"Samuel Weller." "The local scenery sketched on the spot"
The majority are signed "Samuel Weller, delt.;" a few bear
the artist's initials, "T.O.," while others have no
signature appended. Issued in eight monthly parts, green
wrappers, demy 8vo, one shilling each, and published
complete in one volume, boards, price 9s. London: E.
Grattan, 51 Paternoster Row, 1837. According to the
announcement on the cover of Part I., there were to have
been ten parts, and india-proof impressions, 4to, price 2s.
Some of the unsigned plates are much inferior to those
bearing Onwhyn's signature. A set of these "Pickwick"
plates, in the original parts, have been catalogued at
fifteen guineas. Lithographic _replicas_ were issued in
small 8vo by J. Newman, 48 Watling Street, 1848, for
insertion in the first Cheap Edition of "Pickwick." Twelve
of these plates (etched by J. Yeager) were included in a
"new edition" of "Pickwick" published by Carey, Lea, &
Blanchard, Philadelphia, 1838, and reprinted in 1850. (_See
also_ "Alfred Crowquill.")
ILLUSTRATIONS TO THE PICKWICK CLUB.--Twelve etchings on
steel, 1847. Published in green wrapper by A. Jackson, 224
Great Portland Street, in 1894. Prices, per set,
india-proofs 30s.; coloured by Pailthorpe, 25s.; plain, 18s.
ILLUSTRATIONS TO "NICHOLAS NICKLEBY."--"Edited by 'Boz.' By
Peter Palette, Esq." Forty etchings, comprising ten
portraits and thirty scenes. Issued in nine parts, demy 8vo,
price one shilling each, green and buff wrappers, having a
design representing an easel with a palette affixed.
Published at intervals from June 30, 1838, to October 31,
1839, and subsequently as a volume. London: E. Grattan,
Paternoster Row, 1839. The publisher, when launching these
designs, seemed unable to determine the exact number of
parts in which they should appear. On the wrappers of Parts
1 to 5 it is stated that they would be completed in eight
parts; on the wrappers of Parts 6 and 7, in ten parts; and
on that of Part 8, in nine parts. Parts 1 to 5 contain four
plates each, 6 to 8 contain five plates each, and 9 contains
five plates, thus making the full complement of forty
designs. The work was afterwards republished by Grattan &
Gilbert, 51 Paternoster Row, and again reprinted (_circa_
1847)--thirty-two plates only, which were styled
"proofs"--in small 4to, on buff paper. About the same time a
similar number of these designs were issued as lithographs,
in eight parts, small 4to. Newman, N.D.
In 1897, Mr. George Allen, of 156 Charing Cross Road, issued
india-proof impressions from the thirty-two original steel
plates for "Pickwick," and from thirty-eight for "Nickleby,"
the edition being strictly limited to 250 sets for each
work. Price £5, 5s. per set. Cloth portfolio, 12 by 9
inches, with title-page and list of subjects. The plates
have been well preserved.
H. M. PAGET.
PICKWICK PICTURES.--Six character sketches, printed in
colours, with letterpress. Crown 8vo. Illustrated wrapper.
London: Ernest Nister, 24 St. Bride Street, E.C. New York:
E. P. Dutton & Co., 31 West Twenty-Third Street, N.D.
F. W. PAILTHORPE.
PICKWICK.--Twenty-four etchings, from original drawings, of
scenes not previously illustrated. Impl. 8vo. Illustrated
wrapper. London: Robson & Kerslake, 1882. Price two guineas
the set, proofs on india-paper (before letters), three
guineas.
PICKWICK.--Three vignette titles, etched in 1892 for an
extended version of the Victoria Edition. An original tinted
drawing (unpublished) of "Gabriel Grub and the Goblin" is
included in Mr. Thomas Wilson's Collection.
OLIVER TWIST.--Twenty-one etchings. London: Robson &
Kerslake, 23 Coventry Street, Haymarket, 1886. Only fifty
sets printed, a few of which were coloured by the artist,
also proofs on india-paper, in portfolio.
GREAT EXPECTATIONS.--Twenty-one etchings. London: Robson &
Kerslake, 23 Coventry Street, Haymarket, 1885. Only fifty
sets printed, a few of which were coloured by the artist;
also proofs on india-paper, in portfolio.
Mr. Pailthorpe has designed and etched frontispieces (some
coloured) for reprints of the following: "The Strange
Gentleman" and "The Village Coquettes," 1880 (C. Hindley);
"Is She His Wife?" "Mr. Nightingale's Diary," and "The
Lamplighter," 1887 (Robson & Kerslake). The first set of
impressions of the frontispiece for "The Village Coquettes"
was coloured, after which the plate disappeared, so that no
plain impressions could be issued. The only uncoloured
print, taken before the completion of the etching, is
included in Mr. Thomas Wilson's Collection. This plate was
the artist's second attempt at designing.
Mr. Pailthorpe has etched a portrait of Samuel Weller
writing his love-letter, for "The Origin of Sam Weller"
(Jarvis & Son), 1883; the frontispiece and vignette-title
for "A New Piljian's Projiss, written by Mrs. Gamp, edited
by Charles Dickens," 1890 (unpublished); etched borders
containing characters and scenes from Dickens, for Mr.
William Wright, of Paris. The artist also designed six new
plates for the "Memoirs of Grimaldi," which, however, were
only edited by Dickens.
"JACOB PARALLEL."
"JACOB PARALLEL'S HANDS TO HUMPHREY'S CLOCK; or, Sketches
from the Clock Case."--Twelve etchings on steel,
illustrating "The Old Curiosity Shop" and "Barnaby Rudge."
Two parts, Impl. 8vo, green illustrated wrappers, price two
shillings each. London: G. Berger, Holywell Street, Strand,
N.D [1840-41]. A series of illustrations of the principal
scenes and portraits of the characters, ten for the first
story and two for the second. The design on the wrapper
represents Master Humphrey standing on a chair winding up
the clock, against which rests a framed portrait of "Boz."
E. RICHARDSON.
BARNABY RUDGE'S PORTRAIT GALLERY.--During the serial issue
of "Barnaby Rudge," Mr. W. Britain, 11 Paternoster Row,
advertised on one of the weekly wrappers (August 28, 1841) a
series of twenty "splendid engravings" by this artist, price
twopence, but I have never seen them.
THOMAS SIBSON.
"SIBSON'S RACY SKETCHES OF EXPEDITIONS, FROM THE PICKWICK
CLUB."--Ten etchings, with letterpress, demy 8vo, green
illustrated wrappers, price 2s. 6d. London: Sherwood,
Gilbert & Piper, 1838. The design on the wrapper depicts
Dickens standing on Mr. Pickwick's head, holding aloft an
enormous quill pen, the pseudonym "Boz" appearing on his
coat-sleeves." The above title is printed on the wrapper,
but on the title-page it runs thus: "Sketches of
Expeditions, from the Pickwick Club." The Preface reads as
follows: "Originally the Pickwick Club appeared with four
Illustrations: but since Death chilled the life-depicting
hand of poor Seymour, two Embellishments have disappeared,
while eight pages of letterpress have been added. These
papers, thus arranged, bursting as they do with incident,
and intoxicated as they are with wit, must have come before
the public without Illustrations for many of their most
striking scenes. Reader, were it not so, these Sketches had
never seen the light of your eyes. The artist's hope is (may
you find it not a vain one) that these humble efforts may
afford some of the pleasure he enjoyed when imagining
them.--11 Buckingham St., Portland Place, London. January
1st, 1838." A copy of this scarce work realised £18 at
Sotheby's in 1895.
"ILLUSTRATIONS OF MASTER HUMPHREY'S CLOCK."--Seventy-two
etchings, issued during the publication of this work,
1840-41. Eighteen parts, each containing four plates, some
with _remarques_. Impl. 8vo, green wrappers, price one
shilling each part. Afterwards issued in two volumes.
London: Robert Tyas, Paternoster Row, 1842. Only seventy
plates are mentioned on the title-page and in the index. On
some of the wrappers is a vignette of a clock, and on others
we find a representation of Master Humphrey sitting on a
chair. These plates are exceedingly scarce in the original
parts as issued, sets having been catalogued at twenty-five
guineas. Copies of some of the Sibson designs were etched by
J. Yeager for contemporary publication in a Philadelphia
edition of "Barnaby Rudge," together with similar _replicas_
of a few of "Phiz's" woodcuts which appeared in the
authorised English edition.
F. STONE, A.R.A.
NICHOLAS NICKLEBY.--"Three Portraits of Kate Nickleby,
'Tilda Price, and Madeline Bray, from original paintings by
Frank Stone, engraved [on steel] by Edward Finden, and
published with the approbation of Mr. Charles Dickens." For
the first Cheap Edition of "Nicholas Nickleby." Crown 8vo,
green wrappers, price one shilling. Proofs on india-paper,
4to, one shilling each portrait. London: Chapman & Hall,
186 Strand, 1848. The engraved titles are as follow: "Kate
Nickleby sitting for her Portrait," "'Tilda Price dressing
for the Tea Party," and "Madeline Bray pausing in her Work."
(_See pp. 178-9_).
"STYLUS."
"THE DICKENS AQUARELLES. FIRST SERIES."--"Twelve Original
Character Illustrations of the Pickwick Papers." Portfolio,
illustrated boards. New York. J. W. Bouton, 1152 and 706
Broadway, 1888.
"THE DICKENS AQUARELLES. SECOND SERIES."--"Twelve Original
Character Illustrations of 'The Old Curiosity Shop.'"
Portfolio, illustrated boards. Same publisher and date.
These inferior drawings are crudely coloured by hand, the
name of each Character being written in the margin.
WELD TAYLOR.
NICHOLAS NICKLEBY.--"The Baron von Grogzwig." Lithograph,
Impl. 8vo. "Sketches by Weld Taylor, No. 1." London: J.
Mitchell, 33 Old Bond Street, N.D. In 1838 Weld Taylor
reproduced by lithography the beautiful portrait of "Boz" by
S. Laurence.
C. H. WALL.
MARTIN CHUZZLEWIT.--Four woodcuts, 8vo, green illustrated
wrapper, price sixpence. London: Hexall & Wall, 113 Strand.
NELSON P. WHITLOCK.
DICKENS ILLUSTRATIONS.--"Twenty-four Original Sketches from
the Writings of Charles Dickens." 4to. No publisher's
imprint, N.D.
T. C. W.
"ILLUSTRATIONS TO MASTER HUMPHREY'S CLOCK."--Four
lithographs, illustrating the first portion of the story.
Impl. 8vo. No publisher's imprint, N.D. Issued without a
wrapper. Only two of these plates are signed (T. C. W.), and
under each appears a descriptive quotation.
W. C. W.
PICKWICK.--Twelve woodcut portraits of "Pickwick"
characters, first published in "Sam Weller's Jest Book,"
issued in penny numbers, and afterwards in Nos. 48, 51, 52
of a weekly paper called _The Casket_ (Dec. 2, 23, 30, 1837)
in twopenny numbers. London: Berger & Co., Holywell Street,
and Piggott & Co., Fleet Street, 1837.
ANONYMOUS.
"ORIGINAL ILLUSTRATIONS TO THE PICKWICK PAPERS."--Four parts, each
containing four designs. Price 2d. each part. Small 8vo. Green
illustrated wrapper, depicting portraits of fourteen Pickwickian
characters. London: W. Strange, Paternoster Row, N.D. [1847]. These
woodcuts were intended for binding in the first Cheap Edition. On the
wrapper of Part I. it is announced that the work would be completed in
eight parts, and that four engravings would be issued monthly; but it is
believed that the fourth part was the final one.
In 1838, a number of woodcut portraits of Dickens Characters were
published in _The Penny Satirist_ and in _Cleave's Penny Gazette of
Variety_ (_Late the London Satirist_), afterwards called _Cleave's
Gazette of Varieties_. These woodcuts consist of a series of twelve
"Portraits of Oliver Twist" and twelve "Characters from 'Nicholas
Nickleby,'" with descriptive quotations, &c., and were enlarged copies
of the figures in the original etchings by Cruikshank and "Phiz." They
were afterwards re-issued on a broad sheet, with the title, "Cleave's
Twelfth-Night Characters," and sold by J. Cleave, 1 Shoe Lane, Fleet
Street.
In 1841, Cleave issued a work called "Parley's Penny Library," in which
were introduced selections (in the form of dialogues) from "The Old
Curiosity Shop" and "Barnaby Rudge," then in course of publication. They
were illustrated by means of wood-engravings, the majority of those in
"Barnaby Rudge" being enlarged copies from "Phiz's" original designs.
These woodcuts (twelve in number) were also reprinted, with the title,
"Cleave's Gallery of Comicalities--Recollections of Barnaby Rudge."
On the wrapper of the fourth weekly number of "Master Humphrey's Clock"
(April 25, 1840) appears the following announcement: "Cheap
illustrations of Boz. Now publishing, on a broad-sheet, nearly as large
as _The Times_, price 2d. 'The Twist and Nickleby Scrap Sheet,' with
twenty-four engraved portraits. Also, price 2d., 'Sam Weller's Scrap
Sheet,' containing forty portraits of all the Pickwick characters. The
above sheets are enriched with poetic effusions by A. Snodgrass, Esq.,
M.P.C., and will be found worthy the attention of all who desire 'to
laugh and grow fat;' they are alike fit for the scrap-book of the
mansion or the walls of the cottage." These scarce sheets were issued by
Cleave, having doubtless first been published in his _Gazette_.
Certain dramatised versions of Dickens's stories, by E. Stirling and
others (published by John Duncombe & Co., 10 Middle Row, Holborn),
contain frontispieces etched by Findlay, which are worthy of the
Collector's attention. Besides these, innumerable Dickens illustrations
have appeared from time to time, embracing every form of reproductive
art. Calendars, relief scraps, booklets, &c, &c, both in colour and in
black-and-white, are brought out by enterprising firms year by year, and
merely to catalogue them would now be practically impossible.
NOTES ON SOME OF THE ARTISTS.
"ALFRED CROWQUILL."--The actual name of the artist who favoured this
pseudonym was Alfred Henry Forrester. Born in 1804, he began his career
as a draughtsman when eighteen years of age, distinguishing himself
rather by his correctness than by serious forms of illustration. At the
death of Seymour in 1836, he competed with "Phiz," Thackeray, Leech, and
others for the vacant post as illustrator of "Pickwick," but without
success. For a time he belonged to the staff of _Bentley's Miscellany_,
and many of his etchings appeared in that journal during 1840-43. He was
able to use his pen and pencil with equal facility and ability; in
addition to this he was an admirable vocalist, and we are told that most
of the Christmas pantomimes of his day were indebted to him for clever
designs, devices, and effects. Forrester was also a member of the
_Punch_ staff, where, owing to his happy and genial disposition, he was
highly popular. Besides his "Pickwick Pictures," there are other designs
by him possessing a Dickensian interest, viz., the illustrations which
he supplied to a curious production entitled "Pickwick Abroad; or, The
Tour in France," which was launched by G. W. M. Reynolds in 1839.
"Alfred Crowquill" died in 1872, aged sixty-eight.
KENNY MEADOWS.--This clever draughtsman (who abandoned the use of his
first Christian name, Joseph), was the son of a retired naval officer,
and was born at Cardigan in 1790. He has been described as "the Nestor
of _Punch's_ staff," and not only did he contribute many humorous
designs to the pages of the Fleet Street journal during the 'forties,
but he frequently prepared elaborate drawings for the _Illustrated
London News_, in the early volumes of which may be found his most
successful delineations. His representations of fairy subjects, although
marked by mannerisms, were in great request. His work is hardly
remembered in this generation, but to speak of Kenny Meadows "is to
recall the typical art of the illustrator and (such as it was) of the
comic draughtsman of the first half of the century."
During his last years Kenny Meadows's services as an illustrator of
books were rewarded by a pension from the Civil List of £80 per annum.
He was a boon companion, a delightful _raconteur_ when at the club, and
a jovial, roystering Bohemian when he left it. This generous and
kind-hearted man died in 1874, when he had almost completed his
eighty-fifth year.
It is worth recording that a highly-finished drawing, in pen and ink and
sepia, of Ralph Nickleby, designed by Kenny Meadows as an illustration
for his series of "Heads from 'Nicholas Nickleby,'" realised £7, 10s. at
Sotheby's in 1893, the drawing being about twice the size of the
engraving.
T. ONWHYN.--This artist, best known perhaps by his Extra Illustrations
to "Pickwick" and "Nicholas Nickleby," was the son of a bookseller in
Catherine Street, Strand. He signed his Dickens etchings with a
pseudonym, adopting in the one instance that of "Sam Weller, Junr.," and
in the other that of "Peter Palette." Onwhyn also prepared several
plates for "Valentine Vox" and other novels by Cockton. He occasionally
contributed to _Punch_, but was more accustomed to the etching-needle
than the pencil, his drawing on wood being hard and unsympathetic. This
popular book-illustrator died in 1886, having then relinquished drawing
for a period of sixteen years.
The twelve plates etched by Onwhyn in 1847 to illustrate the first Cheap
Edition of "Pickwick" were intended for independent publication, to
compete with the series of extra engravings by Gilbert; but before there
was time to complete the necessary arrangements the set of etchings
produced by him in 1837 were re-issued. This took the artist by
surprise, and he therefore abandoned the idea of circulating the new
designs. The plates were put aside, and their existence forgotten until
1893, when they were unearthed by the Onwhyn family, and subsequently
purchased by Mr. Albert Jackson, of Great Portland Street, who published
them in 1894.
"JACOB PARALLEL."--The etched illustrations by this artist for "Master
Humphrey's Clock" are decidedly crude, contemporary criticisms
notwithstanding. Their publication was announced in a somewhat original
manner on the wrappers of Dickens's work, when the latter was launched
in weekly numbers. One of these advertisements begins thus: "A clock is
of no use without hands! Then, buy 'Hands to Master Humphrey's Clock.'"
Concerning these curious illustrations a contemporary critic punningly
observed: "These 'Hands' are, upon the _face_ of them, a very _striking_
matter, and no clock ought to be _wound up_ without them.... They give
the finish that was wanted to the 'Clock,' and the public will, we have
no doubt, keep them going."
In 1840, a book was published in parts (by G. Berger, Holywell Street),
entitled "Charley Chalk; or, The Career of an Artist," with
illustrations by "Parallel." These designs were declared to be "superior
to many in 'Nickleby,'" while the volume itself was described by
reviewers as "another 'Pickwick,'" and as "the only work fit to stand by
the side of 'Boz.'"
F. W. PAILTHORPE.--This essentially humorous artist and etcher, who is
still living, may be correctly designated the only survivor of the "old
school" of book-illustrators, as represented by Cruikshank and "Phiz."
Mr. Pailthorpe was a personal friend of the former, to whom he sometimes
alludes as "dear old George Cruikshank," and doubtless this association
with the famous designer considerably influenced the style and manner of
Mr. Pailthorpe's work. Indeed, this seems obvious to any one who
compares the many Dickens plates drawn and etched by him with similar
designs by the illustrator of "Sketches by Boz" and "Oliver Twist." A
noteworthy feature of Mr. Pailthorpe's illustrations for Dickens's works
is that a limited number of impressions have been coloured by his own
hand, and the designs so treated are, in that respect, reminiscent of
John Leech's plates for "A Christmas Carol."
Mr. Pailthorpe, by reason of his unique position as the sole
representative of the "old school" of book-illustrators, has received
commissions from publishers to copy the etched designs by other artists,
in cases where the original plates have been lost or are otherwise
inaccessible. He has thus reproduced "Crowquill's" "Pickwick"
illustrations, the two cancelled designs by Buss for the same work, two
of Onwhyn's illustrations for "Nickleby," and, quite recently, the two
etchings by Cruikshank for the Mudfog Papers; these _replicas_ have just
appeared in the Gadshill Edition now being issued by Chapman & Hall.
CHARLES DANA GIBSON.--This young American artist, who has frequently
contributed to a New York journal called _Life_, recently essayed to
illustrate Dickens by means of a series of cleverly-executed drawings
representing some of the principal characters and incidents. The most
satisfactory is his picture of the Pickwick Club, the portrait of Mr.
Pickwick himself being capitally depicted. There is a distinct
individuality of style in Mr. Gibson's work, rendered for the most part
in pen-and-ink, and marked by a simplicity of treatment which is
eminently attractive and effective. Although great ability in
draughtsmanship distinguishes all his drawings, it may be contended that
he is not invariably fortunate in realising the novelist's conceptions.
Mr. Gibson's drawings of Dickens subjects have been excellently
reproduced on both sides of the Atlantic.
APPENDIX
III
DICKENS IN ART
Paintings of Scenes and Characters in Dickens's
Novels--Portraits of Dolly Varden and Kate Nickleby Painted
for the Novelist by Mr. W. P. Frith, R.A.--A Humorous
Advertisement--Sale of the Two Pictures--Mr. Frith's
Recollections--Mr. James Hamilton Presents to Dickens his
Sketch of "What are the Wild Waves Saying?"--The Artist
Rewarded for his Generosity--Water-Colour Drawings by
Charles Green--How they Originated--An Interesting Series.
The novels of Charles Dickens are an interminable storehouse of subjects
for pictures, so it is not surprising that they have always exercised a
fascination over painters. The following is a list merely of those
pictures that have come under my notice,--a collection which, doubtless,
could be much amplified by reference to the catalogues of the Royal
Academy and other important Art galleries.
W. A. ATKINSON.--"Little Nell and the two Gravediggers"
("The Old Curiosity Shop"). Royal Academy, 1856.
FRED. BARNARD.--"Sidney Carton" ("A Tale of Two Cities").
Exhibited at the Royal Academy, 1882.
"Horatio Sparkins" ("Sketches by Boz"). Institute of
Painters in Water-Colours, 1885.
W. H. BARTLETT.--"'The sea, Floy, what is it always
Saying?'" ("Dombey and Son").
EDGAR BUNDY, R.I.--"Barnaby Rudge at the Country Justice's."
Institute of Painters in Oil-Colours, 1896.
R. W. BUSS.--"Peerybingle, Dot, and Tilly Slowboy" ("The
Cricket on the Hearth").
"Joe Willet taking leave of Dolly Varden" ("Barnaby Rudge").
"Trotty Veck and his Dinner" ("The Chimes"). (_See p. 55._)
G. CATTERMOLE.--"Little Nell's Home" ("The Old Curiosity
Shop"), 1842.
"Little Nell's Grave" (companion picture), 1842. (_See p.
134._)
HORACE H. CAUTY.--"Bebelle looking out for the Corporal"
("Somebody's Luggage"). Society of British Artists, 1880.
HERBERT DICKSEE. "The Grandfather at the Grave of Little
Nell." Royal Academy, 1887.
W. MAW EGLEY.--"The Marchioness Playing Cribbage in Dick
Swiveller's Sick-Room" ("The Old Curiosity Shop"). Royal
Academy, 1898.
F. EDWIN ELWELL.--"Charles Dickens and Little Nell." A
bronze group, purchased by the Fairmount Park Art
Association for the Fairmount Park, Philadelphia, U.S.A. The
figure of Little Nell was exhibited at the Art Club,
Philadelphia, and awarded the Gold Medal, while the entire
group obtained a prize at the Columbian Exhibition. When
exhibited in England, this work of Art met with warm
approval, and the sculptor offered it to the London County
Council, but the emphatic wish of Dickens (as expressed in
his Will) prohibited their acceptance of this interesting
memorial.
W. P. FRITH, R.A.--"Dolly Varden," 1843. Also _replicas_ and
other portraits, including one representing her with Emma
Haredale. (_See pp. 246-7._)
"Kate Nickleby at Madame Mantalini's." Royal Academy, 1843.
"The Jailer's Little Daughter Feeding 'the Birds in the
Cage.'" ("Little Dorrit").
"Little Dorrit Visits Arthur Clennam at the Marshalsea."