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diff --git a/40410-h/40410-h.htm b/40410-h/40410-h.htm index 1f57510..cf00b8a 100644 --- a/40410-h/40410-h.htm +++ b/40410-h/40410-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Dickens and His Illustrators, by Frederic G. Kitton. @@ -148,48 +148,7 @@ sub {font-size: .6em; vertical-align: -10%;} </style> </head> <body> - - -<pre> - -Project Gutenberg's Dickens and His Illustrators, by Frederic G. Kitton - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Dickens and His Illustrators - 2nd. Ed. - -Author: Frederic G. Kitton - -Illustrator: Various - -Release Date: August 4, 2012 [EBook #40410] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK DICKENS AND HIS ILLUSTRATORS *** - - - - -Produced by Pat McCoy, Chris Curnow and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive). - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40410 ***</div> <p><span class="pagenum">[Pg i]</span></p> @@ -398,7 +357,7 @@ rendered me signal service in respect of American Illustrations.</p> am naturally beholden for information not otherwise procurable, while certain interesting details concerning "Phiz's" drawings and etchings are quoted from Mr. D. C. Thomson's "Life and Labours of -Hablôt K. Browne," which is more extended in its general scope +Hablôt K. Browne," which is more extended in its general scope than my previously-issued Memoir of the artist.</p> <p>I am privileged to associate the names of Miss Hogarth and Mrs. @@ -431,7 +390,7 @@ F. G. KITTON.</p> <tr><td class="tdl">GEORGE CRUIKSHANK</td><td class="tdr"><a href="#Page_1">1</a></td></tr> <tr><td class="tdl">ROBERT SEYMOUR</td><td class="tdr"><a href="#Page_29">29</a></td></tr> <tr><td class="tdl">ROBERT W. BUSS</td><td class="tdr"><a href="#Page_47">47</a></td></tr> -<tr><td class="tdl">HABLÔT K. BROWNE ("PHIZ")</td><td class="tdr"><a href="#Page_58">58</a></td></tr> +<tr><td class="tdl">HABLÔT K. BROWNE ("PHIZ")</td><td class="tdr"><a href="#Page_58">58</a></td></tr> <tr><td class="tdl">GEORGE CATTERMOLE</td><td class="tdr"><a href="#Page_121">121</a></td></tr> <tr><td class="tdl">ILLUSTRATORS OF THE CHRISTMAS BOOKS</td><td class="tdr"><a href="#Page_136">136</a></td></tr> <tr><td class="tdl">JOHN LEECH</td><td class="tdr"><a href="#Page_138">138</a></td></tr> @@ -492,7 +451,7 @@ F. G. KITTON.</p> <tr><td class="tdr">25.</td><td class="tdl"><a href="#F_25">"A Souvenir of Dickens"</a></td><td class="tdc">"</td><td class="tdc">"</td><td class="tdr">52</td></tr> <tr><td class="tdr">26.</td><td class="tdl"><a href="#F_26">Dolly Varden.</a>—<i>Barnaby Rudge</i></td><td class="tdc">"</td><td class="tdc">"</td><td class="tdr">54</td></tr> <tr><td class="tdr">27.</td><td class="tdl"><a href="#F_27">Florence Dombey and Captain Cuttle.</a>—<i>Dombey and Son</i></td><td class="tdc">"</td><td class="tdc">"</td><td class="tdr">56</td></tr> -<tr><td class="tdr">28.</td><td class="tdl"><a href="#F_28">Portraits of <span class="smcap">Hablôt K. Browne</span> and <span class="smcap">Robert Young</span></a></td><td class="tdc">From Photographs</td><td class="tdc">"</td><td class="tdr">58</td></tr> +<tr><td class="tdr">28.</td><td class="tdl"><a href="#F_28">Portraits of <span class="smcap">Hablôt K. Browne</span> and <span class="smcap">Robert Young</span></a></td><td class="tdc">From Photographs</td><td class="tdc">"</td><td class="tdr">58</td></tr> <tr><td class="tdr">29.</td><td class="tdl"><a href="#F_29">"A Sudden Recognition, Unexpected on Both Sides."</a>—<i>Nicholas Nickleby</i></td><td class="tdc"><span class="smcap">H. K. Browne</span></td><td class="tdc">"</td><td class="tdr">64</td></tr> <tr><td class="tdr">30.</td><td class="tdl"><a href="#F_30">Studies for the Cheeryble Brothers.</a>—<i>Nicholas Nickleby.</i></td><td class="tdc">"</td><td class="tdc">"</td><td class="tdr">68</td></tr> <tr><td class="tdr">31.</td><td class="tdl"><a href="#F_31">Master Humphrey and the Deaf Gentleman.</a>—<i>Master Humphrey's Clock</i></td><td class="tdc">"</td><td class="tdc">"</td><td class="tdr">72</td></tr> @@ -964,7 +923,7 @@ charms not unfrequently found in women of her class. Although the artist has imparted too venerable an appearance to the Artful Dodger, he has seized in a wonderful manner the characteristics of criminal types in his rendering of Fagin and Bill Sikes. In many of Cruikshank's -etchings the accessories are very <i>àpropos</i>, and sometimes not +etchings the accessories are very <i>à propos</i>, and sometimes not without a touch of quiet humour. For example, in the plate representing Oliver recovering from the fever, there is seen over the chimney-piece a picture of the Good Samaritan, in allusion to Mr. @@ -1047,7 +1006,7 @@ nothing of it—what can we say to describe it?"</p> <p>The complete set of twenty-four working tracings of the original designs for "Oliver Twist," some of which exhibit variations from -the finished etchings, realised £140 at Sotheby's in March 1892. +the finished etchings, realised £140 at Sotheby's in March 1892. Water-colour <i>replicas</i> of all the subjects were prepared by Cruikshank in 1866 for Mr. F. W. Cosens, which the artist supplemented by thirteen smaller drawings and a humorous title-page, the entire series @@ -1648,7 +1607,7 @@ Paul's Cathedral, where a bust by Adams perpetuates his memory.</p> <div class="footnotes"><p class="title">FOOTNOTES:</p> <div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> A set of the twenty-eight etchings, proofs before letters (First and Second Series), -realised £30 at Sotheby's in 1889. Lithographic <i>replicas</i> of the plates in the Second Series +realised £30 at Sotheby's in 1889. Lithographic <i>replicas</i> of the plates in the Second Series were published in Calcutta in 1837.</p></div> <div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> In a large water-colour <i>replica</i> of this subject, signed "George Cruikshank, Octr. 14th, @@ -1835,7 +1794,7 @@ R. SEYMOUR</p> <img src="images/i_112.png" width="395" height="500" alt="Mr. Pickwick Addresses the Club" title="Mr. Pickwick Addresses the Club" /> </div> -<p>Mr. Mackenzie Bell has given (in the <i>Athenæum</i>, June 11, +<p>Mr. Mackenzie Bell has given (in the <i>Athenæum</i>, June 11, 1887) a slightly different version of this part of the narration, and states that Charles Whitehead, an early friend of Dickens, "used constantly to affirm that he had been asked to write to Seymour's @@ -2028,10 +1987,10 @@ pen-and-ink, and the effects washed in with a brownish tint. Perhaps the most astonishing circumstance in connection with this collection is the extravagant sum it realised in the auction-room, for, as might be anticipated, many were anxious to secure so valuable a memento. -The bidding was brisk until £200 was reached, when competition +The bidding was brisk until £200 was reached, when competition was confined to the representative of Mr. Augustin Daly (of New York) and another whose name is unrecorded, the result being<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> -that the prize fell to Mr. Daly for £500—probably a record figure +that the prize fell to Mr. Daly for £500—probably a record figure for such an item. No one experienced greater surprise at this enormous price than the purchaser himself, who assures me that, although he imposed no limit, it was never his intention to offer so @@ -2258,13 +2217,13 @@ that from the beginning to the end nobody but yourself had anything whatsoever to do with it."</p> <p>Further publicity was bestowed upon the subject in a letter contributed -to the <i>Athenæum</i> of March 24, 1866, by Seymour's son, +to the <i>Athenæum</i> of March 24, 1866, by Seymour's son, who not only repeated the principal arguments adduced by the pamphlet, but promised further particulars in a subsequent communication. Whereupon Dickens, rightly considering that the opportunity had now arrived for emphatically repudiating the whole story, forwarded the following letter for publication in the ensuing number -of the <i>Athenæum</i>:—</p> +of the <i>Athenæum</i>:—</p> <p>"As the author of 'The Pickwick Papers' (and of one or two other books), I send you a few facts, and no comments, having @@ -2309,7 +2268,7 @@ I have disregarded it until now, except that I took the precaution some years ago to leave among my few papers Edward Chapman's testimony to the gross falsehood and absurdity of the idea.</p> -<p>"But, last week, I wrote a letter to the <i>Athenæum</i> about it, in +<p>"But, last week, I wrote a letter to the <i>Athenæum</i> about it, in consequence of Seymour's son reviving the monstrosity. I stated in that letter that I had never so much as seen Seymour but once in my life, and that was some eight-and-forty hours before his death.</p> @@ -2398,7 +2357,7 @@ April 20, 1836.</p></div> shillings was the price accorded to the artist for each plate.</p></div> <div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> In 1889 Mrs. Seymour's own copy of this exceedingly scarce pamphlet (of which only -three copies are known to exist) was purchased by Mr. Daly for £74 at Sotheby's. It contains +three copies are known to exist) was purchased by Mr. Daly for £74 at Sotheby's. It contains a few slight corrections by Mrs. Seymour.</p></div> <div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> The unpublished sketch by Seymour in Mr. Daly's collection, depicting the Pickwickians @@ -2617,7 +2576,7 @@ etchings by Buss for that work, viz., "The Cricket-Match" and "The Fat Boy Awake on this Occasion only." These plates, the effect of which was poor and thin, contrasted unfavourably with the Seymour etchings immediately preceding them, and were therefore suppressed -as speedily as possible, others by "Phiz" (Hablôt K. Browne) being +as speedily as possible, others by "Phiz" (Hablôt K. Browne) being substituted before many copies had been issued.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> In one of the latter an entirely different design is given,—that is to say, instead of "The Cricket-Match," we have "Mr. Wardle and his Friends under the @@ -2628,7 +2587,7 @@ succeeding chapter.</p> preserved. Besides the original designs for the published etchings, there are still in existence several tentative sketches prepared by the artist in anticipation of future numbers,—those, indeed, upon -which he was at work when he received his <i>congé</i>. Some of these +which he was at work when he received his <i>congé</i>. Some of these sketches are vigorously limned with pen-and-ink outlines and the effects laid in with a brush, while others are rendered in pencil supplemented by washes of indian-ink. The following is a complete @@ -2879,12 +2838,12 @@ having been circulated.</p></div> </div> <hr class="chap" /><p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a><br /><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> -<h2>HABLÔT K. BROWNE ("<span class="smcap">Phiz</span>")</h2> +<h2>HABLÔT K. BROWNE ("<span class="smcap">Phiz</span>")</h2> <p class="title">I</p> <blockquote><p>An Illustrator required for "Pickwick"—Leech and Thackeray offer their Services—Thackeray's -First Meeting with Dickens—"Mr. Pickwick's Lucky Escape"—Leech's Specimen Drawing—<span class="smcap">Hablôt +First Meeting with Dickens—"Mr. Pickwick's Lucky Escape"—Leech's Specimen Drawing—<span class="smcap">Hablôt K. Browne</span> ("Phiz") Elected to Succeed Buss—His Etching of "John Gilpin's Ride" Awarded a Silver Medal—His Designs for "<span class="smcap">Sunday Under Three Heads</span>" and "<span class="smcap">The Library of Fiction</span>"—Mr. J. G. Fennell's Reminiscences of the @@ -2908,7 +2867,7 @@ Edition.</p></blockquote> <p class="title"><span class="smcap">Plate XXVIII</span></p> -<p class="center">HABLÔT K. BROWNE ("PHIZ")<br /> +<p class="center">HABLÔT K. BROWNE ("PHIZ")<br /> From an Unpublished Photograph</p> <p class="quotsig"><i>Lent by Mr. Gordon Browne, R.I.</i></p> @@ -2919,7 +2878,7 @@ From a Photograph by W. GREEN</p> <p class="quotsig"><i>Lent by Mr. R. Young.</i></p> <div class="figcenter" style="width: 292px;"> -<img src="images/i_186.png" width="292" height="500" alt="Hablôt K. Browne ('Phiz')" title="Hablôt K. Browne ("Phiz")" /> +<img src="images/i_186.png" width="292" height="500" alt="Hablôt K. Browne ('Phiz')" title="Hablôt K. Browne ("Phiz")" /> </div> <p>It is certainly extraordinary that within the space of a few weeks @@ -2982,7 +2941,7 @@ by the friendship and esteem of England's great novelist.</p> <hr class="tb" /> <p><span class="sidenote"><b>Sunday under Three Heads, 1836.</b></span>As all the world knows, the privilege of illustrating Dickens's most -popular work was secured by Hablôt Knight Browne ("Phiz"), this +popular work was secured by Hablôt Knight Browne ("Phiz"), this clever designer being rightly regarded as artistic exponent-in-chief of Dickens's creations. At this time he had barely attained his majority, and, unlike Cruikshank, who came to the pictorial embellishment of @@ -2993,7 +2952,7 @@ Browne was awarded a silver medal offered for competition by the Society of Arts for "the best representation of an historical subject"—a large etching portraying John Gilpin's famous ride through Edmonton. <i>Apropos</i> of this etching Mr. Mason -Jackson writes in the <i>Athenæum</i>, June 11, 1887: "Mr. Chapman +Jackson writes in the <i>Athenæum</i>, June 11, 1887: "Mr. Chapman (of Chapman & Hall) was delighted with 'John Gilpin's Ride,' and forthwith applied to Browne, who thus succeeded Seymour and Buss as the illustrator of 'Pickwick.'" After a careful comparison of @@ -3021,7 +2980,7 @@ and the Sabbatarian party, and had immediate reference to a Bill "for the better observance of the Sabbath," then recently rejected in the House of Commons by a small majority. "Sunday under Three Heads" was originally published at two shillings, and now -realises as much as £10 in the auction-room. There are two or +realises as much as £10 in the auction-room. There are two or three <i>facsimile</i> reprints in existence, but the reproductions of the woodcuts are comparatively poor.</p> @@ -3035,7 +2994,7 @@ of Tony Weller.</p> <hr class="tb" /> -<p><span class="sidenote"><b>The Pickwick Papers, 1836-37.</b></span>An intimate friend of Hablôt K. Browne, Mr. John Greville +<p><span class="sidenote"><b>The Pickwick Papers, 1836-37.</b></span>An intimate friend of Hablôt K. Browne, Mr. John Greville Fennell (formerly of the <i>Field</i> journal), confirms my opinion that the artist's earliest association with the writings of Dickens was his connection with "Sunday @@ -3228,7 +3187,7 @@ 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.</p> -<p>The late George Augustus Sala held the opinion that Hablôt +<p>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, @@ -3349,7 +3308,7 @@ the etching.</p> <p>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 +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 <i>tried</i> to look @@ -3483,7 +3442,7 @@ 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 +sum of £45 was realised at Sotheby's in August 1892 for an exceptionally fine copy. It has since been beautifully reprinted in <i>facsimile</i>, with a new frontispiece etched by F. W. Pailthorpe.</p> @@ -3513,7 +3472,7 @@ little productions were issued in green paper covers, decorated with designs by "Phiz."</p> <p>The sets of six original drawings for "Sketches of Young Ladies" -and "Sketches of Young Gentlemen" realised £40 and £39 respectively +and "Sketches of Young Gentlemen" realised £40 and £39 respectively at Sotheby's in 1897.</p> <hr class="tb" /> @@ -3567,7 +3526,7 @@ slightly at the back of his head—and there you have the man." It certainly seems remarkable that Mr. Lloyd and others who knew Shaw recollect him as a most worthy and kind-hearted gentleman, but this perhaps is explained by certain facts concerning him and his school -that were published in the <i>Athenæum</i>, February 1894, together with a +that were published in the <i>Athenæum</i>, February 1894, together with a commentary upon a reprint of the trial in which he was the defendant.</p> <p>It is a curious fact that several Yorkshire schoolmasters actually @@ -3677,7 +3636,7 @@ through a river, guided by imps carrying lanterns.</p> (1858-59) "Phiz" prepared small designs, delicately tinted in water-colours, which were engraved on steel as vignettes for the title-pages; the subjects represented are "The Nickleby Family" and "The Mad -Gentleman and Mrs. Nickleby," the original drawings realising £14 +Gentleman and Mrs. Nickleby," the original drawings realising £14 each at Sotheby's in 1889.</p> <div class="footnotes"><p class="title">FOOTNOTES:</p> @@ -3711,7 +3670,7 @@ story.</p></div></div> <hr class="chap" /> <p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> -<h2>HABLÔT K. BROWNE ("<span class="smcap">Phiz</span>")</h2> +<h2>HABLÔT K. BROWNE ("<span class="smcap">Phiz</span>")</h2> <p class="title">II</p> @@ -3758,7 +3717,7 @@ drawings are unsigned, while others have appended to them the artist's initials or monogram, occasionally reversed. At this time "Phiz" was almost as anonymous as "Boz," but when "Master Humphrey's Clock" ultimately appeared in volume form, his identity was fully -established on the title-page as "Hablôt Browne." The result of a +established on the title-page as "Hablôt Browne." The result of a careful analysis of the illustrations discloses the fact that "Phiz" produced sixty-one for "The Old Curiosity Shop" and "Barnaby Rudge" respectively, and seven for the miscellaneous papers relating @@ -3825,7 +3784,7 @@ horse (in the twenty-sixth chapter) is considerably out of proportion with its surroundings; the caravan, too, is incorrectly drawn, and Mrs. Jarley with the drum should have been placed upon the platform of the van. The inherent humour of "Phiz" was often -<i>àpropos</i>, an amusing instance being discoverable in the illustration +<i>à propos</i>, an amusing instance being discoverable in the illustration of Miss Monflathers and her young ladies (in the thirty-first chapter), where the inscription on the board above the wall reads, "Take notice—Man traps."</p> @@ -3880,7 +3839,7 @@ have two others to complete in the meantime, something nice and perspiration in the relays of wood-cutters. You shall have the others to criticise on Tuesday.—Yours very truly,</p> -<p class="quotsig"><span class="smcap">Hablôt K. Browne</span>."</p></blockquote> +<p class="quotsig"><span class="smcap">Hablôt K. Browne</span>."</p></blockquote> <p>In the frontispiece to the third volume is portrayed an ornamental clock, at the summit of which is seated Master Humphrey, while on @@ -3941,7 +3900,7 @@ establishments in number and prosperity till you become a Dick Whittington of a merchant, with pockets distended to most Brobdignag dimensions.—Believe me, yours very truly,</p> -<p class="quotsig">"<span class="smcap">Hablôt K. Browne.</span>."</p></blockquote> +<p class="quotsig">"<span class="smcap">Hablôt K. Browne.</span>."</p></blockquote> <p class="title"><span class="smcap">Plate XXXIV</span></p> @@ -3979,7 +3938,7 @@ and the Marchioness, Dolly Varden and Joe Willet, Barnaby and Hugh. In these engravings the female characters are much more charmingly conceived than are those in the woodcuts.</p> -<p>In 1848, when the first cheap edition of the story appeared, Hablôt +<p>In 1848, when the first cheap edition of the story appeared, Hablôt Browne made four new designs as "Extra Illustrations" for "The Old Curiosity Shop," viz., Little Nell and her Grandfather, the Marchioness, Barbara, and the Death of Little Nell. They were @@ -4001,7 +3960,7 @@ being slightly different from, and superior to, the engraving.</p> <p>A complete series of original water-colour drawings by "Phiz" for "The Old Curiosity Shop" and "Barnaby Rudge," including an unused design for a tailpiece, were sold at Sotheby's in 1897, and -realised £610. These drawings were executed as a commission +realised £610. These drawings were executed as a commission for Mr. F. W. Cosens.</p> <hr class="tb" /> @@ -4040,7 +3999,7 @@ fourteenth number, viz., "Mr. Pinch Departs to Seek his Fortune," and careful examination of different copies of the first edition will disclose minute variations in these particular illustrations, worthy of special mention being the vignette title, where, in the earliest impressions, the -£ mark is incorrectly placed after the figures in the amount of reward +£ mark is incorrectly placed after the figures in the amount of reward on the bill.</p> <p>In the majority of the "Chuzzlewit" etchings there is a vigour @@ -4070,7 +4029,7 @@ are always well drawn) are described as "greys," while in the plate only one is thus represented. Such discrepancies, however, although interesting to note, are unimportant. As usual, we find in the accessories (such as the titles of books and pictures) sly touches of humour -peculiarly <i>àpropos</i> of the principal theme. "Phiz's" design for the +peculiarly <i>à propos</i> of the principal theme. "Phiz's" design for the wrapper of the monthly parts is emblematical of the story; here "silver spoons" and "wooden ladles," as embodied in the original title, play a conspicuous part.</p> @@ -4127,10 +4086,10 @@ not to introduce him at all; in a second delineation of the same subject this figure is limned with greater care.</p> <p>The original designs for "Chuzzlewit" were disposed of at Sotheby's -in 1889 for £433, 13s., the beautifully-finished drawing of the frontispiece -realising £35, while that of "Mrs. Gamp 'Propoges' a Toast," +in 1889 for £433, 13s., the beautifully-finished drawing of the frontispiece +realising £35, while that of "Mrs. Gamp 'Propoges' a Toast," rightly considered as one of the artist's <i>chef-d'œuvres</i>, was purchased -for £35, 10s.</p> +for £35, 10s.</p> <p>To the Library Edition (1858-59) "Phiz" contributed a vignette for the title-page of each of the two volumes of "Martin Chuzzlewit," @@ -4203,7 +4162,7 @@ one, the figure of Florence is not sufficiently visionary, and therefore fails to convey the author's meaning respecting the conscience-stricken Dombey.</p> -<p>Hablôt Browne invariably laboured under some disadvantage +<p>Hablôt Browne invariably laboured under some disadvantage when designing his illustrations for Dickens; indeed, he was sometimes compelled to draw his inspiration merely from the author's verbal explanation or reading of a particular passage; so it is not<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> @@ -4585,7 +4544,7 @@ of criminal butlers."</p></div> unfinished drawings previous to a change of residence.</p><p><span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span></p></div> </div> -<h2>HABLÔT K. BROWNE</h2> +<h2>HABLÔT K. BROWNE</h2> <p class="title">III</p> @@ -4699,7 +4658,7 @@ Trotwood for the seated one. On the margin of the second design the artist (in a humorous mood) has limned an unmerciful caricature of the whole incident. The third tentative drawing for this subject, believed to be the first sketch, was sold at Sotheby's in 1887 for -£6, 15s.; it is now in the collection of Mr. Thomas Wright, of Paris.</p> +£6, 15s.; it is now in the collection of Mr. Thomas Wright, of Paris.</p> <p>With the sketch for "The Friendly Waiter and I" the novelist was delighted. "Phiz" originally represented David as wearing a @@ -4764,7 +4723,7 @@ in the egg-cup, whereas we are told that it was her "inky middle finger." A more important oversight in the same picture is the introduction of the infant Jellaby in the bed, who was not in the room at all, as a careful reading of the text readily discloses. In two<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> -instances, Turveydrop <i>père</i> is depicted without the false whiskers +instances, Turveydrop <i>père</i> is depicted without the false whiskers he customarily wore, and in the illustration of "The Smallweed Family," the son is incorrectly omitted. It is perhaps worth noting an odd mistake on the part of the artist—in the etching entitled @@ -4833,9 +4792,9 @@ of the Name of Guppy,' understood and rendered well, but the dignified beauty of the old country-house architecture, or the architecture of the chambers of our Inns-of-court, is conveyed in brief touches; and there is apparent everywhere that element of terrible suggestiveness which<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> -made not only the art of Hablôt Browne, but the art of Charles +made not only the art of Hablôt Browne, but the art of Charles Dickens himself, in this story of 'Bleak House,' recall the imaginative -purpose of the art of Méryon. What can be more impressive in connection +purpose of the art of Méryon. What can be more impressive in connection with the story—nay, even independently of the story—than the illustration of Mr. Tulkinghorn's chambers in gloom; than the illustration of the staircase of Dedlock's own house, with the placard @@ -4982,7 +4941,7 @@ an excellent subject for illustration.</p> <p>The artist's design for the monthly wrapper is composed of distinct scenes separated by dividing lines. At the top of the page is St. Paul's Cathedral as viewed from the Thames, and at the base the Cathedral -of Nôtre Dame is represented, while around are displayed some of the +of Nôtre Dame is represented, while around are displayed some of the prominent characters in the story.</p> <p>"A Tale of Two Cities" is the last of the novels containing @@ -5017,7 +4976,7 @@ stir up in his breast feelings of regret at losing such a friend."</p> <hr class="tb" /> -<p>Hablôt Knight Browne, as designer of the plates for ten of the +<p>Hablôt Knight Browne, as designer of the plates for ten of the fourteen principal novels by "Immortal Boz," is justly termed "the illustrator of Dickens." His name and fame are similarly identified with the works of Lever and Ainsworth, while, in addition to this, @@ -5033,9 +4992,9 @@ after the Massacre of St Bartholomew in 1572. His ancestors lived in London in the early part of the last century and adopted the essentially English cognomen of Browne. With regard to the artist's baptismal names, it is interesting to learn that the first -(Hablôt) was the patronymic of a Colonel (or Captain) who was +(Hablôt) was the patronymic of a Colonel (or Captain) who was engaged to marry a sister of "Phiz," but was killed in a charge -of Napoleon's Garde Impériale at Waterloo, while the second +of Napoleon's Garde Impériale at Waterloo, while the second (Knight) was received from Admiral Sir John Knight, an old friend of the family; thus, in respect of names, was the artist associated with both Army and Navy.</p> @@ -5047,7 +5006,7 @@ who took so keen an interest in his welfare that he offered to defray all expenses of a thorough art education. It was through Mr. Bicknell's generosity that the youth was apprenticed to Finden, the engraver, who, it appears, more than once complained that his -<i>protégé</i> persisted in covering with comic figures the entire margins +<i>protégé</i> persisted in covering with comic figures the entire margins of the plates entrusted to him, thus indicating the humorous bent of his mind. In after years he took occasional lessons in painting, but he never distinguished himself as a painter, although he occasionally @@ -5087,7 +5046,7 @@ subject, so if you know of another, pray send it me. I should like <p>"Very short of paper.</p> -<p class="quotsig"><span class="smcap">Hablôt K. Browne.</span>"</p></blockquote> +<p class="quotsig"><span class="smcap">Hablôt K. Browne.</span>"</p></blockquote> <p>The following terse epistle is undated, which is characteristic of "Phiz's" letters:—</p> @@ -5097,7 +5056,7 @@ with you to-day, being already booked for this evening, but I will give you a call to-morrow after church, and take my chance of finding you at home.—Yours very sincerely,</p> -<p class="quotsig">"<span class="smcap">Hablôt K. Browne</span>."</p></blockquote> +<p class="quotsig">"<span class="smcap">Hablôt K. Browne</span>."</p></blockquote> <p>On March 15, 1847, when forwarding to the artist some written instructions respecting a "Dombey" illustration, the novelist made an @@ -5157,7 +5116,7 @@ of the extra-mural cemetery at Brighton.</p> <p>"Phiz's" many excellent qualities far outweighed any defects in his character. A life-long friend of the artist, Mr. John Greville -Fennell, writes thus to me: "No man knew more of Hablôt Browne +Fennell, writes thus to me: "No man knew more of Hablôt Browne than I did, for though he was very reticent to most, he never, I believe, concealed anything from me. We used to wander together in the country for two or three weeks or more at a time, and a man @@ -5179,7 +5138,7 @@ done his month's work." Eventually, all desire for social intercourse ceased, "Phiz" preferring to lead the life of a recluse in his country home.</p> -<p>A short time prior to his severe illness in 1867, Hablôt Browne +<p>A short time prior to his severe illness in 1867, Hablôt Browne received an extraordinary commission from Mr. F. W. Cosens, one of his most liberal patrons, who solicited the artist to make coloured <i>replicas</i> of the entire series of his published designs for the works of @@ -5198,7 +5157,7 @@ Strange to say, "Phiz" did not possess copies of Dickens's novels, so he borrowed Mr. Cosen's set, and from these he executed the tinted <i>replicas</i>. At the sale of Mr. Cosen's library at Sotheby's in 1890, this interesting collection, numbering 405 drawings, was -disposed of for the aggregate sum of £671.</p> +disposed of for the aggregate sum of £671.</p> <p>It should be mentioned in conclusion, that, besides the vignettes already described as having been prepared by "Phiz" for the Library @@ -5212,7 +5171,7 @@ the title-page of "Pictures from Italy."</p> <hr class="tb" /> -<p>Although, as already stated, Hablôt Browne was quite capable +<p>Although, as already stated, Hablôt Browne was quite capable of biting-in his own designs upon the steel plates, he had not sufficient time to devote to this part of his work. From the "Pickwick" days onward the artist was fortunate in securing the services of his fellow-apprentice @@ -5312,7 +5271,7 @@ elected a member of the Society of Painters in Water-Colours as early as 1833, which indicates that his reputation was already well established, and in 1839 he had achieved such distinction in Art that he received the offer of knighthood,—an honour he modestly declined. -The subjects he loved to portray were scenes from mediæval history, +The subjects he loved to portray were scenes from mediæval history, fiction, or ballad literature, and he revelled in depicting incidents of bygone times, with their manners and customs, their architecture and costumes, in the representation of which he has been considered the @@ -5328,7 +5287,7 @@ proved of infinite service.</p> as an illustrator of books, and had made drawings of buildings and scenery described in Scott's novels, when, in 1840, Dickens invited him to collaborate -with D. Maclise, R.A., and Hablôt K. Browne +with D. Maclise, R.A., and Hablôt K. Browne ("Phiz") in designing the woodcuts for "Master Humphrey's Clock." The earliest intimation received by the artist respecting the projected publication was contained in the following letter, dated January @@ -5761,7 +5720,7 @@ so we'll take breath.</p> thinking you would like them best."</p></blockquote> <p>Owing to an illness from which Cattermole was then suffering, the -frontispiece here referred to was designed by Hablôt Browne. A few +frontispiece here referred to was designed by Hablôt Browne. A few days later, the author bethought him of an incident earlier in the story (chapter lxix.), which required an illustration, and anent this he despatched the following note:—</p> @@ -6049,8 +6008,8 @@ of John Leech, who entered so thoroughly into the spirit of this charming little allegory. In 1893 the original drawings, with the exception of that entitled "Scrooge's Third Visitor," were sold at Sotheby's for 155 guineas, and afterwards catalogued by a London -bookseller at £240—a considerable advance on the price paid to -the artist and engraver, which was just under £50. This interesting +bookseller at £240—a considerable advance on the price paid to +the artist and engraver, which was just under £50. This interesting series of drawings (two of them tinted in colours) had hitherto remained in the possession of a daughter of the artist.</p> @@ -6129,7 +6088,7 @@ Return," are in the South Kensington Museum,<a name="FNanchor_37_37" id="FNancho drawing has found its way to America, whither so many Dickens relics have departed. When, in June 1893, some highly-finished <i>replicas</i> of these designs were disposed of at Sotheby's, they realised -the extraordinary sums of £35, 10s., £17, 10s., and £20, 10s. respectively. +the extraordinary sums of £35, 10s., £17, 10s., and £20, 10s. respectively. In the Forster Collection at South Kensington there are two very interesting letters, addressed by Leech to the biographer of Dickens, having special connection with these illustrations. The @@ -6465,7 +6424,7 @@ power of fanciful draughtsmanship distinguishes the majority of his designs, so that his pencil was in frequent request for works which demanded the display of this special faculty, such as Leigh Hunt's "Jar of Honey," Ruskin's "King of the Golden River," "Pictures -from the Elf World," Planché's "Old Fairy Tales," &c. In 1843, +from the Elf World," Planché's "Old Fairy Tales," &c. In 1843, when the artist was only nineteen, he was installed as a member of the regular pictorial staff of <i>Punch</i>, and received instruction in drawing on wood from Joseph Swain, the engraver for that journal. Richard @@ -6538,7 +6497,7 @@ declares that they were dispersed, principally as gifts to friends, and that their present destination is unknown.</p> <p>On December 10, 1883, Richard Doyle was struck down by -apoplexy as he was quitting the Athenæum Club, and died on the +apoplexy as he was quitting the Athenæum Club, and died on the following day. Thus passed away not only one of the most graceful limners of Fairyland that England has produced, but one who will long be remembered for his many noble qualities of heart @@ -6788,7 +6747,7 @@ I wish it to be kept very clean and returned to me.—Faithfully yours,</p> upon the wood-block by the engraver himself, whose name (T. Bolton) is appended to the frontispiece. The original picture was purchased at the sale of Dickens's effects in 1870 for the sum of -£110, 5s., by the late Earl of Darnley, for many years the novelist's +£110, 5s., by the late Earl of Darnley, for many years the novelist's friend and neighbour.</p> <p>Clarkson Stanfield, whose intimacy with the Dickens family was @@ -7066,7 +7025,7 @@ truly</p> <p>Again, a few days later:—</p> <blockquote><p>"<span class="smcap">My Dear Forster</span>,— ... I write to say that you will find me at -the Athenæum to-morrow at five o'clock. Do not be later. I hope +the Athenæum to-morrow at five o'clock. Do not be later. I hope <i>then</i> to bring with me the drawing on the block for the frontispiece—the girls dancing; for the other, I will do what you like, the girls and the Doctor, Marion reading, &c., or the lover of Marion's interview @@ -7160,7 +7119,7 @@ himself was painted by Maclise in 1839, at the instigation of Chapman the reproduction duly appearing as the frontispiece. The original picture was presented to Dickens by his publishers, and at the sale of the novelist's effects in 1870 this very interesting canvas -was purchased for £693 by the Rev. Sir E. R. Jodrell, by whom +was purchased for £693 by the Rev. Sir E. R. Jodrell, by whom it was bequeathed to the National Gallery, where it may now be seen. Maclise is responsible also for another excellent portrait of the novelist at the same youthful period—a slight pencil-drawing @@ -7282,7 +7241,7 @@ satirist succeeded Richard Doyle on <i>Punch</i> in 1850, and since 1861 subject of the principal engraving with unfailing regularity. Confining himself almost entirely to black-and-white drawing, Sir John has produced, during a long and active career, a large number of book-illustrations, -such as those embellishing certain editions of "Æsop's +such as those embellishing certain editions of "Æsop's Fables," "The Ingoldsby Legends," "Lalla Rookh," and "The Arabian Nights," while those charming designs in the late "Lewis Carroll's" "Alice in Wonderland," with its sequel, "Through the @@ -7514,9 +7473,9 @@ from 1833 to 1846, and was elected a member of that Society in 1842. He first exhibited at the Royal Academy in 1838, his election as an Associate taking place in 1851. The artist, on receiving a commission from Dickens for a picture, -painted a presentment of "'Tilda Price," the <i>fiancée</i> of the genial +painted a presentment of "'Tilda Price," the <i>fiancée</i> of the genial John Browdie in "Nicholas Nickleby," the picture realising the -sum of £42 at the sale of the novelist's effects in 1870. This and +sum of £42 at the sale of the novelist's effects in 1870. This and two other paintings by Stone (portraits of Kate Nickleby and<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> Madeline Bray) were engraved on steel by Finden, and published ("with the approbation of Charles Dickens") by Chapman & Hall @@ -7944,14 +7903,14 @@ One of these—a water-colour drawing executed in 1851—illustrates a scene in "Barnaby Rudge," where children flock round the half-witted hero as he and his mother pass through her native village; the drawing was presented by the artist to Dickens, and realised at the -sale of the novelist's effects the sum of £115, 10s. This picture was +sale of the novelist's effects the sum of £115, 10s. This picture was followed by another from "The Old Curiosity Shop," representing Little Nell and her Grandfather in the tent, making bouquets for the racecourse, which was also a gift to Dickens, being subsequently disposed -of at the above-mentioned sale for £288, 15s. It is also recorded +of at the above-mentioned sale for £288, 15s. It is also recorded that the artist, in 1856, produced a drawing portraying "Little Nell in the Churchyard," which some five years after the novelist's death found -a purchaser for £325, 10s.</p> +a purchaser for £325, 10s.</p> <p>F. W. Topham proved a welcome addition to Dickens's company of distinguished amateur actors, and concerning his histrionic ability @@ -7981,7 +7940,7 @@ extraordinarily ludicrous."</p> Present and a Letter from Dickens—First Success as a Painter—Death of his Father—Desires to Become an Illustrator of Books—Befriended by Dickens—Initial Attempt at Drawing upon Wood—Frontispiece for the First Cheap Edition of -"Little Dorrit"—The Artist's <i>Début</i> as a Black-and-White Draughtsman—His Designs +"Little Dorrit"—The Artist's <i>Début</i> as a Black-and-White Draughtsman—His Designs for "<span class="smcap">Our Mutual Friend</span>"—The Pictorial Wrapper—Suggestions from Dickens—Portrait of Silas Wegg—Preliminary Sketches for the Illustrations—Valuable Hints for the Artist—Realism in his Designs—The Prototype of Mr. Venus—Photography upon @@ -7990,7 +7949,7 @@ Editions—Relinquishes Black-and-White Drawing—Elected a Royal Academ of his Pictures—Intimacy with Dickens—Private Theatricals.</p></blockquote> <p>It will be remembered that "A Tale of Two Cities," the last of -Dickens's novels containing Hablôt Browne's designs, was succeeded +Dickens's novels containing Hablôt Browne's designs, was succeeded by "Our Mutual Friend," the initial number of which appeared on May 1, 1864. In this story Dickens repeated an early experience in having woodcut illustrations instead of the customary @@ -8100,7 +8059,7 @@ MARCUS STONE, R.A.</p> <span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span>son of "poor Frank Stone" assumed a very practical form, for at this juncture it occurred to him to test the artistic capabilities of Marcus Stone, probably without any intention of permanently ousting "Phiz." -The young <i>protégé</i>, however, possessed no knowledge of etching, and, +The young <i>protégé</i>, however, possessed no knowledge of etching, and, indeed, had gained but little experience in any other form of illustration. Fortunately, the art of drawing upon wood (then much in vogue, but now practically obsolete) needed very little training in the hands of one @@ -8111,7 +8070,7 @@ that the artist's first attempt at drawing on wood was the frontispiece for the first cheap edition of "Little Dorrit" (1861), which, although showing marked ability, is by no means equal to his subsequent efforts. Marcus Stone -was fortunate in making his <i>début</i> as a black-and-white draughtsman +was fortunate in making his <i>début</i> as a black-and-white draughtsman at the time when a remarkable array of talent presented itself in the pages of the <i>Cornhill Magazine</i>, just then launched by Thackeray, the illustrations for which were supplied by Millais, Fred. Walker, Sandys, @@ -8208,7 +8167,7 @@ completion.</p> <p>Mr. Marcus Stone affirms that he was much hampered by Dickens with respect to these designs, for the novelist, hitherto accustomed -to the diminutive scale of the figures in Hablôt Browne's etchings, was +to the diminutive scale of the figures in Hablôt Browne's etchings, was somewhat imperative in his demand for a similar treatment of the illustrations for "Our Mutual Friend." The author, it seems, was usually in an appreciative mood whenever a sketch was submitted for @@ -8364,7 +8323,7 @@ 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 +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.</p> @@ -8412,7 +8371,7 @@ 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<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> appeal to all sorts and conditions of men and women, such as those -subtle domestic dramas in which love plays the leading <i>rôle</i>.</p> +subtle domestic dramas in which love plays the leading <i>rôle</i>.</p> <p>Mr. Marcus Stone's intimacy with Charles Dickens originated while his father, Frank Stone, and the novelist were living not more @@ -8431,7 +8390,7 @@ 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 +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.</p> @@ -8485,7 +8444,7 @@ for "Our Mutual Friend," he determined to relinquish black-and-white drawing and to concentrate his energy upon painting; but for this, it is probable that his skilled pencil would have been requisitioned for Charles Dickens's last story, "The Mystery -of Edwin Drood." That the re-engagement of Hablôt Browne as +of Edwin Drood." That the re-engagement of Hablôt Browne as illustrator of that unfinished romance was not contemplated may be attributed chiefly to the fact that, in 1867, the clever artist whose name and fame will ever be associated with the writings of Dickens @@ -9061,7 +9020,7 @@ in the twelfth chapter of "The Pickwick Papers," his illustration representing<s 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, +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: @@ -9088,7 +9047,7 @@ 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 +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 <i>sobriquet</i> of "Dotheboys Webster."</p> @@ -9132,7 +9091,7 @@ 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 +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 @@ -9179,7 +9138,7 @@ was suffocated by the smoke, his body being much burned.</p> <p><span class="sidenote"><b>American "Household Edition."</b></span>The Household Edition was simultaneously published in London and New York, Harper & Brothers having arranged with Chapman & Hall to be -supplied with <i>clichés</i> of the illustrations. For some reason, however, the English +supplied with <i>clichés</i> 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 @@ -9383,7 +9342,7 @@ them, and generally without letterpress. Artists and publishers alike thus avail themselves of the enormous popularity achieved by Dickens's writings, confident in the belief that financial success would attend their efforts. Among those responsible for the designing of what are usually termed "Extra Illustrations" -were many well-known draughtsmen of the day, including Hablôt K. Browne +were many well-known draughtsmen of the day, including Hablôt K. Browne ("Phiz"), Sir John Gilbert, R.A., Onwhyn, Kenny Meadows, Alfred Forrester ("Crowquill"), and, more recently, Fred. Barnard and F. W. Pailthorpe. It must, however, be admitted that, with regard to certain productions by artists less @@ -9504,7 +9463,7 @@ sold by all Booksellers in Town and Country. The word "misletoe" is mis-spelt in the title on one of the woodcuts. (<i>See p. 72.</i>)</p> <p><span class="smcap">The Old Curiosity Shop.</span>—"Four Plates, engraved [in stipple] under -the superintendence of Hablôt K. Browne and Robert Young, to illustrate +the superintendence of Hablôt K. Browne and Robert Young, to illustrate the first Cheap Edition of 'The Old Curiosity Shop.'" Price one shilling. Green wrapper. The subjects are: Little Nell and her Grandfather, the Marchioness, Barbara, and The Death of Little Nell. "Published with the<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a><br /><a name="Page_230" id="Page_230">[Pg 230]</a></span> @@ -9513,7 +9472,7 @@ Also proofs on india-paper, one shilling each portrait. A few sets coloured, now very scarce. (<i>See p. 85.</i>)</p> <p><span class="smcap">Barnaby Rudge.</span>—"Four Plates, engraved [in stipple] under the superintendence -of Hablôt K. Browne and Robert Young, to illustrate the Cheap +of Hablôt K. Browne and Robert Young, to illustrate the Cheap Edition of 'Barnaby Rudge.'" Portraits of Emma Haredale, Dolly Varden, Barnaby and Hugh, Mrs. Varden and Miggs. "Published with the Approbation of Mr. Charles Dickens." London: Chapman & Hall, 186 Strand, 1849. @@ -9522,7 +9481,7 @@ very scarce. These and the preceding designs were re-engraved by E. Roffe in 1889. (<i>See p. 85.</i>)</p> <p>"<span class="smcap">Little Nell</span>" and "<span class="smcap">Dolly Varden</span>." Engraved on steel by Edwin -Roffe, from hitherto unpublished drawings by Hablôt K. Browne. On india-paper, +Roffe, from hitherto unpublished drawings by Hablôt K. Browne. On india-paper, the impression limited to 100 proofs, with <i>remarques</i> printed in black, and 100 with <i>remarques</i> in brown, after which the <i>remarques</i> were cancelled. These plates were accompanied by explanatory text, and issued in a leatherette @@ -9531,7 +9490,7 @@ and John F. Dexter, 16 Minford Gardens, West Kensington, 1889.</p> <p><span class="smcap">Dombey and Son.</span>—"The Four Portraits of Edith, Florence, Alice, and Little Paul. Engraved [on steel] under the superintendence of R. Young and -H. K. Browne. From Designs by Hablôt K. Browne. And Published with +H. K. Browne. From Designs by Hablôt K. Browne. And Published with the Sanction of Mr. Charles Dickens." London: Chapman & Hall, 186 Strand, 1848. In green wrapper, price one shilling. These engravings were also published as proofs on india-paper, 4to, price one shilling each portrait. @@ -9539,13 +9498,13 @@ Some sets coloured.</p> <p><span class="smcap">Dombey and Son.</span>—"Full-length Portraits of Dombey and Carker, Miss Tox, Mrs. Skewton, Mrs. Pipchin, Old Sol and Captain Cuttle, Major Bagstock, -Miss Nipper, and Polly. In Eight Plates, Designed and Etched by Hablôt +Miss Nipper, and Polly. In Eight Plates, Designed and Etched by Hablôt K. Browne, and published with the Sanction of Mr. Charles Dickens." London: Chapman & Hall, 186 Strand, 1848. In green wrapper, price two shillings. Some sets coloured. The series of twenty plates, viz., "The Old Curiosity Shop," "Barnaby Rudge," and "Dombey and Son," were recently reprinted on india-paper, and issued by F. T. Sabin in a portfolio, price -£2, 10s. (<i>See pp. 100-101.</i>)</p></blockquote> +£2, 10s. (<i>See pp. 100-101.</i>)</p></blockquote> <p class="center">"<span class="smcap">Brush.</span>"</p> @@ -9585,8 +9544,8 @@ part, one shilling plain, two shillings coloured. Published complete in lavender-tinted wrapper, demy 8vo, and in cloth. London: Ackermann & Co., 96 Strand [1837]. The plates in Part I. only are signed. Reproductions have also been issued, etched on copper by F. W. Pailthorpe -and published by F. T. Sabin, 1880. Price, coloured, £2, 15s., uncoloured, -£1, 18s. Within the last few years sets of the "Crowquill" plates have +and published by F. T. Sabin, 1880. Price, coloured, £2, 15s., uncoloured, +£1, 18s. Within the last few years sets of the "Crowquill" plates have been catalogued at twenty guineas. (<i>See also</i> "Thomas Onwhyn.")</p></blockquote> <p class="center"><span class="smcap">F. O. C. Darley.</span></p> @@ -9787,7 +9746,7 @@ Newman, <span class="smcap">N.D.</span></p> <p>In 1897, Mr. George Allen, of 156 Charing Cross Road, issued india-proof impressions from the thirty-two original steel plates for "Pickwick," and from thirty-eight for "Nickleby," the edition being strictly limited to 250 -sets for each work. Price £5, 5s. per set. Cloth portfolio, 12 by 9 inches, +sets for each work. Price £5, 5s. per set. Cloth portfolio, 12 by 9 inches, with title-page and list of subjects. The plates have been well preserved.</p></blockquote> <p class="center"><span class="smcap">H. M. Paget.</span></p> @@ -9871,7 +9830,7 @@ these Sketches had never seen the light of your eyes. The artist's hope is (may you find it not a vain one) that these humble efforts may afford some of the pleasure he enjoyed when imagining them.—11 Buckingham St., Portland Place, London. January 1st, 1838." A copy of this scarce work realised -£18 at Sotheby's in 1895.</p> +£18 at Sotheby's in 1895.</p> <p>"<span class="smcap">Illustrations of Master Humphrey's Clock.</span>"—Seventy-two etchings, issued during the publication of this work, 1840-41. Eighteen parts, each @@ -10025,14 +9984,14 @@ Meadows "is to recall the typical art of the illustrator and (such as it was) of the comic draughtsman of the first half of the century."</p> <p>During his last years Kenny Meadows's services as an illustrator of books -were rewarded by a pension from the Civil List of £80 per annum. He +were rewarded by a pension from the Civil List of £80 per annum. He was a boon companion, a delightful <i>raconteur</i> when at the club, and a jovial, roystering Bohemian when he left it. This generous and kind-hearted man died in 1874, when he had almost completed his eighty-fifth year.</p> <p>It is worth recording that a highly-finished drawing, in pen and ink and sepia, of Ralph Nickleby, designed by Kenny Meadows as an illustration -for his series of "Heads from 'Nicholas Nickleby,'" realised £7, 10s. +for his series of "Heads from 'Nicholas Nickleby,'" realised £7, 10s. at Sotheby's in 1893, the drawing being about twice the size of the engraving.</p> @@ -10381,7 +10340,7 @@ place between the earlier portraits of Dickens by Samuel Laurence, Maclise, and R. J. Lane, and the later presentments of him by photography.</p> <p>It is not generally known that Mr. Frith once had the privilege of illustrating -<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span>a Dickens novel, <i>àpropos</i> of which the artist writes: "I told Dickens one day +<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span>a Dickens novel, <i>à propos</i> of which the artist writes: "I told Dickens one day when he was sitting for his likeness that I should like to be allowed to illustrate one of his books. He seemed pleased, and proposed 'Little Dorrit.' I forget to whom I sold the pictures, and where they are now I know not." The two @@ -10451,7 +10410,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <li><i>All the Year Round</i>, <a href="#Page_111">111</a>, <a href="#Page_160">160</a>, <a href="#Page_215">215</a>.</li> <li>"American Notes," designs for, <a href="#Page_157">157-158</a>, <a href="#Page_202">202</a>, <a href="#Page_219">219</a>, <a href="#Page_221">221</a>, <a href="#Page_222">222</a>, <a href="#Page_226">226</a>.</li> <li>"Artist and the Author, The," <a href="#Page_22">22</a>.</li> -<li><i>Athenæum, The</i>, <a href="#Page_33">33</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_60">60</a>, <a href="#Page_76">76</a>.</li> +<li><i>Athenæum, The</i>, <a href="#Page_33">33</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_60">60</a>, <a href="#Page_76">76</a>.</li> <li>Atkinson, W. A., <a href="#Page_243">243</a>.</li> <li class="ifrst"><a id="IX_B" name="IX_B"></a>Barnard, Fred, <a href="#Page_221">221</a>, <a href="#Page_222"><b>222</b></a>, <a href="#Page_226">226</a>, <a href="#Page_227">227</a>;</li> @@ -10474,7 +10433,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <li>Bracewell, C. H., <a href="#Page_229">229</a>.</li> <li>Browne, Dr. E. A., <a href="#Page_99">99</a>, <a href="#Page_101">101</a>.</li> <li>Browne, Gordon, <a href="#Page_226">226</a>.</li> -<li><a id="HKB" name="HKB"></a>Browne, Hablôt K. ("Phiz"), <a href="#Page_25">25</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_59"><b>59-120</b></a>, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>, <a href="#Page_132">132</a>, <a href="#Page_146">146</a>, <a href="#Page_147">147</a>, <a href="#Page_192">192</a>, <a href="#Page_193">193</a>, <a href="#Page_195">195</a>, <a href="#Page_197">197</a>, <a href="#Page_204">204</a>, <a href="#Page_209">209</a>, <a href="#Page_217">217</a>, <a href="#Page_221">221</a>, <a href="#Page_226">226</a>, <a href="#Page_227">227</a>, <a href="#Page_229"><b>229-230</b></a>, <a href="#Page_239">239</a>, <a href="#Page_240">240</a>, <a href="#Page_242">242</a>;</li> +<li><a id="HKB" name="HKB"></a>Browne, Hablôt K. ("Phiz"), <a href="#Page_25">25</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_59"><b>59-120</b></a>, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>, <a href="#Page_132">132</a>, <a href="#Page_146">146</a>, <a href="#Page_147">147</a>, <a href="#Page_192">192</a>, <a href="#Page_193">193</a>, <a href="#Page_195">195</a>, <a href="#Page_197">197</a>, <a href="#Page_204">204</a>, <a href="#Page_209">209</a>, <a href="#Page_217">217</a>, <a href="#Page_221">221</a>, <a href="#Page_226">226</a>, <a href="#Page_227">227</a>, <a href="#Page_229"><b>229-230</b></a>, <a href="#Page_239">239</a>, <a href="#Page_240">240</a>, <a href="#Page_242">242</a>;</li> <li class="isub1">biographical sketch, <a href="#Page_113">113-118</a>;</li> <li class="isub1">remuneration, <a href="#Page_116">116</a>;</li> <li class="isub1">illness, <a href="#Page_116">116</a>;</li> @@ -10483,7 +10442,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <li class="isub1">personal characteristics, <a href="#Page_117">117-118</a>;</li> <li class="isub1">water-colour <i>replicas</i> of Dickens illustrations, <a href="#Page_118">118</a>;</li> <li class="isub1">"extra illustrations," <a href="#Page_229">229-230</a>.</li> -<li>Browne, Hablôt K.," Life and Labours of," <a href="#Page_96">96</a>, <a href="#Page_111">111</a>, <a href="#Page_119">119-120</a>.</li> +<li>Browne, Hablôt K.," Life and Labours of," <a href="#Page_96">96</a>, <a href="#Page_111">111</a>, <a href="#Page_119">119-120</a>.</li> <li>Browne, W. G. R., <a href="#Page_111">111</a>.</li> <li>Brune, Morton, <a href="#Page_61">61</a>.</li> <li>"Brush," <a href="#Page_230">230-231</a>.</li> @@ -10655,7 +10614,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <li>Greiffenhagen, M., <a href="#Page_226">226</a>.</li> <li>Groves (engraver), <a href="#Page_137">137</a>.</li> -<li class="ifrst"><a id="IX_H" name="IX_H"></a>Hablôt, Colonel, <a href="#Page_114">114</a>.</li> +<li class="ifrst"><a id="IX_H" name="IX_H"></a>Hablôt, Colonel, <a href="#Page_114">114</a>.</li> <li>Hall, Mr. (Chapman & Hall), <a href="#Page_44">44</a>, <a href="#Page_49">49</a>, <a href="#Page_116">116</a>.</li> <li>Hamerton, P. G., <a href="#Page_2">2</a>, <a href="#Page_183">183</a>.</li> <li>Hamilton, Colonel, <a href="#Page_6">6</a>.</li> @@ -10746,7 +10705,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <li class="isub1">Cruikshank (G.) to Dickens, <a href="#Page_14">14</a>;</li> <li class="isub2">to <i>The Times</i>, <a href="#Page_19">19-22</a>.</li> <li class="isub1">Dickens (C.) to <i>Anon.</i>, <i>re</i> "Pickwick," <a href="#Page_36">36-37</a>;</li> -<li class="isub2">to <i>The Athenæum</i>, <a href="#Page_43">43-44</a>;</li> +<li class="isub2">to <i>The Athenæum</i>, <a href="#Page_43">43-44</a>;</li> <li class="isub2">to H. K. Browne, <a href="#Page_88">88-89</a>, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96-97</a>, <a href="#Page_99">99</a>, <a href="#Page_100">100</a>, <a href="#Page_111">111</a>, <a href="#Page_115">115-116</a>;</li> <li class="isub2">to G. Cattermole, <a href="#Page_122">122-134</a>;</li> <li class="isub2">to Chapman & Hall, <a href="#Page_205">205</a>;</li> @@ -10843,7 +10802,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <li><a id="KP" name="KP"></a>Perugini, Kate, <a href="#Page_245">245</a> (and <i>see</i> <a href="#KD">"Kate Dickens"</a>).</li> <li>"Peter Palette" (pseudonym of Thomas Onwhyn), <a href="#Page_227">227</a>, <a href="#Page_234"><b>234-235</b></a>.</li> <li>Phillips, Watts, <a href="#Page_111">111</a>.</li> -<li>"Phiz," 65 (and <i>see</i> <a href="#HKB">"Hablôt K. Browne"</a>).</li> +<li>"Phiz," 65 (and <i>see</i> <a href="#HKB">"Hablôt K. Browne"</a>).</li> <li>Pickett, Mary S., <a href="#Page_245">245</a>.</li> <li>Pickwick, Mr., prototype of, <a href="#Page_38">38-39</a>;</li> <li class="isub1">Sketches by H. K. Browne, <a href="#Page_72">72</a>;</li> @@ -10859,7 +10818,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <li class="isub1">by G. Thomson (Household Edition), <a href="#Page_221">221</a>;</li> <li class="isub1">by M. Greiffenhagen, <a href="#Page_226">226</a>.</li> <li>Pinwell, G. J., <a href="#Page_220"><b>220</b></a>.</li> -<li>Planché, <a href="#Page_150">150</a>, <a href="#Page_203">203</a>.</li> +<li>Planché, <a href="#Page_150">150</a>, <a href="#Page_203">203</a>.</li> <li>Portraits:—</li> <li class="isub1">Cruikshank (G.) <a href="#Page_5">5-6</a>, <a href="#Page_28">28</a>;</li> <li class="isub1">Dickens (C.), <a href="#Page_5">5-6</a>, <a href="#Page_56">56</a>, <a href="#Page_74">74</a>, <a href="#Page_168">168</a>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>, <a href="#Page_225">225</a>, <a href="#Page_236">236</a>, <a href="#Page_237">237</a>, <a href="#Page_238">238</a>, <a href="#Page_247">247</a>;</li> @@ -11034,7 +10993,7 @@ picture painted by me for the late Charles Dickens. (Signed) <span class="smcap" <ul class="index"> <li><a id="BR" name="BR">"Barnaby Rudge,"</a> <a href="#Page_81"><b>81-86</b></a>, <a href="#Page_127"><b>127-133</b></a>, <a href="#Page_169">169</a>, <a href="#Page_202">202</a>.</li> -<li class="isub1">Designs by Hablôt K. Browne, <a href="#Page_85">85-86</a>, <a href="#Page_230">230</a>;</li> +<li class="isub1">Designs by Hablôt K. Browne, <a href="#Page_85">85-86</a>, <a href="#Page_230">230</a>;</li> <li class="isub2">by George Cattermole, <a href="#Page_127">127-133</a>;</li> <li class="isub2">by Frederick Barnard, <a href="#Page_222">222</a>;</li> <li class="isub2">by Absolon and Corbeaux, <a href="#Page_228">228</a>;</li> @@ -11232,391 +11191,14 @@ especially if he saw an opportunity for improving them.)</p> <p>Page 73: "than" changed to "that" (It was under such distressing conditions that in 1873-74 he executed a commision).</p> -<p>Page 81 and 88: "apropos" changed to "àpropos" for consistentcy ("Phiz" -was often àpropos) and (sly touches of humour peculiarly àpropos of the +<p>Page 81 and 88: "apropos" changed to "à propos" for consistentcy ("Phiz" +was often à propos) and (sly touches of humour peculiarly à propos of the principal theme.)</p> <p>Page 136: "encourged" changed to "encouraged" (Its extraordinary popularity encouraged him to prepare a similar story).</p> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Dickens and His Illustrators, by Frederic G. 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