hardly ever
met him but that he had some new project which was "certain to be a
fortune"--a fortune that never came to him.
His connection with the _Illustrated London News_ continued until
Herbert Ingram's departure for America, from which place he never
returned, having been drowned on Lake Michigan. It is a curious fact
that, when Ingram's body was brought home for interment, on the same
day that his funeral took place at Boston the remains of Landells
were interred at Highgate Cemetery. We were at the ceremonies. Edward
attended the one, while George was present at the other.
An interesting anecdote is told of Thomas Bewick in reference to
Ebenezer Landells. When it was proposed to place him as a pupil with
that eminent wood engraver, the father of the lad said, "Well, Mr.
Bewick, I hope you will make my son a clever fellow." "Mr. Landells,"
replied the veteran, "I'll do my best to teach him what I know, but if
God Almighty hasn't put brains into your son's head, it's impossible
for me to put them there!"
[Illustration: EDWARD DALZIEL.
BORN, DECEMBER 5, 1817.
FROM A PICTURE PAINTED BY HIS BROTHER ROBERT.
DATE ABOUT 1841 OR '42.]
This anecdote was told us by Landells himself, in illustration of a
principle he was discussing, that unless a lad has a real, genuine
love for the art he is studying, no teaching in the world will ever
make him a skilful worker. His father not being able to arrange terms
with Bewick, Landells did not remain long with him, but served his
apprenticeship with Isaac Nicholson (an old pupil of Bewick's, who had
opened an office on the opposite side of the way to his old master, in
St. Nicholas' Churchyard, Newcastle-on-Tyne), with whom Charles Gray
was also a pupil. And it was through those two young men coming to our
Father to "learn to draw" that our brother Alexander became a pupil
of Nicholson's, with whom he served a seven years' apprenticeship,
and proved himself a very skilful draughtsman and engraver. Hence our
somewhat close connection with the school of Thomas Bewick.
Landells was a man of slightly excitable temperament, and, as a rule,
very demonstrative. One morning he called upon his old pupil, Edmund
Evans, who was then commencing colour printing works in Racquet Court,
saying "he was off to the Derby, and, as the morning looked rather
doubtful, would he lend him an umbrella?" This Evans most willingly
did, giving the best he had, almost a new one. Landells faithfully
returned it the next morning, but the ferrule had disappeared, and the
stick was battered down close to the silk. Landells had evidently been
through some exciting scenes, and in expressing his high appreciation
of the events Evans' umbrella had come sadly to grief.
When Landells got a little vexed or worried by anyone, which in his
very much varied life he not unfrequently did, his invariable remark
was, "Well, stop till I see him again and I'll give him a piece of my
mind."
[Illustration: JOHN DALZIEL.
BORN, JANUARY 1, 1822; DIED, MAY 21, 1869.
FROM A PHOTOGRAPH.]
During the time that "ructions" were on with his co-partners in
_Punch_, he met Douglas Jerrold in Fleet Street and complained
bitterly, winding up with, "There, I've just been to see them and have
given them a bit of my mind," "Ah," said Jerrold, "I'm afraid they
would not gain much by that, Landells."
His eldest son, Robert Landells, also an artist of considerable ability
in black and white work, acted for many years as Art War Correspondent
to the _Illustrated London News_, and, in that capacity, went through a
great part of the Franco-Prussian Campaign.
The years of our boyhood having been spent in Newcastle-on-Tyne, we
have constantly been identified as being natives of the Tyneside,
and so became much associated with several artists of ability who
hailed from that part of the kingdom. Among the foremost of those we
would mention William Harvey, the justly celebrated artist and book
illustrator, who was himself a favourite pupil of Thomas Bewick,
and during his apprenticeship designed and engraved several of the
smaller tailpieces to the "Fables," "Natural History," and other works
published by his famous master.
William Harvey was born at Newcastle-on-Tyne, July 13th, 1796, and died
at Richmond, Surrey, January 18th, 1866. He was apprenticed to Thomas
Bewick, 1810, and the high esteem in which he was held by his master is
shown in the letter here quoted.
"GATESHEAD, _January 1st, 1815_.
"DEAR WILLIAM,--I sent you last night, 'The History of British
Birds,' which I beg your acceptance of as a New Year's gift and
also as a token of my respect. Don't trouble yourself about
thanking me for them; but, instead of doing so, let those books put
you in mind of the duties you have to perform through life. Look
at them (as long as they last) on every New Year's day, and at the
same time resolve, with the help of the All-wise but unknowable
God, to conduct yourself on every occasion as becomes a good man.
Be a good son, a good brother, and (when the time comes) a good
husband, a good father, and a good member of Society. Peace of mind
will then follow you like a shadow; and when your mind grows rich
in integrity, you will fear the frowns of no man, and only smile
at the plots and conspiracies which it is probable will be laid
against you by envy, hatred, and malice.
"THOMAS BEWICK.
"To William Harvey, Junr.,
"Westgate."
[Illustration: THOMAS DALZIEL.
BORN, MAY 9, 1823.
FROM A PHOTOGRAPH.]
Two years later, 1817, when he had completed his apprenticeship, he
went to London, where he studied drawing and painting under Benjamin
Haydon, and anatomy with Sir Charles Bell, where he had, as fellow
students, amongst others, Charles Lock Eastlake, the P.R.A., George
Lance, the fruit painter, and Sir Edwin Landseer. He soon became a
most distinguished draughtsman and illustrator of books, his fame
rising rapidly. For many years he stood prominently in the front of
all others. Amongst his earliest works were "Henderson's Book on
Wines," for which he not only made the drawings but engraved them
all himself. It is further interesting as being the first work that
bore his name. His great ability both as draughtsman and engraver is
shown in the reproduction of an elaborate work from Benjamin Haydon's
picture of "Dentatus"--which even in these advanced days must be held
as a remarkable example of wood engraving, being, strictly speaking, a
marvellous imitation of a copperplate, done in the grand line manner.
Haydon no doubt induced Harvey to undertake this work to satisfy his
own vanity, for he was not a man "who cared for others."
About this time he gave up engraving altogether and devoted himself
entirely to drawing on wood.
William Harvey was a great and highly-gifted artist, a true man, a
friend and counsellor to us from the time of our earliest efforts to
the day of his death. He was a fine conversationalist, brimful of
anecdotes, chiefly concerning a notable group of artists, authors, and
men of law, many of whom had gone, and others who were then passing
away. As an illustrator he held the town for many years, and in
connection with Charles Knight did much to popularise black and white
work; but even in his own time what changes took place! He said that
in his early days if merely a frontispiece were wanted for a book,
John Murray would invite him and John Thomson, the engraver, to dinner
at Albemarle Street, that they might discuss the subject fully before
beginning the work.
[Illustration: always yours truly
William Harvey]
In his more important works Harvey always tried to push forward one or
more young and unknown engravers of promise--in fact he was the young
man's friend.
Of course he had many imitators; coming men begin by imitating the
manner of the successful men who have gone before. He used to say, "The
young man jumps on the shoulders of the old man, looks over his head,
and consequently sees much farther along the road." Strong examples of
this are shown in the early works of Sir John Gilbert, which alternated
in likeness to William Harvey, Kenny Meadows, and George Cruikshank;
but in a later stage took on much from the great German artist, Menzel.
The following are a few instances in illustration of young men building
up their style by studying the old professors in their art, which we
call to mind as occurring in our own experience:
William Harvey felt complimented by John Gilbert gleaning from his
works; while George Cruikshank was highly indignant with Gilbert for
what he called "cribbing his brains," and threatened to go down to
Blackheath and "thrash the fellow." Gilbert, on being told this, only
laughed, and said, "I don't think he knows what sort of man I am."
J. Prior, the father of Melton Prior, assisted William Harvey very
frequently; and after acquiring a fair style of imitation, did a good
deal of work on his own account, which sometimes bore too strong a
resemblance to the master. He would say to Harvey, "I know you don't
mind." He was right; good-natured Harvey did not mind if Prior got any
advantage by it. But, like other men, Prior ultimately acquired a
style of his own, and did much good service in the early days of the
_Illustrated London News_, to which journal his son Melton has long
been a valuable power as War Correspondent.
The early drawings of that great art genius, Fred Walker, A.R.A.,
R.W.S., have a strong family resemblance to those of Sir John Gilbert.
J.W. North's early drawings reminded one vividly of Birket Foster,
while Birket Foster's style was undoubtedly built upon Thomas Creswick,
R.A.--and so on, and so on.
Our connection with Harvey was so close, not only as regards work, but
socially, that we can say he was in every sense one of "Nature's best";
lovable to a degree,--and would far more than stand the test of the
guiding-lines laid down by his master in the letter printed on page 12.
Among William Harvey's chief works mention must be made of the
charmingly fanciful designs for Lane's "Arabian Nights," "Northcoat's
Fables," "The Tower Menagerie," several of the books in "The Abbotsford
Edition" of Sir Walter Scott's novels, and many smaller books, notably
"The Children in the Wood," and "The Blind Beggar's Daughter of Bethnal
Green"; also an extremely beautiful frontispiece, as well as other
illustrations, to each of the plays in Charles Knight's Edition of
Shakespeare's Works. Subsequently he illustrated for us an edition of
"The Pilgrim's Progress," in which he displayed all his tasteful fancy
in decorating its pages. This book was published by David Bogue. From
1839 to the time of his death, William Harvey entrusted many of his
drawings to our care, as well as in later years constantly working for
the various books produced under our superintendence.
On the death of William Harvey, it was proposed that a monument
should be erected over his grave in Richmond cemetery, and in seeking
subscriptions for that purpose, among others, Samuel Lover, the famous
Irish song-writer, composer and artist, was asked to assist and
co-operate with a few friends in carrying out the object, when in reply
he wrote:
"I wish instead of a few friends that many were engaged for what
is proposed, for then this monument might be much more worthy the
memory of so good an artist and so good a man. As to the extent,
you may rely on me for help ... In sincere esteem for my much
esteemed friend, I think few can exceed me, but my exchequer is
rather limited. Could I convert my heart into a bank, and make its
wishes into bank notes, I would build a monument out of my own
purse to one so worthy of esteem and every kind remembrance.
"Truly,
"SAMUEL LOVER."
Is not this just the letter we might expect from the warm-hearted
Irishman and true poet who could write the following beautiful lines?
"I'll seek a four-leaved shamrock in all the fairy dells,
And if I find the charmed leaves, oh, how I'll weave my spells!
I would not waste my magic might on diamond, pearl or gold,
For treasure tires the weary sense--such triumph is but cold.
But I would play the enchanter's part in casting bliss around,
And not a tear or aching heart should in the world be found."
The monument was erected, as suggested, in the cemetery at Richmond,
Surrey, as well as a brass tablet in St. Nicholas' Cathedral,
Newcastle-on-Tyne, both from designs by John R. Clayton.
Having furnished several illustrations to a book of Irish songs edited
by Samuel Lover, and published by John Maxwell, husband of Miss
Braddon, we received several kind letters of commendation and thanks
for the care bestowed in getting up the work. Among others we may quote
the following:
"_November 13th, 1857._
"I hope you will excuse me for not having sooner acknowledged your
enclosure of your engraving of Gratton's Head, which is quite
admirable, and for which I truly thank you."
Again, in writing of a drawing to illustrate the "Four-leaved
Shamrock," which we had submitted for his approval, he says:
"I think your quadruple design most excellent. If that be carried
out (as I have no doubt it will) with the care and spirit of the
drawing on the wood, it will make a charming illustration.... I
suggest that you place the initial letter 'I' encircled with the
charmed leaves in the corner, to commence the first line of the
song. I am glad for your own sake, as well as for the credit of the
book, you have made the second illustration, as I am convinced it
will do you much credit. For myself, pray accept my many thanks.
"My dear Sirs,
"Yours very truly,
"SAMUEL LOVER."
[Illustration: MARGARET DALZIEL.
BORN, NOVEMBER 3, 1819; DIED, JULY 12, 1894.
FROM A PHOTOGRAPH.
_She was the essence of kindness and generosity, a sister-mother to us
all, and "Aunt Meg" to everybody._]
During all our operations from the year 1851, we were fortunate
enough to have the loyal and skilful help of our sister Margaret, who
warmly entered into all our plans and worked very constantly upon the
most highly finished engravings we produced. As much of the work we
were engaged upon was intended for periodical publications, it may
readily be supposed that there was, at times, great pressure to meet
the requirements of the printer; on such occasions we could always
be certain of her ever ready help, grudging neither time nor labour
to render every assistance in her power. In all respects she was one
of the most devoted, kind-hearted and sympathetic women that ever
lived, and her great excellence of character, we have every reason to
believe, was fully appreciated by all those who had the privilege of
her acquaintance or friendship.
[Illustration: THE EARL OF LEICESTER'S LEVEE.
FROM THE ABBOTSFORD EDITION OF "KENNILWORTH."
BY WILLIAM HARVEY.
_By permission of Messrs. Adam & Charles Black._]
FOOTNOTES:
[1] With very trifling exceptions there was no railway traveling in
England at that time, and only one steam vessel, the _Hylton Jolliffe_,
sailed between Newcastle and the Metropolis, so that George Dalziel
made the journey in a small trading vessel of some three or four
hundred tons burden. The weather being calm and warm for the season,
the little ship went pleasantly along until it had performed about half
the journey, when, through negligence on the part of the chief mate,
who was in charge at the time, the vessel was allowed to run aground
upon a sand bank when nearly opposite Yarmouth. It was a beautiful
sunny morning, and the ship was quickly surrounded by a great many
fishing boats offering their services to take out part of the cargo,
and so lighten it sufficiently that it might float again when the tide
rose. This was done, and having gone a little further out to sea, the
cargo was again put on board and the ship sailed away to London, where
she finally cast anchor in the Thames nearly opposite the Tower, on a
bright, fresh, Sunday morning, having occupied nearly a whole week in
the journey.