vacancies for the post of illustrator of "Pickwick" should have
occurred. It was about the beginning of June 1836 (the date of the
publication of the third part, containing his two etchings) when Buss
unexpectedly received the intimation that his services would be no
longer required, and no sooner had this fact become known than there was
quite a rush of aspiring artists eager to offer their professional aid,
among them being several who had already made a reputation as
draughtsmen--such as "Crowquill" (Alfred Forrester), Lee, and
others. It is of special interest to learn that John Leech and William
Makepeace Thackeray were also desirous of obtaining the appointment, but
the honour was destined for another. Thackeray had practised etching for
some years, having, while an undergraduate at Cambridge, taken lessons
of an engraver and printseller named Roe, who carried on his profession
in the University town, and under that gentleman's superintendence he
etched a series of plates illustrative of college life, which were first
published in 1878. Possessing a natural gift for drawing, the famous
satirist (in his early days) earnestly desired to follow Art as a
profession, and so far encouraged his bent by copying pictures in the
Louvre; but his studies seem to have been of a desultory character, and
of little value in making him a sound draughtsman. When, on returning to
London, he heard that a designer was required for the "Pickwick"
illustrations, he immediately sought an interview with Dickens at his
rooms in Furnival's Inn, taking with him some specimens of his work, and
more than twenty years afterwards, in responding to the toast of
"Literature" at the Royal Academy banquet, he thus referred to the
memorable incident: "I can remember when Mr. Dickens was a very young
man, and had commenced delighting the world with some charming humorous
works, of which I cannot mention the name, but which were coloured light
green and came out once a month, that this young man wanted an artist to
illustrate his writings, and I recollect walking up to his chambers with
two or three drawings in my hand, which, strange to say, he did not find
suitable. But for that unfortunate blight which came over my artistical
existence, it would have been my pride and my pleasure to have
endeavoured one day to find a place on these walls for one of my
performances." Although at the time he was doubtless surprised at, and
sorely disappointed by, "Boz's" want of appreciation, he afterwards
acknowledged there was some justification for it, and good-humouredly
alluded to the rejection of his services as "Mr. Pickwick's lucky
escape." Who can say whether "Vanity Fair" and "Esmond" would ever have
been written had this mighty penman been elected to succeed Buss?[18]
Footnote 18: According to the following anecdote, Thackeray
did not over-estimate his own powers as a draughtsman. Mr. M.
H. Spielmann tells us that after Edmund Yates had started an
illustrated magazine, which had but a brief existence,
Thackeray wrote to him: "You have a new artist on _The
Train_, I see, my dear Yates. I have been looking at his
work, and I have solved a problem. I find there _is_ a man
alive who draws worse than myself!"
Thackeray's schoolfellow and life-long friend, John Leech, also
submitted a design to Chapman & Hall, in the hope of being successful
where others had failed, but the little drawing, slightly tinted in
colours, depicting the amusing scene in the Bagman's story of Tom Smart
and the high-backed chair, did not indicate the possession by the artist
of the necessary qualifications. He was accordingly dismissed; but it
was reserved for this amiable man and accomplished draughtsman not only
to adorn with his pencil the pages of the "Carol" and other Christmas
books of Charles Dickens, but to be afterwards honoured by the
friendship and esteem of England's great novelist.
* * * * *
[Sidenote: =Sunday under Three Heads, 1836.=]
As all the world knows, the privilege of illustrating Dickens's most
popular work was secured by Hablôt Knight Browne ("Phiz"), this clever
designer being rightly regarded as artistic exponent-in-chief of
Dickens's creations. At this time he had barely attained his majority,
and, unlike Cruikshank, who came to the pictorial embellishment of
"Sketches by Boz" and "Oliver Twist" with a distinct reputation, was an
almost untried artist. About his eighteenth year, while serving his
apprenticeship with the Findens, the well-known line-engravers, Browne
was awarded a silver medal offered for competition by the Society of
Arts for "the best representation of an historical subject"--a large
etching portraying John Gilpin's famous ride through Edmonton. _Apropos_
of this etching Mr. Mason Jackson writes in the _Athenæum_, June 11,
1887: "Mr. Chapman (of Chapman & Hall) was delighted with 'John Gilpin's
Ride,' and forthwith applied to Browne, who thus succeeded Seymour and
Buss as the illustrator of 'Pickwick.'" After a careful comparison of
dates, I venture to point out the probability that it was not with a
view to the illustration of "Pickwick" that Edward Chapman paid his
first visit to Browne, as generally supposed, but for the purpose of
engaging his services as designer of some woodcuts for a pamphlet which
the firm was about to publish, entitled "Sunday under Three Heads--As it
is; As Sabbath Bells would make it; As it might be made." This brochure,
written by Dickens under the pseudonym of "Timothy Sparks," is prefaced
by a Dedication dated June 1836, and was therefore in progress prior to
the publication of the fourth number of "Pickwick," containing "Phiz's"
first designs, which appeared during the following month. When, in after
years, Mr. Morton Brune enquired of the artist concerning his share in
this little production, he replied: "The work of Dickens mentioned by
you was illustrated by me when quite a youngster, and I am sorry to say
I can give no information about it--recollecting nothing whatever."[19]
Besides a trio of heads (printed on both wrapper and title-page), there
are three full-page illustrations, engraved by C. Gray and Orrin Smith.
This excessively scarce pamphlet was issued as a protest against the
extreme views of Sir Andrew Agnew and the Sabbatarian party, and had
immediate reference to a Bill "for the better observance of the
Sabbath," then recently rejected in the House of Commons by a small
majority. "Sunday under Three Heads" was originally published at two
shillings, and now realises as much as £10 in the auction-room. There
are two or three _facsimile_ reprints in existence, but the
reproductions of the woodcuts are comparatively poor.
Footnote 19: As early as 1837 Browne designed (as an
advertisement for Bentley) a little woodcut (now very rare)
in which he depicted Charles Dickens leading by the lappel of
his waistcoat a burly and perspiring porter, who is seen
carrying a huge bale of copies of _Bentley's Miscellany_, of
which magazine the novelist was then the editor.
It should be mentioned that "Phiz" (together with Seymour and Buss)
assisted in the illustration of "The Library of Fiction," published by
Chapman & Hall in 1836-37, so that his artistic efforts were by no
means unfamiliar to the firm at this time. In his design facing page 293
of the first volume of that work there may be discovered the figure of
an obese individual who is the very counterpart of Tony Weller.
* * * * *
[Sidenote: =The Pickwick Papers, 1836-37.=]
An intimate friend of Hablôt K. Browne, Mr. John Greville Fennell
(formerly of the _Field_ journal), confirms my opinion that the artist's
earliest association with the writings of Dickens was his connection
with "Sunday under Three Heads"; but, as the engravings in that pamphlet
only bore the designer's initials, it is more than probable that Browne
himself was then an absolute stranger to the future novelist. Within a
very brief period, however, certain events conspired to bring about the
beginning of an acquaintance which ripened into a friendship that never
ceased during Dickens's life-time. Mr. Fennell writes: "It was I who,
while superintending E. & W. Finden's establishment, sold his first
drawing to Adolphus Ackermann, and induced him (H. K. B.) to reproduce
Buss's two illustrations (viz., The Cricket-Match[20] and The Fat Boy
Awake on this Occasion only), which I sent down to Chapman & Hall." It
was apparently through Mr. Fennell's intervention that the publishers
were enabled to recognise Browne's ability as an etcher, and to discover
in the specimens submitted to them that he was the very man to occupy
the position then recently vacated by Buss. He first heard of his
appointment from his generous rival, Thackeray, who at once made his way
to the artist's abode in Newman Street for the purpose of congratulating
him, and it is said that they immediately repaired to a neighbouring
public-house, where a banquet consisting of sausages and bottled stout
was held in honour of the occasion.
Footnote 20: So far as I am aware, no illustration by "Phiz"
of this subject is extant.
At this juncture, Browne (who considered line-engraving too tedious a
process) suspended operations at Finden's establishment, and, through
the friendly auspices of Mr. Fennell, his indentures were cancelled two
years before they had expired. In conjunction with a kindred spirit, he
hired a modest room as a studio, and employed his time in the more
congenial pursuit of water-colour drawing. As the result of a solemn
compact between them to produce three drawings daily, Browne, who worked
very rapidly, was enabled to pay his share of the rent by the proceeds
of his labours. In order to familiarise himself with the human form, he
attended the evening class at the "Life" School in St. Martin's Lane,
having as a fellow-pupil that famous painter of the "nude," William
Etty, who afterwards joined the ranks of the Royal Academicians.
In 1836 (when in his twenty-first year) Browne had acquired considerable
facility with his pencil, and soon proved that his selection as the
illustrator of "Pickwick" was thoroughly justified. By means of the
training he had undergone at the Findens, he had obtained a mastery over
the difficulties and mysteries of etching, which now proved eminently
serviceable. Buss declared that "Phiz" was by no means an expert when he
commenced working for "Pickwick," being compelled to obtain help from an
experienced engraver named Sands, who "touched up the drawings with his
own needle, adding shade where required, and then applied the acid and
did all the necessary 'biting-in' and 'stopping-out.'" The facts,
however, are rather over-stated, as witness that early effort (perhaps
unknown to Buss), viz., the etching of John Gilpin, which was
undoubtedly unaided work, testifying that the artist was then quite
capable of running alone. It is acknowledged, however, that, so far as
the "biting-in" was concerned, he invariably secured co-operation, not
on account of his own incapacity, but merely to save time, and for this
purpose he generally sought and obtained the requisite help of his
quondam fellow-apprentice, Robert Young.
Browne speedily communicated to Mr. Young the welcome intelligence
respecting the "Pickwick" appointment; indeed, we are told that he went
at once to his friend's chambers, and on entering said, "Look here, old
fellow: will you come to my rooms to assist me with a plate I have to
etch?" Mr. Young, who was still in the employ of Finden, had acquired
such a thorough knowledge of the art of biting-in designs upon steel
plates, that Browne realised the importance of securing his co-operation
without delay, and, happily for him, his friend readily acceded to his
wish; whereupon "Phiz" suggested that he should take his key with him,
as they might be late. The design having already been drawn upon the
plate, the two conspirators devoted the entire night to the operation of
biting-in, the outcome of which was the production of the plate
depicting the eventful meeting of Mr. Pickwick and Sam Weller at the old
White Hart Inn, perhaps the most notable illustration in the book. Mr.
Young's share of the undertaking consisted in the application and
manipulation of acid, which corroded the plate where exposed by the
needle--a troublesome and delicate operation, requiring considerable
experience, as, by too lengthy or too brief a subjection of the metal to
the action of the acid, the plate would be ruined, and the labour of the
artist rendered of no avail.
Mr. Young writes in reply to my enquiry respecting this and subsequent
collaboration: "I did not bite-in the whole of 'Phiz's' etchings. I was
some years abroad, during which he had assistance from two engravers,
Sands and Weatherhead. 'Phiz' was quite capable of doing this part of
the work himself, for he had two or three years' practice during his
apprenticeship at Finden's; but he had no time for such work, being
always fully occupied in etching or drawing on wood."
PLATE XXIX
"A SUDDEN RECOGNITION, UNEXPECTED ON
BOTH SIDES"
_Facsimile_ of the Original Drawing for "Nicholas Nickleby" by
H. K. BROWNE ("PHIZ")
Above the Sketch is written the following, in the autograph of
Dickens:--"I don't think that Smike is frightened enough [or that
Squeers is] earnest enough, for my purpose."
_Lent by Mr. M. H. Spielmann._
[Illustration]
The title-page of "Pickwick" intimates that the volume contains
"Forty-three illustrations by R. Seymour and Phiz," thus ignoring Buss's
contributions. The fact is (as stated in the preceding chapter) that
only a few copies of Part III., containing the two plates by Buss, were
issued, these being quickly superseded by a couple of new designs by
Browne; therefore, a copy of an absolutely first edition of the book
should include seven etchings by Seymour, two by Buss, and thirty-four
by "Phiz." Two plates, viz., "The Fat Boy Awake on this Occasion only"
and "Mr. Wardle and his Friends under the Influence of 'the
Salmon'" were etched for Part III. (after those in Part IV.), to take
the place of Buss's cancelled designs. In early copies of the first
edition all the plates were printed without titles, and throughout the
first twelve numbers each plate bore only a reference in figures to the
page which it was intended to illustrate. In the remaining numbers
(Parts XIII. to XX.) the reference figures were withheld, the plates
showing in the first published copies neither figures, titles, nor
publishers' imprint.
For the first three parts of "The Pickwick Papers" there was so limited
a demand that the publishers seriously contemplated a discontinuance of
the work, a fate which, from the same cause, threatened Thackeray's
famous novel, "Vanity Fair," in the early stages of its career. Happily,
such a disaster was averted by the appearance in the fourth part of Sam
Weller, who at once achieved such enormous popularity that the sale went
up by leaps and bounds, the number of copies disposed of increasing from
a few hundreds to several thousands. This was an extremely happy augury,
not only for author and publishers, but for the young artist whose
connection with the book began at this critical time, and the
extraordinary circulation so suddenly imparted to the work was doubtless
principally instrumental in obtaining for him other commissions, with
which he was soon overflowing. Browne's earliest printed plates are
signed "Nemo," and referring to this he says: "I think I signed myself
as 'Nemo' to my first etchings (those of No. 4) before adopting 'Phiz'
as my _sobriquet_, to harmonise--I suppose--better with Dickens's
'Boz.'" The third and succeeding plates bear the signature of "Phiz," a
sign-manual which presently became well known to all readers of the
novels of Dickens, Ainsworth, and Lever. Although he seldom appended his
surname to his designs, we not unfrequently find (in his woodcuts
especially) the initials "H.K.B.," in lieu of the more familiar
pseudonym. It seems the public could never quite realise that the
different signatures were those of the same artist, and were wont to
remark that "Browne's work was better than Phiz's."
The "Pickwick" illustrations were produced in couples, that is, two
subjects were etched on one plate, this being printed at a single
operation and the sheets afterwards divided. "Phiz" was exceedingly
rapid in his work when time was limited, and could design and etch a
plate in the course of a day, and have it bitten-in and ready for the
printer by the next morning. Unlike Seymour, he almost invariably drew
his subjects on the steel without reversing them, so that they appeared
reversed in the printing; it is evident, however, that he sometimes
failed to remember this when preparing his designs, so that occasionally
we find that his figures are left-handed, and other similar
incongruities. Doubtless, the artist's motive in thus copying his
drawings directly upon the plate was to facilitate operations, for in
this way he could dispense with the aid of a mirror.
A noteworthy consequence of the increased sale of the "Pickwick" numbers
was the serious deterioration of the plates caused by friction in
printing, as for every impression the plate must be inked and the
superfluous ink removed by wiping with the hand. In those days the
process called "steel-facing," by means of which the etched or engraved
surface is hardened, was unknown, so that, comparatively, only a few
impressions could be struck off before the plate indicated any
appreciable sign of wear-and-tear. The designs were therefore etched in
duplicate, and this appears to have commenced at the date of the
publication of the tenth part of "Pickwick." The system of duplicating
the plates readily accounts for the interesting variations observable in
different copies of the first issue; as, for example, the faces in the
illustration delineating Mr. Pickwick's first meeting with Sam Weller
are much improved in the _replica_, while other details are greatly
altered; in the original plate portraying Mr. Pickwick in the pound,
there are two donkeys and four pigs, while the later impression has but
one donkey and two pigs; in the etching where Master Bardell is seen
kicking Mr. Pickwick, the boy was first drawn with his head down, but
was subsequently represented with it raised, the attitudes of Snodgrass
and Winkle being also slightly changed; the second version of the plate
entitled "The Break-down" (which, by the way, bears a remarkable
resemblance to Buss's unused drawing of the same subject) differs
considerably from the first, and this remark applies to many of the
other designs; but it is chiefly in the earlier plates that these
variations are particularly noticeable. It is by no means surprising
that such unimportant alterations exist, for an artist like "Phiz" would
find it infinitely tiresome to slavishly copy, line for line, the
original designs, especially if he saw an opportunity for improving
them.
The late George Augustus Sala held the opinion that Hablôt Browne's
earlier illustrations to "Pickwick" are "exceedingly humorous, but
exceedingly ill-drawn," and believed that it was the amazing success of
the author which spurred the artist to sedulous study, thus conducing in
a remarkable degree towards the development of his faculties.
Remembering, however, that "Phiz" had only just attained his majority,
we cannot but admire the deftness and skill he then displayed in so
difficult an art as etching, for, although some of the illustrations are
marked by a certain grotesqueness, these plates are marvels of
_technique_.
In the preface to the first edition of "The Pickwick Papers" we read:
"It is due to the gentleman, whose designs accompany the letterpress, to
state that the interval has been so short between the production of each
number in manuscript and its appearance in print, that the greater
portion of the illustrations have been executed by the artist from the
author's mere verbal description of what he intended to write." It was
customary at this time for Dickens to call upon Browne, and hastily
explain his intentions respecting the chapters to be illustrated, and
from notes then made by the artist the requisite designs were evolved.
This satisfactorily accounts for certain inaccuracies in the plates, for
which, however, "Phiz" cannot justly be censured; for example, in the
etching representing Mr. Pickwick hiding behind the door of the young
ladies' seminary, the cook should have been the only person shown beyond
the threshold; and in the plate depicting the discovery of Jingle in
the Fleet, we see Job Trotter standing behind Mr. Pickwick, whereas,
according to the text, he had not entered the room at that precise
moment. On the other hand, we may detect some defects for which "Phiz"
must be held responsible; as, for instance, the inaccurate perspective
of the mantelshelf in the plate entitled "The Red-nosed Man
Discourseth," and the absence of proportion in the size of the figures
of Mr. Pickwick and the old lady in the etching portraying Christmas Eve
at Mr. Wardle's, a similar anomaly appearing in the etching of Mr.
Pickwick's encounter with Mrs. Bardell in the Fleet. Again, there surely
never existed so enormous a sedan-chair as that from the roof of which
Mr. Pickwick expostulates with Sam Weller when he attacks the executive
of Ipswich, or that into which Mr. Winkle bolts in his _robe de nuit_.
In the skating scene, curiously enough, there is no indication of skates
being worn by any member of the company. "Phiz" sometimes posed his
figures in attitudes which, if not physically impossible, are unnatural
and unpicturesque; it must be admitted, however, that he usually
succeeded where George Cruikshank invariably failed, that is, in
delineating pretty women, of whom his skilled pencil has given us quite
an extensive gallery.
A set of proofs of "Phiz's" plates sold for twenty guineas at Sotheby's
in 1889. A reprint of "Pickwick," published at Launceston, Van Diemen's
Land, in 1838-39, was illustrated by means of lithographic copies
(signed "Tiz") of some of the original etchings. At the same time there
appeared an American edition, issued in parts by Turney, New York, with
_facsimiles_ of the plates engraved on steel.
PLATE XXX
STUDIES FOR
THE CHEERYBLE BROTHERS
_Facsimile_ of Original Drawings by
H. K. BROWNE ("PHIZ")
_Lent by Mr. J. F. Dexter._
[Illustration]
It fortunately happens that, with two exceptions, the original drawings
by "Phiz" for "The Pickwick Papers" have been preserved; the missing
designs are "Mr. Wardle and his Friends under the Influence of 'the
Salmon'" and the vignette for the title-page, where Tony Weller is seen
ducking Stiggins in the horse-trough. Photogravure reproductions of all
the existing designs (some having Dickens's autograph) were published in
the Victoria edition by Chapman & Hall in 1887. The majority of the
drawings were executed in pencil or pen-and-ink, the effects washed in
with a brush, the remainder being entirely brushwork. The following is a
list of "Pickwick" designs by "Phiz" such as were merely tentative, and
therefore never etched:--
MR. WINKLE'S FIRST SHOT.--_Trial sketch_, illustrating an
incident in the seventh chapter. A sketch of the same
subject was made by Buss.
CHRISTMAS EVE AT MR. WARDLE'S.--_Trial sketch_, varying but
slightly from the approved design.
THE GOBLIN AND THE SEXTON.--_First sketch_, in pencil,
varying considerably from the etching. An attenuated sprite,
with sugar-loaf hat and arms akimbo, is seated on the top of
a flat gravestone beside Gabriel Grub, who, pausing in the
act of raising a bottle to his lips, gazes with astonishment
at his uncanny visitor. Behind is seen a church porch.
THE GOBLIN AND THE SEXTON.--_Second sketch_, similar in
character, but more complete. Positions of figures reversed,
and the goblin more robust. In the published etching the
artist has introduced as a background a view of an
ecclesiastical building, which bears some resemblance to St.
Alban's Abbey.
THE WARDEN'S ROOM.--_Trial sketch_, varying considerably
from the approved design. The attitudes of dancer and seated
figure are different, the man in the bed adjoining Mr.
Pickwick's throws up both arms and one leg, while in either
hand he holds a nightcap and beer-jug. Other figures are
introduced on the right.
In comparing the drawings with the plates, important variations are
sometimes apparent. In the remarkable etching, "The Election at
Eatanswill," the artist has introduced fresh figures, while others are
altered; in "Mr. Pickwick in the Pound," we see in the first state of
the etching two donkeys and four pigs, instead of one donkey and three
pigs, as in the drawing; in "Job Trotter encountering Sam in Mr.
Muzzle's Kitchen," the pretty housemaid was originally represented
sitting on Sam Weller's knee; in "The Valentine," the artist's first
intention was to portray Tony Weller without hat and cape; and in
"Conviviality at Bob Sawyer's," a human skeleton is visible behind Mr.
Ben Allen, which was omitted in the etching.