Part 8

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._

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.

The interest of a few of these drawings is considerably enhanced by the 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._

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.

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[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."

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[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.

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[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.