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.

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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."

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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.

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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]

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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.

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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]

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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.

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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.

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