Read Ebook: Dickens and His Illustrators Cruikshank Seymour Buss Phiz Cattermole Leech Doyle Stanfield Maclise Tenniel Frank Stone Landseer Palmer Topham Marcus Stone and Luke Fildes 2nd. Ed. by Kitton Frederic George

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"Without going further into particulars, I think it will be allowed from what I have stated that I am the originator of 'Oliver Twist,' and that all the principal characters are mine; but I was much disappointed by Mr. Dickens not fully carrying out my first suggestion.

"I must here mention that nearly all the designs were made from conversation and mutual suggestion upon each subject, and that I never saw any manuscript of Mr. Dickens until the work was nearly finished, and the letter of Mr. Dickens which Mr. Forster mentions only refers to the last etching--done in great haste--no proper time being allowed, and of a subject without any interest; in fact, there was not anything in the latter part of the manuscript that would suggest an illustration; but to oblige Mr. Dickens I did my best to produce another etching, working hard day and night, but when done, what is it? Why, merely a lady and a boy standing inside of a church looking at a stone wall!

"Mr. Dickens named all the characters in this work himself, but before he had commenced writing the story he told me that he had heard an omnibus conductor mention some one as Oliver Twist, which name, he said, he would give the boy, as he thought it would answer his purpose. I wanted the boy to have a very different name, such as Frank Foundling or Frank Steadfast; but I think the word Twist proves to a certain extent that the boy he was going to employ for his purpose was a very different sort of boy from the one introduced and recommended to him by, Sir, your obedient servant,

"GEORGE CRUIKSHANK.

STUDIES FOR

BILL SIKES IN THE CONDEMNED CELL

GEORGE CRUIKSHANK

"FAGIN IN THE CONDEMNED CELL"

GEORGE CRUIKSHANK

Certain humorous pieces written by Dickens for Richard Bentley were also illustrated by Cruikshank. The first paper, entitled "Public Life of Mr. Tulrumble, once Mayor of Mudfog" , contains an etching of Ned Twigger in the kitchen of Mudfog Hall, and the next contribution, purporting to be a "Full Report of the Second Meeting of the Mudfog Association for the Advancement of Everything" is embellished with a very ludicrous illustration, entitled "Automaton Police Office and Real Offenders, from the model exhibited before Section B of the Mudfog Association." This design depicts the interior of a police-court in which all the officials are automatic--an ingenious rendering of the idea propounded by Mr. Coppernose to the President and members of the Association. To the second paper the artist also supplied a woodcut portrait of "The Tyrant Sowster," of whom he made no less than six studies before he succeeded in producing a satisfactory presentment of Mudfog's "active and intelligent" beadle.

Footnote 5: In the original title on the plate, Ned Twigger's Christian name is incorrectly given as Tom.

FIRST IDEA AND SKETCH FOR

"FAGIN IN THE CONDEMNED CELL"

AND VARIOUS STUDIES FOR SCENES AND CHARACTERS IN "OLIVER TWIST"

GEORGE CRUIKSHANK

That George Cruikshank was by no means a prosperous man is perhaps explained by the fact that he never was highly remunerated for his work. "Time was," wrote Thackeray, "when for a picture with thirty heads in it he was paid three guineas--a poor week's pittance, truly, and a dire week's labour!" The late Mr. Sala declared that for an illustrative etching on a plate, octavo size, George never received more than twenty-five pounds, and had been paid as low as ten,--that he had often drawn "a charming little vignette on wood" for a guinea. On February 1, 1878, this remarkable designer and etcher--the most skilled book-illustrator of his day--passed painlessly away at his house in Hampstead Road, having attained the ripe old age of eighty-five. His remains were interred at Kensal Green, but were ultimately removed to the crypt of St. Paul's Cathedral, where a bust by Adams perpetuates his memory.

ROBERT SEYMOUR

From an Unpublished Drawing by

TAYLOR

ROBERT SEYMOUR

Concerning the artist who was primarily engaged in the illustration of "Pickwick," very little has been recorded, owing perhaps to the fact that his career, which terminated so tragically and so prematurely, was brief and uneventful. The following particulars of his life and labours, culled from various sources, will, I trust, enable the reader to appreciate Robert Seymour's true position respecting his connection with Charles Dickens's immortal work.

Born "in or near London" in 1798, Robert Seymour indicated at a very early age a decided taste for drawing, whereupon his father, Henry Seymour, a Somerset gentleman, apprenticed him to a skilful pattern-draughtsman named Vaughan, of Duke Street, Smithfield. Although this occupation was most uncongenial to young Seymour, it caused him to adopt a neat style of drawing which ultimately proved of much utility. He aspired to a higher branch of Art than that involved in the delineation of patterns for calico-printers; but for a time he remained with Vaughan, pleasantly varying the monotony of his daily routine by producing miniature portraits of friends who consented to sit to him, receiving in return a modest though welcome remuneration. Still cherishing an inclination towards "High Art," he and a colleague named Work deserted Vaughan, and, renting a room at the top of the old tower at Canonbury, they purchased a number of plaster-casts, lay-figures, &c., from which the two juvenile enthusiasts began to study with great assiduity. In Seymour's case tangible results were speedily forthcoming, for he presently painted a picture of unusually large dimensions, quaintly described by his fellow-student as containing representations of "the Giant of the Brocken, the Skeleton Hunt, the Casting of Bullets, and a full meal of all the German horrors eagerly swallowed by the public of that day." This remarkable canvas was, it seems, a really creditable work, and found a place on the walls of a gallery in Baker Street Baazar. Seymour, like many other ambitious young artists possessing more talent than pence, quickly realised the sad fact that, though the pursuit was in itself a very agreeable one, it meant penury to the painter unless he owned a private fortune or commanded the purse-strings of rich patrons. The artist's widow afterwards declared that he invariably sold his pictures direct from the easel; but there is no doubt that with him "High Art" proved a financial failure, and he reluctantly turned his attention to the more lucrative occupation of designing on wood, for which he was peculiarly fitted by his previous practice in clean, precise draughtsmanship during that probationary period in Vaughan's workshop.

Footnote 7: In another account it is stated that Seymour was the natural son of Vaughan himself, and that the child bore the name of the mother, under whose care he remained until his father acknowledged the paternity, when he took the boy into his workshop.

Seymour was very fond of horticultural pursuits, and took great pains in cultivating his own garden; but the result of his efforts in this direction proved disappointing, and when dilating upon his want of success, it was suggested that the misfortunes of an amateur gardener might be made the subject of some entertaining drawings. After pondering over this idea, and mindful of the fact that he still possessed a number of unpublished sketches reflecting upon the abilities of amateur sportsmen, he resolved upon reproducing some of a sporting character. His original notion was to bring out a work similar in plan to that of "The Heiress," a pictorial novel which he illustrated in 1830, and he first proposed the subject to the printseller McLean in 1835, and then to Spooner, the well-known publisher. The latter highly approved the project, and in discussing it they concluded it would be desirable to supplement the pictures with suitable letterpress. The undertaking was so far advanced that Seymour etched four plates, but, owing to unforeseen delays on the part of Spooner, the matter was held in abeyance for about three months, by which time Seymour determined to issue the work on his own responsibility, and to endeavour to get H. Mayhew or Moncrieff to write for it.

When, in February 1836, Edward Chapman called upon him with reference to a drawing which the firm had commissioned him to undertake, the artist mentioned the scheme of a work to be illustrated by him, having, as a central idea, a "Club of Cockney Sportsmen." Chapman thought favourably of the notion, and proposed that it should be brought out in two half-guinea volumes; but Seymour, desiring the widest circulation, insisted on the plan he originally conceived, that of shilling monthly numbers. Then came the question, Who should prepare the requisite text? Leigh Hunt, Theodore Hook, and other prominent writers of the day declined to undertake it, and shortly afterwards Seymour, having just been reading "Sketches by Boz," the humour and originality of which highly delighted him, proposed that Dickens should be asked to contribute the letterpress.

"MR. PICKWICK ADDRESSES THE CLUB"

R. SEYMOUR

Mr. Mackenzie Bell has given 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 sketches, and that, feeling uncertain of being able to supply the copy with sufficient regularity, he recommended Dickens for the task. This appears very likely to have been the case," adds Mr. Bell, "as at that time Whitehead, who was eight years older than Dickens, was already known as a facile and fecund writer, his coarse yet powerful romance of 'Jack Ketch' having been very popular for some time. It is even possible that 'The Pickwick Papers' may have been suggested to Dickens by a passage in the preface of 'Jack Ketch,' where a humorous allusion is made to the possibility of the author producing his more mature experiences under the unambitious title of 'The Ketch Papers,' a work which never appeared." It may be mentioned that Dickens had just sent in his MS. of "The Tuggses at Ramsgate" for "The Library of Fiction," edited by Whitehead, who was already familiar with the budding novelist's ability as an author. This carries us to the point whence Dickens takes up the thread of the story, as printed in the preface to the first cheap edition of "Pickwick" , where he writes:--

"THE PUGNACIOUS CABMAN"

R. SEYMOUR

Seymour, we are assured, had not the slightest pecuniary embarrassment; he was quite happy, too, in his domestic affairs, extremely fond of his family, and naturally of a very cheerful disposition. His melancholy fate caused a general feeling of regret among the public, with whom he was a great favourite, and to whom he was then better known than Dickens himself. In the second number of "Pickwick" appeared the following just tribute to the merits of the artist: "Some time must elapse before the void the deceased gentleman has left in his profession can be filled up; the blank his death has occasioned in the Society, which his amiable nature won, and his talents adorned, we can hardly hope to see supplied. We do not allude to this distressing event, in the vain hope of adding, by any eulogium of ours, to the respect in which the late Mr. Seymour's memory is held by all who ever knew him."

In the original announcement of "The Pickwick Papers" we read: "Seymour has devoted himself, heart and graver, to the task of illustrating the beauties of 'Pickwick.' It was reserved to Gibbon to paint, in colours that will never fade, the Decline and Fall of the Roman Empire--to Hume to chronicle the strife and turmoil of the two proud Houses that divided England against herself--to Napier to pen, in burning words, the History of the War in the Peninsula;--the deeds and actions of the gifted Pickwick yet remain for 'Boz' and Seymour to hand down to posterity." This projected collaboration, alas! was speedily frustrated by the unexpected tragedy, for Seymour had produced but seven plates when he terminated his life, the following being the subjects of his designs in the order of their publication:

"MR. PICKWICK ADDRESSES THE CLUB." "THE PUGNACIOUS CABMAN." "THE SAGACIOUS DOG." "DR. SLAMMER'S DEFIANCE OF JINGLE."

"THE DYING CLOWN." "MR. PICKWICK IN CHASE OF HIS HAT." "MR. WINKLE SOOTHES THE REFRACTORY STEED."

The Address issued with the Second Part contains an apology for the appearance therein of only three plates instead of four, as promised. "When we state," says the author, "that they comprise Mr. Seymour's last efforts, and that on one of them, in particular, he was engaged up to a late hour of the night preceding his death, we feel confident that the excuse will be deemed a sufficient one." Dickens had seen the unhappy man only once, forty-eight hours before his death, on the occasion of his visit to Furnival's Inn with the etching just referred to, which, altered at Dickens's suggestion, he brought away again for the few further touches that occupied him to a late hour of the night before he destroyed himself. In an unpublished letter addressed by the novelist to a correspondent who required certain particulars respecting "Pickwick," he thus referred to the artist: "Mr. Seymour shot himself before the second number of 'The Pickwick Papers' ... was published. While he lay dead, it was necessary that search should be made in his working room for the plates to the second number, the day for the publication of which was then drawing on. The plates were found unfinished, with their faces turned to the wall. It was Mr. Chapman who found them and brought them away."

Footnote 8: The artist's son asserts that the last plate Seymour etched for "Pickwick" was submitted to Dickens a fortnight before his death. It seems that Seymour's final drawing was for a woodcut, executed for John Jackson, the engraver, to whom the artist delivered it on the evening of the fatal day, April 20, 1836.

"DR. SLAMMER'S DEFIANCE OF JINGLE"

R. SEYMOUR

Seymour's method of work was to sketch with pencil or pen the outline of his subject, and add the shadow effects by means of light washes of a greyish tint. A precision and neatness of touch characterise these "Pickwick" drawings, the most interesting of which is undoubtedly that representing Mr. Pickwick addressing the Club, a scene such as Seymour may have actually witnessed in the parlour of almost any respectable public-house in his own neighbourhood of Islington. Here we have the first delineation of the immortal founder of the famous Club, "that happy portrait," as Dickens said of it, "by which he is always recognised, and which may be said to have made him a reality." Seymour originally sketched this figure as a long thin man, the familiar presentment of him as a rotund personage having been subsequently inspired by Edward Chapman's description of a friend of his at Richmond named John Foster, "a fat old beau, who would wear, in spite of the ladies' protests, drab tights and black gaiters." It is curious, however, that in "The Heiress," illustrated by Seymour six years previously, we find in the second plate a character bearing a striking resemblance to Mr. Pickwick, and in "Maxims and Hints for an Angler" , the artist similarly portrayed an old gentleman marvellously like him, both as regards physique and benignity of expression; indeed, this seems to have been a favourite type with Seymour, and thus it would appear that, in making Dickens's hero short and comfortable, he only reverted to an earlier conception.

FIRST STUDY FOR

"THE DYING CLOWN"

R. SEYMOUR

"15 FURNIVAL'S INN,

"MY DEAR SIR,--I had intended to write to you to say how much gratified I feel by the pains you have bestowed upon our mutual friend Mr. Pickwick, and how much the result of your labours has surpassed my expectations. I am happy to be able to congratulate you, the publishers, and myself on the success of the undertaking, which appears to have been most complete.

"I have now another reason for troubling you. It is this. I am extremely anxious about 'The Stroller's Tale,' the more especially as many literary friends, on whose judgment I place great reliance, think it will create considerable sensation. I have seen your design for an etching to accompany it. I think it extremely good, but still it is not quite my idea; and as I feel so very solicitous to have it as complete as possible, I shall feel personally obliged if you will make another drawing. It will give me great pleasure to see you, as well as the drawing, when it is completed. With this view I have asked Chapman and Hall to take a glass of grog with me on Sunday evening , when I hope you will be able to look in.

"CHARLES DICKENS."

In compliance with this wish, Seymour etched a new design for "The Stroller's Tale," which he conveyed to the author at the appointed time, this being the only occasion on which he and Dickens ever met. Whether the novelist again manifested dissatisfaction, or whether some other cause of irritation arose, is not known, but it is said that Seymour returned home after the interview in a very discontented frame of mind; he did nothing more for "Pickwick" from that time, and destroyed nearly all the correspondence relating to the subject. It has been stated that he received five pounds for each drawing, but it is positively asserted, on apparently trustworthy evidence, that the sum paid on account was only thirty-five shillings for each subject, and that the artist never relinquished the entire right which he had in the designs.

Footnote 9: R. W. Buss, the successor of Seymour as illustrator of "Pickwick," records that ten shillings was the price accorded to the artist for each plate.

As in the case of "The Stroller's Tale," there are noticeable differences between the drawing and the etching of the last of Seymour's published designs, depicting Mr. Winkle and the Refractory Steed. In this plate it will be observed that, although the general composition is identical with that in the drawing, the positions of the horse's forelegs are reversed, and trees have been introduced on the left of the picture.

PLATE XX

"THE RUNAWAY CHAISE"

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