Dickens and His Illustrators. Frederic George Kitton
the technical superiority of many of the illustrations in the later editions of Dickens's works (such as those by Frederick Barnard and Charles Green), the collector and bibliophile claim for the designs in the original issue an interest which is lacking in subsequent editions; that is to say, they possess the charm of association—a charm that far outweighs possible artistic defects and conventions; for, be it remembered, these designs were produced under the direct influence and authorisation of Dickens, and by artists who worked hand in hand with the great romancer himself.
It is averred that "Phiz," who rightly retains the premier position among Dickens's Illustrators, placed very little value upon his tentative drawings, which, as soon as they had served their purpose, were either thrown upon the fire or given away incontinently to those who had the foresight to ask for them. Fortunately, the recipients were discriminating enough to treasure these pencillings, many of them having since been transferred to the portfolios of collectors. For the privilege of reproducing interesting examples I am indebted to Her Grace the Duchess of St. Albans, Mr. J. F. Dexter, Mr. M. H. Spielmann, Mr. W. H. Lever, Messrs. Robson & Co., the Committee of Nottingham Castle Museum, and others. I am especially grateful to Mr. Augustin Daly, of New York, for so generously permitting me to photograph the famous "Pickwick" drawings by Seymour, together with a hitherto unpublished portrait of that artist. The portrait of Dickens forming the frontispiece to this volume is reproduced from a unique impression of a very scarce lithograph in the possession of Mr. Stuart M. Samuel.
In order to give an effect of continuity to my Notes, I have lightly sketched the career of each Artist, introducing in chronological sequence the facts relating to his designs for Dickens. In several cases, the proof-sheets of these chapters have been revised by the representatives of the Artists to whom they refer, and for valued aid in this direction my cordial thanks are due to the Rev. A. J. Buss, Mr. Field Stanfield, Mr. A. H. Palmer, and Mr. F. W. W. Topham. Those of Dickens's Illustrators who are still with us have furnished me with much information, and have kindly expressed their approval of what I have written concerning them. I therefore avail myself of this opportunity of tendering my sincere thanks, for assistance thus rendered, to Mr. Marcus Stone, R.A., Mr. Luke Fildes, R.A., Mr. W. P. Frith, R.A., and Sir John Tenniel, R.I., whose mark of approbation naturally imparts a special value to the present record. I am still further indebted to Mr. Stone and Mr. Fildes for the loan of a number of their original drawings and sketches for Dickens, which have not hitherto been published.
Owing to the circumstance that many of the so-called "Extra" Illustrations are now extremely rare, my list of them could never have been compiled but for advantages afforded me by collectors, in allowing me to have access to their Dickensiana. The kind offices of Mr. W. R. Hughes, Mr. Thomas Wilson, Mr. W. T. Pevier, and Mr. W. T. Spencer are gratefully acknowledged in this connection, as well as those of Mr. Dudley Tenney of New York, who has rendered me signal service in respect of American Illustrations.
To Forster's "Life of Dickens" and to the published "Letters" I am naturally beholden for information not otherwise procurable, while certain interesting details concerning "Phiz's" drawings and etchings are quoted from Mr. D. C. Thomson's "Life and Labours of Hablôt K. Browne," which is more extended in its general scope than my previously-issued Memoir of the artist.
I am privileged to associate the names of Miss Hogarth and Mrs. Perugini with this account of Charles Dickens and his collaborateurs; to the former I am obliged for permission to print some of the Novelist's correspondence which has never previously been made public, while the latter has favoured me with the loan of photographic portraits. Finally, I must express my indebtedness for much valuable aid to George Cattermole's daughter, Mrs. Edward Franks, the "cousin" to whom the Novelist alluded in a letter to her father dated February 26, 1841, and to whose "clear blue eyes" he desired to be commended.
F. G. KITTON.
St. Albans, September 1898.
APPENDIX
| I. | ILLUSTRATORS OF CHEAP EDITIONS | 219 |
| II. | CONCERNING "EXTRA ILLUSTRATIONS" | 227 |
| III. | DICKENS IN ART | 243 |
| INDEX | 249 |
DICKENS AND HIS ILLUSTRATORS
GEORGE CRUIKSHANK
First Start in Life—Early Productions—"Sketches by Boz"—Introduction to Dickens—First and Second Series of the "Sketches"—Extra Plates—Additional Designs for the Complete Edition—Portraiture of Artist and Author—Historic Value of Cruikshank's Illustrations—Some Slight Inaccuracies—Frontispiece of the First Cheap Edition—Tentative Sketches and Unused Designs—"Oliver Twist"—Incongruities Detected in a Few of the Plates—Thackeray's Eulogium—Working Tracings and Water-Colour Replicas—Trial Sketches—A Note from Cruikshank to Dickens—Sketches of Bill Sikes in the Condemned Cell—How the Design for "Fagin in the Condemned Cell" was Conceived—A Criticism by Ruskin—The Cancelled Plate—Cruikshank's Claim to the Origin of "Oliver Twist"—Designs for Dickens's Minor Writings in Bentley's Miscellany—"The Lamplighter's Story"—Cruikshank's Last Illustration for Dickens—"Frauds on the Fairies"—The Artist's Remuneration—Death.
The name of George Cruikshank, which stands first in the long and imposing list of Dickens Illustrators, is familiar to every one as that of a pencil humorist of no common calibre, whose genius as a designer and whose marvellous skill as an etcher have evoked enthusiastic praise from John Ruskin and other eminent critics. He undoubtedly inherited his artistic talent from his father, who was not only an etcher and engraver, but (as George himself has recorded) "a first-rate water-colour draughtsman." So experienced an artist was therefore thoroughly capable of training his sons, George and Isaac Robert, for the same profession.
Like most boys, George dreamt of the sea, aspiring to become a second Captain Cook; but, happily, the death of his father compelled him to take up seriously the work of designing, in order that he might assist in maintaining his mother and sister. His first start in life originated in a publisher seeing some of his sketches, which indicated such unusual talent that he was immediately engaged to illustrate children's books, songs, and other cheap literature peculiar to the period. Then the young artist essayed the more profitable arena of political caricaturing, distinctly making his mark as a satirist Realising at this time his imperfections as a draughtsman, he determined to acquire the art of drawing with correctness, entering the Royal Academy as a student; but, finding it difficult to work on pedantic lines, his resolution soon waned, and, after one course of study, he left the place for a short interval of—forty years! Although he never became the learned artist, nor was able to draw with academic accuracy, he wielded his pencil with a facility and vigour that delighted all beholders, and this deftness, combined with a remarkable sense of humour and satire, speedily brought him commissions from every quarter.
It was as a book-illustrator that George Cruikshank undoubtedly excelled, and some idea of his industry