_FREDERICK WALKER, A.R.A., R.W.S., CHARLES DICKENS, PROFESSOR
HUBERT VON HERKOMER, R.A., GEORGE J. PINWELL, R.W.S., A. B.
HOUGHTON, R.W.S., WARD & LOCK, FREDERICK BARNARD, JEAN INGELOW,
ROBERT BUCHANAN, J. M. LAWLESS._
Fred Walker often said that he wanted to come to us as a pupil, but
that we would not have him. When he left the North London Collegiate
School, where he was educated, he came to ask our advice as to the
method of drawing on wood, and as to the chances of earning money as
an illustrator. We advised him to begin by copying, in pen and ink,
pictures from the _Illustrated London News_ and other illustrated
periodicals, specially recommending the works of John Gilbert and
Birket Foster as the best models for style and manner.
He then went to J. W. Whymper, who at that time took pupils to learn
the art of drawing on wood. There he studied and copied the works we
had recommended, and so quickly acquired the manner of John Gilbert
that when he made designs, so close was his imitation that his drawings
might easily have been taken for Gilbert's own work. But his own
individuality soon began to assert itself, and he quickly developed
into the great master he was. During this period he occasionally came
to us for advice on various subjects, and we gave him commissions on
some boys' books for Routledge and other publishers, including "Hard
Times" and "Reprinted Pieces," by Charles Dickens.
On sending Dickens a set of finished proofs of the latter, we received
the following letter in reply:
"FRIDAY, _Fourth October, 1861_.
"GENTLEMEN,--I beg to acknowledge the receipt of the India proofs
you have had the kindness to send me, of the illustrations
to 'Reprinted Pieces.' Both in conception and execution the
illustrations are very satisfactory indeed.
"Faithfully yours,
"CHARLES DICKENS."
Walker made many drawings for _Good Words_. One struck us as being
so exceedingly beautiful that we asked him to make us a water colour
drawing from it, which he did; and, apart from its being rather crude
in colour, it is a charming work, called "A Dinner in the Fields"--a
group of rustic children. This, we believe, was his first commission
for a picture. His early paintings were not fine in colour. He did
not evince much capacity in this direction until he went down to West
Somerset, and worked side by side with his friend, J. W. North, whose
influence, aided by the lovely colour of the district, brought about a
marvellous improvement in both his tone and mode.
Walker was of a very excitable nature, and with his rapidly growing
power and popularity, soon got a high sense of his own importance. One
day he came to us in an angry, irritated state, saying he had just
finished a large water colour drawing that a well-known dealer had
promised to come and see, but had failed to do so. "I want, when he
comes to-day, to be able to say, 'That picture is sold.' Can you help
me in this humiliating position?" After a few words of consultation,
we said, "Yes, we will give you a hundred guineas for it." The picture
was not a good example either in subject or treatment. It was a social
scene, called "Strange Faces," but had a special interest in the fact
that William Harvey, whom we had introduced to Walker, stood as model
for the principal figure.
[Illustration: "_God knows all he does for the poor baby; how
cheerfully he carries him in his arms when he himself is weak and ill;
how he feeds him when he himself is griped with want; how he folds
his ragged jacket round him, lays his little worn face with a woman's
tenderness upon his sun-burnt breast._"
"The Long Voyage."--CHARLES DICKENS.
FROM "REPRINTED PIECES."
BY FREDERICK WALKER, A.R.A., R.W.S.
_By permission of Messrs. Chapman & Hall._]
His first picture in oil, exhibited in the Royal Academy, was done from
his drawing, "A Woman in the Snow," published in _Good Words_, and
engraved by us.
About this time we commissioned him to make thirty drawings on wood the
same size as those of Birket Foster's "Pictures of English Landscape."
These he willingly undertook, and worked at earnestly; but the great
demand for his pictures increased so rapidly that the drawings came
less and less frequently, and at last the scheme fell through, after
his having given us some eight or ten. All of these were perfect
works of their class, and it would have made a grand book had it been
completed. Later, we published the engravings with those of other
artists, mostly by G. J. Pinwell and J. W. North, first in "A Round of
Days" and "Home Affections," and afterwards in an India paper edition,
as "Pictures of English Rustic Life," by Frederick Walker, A.R.A., and
G. J. Pinwell, R.W.S. One of the designs we had a small water colour
drawing of, "Come in out of the Rain"; also one of "Strange Faces,"
which, being in his later manner, was far better than the original
picture.
[Illustration: "_In the midsummer holidays some of our fellows, who
lived within walking distance, used to come back and climb the trees
outside the playground wall on purpose to look at Old Cheeseman reading
there by himself. He was always as mild as the tea--and that's pretty
mild, I should hope! So when they whistled to him, he looked up and
nodded; and when they said, 'Hello, Old Cheeseman! what have you had
for dinner?' he said 'Boiled mutton.'_"
"The Schoolboy's Story."--CHARLES DICKENS.
FROM "REPRINTED PIECES."
BY FREDERICK WALKER, A.R.A., R.W.S.
_By permission of Messrs. Chapman & Hall._]
Of these rustic drawings, fortunately, through the aid of photography,
several of the originals were saved, some of which are at Kensington
Museum, where the beautiful manipulation of the work may be
studied--the material and method; the mixture of pencil, point work,
in some instances ink, and wash; the delicate colour of the wood, and
the skilful use of body colour (Chinese white), all combining to bring
about a most beautiful result.
Walker had a fine sense of humour, which was shown in the few drawings
he did for _Punch_.
At a social gathering the commencement of a new story by Miss Muloch
was humorously discussed. The opening chapter dwelt much on early
childhood. The term, "Sacred Blue Pinafore," being used frequently
so tickled Walker's fancy that he there and then made a rough sketch
in blue chalk, which we here reproduce. The same evening he made the
portrait sketch of his friend, W. P. Burton, a clever but eccentric
character, who was present at the time.
Fred Walker's art culminated in the production of his "Harbour of
Refuge," one of the greatest English pictures for beauty, pathos, and
grandeur ever painted. He said one day to a friend, "look at that
little old man sitting against the distant tree: that is a portrait of
myself when I get to be as old as he."
We considered ourselves fortunate in securing a few of his water colour
paintings. Independent of those already referred to, we may mention
"Philip in Church," which was the first picture that brought him
into prominent notice, and has always been considered a thoroughly
representative work. It certainly helped to secure his election into
the Old Water Colour Society.
[Illustration: A WOMAN IN THE SNOW.
FROM "GOOD WORDS."
BY FREDERICK WALKER, A.R.A., R.W.S.
_Published by Mr. Alexander Strahan._]
[Illustration: "O SACRED BLUE PINAFORE."
SKETCH BY FREDERICK WALKER, A.R.A., R.W.S.]
[Illustration: A FANCY PORTRAIT SKETCH OF W. P. BURTON.
BY FREDERICK WALKER, A.R.A., R.W.S.]
[Illustration]
[Illustration:
~3. St. Petersburgh Place
Bayswater.~
Dec 22. 1863
Dear Mr Dalziel
Accept my apologies for not having before answered your reply.
The picture shall be yours & I am going at it hard as
possible--Millais has just left me much comforted both as to that
& the photos of your blocks, he made some suggestions however for
Philip which will be an improvement--
You will I dare say be glad to hear (in confidence) that I intend
becoming a candidate for the Old Water Color Socʸ.--chiefly on the
_advice_ of certain of its members, and should like Philip as
_the_ specimen.
This I particularly wish kept _snug_ at present. Millais's advice
is strongly in its favor.
I shall be glad to hear from you. I perhaps need not say that
something toward the plum-pudding will gladden the heart of
Yours very sincerely
_Fred. Walker_
_E. Dalziel Esq._]
Years after, Professor von Herkomer produced a very charming etching of
this picture, the same size as the original.
Gilbert Dalziel, son of Edward Dalziel, sat to Walker for the boy in
"Philip in Church." Walker took a great fancy to him, and they had many
games together. The following is a letter from him to his youthful
model, which will give an idea of the nature of their friendship:
[Illustration:
7 Charles St
Manchester Square
Feb. 11 1862
My dear Sir
I begg to enklose the Top as i prom-missed and 1 or too Jew-Jabes
which You will kindley giv to youre sister Miss Grace (with mi
best compleymints) only on the conditchion that She dont gitt rid
of em in less then 5 minites Hopping you are wel as it leves me at
preashunt
I remain Dear Sur
Your es
Respketfuly
_Fredᵏ. Walker_
G. Dalziel Esquire]
For the first two years after the picture was finished it was seldom in
our possession for more than a week or two at any one time, it being in
frequent request, either for exhibition in the provinces or abroad; and
not infrequently in Walker's own studio, when he wished to show it to
his friends.
"_Feby. 21, '66._
"MY DEAR MR. DALZIEL,--I have just received a letter from Miss
Minnie Thackeray to say her sister, who comes to town to-day, is
so unwell as to be unable to visit us to-day. Will you have the
kindness to let the picture, which has just arrived, remain here
for a day or two? and with many thanks,
"Believe me,
"Sincerely yours,
"F. WALKER.
"GEORGE DALZIEL, ESQ."
With reference to the following letter from Mr. Allen E. Everet,
containing an application from the Birmingham Society of Artists
that the picture might be exhibited at their rooms, we were given to
understand that the Society awarded Walker their gold medal for the
best water colour picture of the year. A like honour was bestowed by
the Council of the Paris International Exhibition of 1865; in Dublin
also, where it was on view, it was awarded a prize.[18]
"SOCIETY OF ARTS,
"BIRMINGHAM,
"_2 July, 1864_.
"DEAR SIR,--I just take the liberty of writing a line to ask if you
have been able to obtain for us the loan of your fine drawing of
'Philip,' for our ensuing Exhibition, as all the members of this
Society will feel most anxious to see this most interesting work on
our walls this autumn? Hoping, therefore, that you will be able to
oblige us,
"I remain, dear Sir,
"Respectfully yours,
"ALLEN E. EVERET,
"_Hon. Secretary_.
"F. WALKER, ESQ."
Perhaps it is hardly necessary to say here that, with the exception
of the first two, Walker made the entire series of illustrations to
Thackeray's novel of "Philip; his way through the World," or that this
picture is an elaborately finished painting from one of these designs.
Walker held this gifted author in very high esteem.
In a note addressed to us, dated December 28th, 1863, we find the
following passage:
"I have not been very well, and should have passed a happier
Christmas but for this sad news of poor Thackeray. I have lost a
good friend."
* * * * *
Our first knowledge of Professor Hubert von Herkomer, R.A., came to
us in the form of a parcel, containing two or three drawings, through
the post from Southampton. They were not very remarkable, but had
sufficient skill to justify us in using his work. His development was
wonderful, showing a facility of design and artistic taste far above
the average. But in spite of his all-round cleverness he had severe
struggles in the early days. He always had dramatic taste, and he told
us that it was a chance whether he persisted in his painting or went
on the stage. He is a well-trained musician--a composer as well as an
executant; and one time thought of joining a Christy's Minstrel troupe.
In fact, he offered himself as "bones," but there was "no vacancy," so
he continued drawing and painting, getting decorative work to do at
South Kensington Museum, where he did some stencilling on a ceiling,
under conditions explained in the following letter:
"32 SMITH STREET, CHELSEA,
"_Monday Morning_.
"MY DEAR SIRS,--Would you kindly send me the proof of my two
drawings this week? I am working at Kensington Museum, doing some
decorative work, which will at least keep the wolf from the door
and still give, or rather leave, me plenty of time for other work.
"When I have some more things done I will take the liberty to show
them to you.
"Yours very faithfully,
"HUBERT HERKOMER.
"P.S.--The zither still continues to be my dearest companion."
All this while he was gaining power, and whenever he had the good
fortune to sell a picture he immediately "speculated" to the extent of
going abroad for fresh study and experience.
The first picture of any importance that he exhibited in London was
a large water colour--"Harvesters"--at the Dudley Gallery. It was a
very clever work and fresh in style. We advised Mr. Strahan to buy it,
which he did for forty pounds. Herkomer also made a full page drawing
on wood from this picture for _Good Words_. On this success he went
to Treport. It was at the time of the Franco-Prussian War; and here
he painted a market scene called "Reading the News," which news was
evidently adverse to the French. The groups of angry women and gloomy
men tell the tale very clearly. When the people got to know he was of
German origin, so great was their anger and hatred towards him that he
was obliged to beat a speedy retreat for England; but not before he
had finished a very clever and characteristic picture, which, with the
exception of the colour, holds its own with much of his later work.
Upon this he was invited to join the Royal Institute, from which he
retired, and later in life became a member of the Royal Water Colour
Society.
We were fortunate enough to become the owners of the picture
immediately on his return.
It was after one of his successful visits to Bavaria that he built a
small wooden studio in the back garden of his house in Smith Street,
Chelsea, and there painted, in 1875, his large oil picture, "The Last
Muster," a production that will always rank as one of the finest
English works. Soon after this he was elected an Associate, and in due
course a full Member of the Royal Academy of Arts, as well as receiving
several Continental decorations. Subsequently he succeeded John Ruskin
as Professor of Painting at Christ College, Oxford. But all this is
too well known to be dwelt upon here. Our own personal experience
of Herkomer is that he is as good and generous as he is clever, and
that whatever service we were able to render him in the past has been
recognised by him over and over again.
[Illustration:
"_This is a sweet place, ain't it? a lovely spot? and I wonder if
they'd give two poor, foot-sore travellers, like me and you, a drop of
fresh water out of such a pretty, genteel crib? We'd take it wery kind
on 'em, wouldn't us? wery kind, upon my word, us would._"
"Tramps."--CHARLES DICKENS.
FROM "THE UNCOMMERCIAL TRAVELLER."
BY G. J. PINWELL, R.W.S.
_By permission of Messrs. Chapman & Hall._]
[Illustration:
"_They looked like Time and his wife. There was but the one rake
between them, and they both had hold of it in a pastorally-looking
manner; and there was hay on the old woman's black bonnet, as if the
old man had been playful._"
"City Churchyards."--CHARLES DICKENS.
FROM "THE UNCOMMERCIAL TRAVELLER."
BY G. J. PINWELL, R.W.S.
_By permission of Messrs. Chapman & Hall._]
When G. J. Pinwell first called on us he brought a small water colour
drawing with him. The subject was a lady of the "Old Ballad" style,
with a decided sense of beauty in it, and in colour looked as if he
had been studying the work of Holman Hunt. We recognised at once his
cleverness, and that study and practice only were required to develop
his great ability.
We first gave him some work on _Fun_, as is shown by this letter from
him:
"DEAR SIR,--I now send you a _Fun_ drawing, which I hope you will
like. I think it will print well.
"Believe me,
"Yours truly,
"G. J. PINWELL."
We also gave him, and obtained for him, work of the most varied kind,
such as sets of illustrations for boys' books. He soon became a regular
contributor to _Good Words_, and in its pages over one hundred of
his drawings appeared. From several of them he painted water colour
drawings, perhaps the most important being a highly finished work:
"Landlord and Tenant," which shows his appreciation of character in the
landlord, and of deep pathos in the fine group of the poor woman and
her children. This picture was painted expressly for us and was never
exhibited.
[Illustration: THE SISTERS.
PINWELL'S FIRST HIGHLY FINISHED PICTURE.
_Reduced from an Engraving made for the "Graphic" by the Brothers
Dalziel._
_By permission of the Proprietors._]
He made a few drawings for "Dalziel's Arabian Nights," but did not go
far, as we had placed entirely in his hands our edition of "Goldsmith's
Works," for which he made a wonderful set of drawings considering the
short time allowed for their production. He, however, lost nothing in
force of design or in excellence, the manipulation only being a little
less painstaking but more suitable for rendering in the reproductions.
Pinwell always objected to working against time: he held that if a
thing was worth doing at all it must be done at his best. He often said
that "money was not enough for him."
Amongst his most careful and finished work are the exquisite rustic
pictures which we issued in "A Round of Days" and "Wayside Posies,"
also those to illustrate "Poems by Jean Ingelow," notably the sets for
"The High Tide" and "Winstanly." He also did some strong character
work for Robert Buchanan's "North Coast and Other Poems," some of a
classic and romantic kind for his "Ballad Stories of the Affections,"
and a small set of illustrations to Charles Dickens' "Uncommercial
Traveller." The pictures of "Old Time and His Wife," and "The Tramps,"
were amongst the best, and for these we gave him a commission to paint
water colour drawings, and very exquisite examples they are.
[Illustration:
"_That's where it lies! We get no good by asking questions, neighbour;
Parsons are sent to watch our souls while we are hard at labour.
This world needs help to get along, for men feed one another;
And what do we pay parsons for, if not to manage t'other?_"
"An English Eclogue."--ROBERT BUCHANAN.
BY G. J. PINWELL, R.W.S.
_By permission of Mr. John Hogg._]
When Pinwell was a little boy a lady asked his mother what she intended
bringing him up to. She said she did not know, but that he was so fond
of drawing she thought he would like to be an artist. "Oh," said the
lady, "do not let him be that, for none but the best ever make any
money." "But," said Mrs. Pinwell, "why may not my George be one of the
best?" The dear old lady, of whom Pinwell always spoke with reverent
affection, did not live to see that he was "one of the best"--aye, of
the very best--of that wonderful group of young men with whom he was
associated; for he possessed some of the finest and highest qualities
in a supreme degree; his sense of beauty, his fine colour, his grace of
design, his poetic art, being equalled only by his force of character.
In much of his work there is a tinge of sadness; but as a rule, and in
his water colours particularly, beauty dominates everything.
Outside our close connection with him as an illustrator, our interest
in him as a painter was constant from the commencement up to the day
of his death--owning his first finished picture and his last, on which
he worked the day before he died. His first he called "The Sisters";
his second, a very highly finished picture, was "The Rats," from "The
Pied Piper of Hamelin." While this was on the easel we commissioned
him for two others from the same poem, "The Children," and "The Piper
Bargaining with the Burghers in the Market Place." The latter was never
done. "The Children" we lent to the Paris Art Exhibition, where it was
hung under a glass roof and "baked" until the colour was all taken out
of it, to the extent that he said he would repaint it; but after he
had gone so far with the _replica_ he found it so hard a task that he
set to work on the first picture, the modelling all being perfect, and
restored the colour to its original beauty.
[Illustration:
"_'Say it again,' cried little Jim; and when,
To please his heart, I said the song again,
In through the smoky glass the setting sun
Gleamed sickly; and the day was nearly done._"
"The Ballad Maker."--ROBERT BUCHANAN.
BY G. J. PINWELL, R.W.S.
_By permission of Mr. John Hogg._]
[Illustration:
86 Adelaide. Rd
Dear Dalziel
I am very glad you like the Old Clock--and pleased that it will go
in such good company, as to the money I will take it as I want it
+------+
|_£_150|
+------+
Yours very
truly
S T Pinwell]
[Illustration: "_Two young ladies, richly dressed, whom he introduced
as women of very great distinction, and famous, from Town._"
"The Vicar of Wakefield."
FROM "DALZIEL'S GOLDSMITH."
BY G. J. PINWELL, R.W.S.
_By permission of Messrs. Ward & Lock._]
One of the last pictures we purchased from Pinwell was "The Old Clock,"
it being a repeat of one of the rustic drawings he made for us.
At the time of his death we had acquired a great number of his finished
works, both large and small. At the sale of the remainder of his works
at Christie's we purchased about one third of the collection. Amongst
them were two for which he had been commissioned by us--one, a repeat
of "The Elixir of Love," smaller than the original, and, although
unfinished, much the finer work of the two; the other a water colour
repeat of an oil painting of "Vanity Fair," which he had in progress.
Two or three other unfinished efforts in oil, "The Earl of Quarter
Deck," "Sally in Our Alley," and "The New Slipper," all go to show that
he was a perfect master of the material; and had he lived to complete
any of these, his election into the Academy would have been assured.
Pinwell had not the advantage of high culture early in life, but
he was a true gentleman; though sometimes rough and brusque in
manner, which showed most strongly when he came across or heard of
any act of petty meanness, in all the ordinary ways of life he was
good-natured, genial and sociable, brimful of tenderness, of a vivid
imagination, and generous to a degree. His life was a truly domestic
one, spending most of his time at home with a charming wife and a
few chosen friends, amongst whom, perhaps, E. G. Dalziel and A. B.
Houghton were the closest and most constant. He was the soul of good
fellowship, perfectly human, and sympathetic in the highest degree.
Sir John Millais, speaking of him, summed him up in his own emphatic
way, saying, "no man could produce work like his who was not a man of
exquisite taste and refined poetic feeling."
[Illustration: "_Whenever I approached a peasant's house towards
nightfall, I played one of my most merry tunes, and this procured me
not only a lodging, but substance for the next day._"
"The Vicar of Wakefield."
FROM "DALZIEL'S GOLDSMITH."
BY G. J. PINWELL, R.W.S.
_By permission of Messrs. Ward & Lock._]
[Illustration:
"_Then, with a strange trouble in her eyes, Meg Blane
Crept swiftly back into her hut again._"
"Meg Blane."--ROBERT BUCHANAN.
BY A. BOYD HOUGHTON, R.W.S.
_By permission of Mr. John Hogg._]
Pinwell had all his life been in delicate health, and succumbed to a
lung trouble at an early age.
* * * * *
A. Boyd Houghton was perhaps one of the most versatile of the black
and white draughtsmen of our time. Amongst his early friends he was
called "The Young Genius," and his first efforts in art showed that he
well deserved that appellation. He did not require the model set before
him--to look at his subject was sufficient. It was like a "snap-shot"
fixed on the brain, and memory was enough for his purpose. He had a
vivid fancy, and was brimming over with the finest qualities of the
designer's art. Our connection with him was a long and very close
one. He was a most delightful companion--his fine sense of humour was
coupled with a pleasant tinge of satire, such as comes from a man who
knows the world in its various phases of life, but always cultured and
refined.
[Illustration:
_"And, ah! she trembled, fluttering and panting,
While on my knees I fell."_
'"The Saint's Story."--ROBERT BUCHANAN.
BY A. BOYD HOUGHTON, R.W.S.
_By permission of Mr. John Hogg._]
One of his characteristics was his great love of children. It was a
pleasure to him to get a party of young people together, and go off to
the fields to romp and play all sorts of games and antics. His taste in
that way is fully shown in the set of some thirty or more drawings he
made for us of "Child Life," which we published, through Routledge, as
"Home Thoughts." But he made other pictures of the little ones: "Kiss
Me," done for _Good Words_, is an excellent example.
He had special advantages to assist him in his work on our edition of
"The Arabian Nights." He was born in India. His father, his brothers,
and many relatives were Indian army men, who had fine collections of
articles of virtu, curios, costumes, and every sort of thing invaluable
for the illustrators purposes, much of which he placed at the disposal
of Thomas Dalziel, thus enabling both to work with uniformity in all
necessary details.
[Illustration: THE THREE BLIND MEN WATCHED BY THE THIEF.
FROM "DALZIEL'S ARABIAN NIGHTS."
BY A. BOYD HOUGHTON, R.W.S.
_By permission of Messrs. Ward & Lock._] There is no doubt that these
"Arabian Nights" drawings of Houghton's are amongst the best work in
black and white of the period; but strange as it may appear, publishers
did not take willingly to his art. Alexander Strahan was almost the
only one who fully appreciated his great ability. He used his drawings
largely in his various magazines and also bought several of his
pictures--one, a large oil, "Sheik Hamel," a truly grand picture. We
had a water colour of the same subject, which by many was considered
the finer work of the two. Both were painted from the original drawing
done for _Good Words_. One of the most beautiful water colours we had
from him was "Coach and Horses," a portrait picture of his wife and
two children, now in the possession of his youngest daughter, Mrs.
Charles Davis, a lady of refined taste, whose greatest pleasure is
to acquire works of her much-loved father. The small water colour of
"Useless Mouths," exhibited in the R.W.S., was a subject he was very
fond of--people being driven out of a beleaguered city. We had two oil
pictures (which he painted with slight variations) of the same subject,
as well as "The Daughter of Herodias Dances before Herod." Another,
which he named "The Sorceress," was a beautiful young girl being tried
as a witch before the tribunal of the Inquisition. Both the latter
pictures were exceptionally fine.
We commissioned him for one hundred illustrations to "Don Quixote,"
which he did most ably. Frederick Warne & Co. published the book
for us. His illustrations to "Krilof's Fables" are very clever.
He contributed to nearly all our "Fine Art Books," notably, "Jean
Ingelow's Poems," "Our National Nursery Rhymes," "Buchanan's North
Coast Poems," and "Ballad Stories of the Affections."
[Illustration: KING ZEYN CONDUCTS THE QUEEN-MOTHER TO THE VAULTS.
FROM "DALZIEL'S ARABIAN NIGHTS."
BY EDWARD DALZIEL.
_By permission of Messrs. Ward & Lock._]
Houghton was the essence of kindness and generosity. His impulsive
nature knew no bounds. If any case of distress to a brother artist came
before him he was the first to offer help. We could give many special
instances where he emptied his pockets that he might help those in
immediate want.
* * * * *
Although we had done much work with the house of Ward & Lock from
their first commencing business, it was not until 1863 that we held
any financial interest in what they published. In that year we entered
into a contract with them to produce a series of popular standard
works, fully illustrated, to be under the able editorship of Dr. H.
W. Dulcken, and to be published with the general title of "Dalziel's
Illustrated Edition." We were to share equally in the cost of
production, and participate equally in the profits, if there were any.
Before the first number appeared, Mr. J. Stephens, proprietor of the
_Family Herald_, was so much attracted by the probable success of the
scheme, that he begged to be included in the partnership, suggesting
that all costs, losses, or profits should be equally borne by the three
parties. To this we agreed.
"The Arabian Nights' Entertainments," it was decided, should be the
first of the series. Some of the drawings were made by Sir John E.
Millais, P.R.A., Sir John Tenniel, J. D. Watson, R.W.S.,
[Illustration: THE GENIE BRINGS THE HATCHET AND CORD.
FROM "DALZIEL'S ARABIAN NIGHTS."
BY THOMAS DALZIEL.
_By permission of Messrs. Ward & Lock._] G. J. Pinwell, R.W.S., and
other artists, but the great majority of them were done by A. Boyd
Houghton, R.W.S., and Thomas Dalziel.
This was followed by "The Works of Oliver Goldsmith," illustrated by
George J. Pinwell, R.W.S. The work being entirely illustrated by one
artist, and he a very great one, gives it a special interest and value.
Some of Pinwell's finest black and white is here seen.
[Illustration:
"_Lord, hearken unto me,
Help all poor men at sea._"
"Meg Blane."--ROBERT BUCHANAN.
BY THOMAS DALZIEL.
_By permission of Mr. John Hogg._]
[Illustration:
"_And women barred their doors with bars of iron
In the silence of the night; and at the sunrise
Shivered behind the husbandmen afield._"
"Celtic Myths."--ROBERT BUCHANAN.
BY THOMAS DALZIEL.
_By permission of Mr. John Hogg._]
Though these two books, upon which we bestowed much anxious care, were
very highly appreciated by the press generally, and still more highly
by the art-loving world, the public, unfortunately, did not respond so
enthusiastically as we had expected, and, as a large debt had by this
time been incurred, all further progress in the scheme was abandoned.
Amongst much interesting work in which we were associated with Ward
& Lock, was a very charming edition of "The Pilgrim's Progress,"
containing 100 beautiful pictures, drawn entirely by Thomas
Dalziel--thus adding another to the many editions of this wonderful
book which we had been called upon to embellish.
Our connection with Messrs. Ward & Lock continued for many years after
"The Arabian Nights" transaction had terminated.
* * * * *
It was through an introduction by G. J. Pinwell that we first met J.
W. North. He began as a pupil of J. W. Whymper, in whose studio he
made many small drawings, most of which were modelled on the works of
Birket Foster. North said that all the art teaching he ever got at
Whymper's was that when a subject was given him, a print of one of
Foster's was placed before him, with instructions to make his drawing
in that manner. We were struck, not only with the earnestness of his
method, but the beautiful drawing and his sweet simplicity of style.
But it is a fact that publishers generally did not care for his work,
and, broadly speaking, all the drawings he did for us were in the
form of commissions given direct by ourselves, and at our own risk.
Most certainly we have nothing to regret in this; for in different
forms he gave us some of the finest English landscapes that have been
produced in black and white. Amongst the most important are those which
we placed in our "Round of Days," in "Home Thoughts," and in "Jean
Ingelow's Poems." And whatever reputation North may have gained in
other branches of art, we feel assured that these early works will form
no small part of that distinction.
[Illustration:
"_Silent they stood, each gazing on the dust
Of kindred;--on the well-beloved ones
Whom they should never lie beside in slumber._"
"The Exiles of Glen Oona."--ROBERT BUCHANAN.
BY WILLIAM SMALL.
_By permission of Mr. John Hogg._]
From his earliest practice of art he devoted much time to water colour
painting, and was elected, on his first "sending in," to the Royal
Water Colour Society, where he at once became one of its most prominent
members, producing, year by year, landscapes of singular beauty. He
also painted several important landscapes in oil, which called forth
much attention at the Grosvenor and at the New Gallery, and for some
years now has had the distinction of A.R.A. as an affix to his name.
It has always been a pleasant memory to us in having had it in our
power to be of some service to this talented artist when he started on
"the battle of life."
We became possessed of several of his very charming water colour
drawings, one of the most important being two beautiful rustic children
looking at a dead robin lying on the snow; another, "An Old Wooden
Bridge," the design of which he used in illustrating one of Jean
Ingelow's poems; and "A Storm at Sea," which is an exquisite piece of
colour.
[Illustration:
"_Then calling to his henchman red,
'Slit me the throat of the Priest,' he said;
'His red heart's blood shall flow before
A gracious sacrifice to Thor.'_"
"Hahon."--ROBERT BUCHANAN.
BY EDWARD DALZIEL.
_By permission of Mr. John Hogg._]
Our first introduction to Jean Ingelow was through Mr. Niles, of
Roberts Brothers, Boston, U.S., who wanted some illustrations done for
her poems. Some six or eight page drawings were made by J. W. North,
and the success of that venture induced us to make terms with her for
the elaborately illustrated edition of "Jean Ingelow's Poems," for
which we retained the English rights, and which we produced and placed
in the hands of Messrs. Longman, her English publishers. The pictures
were by various artists--Pinwell is at his very best in "The High
Tide," "Winstanly," and many others; so is J. W. North, who gave us
numerous examples in his most refined manner. Wolf, Small, and Houghton
are all there in good form. There is one fine example of Sir E. J.
Poynter, P.R.A., of "Euphrosyne," and there are a number of our own
drawings of which it is needless to particularize.
* * * * *
It was in our connection with _Good Words_ that we first came in
contact with Robert Buchanan, who was at that time coming right to the
front as a popular poet. At our invitation he was induced to write
and procure verses to the set of pictures by Fred Walker and others,
which were published as "Wayside Posies," and for which he gave us much
beautiful work. After this we made arrangements with him to produce an
illustrated book, to be called "North Coast and Other Poems," which
afforded plenty of scope for pictures of varied kinds. Commencing with
"Meg Blane," a strong dramatic story of the sea is fully illustrated
by A. B. Houghton and Thomas Dalziel. "An English Eclogue" has a
fine example of G. J. Pinwell; the same may be said of "The Battle
of Drumlie Moor," and of the illustrations to "The Ballad Maker" and
"Sigurd of Saxony." Houghton's pictures to "The Northern Warning" and
to "The Saint's Story" are all powerful works. There are also two very
fine drawings by William Small from the truly pathetic story of "The
Exiles of Glen Oona."
[Illustration: MUSIC.--A MAN AT THE SPINET.
FROM "GOOD WORDS."
BY J. M. LAWLESS.
_Published by Mr. Alexander Strahan._]
"Ballad Stories of the Affections" was always a favourite book with
us--the fine old ballads giving such an opportunity for pictures of an
imaginative, poetic character. Two of Pinwell's--"Maid Mettelil" and
"Young Axelvold"--are of exceeding beauty. Of A. B. Houghton's those
for "Signelil, the Serving Maiden," and that for "The Two Sisters" are
amongst his best. J. D. Watson has some good pictures, and those by J.
Lawson illustrating "Aage and Elsie" are strong dramatic work. As to
our own drawings, which are numerous, we will only say that we loved
the subjects, and had much pleasure in making the drawings.
Among the many truly gifted young artists who came under our notice
at this period was J. M. Lawless. His drawings were of such a refined
and accomplished character that he at once took a place amongst the
distinguished men of the time. He exhibited some few pictures at the
Royal Academy which brought him prominently before the public; one of
these, "A Midnight Mass," another, "A Sick Call"--a poor woman has been
to fetch a priest, who, with his acolytes, is being rowed across a
river; the woman's deep grief, and the solemnity of the entire scene,
gives a touch of pathos to the group, and suggests it being a case _in
extremis_. From "A Man at the Spinet," which we give, he painted a
sweet water colour. Lawless was regarded as a "coming man," but, alas!
like others of that "golden period" of Illustrative Art he passed away
at quite an early age.
FOOTNOTES:
[18] It is a curious fact that on this occasion the picture was lost
for some two or three months, but was ultimately restored to us
uninjured.