TRANSCRIBER NOTES:
Underscores at the start and end of a word indicate that the
word appears in italics in the original. Example: _SECOND
EDITION_
Equal signs at the start and end of a word indicate that the
word appears as bold in the original. Example: =SECOND
EDITION=
Footnotes have been moved to immediately below the paragraph
in which the reference appears.
Additional Transcriber Notes can be found at the end of this
project.
DICKENS
AND HIS ILLUSTRATORS
[Illustration: "And so as Tiny Tim observed, God bless us every one!"
Charles Dickens]
PLATE I
CHARLES DICKENS
From a scarce Lithograph by
SOL. EYTINGE, JUNR.
This Portrait was published during the Novelist's last visit to America
(1867-68), by Fields, Osgood & Co., of Boston, their advertisement
describing it as "an Authentic Portrait of Charles Dickens, drawn on
stone by S. Eytinge, Jr., whose Illustrations of Dickens's Novels have
been so popular." The late Mr. J. R. Osgood did not recall any actual
sitting for the Portrait, but remembers that Eytinge often saw Dickens
while making the drawing. The impression from which the present
reproduction was made is particularly interesting on account of the
quotation from "A Christmas Carol" in the autograph of Dickens.
_Lent by Mr. Stuart M. Samuel._
DICKENS
AND HIS ILLUSTRATORS
CRUIKSHANK, SEYMOUR, BUSS, "PHIZ," CATTERMOLE
LEECH, DOYLE, STANFIELD, MACLISE, TENNIEL
FRANK STONE, LANDSEER, PALMER, TOPHAM
MARCUS STONE, AND LUKE FILDES
BY
FREDERIC G. KITTON
AUTHOR OF "CHARLES DICKENS BY PEN AND PENCIL," ETC.
WITH TWENTY-TWO PORTRAITS AND FACSIMILES OF
SEVENTY ORIGINAL DRAWINGS NOW REPRODUCED
FOR THE FIRST TIME
_SECOND EDITION_
LONDON
GEORGE REDWAY
1899
TO
CHARLES DICKENS'S DAUGHTER
KATE PERUGINI
THESE NOTES UPON THE ILLUSTRATIONS
TO HER FATHER'S WRITINGS
_are respectfully dedicated_
BY THE AUTHOR
PREFACE
In the matter of pictorial embellishment, the writings of Charles
Dickens may be regarded as occupying a unique position. The original
issues alone present a remarkable array of illustrations; and when we
remember the innumerable engravings specially prepared for subsequent
editions, as well as for independent publication, we are fain to confess
that, in this respect at least, the works of "Boz" take precedence of
those of any other novelist. These designs, too, are of particular
interest, inasmuch as they are representative of nearly every branch of
the art of the book-illustrator; both the pencil of the draughtsman and
the needle of the etcher have been requisitioned, while the brush of the
painter has depicted for us many striking scenes culled from the pages
of Dickens.
The evolution of a successful picture, as exhibited by means of
preparatory sketches, is eminently instructive to the student of Art.
The present volume should therefore appeal not merely to the Dickens
Collector, but to all who appreciate the artistic value of tentative
studies wrought for a special purpose. The absolute _facsimiles_, here
given for the first time, enable us to obtain an insight into the
methods adopted by the designers in developing their conceptions, those
methods being further manifested by the aid of correspondence which,
happily, is still extant.
Referring to Dickens's intercourse with his Illustrators, Forster
significantly observes that the artists certainly had not an easy time
with him. The Novelist's requirements were exacting even beyond what is
ordinary between author and illustrator; for he was apt (as he himself
admitted) "to build up temples in his mind not always makeable with
hands." While resenting the notion that Dickens ever received from any
artist "the inspiration he was always striving to give," his biographer
assures us that, so far as the illustrations are concerned, he had
rarely anything but disappointments,--a declaration which apparently
substantiates the statement (made on good authority) that the Novelist
would have preferred his books to remain unadorned by the artist's
pencil. That the vast majority of his readers approved of such
embellishment cannot be questioned, for the genius of Cruikshank and
"Phiz" has done much to impart reality to the persons imagined by
Dickens. We are perhaps even more indebted to the excellent
illustrations than to the Author's descriptions for the ability to
realise the outward presentments of Pickwick, Fagin, Micawber, and a
host of other characters, simply because the material eye absorbs
impressions more readily than the mental eye.
That Dickens's association with his Illustrators was something more than
mere coadjutorship is evidenced both in Forster's "Life" and in the
published "Letters." From these sources we derive much information
tending to prove the existence of a warm friendship subsisting between
Author and Artists; indeed, the latter (with two or three exceptions)
were privileged to enjoy the close personal intimacy of Dickens and his
family circle. Recalling the fact that the Novelist not unfrequently
availed himself of the traits and idiosyncrasies of his familiars, it
seems somewhat strange that in the whole range of his creations we fail
to discover a single attempt at the portraiture of an artist; for those
_dilettanti_ wielders of the brush, Miss La Creevy and Henry Gowan, can
scarcely be included under that denomination.
During the earlier part of this century the illustrators of books
seldom, if ever, resorted to the use of the living model. Such experts
as Cruikshank, Seymour, "Phiz," Maclise, Doyle, and Leech were no
exceptions to this rule; but at the beginning of the sixties there arose
a new "school" of designers and draughtsmen, prominent among them being
Leighton, Millais, Walker, and Sandys. Those popular Royal Academicians,
Mr. Marcus Stone and Mr. Luke Fildes (the illustrators respectively of
"Our Mutual Friend" and "Edwin Drood"), are almost the only surviving
members of that confraternity; they, however, speedily relinquished
black-and-white Art in order to devote their attention to the more
fascinating pursuit of painting. While admitting the technical
superiority of many of the illustrations in the later editions of
Dickens's works (such as those by Frederick Barnard and Charles Green),
the collector and bibliophile claim for the designs in the original
issue an interest which is lacking in subsequent editions; that is to
say, they possess the charm of association--a charm that far outweighs
possible artistic defects and conventions; for, be it remembered, these
designs were produced under the direct influence and authorisation of
Dickens, and by artists who worked hand in hand with the great romancer
himself.
It is averred that "Phiz," who rightly retains the _premier_ position
among Dickens's Illustrators, placed very little value upon his
tentative drawings, which, as soon as they had served their purpose,
were either thrown upon the fire or given away incontinently to those
who had the foresight to ask for them. Fortunately, the recipients were
discriminating enough to treasure these pencillings, many of them having
since been transferred to the portfolios of collectors. For the
privilege of reproducing interesting examples I am indebted to Her Grace
the Duchess of St. Albans, Mr. J. F. Dexter, Mr. M. H. Spielmann, Mr.
W. H. Lever, Messrs. Robson & Co., the Committee of Nottingham Castle
Museum, and others. I am especially grateful to Mr. Augustin Daly, of
New York, for so generously permitting me to photograph the famous
"Pickwick" drawings by Seymour, together with a hitherto unpublished
portrait of that artist. The portrait of Dickens forming the
frontispiece to this volume is reproduced from a unique impression of a
very scarce lithograph in the possession of Mr. Stuart M. Samuel.
In order to give an effect of continuity to my Notes, I have lightly
sketched the career of each Artist, introducing in chronological
sequence the facts relating to his designs for Dickens. In several
cases, the proof-sheets of these chapters have been revised by the
representatives of the Artists to whom they refer, and for valued aid in
this direction my cordial thanks are due to the Rev. A. J. Buss, Mr.
Field Stanfield, Mr. A. H. Palmer, and Mr. F. W. W. Topham. Those of
Dickens's Illustrators who are still with us have furnished me with much
information, and have kindly expressed their approval of what I have
written concerning them. I therefore avail myself of this opportunity of
tendering my sincere thanks, for assistance thus rendered, to Mr. Marcus
Stone, R.A., Mr. Luke Fildes, R.A., Mr. W. P. Frith, R.A., and Sir John
Tenniel, R.I., whose mark of approbation naturally imparts a special
value to the present record. I am still further indebted to Mr. Stone
and Mr. Fildes for the loan of a number of their original drawings and
sketches for Dickens, which have not hitherto been published.
Owing to the circumstance that many of the so-called "Extra"
Illustrations are now extremely rare, my list of them could never have
been compiled but for advantages afforded me by collectors, in allowing
me to have access to their Dickensiana. The kind offices of Mr. W. R.
Hughes, Mr. Thomas Wilson, Mr. W. T. Pevier, and Mr. W. T. Spencer are
gratefully acknowledged in this connection, as well as those of Mr.
Dudley Tenney of New York, who has rendered me signal service in respect
of American Illustrations.
To Forster's "Life of Dickens" and to the published "Letters" I am
naturally beholden for information not otherwise procurable, while
certain interesting details concerning "Phiz's" drawings and etchings
are quoted from Mr. D. C. Thomson's "Life and Labours of Hablôt K.
Browne," which is more extended in its general scope than my
previously-issued Memoir of the artist.
I am privileged to associate the names of Miss Hogarth and Mrs. Perugini
with this account of Charles Dickens and his _collaborateurs_; to the
former I am obliged for permission to print some of the Novelist's
correspondence which has never previously been made public, while the
latter has favoured me with the loan of photographic portraits. Finally,
I must express my indebtedness for much valuable aid to George
Cattermole's daughter, Mrs. Edward Franks, the "cousin" to whom the
Novelist alluded in a letter to her father dated February 26, 1841, and
to whose "clear blue eyes" he desired to be commended.
F. G. KITTON.
ST. ALBANS, _September 1898_.
CONTENTS
PAGE
PREFACE vii
LIST OF ILLUSTRATIONS xv
GEORGE CRUIKSHANK 1
ROBERT SEYMOUR 29
ROBERT W. BUSS 47
HABLÔT K. BROWNE ("PHIZ") 58
GEORGE CATTERMOLE 121
ILLUSTRATORS OF THE CHRISTMAS BOOKS 136
JOHN LEECH 138
RICHARD DOYLE 149
CLARKSON STANFIELD, R.A. 153
DANIEL MACLISE, R.A. 161
SIR JOHN TENNIEL 172
FRANK STONE, A.R.A. 175
SIR EDWIN LANDSEER, R.A. 180
SAMUEL PALMER 182
F. W. TOPHAM 189
MARCUS STONE, R.A. 192
LUKE FILDES, R.A. 204
APPENDIX
I. ILLUSTRATORS OF CHEAP EDITIONS 219
II. CONCERNING "EXTRA ILLUSTRATIONS" 227
III. DICKENS IN ART 243
INDEX 249
LIST OF ILLUSTRATIONS
_No. of
Plate._ _Subject._ _Artist._
1. Portrait of CHARLES DICKENS SOL. EYTINGE, Junr. Frontispiece
2. Portrait of GEORGE CRUIKSHANK BAUGNIET Facing page 1
3. "Jemima Evans."--_Sketches by Boz_ G. CRUIKSHANK „ 4
4. "The Four Miss Willises."--_Sketches
by Boz_ „ „ 6
5. "Thoughts about People."--_Sketches
by Boz_ „ „ 8
6. "The Parish Engine."--_Sketches by Boz_ „ „ 10
7. Studies for Scenes and Characters.--_Sketches
by Boz_ „ „ 12
8. "Mr. Bumble Degraded in the Eyes of the
Paupers."--_Oliver Twist_ „ „ 14
9. "Mr. Claypole as he Appeared when his Master
was Out."--_Oliver Twist_ „ „ 16
10. "Oliver Amazed at the Dodger's Mode of
'Going to Work.'"--_Oliver Twist_ „ „ 18
11. Studies for Bill Sikes, Nancy, and the
Artful Dodger.--_Oliver Twist_ „ „ 20
12. Studies for Bill Sikes in the Condemned
Cell.--_Oliver Twist_ „ „ 22
13. Study for "Fagin in the Condemned
Cell."--_Oliver Twist_ „ „ 24
14. First Idea for "Fagin in the Condemned
Cell" and other Sketches.--_Oliver
Twist_ „ „ 26
15. Portrait of ROBERT SEYMOUR TAYLOR „ 29
16. "Mr. Pickwick Addresses the Club."--_The
Pickwick Papers_ R. SEYMOUR „ 32
17. "The Pugnacious Cabman."--_The Pickwick
Papers_ „ „ 34
18. "Dr. Slammer's Defiance of Jingle."--_The
Pickwick Papers_ „ „ 36
19. First Study for "The Dying Clown."--_The
Pickwick Papers_ „ „ 38
20. "The Runaway Chaise."--_The Pickwick
Papers_ „ „ 40
21. "The Pickwickians in Mr. Wardle's
Kitchen."--_The Pickwick Papers_ „ „ 42
22. Portrait of ROBERT W. BUSS R. W. BUSS „ 47
23. Unused Design for the Title-Page.--_The
Pickwick Papers_ „ „ 48
24. "The Break-down."--_The Pickwick Papers_ „ „ 50
25. "A Souvenir of Dickens" „ „ 52
26. Dolly Varden.--_Barnaby Rudge_ „ „ 54
27. Florence Dombey and Captain Cuttle.--_Dombey
and Son_ „ „ 56
28. Portraits of HABLÔT K. BROWNE and ROBERT
YOUNG From Photographs „ 58
29. "A Sudden Recognition, Unexpected on
Both Sides."--_Nicholas Nickleby_ H. K. BROWNE „ 64
30. Studies for the Cheeryble
Brothers.--_Nicholas Nickleby._ „ „ 68
31. Master Humphrey and the Deaf
Gentleman.--_Master Humphrey's Clock_ „ „ 72
32. "The Dombey Family."--_Dombey and Son_ „ „ 76
33. "Paul and Mrs. Pipchin."--_Dombey and Son._ „ „ 80
34. "Mr. Peggotty's Dream comes True."--_David
Copperfield_ „ „ 84
35. "Mr. Chadband 'Improving' a Tough
Subject."--_Bleak House_ „ „ 92
36. Dolly Varden.--_Barnaby Rudge_ H. K. BROWNE „ 98
37. Miss Haredale.--_Barnaby Rudge_ „ „ 110
38. Portrait of GEORGE CATTERMOLE From a Photograph „ 121
39. Quilp's Wharf.--_The Old Curiosity
Shop_ G. CATTERMOLE „ 124
40. The Death-bed of Little Nell (Two
Studies).--_The Old Curiosity Shop_ „ „ 126
41. The Night Watchman and The "Maypole"
Inn.--_Barnaby Rudge_ „ „ 130
42. The Murder at the Warren.--_Barnaby Rudge_ „ „ 132
43. Portrait of JOHN LEECH Sir J. E. MILLAIS, P.R.A „ 138
44. "Richard and Margaret."--_The Chimes_ J. LEECH „ 140
45. "John, Dot, and Tilly Slowboy."--_The
Cricket on the Hearth_ „ „ 142
46. "Caleb at Work."--_The Cricket on the
Hearth_ „ „ 144
47. "The Tetterbys."--_The Haunted Man_ „ „ 146
{From a Photograph, and}
48. Portraits of RICHARD DOYLE and
D. MACLISE, R.A. {from the Painting by } „ 149
{E. M. Ward, R.A }
49. Portraits of CLARKSON STANFIELD, R.A.,
and FRANK STONE, A.R.A From Photographs „ 153
50. "War" and "Peace."--_The Battle of
Life_ C. STANFIELD, R.A „ 156
51. "The Tower of the Chimes" and "The
Spirit of the Chimes."--_The Chimes_ D. MACLISE, R.A. „ 162
52. "Milly and the Old Man."--_The Haunted
Man_ F. STONE, A.R.A „ 176
53. Portraits of SIR JOHN {From a Photograph, and}
TENNIEL, R.I., and SIR {from the Painting by }
EDWIN LANDSEER, R.A {Sir F. GRANT, P.R.A} „ 180
54. Portraits of F. W. TOPHAM and
SAMUEL PALMER From Photographs „ 182
55. "The Villa D'Este."--_Pictures
from Italy_ S. PALMER „ 186
56. Portrait of MARCUS STONE, R.A From a Photograph „ 192
57. Studies for "Mr. Venus Surrounded
by the Trophies of his Art."--_Our
Mutual Friend_ MARCUS STONE, R.A „ 194
58. Monsieur Defarge and Doctor
Manette.--_A Tale of Two Cities_ „ „ 196
59. "Black and White."--_American Notes_ „ „ 198
60. "Taking Leave of Joe."--_Great
Expectations_ „ „ 200
61. Portrait of LUKE FILDES, R.A From a Photograph „ 204
62. Study for the Head of Neville
Landless.--_The Mystery of Edwin
Drood_ L. FILDES, R.A „ 206
63. Studies for Edwin Drood.--_The
Mystery of Edwin Drood_ „ „ 208
64. Studies for Mr. Jasper.--_The
Mystery of Edwin Drood_ „ „ 210
65. Study for "Good-bye, Rosebud,
Darling."--_The Mystery of Edwin Drood_ „ „ 212
66. Study for Mr. Grewgious.--_The Mystery
of Edwin Drood_ „ „ 214
67. Do. do. do. do. „ „ 216
68. Portraits of ALFRED CROWQUILL
(A. H. Forrester) and FREDERICK
BARNARD, R.I From Photographs „ 228
69. Portraits of F. W. PAILTHORPE and
CHARLES GREEN, R.I. „ „ 232
_The Frontispiece Portrait of Charles Dickens was photo-engraved by Mr.
E. Gilbert Hester, and the Collotype Plates were prepared and printed by
Mr. James Hyatt._
[Illustration]
PLATE II
GEORGE CRUIKSHANK
From the Lithograph by
BAUGNIET
This Portrait is a reproduction of a proof impression, showing the
retouching by Cruikshank himself.
DICKENS
AND HIS ILLUSTRATORS
GEORGE CRUIKSHANK
First Start in Life--Early Productions--"SKETCHES BY
BOZ"--Introduction to Dickens--First and Second Series of the
"Sketches"--Extra Plates--Additional Designs for the Complete
Edition--Portraiture of Artist and Author--Historic Value of
Cruikshank's Illustrations--Some Slight
Inaccuracies--Frontispiece of the First Cheap
Edition--Tentative Sketches and Unused Designs--"OLIVER
TWIST"--Incongruities Detected in a Few of the
Plates--Thackeray's Eulogium--Working Tracings and
Water-Colour _Replicas_--Trial Sketches--A Note from
Cruikshank to Dickens--Sketches of Bill Sikes in the
Condemned Cell--How the Design for "Fagin in the Condemned
Cell" was Conceived--A Criticism by Ruskin--The Cancelled
Plate--Cruikshank's Claim to the Origin of "Oliver
Twist"--Designs for Dickens's Minor Writings in BENTLEY'S
MISCELLANY--"The Lamplighter's Story"--Cruikshank's Last
Illustration for Dickens--"Frauds on the Fairies"--The
Artist's Remuneration--Death.
The name of George Cruikshank, which stands first in the long and
imposing list of Dickens Illustrators, is familiar to every one as that
of a pencil humorist of no common calibre, whose genius as a designer
and whose marvellous skill as an etcher have evoked enthusiastic praise
from John Ruskin and other eminent critics. He undoubtedly inherited his
artistic talent from his father, who was not only an etcher and
engraver, but (as George himself has recorded) "a first-rate
water-colour draughtsman." So experienced an artist was therefore
thoroughly capable of training his sons, George and Isaac Robert, for
the same profession.
Like most boys, George dreamt of the sea, aspiring to become a second
Captain Cook; but, happily, the death of his father compelled him to
take up seriously the work of designing, in order that he might assist
in maintaining his mother and sister. His first start in life
originated in a publisher seeing some of his sketches, which indicated
such unusual talent that he was immediately engaged to illustrate
children's books, songs, and other cheap literature peculiar to the
period. Then the young artist essayed the more profitable arena of
political caricaturing, distinctly making his mark as a satirist
Realising at this time his imperfections as a draughtsman, he determined
to acquire the art of drawing with correctness, entering the Royal
Academy as a student; but, finding it difficult to work on pedantic
lines, his resolution soon waned, and, after one course of study, he
left the place for a short interval of--forty years! Although he never
became the learned artist, nor was able to draw with academic accuracy,
he wielded his pencil with a facility and vigour that delighted all
beholders, and this deftness, combined with a remarkable sense of humour
and satire, speedily brought him commissions from every quarter.
It was as a book-illustrator that George Cruikshank undoubtedly
excelled, and some idea of his industry in this direction (during a
period of eighty years of his busy life) may be obtained from G. C.
Reid's comprehensive catalogue of his works, where we find enumerated
more than five thousand illustrations on paper, wood, copper, and steel.
This, however, by no means exhausts the list, for the artist survived
the publication of the catalogue several years, and was "in harness" to
the end of his long career. If the works described by Mr. Reid be
supplemented by the profusion of original sketches and ideas for his
finished designs, the number of Cruikshank's productions may be
estimated at about fifteen thousand!
Before his introduction to Charles Dickens in 1836, the versatile artist
had adorned several volumes, which, but for his striking illustrations,
would probably have enjoyed but a brief popularity. His etchings and
drawings on wood are invariably executed in an exceedingly delicate
manner, at the same time preserving a breadth of effect unequalled by
any _aquafortiste_ of his day. "Only those who know the difficulties of
etching," observes Mr. P. G. Hamerton, "can appreciate the power that
lies behind his unpretending skill; there is never, in his most
admirable plates, the trace of a vain effort."
* * * * *
[Sidenote: =Sketches by Boz, 1833-36.=]
Dickens's clever descriptions of "every-day life and every-day people"
were originally printed in the _Monthly Magazine_, the _Evening
Chronicle_ and the _Morning Chronicle_, _Bell's Life in London_, and
"The Library of Fiction," and subsequently appeared in a collected form
under the general title of "Sketches by Boz." Early in 1836 Dickens sold
the entire copyright of the "Sketches" to John Macrone, of St. James's
Square, who published a selection therefrom in two duodecimo volumes,
with illustrations by George Cruikshank. It was at this time that
Charles Dickens first met the artist, who was his senior by about a
score of years, and already in the enjoyment of an established
reputation as a book-illustrator. That the youthful author, as well as
his publisher, realised the value of Cruikshank's co-operation is
manifested in the Preface to the "Sketches," where Dickens, after
appropriately comparing the issue of his first book to the launching of
a pilot balloon, observes: "Unlike the generality of pilot balloons
which carry no car, in this one it is very possible for a man to embark,
not only himself, but all his hopes of future fame, and all his chances
of future success. Entertaining no inconsiderable feeling of trepidation
at the idea of making so perilous a voyage in so frail a machine, alone
and unaccompanied, the author was naturally desirous to secure the
assistance and companionship of some well-known individual, who had
frequently contributed to the success, though his well-known reputation
rendered it impossible for him ever to have shared the hazard, of
similar undertakings. To whom, as possessing this requisite in an
eminent degree, could he apply but to George Cruikshank? The application
was readily heard and at once acceded to; this is their first voyage in
company, but it may not be the last." Each of the two volumes contains
eight illustrations, and it may justly be said of these little vignettes
that they are among the artist's most successful efforts with the
needle. Although highly popular from the beginning, the "Sketches" were
now received with even greater fervour, and several editions were
speedily called for. As the late Mr. G. A. Sala contended, the
coadjutorship of so experienced a draughtsman as George Cruikshank, who
knew London and London life "better than the majority of Sunday-school
children know their Catechism," was of real importance to the young
reporter of the _Morning Chronicle_, with whose baptismal name (be it
remembered) his readers and admirers were as yet unacquainted.
During the following year (1837) Macrone published a Second Series of
the "Sketches" in one volume, uniform in size and character with its
predecessors, and containing ten etchings by Cruikshank; for the second
edition of this extra volume two additional illustrations were done,
viz., "The Last Cab-Driver" and "May-day in the Evening."[1] It was at
this time that Dickens repurchased from Macrone the entire copyright of
the "Sketches," and arranged with Chapman & Hall for a complete edition,
to be issued in shilling monthly parts, octavo size, the first number
appearing in November of that year. The completed work contained all the
Cruikshank plates (except that entitled "The Free and Easy," which, for
some unexplained reason, was cancelled) and the following new subjects:
"The Parish Engine," "The Broker's Man," "Our Next-door Neighbours,"
"Early Coaches," "Public Dinners," "The Gin-Shop," "Making a Night of
It," "The Boarding-House," "The Tuggses at Ramsgate," "The Steam
Excursion," "Mrs. Joseph Porter," and "Mr. Watkins Tottle."
Footnote 1: A set of the twenty-eight etchings, proofs
before letters (First and Second Series), realised £30 at
Sotheby's in 1889. Lithographic _replicas_ of the plates in
the Second Series were published in Calcutta in 1837.
Cruikshank also produced a design for the pink wrapper enclosing each of
the twenty monthly parts; this was engraved on wood by John Jackson, the
original drawing (adapted from one the artist had previously made for
Macrone) being now in the possession of Mr. William Wright, of Paris.
The subject of the frontispiece is the same as that of the
title-page in the Second Series. The alteration in the size of the
illustrations for this cheap edition necessitated larger plates, so that
the artist was compelled to re-etch his designs. These reproductions,
although on an extended scale, were executed with even a greater degree
of finish, and contain more "colour" than those in the first issue; but
the general treatment of the smaller etchings is more pleasing by reason
of the superior freedom of line therein displayed. As might be
anticipated, a comparison of the two sets of illustrations discloses
certain slight variations, which are especially noticeable in the
following plates: "Greenwich Fair;" musicians and male dancer added on
left. "Election for Beadle;" three more children belonging to Mr. Bung's
family on right, and two more of Mr. Spruggins's family on left, thus
making up the full complement in each case. "The First of May"
(originally entitled "May-day in the Evening"); the drummer on the left,
in the first edition, looks straight before him, while in the octavo
edition he turns his face towards the girl with the parasol. "London
Recreations;" in the larger design the small child on the right is
stooping to reach a ball, which is not shown in the earlier plate.
PLATE III
"JEMIMA EVANS"
_Facsimile_ of Unused Designs for "Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
Additional interest is imparted to some of the etchings in "Sketches by
Boz" owing to the introduction by the artist of portraits of Charles
Dickens and himself, there being no less than five delineations of the
face and figure of the youthful "Boz" as he then appeared. In the
title-page of the Second Series (as well as in the reproduction of it in
the octavo edition), the identity of the two individuals waving flags in
the car of the balloon has been pointed out by Cruikshank, who wrote on
the original pencil-sketch, "The parties going up in the balloon are
intended for the author and the artist,"--which may be considered a
necessary explanation, as the likenesses are not very apparent.
In the plates entitled "Early Coaches," "A Pickpocket in Custody," and
"Making a Night of It," Cruikshank has similarly attempted to portray
his own lineaments and those of Dickens; he was more successful,
however, in the illustration to "Public Dinners," where the presentments
of himself and the novelist, as stewards carrying official wands, are
more life-like. There exist, by the way, several seriously-attempted
portraits of Dickens by Cruikshank, concerning the earliest of which it
is related that author and artist were members of a club of literary men
known during its brief existence as "The Hook and Eye Club," and that at
one of their nightly meetings Dickens was seated in an arm-chair
conversing, when Cruikshank exclaimed, "Sit still, Charley, while I take
your portrait!" This impromptu sketch, now the property of Colonel
Hamilton, has been etched by F. W. Pailthorpe, and a similar drawing is
included in the Cruikshank Collection at South Kensington. Among other
contemporary portrait-studies (executed in pencil and slightly tinted in
colour) is one bearing the following inscription in the artist's
autograph: "Charles Dickens, Author of Sketches by Boz, the Pickwick
Papers, &c., &c., &c.,"--an admission that seems to dispose of
Cruikshank's subsequent claim to the authorship of "Pickwick."
PLATE IV
"THE FOUR MISS WILLISES"
_Facsimile_ of an Unused Design for "Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
It has been remarked that Cruikshank was so accurate in the rendering of
details that future antiquaries will rely upon his plates as
authoritative in matters of architecture, costume, &c. For example, in
the etching of "The Last Cab-Driver," he has depicted an obsolete form
of cabriolet, the driver being seated over the right wheel; and in that
of "The Parish Engine" we may discover what kind of public
fire-extinguisher was then in use--a very primitive implement in
comparison with the modern "steamer." In the latter plate, by the way,
we behold the typical beadle of the period, who afterwards figured as
Bumble in "Oliver Twist." _Apropos_ of this etching, Mr. Frederick
Wedmore points out (in _Temple Bar_, April 1878) that it is "an
excellent example of Cruikshank's eye for picturesque line and texture
in some of the commonest objects that met him in his walks: the
brickwork of the house, for instance, prettily indicated, the woodwork
of the outside shutters, and the window, on which various lights
are pleasantly broken. I know no artist," he continues, "so alive as
Cruikshank to the pretty sedateness of Georgian architecture. Then, too,
there is the girl with basket on arm, a figure not quite ungraceful in
line and gesture. She might have been much better if Cruikshank had ever
made himself that accurate draughtsman of the figure which he hardly
essayed to be, and she and all her fellows--it is only fair to
remember--might have been better, again, had the artist who designed her
done his finest work in a happier period of English dress." Mr. Wedmore
alludes to another etching in "Sketches by Boz" as being "perhaps the
best of all in Cruikshank as proof of that sensitive eye for what is
picturesque and characteristic in every-day London. It is called 'The
Streets, Morning,' the design somewhat empty of 'subject,' only a
comfortable sweep who does not go up the chimney, and a wretched boy who
does, are standing at a stall taking coffee, which a woman, with pattens
striking on pavement and head tied up close in a handkerchief, serves to
the scanty comers in the early morning light. A lamp-post rises behind
her; the closed shutters of the baker are opposite; the public-house of
the Rising Sun has not yet opened its doors; at some house-corner
further off a solitary figure lounges homeless; beyond, pleasant light
morning shadows cross the cool grey of the untrodden street; a church
tower and spire rise in the delicate distance, where the turn of the
road hides the further habitations of the sleeping town."
It may be hypercritical to resent, on the score of inaccuracy, an
occasional oversight on the part of Cruikshank; but it is nevertheless
interesting to note that in the plate entitled "Election for Beadle,"
Cruikshank has omitted from the inscription on Spruggins's placard a
reference to "the twins," the introduction of which caused that
candidate to become temporarily a favourite with the electors; in
"Horatio Sparkins," the "dropsical" figure of seven (see label on right)
is followed by a little "1/2d." instead of the diminutive "3/4d."
mentioned in the text; in "The Pawnbroker's Shop" it will be observed
that the words "Money Lent" on the glass door should appear reversed,
so as to be read from the outside; while in the etching illustrating
"Private Theatres," the artist has forgotten to include the "two dirty
men with the corked countenances," who are specially referred to in the
"Sketch."
The first cheap edition of "Sketches by Boz," issued by Chapman & Hall
in 1850, contained a new frontispiece, drawn on wood by Cruikshank,
representing Mr. Gabriel Parsons being released from the kitchen
chimney,--an incident in "Passage in the Life of Mr. Watkins Tottle."
George Cruikshank not unfrequently essayed several "trial" designs
before he succeeded in realising to his satisfaction the subject he
aimed at portraying. Some of these are extremely slight pencil
notes--"first ideas," hastily made as soon as conceived--while others
were subjected to greater elaboration, and differing but slightly,
perhaps, from the etchings; on certain drawings are marginal
memoranda--such as studies of heads, expressions, and attitudes--which
are valuable as showing how the finished pictures were evolved. The
majority of the designs are executed in pencil, while a few are drawn
with pen-and-ink; occasionally one may meet with a sketch in which the
effect is broadly washed in with sepia or indian-ink, and, more rarely
still, with a drawing charmingly and delicately wrought in
water-colours. Besides original sketches, the collection at the South
Kensington Museum contains a series of working tracings, by means of
which the artist transferred his subjects to the plates. There are no
less than three different suggestions for the frontispiece of the first
cheap edition of "Sketches by Boz," together with various renderings of
the design for the wrapper of the first complete edition, in which the
word "Boz" in the title constitutes a conspicuous feature, being formed
of the three letters superimposed, while disposed about them are several
of the prominent characters. Probably the most interesting in this
collection is a sheet of slight sketches signed by the artist, although
they are merely tentative jottings for his etchings. One of these
pencillings (an unused subject) represents a man proposing a toast
at a dinner-table, doubtless intended as an illustration for "Public
Dinners"; and here, too, are marginal studies of heads--including one of
a Bill Sikes type--together with a significant note (apparently of a
later date) in the autograph of Cruikshank, which reads thus: "Some of
these suggestions to Chas. Dickens, and which he wrote to in the second
part of 'Sketches by Boz'!"
PLATE V
"THOUGHTS ABOUT PEOPLE"
_Facsimile_ of an Unused Design for "Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
A large number of studies for "Sketches by Boz" may also be seen in the
Print Room of the British Museum, many of which are very slight. In some
instances we find the same subject rendered in different ways, and it is
worthy of note that a few of these designs were never etched; among the
most remarkable of the unused sketches is a rough drawing for the
wrapper of the monthly parts (octavo edition), with ostensible portraits
of author and artist introduced. This collection includes "first ideas"
for "Thoughts about People," "Hackney Coaches," "The Broker's Man," &c.,
and a careful examination shows that the sketches for the plates
illustrating "Seven Dials" and "The Pickpocket in Custody" are entitled
by the artist "Fight of the Amazons" and "The Hospital Patient"
respectively. In one of the trial sketches for "The Last Cabman," the
horse is represented as having fallen to the ground, the passenger being
violently ejected from the vehicle.
* * * * *
[Sidenote: =Oliver Twist, 1837-39.=]
On August 22, 1836, Charles Dickens entered into an agreement with
Richard Bentley to edit a new monthly magazine called _Bentley's
Miscellany_, and to furnish that periodical with a serial tale. George
Cruikshank's services as illustrator were also retained, and his design
for the wrapper inspired Maginn to indite, for "The Bentley Ballads,"
the "Song of the Cover," whence this characteristic verse is quoted:--
"Bentley, Boz, and Cruikshank stand
Like expectant reelers;
'Music!' 'Play up!' pipe in hand
Beside the _fluted_ pillars
"Boz and Cruikshank want to dance,--
None for frolic riper;
But Bentley makes the first advance,
Because he pays the piper."
The first number of the _Miscellany_ was issued in January 1837, and in
February appeared the initial chapter of the editor's story, entitled
"Oliver Twist, or, the Parish Boy's Progress," which was continued in
succeeding numbers until its completion in March 1839, with etchings by
Cruikshank.
The dramatic character of this stirring romance of low London life
afforded the artist unusual scope for the display of his talent; indeed,
his powerful pencil was far more suited to the theme than that of any of
his contemporaries. The principal scenes in the novel proved most
attractive to him, and he fairly revelled in delineating the tragic
episodes associated with the career of Fagin and Sikes. These
twenty-four etchings are on the same scale as those in the first
collected edition of the "Sketches," but they are broader and more
effective in treatment. In October 1838,--that is, about five months
before completion in the _Miscellany_,--the entire story was issued by
Chapman & Hall in three volumes post octavo, and there can be no doubt
that its remarkable success was brought about in no small measure by
Cruikshank's inimitable pictures. Nearly eight years later (in January
1846) a cheaper edition, containing all the illustrations, was commenced
in ten monthly parts, demy octavo, and subsequently published in one
volume by Bradbury & Evans. On the cover for the monthly numbers
Cruikshank has portrayed eleven of the leading incidents in the story,
some of the subjects being entirely new, while others are practically a
repetition of the etched designs. The plates in this edition, having
suffered from previous wear-and-tear, were subjected to a general
touching-up, as a comparison with the earlier issue clearly indicates,
such reparation (carried out by an engraver named Findlay, much to
Cruikshank's annoyance) being especially noticeable in cases where
"tones" have been added to wall-backgrounds and other parts of the
designs. Apart from actual proof impressions, the "Oliver Twist"
etchings are naturally to be found in their best state in _Bentley's
Miscellany_, where they are seen in their pristine beauty. In some of
the plates it will be observed that Cruikshank has introduced "roulette"
(or dotted) work with excellent effect, although, of course, this
disqualifies them as examples of pure etching. The first cheap edition
of "Oliver Twist," issued in 1850 by Chapman & Hall, contains a
frontispiece only by George Cruikshank, representing Mr. Bumble and
Oliver in Mrs. Mann's parlour, as described in the second chapter.
PLATE VI
"THE PARISH ENGINE"
_Facsimile_ of the Original Drawing for the First Octavo Edition of
"Sketches by Boz" by
GEORGE CRUIKSHANK
[Illustration]
It has been said that Cruikshank could not draw a pretty woman. At any
rate, he neglected his opportunity in "Oliver Twist," for he fails in so
depicting Rose Maylie, while his portrayal of Nancy is particularly ugly
and repelling, whereas she certainly possessed physical charms not
unfrequently found in women of her class. Although the artist has
imparted too venerable an appearance to the Artful Dodger, he has seized
in a wonderful manner the characteristics of criminal types in his
rendering of Fagin and Bill Sikes. In many of Cruikshank's etchings the
accessories are very _àpropos_, and sometimes not without a touch of
quiet humour. For example, in the plate representing Oliver recovering
from the fever, there is seen over the chimney-piece a picture of the
Good Samaritan, in allusion to Mr. Brownlow's benevolent intentions with
respect to the invalid orphan; while in that depicting Mr. Bumble and
Mrs. Corney taking tea, may be noticed the significant figure of Paul
Pry on the mantelshelf. Some of the designs are marked by slight
incongruities, which, however, do not detract from their interest. In
the etching "Oliver Plucks up a Spirit," it will be observed that the
small round table which the persecuted lad overthrows during his
desperate attack upon Noah Claypole could not possibly assume, by such
accidental means, the inverted position as here shown. In the plate
entitled "The Evidence Destroyed," the lantern (according to the text)
should have been lowered into the dark well, but doubtless the error
was intentional on the part of the artist, in order to secure effect; in
"Mr. Fagin and his Pupil Recovering Nancy," the girl is represented as
being exceedingly robust, whereas she was really "so reduced with
watching and privation as hardly to be recognised as the same Nancy."
Again, in the illustration depicting Sikes attempting to destroy his
dog, we see in the distance the dome of St. Paul's, while, as a matter
of fact, the desperate ruffian had not reached a point so near the
metropolis when he thought of drowning the faithful animal.[2] In "The
Last Chance," where the robber contemplates dropping from the roof of
Fagin's house to escape his pursuers, the rope (described in the
letterpress as being thirty-four feet long) is barely half that length,
and could never have extended to the ground; while the dog, who lay
concealed until his master had tumbled off the parapet, must have been
distinctly visible to all observers if he stood so prominently on the
ridge-tiles as here indicated. The latter etching is one of the most
fascinating of the series, for here Cruikshank has realised every
feature of the dramatic scene,--the harassed expression on the evil face
of the hunted criminal, the squalid tenements half shrouded by
approaching darkness, the excitement of the people crowding the windows
of the opposite houses; indeed, the tragic and repulsive element in the
picture constitutes a remarkable effort on the part of the artist.
Footnote 2: In a large water-colour _replica_ of this
subject, signed "George Cruikshank, Octr. 14th, 1873, in my
82nd year," the artist stated that the landscape represented
the old Pentonville fields, north of London.
PLATE VII
STUDIES FOR
SCENES AND CHARACTERS IN "SKETCHES BY BOZ"
_Facsimile_ of the Original Sketches by GEORGE CRUIKSHANK
In the centre of the sheet the Artist has written: "Some of these
suggestions to Chas. Dickens, and which he wrote to in the second part
of 'Sketches by Boz.'"
[Illustration]
In considering the story as a whole, it is difficult to say how much of
the powerful impression we are conscious of may be due to the
illustrator. In his famous eulogy on Cruikshank, Thackeray remarked: "We
are not at all disposed to undervalue the works and genius of Mr.
Dickens, and we are sure that he would admit as readily as any man the
wonderful assistance that he has derived from the artist who has given
us portraits of his ideal personages, and made them familiar to all
the world. Once seen, these figures remain impressed on the memory,
which otherwise would have had no hold upon them, and the Jew and
Bumble, and the heroes and heroines of the Boz Sketches, become personal
acquaintances with each of us. O that Hogarth could have illustrated
Fielding in the same way! and fixed down on paper those grand figures of
Parson Adams, and Squire Allworthy, and the great Jonathan Wild." Again,
with more especial reference to the "Oliver Twist" designs, the kindly
"Michael Angelo Titmarsh" wrote: "The sausage scene at Fagin's; Nancy
seizing the boy; that capital piece of humour, Mr. Bumble's courtship,
which is even better in Cruikshank's version than in Boz's exquisite
account of the interview; Sykes's[3] farewell to his dog; and the
Jew--the dreadful Jew--that Cruikshank drew! What a fine touching
picture of melancholy desolation is that of Sykes and the dog! The poor
cur is not too well drawn, the landscape is stiff and formal; but in
this case the faults, if faults they be, of execution rather add to than
diminish the effect of the picture; it has a strange, wild, dreary,
broken-hearted look; we fancy we see the landscape as it must have
appeared to Sykes, when ghastly and with bloodshot eyes he looked at it.
As for the Jew in the dungeon, let us say nothing of it--what can we say
to describe it?"
Footnote 3: The name of Sikes is frequently thus mis-spelt.
It is odd that Dickens himself first wrote it "Sykes," as may
be seen in the original manuscript of the story.
The complete set of twenty-four working tracings of the original designs
for "Oliver Twist," some of which exhibit variations from the finished
etchings, realised £140 at Sotheby's in March 1892. Water-colour
_replicas_ of all the subjects were prepared by Cruikshank in 1866 for
Mr. F. W. Cosens, which the artist supplemented by thirteen smaller
drawings and a humorous title-page, the entire series being reproduced
in colour for an _edition de luxe_ of "Oliver Twist," published by
Chapman & Hall in 1894. The Cruikshank Collections in the British and
South Kensington Museums include many of the artist's sketches and
"first ideas" for the "Oliver Twist" plates, as well as a number of the
matured designs. Here are several trial sketches for the monthly wrapper
of the first octavo edition, executed in pencil with slight washes of
sepia added; the original drawings for "Rose Maylie and Oliver" (known
to collectors as the "Fireside" plate, to which reference will presently
be made), and for "Mr. Bumble Degraded in the Eyes of the Paupers" (with
marginal sketches), the title of which is appended in Dickens's
autograph, where, instead of "the eyes," the word "presence" was
originally written. Here, also, we find the first sketch of Noah
Claypole enjoying an oyster-supper, with the following query written by
the artist: "Dr. Dickens, 'Title' wanted--will any of these do? Yours,
G. Ck." The proposed titles are then given, thus: "Mr. Claypole
Astonishing Mr. Bumble and 'the Natives';" "Mr. Claypole Indulging;"
"Mr. Claypole as he Appeared when his Master was Out,"--the latter being
adopted. On the back of a pen-and-ink drawing of "Oliver's Reception by
Fagin and the Boys," Cruikshank suggested a different title, viz.,
"Oliver Introduced to the Old Gentleman by Jack Dawkins." A beautiful
little water-colour drawing of the subject, entitled "Oliver Introduced
to the Respectable Old Gentleman," is in the Print Room of the British
Museum, where we may also discover a portrait of Oliver himself--a
profile study of the head as seen in the drawing now referred to. On the
back of a sketch of Mr. Brownlow at the bookstall (for the plate
entitled "Oliver Amazed at the Dodger's Mode of 'Going to Work'") is the
rough draft of an unsigned note in the autograph of Cruikshank,
evidently addressed to Dickens:--
"_Thursday Eg., June 15, '37._
"MY DEAR SIR,--Can you let me have a subject for the second
Plate? The first is in progress. By the way, would you like
to see the Drawing? I can spare it for an hour or two if you
will send for it."
PLATE VIII
"MR. BUMBLE DEGRADED IN THE EYES OF THE PAUPERS"
_Facsimile_ of the Original Sketch for "Oliver Twist" by GEORGE
CRUIKSHANK
The Inscription above the Sketch is in the Autograph of Dickens.
[Illustration]
I am enabled to reproduce in _facsimile_ a very interesting sheet of
sketches for prominent characters in "Oliver Twist," containing no
less than five studies of Fagin, including the "first idea" for the
famous etching of the Jew in the condemned cell. Still more noteworthy
are four studies of Bill Sikes in the condemned cell, evidently made
early in the progress of the book, thus seeming to indicate that the
artist conjectured this would be the fate of the burglar instead of the
Jew; or is it possible that the existence of these studies may be
considered as a corroboration of his assertion (in a letter to the
_Times_, presently to be quoted) that he, and not Dickens, must be
credited with the idea of putting either Sikes or Fagin in the cell?