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Table of Contents

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 in this direction (during a period of eighty years of his busy life) may be obtained from G. C. Reid's comprehensive catalogue of his works, where we find enumerated more than five thousand illustrations on paper, wood, copper, and steel. This, however, by no means exhausts the list, for the artist survived the publication of the catalogue several years, and was "in harness" to the end of his long career. If the works described by Mr. Reid be supplemented by the profusion of original sketches and ideas for his finished designs, the number of Cruikshank's productions may be estimated at about fifteen thousand!

Before his introduction to Charles Dickens in 1836, the versatile artist had adorned several volumes, which, but for his striking illustrations, would probably have enjoyed but a brief popularity. His etchings and drawings on wood are invariably executed in an exceedingly delicate manner, at the same time preserving a breadth of effect unequalled by any aquafortiste of his day. "Only those who know the difficulties of etching," observes Mr. P. G. Hamerton, "can appreciate the power that lies behind his unpretending skill; there is never, in his most admirable plates, the trace of a vain effort."

Sketches by Boz, 1833–36.Dickens's clever descriptions of "every-day life and every-day people" were originally printed in the Monthly Magazine, the Evening Chronicle and the Morning Chronicle, Bell's Life in London, and "The Library of Fiction," and subsequently appeared in a collected form under the general title of "Sketches by Boz." Early in 1836 Dickens sold the entire copyright of the "Sketches" to John Macrone, of St. James's Square, who published a selection therefrom in two duodecimo volumes, with illustrations by George Cruikshank. It was at this time that Charles Dickens first met the artist, who was his senior by about a score of years, and already in the enjoyment of an established reputation as a book-illustrator. That the youthful author, as well as his publisher, realised the value of Cruikshank's co-operation is manifested in the Preface to the "Sketches," where Dickens, after appropriately comparing the issue of his first book to the launching of a pilot balloon, observes: "Unlike the generality of pilot balloons which carry no car, in this one it is very possible for a man to embark, not only himself, but all his hopes of future fame, and all his chances of future success. Entertaining no inconsiderable feeling of trepidation at the idea of making so perilous a voyage in so frail a machine, alone and unaccompanied, the author was naturally desirous to secure the assistance and companionship of some well-known individual, who had frequently contributed to the success, though his well-known reputation rendered it impossible for him ever to have shared the hazard, of similar undertakings. To whom, as possessing this requisite in an eminent degree, could he apply but to George Cruikshank? The application was readily heard and at once acceded to; this is their first voyage in company, but it may not be the last." Each of the two volumes contains eight illustrations, and it may justly be said of these little vignettes that they are among the artist's most successful efforts with the needle. Although highly popular from the beginning, the "Sketches" were now received with even greater fervour, and several editions were speedily called for. As the late Mr. G. A. Sala contended, the coadjutorship of so experienced a draughtsman as George Cruikshank, who knew London and London life "better than the majority of Sunday-school children know their Catechism," was of real importance to the young reporter of the Morning Chronicle, with whose baptismal name (be it remembered) his readers and admirers were as yet unacquainted.

During the following year (1837) Macrone published a Second Series of the "Sketches" in one volume, uniform in size and character with its predecessors, and containing ten etchings by Cruikshank; for the second edition of this extra volume two additional illustrations were done, viz., "The Last Cab-Driver" and "May-day in the Evening."[1] It was at this time that Dickens repurchased from Macrone the entire copyright of the "Sketches," and arranged with Chapman & Hall for a complete edition, to be issued in shilling monthly parts, octavo size, the first number appearing in November of that year. The completed work contained all the Cruikshank plates (except that entitled "The Free and Easy," which, for some unexplained reason, was cancelled) and the following new subjects: "The Parish Engine," "The Broker's Man," "Our Next-door Neighbours," "Early Coaches," "Public Dinners," "The Gin-Shop," "Making a Night of It," "The Boarding-House," "The Tuggses at Ramsgate," "The Steam Excursion," "Mrs. Joseph Porter," and "Mr. Watkins Tottle."

Cruikshank also produced a design for the pink wrapper enclosing each of the twenty monthly parts; this was engraved on wood by John Jackson, the original drawing (adapted from one the artist had previously made for Macrone) being now in the possession of Mr. William Wright, of Paris. The subject of the frontispiece is the same as that of the title-page in the Second Series. The alteration in the size of the illustrations for this cheap edition necessitated larger plates, so that the artist was compelled to re-etch his designs. These reproductions, although on an extended scale, were executed with even a greater degree of finish, and contain more "colour" than those in the first issue; but the general treatment of the smaller etchings is more pleasing by reason of the superior freedom of line therein displayed. As might be anticipated, a comparison of the two sets of illustrations discloses certain slight variations, which are especially noticeable in the following plates: "Greenwich Fair;" musicians and male dancer added on left. "Election for Beadle;" three more children belonging to Mr. Bung's family on right, and two more of Mr. Spruggins's family on left, thus making up the full complement in each case. "The First of May" (originally entitled "May-day in the Evening"); the drummer on the left, in the first edition, looks straight before him, while in the octavo edition he turns his face towards the girl with the parasol. "London Recreations;" in the larger design the small child on the right is stooping to reach a ball, which is not shown in the earlier plate.

Plate III

"JEMIMA EVANS"

Facsimile of Unused Designs for "Sketches by Boz" by GEORGE CRUIKSHANK