_TOM HOOD, EDWARD WYLAM, HENRY SAMPSON, PAUL GRAY, H. S. LEIGH,
W. S. GILBERT, TOM ROBERTSON, CLEMENT SCOTT, G. A. SALA,
ARTHUR SKETCHLEY, W. J. PROWSE, ASHBY STERRY, C. H. LELAND,
GODFREY TURNER, DUTTON COOK, GEORGE R. SIMS, HENRY DOYLE, A.
B. HOUGHTON, R.W.S., F. BARNARD, G. THOMSON, PROFESSOR VON
HERKOMER, R.A., SIR JOHN GILBERT, R.A., HAL LUDLOW, G. J.
PINWELL, R.W.S., E. G. DALZIEL, F. A. FRASER, J. F. SULLIVAN,
LORD DUNRAVEN, ERNEST GRISET, EDWARD LEAR, JOHN RUSKIN._
Early in 1865 Mr. Edward Wylam became proprietor of the comic
periodical _Fun_--at that time the only competitor of _Punch_--and
was fortunate enough to secure Tom Hood as editor. On taking up the
direction, Hood informed us that one of the stipulations he made with
Wylam was that we should be solicited to undertake the engraving
of all the drawings. At first we felt some hesitation in accepting
the commission, thinking it might considerably interfere with very
important works we were then engaged upon; but ultimately satisfactory
arrangements were concluded, and our relationship continued in the most
amicable manner, without a break for six years. In 1870--Mr. Wylam
wishing to devote his entire attention to the development of "Spratt's
Dog Biscuits," the patent for which he had recently purchased--we
became the sole proprietors of the publication, paying for the goodwill
and copyright the sum of _£_6,000, Hood continuing editor until his
death.
[Illustration: THE OLD YEAR AND THE NEW.
_FUN_ CARTOON, 1867.
BY PAUL GRAY.]
In 1869 Hood commenced the publication of "Tom Hood's Comic Annual,"
which at once secured a large amount of public favour. The second
issue more than covered the slight loss sustained on the first. While
the third issue was in preparation we purchased from Hood the title,
copyrights, and stock of all literary and artistic matter connected
with it for the sum of _£_600.
[Illustration]
Tom Hood was, as perhaps half the world knows, the only son of the
celebrated wit and poet, Thomas Hood, the author of "The Song of the
Shirt," "The Bridge of Sighs," "Eugene Aram," and many other poems of
great beauty and purport.
[Illustration: THE CHOSEN CHAMPION. BY FREDERICK BARNARD.
_FUN_ CARTOON, 1869.]
Tom Hood, like his father, was somewhat of an artist, possessing
considerable skill in caricature, and giving a comic "twist" to his
sketches. Many of his drawings are scattered through the pages of
_Fun_. He invariably expressed himself well pleased with the manner in
which they were reproduced. The following is only one of many letters
we received from him:
"I am delighted beyond measure with the blocks. I have returned
some of the proofs, which I have touched for alteration; which,
with scarcely an exception, however, arises from my mistake and not
from the engravers'.
"Ever yours faithfully,
"TOM HOOD."
During the many years of our intimate association with Tom Hood, we
received hundreds of letters and notes from his pen, but the following
is the first and only instance in which he signed his name "Thos.
Hood." After this, when he had resigned his post at the War Office
and sat down steadily to literary work, he always studiously signed
his name "Tom," with the express object that his name might not be
confounded with that of his father, or that he should be accused of
"making capital" out of his father's name and reputation.
"21 MONTPELIER SQUARE,
"BROMPTON, S.W.
"DEAR SIR,--I believe Mr. Routledge has (or is going to do so)
given you the illustrations of my book to engrave.
"I need not ask you to do me justice, for I know you will do that;
but as I am not a professional artist, but an amateur, I fancy I
may give you more trouble to understand me at times.
"There are one or two blocks that I wish particularly to call
your attention to as requiring facsimile engraving, they being
likenesses. Two drawn in pencil I wish you not to touch, as I
intend, when I come to see you (which I hope to do soon), to put in
initial letters, as I think the fun in them forced. I have drawn a
rude sketch of them on the other side. I can introduce them thus: a
'W' on the board, and an 'O' on the flag. At present I am sorry to
say I am too ill to come over, but I hope to be on my legs again by
the end of the week.
"I am at the War Office from 10 till 4. Should I be able to see you
at 5 if I called?
"I hope this will not be our first and last connection in this
line, but that it will be a case of 'cut and come again.'
"Believe me,
"Yours truly,
"THOS. HOOD."
[Illustration:
FUN OFFICE.
80 FLEET STREET E.C.
Friday.
My dear Mr Dalziel
With joy I'd resort
To dine with the Shandies at fair Hampton Court
On Saturday, were I not bound on that day
To navigate Thames in the opposite way
As one of the crew of the scow "Albert-Victor"
(A steamboat that knowing ones vow is a pictur)
Which is bound for sweet Margate, the shore light beyond,
Being chartered expressly by Spiers & Pond,
(This is Spiers and Pond the bard continues)
To take down a party--and 'mongst others me--
To open their famous new Hall by the Sea.
(This is the Haul by the Sea Again the bard urges on his wild
careen)
So I'm forced--though I'd much like to come if I could--
To decline your kind offer.
Yours truly
Tom Hood
E. Dalziel Esq]
All our transactions with Hood, which continued for close upon ten
years, were of the most friendly and agreeable character, leaving
behind delightful remembrances of his truly social and sympathetic
nature. The letter which we give in facsimile was received in reply
to an invitation to join us at an "up-the-river" dinner party, where
we promised he should meet a few kindred spirits and spend a very
enjoyable day.
Unhappily, Tom Hood died too soon, after an illness of some short
duration, against which he fought with great courage. He worked with
the assistance of his friend Henry Sampson, to the last--taking part
in preparing the number of _Fun_ that was published the day after his
death, which took place at his house, in Peckham Rye, on November 26th,
1874.
Subsequently his widow handed us the following letter, with the remark
that they were the last lines he ever wrote:
"MY DEAR SIRS,--To the best of my ability, and to the utmost of
my power, I have served you loyally and honestly while strength
remained. If I have failed it has not been wilfully, and when we
have differed in opinion I have only done what I have believed it
right to do, or assert beyond mere matter of expediency.
"Sampson has long co-operated with me, and now so well understands
the working of the paper that it has been of the greatest comfort
and use to me to have, for the first time in my life, some one on
whom I could entirely rely when I was disabled.
"A more disinterested and faithful friend man never had, and I
am sure if you transfer the bauble from my hands to his you will
have secured fidelity and ability of no unusual order, loyalty and
discretion, zeal and determination. It is my dying wish that he
might be my successor on _Fun_. Of course I only express this as
simply a wish of
"Yours always,
"TOM HOOD."
[Illustration: OLD FATHER TIME. BY GORDON THOMSON.
A PORTION OF _FUN_ CARTOON, 1871.]
[Illustration: AN URBAN DELUSION.
Jones knew a thing too much for most people. "Nice bunch o'
water-cresses, just fresh in," said his greengrocer. "Oh, ah!" said the
knowing Jones; "_fresh_--oh, yes! after being brought all the way from
the country! Not for me, thankee!" For the fact was that the knowing
Jones was just off for a day or two in the country himself.]
[Illustration: AN URBAN DELUSION--(_continued_.)
But it so happened that the same bunch of water-cress went down by
the same train as Jones did, and alighted at the same rural station.
"Ha!" said Jones, in a stroll down the country lanes, "now, here comes
a fellow with a real fresh country bunch of water-cresses; I will
buy them and take them home to town with me the day after tomorrow.
_That's_ the way to get the real fresh article!"
BY J. F. SULLIVAN. FROM _FUN_.]
Among the many men, with whom our connection with _Fun_ and the "Comic
Annual" brought us into close communication, who have steadily ascended
the ladder of fame--some, alas! no longer with us,--mention ought to
be made of Henry S. Leigh, author of "Carols of Cockayne," "Strains
from the Strand," and other volumes of verse; a man possessed of rare
wit and unquestionable genius, but, unfortunately, without one atom of
application or appreciation of the value of time. On one occasion, when
some change of contributors was contemplated, Hood wrote:
"As for Leigh, he is hopeless: when perpetual motion is patented,
a machine might be invented to bring him to the scratch regularly,
but--he is unluckily a 'genius.' You might give him a retaining
salary that would ensure--his never doing a line."
Yet, notwithstanding his extreme dilatoriness, he was a thoroughly
good fellow, and Hood was at all times only too glad to receive any
contributions he cared to send, for they were certain to contain some
quaint conceit and out of the way sentiment.
[Illustration: THAT OR NOTHING. BY G. J. PINWELL, R.W.S. FROM _FUN_.
_Mrs. Vicar._--"Thomas, what has become of you lately? I haven't seen
you at Church for several months."
_Thomas._--"Noa, ye ain't. _But I haven't been nowheres else._"]
On Leigh being remonstrated with for non-delivery of promised copy, we
received the following:
"35 STRAND,
"_1st Feb., 1881._
"_To_ MESSRS. DALZIEL BROTHERS,
"You have treated me so kindly that I dared, a little blindly,
An ambition and a future to your care to recommend.
He is timid, he is nervous, but may God above preserve us
If we cannot stretch a point or so to gratify a friend.
I have sent you oft a lyric, either genial or satiric:
Some were bad, and some indifferent, and some were very good.
So my errors don't be hard on, but beneficently pardon,
Were it only through the memory of dear old Tommy Hood."
Of W. S. Gilbert, of "Bab Ballads" and Comic Opera fame, it may not
be generally known that all those "topsy-turvy" rhymes were published
in _Fun_: though they were by no means the only work he did for
the journal. For a considerable period he wrote a comic paraphrase
upon the most popular play produced during the week, as well as an
extremely clever series of papers called "People I Have Met." He also
wrote several stories for the "Comic Annual." In his selected edition
of "Fifty Bab Ballads" he gives the following account of how these
happened to be published in _Fun_:
"It may interest some to know that the first of the series, 'The
Yarn of the _Nancy Bell_,' was originally offered to _Punch_,
to which I was at that time an occasional contributor. It was,
however, declined by the then editor on the ground that it was 'too
Cannibalistic' for his readers' taste."
[Illustration: TO EVEN MONEY! BY E. G. DALZIEL. FROM _FUN_.
_Teetotal Wife._--"Ah, when that 'evingly Sir Wilfrid 'as 'is way,
'e'll put that nasty beer down!"
_Irreverent Brute._--"Hope he'll put it down to the price it used to
was--thruppence a pot."]
W. S. Gilbert, like many of his fellow workers on the staff of _Fun_,
began life in the Civil Service, he having been for a short time in the
Education Office; but the "diurnal drudgery" was not congenial. His
impetuous temperament would not brook direction or control, as his most
intimate friends were not slow to discover. Immediately on his fairly
breaking away from the "ten to four slavery," the first thing he did
was to buy a quire or more of foolscap paper, a bundle of quill pens,
and a few pieces of boxwood. Thus armed, he commenced to fire away
with pen and pencil, for at that time Gilbert contemplated turning his
attention to art. His connection with _Fun_ began in his early days,
when he sent some of his "topsy-turvy" things to Mr. Maclean, the first
proprietor, who, detecting the unquestionable merit, insisted upon
their being accepted and published.
Clement Scott, another early and very valued writer on _Fun_, in a
short sketch of his own career, referring to Gilbert, says:
"He was courteously, as a contributor, invited to the weekly _Fun_
dinners, and I fear from what I have heard, that at the outset the
young writer was not very courteously treated by some of those
who afterwards recognised his great talent to the utmost, and
became his warmest friends and companions. Frank Burnand, owing
to his novel, 'Mokeanna,' was promoted to _Punch_; Tom Robertson,
the dramatist, whom I met at the club on the _Fun_ meetings every
week of my life for half a dozen years; Arthur Sketchley, with his
'Mrs. Brown'; and for verse writers, the delightful Henry S. Leigh,
Saville Clarke, and your humble servant, who has been writing bad
verses for over thirty-five years."
So long as Hood lived, George Augustus Sala was a constant contributor,
as were Edmund Yates and Arthur Sketchley; the latter gentleman's
"Mrs. Brown at the Play," as well as a long series of "Mrs. Brown"
papers, chiefly comments on the current events of the day, were all
published in _Fun_, and had immense popularity.
[Illustration: CHELSEA HOSPITALITY, UNDER A CLOUD. BY E. G. DALZIEL.
FROM _FUN_.
_Pensioner (to Workman)._--"Got e'er a bit o' baccy about ye?" |
_Workman._--"No, mate!--just smoking the last bit!"
_Pensioner._--"Come off that there grass--_directly!_"]
Another prominent member of the staff was William Jeffrey Prowse, a
journalist of great brilliancy and power, and a "leader writer" and
constant contributor to the _Daily Telegraph_. His advent, under the
_nom de plume_ of "Nicholas," was announced by Hood in the following
quaint terms:
"With feelings of considerable pride we inform our readers that
we have been enabled (at some expense) to secure the exclusive
services of the celebrated 'Nicholas.' ... 'Nicholas,' that friend
of man, has benevolently consented to impart (for a certain weekly
stipend) the experience of--well, let us say _middle_ age to the
generous ardour of youth: AND THIS IS HOW HE DOES IT."
But Jeffrey Prowse was something more than the ordinary journalist
working to order; he was a poet of no mean power. Some of his
productions in this way were published after his death at the end of
a small volume of "Nicholas Notes," edited by his friend, Tom Hood.
Among his best are "To Be, to Do, and to Suffer," a poem showing great
ability; and one named "The City of Prague," of which the following are
the first and last verses:
"I dwelt in a city enchanted,
And lonely indeed was my lot;
Two guineas a week, all I wanted,
'Twas certainly all that I got:
Well, somehow I found it was plenty,
Perhaps you may find it the same,
If--if you are just five-and-twenty
With industry, hope, and an aim.
Tho' the latitude's rather uncertain,
And the longitude also is vague,
The persons I pity who know not the city:
The beautiful City of Prague.
* * * * *
L'ENVOI.
As for me I have come to an anchor,
I have taken my watch out of pawn,
I keep an account with a banker,
Which, at present, is _not_ overdrawn;
Tho' my clothes may be none of the smartest
The 'snip' has receipted the bill;
But the days I was poor and an artist
Are the dearest of days to me still!
Tho' the latitude's rather uncertain,
And the longitude also is vague,
The persons I pity who know not the city:
The beautiful City of Prague."
[Illustration: PARK LANE. BY E. F. BREWTNALL. FROM _FUN_.
_He._--"What a dreadful noise there is down there with those cabs and
things! You can hardly hear yourself speak."
_She._--"Yes; almost as bad as being at the opera, isn't it?"]
Poor Prowse died at the early age of thirty-four. Hood, in a short
memoir, says:
"Prowse, as a writer, was gifted with a great charm of style; with
a fertile imagination he possessed a logical mind. The amount of
work he has done is astonishing, writing often two or even three
leaders a day; and yet amid this constant and fatiguing trial he
found time to write poems and essays, papers for the magazines, the
annuals, and for _Fun_."
[Illustration: A DRAP O' THE BEST. BY WILLIAM SMALL. FROM _FUN_.
_First Hielan'man._--"She'll pe ta pest wusky I shall have tastit for
efermore."
_Second Hielan'man._--"So tit I, neither!"
_Third Hielan'man._--"Neither tit I, too!"]
We must not omit to mention Ashby Sterry as one of the staff, and a
contributor to _Fun's_ pages of much graceful verse. He is well known
for his volume, "Lays of a Lazy Minstrel." Then, Charles H. Leland, who
gained considerable reputation as the genial Dutchman, Hans Breitmann.
This gentleman contributed very liberally to the "Comic Annual." He
is one of the most affable and interesting men it has been our good
fortune to be associated with. He was full of entertaining anecdote, a
true artist and no mean draughtsman--in appearance, a giant, in manner
as simple as a child. On one occasion in America he asked a negro the
name of a black man of rather fine physique and superior appearance,
who was standing near.
"He Injun," replied the nigger; "he big Injun; he heap big Injun; he
dam heap big Injun; he dam mighty great heap big Injun; HE JONES."
Jones appeared to be the nigger's culminating pinnacle of greatness!
Godfrey Turner, one of the talented young men who, in the early
days, did so much towards placing the _Daily Telegraph_ in the high
position which it attained among the London morning papers, worked very
constantly upon _Fun_, as well as on the "Comic Annual." Poor fellow! a
protracted illness, generally attributed to overwork, incapacitated him
during the last two or three years of his life.
Dutton Cook's short stories appeared constantly in the "Annual"--among
his very last work being one he wrote for that periodical. Nor must
we omit to mention Leman Blanchard, who was the author of more
Christmas pantomimes than can well be counted. He did this work for
Drury Lane under F. B. Chatterton, and then Sir Augustus Harris, for
many years, as well as for many of the Provincial theatres. The able
and accomplished editor of _Sketch_, John Latey, also was one of our
most-esteemed contributors.
Henry J. Byron did much good work for _Fun_ under Hood, but he retired
from the staff on commencing a paper of his own, under the title of the
_Comic News_, which unfortunately for the proprietor had but a short
existence.
Frank Barrat, Manville Fenn, Austin Dobson, Byron Webber, Moy Thomas,
H. C. Newton, and Christie Murray, are the names of others whose work
frequently appeared in _Fun_ and the "Comic Annual."
On the death of Tom Hood we complied with his dying request and placed
the "Bauble" in the hands of Henry Sampson, who had been a constant
fellow worker with Hood for some two or three years previous. One of
the first things Sampson did was to introduce George R. Sims upon the
staff. It is superfluous for us to comment upon Sims' great ability
as a dramatist, a writer of short stories and sympathetic ballads,
because the voices of the reading and the play-going world have already
proclaimed their high appreciation of his genius. Suffice it to say
that it was in the pages of _Fun_ that he found his first opportunity
of appearing in print.
In 1893 when _Fun_ passed out of our hands, he alluded to us in the
_Referee_, with which he had long been associated under the _nom de
plume_ of "Dagonet," in the following kind words:
"It was by writing a small 'Poem' in _Fun_ that I first won
a little journalistic recognition. It was called 'A Dumpty
Captain....' It was in November, of 1874, that I first joined
the staff of _Fun_ and made my bow to the British public as an
anonymous journalist. Tom Hood had just been laid to rest. It was
in those days that I commenced my life-long friendship with Henry
Sampson, the new editor. Though for me it was a time of struggle,
I would give a good deal for the light heart with which I braved
the slings and arrows in those dear old days."
Again, Sims writes:
"Although I left _Fun_ in 1877, my association with the Brothers
Dalziel was never severed, and right up to the last issue (October,
1893) I was a contributor to 'Hood's Comic Annual,' of which they
were the proprietors and editors. I have nothing but pleasant
memories of the cheery, generous-hearted brothers and their clever
sons; and I am delighted to hear that this year the honoured name
will still be on the front page of 'Hood's Annual,' for it is to
appear as usual under the editorship of Mr. Charles Dalziel.[21]"
Later, in January, 1894, he kindly wrote in the same paper:
"For nearly half a century the firm of Dalziel Brothers carried on
the business of newspaper proprietors and engravers with credit to
themselves and advantage to the public, and they gathered around
them the best of young men, many of whom have become shining lights
in the world of art and letters. To those who had the honour
and pleasure of working under them, their friendship and their
hospitality were always freely extended, and I have nothing but
pleasant memories of the days when I was allowed to be one of their
working staff.
"The Brothers Dalziel paid me the first money I ever received
for verse. Tom Hood, the editor of _Fun_, had gone to Paris for
a holiday, and Henry Sampson edited the journal in his absence,
and gave me half a column to fill, and I plunged into poetry at
once; and when I left _Fun_, in 1876, the Brothers wrote me a
charming letter, which I still possess. Though my connection with
_Fun_ ended then, I remained one of the contributors to 'Hood's
Annual' until last year; and so our business relations continued
uninterruptedly and pleasantly for nearly twenty years--yes, for
quite twenty years, for it was in 1874 that I did my first work
for them. Had there been no Dalziels there might have been no
'Dagonet.'"
[Illustration: MISTRESS AND MAID. BY A. BOYD HOUGHTON, R.W.S. FROM
_FUN_.
_Mistress._ "Biddy, how is it you did not answer the bell when I rang?'
_Maid._ "Sure, mem, 'twas bekase I didn't know what you was ringing
for, mem!"]
So long as Sims continued on the staff he was at all times a most
welcome contributor, and, with one exception, always to our entire
satisfaction. The exception came about from the severity of a criticism
which he wrote upon Sir Henry Irving's rendering of Macbeth, the
humour of the article not being quite as apparent as it was intended
to be. This caused Irving [and his friends] so much annoyance that
he commenced an action against us for libel. However, Sims at once
acknowledged the authorship of the article, with ample apologies and
regrets, and assurance that there was no "malice aforethought," and
Henry Sampson did the same as the responsible editor, so Sir Henry, in
a very handsome and kindly manner, withdrew from the prosecution, and
the matter ended.
For several years George Dalziel (the elder of the Brothers), regularly
contributed short stories and verse to "Hood's Annual." Among the
latter was a rather lengthy poem, of which we give a few of the verses:
WHAT THE MOON SAW.
Oh, can the earth, so dream-like sleeping lie
Beneath the rays of that pale silvery moon,
That never gives a weary moan or cry,
Or sign that sorrow dwelt 'twixt night and noon?
There, calmly sailing on amid the stars,
She looks as though no ruthless thought nor care,
Nor wicked deed could ever be that mars
And lays the black spots of our nature bare.
She looks as though she never yet had seen
An ill deed done in all the million years
That she has gazed upon the earth, or been
Pale witness to a flood of bitter tears,--
Pale witness to the darkest deeds that man,
With demon brooding in his heart, could frame:
Foul, miry spots her gentle eye doth scan,
And "Lady Moon" goes smiling, all the same.
Lo! she did see the budding earth when young;
She saw the first red rose that e'er did bloom;
She heard the first grand carol that was sung,
And saw the mountains clothed with golden broom.
She heard each silvery stream and gurgling brook
Hymn its new song of never-ending praise,
And leaves and flowers, in every ferny nook,
Sing psalms to greet the glorious king of days.
* * * * *
She heard the first wild notes of Jubal's lyre,
That fell upon the ear like magic sound--
The first bright spark of that celestial fire
That thrills with rapture rare the whole world round.
She heard the first loud burst of ocean roar,
And saw the crested waves careering fly;--
She heard its ripple kiss the sandy shore,--
And saw the white foam dash against the sky.
* * * * *
Years, centuries told, come on, and quickly fly,
And this world rolls beneath the silvery moon
As she sails calmly through the deep blue sky
Unheeding joy or sorrow, night or noon.
Unheeding revel, wail, or bitter cry,
Or joy, or grief, or weary toil, or rest,--
She slowly climbs the ever-darkening sky,
While dying sunlight pales upon her breast.
GEORGE DALZIEL.
From another issue of the "Annual" we make a few extracts from some
verses which are entitled:
MY BOOKS.
My books! my friends, my dear companions all!
My never-failing--ever true and fair!
There standing round, come ready to my call,
And talk, and sing, and tell their wonders rare.
If I am sad, they give me joyous song;
Or if I wish for pleasant talk the while,
My friends are there, and will for short or long,
Just as I please, the ling'ring hour beguile.
With them at ease I play the conjurers part,--
They bring for me the stores of other times,--
Oh, rare the grace!--oh, rare the cunning art
That stirs the sluggish heart with ringing rhymes!
I see the patriot rear his banner high;
The troops march gaily through the busy town;
Methinks I hear the trembling maiden sigh
As her true knight goes forth to seek renown.
King Arthur, with his warriors brave and good,
Comes forth, the dauntless flower of chivalry;
And there be priests in monkish garb and hood,
As well as motley fools of revelry.
'Neath walls of Troy I see the valiant Greek,
Brave Ajax, and the mighty Hector there;
In fancy hear the aged Priam speak,
And see fair Helen with the golden hair;
The war-like braves in single combat stand,
The ponderous spear each doughty hero hurled,--
Fair Beatrice takes Dante by the hand,
And shows the myst'ries of the hidden world.
* * * * *
Sweet scenes of peace! here in my native land
These loving friends will each a posie bring,
With wooing words they take my ready hand,
And lead, where meadows smile and brooklets sing;
Where scented flow'rs cling round the cottage home,
Sweet new-mown hay, and fields of ripening corn,--
The broad smooth lake, the gorge where waters foam,
The shady grove, or by the scented thorn.
I see the fairies in the woody dells,
I join their midnight revels on the green;
The tower where the Enchanted Princess dwells,
Embowered in a blaze of golden sheen.
With them I travel o'er the arid plain,--
And wander where the palm and plantain grow,--
Through citron groves--or vine-clad summit gain,
Climb mountains clad with thousand years of snow,
The heathy moor, and o'er the high hill top,
And seem to breathe the cold crisp frosty air,
As from the lofty Alpine icy slope
I see the fertile valleys stretching there.
'Mong lofty pines, or where the olives grow;
Through far-off lands with Livingstone I roam,
Or loiter where the mighty rivers flow,
While sitting in my easy chair at home.
There is no land in all the world we know,
There is no mighty lake or frozen sea,
No hidden depth where foot of man can go,
But my true friends will find and show to me.
For some will sing, and some will tell a tale,
A simple story full of jocund glee,--
And anecdote with point that cannot fail
To cheer the heart with true hilarity;
Kind jovial friends that merry songs can sing,
Or with a touch of pathos bring the tear;
Anon I hear the wedding bells out-ring,
And now for gallant deeds the sounding cheer.
Here true they stand, the many great and good,
The fairest names the world can ever tell;
For some like gold the test of time have stood,
And some!--Oh, there be "maidens fair" as well,
That take a foremost place amid the true,
Good trusty friends there loitering by the wall;
Here Art and Poetry and Science too,
With Travellers that come whene'er I call.
When day is done, with all its toil and care,
The time that busy men together strove,--
My friends come forth the quiet hour to share,--
The friends I trust, and trusting, best I love;
Here motley fool may preach a sermon true,
Or sombre garb may tell a merry tale;
Here by the fire where these warm friendships grew
They talk to me--the friends that never fail.
GEORGE DALZIEL.
[Illustration: THE THEATRE OF NATURE.
BOXES.]
[Illustration: PIT.]
[Illustration: THE THEATRE OF NATURE--(_continued_.)
GALLERY.]
[Illustration: AT THE DOOR.
BY ERNEST GRISET. FROM _FUN_.]
During the period that _Fun_ was in our possession George Dalziel was a
constant contributor, writing upon the passing events of the day under
the general heading of "Dots by the Way."
Few matters in modern history caused greater excitement in the public
mind than the many unsuccessful attempts of our troops to reach
Khartoum for the relief of General Gordon, and, on the news of how the
place had fallen and the brave hero had been murdered by a horde of
savage Dervishes, the following verses appeared:
DEATH OF GENERAL GORDON.
["The Fortress of Khartoum was treacherously delivered up
to the Mahdi on January 26th, 1885, when General Gordon was
slain."--_Daily Paper._]
Hush! let no sound of revelry or song
Be heard in all our busy streets to-day,--
For such dark news falls 'mong the surging throng
As sends men sadly pondering on their way.
Sad news that sends a pang of crushing pain
To every honest heart throughout the land.
Khartoum betrayed! her brave defenders slain,
And Gordon fallen by the assassin's hand.
Great, noble Gordon, ever true and brave,
That held this 'leagured city 'gainst the foe,--
And all that man could do, he did to save
The women and their babes from direful woe;
But who can stand against the cunning art,
The cruel, dark device, and darker sin
That traitors use, when with a fiendish heart
They ope' the gates and let the foemen in?
Beloved by all who knew his noble heart,
Or ever felt the warm grasp of his hand,
The loving kindness and the ready part
He took in each good work in every land.
A gentle nature, kind as it was brave,
To help the lowly in their poor estate,
He spent his life to free the fettered slave,
And guide the suffering to a better fate.
O grand career, unsullied to its close!
Its splendour yet shall brighter shine, and tell
In glowing numbers how he faced his foes,
And how by treason dire, great Gordon fell.
With head bowed down we mourn the good man gone,--
And with our sorrow comes a sense of shame,
That in the midst of foes he stood alone,
And died with added glory to his name.
The tale spreads like a black cloud o'er the land;
'Tis like a darkening blight that falls at noon,
When men together meet and wondering stand,
And gaze as though the stricken heart would swoon,--
The flaming sword, the "lightning of the spear,"
Shone in the place where multitudes were slain,
The air is full of wailing, and we hear,
Mingled with prayer, the groan of mortal pain.
GEORGE DALZIEL.
Again, when the decisive battle was fought under the command of Lord,
then Sir Garnet, Wolseley, at Tel-el-Kebir, which practically brought
the revolt led by Arabi Pasha to a close, this song appeared:
A SONG FOR OUR BRAVES.
[On the return of Troops from Egypt in 1882, after the victory at
Tel-el-Kebir.]
A song now for the Guards,
Right gallant deeds they've done,
And liberal rewards
Their bravery has won;
The world beheld with pride
On Egypt's sandy plain
Their dreary midnight ride--
The battle charge. Like rain
Before the raging storm they swept the foe away,
And victory was won at the dawning of the day.
There in the dull grey morn,
With paling stars o'erhead,
We hear the bugle horn,--
The shouts of those who led;
We seem to hear the crash,
To see the gleaming steel,--
The cannons roar and flash,
The dusky foemen reel:
One moment at their guns they stood, then fled in wild dismay,
And victory was won at the dawning of the day.
Our heroes now come back,
In pride they march along;
Be sure they shall not lack
Warm welcome, cheers and song;
Tho' some were left behind,
And fill a soldier's grave,
Their honoured names we'll find
'Mong records of the brave
Who fell that morn while fighting and upheld old England's sway,
When victory was won at the dawning of the day.
GEORGE DALZIEL.
For many years we published at intervals several small volumes of
short stories, by George Dalziel, some of them having been previously
printed in the various issues of the "Comic Annual." These volumes
had considerable popularity, the most successful being, "My Neighbour
Nellie," "Dick Boulin's Four-in-Hand," "The Story of a Shop," "A
Soldier's Sweetheart," and "Only a Flower Girl." We also put together
three volumes of verse, with the titles of "Mattie Grey, and Other
Poems," "Faces in the Fire," and, later, "Unconsidered Trifles." The
first two of these were printed exclusively for private distribution,
but the last volume was addressed to the public through the publishing
house of Mr. Elliot Stock. Some few of the poems in each of these
volumes appeared originally in the pages of the "Annual."
[Illustration: AN ILLOGICAL DE-DUCK-TION. BY E. G. DALZIEL. FROM _FUN_.
_New Mother._--"Now then, Polly, come and have your hat on, there's a
little duck!"
_Polly._--"Shan't! Other little ducks don't wear none--there now."
[_The rest of the argument is lost in outcries and dissolved in tears._]]
The following lines, printed in "Faces in the Fire," were written as
an affectionate tribute to the memory of one of the sweetest and most
loveable of women:
MY MOTHER'S SONGS.
Of all the songs from sweetest voice,
In the sweet days of old,
That made my inmost soul rejoice,
However oft they're told,
Are those sweet songs my mother sung
While we were round her knee;
When all the world seemed blythe and young
And fresh and fair to see.
O, I have wandered far away
In sunny lands of song,--
And I have heard the minstrels play
That thrilled the listening throng;
Tho' sweet the charm when beauty sings,--
And sweet the minstrelsie,--
There is no charm that memory brings
Like those old songs to me.
Oft in the calm clear starry night,
Among the leafy trees,--
Or on the weird lone mountain height,
And in the gentle breeze,--
Or on the rough wild stormy sea,
When all is dark and drear,
The dear old songs will come to me,--
My mother's songs I hear.
Sweet is the strange enchanting spell
That lures all thought away,
To warm fireside or woody dell,
Where we were wont to play.
Around my boyhood's happy home
Glad mem'ries fondly cling;
And oft' the sweet old songs will come
My mother used to sing.
Through many years of joyous life
I reach the sere and old;
Now all the battle and the strife,
The fierce sun, and the cold,
Are o'er for me, and calm I wait
Until the "joy-bells" ring;
For I shall hear at Heaven's gate
My angel mother sing.
GEORGE DALZIEL.
Of the many art contributors, it will be sufficient if we state the
names of the principal men whose works have adorned the pages of _Fun_
and Hood's "Comic Annual." Of these, naturally, the cartoonists take
the foremost place. Paul Gray, who held this position on Hood assuming
the editorship, was a young Irish artist of very considerable promise,
and displayed much fine feeling for black and white work. He also made
drawings for some of our "Fine Art Books." He was a man of delicate
constitution, and within twelve months of his joining the _Fun_ staff
he fell into a consumption and died. Shortly before the sad event,
writing to us on other subjects, he said:
"I take the opportunity of saying how very pleased I am with the
way in which the cartoons are engraved--some of the latter, more
especially, could not possibly be better."
Jeffrey Prowse, in one of his poems, makes the following touching
allusion to the early death of his young friend:
"There is one of our band whom we cherished--
The youngest, the purest, the best--
In the frost of the night-time he perished,
Going quietly home to his rest;
And we thought, as we buried our dear one,
And mournfully turned us to go,
That the summons was still sounding near one--
Listen! _On bot,
On bot le rappel là-haut!_"
[Illustration: GOING HOME TO LOVE IN A COTTAGE. BY F. A. FRASER. FROM
_FUN_.
The very spot where the Snorkers held a pic-nic. Oh! didn't the ladies
cry out in one voice, "I could live in such a charming place for ever,
if only----" At the self-same pic-nic, Tilbury Pawkins plighted his
troth to Amelia Softispoon. Now they are married, and Amelia has begun
trying to live in the "charming place," and Pawkins is going home to a
damp cottage and a rheumatic wife as blithely as a newly-married man
should.]
Then came W. J. Weigand, followed by A. Boyd Houghton. Notwithstanding
the great ability of the latter, his quality of mind hardly fitted him
to join in with Tom Hood's idea of the punctuality indispensable for
conducting a weekly periodical. Next came Henry Doyle, a brother of
the more famous Richard Doyle--an extremely careful and painstaking
artist--who subsequently became Keeper of the Dublin National Gallery,
with the distinction of C.B. After Doyle came Fred Barnard, an artist
of surpassing versatility and humour. Perhaps it is not too much
to say that in wit and true comicality he far outstripped all his
predecessors on the journal; but some slight difference of opinion with
the editor--or was it some interference on the part of Mr. Wylam, the
then proprietor--caused him to secede from the position. Then followed
Gordon Thomson, an artist upon the merits of whose productions there
was a wide difference of opinion; but he did much good work--the
series of double-pages in connection with the Franco-Prussian War
being exceptionally strong. His large pictures for Christmas and other
Holiday Numbers were remarkable for the varied topical events he
crowded into them, and those who remember his "Academy Skits" will know
what quaint burlesques they were. Here is an appreciation by one of his
most distinguished contemporaries:
Sir John Gilbert said:
"These funny 'Academy Skits' are extravagant to a degree, and at
the same time they give such a complete embodiment of the picture
in hand as to stamp the subject in my mind far more fixedly than
any careful copy could possibly do."
Among the general contributors to _Fun_ were many well-known
draughtsmen--Professor H. von Herkomer, R.A.; George J. Pinwell,
R.W.S.; Hal Ludlow, and "E. G. D." The last named (the eldest son
of Edward Dalziel) was a young artist full of promise and great
ability. Had he given continued attention to his oil painting he must
undoubtedly have taken a very high position. He exhibited many pictures
at the Royal Academy, the Grosvenor, and other galleries, but the
allurement of black and white became too much for him, and he laid
aside his brush for the pencil. He contributed many excellent works
to our various "Fine Art Books," as well as to our "Bible Gallery."
Unfortunately he died at the early age of 39. Amongst his many admirers
was Sir John Gilbert, as the following letter, which refers to his
drawings in _Fun_, will show:
"VANBRUGH PARK, BLACKHEATH,
"_20th December, 1878_.
"DEAR MR. DALZIEL,--Pray accept my best thanks for your kind
remembrance.
"The drawings as they appear weekly in _Fun_ I always admired. The
_uncommon_ humour, the wonderfully expressive faces, with attitude
in accordance with the face, is always delightful and wonderful.
"The idea of gathering them together in a volume was excellent and
I had intended to get the book. I thank you again for it.
"Pray remember me very kindly to your brother and your son,
and with best wishes for your continued prosperity, health and
happiness,
"I am, very truly yours,
"JOHN GILBERT."
[Illustration: ARGUMENTUM AD HOMINEM. BY J. MAHONEY. FROM _FUN_.
_Young Graceless._--"Natural selection!"
_Old Graceless._--"Certainly! Only the finest specimens of the race
survive."
_Young Graceless._--"Come now, _that_ won't do! Why, you're over sixty
now, and good for another twenty years!"]
Among other artists employed on _Fun_ were--William Small; Harry
French; "F. A. F." (Francis A. Fraser), and his brother, G. Gordon
Fraser, whose sketches of humorous Irish character were for several
years a prominent feature in the journal (poor fellow! during the very
severe winter of 1895 he was accidentally drowned while skating); E.
J. Brewtnall, R.W.S., the water colour painter; F. S. Walker, R.H.A.;
George Gatcombe, Harry Tuck; and J. W. Houghton. The last named also
contributed the dramatic criticisms, with illustrations, for several
years. Jack Houghton is a ready writer of smart, clever verse, and
wrote all the rhymed descriptions to Gordon Thomson's "Academy Skits."
Another very talented youth who it was our good fortune to introduce on
_Fun's_ pages, both in literature and art, was J. F. Sullivan. He was
a student at South Kensington, when he first forwarded some sketches
for our inspection; and seeing they gave evidence of considerable
ability, we at once availed ourselves of his drawings. Though he had
much originality of conception and design, he did not very readily
acquire a "style" of his own, such as is evidenced in his later
productions. Perhaps the most notable works Sullivan did were some very
clever character sketches--"The British Working-man" and "The British
Tradesman." But he was not an artist only, for, during the many years
he was associated with _Fun_, he contributed to it a fair amount of
very good verse and general comic matter.
[Illustration: OYSTERS.
"Here you are! the finest natives! best of appetite-creatives.
Come and buy! Taste and try!"
BY ERNEST GRISET. FROM _FUN_.]
There was a distinct cleverness about the quaint grotesque drawings of
Ernest Griset, a young Frenchman, who made his appearance in London
now many years ago. His drawings were at first exhibited in the
window of a book shop close to Leicester Square, where they attracted
considerable attention. Tom Hood had a great opinion of the artist's
ability. They were generally in pen and ink, lightly tinted with
delicate colour. We thought very highly of Griset's drawings, and soon
enlisted his services, not only on _Fun_ and "Hoods Annual," but upon
many other publications--for which we bought hundreds of his drawings,
and from them made selections. Tom Hood wrote clever verses to some of
these, and we published them in book form through Messrs. Routledge as
"Griset's Grotesques." We also got together several of his drawings
which had appeared in _Fun_ and published them as shilling books from
the _Fun_ Office.
Griset was, and is, a hard and rapid worker. He has been engaged in
many other ways as an illustrator; much on "Prehistoric Man." Also as a
decorator of public halls, he has done good things.
[Illustration: ÀPROPOS TO A PROPOSAL. BY HAL LUDLOW. FROM _FUN_.
_Frank (just accepted)._--"Love thee, dearest? Ay, and when time shall
have furrowed these youthful cheeks and dimmed the lustre of your eyes,
when age shall have threaded silver amidst these glossy locks and bowed
the figure erstwhile straight----"
_Laura (hastily)._--"Oh, Frank, I hope not! Think how old you will
be!"]
W. S. Brunton, known as "Billy" Brunton, was a young Irishman full of
racy humour and odd fancies. He was a constant contributor of comic
sketches dealing with passing events of every-day life. It is well
known that when the present Earl Dunraven was a young man he was
occupied for many years as a journalist, on the London Press. He was of
a genial disposition, a fluent writer, and a general favourite among
his brethren of the pen, as well as a popular member of the Savage Club
at the time that "Billy" Brunton and some few other kindred spirits
kept the place pretty lively with their jovial nights and merry Irish
rollicking. On one occasion, shortly after Dunraven had come into the
title and estates, a small group of "Savages" were standing gossiping
in the club smoke-room, when he very quietly said:
"By the way, old chums, now that my position in the world is a little
altered, and I have been obliged to change my name, I hope there may be
no reserve on your parts, or change of feeling towards me, and that we
shall continue to meet and chum together on precisely the same friendly
terms, and with the same cordial good-fellowship, that has always
existed among us."
"Billy" Brunton, who happened to be one of the group, laid his hand,
with a caressing pat, on Dunraven's shoulder, and in an encouraging
tone said:
"All right, old man, that shall be all right, so let your mind be
entirely at ease on that score. Bedad, I pledge my word for it; and
I'm sure I speak the sentiments of every member of this club, that
'although your position in the world is a little altered, and you have
been compelled to change your name,' you'll find no change in us--for
you shall at all times be treated with precisely the same respect and
the same consideration that has always been shown you here; and to
prove I'm entirely in earnest in what I say--gentlemen, I propose that
Dunraven stands glasses round."
It is hardly necessary to say that the proposal met with approval by
the entire party, or that it was responded to by the noble "Savage."
Henry Sampson remained editor of _Fun_ and "Tom Hood's Comic Annual"
for nearly four years, when he resigned that position to commence a
weekly newspaper--the _Referee_.
Early in the Sixties we made the acquaintance of Edward Lear, who
was a landscape painter of great distinction, a naturalist, a man
of high culture, and a most kind and courteous gentleman. He came
to us bringing an original chromo-lithographic copy of his "Book of
Nonsense"--published some years before by McLean of the Haymarket.
His desire was to publish a new and cheaper edition. With this view
he proposed having the entire set of designs redrawn on wood, and he
commissioned us to do this, also to engrave the blocks, print, and
produce the book for him. When the work was nearly completed, he said
he would sell his rights in the production to us for _£_100. We did not
accept his offer, but proposed to find a publisher who would undertake
it. We laid the matter before Messrs. Routledge & Warne. They declined
to buy, but were willing to publish it for him on commission, which
they did. The first edition sold immediately. Messrs. Routledge then
wished to purchase the copyright, but Mr. Lear said, "Now it is a
success they must pay me more than I asked at first." The price was
then fixed at _£_120, a very modest advance considering the mark the
book had made. It has since gone through many editions in the hands of
F. Warne & Co.
Lear told us how "The Book of Nonsense" originated. When a young man he
studied very much at the Zoological Gardens in Regent's Park. While he
was engaged on an elaborate drawing of some "Parrots," a middle-aged
gentleman used to come very frequently and talk to him about his work,
and by degrees took more and more interest in him. One day he said, "I
wish you to come on a visit to me, for I have much that I think would
interest you." The stranger was the Earl of Derby. Lear accepted the
invitation, and it was during his many visits at Knowsley that these
"Nonsense" drawings were made, and the inimitable verses written. They
were generally done in the evening to please the Earl's young children,
and caused so much delightful amusement that he redrew them on stone,
and published them as before stated. That is how this clever, humorous
book came into existence; a work that will cause laughter and pleasure
to young and old for all time. John Ruskin says of Lear's "Book of
Nonsense":
"Surely the most beneficent and innocent of all books yet produced
is the 'Book of Nonsense,' with its corollary carols, inimitable
and refreshing, and perfect in rhythm. I really don't know any
author to whom I am half so grateful for my idle self as Edward
Lear. I shall put him first of my hundred authors."
* * * * *
John Proctor, the celebrated cartoonist, had retired from his position,
and had gone over to _Moonshine_, the then new "comic," and William
Boucher had taken his place, before we became connected in any way with
_Judy, or The London Serio Comic Journal_. Charles H. Ross was the
editor when the paper came into our hands in 1872.
[Illustration: MADAME. BY FREDERICK BARNARD.
"_She is one of the most amiable ladies I ever met, and has a pleasant
smile and a pretty something to say to one and all, and she doesn't
mean a word she says. Watch her now softly crossing the floor, no doubt
fearful of waking old Mr. Topperton, whose heavy breathing might by
the ill-disposed almost be likened to a snore. See, she is carrying
a pillow; doubtless it is to prop up Topperton's head, now resting
against the hard wooden edge of the chair at a painful angle. Not a bit
of it._"
"Behind a Brass Knocker" (_Judy_).--CHARLES H. ROSS.
_Published by Mr. Gilbert Dalziel._]
He was a gifted writer of varied powers, a dramatist and novelist of
the most sensational order. But above all, Ross was a great humorist,
with a manner peculiarly his own. He was also a skilful draughtsman,
and we engraved hundreds of his drawings. His pages of humorous
pictures, which appeared in _Judy_, were generally signed "Marie Duval"
(his wife's maiden name), and the subjects often savoured somewhat of
French origin.
One of the principal contributors to the paper at this period was
Ernest Warren, an admirable verse writer. He, too, wrote for the stage.
Of his books, many of which were of "The Round Table" series, the most
popular were "Four Flirts," and "The White Cat." Another, which had run
through the Journal, and was written in collaboration with his friend
Ross, was "Rattletrap Rhymes and Tootletum Tales." All three books went
through many editions.
"The Bloomin' Flower of Rorty Gulch" was published in the last-named
book, and shows Ross's power as a sarcastic verse writer. As a
recitation, the poem is very popular, and in the hands of that clever
and esteemed actor, E. J. Odell, who has made a feature of it for many
years, it is highly appreciated in Bohemian and other circles.
In his "Book of Beauty" Ross says "On Love":
"Ladies and gentlemen! there is no such thing as love.
"This fact is thrown in by A. Sloper without any extra charge.
"Some people take a long while to find this out, and some never do
quite find it out: those are the lucky ones.
"During A. Sloper's infancy, when A. Sloper was a mere boy, he was
under the impression that he was in love, and couldn't eat over two
eggs and a couple of rashers for breakfast; but it turned out he
was wrong, and only wanted medicine.
"Later on he had another attack, and made poetry. He made a line
that ended with _love_, and stuck _grove_ on to the end of another,
and _move_ on to the end of a third, and _hove_ and _stove_ on to
the end of the fourth and fifth, and still he was not happy, nor
was any one else to whom he read the poem.
"Love has been the stock-in-trade of all poets ever since the first
poet started in business, and they have generally treated the
subject from a thoroughly business-like point of view.
"A young man once late at night told A. Sloper that some people
never tell their love, but feed on their damask--and he fell down
immediately after making the observation.
"A. Sloper has known men who could not make love, but have made
boots, Geneva watches, and other things, very well indeed. He has
also known men who could make love, but could never propose. You
might have brought actions against them, and still they couldn't."
[Illustration: MISTER MITE. BY FREDERICK BARNARD.
"_'What is it?' she asks._
"'_It is_ him--papa,' _responds Melia_; 'he has come back!'"
"Behind a Brass Knocker" (_Judy_).--CHARLES H. ROSS.
_Published by Mr. Gilbert Dalziel._]
And see the glowing description of "The Beautiful Gymnast: A Fragment":
" ... Nothing could have been more lovely!
"Scarcely eighteen summers had passed over the golden-hued
silkiness of the tightly-bound tresses of that classic head. The
flush of health was on her peachy cheeks. The joyousness of youth
lit up her big blue eyes, and wreathed her red lips into a smile,
that showed two rows of glistening teeth. The tightly-fitting dress
revealed in all its glorious young beauty the faultless contour of
her form.
"She cast an eye of pardonable pride upon the shapely limbs
supporting her; then turned her eyes upward towards the horizontal
bar, set her teeth, and jumped.
"An instant later, and she had sat down sharply on the resonant
bounding-board with a deuce of a bump! and all the plain young
women looking on were smiling...."
[Illustration: ON THE USELESSNESS OF NURSERY LORE. BY E. G. DALZIEL.
"NURSERY MORALS" (_JUDY_).
_Published by Mr. Gilbert Dalziel._]
One of the most interesting series of stories that Charles H. Ross
wrote for _Judy_, he called "Behind a Brass Knocker." This was done in
conjunction with Fred Barnard, who made all of the drawings. It was
rather a sad theme--the experiences of a lot of impecunious people
living together in a boardinghouse, the poorest of them all being Mrs.
Mite, whose shifts and cunning ways are told with a touch of pathos,
her crowning trouble being a drunken husband. The work had considerable
success in volume form. Fred Barnard's work in this was of his very
best kind.
Ross also wrote a series of wonderfully clever articles to accompany
a set of drawings by E. G. Dalziel, which were strangely unlike the
usual work of this artist--so much so, as to suggest the idea that he
must have been under the influence of Gustave Doré at the time. Ross
called them "Nursery Morals," which were of a fanciful character. After
playfully rebuking "Little Bo-Peep" on her vanity, he concludes:
"I think the artist might as well have shown us the nose of one
of the silly sheep peeping round a distant corner; but perhaps
the sheep were all tired of her airs and graces, and had taken
themselves off in disgust. I am not naturally of a malignant
disposition, but I sincerely trust she never did find those sheep.
Don't you?"
"On The Giant-Killer," he writes:
"I have every reason to believe that abnormally large men are
comparatively harmless. There must be exceptions, of course, and I
will give you 'Sir Roger' and Count Fosco. The Count, by the way,
is a fictitious personage, and perhaps 'Sir Roger' was also rather
that way inclined.
"These, however, were enormously fat men, not giants, and I have
to do with giants. Now, we have it on good authority, that the
intellect of a giant is generally as weak as his knees. We hear
over and over again of giants in shows being awfully bullied by
the 'smallest man in the world,' who travels with him, and who is
exhibited outside on the parade in a largish-sized doll's house,
through the roof of which he pokes out his head, whilst he rings a
bell from the second-floor window, and rests his feet in the front
parlour."
[Illustration: ON LOVE AS A PASSION. BY E. G. DALZIEL.
"NURSERY MORALS" (_JUDY_).
_Published by Mr. Gilbert Dalziel._]
He remarks "On the Utter Wrongness of Nursery Lore":
"The more I reflect upon the unworthiness of the Nursery hero,
as compared with the spotless purity of my own character (I am a
London tradesman), the more am I lost in wonder to think that these
alarming humbugs should so long have been tolerated by an indulgent
public. When I think of that fellow whose name is associated with
the beanstalk of abnormal growth--an unhappy combination of rogue
and fool--when I think of that wholesale murderer (another Jack),
and indeed all the rest of them, I ask myself 'Why so?' and all
that remains of the _Echo_, at one halfpenny, is discreetly silent."
"On Love as a Passion":
"The passion of love is very properly excluded from the subjects
discussed in the best regulated nurseries. Indeed, in households
where the young lady's material has reached a certain height and
breadth and fulness, the love that has any particular amount of
passion in it is not the one discussed. And I think it right that
it should not be.
"Writing as I do exclusively for female babes (or rather, I should
say, young lady babes, because a young lady babe ought not to be
called a female, and would with reason feel annoyed at being called
one), I am anxious to do away with the passionate love-fiction
altogether. Of course, I know I have only to explain the thing
properly, in my own particular way, and the thing will at once be
done away with; and surely it is my duty to do so, when by doing
so, I know I shall do good."
[Illustration: "_Even Mr. Codlin had nothing to urge against a proposal
so seasonable. Nelly, kneeling down beside the box, was soon busily
engaged in her task, and accomplishing it to a miracle._"
"The Old Curiosity Shop" (Household Edition).--CHARLES DICKENS.
BY CHARLES GREEN, R.I.
_By permission of Messrs. Chapman & Hall._]
In 1888, Gilbert Dalziel, who had been working in the interests of
the paper from the day it came into our hands, took over the journal,
paying the sum of eight thousand pounds for it. He at once made
considerable alterations in the conduct of the paper. Amongst his
artistic staff were that powerful draughtsman, W. G. Baxter; Bernard
Partridge, one of the most brilliant and deservedly popular black and
white men of our time; Maurice Greiffenhagen, whose drawings had graced
the pages of _Judy_ from the day of his early studentship; Alfred
Bryan, inimitable in his way; Fred Pegram, Raven Hill, F. H. Townsend,
and Fred Barnard.
With such a list of artists at work week by week, small wonder that it
should now be spoken of as "The Golden Period" of _Judy_.
In the pages of _Judy_, Charles H. Ross created the character of Ally
Sloper and also of his friend Ikey Moses. In the early part of 1884,
Gilbert Dalziel conceived and modelled a new publication, to be called
the _Half-Holiday_, in which Ally Sloper was to be a leading character.
It was finally decided, however, to add the Old Man's name to the
title, and on May 3rd, 1884, _Ally Sloper's Half-Holiday_ made its
first appearance.
Amongst the many quaint features of the paper, perhaps the "Award of
Merit" stands foremost. This decoration consists of a very clever
design by W. G. Baxter, executed in colours, and has been presented
to and accepted by men and women of the highest distinction in all
branches of art, science, literature, music, and the professions
generally.
[Illustration: "_'You're the wax-work child, are you not?' said Miss
Monflather._
"_'Yes, ma'm,' replied Nell, colouring deeply._"
"The Old Curiosity Shop" (Household Edition).--CHARLES DICKENS.
BY CHARLES GREEN, R.I.
_By permission of Messrs. Chapman & Hall._]
Gilbert Dalziel has in his possession a collection of autograph
letters, in acknowledgment of the "Award," from some of the most
eminent folks before the public during the latter part of the old
century, amongst whom may be mentioned--Lord Tennyson, as representing
Literature; Sir John E. Millais, Bart., P.R.A., for Painting and
Drawing on Wood; Sir Arthur Sullivan, for Music; Sir Charles Russell,
for Law; Arthur W. Pinero and Sir Henry Irving, for the Drama; Lord
Charles Beresford, for the Navy; and Lord Roberts (when he was in
command in India), for the Army.
* * * * *
Charles H. Bennett was one of the most original artists of his period.
Alas! his life was all too short. There was an individual stamp about
his work--independent in manner and full of deep thought. We had many
of his drawings through our hands and knew him well. A more earnest
man concerning his work we never met; and, not unlike Pinwell, he held
it as a principle that time should never be allowed to enter into the
question; the task should be defined, but never trammelled by, "How
long will it take?"--whether it be days, weeks or years, for the proper
execution of the project. Perhaps his "Bunyan's Pilgrim's Progress"
will rank as his greatest achievement.
We have already spoken of our connection with Messrs. Chapman & Hall,
on that light feat of Doyle's, the "Panorama." There were also a very
clever set of drawings for "Fairy Tales of all Nations," by Richard
Doyle, and illustrations to Morley's "Oberon's Horn, and other Fairy
Tales," by Charles H. Bennett, which we produced for the same firm.
[Illustration: "_I made my way back to the 'Dolphin's Head.' In
the gateway I found J. Mellows looking at nothing, and apparently
experiencing that it failed to raise his spirits._
"_'I don't care for the Town,' said J. Mellows, when I complimented
him on the sanitary advantage it may or may not possess; 'I wish I had
never seen the Town.'_"
"The Uncommercial Traveller" (Household Edition).--CHARLES DICKENS.
BY E. G. DALZIEL.
_By permission of Messrs. Chapman & Hall._]
When Charles Dickens abandoned the etchings of H. K. Browne as a means
of illustrating his books, the next work, "Our Mutual Friend," was
placed in the hands of Marcus Stone, whose father, Mr. Frank Stone,
A.R.A., had for many years been a next-door neighbour and a very
constant friend of Dickens. Some of these drawings, which are marked
with all the refinement and good taste of this popular artist, were
entrusted to us to engrave.
We were early engaged on the various editions of the works of Charles
Dickens, commencing (through our friend, Ebenezer Landells,) with the
wood engravings for "Master Humphrey's Clock," which were soon followed
by those for the "Christmas Books" from drawings by Richard Doyle, John
Leech, and Daniel Maclise.
But by far the most important commission ever placed in our hands
by Messrs. Chapman & Hall was the production and entire control of
the illustrations for the Household Edition of the Works of Charles
Dickens, which was commenced in serial form in 1871 and completed in
1879, thus extending over a period of eight years. The publishers began
the issue with "Pickwick," using the original designs by H. K. Browne
("Phiz"), but immediately after this Mr. Frederick Chapman placed the
entire control of the illustrations in our hands. We were to find the
best artists we considered suitable for the various works. The first
selected was James Mahoney, who had already attained some distinction
in drawing on wood. He did in all three books, the first being "Oliver
Twist," followed by "Little Dorrit" and "Our Mutual Friend." Mahoney
had a firm, clear style of manipulation, and no one knew better than he
how to make work look solid and firm by leaving large masses of white
in his arrangement of colour. He painted some good water colours. We
had several small examples, the most important of which is "A Bird
of Prey," a repeat of one of his designs for "Our Mutual Friend."
Charles Green, R.I., made a beautiful set of illustrations to "The
Old Curiosity Shop." Every picture is carefully studied both as to
character, scene, and subject; the picture of "Short and Codlin,"
with Nell and her Grandfather, being one of the most perfect. Green
painted many very fine water colour pictures, several of which we were
fortunate enough to possess.
[Illustration: "_On the second occasion of my seeing him he said,
huskily, to the man of sleep, 'Am I red to-night?' 'You are,' he
uncompromisingly answered._"
"The Uncommercial Traveller" (Household Edition).--CHARLES DICKENS.
BY E. G. DALZIEL.
_By permission of Messrs. Chapman & Hall._]
"78 PARK ROAD.
"DEAR MR. DALZIEL,--These proofs are so beautiful I cannot find
any fault; and should be a brute if I did. The only one I have
touched is because it is a little too dark and heavy--perhaps it is
a heavy proof. I am delighted with them generally. I send two more
drawings. Please do not forget to let me have the three proofs I
mentioned in this morning's letter.
"Yours very truly,
"C. GREEN."
Again on another occasion:
"I like those proofs very much indeed; they are beautiful. There
is only one thing wants touching--the face of the Charwoman in No.
27 is rather muddy, it wants clearing up a bit. I have touched the
proof."
H. French, a clever and popular artist, the son of an accomplished wood
engraver, who came of the Bewick school, did the pictures for "Hard
Times," and very good they were.
[Illustration: "_He stooped a little, and with his tattered blue cap
pointed under the carriage. All his followers stooped to look under the
carriage._"
"A Tale of Two Cities" (Household Edition).--CHARLES DICKENS.
BY FREDERICK BARNARD.
_By permission of Messrs. Chapman & Hall._]
F. A. Fraser, a well-known illustrator, made those for "Great
Expectations."
A. B. Frost, an American artist of great ability, did "American Notes,"
and Gordon Thomson "Pictures from Italy." E. G. Dalziel undertook
"Reprinted Pieces" and "The Uncommercial Traveller," as well as other
short stories. Of "E. G. D.'s" work we will here quote two letters by
distinguished artists in appreciation.
"2 PALACE GATE,
"_30th January, 1878_.
"DEAR DALZIEL,--I ought to have thanked you for your kind and
thoughtful present of Xmas books. The illustrations of your son to
'The Uncommercial Traveller' are _admirable_. I recognise his work
in _Fun_, and the care of his work is not lost upon
"Yours very truly,
"J. E. MILLAIS."
"VANBRUGH PARK,
"BLACKHEATH,
"_23rd December, 1877_.
"DEAR MR. DALZIEL,--I thank you for the volume, where your son's
drawings show an amazing care and truth--a certain weirdness most
telling in some subjects, notably, 'Chips, the Carpenter'--the
Devil with the Rat on his shoulder is _grand_. There is a Donkey,
taken into custody by the police, most beautifully drawn. The
Cart is by Albert Durer, so also is 'Mr. Baker's Trap'; 'A Cheap
Theatre' is good, full of varied character; so is the Group of
Chair-menders on title--the man's eyes screwed up because of the
sun, and the woman looking through the back of the chair. There
is a group of old women on p. 136 which is capital; very good
character on p. 101, also on p. 84. 'Mr. J. Mellows,' p. 112, very
good.
"With best wishes for health and happiness to you and yours,
"I am, dear Mr. Dalziel,
"Very truly yours,
"JOHN GILBERT."
[Illustration: "_'No matter! What do you mean, sir?' was the tart
rejoinder. 'No matter! Do you think you bring your paltry money here as
a favour or a gift; or as a matter of business, and in return for value
received?'_"
"Nicholas Nickleby" (Household Edition).--CHARLES DICKENS.
BY FREDERICK BARNARD.
_By permission of Messrs. Chapman & Hall._]
But of all the artists engaged on this edition Frederick Barnard held
the most prominent position, he having fully illustrated no less than
nine out of twenty books.
Barnard ranks as one of England's truly comic artists; but he was not
only comic, he was one of the most versatile artists of our time. He
unquestionably stands among the foremost illustrators of Dickens. The
many drawings he made for the Household Edition, as well as some larger
pictures, illustrating the works of the great author, all possess a
certain peculiarity: while the drawings are strictly in his own style,
there is just enough resemblance to the figures created by H. K. Browne
to save you a shock; the Dick Swiveller, the Bill Sykes, and other
characters are the same as one had accepted when the stories were first
written.
A powerful set of drawings are those for "How the Poor Live," which
were commissioned by Gilbert Dalziel, in connection with G. R. Sims'
articles, for publication in the _Pictorial World_.
Again, how grand are many of his designs for the "Pilgrim's Progress,"
which we prepared for Alexander Strahan; one of the most effective
is "Lord Hategood," from which we commissioned him to paint an oil
picture. Barnard was no mean painter: perhaps his "Saturday Night in
the East End" and "The Guards' Band Marching" are amongst his most
important works. He also painted a "Ball-room Scene," of an elegant
character, from one of the Dickens' books, that had a very prominent
place in the Institute of Painters in Oil Colours.
Our long connection with Barnard was of close intimacy and friendship;
he was a delightful companion, amusing, and full of bright repartee,
and would often "set the table in a roar."
As a mimic and comic singer he was inimitable. A favourite song of
his at studio evenings was "I Long to be a Hartist, Mother," written
by himself, we believe, and screamingly funny. As a practical jokist,
Fred Barnard was simply _au fait_. On one occasion he called at Soane's
Museum in Lincoln's Inn Fields, and asked the porter if Sir John Soane
was at home. "Why, lor bless you, sir," said the man, "Sir John Soane
has been dead these sixty years." Barnard was staggered at the news and
overwhelmed with grief, and beating his breast he cried, "Dead! Dead!
Dead! And we were boys at school together!"
His own death, poor chap, was tragic, and a great shock to all who
knew him. He was an ardent smoker. One morning, having had breakfast
in bed, he requested that he should not be disturbed again for some
hours; when the servant went to call him there was no response, and
on the door being forced open the room was found to be full of smoke,
the bed-clothes smouldering fire. It is supposed that while courting
further sleep he lit a pipe, which, falling from his mouth, ignited the
clothes; although somewhat severely burnt, his death was, in fact, due
to suffocation, and he passed away while in a state of insensibility.
[Illustration: _George Dalziel_
_1901_
FROM A PHOTOGRAPH BY GRACE AND DORA DALZIEL.]
[Illustration: Edward Dalziel
1901
FROM A PHOTOGRAPH BY GRACE AND DORA DALZIEL.]
[Illustration: _Thomas BGS Dalziel_ 1901
FROM A PHOTOGRAPH BY LOVEL DALZIEL.]
FOOTNOTES:
[21] This is the fourth son of Edward Dalziel.
OUR PUPILS.
Early in the year 1844 we took our first pupil, Francis Fricker,
a very steady, industrious fellow, who was always punctual and
reliable. He became a good engraver, and remained with us, without
intermission--with the exception of two or three weeks' holiday in each
year, which we made a practice of giving to all our pupils--until we
broke up our establishment in 1893.
Being all draughtsmen ourselves, we did not take pupils specially for
engraving alone; although, from our earliest days, we made it a rule
to place any commission that was intrusted to us in the hands of the
best artists we could find, whose peculiar ability suited them for the
subject in question.
Nevertheless, we established a school to teach our pupils drawing. We
got together a good collection of plaster casts--the best obtainable;
also other matter suitable for study from the flat and round; works on
"Anatomy," on "Beauty," and on "Perspective." We also provided all the
materials for working free of cost. The engraver's day at that time was
a long one--nine hours--and the drawing only began after the day's work
had been finished; and to this, perhaps, is due the fact that all did
not avail themselves of what had been planned for them. The pupils who
did attend the meetings, and who doubtless possessed the stronger love
of art, benefitted to no small extent.
Among those who availed themselves of these advantages were Harry Fenn
and Charles Kingdon, two of our earliest and very cleverest pupils.
Soon after they completed their term with us they took ship to Canada,
having determined to visit the principal cities there and in the United
States of America. This they did, settling in New York City, where they
soon found profitable employment.
* * * * *
Harry Fenn took at once to drawing on wood and water colour painting,
making very rapid progress in both branches of art, and soon becoming
the most popular landscape draughtsman in America. It was he who
projected, planned, and made all the drawings for "Picturesque
America." It came about in this way. He was dining with the well-known
publisher, D. Appleton, who, during conversation, regretted that
America did not afford such fine material for landscape art as the Old
Country--that there was, in fact, nothing picturesque in America. Fenn
said: "Give me the chance and you shall see what a variety of beautiful
material you have got in America." The reply was: "Well, you shall have
a try if you like. Do a few drawings and let us see." Fenn made a few
drawings, which encouraged the publisher to carry out the idea; and he
did a work which was, perhaps, one of the most brilliantly successful
illustrated books ever published, and the forerunner of several
similar works, all of which were filled with beautiful examples of his
skilful pencil. He still continues to be a popular black and white
artist, but devotes much time to painting in water colours.
Joseph Pennell, in his "Modern Illustration," says, "Henry Fenn's
illustrations to 'Picturesque America' entitle him to be called the
Nestor of his Guild, not only for the delicacy, truth and refinement
of his drawing, but also because of the enormous success of the
publication."
* * * * *
Charles Kingdon, by far the best engraver of the two, was also very
popular in America, but he was of a restless nature and had not the
persistent industry of his companion. He died young, and in his death
the world lost a brilliant young artist. He married an American lady
soon after settling there, and it is worthy of mention, so we have
been told, that his daughter, who evidently inherited her father's art
instincts and good looks--for Kingdon was a very handsome fellow--was
a popular member of the celebrated Augustin Daly's company, and became
the wife of an American millionaire.
* * * * *
Another of the most industrious and constant workers was George G.
Kilburne, who, soon after completing his engagement with us, gave up
engraving altogether and took to painting--mostly in water colours--in
which he has long held a prominent position in the Royal Institute of
Painters in Water Colours, as well as being a very frequent exhibitor
at the Royal Academy. He was one of the most satisfactory pupils we
ever had. He took up engraving with great aptitude, and from the day
he came to us his work was always good. Only the second drawing given
to him to work upon was so perfect, that it was published with the set
to which it belonged. A peculiarity with Kilburne was that if he were
asked to do anything, you found him doing it immediately; with him no
time was wanted for preparation. Though he left our studio and forsook
the branch of art we taught him, our connection, instead of being
severed, became the closer by his marrying the elder daughter of our
late brother Robert.
* * * * *
Charles A. Ferrier, a young Scotchman of varied capabilities, who
had made some small efforts at wood engraving in his native town of
Arbroath, without instruction, came to us to seek employment through
an introduction he had obtained to William Harvey. He was a youth of
considerable promise and full of enthusiasm for his art. Though the
specimens he had to show were very crude, he had evidently been looked
upon as a genius by his Scottish friends; but on entering our studio
he was indefatigable in his studies, and eager for improvement. Before
he had been two months with us he became London correspondent to an
Arbroath weekly paper. This letter he generally knocked off during the
hour allowed for dinner in the middle of the day. We have reason to
believe he turned his attention very much to scientific subjects, and
became a Fellow of more than one of the learned Societies. During the
whole of his life he has been a staunch teetotaler, and has worked
hard in the temperance cause. He became the personal friend of George
Cruikshank, Dr. Richardson, and many scientific people, who preferred
him as an engraver because of the knowledge he possessed of the objects
he had to work upon. Taken altogether, Ferrier became one of the most
remarkable men who had their beginning in our studio.
* * * * *
"W. Y.," a pupil whose name for obvious reasons we will not give, came
to us when about nineteen years of age. He was a member of a good
county family--a younger son; he had good taste for art and some skill
as a draughtsman. By the wish of his elder brother, he was put with us
to learn engraving. His development in our art was simply wonderful,
his manipulative power was quite extraordinary; it was the one case in
our experience where it seemed as if the pupil had come to teach the
masters. He was steady, punctual to his long day's work, and in every
way exemplary, a gentleman in manner, and a great favourite with all
the assistants and other pupils; but it was known to his fellow-workers
that at a certain date he was to come into a considerable sum of money,
and he had often said that when he got it, "then farewell to industry,
to art, and to respectability." His words were: "When I get it I will
let fly." And, sad to relate, he did "let fly." He had been working
out of our studio for some two or three months, when he suddenly
disappeared, and the last we heard of him was that he was spending his
time, and his money chiefly in the immediate vicinity of the Surrey
Theatre, and that in an adjacent public-house bar he was seen lighting
his pipe with a five pound note. Poor fellow! It was the old, old
story--the drink--the drink that did it.
* * * * *
Alexander Aitcheson Dalziel and John Sanderson Dalziel, the two sons
of our brother Robert, also, on leaving school, became pupils to learn
wood engraving. The elder brother, Alexander, shortly after completing
his term, married and went out to South Africa, where for a time he
coupled scholastic work with his engraving; but after a bit he gave up
art altogether and went on with his teaching only--while John emigrated
to America, and settled down in Philadelphia for many years, where he
executed a large number of elaborate, highly-finished works, chiefly
of a scientific character, much of which has been reproduced in this
country. At the time we write he is turning his attention to fruit
culture in Colorado.
* * * * *
A. W. Bayes was introduced to us by H. Stacy Marks, R.A., as a young
man who had been engaged as a draughtsman at some manufacturing works
in the country, and had shown a wonderful capacity for design. We could
not say he came to us as a pupil; but whatever progress he made in our
studio was the result of the practice derived from the subjects given
to him, and owing to the advantage of his seeing a great variety of
drawings by the leading artists of the time. He was very industrious
and very rapid. He worked with us for many years, until, for the
further development in painting and other branches of his art, he found
it an advantage to have a place of his own. With us he had illustrated
a number of children's books, the most important being the works of
Hans Christian Andersen, for which he made a very large number of
drawings. These books went through many editions. He also made a set of
drawings from Bible history, and another set from the New Testament,
all of which were published for us by Messrs. Routledge, Warne & Co.,
with a fair amount of success. Bayes for some years has devoted himself
almost entirely to painting in oil, and has produced many important
works--chiefly of a historical order.
* * * * *
Phil Ebbutt came to us on the recommendation of our friend George R.
Sims. He had a natural taste for drawing, and was quick at design. He
worked much on our publication, _Jack and Jill_, including political
cartoons, and romances strictly historical. He also made many drawings
for _Fun_, which were mostly of a social character. In all he was
an industrious, willing worker, but his progress was hindered by an
affection of the eyes, which now and again demanded complete rest;
though that, for a time, was got over and he went to work again. He
also made many drawings as book illustrations, and was one of the
original artists on the _Daily Graphic_, working for the first number
of that journal. But the eye trouble again caused him to terminate so
close a connection, and he continued as an occasional contributor only.
He still holds a prominent place as a journalistic artist, doing much
good work.
* * * * *
Hal Ludlow as a boy showed great taste and skill in drawing. His
friends wished him to be a wood engraver and placed him with us as an
apprentice for that purpose; but he made little or no progress in that
branch and was soon put to drawing entirely, and very quickly developed
as a clever designer. He made hundreds of drawings for children's and
other books; some of the former were carried out in colours--what are
generally known as "Toy Books." He soon became an expert in pure pen
and ink work, and when the _Pictorial World_ was under our control,
made a large number of careful drawings of social life--many of
every-day events, notably river and race scenes. He also made many
important drawings of theatrical representations--new plays, opera and
music hall subjects. His work had become so popular that Mason Jackson
came to us on behalf of the _Illustrated London News_, to know if we
would allow Ludlow to make drawings on wood for that journal, saying,
"it was a pity that such clever drawings should all be reproduced by
process," which he regarded as an inferior manner of rendering them.
What a change has come since that period! How completely has the
then-thought "superior" manner had to stand aside for the "inferior"!
We may here state that, in the long past, we always thought that some
automatic process would be perfected for the proper reproduction
of point work, or what was always known as "facsimile" drawing. Of
Ludlow's work as a popular designer and painter, it is not necessary to
speak further than to say that his smaller water colours rival in grace
and minute finish the work of Jan Van Beers.
* * * * *
George Gatcombe was a companion and friend of Phil Ebbutt, and through
that fact came to us. He showed an early taste for drawing, was from
the first a very rapid workman, and soon developed to an extent that
made his work suitable for publication. We gave him an opportunity
by the introduction of his work on _Fun_, in which he evinced a
distinct capacity for the elegant in his social pictures. He made many
illustrations for books; and did much at various times for "Hood's
Annual." Some of his political cartoons, too, showed a distinct taste
in that direction. He also produced several designs of a historical
character. Gatcombe is a good all-round black and white artist.
* * * * *
Among the many other pupils and assistants who have passed through
our studios, and proved themselves steady and accomplished artists,
we must not omit to mention Harry Leighton, E. J. Wallis, who has
lately turned his attention very successfully to landscape photography,
Walter Williams, William Arrowsmith, and James Clark, who, like his
fellow-pupil Frank Fricker, remained with us for over forty years.
THE PRINTING OFFICE.
With the object of printing our own "Fine Art Books," early in the year
1857 we decided to set up a small printing office, which necessitated
our obtaining much more extensive accommodation than we at that time
possessed. We secured a long lease of the premises, 110--at that time
known as 53--High Street, Camden Town, and under the style and title
of The Camden Press gradually built up a large printing and publishing
business. During nearly forty years of varied experience in this branch
of the business, we printed a great number of important works for other
publishers, as well as our own. Amongst the very last of these was
"Dalziel's Bible Gallery."
* * * * *
The Camden Press, where this book was printed, is now in the hands
of Charles and Harvey Dalziel. It fully maintains its repute for
high-class art work, after the manner of the old firm, but "running to
numbers" such as were never dreamt of in the days of
[Illustration: Dalziel Brothers]
LIST OF
FINE ART AND OTHER ILLUSTRATED BOOKS
PRODUCED BY AND UNDER THE ENTIRE SUPERINTENDENCE OF THE BROTHERS
DALZIEL.
DATE. SUBJECT. ILLUSTRATED BY PUBLISHED BY
1850 PILGRIM'S PROGRESS. William Harvey _David Bogue._
" HOME FOR THE Kenny Meadows _J. Cundall._
HOLIDAYS.
1851 JACK THE GIANT Richard Doyle _Cundall & Adey._
KILLER.
" AN OVERLAND
JOURNEY TO THE
GREAT EXHIBITION " " _Chapman & Hall._
OF 1851.
1852 THE SALAMANDRINE. Sir John Gilbert,
R.A., P.R.W.S. _Ingram & Cook._
1854 KRUMMACHER'S J. R. Clayton _Nathaniel Cook._
FABLES.
" ORIENTAL FAIRY William Harvey _Chapman & Hall._
TALES.
1856 LONGFELLOW'S POEMS. Sir John Gilbert,
R.A., P.R.W.S. _G. Routledge &
Co._
1857 POETS OF THE 19TH Various Artists "
CENTURY.
" DRAMATIC POEMS OF
BARRY CORNWALL. " _Chapman & Hall._
" BRYANT'S POEMS. " _Appleton, New
York._
1858 HOME AFFECTIONS OF
THE POETS. " _G. Routledge &
Co._
" GERTRUDE OF " "
WYOMING.
" MILTON'S COMUS. " "
" BEATIE'S MINSTREL. Birket Foster "
" SUMMER TIME IN THE
COUNTRY. Various Artists "
" LIFE OF CHRIST,
AND THE MIRACLES. F. R. Pickersgill, _Chapman & Hall._
R.A.
" FAIRY TALES (H. C. H. Bennett "
MORLEY.)
" OTTO SPECTER'S _Routledge,
PICTURE FABLES. Otto Specter Warnes, &
Routledge._
1859 OBERON'S HORN (H. C. H. Bennett _Chapman & Hall._
MORLEY.)
" WORDSWORTH'S POEMS. Various Artists _Routledge,
Warnes, &
Routledge._
" ODES AND SONNETS. Birket Foster "
" MILES STANDISH. Sir John Gilbert,
R.A., P.R.W.S. "
1860 MONTGOMERY'S POEMS. Various Artists "
" ELIZA COOK'S POEMS. " "
1858 SHAKESPEARE'S
TO WORKS (3 VOLS.) Sir John Gilbert,
1861 R.A., P.R.W.S. "
1861 ORLEY FARM. Sir J. E. Millais, _Chapman & Hall._
P.R.A.
" LALLA ROOKH. Sir John Tenniel _Longman & Co._
1861 WOOD'S NATURAL
to HISTORY & WOOD'S Various Artists _Routledge,
1863 NATURAL HISTORY Warne, &
OF MAN (5 VOLS.) Routledge._
1861
and BIRDSEYE VIEWS OF Richard Doyle _Smith, Elder &
SOCIETY. Co._
1862
1862 PICTURES OF Birket Foster _Routledge,
ENGLISH LANDSCAPE. Warne, &
Routledge._
" ENGLISH SACRED Various Artists "
POETRY.
" FRAMLEY PARSONAGE. Sir J. E. Millais, _Smith, Elder &
P.R.A. Co._
1863 PILGRIM'S PROGRESS. J. D. Watson, _Routledge,
R.W.S. Warne, &
Routledge._
1864 PARABLES OF OUR Sir J. E. Millais, "
LORD. P.R.A.
" ROBINSON CRUSOE. J. D. Watson, "
R.W.S.
" THE SMALL HOUSE AT
ALLINGTON. Sir J. E. Millais, _Smith, Elder &
P.R.A. Co._
" DALZIEL'S ARABIAN Various Artists _Ward & Lock._
NIGHTS.
" THE GOLDEN HARP. " _Routledge,
Warne, &
Routledge._
1865 DALZIEL'S G. J. Pinwell, _Ward & Lock._
GOLDSMITH. R.W.S.
" ALICE IN Sir John Tenniel _Macmillan & Co._
WONDERLAND.
" HOME THOUGHTS. A. Boyd Houghton, _Routledge,
R.W.S. Warne, &
Routledge._
" AN OLD FAIRY TALE. Richard Doyle "
" PILGRIM'S PROGRESS. Thomas Dalziel _Ward & Lock._
1866 DON QUIXOTE. A. Boyd Houghton, _F. Warne & Co._
R.W.S.
" WORDSWORTH'S POEMS J. PETTIE, R.A.,
FOR THE YOUNG. AND J. MacWhirter, _A. Strahan & Co._
R.A.
" THE SPIRIT OF Various Artists _F. Warne & Co._
PRAISE.
" GRISET'S Ernest Griset _G. Routledge &
GROTESQUES. Sons._
1867 A ROUND OF DAYS. Various Artists "
" GOLDEN THOUGHTS. " _F. Warne & Co._
" JEAN INGELOW'S " _Longman & Co._
FABLES.
1868 NORTH COAST POEMS
(ROBT. BUCHANAN) " _G. Routledge &
Sons._
1869 WAYSIDE POSIES. " "
" BALLAD STORIES OF
THE AFFECTIONS. " "
" KRILOF FABLES. A. Boyd Houghton, _A. Strahan & Co._
R.W.S.
" RHYME AND REASON. Various Artists _G. Routledge &
Sons._
1870 LEAR'S BOOK OF Edward Lear "
NONSENSE.
" OUR NATIONAL
NURSERY RHYMES. Various Artists _Novello, Ewer &
Co._
1871 THROUGH THE
LOOKING GLASS. Sir John Tenniel _Macmillan & Co._
" CHRISTMAS CAROLS. Various Artists _Novello, Ewer &
Co._
1872 SING SONG
(CHRISTINA Arthur Hughes _G. Routledge &
ROSSETTI) Sons._
1874 PICTURE POSIES. Various Artists "
" SUNLIGHT OF SONG. " _Novello, Ewer &
Co._
1877 ART RAMBLES IN
THE ISLANDS AND
HIGHLANDS OF J. T. Reid _G. Routledge &
SCOTLAND. Sons._
1877 ARABIAN NIGHTS
ENTERTAINMENT. Thomas Dalziel _G. Routledge &
Sons._
1871 DICKENS'S
TO HOUSEHOLD EDITION. Various Artists _Chapman & Hall._
1879
1880 PILGRIM'S PROGRESS. " _A. Strahan & Co._
" DALZIEL'S BIBLE " _G. Routledge &
GALLERY. Sons._
1880 BYGONE MOODS (J.
T. JUDKIN) " _Longman for
J.T.J._
1883 RHYME AND REASON
(LEWIS CARROL) A. B. Frost _Macmillan & Co._
1885 A TANGLED TALE
(LEWIS CARROL) " "
FINE ART BOOKS
PARTLY THE WORK OF THE BROTHERS DALZIEL.
DATE. SUBJECT. ILLUSTRATED BY PUBLISHED BY
1841 POEMS AND PICTURES. Various Artists _J. Burns._
1841 WAVERLEY NOVELS.
to (ABBOTSFORD " _T. Cadell._
1846 EDITION)
1849 THE KING OF THE _Smith, Elder &
GOLDEN RIVER. Richard Doyle Co._
" FAIRY TALES OF ALL _Chapman & Hall._
NATIONS. "
" A JAR OF HONEY _Smith, Elder &
FROM MOUNT HYBLA. " Co._
1854 TUPPER'S _Hatchard & Co._
PROVERBIAL Various Artists
PHILOSOPHY.
" THE POETICAL WORKS _J. Nisbet & Co._
OF GEORGE HERBERT. "
1857 TENNYSON'S POEMS. " _Moxon & Co._
" POLLOCK'S COURSE " _Blackwood & Co._
OF TIME.
1858 LAYS OF THE HOLY " _J. Nisbet & Co._
LAND.
" THE BOOK OF JOB. Sir John Gilbert,
R.A., P.R.W.S. "
1859 THOMPSON'S SEASONS. Various Artists "
1863 LAYS OF THE Sir J. Noel Paton, _Blackwood & Co._
SCOTTISH P.R.S.A., and H.
CAVALIERS. Waller Paton
1864 INGOLDSBY LEGENDS. J. Leech, G.
Cruikshank and
Sir John Tenniel _R. Bentley._
INDEX.
PAGE
His Gracious Majesty, King Edward VII. (The Prince of Wales), 35
Absolon, John, R.I., 27, 28
Ainsworth, Harrison, 76
Alford, Dean, 54
Allan, Sir William, R.A., P.R.S.A., 26
Allingham, William, 86, 192
Andrews, G. H., R.W.S., 178
Ansdell, Richard, R.A., 160
Appleton, Messrs. D., & Co., 180, 344
Barnard, Frederick, 308, 328, 339
Barry, Sir Charles, R.A., 114
Baxter, W. G., 328
Bayes, A. W., 348
Bell, Sir Charles, 14
Bennett, Charles H., 330
Bentley, Richard, 124, 132
Beresford, Sir Charlesv, 330
Bewick, Thomas, 8, 10, 12, 13
Black, Adam & Charlesv, 34
Blackwood, Messrs. William, & Sons, 132
Blanchard, Leman, 292
Blomfield, Dr., Bishop of London, 49
Bogue, David, 17, 28
Bohn, Henry G., 30
Boucher, W., 318
Boughton, G. H., R.A., 160
Boyce, George, R.W.S., 114
Bradbury & Evans, 6, 82
Braddon, Miss, 19
Brewtnall, E. F., R.W.S., 254, 264
Browne, Hablot K., 8, 332, 338
Brunton, W. S., 314
Bryan, Alfred, 328
Bryant, William Cullen, 180
Buchanan, Robert, 158, 212
Burne-Jones, Sir Edward, 81, 161, 163, 254
Burton, Sir F. W., 168
Byron, Lord, 94
Byron, Henry J., 292
Cadell, of Edinburgh, 26, 29
Carrol, Lewis (Rev. C. Dodgson), 126
Chapman & Hall, 330, 332
Christie, Alexander, 26
Claxton, Florence and Adelaide, 188
Clay & Sons, 266
Clayton, John R., 19, 114, 180
Colburn, 132
Cole, Sir Henry, 28
Coleman, W. S., 270
Coleridge, Samuel, 94
Colvin, Sydney, 156
Cook, Dutton, 292
Cook, Nathaniel, 40
Corbould, Edward H., R.I., 26, 34, 122
Cornwall, Barry, 124
Creswick, Thomas, R.A., 17
Cruikshank, George, 16, 44, 49
Cundall, Joseph, 28, 102
Daly, Augustin, 345
Dalziel, Alexander A., 348
Dalziel, Charles, 294
Dalziel, E. G., 192, 218, 264
Dalziel, Gilbert, 326, 328, 338
Dalziel, John S., 348
Dalziel, Margaret, 19
Dalziel, Thomas, 13, 122, 187, 222, 228, 230, 235
Davis, Mrs. Charles, 224
Dickens, Charles, 48, 193, 194, 212, 330, 332, 338
Dicks, William, 25, 26
Dodgson, George, R.W.S., 27, 116, 120, 122
Dodgson, Rev. C., 126
Doré, Gustave, 180, 324
Doyle, Richard, 40, 58, 63, 82, 134, 308
Doyle, Henry, C.B., 308
Dulcken, Dr. H. W., 116, 226
Du Maurier, George, 180
Duncan, Edward, R.W.S., 114, 116, 122
Dunraven, Earl, 314
Duval, Marie, 320
Eastlake, Sir Charles Lock, P.R.A., 14
Ebbutt, Phil, 349
Elmore, Alfred, R.A., 27
Evans, Edmund, 10
Everet, Allen E., 204, 205
Fenn, Harry, 344
Ferrier, Charles Anderson, 346
Foster, Birket, 17, 114, 124, 138, 140, 149, 150, 156, 172, 176,
180, 193, 196
Franklin, John, 26, 27, 28, 36
Fraser, F. A., 312
Fraser, Gordon, 312
French, Harry, 312
Fricker, Francis, 343
Frith, W. P., R.A., 44
Frost, A. B., 126
Frost, W. E., R.A., 54, 55
Gatcombe, George, 312, 351
Gilbert, Sir John, R.A., P.R.W.S., 8, 16, 30, 31, 41, 68, 122, 124,
178, 182, 193, 310, 336
Gilbert, W. S., 284
Gordon, General, 302
Graham, Tom, 158, 188
Gray, Charles, 2, 10
Gray, Paul, 307
Green, Charles, R.I., 334
Green, Towneley, R.I., 266
Griset, Ernest, 313
Grove, Sir George, 260
Guthrie, Dr. Thomas, 156
Hall, S. Carter, 36, 37
Halswell, Keeley, 184
Hans Breitmann (Charles Leland), 290
Harding. J. D., 122
Harris, Sir Augustus, 292
Harvey, William, 8, 12, 14, 16, 17, 21, 122, 196, 266
Haydon, Benjamin, 14
Herkomer, Hubert von, R.A., 202, 205, 206, 310
Hill, Raven, 328
Hogg, James, Junr., 188
Hogg, John, 188
Hood, Tom, 272, 278, 286, 288, 293, 314
Hook, J. C., R.A., 54, 56
Horsley, H. C., R.A., 29
Houghton, A. Boyd, R.W.S., 42, 81, 110, 192, 218, 220, 228, 234
How & Parsons, Messrs., 36
Hughes, Arthur, 87, 91, 192
Hunt, Holman, 86, 162, 176, 177
Hunt, Leigh, 134
_Illustrated London News_, 6, 17, 40
Ingelow, Jean, 212
Ingram & Cook, 116
Ingram, Herbert, 6, 8, 40
Irving, Sir Henry, 296, 330
Jackson, Mason, 350
Jerrold, Douglas, 6, 8, 11
Judkin, Rev. T. J., 54
Keene, Charles, 114, 178
Kilburne, George G., R.I., 345
Kingdon, Charles, 345
Knight, Charles, 15, 17, 22
Lance, George, 14
Landells, Ebenezer, 4, 6, 10, 66, 138, 332
Landells, Robert, 12
Landseer, Sir Edwin, R.A., 14
Lawless, J. M., 236
Lawson, J., 236
Lear, Edward, 317
Leech, John, 6, 41, 42, 44, 332
Leigh, Henry S., 282
Leighton, Lord, P.R.A., 42, 81, 134, 149, 237
Leland, Charles H., 290
Lemon, Mark, 8
Lewis, Arthur, 114
Linton, Sir James D., P.R.I., 266
Longman, Messrs., & Co., 125
Lover, Samuel 18, 19
Lucas, J. Seymour, R.A., 160
Ludlow, Hal, 310, 350
Macdonald, Dr. George, 192
Mackay, Dr. Charles, 69, 116
Macleod, Dr. Norman, 156
Maclise, Daniel, R.A., 332
Macmillan, Messrs., & Co., 86
Madox Brown, Ford, 120, 122, 252
Marks, Stacy, R.A., 178, 192, 348
Maxwell, John, 19
Mayhew, The Brothers, 8
McConnell, William, 190
McIan, Robert, 26
MacWhirter, J., R.A., 158
Meadows, Kenny,16, 38
Menzel, Herr Adolf, 16
Millais, Sir John Everett, P.R.A., 42, 81, 94, 102, 104, 119, 123,
142, 143, 158, 188, 226, 330, 336
Millais, Lady, 105, 106
Morley, Professor Henry, 330
Moxon, Edward, 82, 83, 86
Muloch, Miss (Mrs. Craik), 198
Mulready, William, R.A., 28
Murch, A., 254
Murray, John, 15
Napoleon III., Emperor, 146, 148
Nelson, Messrs. Thomas, & Sons, 184
Nelson, William, 186
Nisbet, J., & Co., 70, 110
North, J. W., A.R.A., 17, 194, 196
Novello, Ewer, Messrs., & Co., 192
Orchardson, W. Q., R.A., 158
Owen, Sir Richard, 190
Partridge, Bernard, 328
Pasquier, J. A., 190
Paton, Sir J. Noel, P.R.S.A., 36, 108, 126
Pegram, Fred, 328
Pettie, John, R.A., 155, 158, 188
Pickersgill, F. R., R.A., 27, 53, 114, 124, 160
Pinero, A. W., 330
Pinwell, G. J., R.W.S., 81, 190, 192, 210, 216, 235
Powell, J. H., 114
Poynter, Sir Edward J., P.R.A., 42, 81, 234, 246, 252
Prior, J., 16
Prior, Melton, 16
Proctor, John, 318
Prowse, Jeffrey, 288, 307
Ralston, John, 264
Ramsay, J., 23
Richardson, Dr. W. B., 52, 347
Roberts Brothers, 234
Ross, Charles H., 318, 322
Rossetti, Christina, 90, 91
Rossetti, Dante G., 81, 86
Rossetti, W. M., 90
Routledge, Messrs. George, & Sons, 30, 86, 92, 98, 139, 142, 152,
168, 266, 271, 317
Ruskin, John, 134, 154, 156
Russell, Lord, of Killowen (Sir Charles Russell), 330
Sala, George Augustus, 136, 286
Sampson, Henry, 293, 296, 317
Sandys, Frederick, 81, 134, 178, 190, 258, 262
Scott, Clement, 286
Scott, Sir Gilbert, R.A., 114
Scott, Sir Walter, 17, 26
Scott, W. Bell, 36
Sims, George R., 293, 296, 338
Sketchley, Arthur, 286
Small, William, 234, 235, 264, 312
Smith, Elder, Messrs., & Co., 134, 136
Smith, George Murray, 134
Smith, J. Orrin, 38
Stanfield, Clarkson, R.A., 25, 26, 54
Staunton, Howard, 72
Stephens, J., 226
Stirling, Madame Antoinette, 186
Stone, Marcus, R.A., 332
Strahan, Alexander, 98, 156, 158, 163, 170, 235, 264
Sullivan, Sir Arthur, 330
Sullivan, J. F., 312
Summerly, Felix (Sir Henry Cole), 28
Swain, Joseph, 44
Taylor, Frederick, P.R.W.S., 29
Taylor, Tom, 143, 144
Tenniel, Sir John, 26, 47, 114, 120, 124, 126, 128, 130
Tennyson, Alfred, Lord, 83, 142, 330
Tennyson, Lady, 143
Thackeray, W. M., 44, 58, 205
Thomas, George, 41
Thompson, of Duddingston, 1
Thompson, John, 15
Thomson, Gordon, 188, 308, 312, 336
Topham, F. W., 27, 116
Townsend, F. H., 328
Trollope, Anthony, 81
Tuck, Harry, 312
Tupper, Martin F., 124
Turner, Godfrey, 292
Van Voorst, 28
Walker, Frederick, A.R.A., R.W.S., 17, 43, 81, 176, 193, 196, 205, 234
Walker, F. S., R.H.A., 312
Ward, E. M., R.A., 37, 54
Ward & Lock, Messrs., 230
Warne, Messrs. Frederick, & Sons, 30, 34
Warne, William, 32
Warren, Ernest, 320
Warren, Henry, P.R.I., 36
Watson, J. D., R.W.S., 165, 174, 176, 188, 226, 236
Watts, G. F., R.A., 244, 245, 252
Weigand, W. J., 308
Weir, Harrison, 122, 178, 182
Wells, H. T., R.A., 114
Whymper, J. W., 193, 230
Wilkie, Sir David, R.A., 26
Williams ----, 134
Wilson, Professor J. (Christopher North), 188
Wolf, Joseph, 114, 182, 234, 266, 268
Wood, Rev. J. G., 266, 268
Wordsworth, William, 182
Wylam, Edward, 272, 308
"W. Y.", 347
Yates, Edmund, 286
Zwecker, J. B., 190, 270
Transcriber's Notes:
Silently corrected simple spelling, grammar, and typographical
errors.
Retained anachronistic and non-standard spellings as printed.
Enclosed italics markup in _underscores_.
Enclosed fancy or unusual font markup in ~tildes~.