Part 3

Apperley occupied himself during his exile in writing sporting memoirs and reminiscences, and contributing to Ackermann's _New Sporting Magazine_. In 1835 he was invited by Lockhart to write three articles on Hunting, Racing, and Coaching for the _Quarterly Review_, and these, which represent some of his best work, were republished under the title of _The Chase, the Turf, and the Road_, with coloured etchings by Henry Alken. Lockhart was so much impressed by the powers of his new contributor, that he told John Murray, "I have found a man who can hunt like Hugo Meynell and write like Walter Scott,"--a criticism that did more credit to his sporting than his literary acumen, though Apperley's style is greatly superior to that of Pierce Egan and other of his sporting contemporaries. In 1837 he published his _Memoirs of the Life of John Mytton_, which had appeared serially in the _New Sporting Magazine_, and was illustrated with plates drawn by Alken and etched by Rawlings. This was followed by _The Life of a Sportsman_, illustrated by the same artist, which has become one of the classics of hunting literature. Apperley returned to London in 1842, and died in Pimlico the following year.

[Illustration: MR. RIDGEWAY'S GOOD HEALTH--NOW!]

[Illustration: "OH GENTLEMEN! GENTLEMEN! HERE'S A LAMENTABLE OCCURRENCE"]

ROBERT SMITH SURTEES

The death of Apperley was preceded by the rise of another famous sporting writer, Robert Smith Surtees (1803-64), the second son of Anthony Surtees, of Hamsterley Hall, Durham. Robert was educated at Durham Grammar School, and afterwards articled to a solicitor. A partnership was bought for him in London, but this proved unsatisfactory, and the young man, turning his back upon the law, started upon his literary career as contributor to the old _Sporting Magazine_. In 1831, in connection with Rudolf Ackermann, the son and successor of Rowlandson's employer, he started the _New Sporting Magazine_, which he edited down to 1836, and in the pages of this periodical the celebrated Mr. Jorrocks, humorist, sportsman, and grocer, made his first bow to the public. These papers were collected under the title of _Jorrocks' Jaunts and Jollities_ in 1838, with illustrations by "Phiz"; but a later edition, that of 1843, contains fifteen coloured plates by Alken. In the same year Surtees succeeded to the family estate, but in spite of this change in his circumstances he did not lay aside his pen. Lockhart had once remarked to Apperley _a propos_ the creator of Jorrocks, "That fellow could write a good novel if he liked to try"; and the compliment, being promptly repeated to Surtees, resulted in the composition of _Handley Cross_ (1843), in which Mr. Jorrocks makes his appearance as a country squire and master of hounds. A later edition of the book was illustrated by a new sporting artist, John Leech. _Handley Cross_ was followed by _Hawbuck Grange_, _Ask Mamma_, and the ever-popular _Mr. Sponge's Sporting Tour_, which contained numerous coloured plates and woodcuts by Leech. "The Yorkshireman," as Surtees was nicknamed, presumably because he was born in Durham, also contributed papers to _Bell's Life_, some of which, commemorative of the fine open winter of 1845-46, were afterwards published as _The Analysis of the Hunting Field_, with illustrations by Alken, who now disappears from our view, though he left two or three sons in the same "line of business," with whom he has sometimes been confused, while the popular name of Alken became a general patronymic for a whole school of sporting artists. Surtees, who died at Brighton in 1864, was a fine horseman and a keen observer of social types, though, so far from being the rollicking sportsman suggested by his books, he is described as a man of rather reserved and taciturn nature. The remarkable character of Mr. Jorrocks was evolved during long, lonely journeys, when the shrewd ex-grocer, or rather his imaginary conception, stood his creator in the stead of a travelling companion.

[Illustration: MR. JORROCKS' LECTURE ON "UNTING"]

[Illustration: COLOURED TITLE PAGE]

IV

THE _PICKWICK_ ILLUSTRATORS

ROBERT SEYMOUR

The success of the _Jaunts and Jollities_, and of Egan's _Finish to Life in London_, suggested, it is said, to Messrs. Chapman and Hall the idea of a work which should deal with the adventures of a club of Cockney sportsmen, and serve as a vehicle for the humorous designs of Robert Seymour. Leigh Hunt and Theodore Hook were asked, in the first instance, to supply the letterpress; but, on their refusal, the young Charles Dickens, then (1835) just three-and-twenty, and only known as the author of some amusing sketches, was chosen to act as the literary illustrator of the work. Dickens rejected the idea of a sporting club, though he so far deferred to the publishers' suggestions as to create the immortal Pickwick Club, into which Mr. Winkle was introduced expressly for the exploitation of Seymour's peculiar talent. The young author also stipulated that, instead of being expected to "write up" to the artist's designs, he should be allowed a free hand with the letterpress, the illustrations being allowed to arise naturally out of the incidents described in the text. On 26th March 1836 it was announced that the first number of _The Posthumous Papers of the Pickwick Club_ would be published on the 30th, the work to be issued in shilling monthly parts under the editorship of "Boz," each part being illustrated with four etchings on steel by Seymour. Robert Seymour (1800?-36) had already made his name as a caricaturist and book-illustrator. He had published a volume of humorous sketches (mostly dealing with sporting misadventures), and had been employed to illustrate _Bell's Life_ and _Figaro in London_. For _Pickwick_ he prepared seven illustrations, of which four appeared in the first part. Whether from overwork, or from the fact that his often hasty sketches did not invariably give satisfaction to his employers, Seymour was in a depressed state of mind at this time, and on 20th April, just before the publication of the second number of _Pickwick_, he committed suicide by shooting himself through the head with a fowling-piece.

ROBERT WILLIAM BUSS

In consequence of this catastrophe, the second number came out with only three plates, and an apology to the public. In their dilemma the publishers invited Robert William Buss (1804-75), a young artist of some promise, to take up Seymour's work. Buss, who was the son of an engraver, had studied under George Clint, A.R.A., and had been employed to illustrate Cumberland's _British Theatre_. He was also an exhibitor at the Royal Academy, where his most successful works had been in a humorous genre. Buss consented to lay aside his Academy picture and undertake the illustrations to _Pickwick_: but as time pressed, and he was ignorant of the art of etching, he put the two first designs into the hands of a professional etcher. The result was unfortunate, since, although the technical part of the work was well executed, the free touch of the original was entirely wanting, and Buss's name appeared to designs, not one stroke of which was on the plates. While the artist was busy designing other, and, as he hoped, more successful illustrations, he received his dismissal from the publishers, who were dissatisfied with the specimens already submitted to them. Although he admitted that his first two plates were "abominably bad," Buss was much aggrieved at this treatment, having been promised every consideration from the publishers on account of his ignorance of etching, and the haste with which the earlier designs had to be prepared. Later he became known as a popular book-illustrator, executing plates for the novels of Mrs. Trollope, Captain Marryatt, and Harrison Ainsworth; while, towards the end of his career, he issued an elaborately-illustrated work on English graphic satire.

HABLOT KNIGHT BROWNE

In consequence of these early misfortunes, there was so poor a demand for the first three numbers of _Pickwick_, that the publishers had serious thoughts of stopping the publication of the work. However, on the dismissal of Buss, several illustrators came forward to offer their services, including "Alfred Crowquill" (Alfred Forrester), Leech, and Thackeray, the last-named going himself to call on Dickens in Furnival's Inn, and submitting his drawings to him. Needless to say, not one of the three was successful in his candidature, the choice of the publishers falling upon a very young artist, Hablot Knight Browne (1815-1882), who had served his apprenticeship to Finden, the line-engraver, and gained some experience as a book-illustrator. He had already illustrated a pamphlet by Dickens, called _Sunday under Three Heads_, and was engaged in executing plates for Chapman and Hall's _Library of Fiction_.

The choice, as every one knows, proved a happy one, Browne, who took the pseudonym of "Phiz" to correspond with the editorial "Boz," throwing himself heart and soul into the spirit of the work, and proving an ideal collaborator from the author's point of view. The ill-luck which had dogged the early days of _Pickwick_ turned out a blessing in disguise for Dickens, since he was no longer expected to exploit the talent of his illustrator, and was enabled to impress his own ideas and wishes upon "Phiz," his junior by three years. With the fourth number, which saw the first appearance of Samuel Weller, the circulation of the work began to go up by leaps and bounds; a Pickwick boom ensued, and many of the designs had to be etched in duplicate, as the plates showed signs of wear and tear. Owing to the lack of harmony between the illustrations in the first three numbers and those that followed, Browne was employed to redraw Seymour's plates, and to substitute two new designs for the despised Buss plates. The latter, which only appeared in about seven hundred copies of the original edition, are now as eagerly sought by collectors as if they were miniature masterpieces, while the untouched designs of Seymour rank far above those that were redrawn by Phiz.

The authorised illustrations to the _Pickwick Papers_ have been supplemented by several series of "illegitimate" designs, chief among which are the famous Onwhyn plates, published in 1837, when the book was in the full tide of success. These consisted of thirty-two etchings on steel, the majority of which were executed by Thomas Onwhyn (died in 1886), and are signed "Samuel Weller," though a few have Onwhyn's initials. The plates were published by E. Grattan in eight monthly parts at a shilling each, and were afterwards sold in volume form at nine shillings. Onwhyn, who was the son of a bookseller, seemed determined to make a _specialite_ of Dickens' illustrations, for in 1838 he issued through Grattan no less than forty designs for _Nicholas Nickleby_, signed "Peter Palette"; while in 1848 he executed a second set of _Pickwick_ plates, which, in consequence of the republication of the earlier set, were not brought out till 1894, eight years after the artist's death. Though his technique was somewhat weak, Onwhyn's work shows considerable humour, and his uninvited designs now add great lustre, in the eyes of collectors, to an "extra-illustrated" copy of _The Posthumous Papers of the Pickwick Club_.

_Printed by_ MORRISON & GIBB LIMITED, _Edinburgh_

THE ILLUSTRATED POCKET LIBRARY OF PLAIN AND COLOURED BOOKS

_Fcap. 8vo,_ 3s. 6d. _net each Volume_

MESSRS. METHUEN are publishing a series in small form of some of the rare and famous illustrated books of fiction and general literature, faithfully reprinted from the first or best editions without introduction or notes.

The particular and attractive feature of these books is the reproduction of all the illustrations which appeared in the original issues: illustrations which are part and parcel of the books, and which, from their beauty or skill or humour, had often as great a share in their success as the text itself. Most of these books had coloured illustrations, and they are here similarly given. Wherever it is possible the books are contained within one volume.

Of the coloured books there is also a large paper edition on Japanese vellum, limited to 50 copies, the price of each copy being 30_s._ net per volume.

METHUEN & CO. 36 Essex Street, W.C.

The following volumes are nearly all ready:--

Coloured Books 3/6 Each

Old Illustrated Books. By GEORGE PASTON.

With 16 Coloured Plates. _Fcap._ 8_vo._ 2_s._ net.

This little book serves as an Introduction to the Illustrated Pocket Library, gives notes of the authors and artists of the famous books illustrated in colour which were produced in great numbers in the beginning of the nineteenth century, and describes the best known of them. Interesting biographical touches are given concerning Rowlandson, Cruikshank, Alken, Leech, Pierce Egan, Combe, Surtees, and the great publisher of such books, Rudolph Ackermann.

The Life and Death of John Mytton, Esq. By NIMROD. With 18 Coloured Plates by Henry Alken and T. J. Rawlins.

The Vicar of Wakefield. By OLIVER GOLDSMITH. With 24 Coloured Plates by T. Rowlandson.

Handley Cross. By R. S. SURTEES. With 17 Coloured Plates and 100 Woodcuts in the Text by John Leech.

Mr. Sponge's Sporting Tour. By R. S. SURTEES. With 13 Coloured Plates and 90 Woodcuts in the Text by John Leech.

Jorrocks' Jaunts and Jollities. By R. S. SURTEES. With 15 Coloured Plates by H. Alken.

Ask Mamma. By R. S. SURTEES. With 13 Coloured Plates and 70 Woodcuts in the Text by John Leech.

The Tour of Doctor Syntax in Search of the Picturesque. By WILLIAM COMBE. With 30 Coloured Plates by T. Rowlandson.

The Tour of Doctor Syntax in Search of Consolation. By WILLIAM COMBE. With 24 Coloured Plates by T. Rowlandson.

The Third Tour of Doctor Syntax in Search of a Wife. By WILLIAM COMBE. With 24 Coloured Plates by T. Rowlandson.

The History of Johnny Quae Genus: the Little Foundling of the Late Doctor Syntax. By the Author of "The Three Tours". With 24 Coloured Plates by T. Rowlandson.

The English Dance of Death. With 76 Coloured Designs of T. Rowlandson, with Metrical Illustrations by the Author of "Doctor Syntax". _Two Volumes._ 7_s._ net.

The Dance of Life: A Poem. By the Author of "Doctor Syntax". Illustrated with 26 Coloured Engravings by T. Rowlandson.

The Life of a Sportsman. By NIMROD. With 35 Coloured Plates by Henry Alken.

Life in London: or, the Day and Night Scenes of Jerry Hawthorn, Esq., and his Elegant Friend, Corinthian Tom. By PIERCE EGAN. With 36 Coloured Plates by I. R. and G. Cruikshank. With numerous Designs on Wood.

Real Life in London: or, the Rambles and Adventures of Bob Tallyho, Esq., and his Cousin, the Hon. Tom Dashall. By an Amateur (PIERCE EGAN). With 31 Coloured Plates by Alken and Rowlandson, etc. _Two Volumes._ 7_s._ net.

Real Life in Ireland: or, the Day and Night Scenes of Brian Boru, Esq., and his Elegant Friend, Sir Shawn O'Dogherty. By a REAL PADDY. With 19 Coloured Plates by Heath, Marks, etc.

The Life of an Actor. By PIERCE EGAN. With 27 Coloured Plates by Theodore Lane, and several Designs on Wood.

The Analysis of the Hunting Field. By R. S. SURTEES. With 7 Coloured Plates by Henry Alken, and 43 Illustrations on Wood.

The Old English Squire: A Poem. By JOHN CARELESS, Esq. With 20 Coloured Plates after the style of T. Rowlandson.

The Adventures of a Post Captain. By a NAVAL OFFICER. With 24 Coloured Plates by Mr. Williams.

The Military Adventures of Johnny Newcome. By an OFFICER. With 13 Coloured Plates by T. Rowlandson.

The Adventures of Johnny Newcome in the Navy. With 16 Coloured Plates by T. Rowlandson.

The National Sports of Great Britain. With Descriptions and 50 Coloured Plates by Henry Alken.

This book is completely different from the large folio edition of "National Sports" by the same artist, and none of the plates are similar.

The English Spy. By BERNARD BLACKMANTLE. With 72 Coloured Plates by R. Cruikshank, and many Illustrations on Wood. _Two Volumes._ 7_s._ net.

Life in Paris: Comprising the Rambles, Sprees and Amours of Dick Wildfire, etc. By DAVID CAREY. With 21 Coloured Plates by George Cruikshank, and 22 Wood Engravings by the same Artist.

Gamonia: or, the Art of Preserving Game; and an Improved Method of making Plantations and Covers. Explained and Illustrated by LAWRENCE RAWSTORNE, Esq. With 15 Coloured Plates by T. Rawlins.

An Academy for Grown Horsemen: Containing the completest Instructions for Walking, Trotting, Cantering, Galloping, Stumbling and Tumbling. Illustrated with 27 Coloured Plates, and adorned with a Portrait of the Author. By GEOFFREY GAMBADO, Esq.

Plain Books 3/6 each

Illustrations of the Book of Job. Invented and Engraved by William Blake.

These famous illustrations--21 in number--are reproduced in photogravure. 100 copies are printed on large paper, with India proofs and a duplicate set of the plates. Price 15_s_. net.

The Grave: A Poem. By ROBERT BLAIR. Illustrated by 12 Etchings executed by Louis Schiavonetti from the Original Inventions of William Blake. With an Engraved Title Page and a Portrait of Blake by T. Phillips, R.A.

The illustrations are reproduced in photogravure. 100 copies are printed on Japanese paper, with India proofs and a duplicate set of the plates. Price 15_s_. net.

Windsor Castle. By W. HARRISON AINSWORTH. With 22 Plates and 87 Woodcuts in the Text by George Cruikshank.

The Tower of London. By W. HARRISON AINSWORTH. With 40 Plates and 58 Woodcuts in the Text by George Cruikshank.

Frank Fairlegh. By F. E. SMEDLEY. With 30 Plates by George Cruikshank.

Handy Andy. By SAMUEL LOVER. With 24 Illustrations by the Author.

The Compleat Angler. By IZAAK WALTON and CHARLES COTTON. With 14 Plates and 77 Woodcuts in the Text.

This volume is reproduced from the beautiful edition of John Major of 1824.

The Fables of AEsop. With 380 Woodcuts by Thomas Bewick.

The Pickwick Papers. By CHARLES DICKENS. With the 43 Illustrations by Seymour and Phiz, the two Buss Plates and the 32 Contemporary Onwhyn Plates.

This is a particularly interesting volume, containing, as it does, reproductions of very rare plates.

LONDON: METHUEN & CO.

Transcriber's Notes:

Punctuation has been standardized.

Other changes made: Added 't' to 'straighforward': ...the work was straightforward... Changed 'Quae' to 'Quae' in list of illustrations and advertisement, for consistency with text and illustration. Changed 'Racehorse' to 'Race Horse' for consistency with title of illustration. Changed 'Jorrocks's' to 'Jorrocks'' for consistency. Note: Possible word missing after 'or' in original: ...published two or series...