seven times the amount originally received by the painter. It
eventually became the property of his daughter, the late Miss
Frances Mary Buss, for many years the Head-mistress of the
North London Collegiate School for Girls, in the
Drawing-School of which institution this interesting canvas
now hangs.
* * * * *
[Sidenote: =The Pickwick Papers, 1836-37.=]
It was doubtless this painting with which Buss was occupied when Mr.
Hall (of Chapman & Hall) called upon him respecting the illustrations
for "Pickwick." "Taken quite by surprise," relates the artist, when
recalling his association with Dickens's famous work, "I told him [Mr.
Hall] I had never in the whole course of my life had an etching-needle
in my hand, and that I was entirely ignorant of the process of etching,
as far as practice was concerned. He assured me it was very easy to do,
and that with my talent I was sure to succeed." After some hesitation,
overcome by Mr. Hall's promise that consideration would be shown towards
his want of experience, Buss yielded to the pressure thus put upon him,
and consented to put aside his picture (although most anxious to
complete it for exhibition at the Royal Academy), with a view to
embarking upon his new undertaking.
In preparing studies for his pictures, Buss had accustomed himself to
the use of bold effects, obtained by means of chalk or black-lead
pencils of various degrees of hardness, blackness, and breadth of point.
He therefore deemed it necessary to undergo a course of training which
would enable him to impart to his work that delicacy of touch so
essential in the art of etching upon copper or steel, and devoted
himself almost day and night (as there was really no time to lose) to
practice in drawing with pen-and-ink,--a fact (he observes) "of which
Mr. Hall was utterly and entirely ignorant." There are still extant a
few of these experimental efforts (chiefly figures and faces copied
from line engravings), including a sheet containing a dozen sketches of
heads--studies of characters in "Pickwick," apparently based upon
Seymour's etchings--which testify not only to his energy, but also to
his rapidly-acquired skill in the adoption of what was to him a novel
medium. In these drawings, by the way, he used ordinary ink for the
general design, diluting it for the delicate shades and distant objects,
thus assimilating the effect of his pen-and-ink work with the variations
resulting from the "biting-in" and "re-biting" of etchings.
PLATE XXIV
"THE BREAK-DOWN"
_Facsimile_ of an Unpublished Drawing by R. W. BUSS
Illustrating an incident in the ninth chapter of "The Pickwick Papers."
[Illustration]
After labouring incessantly for a period of three weeks, the artist felt
prepared to make his first attempt in etching, taking for his subject
"Mr. Pickwick at the Review." Referring to this plate, he says: "Of
course it was full of faults, inevitable to any one in the early stage
of practice in etching. But it was shown to Messrs. Chapman & Hall, and
approved by them, though not as one of the illustrations to be
published.[14] All this occupied much time, which was every hour
becoming more and more valuable, as the date of publication was close at
hand. I had barely time to prepare my two subjects for the next number
of 'Pickwick' in pencil and submit them for approval to the publishers,
who returned them, being much pleased with my efforts. The subjects I
selected were the Fat Boy watching Mr. Tupman and Miss Wardle in the
arbour, and the Cricket-Match." Buss now essayed to reproduce his
designs upon the plates; but the result proved disastrous, the too
violent action of the improperly diluted acid tearing up the
etching-ground, which also broke up under the needle, creating sad
havoc. Dreading the possible consequences of delay, he placed his
original drawings in the hands of an expert engraver, to be copied on
the plate and "bitten-in." "This work," remarks the artist, "he did very
well indeed, but, as might have been expected, had I had time for
thought, the free touch of an original was entirely wanting. The etching
itself failed, but the 'biting-in' was admirably done. Time was up. The
plates must be placed at once in the printer's hands, and so (there
being no help for it) the plates were printed, the numbers stitched and
duly published. Thus my name appeared to designs of which not one touch
of mine was on the plates." Had opportunities been given, Buss would
have cancelled these plates, and prepared fresh ones of his own etching.
The immediate effect of this fiasco was the termination of his
connection with "The Pickwick Papers," the artist being actually engaged
in preparing designs for the succeeding number when he received a note
informing him that the work had been placed in other hands. Under the
circumstances, it is not surprising that Buss felt this curt dismissal
very keenly, for it must be remembered that he ventured upon the
undertaking mainly to oblige the publishers, who, it appears, had
promised him every consideration on account of his inexperience with the
etching-needle.
Footnote 14: This design has been reproduced by
photo-lithography, impressions of which may occasionally be
found in copies of "Pickwick."
Forster disposes of the subject of Buss's association with "Pickwick" in
a very few words, merely observing that "there was at first a little
difficulty in replacing Seymour, and for a single number Mr. Buss was
interposed," thus intimating that the engagement was a temporary one. In
commenting upon this, the artist's son, the Rev. Alfred J. Buss,
expresses a belief that his father could not certainly have regarded it
in this light. "Is it reasonable to suppose," he asks, in _Notes and
Queries_, April 24, 1875, "that he would have consented to devote three
weeks of his time, at the most valuable season to an artist, to the
practice of an entirely new department of art, if it had been clearly
stated that his engagement was of the transitory nature Mr. Forster
would imply, and the more especially when we bear in mind that the price
to be paid for the etchings was only fifteen shillings each?" It was
Forster's scanty and misleading reference to Buss's engagement as
illustrator of "Pickwick" which induced the artist to draw up for his
children a concise and clear account of everything that transpired.
It is not recorded whether Buss and Dickens became personally
acquainted, nor, indeed, that they ever met. We may therefore surmise
that all business transactions were carried on through the publishers,
who probably forwarded to the artist proofs of the letterpress in order
that he might select therefrom the subjects for illustration. The third
number of "Pickwick" contains the only two published etchings by Buss
for that work, viz., "The Cricket-Match" and "The Fat Boy Awake on this
Occasion only." These plates, the effect of which was poor and thin,
contrasted unfavourably with the Seymour etchings immediately preceding
them, and were therefore suppressed as speedily as possible, others by
"Phiz" (Hablôt K. Browne) being substituted before many copies had been
issued.[15] In one of the latter an entirely different design is
given,--that is to say, instead of "The Cricket-Match," we have "Mr.
Wardle and his Friends under the Influence of 'the Salmon,'" depicting
an incident described in the succeeding chapter.
Footnote 15: The two cancelled etchings by Buss have been
copied on steel, but, being printed on India paper, are not
likely to be mistaken for the original plates. Impressions of
the Buss etchings are exceedingly scarce, only about seven
hundred copies of the number containing them having been
circulated.
The drawings by Buss for "Pickwick" have fortunately been preserved.
Besides the original designs for the published etchings, there are still
in existence several tentative sketches prepared by the artist in
anticipation of future numbers,--those, indeed, upon which he was at
work when he received his _congé_. Some of these sketches are vigorously
limned with pen-and-ink outlines and the effects laid in with a brush,
while others are rendered in pencil supplemented by washes of
indian-ink. The following is a complete list of Buss's original drawings
for "Pickwick":--
MR. PICKWICK AT THE REVIEW.[16]--_Unused design._--This
subject was etched by the artist as a specimen of his work
to be submitted to Chapman & Hall. Only two impressions are
known to exist, while the plate itself was irretrievably
injured through the surface being scratched with a piece of
coarse emery paper.
THE CRICKET-MATCH.[16]--_Published design._
Footnote 16: Reproduced in _facsimile_ in the Victoria
edition of "Pickwick," 1887.
PLATE XXV
"A SOUVENIR OF DICKENS"
From an Unfinished Painting by R. W. BUSS
_Size of Original Picture, 36 in. by 27 in._
_Lent by the Rev. F. Fleetwood Buss._
[Illustration]
THE CRICKET-MATCH.--_First sketch_, varying entirely from
the etching. The wicket-keeper is seen behind the fat man,
receiving the ball full in his face.
THE FAT BOY AWAKE ON THIS OCCASION ONLY.[1]--_Published
design._
THE FAT BOY AWAKE ON THIS OCCASION ONLY.--_First sketch_,
varying from the etching. Tupman is represented on his knees
by the side of Miss Wardle, who is holding a watering-pot,
while the Fat Boy is seen behind, facing the spectator.
THE FAT BOY AWAKE ON THIS OCCASION ONLY.--_Second sketch_,
varying from the etching. Here Tupman is standing, with his
left arm around Miss Wardle's waist, and the Fat Boy is in
front, in much the same attitude as represented in the
published design; indeed, there are very slight differences
between this sketch and the accepted drawing.
MR. WARDLE AND HIS FRIENDS UNDER THE INFLUENCE OF "THE
SALMON."[17]--_Unused design._
Footnote 17: Reproduced in _facsimile_ in the Victoria
edition of "Pickwick," 1887.
THE BREAK-DOWN.--_Unused design._ Pickwick, in an attitude
of despair, stands facing the spectator; behind him Wardle
is seen in the act of shaking his fist at the eloping party
in the retreating chaise; while a postboy on the left holds
the head of one of the horses belonging to the vehicle which
has come to grief.
MR. WINKLE'S FIRST SHOT.--_Unused design._ The central
figure is Winkle, holding his gun; close by stands Snodgrass
in an attitude of fear, while Pickwick and Wardle are
sheltering behind a tree.
STUDY FOR THE TITLE-PAGE.--_Unused design._ In this rough
sketch Pickwick is the prominent personage, as he stands
facing the spectator, with his right hand in the pocket of
his smalls, and his left arm resting on what appears to be a
mound of earth. Separately displayed upon the face of this
mound are medallion portraits, in emblematical frames, of
Pickwick, Snodgrass, Winkle, and Tupman, while above all is
suspended a female figure typical of Fame, blowing a
miniature trumpet and holding a laurel wreath over the head
of Pickwick. The letters forming the words "Pickwick Club"
are made up of various articles suggestive of conviviality
and sport--such as corkscrews, bottles, wine-glasses,
pistol, stirrup, &c.
These drawings sufficiently indicate that the artist possessed a decided
power with the pencil, which he turned to good account shortly after the
abrupt termination of his connection with "The Pickwick Papers." For
example, in 1839 he successfully illustrated, by means of etching, Mrs.
Trollope's diverting story, "The Widow Married," then appearing as a
serial in the _New Monthly Magazine_, and among the more remarkable of
his later efforts with the etching-needle are his designs for novels by
Marryat, Ainsworth, and other well-known writers of the day, many of the
plates being equal, in the matter of technique, to those by "Phiz," thus
denoting that, had an opportunity been afforded him, he might have made
his mark with "Pickwick." It may be said of Buss (as is asserted
concerning Cruikshank) that his works, whether in colour or
black-and-white, are regarded as affording authentic information
respecting costumes and other accessories; for he was exceedingly
conscientious in matters of detail, preferring to incur infinite trouble
to secure accuracy rather than rely upon his imagination.
* * * * *
[Sidenote: =The Library of Fiction, 1836.=]
Like Seymour, Buss was associated with Dickens in connection with that
ephemeral work, "The Library of Fiction." Besides "The Tuggses at
Ramsgate," the novelist wrote for its pages a paper called "A Little
Talk about Spring and the Sweeps," containing an illustration drawn by
Buss and engraved on wood by John Jackson, who, it will be remembered,
introduced the artist to Chapman & Hall. This short tale was reprinted
in the first complete edition of "Sketches by Boz," 1839, under the
title of "The First of May," with an etching by Cruikshank
depicting an incident differing entirely from that which forms the
subject of Buss's woodcut.
PLATE XXVI
DOLLY VARDEN
From an Original Water-colour Drawing by R. W. BUSS
_Lent by the Rev. A. J. Buss._
[Illustration]
* * * * *
As a painter of humorous scenes and historical events, Buss gained
considerable popularity. From 1826 to 1859 he contributed nearly every
year subject-pictures and portraits to the Exhibitions of the Royal
Academy, Suffolk Street Gallery, and British Institution, and among his
numerous canvases (many of which have been engraved) may be
mentioned:--_Humorous_--"The Biter Bit," "The March of Intellect," "The
Monopolist," "An Unexpected Reception," "Soliciting a Vote," "Chairing
the Member," "Mob Tyranny," "The Mock Mayor of Newcastle-under-Lyme."
_Historical_--"The Introduction of Tobacco by Sir Walter Raleigh,"
"James Watt's First Experience with Steam," "Hogarth at School,"
"Chantrey's First Essay in Modelling," "Nelson's First Victory over the
French Fleet." The artist was also occasionally inspired by Shakespeare
and Dickens, and it is specially interesting to note that he painted at
least three pictures of scenes in the novelist's works, viz., "Joe
Willet Taking Leave of Dolly Varden" (from "Barnaby Rudge"), exhibited
at the Royal Academy in 1844, and now in a South Australian public
picture-gallery; "The Cricket's Chirp" (Peerybingle, Dot, and Tilly
Slowboy, from "The Cricket on the Hearth," Chirp the First), exhibited
at Suffolk Street, 1846; and a representation of Trotty Veck peeping
into the basket containing his dinner of tripe which his daughter brings
him. In an album of studies and notes for his pictures (arranged by the
artist for preservation as an heirloom) may be found several sketches
for the first-named subject, and in addition to these are two small
water-colour drawings, oval in form, of scenes in "Dombey and Son,"
representing "Mr. Dombey more Magnificent than Usual," and "Captain
Cuttle visited by Florence Dombey," the latter being especially well
rendered. Whether these have ever been engraved I am unable to say, but
the probability is they have not. Curiously enough, the last picture on
Buss's easel purported to represent "A Dream of Dickens." This
unfinished canvas (still in the possession of a member of the artist's
family) contains a portrait of the novelist seated in his study, with
visions of scenes from his various works around him. The portrait is
adapted from the well-known photograph by Watkins, while the incidents
depicted are taken from the original illustrations.
Although Buss's large picture of "Christmas in the Olden Time" proved,
for the artist, a financial failure, it benefited him in being the means
of introducing him to Charles Knight (perhaps the most enterprising
publisher of that day), who, recognising in the young painter a diligent
student of manners and customs, engaged his services on the Pictorial
Edition of Shakespeare's Works, "Old England," the _Penny Magazine_, and
Chaucer's "Canterbury Tales," all of which were issued under Knight's
auspices. The Rev. A. J. Buss well remembers his father making these
drawings on wood blocks, which were engraved by Jackson, Sly, and
others, and recalls that, some years after, he obtained a commission
from Mr. Hogarth, a printseller, to execute some Christmas subjects for
reproduction by line-engraving.
After 1854 Buss's pictures were for some reason excluded from the Royal
Academy Exhibitions, and this so seriously affected the sale of his work
that he was compelled to have recourse to teaching drawing as a means of
supplementing a precarious income. As early as 1843 he had issued
circulars announcing a course of lessons in drawing on Dupin's method,
having previously purchased many expensive models, and rented a room in
Duke Street, Grosvenor Square; but all in vain, for not a single pupil
was forthcoming! He then prepared a series of lectures on English Comic
and Satiric Art, which he delivered in London and the chief provincial
towns in England, these being illustrated by large diagrams.
PLATE XXVII
FLORENCE DOMBEY AND CAPTAIN CUTTLE
From an Original Water-colour Drawing by R. W. BUSS
_Lent by the Rev. A. J. Buss._
[Illustration]
During the period of struggle for a livelihood, the artist's wife and
daughter came nobly to his assistance by establishing, in 1850, the
North London Collegiate School for Ladies (as it was then
designated), which developed into the leading school in the cause
of Female Education. In order to give it a higher grade than other
similar seminaries had then attained, Buss not only became its professor
of drawing, but teacher of science too, first devoting himself to the
study of Chemistry, Botany, Human Physiology, Mechanics, Hydraulics,
&c., and he soon became qualified for his self-imposed responsibilities.
His artistic capabilities here stood him in good stead, for they enabled
him to prepare large diagrams with which to illustrate his lectures; in
addition to this, he made his own models for demonstrating the science
of Mechanics--thus proving the power he possessed of adapting himself to
circumstances, in the earnest desire to obtain a living and in his love
for wife and children. "I do not think," observes the Rev. A. J. Buss,
when corresponding with me on this subject, "I ever knew a man so
industrious as my father. I have a clear remembrance almost from my
childhood of his industry,--early morning in his painting-room--up to
late hours drawing on wood and etching. He _deserved_ better fortune
than he secured; and I have only learnt to admire him the more, the more
I think of his career."
At the death of his wife, the artist led a very retired life, in a
studio most picturesquely fitted up with ancient furniture, and here it
was that he devoted the latter years of his life in preparing for
publication his lectures on Art, being aided and encouraged in his
congenial task by his affectionate daughter, the late Frances Mary Buss,
who subsequently gained high distinction in connection with Education.
This profusely-illustrated volume, printed for private circulation, was
issued in 1874, and bore the following title: "English Graphic Satire,
and its relation to Different Styles of Painting, Sculpture, and
Engraving. A Contribution to the History of the English School of Art."
Robert William Buss died at his residence in Camden Street, Camden Town,
on February 26, 1875, in his seventy-first year. The end came very
quietly and painlessly to him who had fought the battle of life so
honestly and so fearlessly.
HABLÔT K. BROWNE ("PHIZ")
I
An Illustrator required for "Pickwick"--Leech and Thackeray
offer their Services--Thackeray's First Meeting with
Dickens--"Mr. Pickwick's Lucky Escape"--Leech's Specimen
Drawing--HABLÔT K. BROWNE ("Phiz") Elected to Succeed
Buss--His Etching of "John Gilpin's Ride" Awarded a Silver
Medal--His Designs for "SUNDAY UNDER THREE HEADS" and "THE
LIBRARY OF FICTION"--Mr. J. G. Fennell's Reminiscences of
the Artist--Thackeray's Congratulations to "Phiz"--A Modest
Banquet--"Phiz" as an Etcher--Assisted by Robert
Young--Their First Plate for "Pickwick"--An All-Night
Sitting--Particulars Concerning a "First Edition" of
"Pickwick"--The Success of the Work Assured--The _Sobriquet_
of "Phiz"--The Artist's Signatures--Method of Preparing the
"Pickwick" Illustrations--Variations in Duplicated
Plates--George Augustus Sala's Opinion of the "Pickwick"
Plates--The Etchings Criticised--"Phiz's" Original Drawings
for "Pickwick"--His Tentative Designs--Differences between
the Drawings and the Etchings--Dickens's Hints to the
Artist--"Phiz's" Sketch of Mr. Pickwick--A Series of New
Designs--Vignettes for the Library Edition--Woodcuts for the
Household Edition--Frontispiece for "THE STRANGE
GENTLEMAN"--Illustrations for "SKETCHES OF YOUNG GENTLEMEN"
and "SKETCHES OF YOUNG COUPLES"--Sale of the Original
Drawings--"NICHOLAS NICKLEBY"--Dickens and "Phiz" in
Yorkshire--The Prototype of Squeers--A Significant
Memorandum--Mr. Lloyd's Recollections of William Shaw, a
Yorkshire Pedagogue--The "Nickleby" Etchings
Criticised--Particulars Concerning the Plates--The Original
Drawings--A Missing Design--Dickens's Instructions to
"Phiz"--Variations in the Illustrations--Pictorial
Wrapper--Vignettes for the Library Edition.
PLATE XXVIII
HABLÔT K. BROWNE ("PHIZ")
From an Unpublished Photograph
_Lent by Mr. Gordon Browne, R.I._
ROBERT YOUNG
From a Photograph by
W. GREEN
_Lent by Mr. R. Young._
[Illustration]