Part 1

TRANSCRIBER NOTES:

Underscores at the start and end of a word indicate that the word appears in italics in the original. Example: _SECOND EDITION_

Equal signs at the start and end of a word indicate that the word appears as bold in the original. Example: =SECOND EDITION=

Footnotes have been moved to immediately below the paragraph in which the reference appears.

Additional Transcriber Notes can be found at the end of this project.

DICKENS

AND HIS ILLUSTRATORS

PLATE I

CHARLES DICKENS

From a scarce Lithograph by

SOL. EYTINGE, JUNR.

This Portrait was published during the Novelist's last visit to America (1867-68), by Fields, Osgood & Co., of Boston, their advertisement describing it as "an Authentic Portrait of Charles Dickens, drawn on stone by S. Eytinge, Jr., whose Illustrations of Dickens's Novels have been so popular." The late Mr. J. R. Osgood did not recall any actual sitting for the Portrait, but remembers that Eytinge often saw Dickens while making the drawing. The impression from which the present reproduction was made is particularly interesting on account of the quotation from "A Christmas Carol" in the autograph of Dickens.

_Lent by Mr. Stuart M. Samuel._

DICKENS

AND HIS ILLUSTRATORS

CRUIKSHANK, SEYMOUR, BUSS, "PHIZ," CATTERMOLE LEECH, DOYLE, STANFIELD, MACLISE, TENNIEL FRANK STONE, LANDSEER, PALMER, TOPHAM MARCUS STONE, AND LUKE FILDES

BY

FREDERIC G. KITTON AUTHOR OF "CHARLES DICKENS BY PEN AND PENCIL," ETC.

WITH TWENTY-TWO PORTRAITS AND FACSIMILES OF SEVENTY ORIGINAL DRAWINGS NOW REPRODUCED FOR THE FIRST TIME

_SECOND EDITION_

LONDON GEORGE REDWAY 1899

TO

CHARLES DICKENS'S DAUGHTER

KATE PERUGINI

THESE NOTES UPON THE ILLUSTRATIONS TO HER FATHER'S WRITINGS

_are respectfully dedicated_

BY THE AUTHOR

PREFACE

In the matter of pictorial embellishment, the writings of Charles Dickens may be regarded as occupying a unique position. The original issues alone present a remarkable array of illustrations; and when we remember the innumerable engravings specially prepared for subsequent editions, as well as for independent publication, we are fain to confess that, in this respect at least, the works of "Boz" take precedence of those of any other novelist. These designs, too, are of particular interest, inasmuch as they are representative of nearly every branch of the art of the book-illustrator; both the pencil of the draughtsman and the needle of the etcher have been requisitioned, while the brush of the painter has depicted for us many striking scenes culled from the pages of Dickens.

The evolution of a successful picture, as exhibited by means of preparatory sketches, is eminently instructive to the student of Art. The present volume should therefore appeal not merely to the Dickens Collector, but to all who appreciate the artistic value of tentative studies wrought for a special purpose. The absolute _facsimiles_, here given for the first time, enable us to obtain an insight into the methods adopted by the designers in developing their conceptions, those methods being further manifested by the aid of correspondence which, happily, is still extant.

Referring to Dickens's intercourse with his Illustrators, Forster significantly observes that the artists certainly had not an easy time with him. The Novelist's requirements were exacting even beyond what is ordinary between author and illustrator; for he was apt (as he himself admitted) "to build up temples in his mind not always makeable with hands." While resenting the notion that Dickens ever received from any artist "the inspiration he was always striving to give," his biographer assures us that, so far as the illustrations are concerned, he had rarely anything but disappointments,--a declaration which apparently substantiates the statement (made on good authority) that the Novelist would have preferred his books to remain unadorned by the artist's pencil. That the vast majority of his readers approved of such embellishment cannot be questioned, for the genius of Cruikshank and "Phiz" has done much to impart reality to the persons imagined by Dickens. We are perhaps even more indebted to the excellent illustrations than to the Author's descriptions for the ability to realise the outward presentments of Pickwick, Fagin, Micawber, and a host of other characters, simply because the material eye absorbs impressions more readily than the mental eye.

That Dickens's association with his Illustrators was something more than mere coadjutorship is evidenced both in Forster's "Life" and in the published "Letters." From these sources we derive much information tending to prove the existence of a warm friendship subsisting between Author and Artists; indeed, the latter (with two or three exceptions) were privileged to enjoy the close personal intimacy of Dickens and his family circle. Recalling the fact that the Novelist not unfrequently availed himself of the traits and idiosyncrasies of his familiars, it seems somewhat strange that in the whole range of his creations we fail to discover a single attempt at the portraiture of an artist; for those _dilettanti_ wielders of the brush, Miss La Creevy and Henry Gowan, can scarcely be included under that denomination.

During the earlier part of this century the illustrators of books seldom, if ever, resorted to the use of the living model. Such experts as Cruikshank, Seymour, "Phiz," Maclise, Doyle, and Leech were no exceptions to this rule; but at the beginning of the sixties there arose a new "school" of designers and draughtsmen, prominent among them being Leighton, Millais, Walker, and Sandys. Those popular Royal Academicians, Mr. Marcus Stone and Mr. Luke Fildes (the illustrators respectively of "Our Mutual Friend" and "Edwin Drood"), are almost the only surviving members of that confraternity; they, however, speedily relinquished black-and-white Art in order to devote their attention to the more fascinating pursuit of painting. While admitting the technical superiority of many of the illustrations in the later editions of Dickens's works (such as those by Frederick Barnard and Charles Green), the collector and bibliophile claim for the designs in the original issue an interest which is lacking in subsequent editions; that is to say, they possess the charm of association--a charm that far outweighs possible artistic defects and conventions; for, be it remembered, these designs were produced under the direct influence and authorisation of Dickens, and by artists who worked hand in hand with the great romancer himself.

It is averred that "Phiz," who rightly retains the _premier_ position among Dickens's Illustrators, placed very little value upon his tentative drawings, which, as soon as they had served their purpose, were either thrown upon the fire or given away incontinently to those who had the foresight to ask for them. Fortunately, the recipients were discriminating enough to treasure these pencillings, many of them having since been transferred to the portfolios of collectors. For the privilege of reproducing interesting examples I am indebted to Her Grace the Duchess of St. Albans, Mr. J. F. Dexter, Mr. M. H. Spielmann, Mr. W. H. Lever, Messrs. Robson & Co., the Committee of Nottingham Castle Museum, and others. I am especially grateful to Mr. Augustin Daly, of New York, for so generously permitting me to photograph the famous "Pickwick" drawings by Seymour, together with a hitherto unpublished portrait of that artist. The portrait of Dickens forming the frontispiece to this volume is reproduced from a unique impression of a very scarce lithograph in the possession of Mr. Stuart M. Samuel.

In order to give an effect of continuity to my Notes, I have lightly sketched the career of each Artist, introducing in chronological sequence the facts relating to his designs for Dickens. In several cases, the proof-sheets of these chapters have been revised by the representatives of the Artists to whom they refer, and for valued aid in this direction my cordial thanks are due to the Rev. A. J. Buss, Mr. Field Stanfield, Mr. A. H. Palmer, and Mr. F. W. W. Topham. Those of Dickens's Illustrators who are still with us have furnished me with much information, and have kindly expressed their approval of what I have written concerning them. I therefore avail myself of this opportunity of tendering my sincere thanks, for assistance thus rendered, to Mr. Marcus Stone, R.A., Mr. Luke Fildes, R.A., Mr. W. P. Frith, R.A., and Sir John Tenniel, R.I., whose mark of approbation naturally imparts a special value to the present record. I am still further indebted to Mr. Stone and Mr. Fildes for the loan of a number of their original drawings and sketches for Dickens, which have not hitherto been published.

Owing to the circumstance that many of the so-called "Extra" Illustrations are now extremely rare, my list of them could never have been compiled but for advantages afforded me by collectors, in allowing me to have access to their Dickensiana. The kind offices of Mr. W. R. Hughes, Mr. Thomas Wilson, Mr. W. T. Pevier, and Mr. W. T. Spencer are gratefully acknowledged in this connection, as well as those of Mr. Dudley Tenney of New York, who has rendered me signal service in respect of American Illustrations.

To Forster's "Life of Dickens" and to the published "Letters" I am naturally beholden for information not otherwise procurable, while certain interesting details concerning "Phiz's" drawings and etchings are quoted from Mr. D. C. Thomson's "Life and Labours of Hablôt K. Browne," which is more extended in its general scope than my previously-issued Memoir of the artist.

I am privileged to associate the names of Miss Hogarth and Mrs. Perugini with this account of Charles Dickens and his _collaborateurs_; to the former I am obliged for permission to print some of the Novelist's correspondence which has never previously been made public, while the latter has favoured me with the loan of photographic portraits. Finally, I must express my indebtedness for much valuable aid to George Cattermole's daughter, Mrs. Edward Franks, the "cousin" to whom the Novelist alluded in a letter to her father dated February 26, 1841, and to whose "clear blue eyes" he desired to be commended.

F. G. KITTON.

ST. ALBANS, _September 1898_.

CONTENTS

PAGE

PREFACE vii LIST OF ILLUSTRATIONS xv GEORGE CRUIKSHANK 1 ROBERT SEYMOUR 29 ROBERT W. BUSS 47 HABLÔT K. BROWNE ("PHIZ") 58 GEORGE CATTERMOLE 121 ILLUSTRATORS OF THE CHRISTMAS BOOKS 136 JOHN LEECH 138 RICHARD DOYLE 149 CLARKSON STANFIELD, R.A. 153 DANIEL MACLISE, R.A. 161 SIR JOHN TENNIEL 172 FRANK STONE, A.R.A. 175 SIR EDWIN LANDSEER, R.A. 180 SAMUEL PALMER 182 F. W. TOPHAM 189 MARCUS STONE, R.A. 192 LUKE FILDES, R.A. 204

APPENDIX

I. ILLUSTRATORS OF CHEAP EDITIONS 219 II. CONCERNING "EXTRA ILLUSTRATIONS" 227 III. DICKENS IN ART 243

INDEX 249

LIST OF ILLUSTRATIONS

_No. of Plate._ _Subject._ _Artist._

1. Portrait of CHARLES DICKENS SOL. EYTINGE, Junr. Frontispiece 2. Portrait of GEORGE CRUIKSHANK BAUGNIET Facing page 1 3. "Jemima Evans."--_Sketches by Boz_ G. CRUIKSHANK „ 4 4. "The Four Miss Willises."--_Sketches by Boz_ „ „ 6 5. "Thoughts about People."--_Sketches by Boz_ „ „ 8 6. "The Parish Engine."--_Sketches by Boz_ „ „ 10 7. Studies for Scenes and Characters.--_Sketches by Boz_ „ „ 12 8. "Mr. Bumble Degraded in the Eyes of the Paupers."--_Oliver Twist_ „ „ 14 9. "Mr. Claypole as he Appeared when his Master was Out."--_Oliver Twist_ „ „ 16 10. "Oliver Amazed at the Dodger's Mode of 'Going to Work.'"--_Oliver Twist_ „ „ 18 11. Studies for Bill Sikes, Nancy, and the Artful Dodger.--_Oliver Twist_ „ „ 20 12. Studies for Bill Sikes in the Condemned Cell.--_Oliver Twist_ „ „ 22 13. Study for "Fagin in the Condemned Cell."--_Oliver Twist_ „ „ 24 14. First Idea for "Fagin in the Condemned Cell" and other Sketches.--_Oliver Twist_ „ „ 26 15. Portrait of ROBERT SEYMOUR TAYLOR „ 29 16. "Mr. Pickwick Addresses the Club."--_The Pickwick Papers_ R. SEYMOUR „ 32 17. "The Pugnacious Cabman."--_The Pickwick Papers_ „ „ 34 18. "Dr. Slammer's Defiance of Jingle."--_The Pickwick Papers_ „ „ 36 19. First Study for "The Dying Clown."--_The Pickwick Papers_ „ „ 38 20. "The Runaway Chaise."--_The Pickwick Papers_ „ „ 40 21. "The Pickwickians in Mr. Wardle's Kitchen."--_The Pickwick Papers_ „ „ 42 22. Portrait of ROBERT W. BUSS R. W. BUSS „ 47 23. Unused Design for the Title-Page.--_The Pickwick Papers_ „ „ 48 24. "The Break-down."--_The Pickwick Papers_ „ „ 50 25. "A Souvenir of Dickens" „ „ 52 26. Dolly Varden.--_Barnaby Rudge_ „ „ 54 27. Florence Dombey and Captain Cuttle.--_Dombey and Son_ „ „ 56 28. Portraits of HABLÔT K. BROWNE and ROBERT YOUNG From Photographs „ 58 29. "A Sudden Recognition, Unexpected on Both Sides."--_Nicholas Nickleby_ H. K. BROWNE „ 64 30. Studies for the Cheeryble Brothers.--_Nicholas Nickleby._ „ „ 68 31. Master Humphrey and the Deaf Gentleman.--_Master Humphrey's Clock_ „ „ 72 32. "The Dombey Family."--_Dombey and Son_ „ „ 76 33. "Paul and Mrs. Pipchin."--_Dombey and Son._ „ „ 80 34. "Mr. Peggotty's Dream comes True."--_David Copperfield_ „ „ 84 35. "Mr. Chadband 'Improving' a Tough Subject."--_Bleak House_ „ „ 92 36. Dolly Varden.--_Barnaby Rudge_ H. K. BROWNE „ 98 37. Miss Haredale.--_Barnaby Rudge_ „ „ 110 38. Portrait of GEORGE CATTERMOLE From a Photograph „ 121 39. Quilp's Wharf.--_The Old Curiosity Shop_ G. CATTERMOLE „ 124 40. The Death-bed of Little Nell (Two Studies).--_The Old Curiosity Shop_ „ „ 126 41. The Night Watchman and The "Maypole" Inn.--_Barnaby Rudge_ „ „ 130 42. The Murder at the Warren.--_Barnaby Rudge_ „ „ 132 43. Portrait of JOHN LEECH Sir J. E. MILLAIS, P.R.A „ 138 44. "Richard and Margaret."--_The Chimes_ J. LEECH „ 140 45. "John, Dot, and Tilly Slowboy."--_The Cricket on the Hearth_ „ „ 142 46. "Caleb at Work."--_The Cricket on the Hearth_ „ „ 144 47. "The Tetterbys."--_The Haunted Man_ „ „ 146 {From a Photograph, and} 48. Portraits of RICHARD DOYLE and D. MACLISE, R.A. {from the Painting by } „ 149 {E. M. Ward, R.A } 49. Portraits of CLARKSON STANFIELD, R.A., and FRANK STONE, A.R.A From Photographs „ 153 50. "War" and "Peace."--_The Battle of Life_ C. STANFIELD, R.A „ 156 51. "The Tower of the Chimes" and "The Spirit of the Chimes."--_The Chimes_ D. MACLISE, R.A. „ 162 52. "Milly and the Old Man."--_The Haunted Man_ F. STONE, A.R.A „ 176 53. Portraits of SIR JOHN {From a Photograph, and} TENNIEL, R.I., and SIR {from the Painting by } EDWIN LANDSEER, R.A {Sir F. GRANT, P.R.A} „ 180 54. Portraits of F. W. TOPHAM and SAMUEL PALMER From Photographs „ 182 55. "The Villa D'Este."--_Pictures from Italy_ S. PALMER „ 186 56. Portrait of MARCUS STONE, R.A From a Photograph „ 192 57. Studies for "Mr. Venus Surrounded by the Trophies of his Art."--_Our Mutual Friend_ MARCUS STONE, R.A „ 194 58. Monsieur Defarge and Doctor Manette.--_A Tale of Two Cities_ „ „ 196 59. "Black and White."--_American Notes_ „ „ 198 60. "Taking Leave of Joe."--_Great Expectations_ „ „ 200 61. Portrait of LUKE FILDES, R.A From a Photograph „ 204 62. Study for the Head of Neville Landless.--_The Mystery of Edwin Drood_ L. FILDES, R.A „ 206 63. Studies for Edwin Drood.--_The Mystery of Edwin Drood_ „ „ 208 64. Studies for Mr. Jasper.--_The Mystery of Edwin Drood_ „ „ 210 65. Study for "Good-bye, Rosebud, Darling."--_The Mystery of Edwin Drood_ „ „ 212 66. Study for Mr. Grewgious.--_The Mystery of Edwin Drood_ „ „ 214 67. Do. do. do. do. „ „ 216 68. Portraits of ALFRED CROWQUILL (A. H. Forrester) and FREDERICK BARNARD, R.I From Photographs „ 228 69. Portraits of F. W. PAILTHORPE and CHARLES GREEN, R.I. „ „ 232

_The Frontispiece Portrait of Charles Dickens was photo-engraved by Mr. E. Gilbert Hester, and the Collotype Plates were prepared and printed by Mr. James Hyatt._

PLATE II

GEORGE CRUIKSHANK

From the Lithograph by

BAUGNIET

This Portrait is a reproduction of a proof impression, showing the retouching by Cruikshank himself.

DICKENS AND HIS ILLUSTRATORS

GEORGE CRUIKSHANK

First Start in Life--Early Productions--"SKETCHES BY BOZ"--Introduction to Dickens--First and Second Series of the "Sketches"--Extra Plates--Additional Designs for the Complete Edition--Portraiture of Artist and Author--Historic Value of Cruikshank's Illustrations--Some Slight Inaccuracies--Frontispiece of the First Cheap Edition--Tentative Sketches and Unused Designs--"OLIVER TWIST"--Incongruities Detected in a Few of the Plates--Thackeray's Eulogium--Working Tracings and Water-Colour _Replicas_--Trial Sketches--A Note from Cruikshank to Dickens--Sketches of Bill Sikes in the Condemned Cell--How the Design for "Fagin in the Condemned Cell" was Conceived--A Criticism by Ruskin--The Cancelled Plate--Cruikshank's Claim to the Origin of "Oliver Twist"--Designs for Dickens's Minor Writings in BENTLEY'S MISCELLANY--"The Lamplighter's Story"--Cruikshank's Last Illustration for Dickens--"Frauds on the Fairies"--The Artist's Remuneration--Death.

The name of George Cruikshank, which stands first in the long and imposing list of Dickens Illustrators, is familiar to every one as that of a pencil humorist of no common calibre, whose genius as a designer and whose marvellous skill as an etcher have evoked enthusiastic praise from John Ruskin and other eminent critics. He undoubtedly inherited his artistic talent from his father, who was not only an etcher and engraver, but (as George himself has recorded) "a first-rate water-colour draughtsman." So experienced an artist was therefore thoroughly capable of training his sons, George and Isaac Robert, for the same profession.

Like most boys, George dreamt of the sea, aspiring to become a second Captain Cook; but, happily, the death of his father compelled him to take up seriously the work of designing, in order that he might assist in maintaining his mother and sister. His first start in life originated in a publisher seeing some of his sketches, which indicated such unusual talent that he was immediately engaged to illustrate children's books, songs, and other cheap literature peculiar to the period. Then the young artist essayed the more profitable arena of political caricaturing, distinctly making his mark as a satirist Realising at this time his imperfections as a draughtsman, he determined to acquire the art of drawing with correctness, entering the Royal Academy as a student; but, finding it difficult to work on pedantic lines, his resolution soon waned, and, after one course of study, he left the place for a short interval of--forty years! Although he never became the learned artist, nor was able to draw with academic accuracy, he wielded his pencil with a facility and vigour that delighted all beholders, and this deftness, combined with a remarkable sense of humour and satire, speedily brought him commissions from every quarter.

It was as a book-illustrator that George Cruikshank undoubtedly excelled, and some idea of his industry in this direction (during a period of eighty years of his busy life) may be obtained from G. C. Reid's comprehensive catalogue of his works, where we find enumerated more than five thousand illustrations on paper, wood, copper, and steel. This, however, by no means exhausts the list, for the artist survived the publication of the catalogue several years, and was "in harness" to the end of his long career. If the works described by Mr. Reid be supplemented by the profusion of original sketches and ideas for his finished designs, the number of Cruikshank's productions may be estimated at about fifteen thousand!