fact that they contain instructions and suggestions in the autograph of
Dickens. The first so treated is "Mrs. Leo Hunter's Fancy-dress
Déjeuné," the drawing differing in many respects from the etching,
chiefly in the attitudes and arrangement of the figures; under it the
author has written: "I think it would be better if Pickwick had hold of
the Bandit's arm. If Minerva _tried_ to look a little younger (more like
Mrs. Pott, who is perfect), I think it would be an additional
improvement." The design was altered in accordance with the spirit of
the criticism, and we find Minerva, instead of a plump and matronly
personage, the very opposite in the matter of physique. It is worthy of
note that in the first state of the etching the face of the Russian
officer in the rear bore too close a caricature resemblance to that of
Lord Brougham, the subsequent change in his appearance being due to some
remonstrance against the artist's freedom. The drawing depicting Mr.
Pickwick's first interview with Serjeant Snubbin contains the following
hint from the author: "I think the Serjeant should look younger, and a
great deal more sly and knowing; he should be looking at Pickwick too,
smiling compassionately at his innocence. The other fellows are
noble.--C. D." As a matter of fact, the drawing is more successful than
the etching, the Serjeant's face in the former indicating that it had
been obliterated and altered to suit Dickens's idea. In the original
design for the etching representing "Mr. Winkle's Situation when the
Door 'Blew to,'" the artist portrayed Mr. Winkle holding the candlestick
in front of him; but Dickens objected to this, and wrote at the top of
the drawing: "Winkle should be holding the candlestick above his head, I
think. It looks more comical, the light having gone out" The change was
made, but the curious thing is, neither author nor artist remembered the
fact that at the moment depicted Mr. Winkle had actually discarded the
useless candlestick. Under the same drawing Dickens penned the following
comment: "A _fat_ Chairman so short as our friend here, never drew
breath in Bath;" "Phiz" has also written in the margin: "Shall I leave
Pickwick where he is or put him under the bed-clothes? I can't carry him
so high as the second floor.--H. K. B." (Mr. Pickwick's rooms are
described as being in the "upper portion" of the house, but it would
seem that Dickens had originally placed him on the "second floor," which
suggests that the text was altered to suit the illustration. In reply to
this query the author wrote: "I would leave him where he is decidedly.
Is the lady full dressed? She ought to be.--C. D." Mr. Pickwick was left
accordingly; likewise the fat chairman, whose abnormal obesity was
reproduced in the etching as it appears in the drawing. In the sketch of
"Mr. Winkle Returns under Extraordinary Circumstances," the artist had
not made Sam Weller and the housemaid quite as Dickens desired,
whereupon the novelist appended the following queries: "Are Sam and the
housemaid clearly made out; and [would it not be be]tter if he was
looking on with his arm roun[d Mary?] I rayther question the accuracy of
the housemaid."[21] As the sketch, in its present state, realises
Dickens's ideas, we may assume that it was altered by the artist before
he transferred his design to the plate; indeed, there seems to be
evidence of this in the blurred appearance of the young couple in the
drawing, in the margin of which "Phiz" has written the following
instructions about the biting-in: "The outlines of the figures I have
etched with a broad point unintentionally; bite them slightly, that they
may not be too hard, especially Pickwick." The last of the drawings
containing the novelist's handwriting is that illustrating "The Ghostly
passengers in the Ghost of a Mail," this bearing the unusual signature,
"Charles {his} + {mark} Dickens," by which the novelist evidently
meant to express his satisfaction with the artist's treatment of the
subject. In the "English Humorists" Exhibition held in London a few
years since, there was a capital study by "Phiz" of Mr. Pickwick,
apparently an enlarged _replica_ of the familiar figure and pose as seen
in Seymour's illustration of him as he appeared when addressing the
Club; it is a water-colour drawing on buff paper, supplemented by
marginal sketches of the head and bust of Pickwick with his hat on,
together with two studies of hats; upon the side of the drawing is
inscribed the following memorandum: "Nankeen tights, black cloth
gaiters, _white_ waistcoat, blue coat, brass buttons, square cut in the
tails."
Footnote 21: The words in brackets are unfortunately cut off
the sketch.
PLATE XXXI
MASTER HUMPHREY AND THE DEAF GENTLEMAN
_Facsimile_ of the Original Drawing for "Master Humphrey's Clock" by
H. K. BROWNE ("PHIZ")
Beneath the Sketch is written the following, in the autograph of
Dickens:--"Master Humphrey ADMIRABLE. Could his stick (with a crooked
top) be near his chair? I misdoubt the deaf gentleman's pipe, and wish
he could have a better one."
_Lent by Mr. J. F. Dexter._
[Illustration]
In 1847 "Phiz" prepared six new designs for "The Pickwick Papers," which
were delicately engraved on wood; the series was issued independently,
and simultaneously with the first cheap edition of the book. These
drawings are undoubtedly superior to the etchings, being the more
matured work of the artist. The following were the subjects chosen: "Mr.
Winkle's First Shot," "The Effects of Cold Punch," "Mr. Pickwick at
Dodson and Fogg's," "The Kiss under the Mistletoe," "Old Weller at the
Temperance Meeting," "The Leg of Mutton 'Swarry.'" "Phiz" also
contributed to each of the two volumes of the Library Edition
(1858-59)[22] a vignette illustration for the title-page, the subjects
being Mr. Pickwick and the Wellers, and Sam Weller with the Pretty
Housemaid; they were engraved on steel from the original drawings in
water-colours. In 1867 the artist was seized with a form of paralysis,
the use of the right hand being so greatly impaired that he was unable
to make the forefinger and thumb meet; this compelled him to hold the
pencil or brush in a clumsy fashion, and to draw with a sort of
sweeping movement of the whole arm. It was under such distressing
conditions that in 1873-74 he executed a commission to illustrate
Chapman & Hall's Household Edition of "The Pickwick Papers." These
fifty-seven designs are necessarily extremely poor in treatment, and
painfully indicate the effect of the injury his hand had sustained;
indeed, the wonder is that he could draw at all. It must be admitted,
however, that much of the feebleness of the woodcuts is due to the
engraver, as the original outline sketches (which were transferred to
the boxwood blocks and there developed) exhibit in a wonderful degree
both freedom and precision of touch. A small collection of these
drawings was sold at Sotheby's in December 1887, each drawing realising
the average price of seven pounds. Sets of the "Pickwick" designs in the
Household Edition, coloured by F. W. Pailthorpe, have been issued as
"extra" illustrations.
Footnote 22: The early volumes in the Library Edition, issued
during 1858-59, have only vignettes on the title-pages. The
later issues of this edition (1862-68) contain several
illustrations, some of these being reprints of the plates in
the first edition, while others were specially designed.
* * * * *
[Sidenote: =The Strange Gentleman, 1837.=]
In 1836, as soon as Dickens terminated his connection with the
Reporters' Gallery in the House of Commons, he was induced to take a
considerable interest in the then newly-erected St. James's Theatre, and
even essayed to write for his friend J. P. Harley ("as a practical
joke," he afterwards explained) a comic burletta called "The Strange
Gentleman," which was adapted from "The Great Winglebury Duel" in
"Sketches by Boz." The little farce was published by Chapman & Hall
during the following year with a frontispiece by "Phiz," the subject of
the plate being suggested by the concluding scene, where the Strange
Gentleman proposes marriage to Julia Dobbs; the two seated figures are
vigorously drawn, and on a larger scale than those in the "Pickwick"
designs. "The Strange Gentleman" is perhaps the rarest of Dickens's
writings, and the extraordinary sum of £45 was realised at Sotheby's in
August 1892 for an exceptionally fine copy. It has since been
beautifully reprinted in _facsimile_, with a new frontispiece etched by
F. W. Pailthorpe.
[Sidenote: =Sketches of Young Gentlemen, 1838.=]
In the same year Chapman & Hall published a booklet (anonymously written
by E. Caswell) entitled "Sketches of Young Ladies," by "Quiz," with six
etchings by "Phiz," the author of which was erroneously believed to be
Charles Dickens, whose literary style it somewhat resembled. The "Young
Ladies" being referred to here in a rather ungallant fashion, Dickens
essayed (as a kind of protest) a similar work, in which he pokes fun at
the idiosyncrasies of youths of the sterner sex. Like its predecessor,
the "Sketches of Young Gentlemen" were written anonymously, and
similarly contained six etched illustrations by "Phiz."
* * * * *
[Sidenote: =Sketches of Young Couples, 1840.=]
In 1840 there appeared a third booklet, entitled "Sketches of Young
Couples;" of this Dickens was also the unavowed author, while "Phiz"
contributed the usual six etchings. In the third of these designs (only
two of which are signed) we are reminded of his presentment of the
Kenwigses in "Nicholas Nickleby," the illustrations for which story were
then occupying the artist's attention. These little productions were
issued in green paper covers, decorated with designs by "Phiz."
The sets of six original drawings for "Sketches of Young Ladies" and
"Sketches of Young Gentlemen" realised £40 and £39 respectively at
Sotheby's in 1897.
* * * * *
[Sidenote: =Nicholas Nickleby, 1838-39.=]
In the advertisement announcing the publication of "Nicholas Nickleby,"
it was stated that each monthly part would be "embellished with two
illustrations by 'Phiz'." This is not strictly accurate, for to the
twenty parts the artist contributed but thirty-nine plates, the full
complement, however, being made up with a portrait of the author (as the
frontispiece), engraved by Finden from the painting by D. Maclise,
A.R.A.
The most interesting of the "Nickleby" plates are undoubtedly those
depicting scenes at Dotheboys Hall, that representing Squeers at the
Saracen's Head containing the most familiar presentment of its amiable
proprietor. Thus, as he stood mending his pen, the novelist and artist
saw the living prototype, and had taken mental notes of the odd figure,
who, as will presently be related, was among the several schoolmasters
they interviewed.[23]
Footnote 23: Among the few drawings executed by "Phiz" for
_Punch_, there is a representation of an orthodox
pettifogging attorney perched upon a stool, whose portrait is
that of the very Squeers. It constitutes one of a series of
"_Punch's_ Valentines," and was published in the second
volume, 1842.
It was the novelist's intention to expose in this story the terrible
abuses practised in the cheap boarding-schools of Yorkshire, and, in
order that he might realise their true character, he determined to
investigate for himself the real facts as to the condition of those
notorious seminaries. Accordingly, at the end of January 1838, he and
"Phiz" started on this memorable journey, in bitterly cold weather, and,
visiting several schools in the locality, they came into direct contact
with the proprietors. One of these was William Shaw, the identical
schoolmaster who, some years previously, had been heavily fined for what
was represented at the trial as gross maltreatment of his pupils.
According to the following entry in the novelist's private diary (under
date February 2, 1838), there can be no doubt that he had this
individual principally in his mind when delineating the infamous
Squeers:--"Mem.--Shaw, the schoolmaster we saw to-day, is the man in
whose school several boys went blind some time since from gross neglect.
The case was tried, and the verdict went against him. It must have been
between 1823 and 1826. Look this out in the newspapers." Mr. Lloyd, a
well-known Glasgow comedian, who spent twelve months in Shaw's school at
Bowes, Yorkshire, afterwards testified to the truth of the _outward_
appearance of the man as described by Dickens and portrayed by the
artist in the pages of the novel, "allowing, of course, for both being
greatly exaggerated. A sharp, thin, upright little man, with a slight
scale covering the pupil of one of his eyes. Yes, there he stands, with
his Wellington boots and short black trousers, not originally cut too
short, but from a habit he had of sitting with one knee over the other,
and the trousers being tight, they would get 'rucked' half-way up the
boots. Then, the clean white vest, swallow-tailed black coat, white
necktie, silver-mounted spectacles, close-cut iron-grey hair,
high-crowned hat worn slightly at the back of his head--and there you
have the man." It certainly seems remarkable that Mr. Lloyd and others
who knew Shaw recollect him as a most worthy and kind-hearted gentleman,
but this perhaps is explained by certain facts concerning him and his
school that were published in the _Athenæum_, February 1894, together
with a commentary upon a reprint of the trial in which he was the
defendant.
It is a curious fact that several Yorkshire schoolmasters actually
claimed to be the prototype of Squeers; indeed, a member of the
fraternity (probably Shaw himself) declared that he remembered being
waited on by two gentlemen, one of whom held him in conversation while
the other took his likeness; "and although" (says the author in his
preface to the story) "Mr. Squeers has but one eye, and he has two, and
the published sketch does not resemble him (whoever he may be) in any
other respect, still he and all his friends know at once for whom it is
meant, because the character is _so_ like him." I think there can be no
doubt that both Dickens and "Phiz," when delineating Squeers, reproduced
too closely the idiosyncrasies of one individual, and that the author's
description, as well as the artist's presentment, bore so obvious a
likeness to Shaw, that he became the scapegoat for others worse than
himself, and suffered accordingly.
PLATE XXXII
"THE DOMBEY FAMILY"
_Facsimile_ of the First Study for the Etching by
H. K. BROWNE ("PHIZ")
The "Query" written beneath the Drawing is in the autograph of the
Artist. It was addressed to Dickens, and reads as follows:--"_Qy._
Whether 'twere better to have him standing thus, stiff as a poker, with
a kind of side glance at his daughter,--or sitting, as in the other?"
The Etching differs considerably from the Drawing.
_Lent by Mr. J. F. Dexter._
[Illustration]
In some of the etchings may be discovered slight incongruities (as, for
example, in the first plate, where Ralph Nickleby's hat is too small for
his head), while in others there is a palpable touch of exaggeration. In
the illustration, "The Country Manager Rehearses a Combat," the artist
has omitted to introduce the figure of the landlord who ushered into the
managerial presence Nicholas and Smike, and the broad-swords should have
been basket-hilted weapons. In the etching, where Nicholas instructs
Smike in the art of acting, Nicholas wears the rapier on the wrong
side, this oversight doubtless resulting from the non-reversal of the
design upon the plate. The "Nickleby" illustrations are, as a whole,
very successful; in many instances the expressions are capitally
rendered, although it is to be regretted that the artist did but scant
justice to the physical attractions of Kate Nickleby and Madeline Bray.
There were sixty-three quarto plates etched for the thirty-nine
illustrations in the story, each plate carrying two designs; some of
these were etched three times, while in seven instances the quarto plate
was reproduced no less than four times. In none of these duplicated
plates will be found such marked variations in detail as may be noted in
the _replicas_ of the "Pickwick" designs, so that the collector need
only seek for well-printed impressions.[24]
Footnote 24: The "Nickleby" plates were copied by J. Yeager
for the first American edition of the story.
All the original drawings for "Nickleby," with one exception, are still
in existence; they were disposed of on July 16, 1880, in Robinson &
Fisher's auction-rooms, when they realised in the aggregate rather more
than a hundred pounds. The missing design is that depicting Nicholas in
his capacity as tutor in the Kenwigs family. These drawings are executed
in pencil and wash, some being especially valuable by reason of marginal
notes in the autograph of the novelist. At the top of the original
sketch for "A Sudden Recognition, Unexpected on Both Sides" (kindly lent
by Mr. M. H. Spielmann for reproduction), Dickens has pencilled a note
to the artist, a portion of which (that within the brackets) has been
cut away: "I don't think that Smike is frightened enough [or that
Squeers is] earnest enough, for my purpose,"--a criticism which was
apparently not productive of much alteration in the direction indicated,
unless effected in the sketch before the subject was etched.
The late Mr. F. W. Cosens, who possessed several preliminary studies of
the Kenwigs children, had in his collection a note from Dickens giving
minute instructions to "Phiz" respecting the design for the plate
entitled "Great Excitement of Miss Kenwigs at the Hairdresser's Shop."
The novelist desired his illustrator to depict "a hairdresser's shop at
night--not a dashing one, but a barber's. Morleena Kenwigs on a tall
chair, having her hair dressed by an under-bred attendant, with her hair
parted down the middle and frizzed up into curls at the sides. Another
customer, who is being shaved, has just turned his head in the direction
of Miss Kenwigs, and she and Newman Noggs (who has brought her there,
and has been whiling away the time with an old newspaper) recognise,
with manifestations of surprise, and Morleena with emotion, Mr.
Lillivick, the collector. Mr. Lillivick's bristly beard expresses great
neglect of his person, and he looks very grim and in the utmost
despondency."
The original drawing for "Nicholas Starts for Yorkshire" presents
several important variations from the published plate, the positions of
the figures being considerably altered, the most remarkable differences
being that Ralph Nickleby and Squeers in the sketch are placed on the
side opposite the coach and more in the background, the coachman reading
the way-bill is transferred to the spot where Squeers now stands, while
there is another coachman looking over his shoulder, who is omitted in
the etching; the coachman with the whip (as seen in the plate) was not
introduced in the sketch. For the monthly parts "Phiz" designed a
pictorial wrapper; on either side of this wood-engraving is a corpulent
figure mounted on tall stilts, surmounted by an allegorical scene
typifying Justice, with cornucopia, &c., and below is seen the culprit
Squeers wading through a river, guided by imps carrying lanterns.
For the two volumes of the Library Edition of "Nicholas Nickleby"
(1858-59) "Phiz" prepared small designs, delicately tinted in
water-colours, which were engraved on steel as vignettes for the
title-pages; the subjects represented are "The Nickleby Family" and "The
Mad Gentleman and Mrs. Nickleby," the original drawings realising £14
each at Sotheby's in 1889.
HABLÔT K. BROWNE ("PHIZ")
II
"MASTER HUMPHREY'S CLOCK"--A Quaint Advertisement--Woodcuts
instead of Etchings--"Phiz's" Contributions--Instances of
his Exaggerated Grotesqueness--Mr. Frederic Harrison's
Comment--A Powerful Design--Illustrations in "The Old
Curiosity Shop" Criticised--Ruskin's Attack upon the Designs
in "Barnaby Rudge"--His Admiration of the Woodcut of
"Barnaby and Grip"--"Phiz's" Frontispieces--His Letter to
Dickens--An Amusing Epistle from Dickens to his Publisher--A
"Clock Dinner"--Original Drawing of Master Humphrey and the
Deaf Gentleman--Frontispiece for the First Cheap Edition of
"Barnaby Rudge"--Vignettes for the Library Edition--New
Designs for "Master Humphrey's Clock"--Portraits of Dolly
Varden, Little Nell, and Barbara--Sale of Water-Colour
Drawings--"MARTIN CHUZZLEWIT"--The Illustrations
Characterised--How they were Prepared--Slight Errors by
"Phiz"--The Original Drawings--Minute Instructions from
Dickens to the Artist--A Humorous Rejoinder--Sale of the
"Chuzzlewit" Designs--Vignettes for the Library
Edition--"DOMBEY AND SON"--The Plates Etched in
Duplicate--Introduction of the Oblong Form of Illustration--Method
of Obtaining _Chiaroscuro_--Some Anomalies in the Etchings--Working
under Difficulties--Dickens's Anxiety Respecting the
Designs--Studies for Mr. Dombey--A Letter of Instructions--Hints
to the Artist--Dickens Disappointed--The Etching of "Mrs.
Pipchin and Paul"--"Doctor Blimber's Young Gentlemen"--A Remarkable
Oversight--Explicit Directions from Dickens to "Phiz"--Original
Drawings for "Dombey and Son"--Slight Variations from the
Etchings--"Dombey" Sketches Presented to Dickens--A Portrait
of Little Paul--Pictorial Wrapper--Extra Plates--Criticism by
Dickens--Portraits of Alice and Florence Dombey--Frontispiece
for the First Cheap Edition--Vignettes for the Library Edition.
[Sidenote: =Master Humphrey's Clock, 1840-41.=]
Charles Dickens's next work, entitled "Master Humphrey's Clock," which
comprises "The Old Curiosity Shop" and "Barnaby Rudge," was first issued
in weekly instalments, as well as the customary monthly parts, the new
venture being thus announced: "Now wound up and going, preparatory to
its striking on Saturday, the 28th March, Master Humphrey's Clock,
Maker's name--'Boz.' The Figures and Hands by George Cattermole, Esq.
and 'Phiz.'" A novel feature of this undertaking was the illustrations,
which were not etched as hitherto, but engraved on wood and dropped into
the text, the total number of designs being one hundred and ninety-four,
including three frontispieces and twenty-four initials. Of these "Phiz"
produced by far the greater proportion, he being responsible for no less
than a hundred and fifty-three, including two frontispieces and all the
initials; the subjects of many of the latter, by the way, have no
connection with the letterpress. Some of the drawings are unsigned,
while others have appended to them the artist's initials or monogram,
occasionally reversed. At this time "Phiz" was almost as anonymous as
"Boz," but when "Master Humphrey's Clock" ultimately appeared in volume
form, his identity was fully established on the title-page as "Hablôt
Browne." The result of a careful analysis of the illustrations discloses
the fact that "Phiz" produced sixty-one for "The Old Curiosity Shop" and
"Barnaby Rudge" respectively, and seven for the miscellaneous papers
relating to "The Clock," exclusive of the initials. The greater number
of figure-pieces fell to his pencil, while the architectural subjects
were entrusted to his coadjutor, George Cattermole.
PLATE XXXIII
"PAUL AND MRS. PIPCHIN"
_Facsimile_ of the Original Sketch for "Dombey and Son" by
H. K. BROWNE ("PHIZ")
A subsequent and more complete Drawing of this subject is included in
the Duchess of St. Albans' Collection.
_Lent by Mr. J. F. Dexter._
[Illustration]