1833 to 1846, and was elected a member of that Society in 1842. He first
exhibited at the Royal Academy in 1838, his election as an Associate
taking place in 1851. The artist, on receiving a commission from Dickens
for a picture, painted a presentment of "'Tilda Price," the _fiancée_ of
the genial John Browdie in "Nicholas Nickleby," the picture realising
the sum of £42 at the sale of the novelist's effects in 1870. This and
two other paintings by Stone (portraits of Kate Nickleby and Madeline
Bray) were engraved on steel by Finden, and published ("with the
approbation of Charles Dickens") by Chapman & Hall in 1848; the plates
were intended for insertion in the first cheap edition of "Nicholas
Nickleby." Besides his illustrations for "The Haunted Man," he also
designed the frontispiece for the first cheap edition of "Martin
Chuzzlewit" (1849), which depicts Mark Tapley on the sick-bed; this
drawing was engraved on wood by T. Bolton.
The sudden death of Frank Stone in 1859 caused Dickens heartfelt sorrow.
"You will be grieved," he wrote to Forster on November 19, "to hear of
poor Stone. On Sunday he was not well. On Monday went to Dr. Todd, who
told him he had aneurism of the heart. On Tuesday went to Dr. Walsh, who
told him he hadn't. On Wednesday I met him in a cab in the Square here
[Tavistock Square], and he got out to talk to me. I walked about with
him a little while at a snail's pace, cheering him up; but when I came
home, I told them that I thought him much changed, and in danger.
Yesterday at two o'clock he died of spasm of the heart. I am going up to
Highgate to look for a grave for him."
SIR EDWIN LANDSEER, R.A.
First Acquaintance with Dickens--Designs an Illustration for
"THE CRICKET ON THE HEARTH"--Elected a Royal
Academician--Receives the Honour of Knighthood--Declines the
Presidency of the Royal Academy--Severe Illness and Death.
Charles Dickens first became acquainted with Sir Edwin Henry Landseer
during the "Nickleby" period, and ever entertained the highest
admiration and personal regard for this famous artist, to whom Thackeray
once referred as "a sort of aristocrat among painters." Sir Edwin was an
artist by hereditary right and family instinct, being the eldest son of
the well-known engraver, John Landseer, A.R.A. He was born in London in
1802, and at the age of thirteen exhibited two pictures at the Royal
Academy, thus proving that he possessed most exceptional powers as a
draughtsman even at this early period.
* * * * *
[Sidenote: =The Cricket on the Hearth, 1846.=]
It is perhaps not generally remembered that Sir Edwin Landseer has a
just claim to be numbered among the Illustrators of Dickens. Though he
made but a single design, it is indubitably a masterpiece, and suffices
to indicate the admirable skill acquired by this great painter in
depicting what may be considered his favourite subject--the dog. The
charming little woodcut of "Boxer"--the irrepressible companion of John
Peerybingle, in "The Cricket on the Hearth"--defies criticism.
PLATE LIII
SIR JOHN TENNIEL, R.I.
From a Photograph by
MESSRS. BASSANO
_Lent by the Artist._
SIR EDWIN LANDSEER, R.A.
From the Painting by
SIR FRANCIS GRANT, P.R.A.
The dog's head was added by Sir Edwin himself.
[Illustration]
[Illustration]
In 1825, Sir Edwin (then Mr.) Landseer was elected an Associate of the
Royal Academy, and five years later he attained the full honours, from
which date might be chronicled a long and regular catalogue of pictures
exhibited by him, year by year, either at the British Institution
or on the walls of the Royal Academy. In 1850 he received the honour of
Knighthood, and, at the death of Sir Charles Eastlake in 1865, was
offered the Presidency of the Royal Academy,--a distinction which he
could not be induced to accept. In 1871 a severe illness paralysed his
powerful pencil; from this illness the artist never recovered, and two
years later the mournful intelligence of his death was announced, his
mortal remains being interred in St. Paul's Cathedral. In private life
Sir Edwin was one of the most kind and courteous of men and warmest of
friends,--qualities of mind and heart which endeared him to all with
whom he came in contact.
SAMUEL PALMER
A Self-taught Artist--Exhibits at the British Institution
and the Royal Academy--Marriage with John Linnell's
Daughter--Visits Italy--His Sketches of Italian
Scenery--Elected an Associate, and afterwards a Member, of
the Society of Painters in Water-Colours--An Etcher and
Draughtsman on Wood--His Designs for "PICTURES FROM
ITALY"--A Letter from Dickens--The Artist's Method of
Work--The Villa D'Este--His Drawings Difficult to
Reproduce--Elaborate Instructions to Engravers--Literature a
Favourite Amusement--Fondness for Reading Aloud--Admires the
Novels of Dickens--Illness and Death.
During Charles Dickens's very brief connection with the _Daily News_, at
the time of its foundation in 1846, he contributed to its columns a
series of "Travelling Sketches," descriptive of his experiences in
Italy, and of his impressions concerning the scenery, institutions, and
social aspects of the people in that beautiful country. Shortly after
the publication of the concluding paper, these "Sketches" were re-issued
in book form, under the title of "Pictures from Italy," with vignette
illustrations on wood by Samuel Palmer.
PLATE LIV
F. W. TOPHAM
From a Photograph by
MESSRS. ELLIOTT & FRY
_Lent by Mr. F. W. W. Topham._
SAMUEL PALMER
From a Photograph
_Lent by Mr. A. H. Palmer._
[Illustration]
[Illustration]
Samuel Palmer, who was born in Newington, London, in 1805, was to a
great extent a self-taught artist, his first successes dating from his
fourteenth year, when he was represented by two pictures at the British
Institution and three at the Royal Academy, his work from that time
being frequently seen at one or the other gallery. In 1837 (that is,
while "Pickwick" was in course of publication) he married the eldest
daughter of John Linnell, the famous portrait and landscape painter,
leaving England soon afterwards with his young wife for Italy. Here they
stayed two years--years of such persistent and enthusiastic study that
the sketches and elaborate drawings of some of the finest Italian
scenery which the artist brought back, very numerous though they
were, are no measure of the influence which the sojourn in the land of
his favourite poet, Virgil, had upon his after-life and upon his
artistic labours.
Samuel Palmer is chiefly remembered by his charming water-colour
drawings, but it seems that in his early years he preferred painting in
oils, whence he afterwards gradually drifted into the use of the former
medium, his election as Associate of the Society of Painters in
Water-Colours in 1843[43] determining his future career. He was a most
successful etcher, his plates being admired by the _connoisseur_ for the
beauty of _technique_ therein displayed. Concerning his efforts with the
needle, Mr. P. G. Hamerton says that Samuel Palmer was one of the most
accomplished etchers who ever lived, and that "there is more feeling,
and insight, and knowledge in one twig drawn by his hand than in the
life's production of many a well-known artist."[44] It must be admitted,
however, that the occasional drawings executed by him for the
wood-engraver do not indicate equal ability as a draughtsman on wood. In
early days he actually attempted, in emulation of his intimate friend
Edward Calvert, to engrave upon wood some of his own designs, this fact
testifying to the extraordinary influence exercised by William Blake
over the contemporary work of such young artists as Palmer, Calvert, and
the rest of the "Ancients," as they jocosely dubbed themselves.
Footnote 43: Palmer was elected a Member of this Society in
1854.
Footnote 44: "Etching and Etchers," 3rd edition, 1880.
* * * * *
[Sidenote: =Pictures from Italy, 1846.=]
The first drawings executed upon the wood-block by Palmer and intended
as book-illustrations were apparently the designs for "Pictures from
Italy;" these are four in number, representing the Street of the Tombs,
Pompeii; the Villa D'Este at Tivoli, from the Cypress Avenue; the
Colosseum of Rome; and a Vineyard Scene. One of the artist's
memorandum-books contains an entry recording the receipt from the
publishers of twenty guineas for these drawings. Samuel Palmer and
Charles Dickens were never on terms of intimacy; however the
acquaintance originated has never transpired, nor does the artist's son,
Mr. A. H. Palmer, remember his father ever referring to the subject. It
is probable that the novelist's attention had been directed to Palmer's
excellent rendering of Italian scenery, which had attracted considerable
notice among artists, and that, having met him, he found a degree of
warm enthusiasm for that scenery which was so unusual, that he felt
convinced that the illustrating of the "Pictures" could not be placed in
better hands. Palmer accepted the commission, but, like all his drawings
that were destined to be engraved on wood, it somewhat perplexed him,
for reasons presently to be explained. A correspondence of a formal
business character ensued, and of the few letters still extant I am
enabled to print the following, which endorses the belief that an
interview had taken place between author and artist.
"DEVONSHIRE TERRACE,
_Wednesday, Thirteenth May, 1846_.
"DEAR SIR,--I beg to assure you that I would on no account
dream of allowing the book to go to press without the
insertion of your name in the title-page. I placed it there
myself, two days ago.
"I have not seen the designs, but I have no doubt whatever
(remembering your sketches) that they are very good.
"Dear sir, faithfully yours,
"CHARLES DICKENS.
"SAMUEL PALMER, Esq."
Two of the woodcuts, viz., those printed on the first and last pages of
the little book, were designed to allow the text to be dropped in.
Sketches (or rather finished drawings) were made on paper before the
subjects were copied by the artist upon the wood-blocks, which drawings,
by the way, are much inferior to the artist's water-colours of the same
or similar subjects. It seems evident, from the word "On" being
tentatively introduced at the top of the original sketch of the Villa
D'Este, that this illustration was at first intended to be placed at
the beginning of the chapter entitled "Going through France," instead of
appearing (as it eventually did) in conjunction with the opening lines
of the preliminary chapter,--"The Reader's Passport." It was apparently
Palmer's proposal to insert on the block a decorative letter "S," but
Dickens, in a letter to the artist, says, "I am afraid I cannot
comfortably manage an S. What do you say to the word 'On'? Could you
possibly do that?"
With regard to the treatment of these illustrations, there is no doubt
that they are faithful representations of Nature, adapted from sketches
made on the spot. As a matter of fact, it was directly contrary to the
artist's habit and principles to transcribe a sketch detail for detail.
Although the character of his drawing was somewhat involved, rendering
more difficult the work of the engraver, the woodcuts (which bear no
signature) are most carefully executed. Notwithstanding this, Mr. A. H.
Palmer assures me that these designs, and the rendering of them by the
wood-engraver, were not of a kind to which the artist could look back
with much satisfaction.
Mr. A. H. Palmer still retains in his possession a drawing on wood by
his father of the Villa D'Este, the second illustration in "Pictures
from Italy," which was apparently discarded because the artist had
omitted to reverse his design, and therefore could not be properly
adapted to the particular page for which it was prepared. Those who are
familiar with the freedom and vigour of Samuel Palmer's work from Nature
will realise at a glance that he was not at his ease upon wood. In the
margin of this drawing the artist pencilled the following instructions
to the engraver, who had not entirely succeeded in producing the more
subtle effects:--
"I wish the thin cypress to be very much as it _appears upon the
block_--not lighter. Now that the trees have been darkened, it will be
necessary to leave the lines of the building _quite_ as thick as they
are drawn, letting them gradually gain more strength as they come
downwards towards the steps. The degree of sharpness with which the
drawing terminates toward the letterpress is just what I wish."
From this and the following notes, minutely written upon the two
retouched proofs of the engraving of this subject, we discover how very
much too sanguine the artist was as to the result of the translation of
his work, the voluminous directions clearly indicating his solicitude
respecting the treatment of microscopic details in his design, the
alleged importance of which would be quite beyond the comprehension of
an ordinary engraver. Palmer subsequently learnt by experience that his
drawing on wood was practically untranslatable as he preferred to offer
it for engraving.
_MS. Notes on the First Proof._
"(1.) In both proofs the top of the cypress is very indistinct, which
greatly injures the design.
"(2.) From A to B the illuminated side of the cypress has lost its tint
in both impressions, which is ruinous to the effect, as the eye can no
longer follow it as a simple object distinct from the building from the
top to the bottom of the design. The top of the building, too, in both
impressions, is nearly invisible, as if the inking had failed. It is
very important that this should be rectified, so as not to appear in the
printing of the work, as otherwise it will spoil the whole work. I have
worked upon building and cypress a little in pencil to show how they
ought to have come even in a faint impression.
"(3.) Opposite this mark the light on the cypress stems has been carried
down a little lower, and two or three fine threads of light have been
introduced into the shadowed side (which are intended to be scarcely
perceptible) to remove a blottiness in the dark.
"(4.) The touches on the steps, the statue, and the whole of the lower
part of the trees and ground, though not very numerous, are very
important to the finish of the foreground.
PLATE LV
"THE VILLA D'ESTE"
_Facsimile_ of an Original Design for "Pictures from Italy" by SAMUEL
PALMER
_Lent by Mr. A. H. Palmer._
[Illustration]
"(5.) The darkest lines in the great vase have been thinned in the
_slightest degree_.
"(6.) Close to C the thickness of a black line on the edge of the
cypress has been split.
"(7.) From E down to F a minute speck of light has here and there been
inserted on the outline of the cypress foliage to split some blots of
dark which will be seen on the untouched proofs, and which were rather
harsh.
"(8.) The light flashing on the steps ought to make thinner without
removing the outline of the arm of the statue. The foot resting upon the
pedestal should be indicated. The action of the other leg thrown back is
shown in the retouching by the removal of the black line.
"(9.) The getting the upper part of the slender cypress of as full a
tint as I have given it here seems to me so important that if it can be
done in no other way, I think a piece should be inserted into the block
to effect it. In the drawing on the block it was like this, which I have
retouched with pencil."
_Second Proof._
"(1.) Opposite are a few touches on the slender cypress--two very thin
lines of light on the stem. Specks of light on the foliage.
"(2.) There is a thick black line on the block, thus [Symbol:
left-bowing arc] which I have here crossed with specks of white;
although it is in the body of the tree, it kills the fine work on the
Villa.
"(3.) The thickness of outline on the light side of this vase unfinishes
the foreground. I have altered it.
"(4.) The thick outline on this leaf unfinishes everything about it."
* * * * *
Thus we discover how fastidious to a degree was the artist in his desire
that every subtle touch of his poetic pencil should be reproduced--a
result which, as he quickly perceived, it was impossible to achieve.
Samuel Palmer took a still keener delight in Literature than he did in
Art. An insatiable but punctilious reader, the novels of Dickens and
Scott were among the very few works of fiction which he read aloud to
members of his own household. Mr. A. H. Palmer informs me that he has
known his father to be so engrossed by reading aloud one of Dickens's
finer and more exciting passages, that the announcement and entry of a
visitor served to stop the reading only for a few moments; the crisis
past, he laid down the book and apologised. Literature, indeed,
constituted the chief pleasure of his simple life--a life that, at one
period at least, would have been almost insupportable without the
consolation afforded by books. Early in May, 1881, he became, alas! too
ill to work, and on the twenty-fourth of that month he passed peacefully
away, leaving behind him a reputation which is blameless.
F. W. TOPHAM
Illustrations for "A CHILD'S HISTORY OF ENGLAND"--Begins
Life as a Writing-Engraver--Designs for Books--Exhibits at
the Royal Academy--Elected an Associate of the New Society
of Painters--Retires from the Society--Elected a Member of
the Old Society of Painters in Water-Colours--First Visit to
Spain--Fatal Illness--Some Pictures Inspired by Dickens's
Stories--Histrionic Ability--The Artist as a Juggler.
[Sidenote: =A Child's History of England, 1852-53-54.=]
During the years 1851-52-53, there appeared in the pages of _Household
Words_ one of Charles Dickens's less familiar writings, "A Child's
History of England." On its completion as a serial, the little work was
issued in three 16mo volumes, each containing a frontispiece by F. W.
Topham. These illustrations were engraved on wood, each consisting of a
circular design, printed in black, and surrounded by an ornamental
border of a light mauve colour, the latter enclosing familiar scenes
from English History, viz., Alfred in the Neatherd's Cot; Canute
reproving his Courtiers; Edwy and Elgiva; Eleanor and Fair Rosamond. The
decorative border with its four _tableaux_ remained unchanged, but the
subject of the central illustration varied, that in the first volume
depicting a girl reading to two children; in the second, Alfred the
Great receiving instruction in reading from his mother, Queen Osburgha;
while in the third there is a more modern representation of a similar
incident.
Francis William Topham, who was born at Leeds in 1808, enjoyed the
privilege of being numbered among the personal friends of Charles
Dickens. He entered professional life as a writing-engraver, and his
first design was for a label required by a well-known firm of pin
manufacturers. From this modest beginning he advanced to more artistic
work, and was soon busily engaged in engraving plates for pocket-books,
&c. During the several years he was thus occupied he engraved many
original designs for book-illustrations, and in 1832 began to exhibit
pictures; his works after this date being frequently seen at the Royal
Academy and other London galleries. In 1842 he was elected an Associate
of the New Society of Painters in Water-Colours, of which body he became
a full member in the following year. He, with several other members,
left the New Society after a comparatively short time, and was
immediately elected into the Old Society of Painters in
Water-Colours--the present Royal Water-Colour Society--to the
Exhibitions of which the majority of his more important productions were
contributed. It was in Spain, whither he first went in 1852-53, that he
found subjects most congenial to his tastes, and there, in that land of
sunny skies, he was seized with a fatal illness in 1877, expiring at
Cordova on March 31st of that year.
Topham was a great admirer of the works of Charles Dickens, and selected
from them the subjects of some of his most successful pictures. One of
these--a water-colour drawing executed in 1851--illustrates a scene in
"Barnaby Rudge," where children flock round the half-witted hero as he
and his mother pass through her native village; the drawing was
presented by the artist to Dickens, and realised at the sale of the
novelist's effects the sum of £115, 10s. This picture was followed by
another from "The Old Curiosity Shop," representing Little Nell and her
Grandfather in the tent, making bouquets for the racecourse, which was
also a gift to Dickens, being subsequently disposed of at the
above-mentioned sale for £288, 15s. It is also recorded that the artist,
in 1856, produced a drawing portraying "Little Nell in the Churchyard,"
which some five years after the novelist's death found a purchaser for
£325, 10s.
F. W. Topham proved a welcome addition to Dickens's company of
distinguished amateur actors, and concerning his histrionic ability the
artist's son, Mr. Frank W. W. Topham (himself an eminent painter), thus
writes: "My father had, from quite a young man, a great love of acting,
at which he was considered unusually good. One of my earliest
recollections of a play was one acted at the St. James's Theatre, in
which my father, Sir John Tenniel, the late Francis Holl, A.R.A. (the
engraver), and others took part, for the benefit of the Artists'
Benevolent Fund. I do not know if my father owed his introduction to
Dickens to his acting, but have an impression that he did,--certainly it
was the cause of their after intimacy."
_Apropos_ of their "splendid strolling," and the fun incidental thereto,
Dickens observed to his wife, in a letter dated from Clifton, November
13, 1851: "I forgot to say that Topham has suddenly come out as a
juggler, and swallows candles, and does wonderful things with the poker
very well indeed, but with a bashfulness and embarrassment
extraordinarily ludicrous."
MARCUS STONE, R.A.
The Artist's Boyish Admiration of Dickens's Stories--His
Delineation of Jo, the Crossing-Sweeper--A Present and a
Letter from Dickens--First Success as a Painter--Death of
his Father--Desires to Become an Illustrator of
Books--Befriended by Dickens--Initial Attempt at Drawing
upon Wood--Frontispiece for the First Cheap Edition of
"Little Dorrit"--The Artist's _Début_ as a Black-and-White
Draughtsman--His Designs for "OUR MUTUAL FRIEND"--The
Pictorial Wrapper--Suggestions from Dickens--Portrait of
Silas Wegg--Preliminary Sketches for the
Illustrations--Valuable Hints for the Artist--Realism in his
Designs--The Prototype of Mr. Venus--Photography upon
Wood--Defective Engraving--Sale of the Original
Sketches--Illustrations for Cheap Editions--Relinquishes
Black-and-White Drawing--Elected a Royal
Academician--Popularity of his Pictures--Intimacy with
Dickens--Private Theatricals.
It will be remembered that "A Tale of Two Cities," the last of Dickens's
novels containing Hablôt Browne's designs, was succeeded by "Our Mutual
Friend," the initial number of which appeared on May 1, 1864. In this
story Dickens repeated an early experience in having woodcut
illustrations instead of the customary etchings, availing himself of the
services of an artist whose style and method of work differed very
considerably from those of "Phiz." The new recruit was Mr. Marcus Stone,
who now holds high rank among Royal Academicians.
PLATE LVI
MARCUS STONE, R.A.
From a Photograph specially taken for this Work by
JAMES HYATT
[Illustration]