Dickens and His Illustrators / Cruikshank, Seymour, Buss, "Phiz," Cattermole, Leech, Doyle, Stanfield, Maclise, Tenniel, Frank Stone, Landseer, Palmer, Topham, Marcus Stone, and Luke Fildes / 2nd. Ed.

Mr. Stone enjoys the distinction of having introduced to Dickens's notice the original of that remarkable personage, Mr. Venus. Early in 1864, the artist was engaged upon a painting representing a "loafing" deserter being marched off under arrest, while some busy workmen temporarily suspend their labours in order to watch the military procession as it wends its way along a public thoroughfare.[48] The artist desired to introduce into the composition a begging dog, but, not succeeding to his own satisfaction, he consulted a brother-artist (well known for his clever delineation of animals), who said, "Why don't you go to Willis? He will soon find you a dog, and 'set him up' for you." Willis was a taxidermist, who lived on the north side of St. Andrew's Street, near Seven Dials, and to him Mr. Stone at once stated his requirements, with the result that in the course of a few days the stuffer of skins went to Mr. Stone's studio accompanied by a dog such as the artist had described. The animal being deemed suitable, its fate was sealed, and there is a touch of pathos in the recollection that the little creature made such friendly overtures to the artist during the interview that he felt very much averse to authorising its destruction. However, sad to relate, he hardened his heart, and the poor beast was "set up" accordingly. On the evening of the day when Mr. Stone first called upon Willis, and observed the strange environment resulting from the man's occupation, he was invited by Dickens to go with him to the play, and between the acts the novelist enquired if he knew of any peculiar avocation, as he wished to make it a feature of his new story,—"it must be something very striking and unusual," he explained. The artist immediately recalled Willis as he appeared when "surrounded by the trophies of his art," and informed Dickens that he could introduce him to the very thing. Delighted with the suggestion, the novelist appointed "two o'clock sharp" on the following day, for a visit to Willis. It happened that the man was absent when they called, but Dickens, with his unusually keen power of observation, was enabled during a very brief space to take mental notes of every detail that presented itself, and his readers were soon enjoying his vivid portrayal of that picturesque representative of a curious profession, Mr. Venus. The novelist was so elated by the discovery that he could not refrain from confiding the secret to Forster: "While I was considering what it should be," he wrote, "Marcus, who has done an excellent cover, came to tell me of an extraordinary trade he had found out, through one of his painting requirements. I immediately went with him to St. Giles's to look at the place, and found—what you will see."

Mr. Stone visited Willis's shop two or three times for the purpose of sketching, in order that he might effectively introduce the more salient features into his drawing. The illustration gives an approximate representation of that dingy interior, with its "bones warious; bottled preparations warious; dogs, ducks, glass eyes, warious;" but, in delineating the proprietor, the artist did not attempt to give a true presentment of Willis, whom, by the way, Dickens never saw, and who never suspected that it was his own establishment which figures in the story.

In all the illustrations there is that happy delineation of character which indicates how admirably the artist understood his author. Perhaps the most successful designs are those where Rogue Riderhood appears, particularly that in which we behold the thankless ruffian at the moment of his recovery from "that little turn-up with Death;" while among other drawings deserving attention special mention must be made of those containing the quaint and pathetic figure of Jenny Wren, and of that entitled "The Boofer Lady," the latter denoting Mr. Stone's ability, even at this early date, in depicting a pretty woman,—an art in which he has since displayed such consummate skill.

Plate LX

"TAKING LEAVE OF JOE"
Facsimile of the Original Drawing for the Library Edition of "Great Expectations" by
MARCUS STONE, R.A.

Mr. Marcus Stone claims the credit of bringing into repute the now universal custom of duplicating drawings upon wood-blocks by means of photography, his illustrations for Anthony Trollope's story, "He Knew He was Right," being the first thus treated. The adoption of this plan secures the preservation of the original designs, and therefore renders them available for comparison with the engraved reproductions. Mr. Stone, nevertheless, is by no means satisfied with the engraver's treatment of his work, nor is this surprising when we critically examine such deplorable examples of wood-engraving as instanced in the illustrations entitled "The Garden on the Roof" and "Eugene's Bedside." In one of the designs, that representing "The Boffin Progress," it will be noticed that the wheels on the "off-" side of the Boffin chaise are omitted, an oversight (explains Mr. Stone) for which the engraver is really responsible.

The original sketches for "Our Mutual Friend" were disposed of by the artist, many years ago, to the late Mr. F. W. Cosens, who desired to add them to his collection of Dickensiana. At the sale in 1890 of that gentleman's effects at Sotheby's, the series of forty drawings (some of which were executed in pen-and-ink and others in pencil) sold for £66, the purchaser acting for a well-known firm of American publishers. The drawings were subsequently bound up in a copy of the first edition of the story, and the treasured volume now reposes in the library of a New York collector.

Illustrations for Cheap Editions.Mr. Stone is naturally best known as a Dickens illustrator through his designs for "Our Mutual Friend." In addition to these, however, he has essayed some illustrations (engraved on wood by Dalziel Brothers) for cheap issues of the works of the great novelist, of which the following is a complete list:—

• Little Dorrit—First Cheap Edition, 1861. Frontispiece.
• Great Expectations—Library Edition, 1862. Eight Illustrations.
• Pictures from Italy—Library Edition, 1862. Four Illustrations.
• American Notes—Library Edition, 1862. Four Illustrations.
• A Child's History of England—Library Edition, 1862. Eight Illustrations.
• A Tale of Two Cities—First Cheap Edition, 1864. Frontispiece.

From this record it will be seen that (with the exception, perhaps, of the frontispiece for "A Tale of Two Cities") all the above-mentioned designs were executed prior to those for "Our Mutual Friend." It was hardly to be anticipated that Mr. Stone's pencil would rival the work of his more experienced contemporaries, yet it will be seen that these illustrations are characterised by the very essential quality of always telling their story. Mr. Stone much regrets that he never had the opportunity of doing himself justice in black-and-white Art. Needless to say, he revels in subjects appertaining to a bygone age, as they afford considerable scope for pictorial treatment, and one of the novels he would have most enjoyed to illustrate is "Barnaby Rudge," because of the picturesque period in which the story is laid. In response to my enquiry why he did not undertake the illustration of Dickens's next and final romance, "The Mystery of Edwin Drood," Mr. Stone explains: "I had entirely given up black-and-white work when 'Edwin Drood' was written, and was making an ample income by my pictures. I was not in the field at all." Indeed, black-and-white drawing possessed little to attract the young artist, who, preferring the more alluring charm of colour, had already begun to acquire a reputation as a painter. In 1877 he was elected an Associate of the Royal Academy, and ten years later was advanced to the full rank of Academician. During the last twenty years his most popular pictures have been his groups of interesting lovers and pathetic maidens; for, after exhibiting in eighteen Academy Exhibitions various presentments of human passion, he at last decided to limit himself to the one which makes the widest appeal to all sorts and conditions of men and women, such as those subtle domestic dramas in which love plays the leading rôle.

Mr. Marcus Stone's intimacy with Charles Dickens originated while his father, Frank Stone, and the novelist were living not more than a couple of houses apart; but it should be understood that the elder artist and the author of "Pickwick" were friends many years before they were neighbours. From the days of his childhood until the famous writer breathed his last, Mr. Stone spent a portion of every year of his life at Dickens's abode. "I saw him," he observes, "under the most natural and simple conditions, and my affection and regard for him were intense. Dickens was one of the shyest and most sensitive of men, as I have reason to know, for I saw him constantly at his own home, often for weeks together. He used to treat me as though I were his son. Nothing was more delightful than the way in which he shared our pleasures and pursuits. His influence was like sunshine in my life whilst his own lasted." Mr. Stone occasionally took part in private theatricals at Tavistock House, where the novelist had installed "The Smallest Theatre in the World," and the artist has pleasant recollections of his own share in the various plays, such as Planché's fairy extravaganza, "Fortunio," in which he impersonated the Captain of the Guard, and Wilkie Collins's "The Frozen Deep," where, as an Officer in the British Navy, he had but three words to say.

LUKE FILDES, R.A.

An Illustrator Required for "The Mystery of Edwin Drood"—Charles Alston Collins Offers his Services—His Design for the Wrapper—He Prepares Sketches for the First Number—Ill-Health—The Project abandoned—Death of Mr. Collins creates a Dilemma—"The Fellow for 'Edwin Drood'" Discovered—Luke Fildes, R.A.—His Drawing of "Houseless and Hungry"—Specimens of his Black-and-White Drawings Submitted to Dickens—A Complimentary Letter from the Novelist—Mr. Fildes Elected to Illustrate "Edwin Drood"—First Meeting of Author and Artist—A Pen-Portrait of Dickens—A Memorable Interview—Pictorial Exactness—Working under Difficulties—Studies from the Life—Successful Realisation of Types—The Opium-Smokers' Den—Cloisterham—The Artist's Method of Executing his Designs—The Engraved Reproductions—The Finale of the Story Hinted at—Mr. Fildes Invited to Gad's Hill—Suggestion for the Last Drawing—Death of Dickens—"The Empty Chair"—A Visit to John Forster—A Curious Coincidence—Pleasing Reminiscences of Dickens—Mementoes of the Novelist—Unpublished Drawings for "Edwin Drood."

Plate LXI

LUKE FILDES, R.A.
From a Photograph specially taken for this Work by
JAMES HYATT

The speedy relinquishment by Charles Collins of the illustrating of "Edwin Drood" caused something of a dilemma. Dickens being again without an illustrator, he appealed for advice to his friends Mr. (afterwards Sir John) Millais, R.A., and Mr. W. P. Frith, R.A., who promised to aid him in searching for a suitable artist. Shortly afterwards there was published in the initial number of The Graphic an engraving entitled "Houseless and Hungry," depicting a crowd of vagrants of both sexes awaiting admission to the workhouse,—a picture at once so powerfully conceived and so pathetic in sentiment that it immediately attracted the attention of Sir John Millais, who immediately hastened in a cab to Dickens's rooms at Hyde Park Place, bearing in his hand a copy of the new journal. Striding into the study, and waving The Graphic above his head, the famous painter exclaimed, "I've got him!"

"Got whom?" inquired the novelist.

"The fellow for 'Edwin Drood,'" replied Millais, as he threw the paper down on the table.

No sooner had Dickens examined the picture than he became similarly enthusiastic in his praise, and wrote forthwith to his publishers, requesting them to communicate with the artist, Mr. Samuel Luke Fildes, now a popular Royal Academician, but who was then comparatively unknown in the world of Art. At the period referred to, Mr. Fildes was a young man of five-and-twenty, who had but just begun to make his mark as a draughtsman in black-and-white. After some desultory study of drawing and painting at Chester and Warrington, he came to London in 1862 for the purpose of seeing the Great Exhibition, and was so impressed that he determined to make his future home in the Metropolis. In the following year he gained a scholarship at the South Kensington Schools, and afterwards became a student of the Royal Academy. The Cornhill, Once a Week, and other magazines then in the ascendant, owed much of their popularity to the beautiful designs by Millais, Leighton, and similarly distinguished artists, and these remarkable productions inclined Mr. Fildes to adopt book-illustration as a stepping-stone towards painting. Good-fortune attended his efforts, and in June 1869, by which time he had achieved a position as a black-and-white draughtsman, he received an intimation from Mr. W. L. Thomas that he had conceived the idea of publishing a new illustrated paper, eventually called The Graphic, and suggested that he should draw something effective, the subject to be the artist's own choice, for publication therein.

Plate LXII

STUDY FOR THE HEAD OF NEVILLE LANDLESS
Facsimile of an Original Sketch for "The Mystery of Edwin Drood" by
LUKE FILDES, R.A.

In accordance with his own proposal, Mr. Fildes prepared two or three designs from "Copperfield," one of which fulfilled the requisite condition that it should contain a representation of a pretty girl, the subject selected being the scene depicting Peggotty embracing Little Em'ly after the announcement of her betrothal to Ham. Dickens considered these drawings so eminently satisfactory that he desired the artist to call upon him at his temporary residence, No. 5 Hyde Park Place, for the purpose of consulting him regarding the illustrations for "Edwin Drood." The eventful day at length arrived when author and artist met for the first time, and the auspicious occasion is thus pleasantly recalled in the following note from Mr. Fildes (written for "Charles Dickens by Pen and Pencil"), in response to my inquiry respecting his earliest impressions of the novelist's personality:—

"I can tell you so little of Dickens that is 'terse, graphic, or vivid.' It's so long ago! He passed by me so like a vision. At least it seems so to me now. When I first saw him, I felt a little oppressed—I don't know why—he loomed so large, and was so great in my imagination. He rose from his writing-table to greet me. He was dressed in dark clothes; I cannot quite recall the cut of coat, but it was loose and unbuttoned,—a black silk neckerchief was loosely tied, with hanging ends, round his throat. His general appearance, with the 'cut' of his head, gave me the idea—perhaps reminded me somehow—of one who was, or had been, connected with the sea. But I thought so much of the Man, and had so affectionate a respect, that it never occurred to me then nor since to take an inventory of his features or the details of his clothes. I could possibly be contradicted on nearly every point were I to attempt it. What I do remember—and it is as clear to me as yesterday—is the indescribable sweetness and kindness of manner—a frank affectionate way that drew me towards him the moment I saw him. I don't know what it was, or how—perhaps his smile, the clasp of his hand, the drawing me down to sit beside him—but I felt like one does with one's own father, that you 'get on with' when a boy. That impression never left me."

Plate LXIII

STUDIES FOR EDWIN DROOD
Facsimile of Original Sketches by
LUKE FILDES, R.A.

The Mystery of Edwin Drood, 1870.As the date fixed for the publication of the first number of "Edwin Drood" was rapidly approaching, it became necessary that Mr. Fildes should immediately begin to prepare his designs. Receiving the proof-sheets of each number, he studied them so diligently and carefully that he allowed no incident or personal trait to escape him. Indeed, Dickens himself (as Mrs. Meynell tells us in The Century of February 1884) was astonished at the way in which his mind found itself mirrored in that of his coadjutor, both as regards the pictorial exactness of inanimate things and the appreciation of individual human character. The artist, however, was at first considerably perplexed in being kept in total ignorance of the plot, as Dickens volunteered no information respecting either the characters or the various parts they played, and although Mr. Fildes was much puzzled, before the plot began to develop, in discovering who was the hero and who the villain of the story, he hesitated to interrogate the novelist, because he surmised that there was a particular motive for his reticence. "He did, at my solicitation," observes Mr. Fildes, "occasionally tell me something—at first charily—for he said it was essential to carefully preserve the 'mystery' from general knowledge to sustain the interest of the book, and later he appeared to have complete confidence in my discretion."

Dickens, it seems, was seldom in advance with his manuscript, and each number was barely completed in time for the printers, thus necessitating excessive promptitude on the part of the engravers as well as the designer. The subjects of the earlier illustrations were selected by the author, who marked on the proofs the particular incidents to be depicted. In thus trotting after the novelist, the artist experienced a sense of restraint, and felt unable to do himself justice. At length, when Dickens proposed that one of the incidents to be delineated should be that in which John Jasper steals up a winding staircase in absolute darkness with murder on his face, Mr. Fildes courteously protested by pointing out the artistic disadvantages of illustrating such a scene, adding that it was already so graphically recounted that further elucidation became superfluous. Apropos of this, Mr. M. H. Spielmann remarks: "It is curious to observe how Dickens's dramatic sense obtruded itself when arranging for the drawings. He would always wish that scene or tableau to be illustrated on which he had lavished the whole force and art of his descriptive powers—naturally the one that least required or justified illustration." By this time the novelist realised the advisability of leaving the responsibility of selection in the hands of the artist, who thenceforth was relieved of the limitations and restrictions hitherto imposed upon him.

Plate LXIV

STUDIES FOR MR. JASPER
Facsimile of Original Sketches by
LUKE FILDES, R.A.

The requisite consultations between Dickens and his illustrator were invariably held at Hyde Park Place. Whenever practicable, Mr. Fildes made sketches from the life of suitable types for the characters in the story, and was fortunate in securing living models for the principal personages. Over the type of Jasper there was much discussion, the artist making several attempts before he obtained an exact portrait of the choirmaster; and so successful and sympathetic were this and other delineations of character, that Dickens was delighted with them, declaring them to be like veritable photographs of the people themselves. The backgrounds, too, were drawn from actual scenes, as, for example, the opium-smokers' den which figures in the first and last illustrations; this was discovered by the artist somewhere in the East End of London; the exact spot he cannot recall, nor does he believe that Dickens had any particular den in his mind, but merely described from memory the general impression of something of the kind he had observed many years before. The architectural details introduced in the illustration, "Durdles Cautions Mr. Sapsea against Boasting," were drawn from a careful sketch made within the precincts of Rochester Cathedral, although in the published design there is substituted a gateway different from that existing at this spot, in order to assist, no doubt, in promoting the novelist's obvious intention of disguising the identity of "Cloisterham." In the engraving entitled "Good-bye, Rosebud, darling!" it is very easy to recognise the quaint courtyard of Eastgate House in Rochester High Street. In the river scene we obtain a glimpse of Putney Church and of the picturesque wooden bridge which, until a few years ago, spanned the Thames at that point;[49] while in a third illustration, "Under the Trees," the artist availed himself of a sketch (made some time previously) of the cloisters at Chester Cathedral.

Concerning another of these designs, viz., "Mr. Grewgious Experiences a New Sensation," it may be mentioned that not only was this cosy interior actually drawn from a room in Staple Inn, but that the original of the capacious arm-chair in which Rosa is seated still remains in the artist's possession, it being almost the sole survivor of the furnishing items which formed part of his bachelor establishment.

It is interesting to learn that Dickens, who placed such great confidence in his illustrator, did not consider it essential that preliminary sketches should be submitted to him. Mr. Fildes's original studies for his designs were vigorously executed with chalk upon tinted paper, the high-lights being emphasized with chinese-white; the finished drawings were made upon paper and then photographed upon boxwood blocks. The engraving was at first entrusted to Dalziel Brothers, one of the best-known firms of wood-engravers of that day, but after the first two engravings were completed, Mr. Fildes intimated to the novelist a wish that the work of reproduction might be transferred to a former colleague of his, Charles Roberts, whereupon Dickens thus wrote to the late Frederick Chapman, of Chapman & Hall: "Mr. Fildes has been with me this morning, and, without complaining of Dalziel, or expressing himself otherwise than as being obliged to him for his care in No. 1, represents that there is a brother-student of his, a wood-engraver, perfectly acquainted with his style and well understanding his meaning, who would render him better. I have replied to him that there can be no doubt that he has a claim beyond dispute to our employing whomsoever he knows will present him in the best aspect. Therefore, we must make the change; the rather because the fellow-student in question has engraved Mr. Fildes's most successful drawings hitherto."

Plate LXV

STUDY FOR "GOOD-BYE, ROSEBUD, DARLING"
Facsimile of the Original Sketch for "The Mystery of Edwin Drood" by
LUKE FILDES, R.A.

For reasons already explained, Dickens never wholly confided to his illustrator his intentions respecting the plot of the story. A part of the "mystery," however, was (in a sense) surprised out of him by the keenness and care with which the artist took up a suggestion. Mr. Fildes informs me that it happened in this way: "I noticed in the proof of the forthcoming number a description of Jasper's costume so markedly different from what I had been accustomed to conceive him as likely to wear, that I went at once to Dickens to ask him if he had any special reason for so describing him. It was a matter of a neck-scarf. Whereupon Dickens, after some little cogitating, said he had a reason, and that he wished the scarf to be retained, and, after some hesitation, told me why. He seemed to be rather troubled at my noticing the incident, and observed that he feared he was 'paying out' the 'mystery' too soon, unconsciously doing so; for, he said, he trusted to the 'mystery' being maintained until the end of the book. He seemed to me to think it was essential to do so, and especially enforced me to secrecy respecting anything I knew or might divine. This description of my interview with the novelist on the occasion in question gives, of course, only the sense of what transpired, and I do not pretend to quote exactly any of his words, or any phrase he may have used." The scarf was, in fact, the instrument of murder, employed by Jasper as the means of strangling the young breath of Edwin Drood on the night of the great gale.

Mr. Luke Fildes having made so shrewd a guess respecting the important part to be played by Jasper in the story, Dickens thought fit to confide in him some details concerning the final scene. Principally, perhaps, with this object in view, he invited the artist to spend a few days with him at Gad's Hill, in order that he might become familiar with the neighbourhood in which many of the scenes in "Edwin Drood" are laid. The novelist promised him that, if he were a good pedestrian, he would introduce him to some of the most charming scenes in Kent, and they would visit together the picturesque Hall at Cobham with its famous gallery of paintings, Cobham Park and village, and other interesting places in that locality. In the course of conversation during this interview, Dickens (who evidently anticipated much enjoyment from the little holiday) recalled that, when a boy, he had seen in Rochester a gaol or "lock-up," and significantly added that Mr. Fildes should make a note of one of the prison cells, which would do admirably to put Jasper in for the last illustration—thus pretty clearly foreshadowing the conclusion of the story. "I want you to make as good a drawing," said Dickens, "as Cruikshank's 'Fagin in the Condemned Cell,'"—a suggestion which Mr. Fildes did not approve, as any attempt on his part to treat the subject in the Cruikshankian manner might be resented as an obvious plagiarism, although a comparison of the two designs would have proved interesting.

Plate LXVI

STUDY FOR MR. GREWGIOUS
Facsimile of the Original Sketch by
LUKE FILDES, R.A.

It was decreed, alas! that Mr. Fildes's visit to Charles Dickens's "little Kentish freehold" would never be realised while the great writer lived. On the morning of the appointed day, Dickens intended making his usual weekly call at the office of All the Year Round, and was to have been accompanied on his return by Mr. Fildes. That very day, however, the artist (whose luggage was packed ready for departure) took up the newspaper, and was startled to read the melancholy intelligence that Dickens was no more. This terribly sudden death changed everything; but in order to fulfil the novelist's express desire, the artist was invited (after the funeral) to stay with the Dickens family. "It was then," remarks Mr. Fildes, "while in the house of mourning, I conceived the idea of "The Empty Chair," and at once got my colours from London, and made the water-colour drawing a very faithful record of his library."[50]

The death of Dickens had an extraordinary effect on Mr. Fildes, for it seemed as though the cup of happiness had been dashed from his lips. Following the example of Mr. Marcus Stone, he decided to abandon black-and-white illustration and direct his entire attention to painting, with what success all the world knows. In 1879 he was elected an Associate of the Royal Academy, and attained full honours eight years later. The first picture that brought him into notice was "Applicants for Admission to a Casual Ward" (exhibited at the Royal Academy in 1874), this being elaborated from The Graphic drawing, "Houseless and Hungry," which, as already described, led to his acquaintance with the author of "Pickwick." While occupied with this important canvas, Mr. Fildes was desired by Forster to call upon him, and, on entering the study, he was interrogated respecting his welfare; for Forster apparently opined that the demise of the novelist, and the consequent termination of his illustration-work for "Edwin Drood," might have caused the young artist some embarrassment. After listening intently to Mr. Fildes's description of the subject he was then painting, Forster suddenly exclaimed, "How very strange! You are exactly depicting a scene witnessed by Dickens himself many years ago. I have just copied his letter referring to it, which has never been out of my possession;" and from an accumulation of papers on his desk (for he was then preparing his biography of the novelist) he abstracted the missive in which the novelist alluded to the unfortunate outcasts as "dumb, wet, silent horrors—sphinxes set up against that dead wall, and none likely to be at the pains of solving them until the general overthrow." Mr. Fildes was so struck by this coincidence, that he sought and obtained permission to quote Dickens's forcible sentence under the title of his picture when printed in the Academy Catalogue.

Mr. Luke Fildes has many pleasant recollections of Charles Dickens to impart. "He was extremely kind to me," observes the artist, "and, when living in Hyde Park Place, asked me to many of his entertainments. He was almost fatherly, seeming to throw a protecting air over me, and always elaborately introducing me to his guests." The artist still cherishes, as valued mementoes, a little memorandum porcelain slate bound in leather, a quill pen with the blue ink dried upon it, and a square sheet of blue paper, which were given to him by Miss Hogarth, who found them on the novelist's desk just as he had left them.

When Dickens died, only three numbers of "The Mystery of Edwin Drood" had been published. The illustrations for the ensuing portion of the story, as completed up to the time of his brief but fatal illness, had yet to be executed, and it is interesting to know that the titles for these were composed by the artist. With a view to future numbers, Mr. Fildes had made several drawings in Rochester, including the choir of the Cathedral and the exterior of Eastgate House (i.e. "The Nuns' House"), which were never utilised; he also painted a view of Rochester Castle and Cathedral as seen from the Medway, this being reproduced as a vignette for the engraved title-page. The artist invariably signed his drawings "S. L. Fildes;" but in the vignette here referred to the signature incorrectly appears as "J. L. Fildes."

Plate LXVII

STUDY FOR MR. GREWGIOUS
Facsimile of the Original Sketch by
LUKE FILDES, R.A.

APPENDIX

I

ILLUSTRATORS OF CHEAP EDITIONS

C. R. Leslie, R.A.—Design for "Pickwick"—Washington Irving's Tribute to the Artist—Portrait of "Dickens as Captain Bobadil"—T. Webster, R.A.—His Picture of "Dotheboys Hall"—A. Boyd Houghton—Illustrations for "Hard Times" and "Our Mutual Friend"—G. J. Pinwell—Illustrations for "The Uncommercial Traveller"—Interesting Portrait of the Novelist—F. Walker, A.R.A.—Illustrations for "Reprinted Pieces" and "Hard Times"—Illustrators of the Household Edition—C. Green, F. Barnard, J. Mahoney, E. G. Dalziel, F. A. Fraser, G. Thomson, H. French, A. B. Frost, and J. M^cL. Ralston—Charles Green's Illustrations for "The Old Curiosity Shop," "Great Expectations," and the Christmas Books—F. Barnard, the Premier Illustrator of Dickens—The Novels Illustrated by him—His Favourite Model—Tragic Death of the Artist—An American Household Edition—New Designs by C. S. Reinhart, T. Worth, W. L. Sheppard, E. A. Abbey, A. B. Frost, and T. Nast—Illustrations by J. M^cLenan—F. O. C. Darley—His Reputation as a Draughtsman—His Designs for an American Household Edition Engraved on Steel—Independent Illustrations—Death of the Artist—Sir John Gilbert's Designs for "Holiday Romance"—G. G. White—S. Eytinge—Prolific Contributor to Books and Periodicals—His Picture of "Mr. Pickwick's Reception"—Designs for the Diamond Edition, &c.—Character Sketches—Dickens's Admiration of the Artist's Conceptions—Gives a Sitting for his Portrait—A Unique Print—Eytinge Visits Gad's Hill—Illustrations by H. Billings for "A Child's Dream of a Star"—The "Christmas Carol" Designs by Gaugengigl and Chominski—"The Cricket on the Hearth" Designs by Marold and Mittis, and L. Rossi—Some Dickens Illustrations by J. Nash, T. W. Wilson, J. E. Christie, and G. Browne—Designs by E. J. Wheeler for "Tales from Pickwick"—Illustrations by Phil May, Maurice Greiffenhagen, and Harry Furniss—Coloured Frontispieces for the Temple Library Edition.

C. R. Leslie, R.A.Besides the illustrators of the original issues of Charles Dickens's novels there are other distinguished artists concerning whose designs for the cheaper editions some mention should be made in the present work. Besides Clarkson Stanfield, R.A., who has already been referred to as supplying the frontispiece to the first cheap issue of "American Notes," Dickens was under a similar obligation to two other Royal Academicians, Leslie and Webster, for frontispieces to the first cheap edition of "Pickwick" (1847) and "Nicholas Nickleby" (1848) respectively. Charles Robert Leslie, of whom Thackeray once said that no artist possessed so much as he "the precious quality of making us laugh kindly," found a suitable subject in the twelfth chapter of "The Pickwick Papers," his illustration representing Mrs. Bardell fainting in the arms of Mr. Pickwick,—an incident that had already been depicted by "Phiz." The original picture by Leslie—which was a commission from Dickens—is a cabinet-painting in grisaille or monochrome; it realised £137, 11s. at the sale of the novelist's effects in 1870, and is now the property of Mr. William Wright, of Paris. It seems probable that Dickens owed his introduction to this artist through the friendly intervention of Washington Irving, who, in May 1841, thus wrote to the novelist: "Do you know Leslie the painter, the one who has recently painted a picture of Queen Victoria? If you do not, I wish you would get acquainted with him. You would like one another. He is full of talent and right feeling. He was one of my choice and intimate companions during my literary sojourn in London. While I was making my early studies with my pen, he was working with his pencil. We sympathised in tastes and in feelings, and used to explore London together, and visit the neighbouring villages, occasionally extending our researches into different parts of the country. He is one of the purest and best of men, with a fine eye for nature and character, and a true Addisonian humour." In 1846 Leslie produced his well-known picture of Dickens as Captain Bobabil, in Ben Jonson's play, "Every Man in his Humour," which was exhibited in the Royal Academy the same year; shortly afterwards the painting was reproduced in lithography by T. H. Maguire, impressions of which (especially those that were coloured) are now very scarce.

T. Webster, R.A.The first cheap edition of "Nicholas Nickleby" was embellished by means of a frontispiece engraved on wood by T. Williams from the picture by T. Webster, R.A., which (like Leslie's) was painted for the novelist. This exquisite painting (measuring only ten inches by seven inches) depicts the familiar scene at Dotheboys Hall, where Mrs. Squeers administers the much-dreaded brimstone and treacle; at the Dickens sale the interesting little picture realised the substantial sum of £535, 10s. It is said that the artist was so thorough and so persistent in illustrating the humours of boys' schools that he earned the sobriquet of "Dotheboys Webster."

A. B. Houghton and G. J. PinwellThe first cheap editions of later works were graced with frontispieces from the pencils of two artists better known as draughtsmen than as painters. These were A. Boyd Houghton, who designed the frontispiece for "Hard Times" (1865) and "Our Mutual Friend" (1867), and G. J. Pinwell, who furnished an illustration for "The Uncommercial Traveller" (1865)—all of which were engraved on wood by the Dalziel Brothers. In 1868 Pinwell likewise contributed four excellent woodcut illustrations to the Library Edition of the same work,[51] and it is interesting to note that in one of these, "Leaving the Morgue," he has introduced a full-length presentment of the novelist.[52] Associated with the Library Edition we find the name of Fred. Walker, A.R.A., whose position as a designer in black-and-white F. Walker, A.R.A.stands high in the first rank of English masters. This clever artist prepared four illustrations respectively for "Reprinted Pieces" and "Hard Times" (1868), and for refinement of execution they have probably never been excelled. Fred. Walker, the painter of those world-famous pictures known as "The Harbour of Refuge," "The Bathers," "The Lost Path," &c., died prematurely of consumption in 1875, at the age of thirty-five, a loss which all artists and art-lovers have never ceased to deplore. The Library Edition of the "Christmas Stories" is illustrated by F. A. Fraser, H. French, E. G. Dalziel, J. Mahoney, Townley Green, and Charles Green, fourteen woodcuts in all.

After Dickens's death, that is, during 1871-79, Chapman & Hall issued a Household Edition of his novels, ensuring their further popularity by inserting entirely fresh illustrations. The artists selected for this undertaking were Charles Green, Fred. Barnard, J. Mahoney, E. G. Dalziel, F. A. Fraser, Gordon Thomson, H. French, A. B. Frost, and J. M^cL. Ralston, nearly all of whom had already been represented in the Library Edition. In commenting upon these designs, it may be remarked that, of his numerous illustrators, Dickens has never been more sympathetically interpreted than by Charles Green and Fred. Barnard.

Charles Green.The thirty-two illustrations contributed by Charles Green to the Household Edition of "The Old Curiosity Shop" contrast most favourably with those by "Phiz" in the original issue; these drawings, which, for the most part, were made upon paper by means of the brush-point, are entirely free from the gross exaggeration and caricature which impart such grotesqueness to the majority of the figure subjects by Hablôt Browne for this story. Mr. Green's design for the wrapper enclosing each part of the Crown Edition of the novelist's works (subsequently published by Chapman & Hall) is cleverly conceived, for here he has introduced all the leading personages, happily grouped around the principal figure, Mr. Pickwick, who occupies an elevated position upon a pile of books representing the novels of Dickens. A few years ago Messrs. A. & F. Pears commissioned Mr. Green to design a number of illustrations for a series of their Annuals, the artist's services being specially retained for the following reprints of Dickens's Christmas Books: "A Christmas Carol" (1892), twenty-seven drawings; "The Battle of Life" (1893), twenty-nine drawings; "The Chimes" (1894), thirty drawings; and "The Haunted Man" (1895), thirty drawings. His latest productions as a Dickens illustrator consist of a series of ten new designs, reproduced by photogravure for the Gadshill Edition of "Great Expectations," recently published by Chapman & Hall. Undoubtedly Mr. Green's most important work in connection with Dickens is to be found in his water-colour drawings of scenes from the novels, of which a complete list is given in the chapter entitled "Dickens in Art."[53]

Fred. Barnard.Fred. Barnard has come to be considered, par excellence, the illustrator of the famous novelist; indeed, he has been not inaptly termed "the Charles Dickens among black-and-white artists." Like Dickens himself, he was essentially a humorist, and his designs, although never lacking in infectious humour, had always something in them which raised them above the commonplace. To his skilful and vigorous pencil the Household Edition is indebted for the majority of the illustrations appearing therein, as the following list testifies: "Sketches by Boz," "Nicholas Nickleby," "Martin Chuzzlewit," "Barnaby Rudge," "Master Humphrey's Clock" (incidental chapters), "David Copperfield," "Dombey and Son," "Bleak House," "Christmas Books," "A Tale of Two Cities," "Hunted Down," "Holiday Romance," and "George Silverman's Explanation,"—making a grand total of nearly four hundred and fifty drawings. There is no doubt that Fred. Barnard "knew his Dickens" as well as any man, and he produced (independently of the foregoing designs) a number of pictures and drawings of characters and scenes from the novels, to which special reference is made in the next chapter.

Mr. M. H. Spielmann informs me that, for the purposes of his Dickensian subjects, the model who sat to Barnard was the late well-known French. The tragic death (in his fiftieth year) of this popular artist in September 1896 is not yet forgotten. He had accustomed himself to the pernicious habit of smoking in bed, and falling asleep (under the influence of a powerful drug) while his pipe was yet alight, the bedding caught fire, with the result that he was suffocated by the smoke, his body being much burned.

American "Household Edition."The Household Edition was simultaneously published in London and New York, Harper & Brothers having arranged with Chapman & Hall to be supplied with clichés of the illustrations. For some reason, however, the English engravings do not appear in several of the volumes thus issued in America, there being substituted for them a similar number of entirely new designs by the following American artists: C. S. Reinhart ("Nicholas Nickleby," "The Uncommercial Traveller," and "Hard Times"), Thomas Worth ("The Old Curiosity Shop"), W. L. Sheppard "Dombey and Son"), E. A. Abbey, R.A. ("Christmas Stories"), A. B. Frost "Sketches by Boz"), and Thomas Nast ("Pickwick" and "American Notes").

Mr. Nast has also illustrated various Dickens subjects for American magazines, and independent works such as "Gabriel Grub" (from "Pickwick"), issued by M^cLoughin as a Christmas book. Mr. Frost is likewise responsible for twelve illustrations engraved on wood for an edition of "Pickwick" published a few years ago by Ward, Lock & Co., of London and New York; and there is a design by him in Scribner's Magazine, December 1897, entitled "That Slide," and depicting the familiar scene described in the thirtieth chapter of "Pickwick." In 1859 Harper & Brothers printed "A Tale of Two Cities" as a serial in Harper's Weekly, with thirty-four woodcut illustrations by a New York artist, J. M^cLenan, and in the following year the same firm similarly produced "Great Expectations," with twenty-seven illustrations by that artist, the first chapter appearing in November 1860. Both stories were subsequently issued in volume form by T. B. Peterson & Brothers, of Philadelphia.

F. O. C. Darley.Perhaps the best of Dickens's American illustrators was Felix Octavius Carr Darley, a most eminent and successful "character" draughtsman, whose productions are both original and clever. When, in 1860, an octavo edition (also designated the Household Edition) was prepared by W. A. Townsend & Co. of New York, it was proposed that the services of Darley and Mr. (afterwards Sir) John Gilbert should be secured as illustrators for the new venture, this resulting in the American artist executing nearly the whole of the vignette designs, all of which assumed the form of frontispieces. He had already prepared more than five hundred illustrations for an edition of Cooper's novels, so it is probable that the excellence of those drawings led to his engagement in a like capacity for this Household Edition of Dickens. His designs, which were beautifully engraved on steel, are very refined both as regards conception and execution, and are especially interesting as indicating an intelligent appreciation, on the part of a Transatlantic artist, of the novelist's characterisation, the extravagant and grotesque being instinctively avoided. Darley, although born in Philadelphia in 1822, was the son of an English actor; his natural gift for drawing was properly encouraged, and he developed into one of the most efficient book-illustrators of his time; in addition to this he achieved a distinct reputation through the production of large prints, such as "The Village Blacksmith," "The Unwilling Labourer," "The Wedding Procession," "Washington's Entry into New York," and other popular subjects. The Dickens series of designs have recently been reprinted by Houghton, Mifflin & Co. (Boston and New York) for their Standard Library Edition. Darley also prepared six drawings for a little work entitled "Children from Dickens's Novels," and subsequently painted a series of eight familiar scenes from Dickens, which were reproduced as photo-etchings and issued in sets; these afterwards appeared in an Imperial Edition of the novelist's works by Estes & Lauriat, Boston, U.S.A. Darley continued to occupy himself with his art up to the end of his life, but withdrew in his latter years from the cities to his home at Clayton, Delaware, where he died, March 27, 1888.[54]

Sir John Gilbert, R.A.The small number of frontispieces furnished by Sir John Gilbert to W. A. Townsend & Co.'s Household Edition are reprinted, with those of Darley, in Houghton, Mifflin & Co.'s Standard Library Edition. It is perhaps not generally known that, in 1868, four woodcut illustrations were specially designed by Sir John for one of Dickens's minor productions, "Holiday Romance,"—a short story written expressly for Our Young Folks, a magazine published by Ticknor & Fields, of Boston, U.S.A. In the original announcement we read that the artist had "consented to waive his decision not to draw again on wood, in order to give additional interest to Mr. Dickens's 'Romance,'" by which it may be inferred that these are among the last examples of Sir John's skill in that direction. For the initials in "Holiday Romance," a Transatlantic artist, G. G. White, was responsible. Sir John Gilbert, R.A., P.R.W.S., also produced a series of "Pickwick" illustrations, now exceedingly rare, particulars of which will be found in the next chapter. This accomplished painter and prolific designer died so recently as October 5, 1897, in his eightieth year, and of him it has been truly observed that in his most distinctive line—viz., illustration—we can look in vain for his equal. It is recorded that he must have contributed no fewer than thirty thousand subjects to the pages of The Illustrated London News alone, besides supplying innumerable designs to The London Journal and other publications. It is therefore no exaggeration to say that Sir John Gilbert stands out pre-eminently the great popular illustrator of the Victorian era.

Sol. Eytinge.Among the American illustrators of the writings of Dickens, an important place must be conceded to Sol. Eytinge, who was born in New York in 1833. He began to draw at a very early age, and for forty years was a most industrious illustrator of books, papers, and magazines. For a long time he was connected with Harper & Brothers, but subsequently became the chief artist of Every Saturday, published by Fields, Osgood & Co., to which he contributed many Dickensian subjects, notably a large picture entitled "Mr. Pickwick's Reception," representing Sam Weller introducing to Pickwick the leading characters in the various novels. To the Diamond Edition of Dickens's works, launched by Ticknor & Fields in 1867, Eytinge made several full-page drawings, each of the principal stories containing sixteen illustrations, all of which were engraved on wood. He also made some drawings for a volume of "The Readings of Mr. Charles Dickens," and subsequently prepared a series of character sketches, which were etched for the "Dickens Dictionary [of Characters]," published by Houghton, Mifflin & Co. in their Standard Library Edition. Concerning Sol. Eytinge's illustrations Dickens said: "They are remarkable alike for a delicate perception of beauty, a lively eye for character, a most agreeable absence of exaggeration, and a general modesty and propriety which I greatly like." On the whole these pictures are well done, although it must be admitted that the artist has not always succeeded in satisfactorily interpreting his author. When the novelist last visited America (1867-68), his portrait was painted by Eytinge, probably from sittings, and it is now in the possession of Mr. W. E. Benjamin of New York. A lithographic reproduction of this painting, by the artist himself, was published by Ticknor & Fields of Boston and New York in 1868, copies of which are now seldom met with. I am enabled, through the kindness of Mr. Stuart M. Samuel, to include in this volume a replica of a particularly interesting impression of this rare print, on which Dickens has written the concluding words of "A Christmas Carol:" "And so, as Tiny Tim observed, God Bless Us, Every One." In the summer of 1869 Eytinge visited the novelist at Gad's Hill, in company with Lowell and Fields, on which occasion they together explored the slums of East London, including the opium-dens so faithfully described in "Edwin Drood." The artist has now been dead for some years; during the latter part of his career he lived in retirement, on account of ill-health.

I have not attempted to enumerate all the illustrators who have executed drawings for the innumerable editions of the works of Charles Dickens, produced by various publishing houses both at home and abroad, as their name is Legion. There are, however, two or three artists, not already mentioned, to whom a slight reference may fittingly be made. In 1871, Fields, Osgood & Co. reprinted Dickens's beautiful and pathetic sketch entitled "A Child's Dream of a Star," with ten full-page drawings by an American artist, Hammatt Billings, which were engraved on wood by W. J. Linton. The imprint of another Transatlantic publisher, S. E. Cassino, appears on the title-page of a choice edition of "A Christmas Carol," 1887, quarto size, containing twenty-four photogravure reproductions of new designs by J. M. Gaugengigl and T. V. Chominski, which forms an attractive item for the collector of fine books. This work was also on sale in England by G. Routledge & Sons, who, in 1894, brought out a diminutive edition of "The Cricket on the Hearth," very tastefully printed by Guillaume of Paris, and containing several little woodcuts designed by Marold and Mittis. The same story was included in the reprints of Dickens's Christmas Books published by A. & F. Pears, having twenty-five clever illustrations by Lucius Rossi, carried out in a style somewhat similar to those by Charles Green. Particular interest attaches to certain volumes published by Cassell & Co., entitled "Gleanings from Popular Authors" (1882, &c.), as they contain several illustrations of Dickens scenes by Joseph Nash, Fred. Barnard, T. Walter Wilson, J. E. Christie, and Gordon Browne, the son of the famous "Phiz." To a booklet entitled "Tales from Pickwick" (G. Routledge & Sons, 1888), Mr. E. J. Wheeler contributed seven original and well-executed designs.

Messrs. Chapman & Hall's recently-published Gadshill Edition of "Hunted Down" and "George Silverman's Explanation" contains three designs by Mr. Maurice Greiffenhagen, who, like Mr. Phil May, now figures as an illustrator of Dickens for the first time. Mr. Greiffenhagen is also preparing six original drawings for "American Notes" and "Pictures from Italy," which will be reproduced by photogravure for the same Edition, while another well-known artist, Mr. Harry Furniss, has been commissioned to provide four illustrations of a like character for "The Uncommercial Traveller."

As I write, another edition of "David Copperfield" is announced for early publication by Mr. George Allen, the special feature of which will be the thirty-six designs by a new Dickens illustrator, Mr. Phil May, whose admirable draughtsmanship is familiar to us; there will also be issued a limited number of sets of the illustrations,—full-size facsimiles of the drawings, signed by the artist and accompanied by descriptive text. Messrs. J. M. Dent & Co. are preparing an edition of Dickens's Works for their Temple Library, an interesting feature of which will be a series of coloured frontispieces, from original drawings by Miss L. M. Fisher, Mr. F. C. Tilney, and W. C. Cooke.