The Pickwick Papers, 1836-37.An intimate friend of Hablôt K. Browne, Mr. John Greville Fennell (formerly of the Field journal), confirms my opinion that the artist's earliest association with the writings of Dickens was his connection with "Sunday under Three Heads"; but, as the engravings in that pamphlet only bore the designer's initials, it is more than probable that Browne himself was then an absolute stranger to the future novelist. Within a very brief period, however, certain events conspired to bring about the beginning of an acquaintance which ripened into a friendship that never ceased during Dickens's life-time. Mr. Fennell writes: "It was I who, while superintending E. & W. Finden's establishment, sold his first drawing to Adolphus Ackermann, and induced him (H. K. B.) to reproduce Buss's two illustrations (viz., The Cricket-Match[20] and The Fat Boy Awake on this Occasion only), which I sent down to Chapman & Hall." It was apparently through Mr. Fennell's intervention that the publishers were enabled to recognise Browne's ability as an etcher, and to discover in the specimens submitted to them that he was the very man to occupy the position then recently vacated by Buss. He first heard of his appointment from his generous rival, Thackeray, who at once made his way to the artist's abode in Newman Street for the purpose of congratulating him, and it is said that they immediately repaired to a neighbouring public-house, where a banquet consisting of sausages and bottled stout was held in honour of the occasion.
At this juncture, Browne (who considered line-engraving too tedious a process) suspended operations at Finden's establishment, and, through the friendly auspices of Mr. Fennell, his indentures were cancelled two years before they had expired. In conjunction with a kindred spirit, he hired a modest room as a studio, and employed his time in the more congenial pursuit of water-colour drawing. As the result of a solemn compact between them to produce three drawings daily, Browne, who worked very rapidly, was enabled to pay his share of the rent by the proceeds of his labours. In order to familiarise himself with the human form, he attended the evening class at the "Life" School in St. Martin's Lane, having as a fellow-pupil that famous painter of the "nude," William Etty, who afterwards joined the ranks of the Royal Academicians.
In 1836 (when in his twenty-first year) Browne had acquired considerable facility with his pencil, and soon proved that his selection as the illustrator of "Pickwick" was thoroughly justified. By means of the training he had undergone at the Findens, he had obtained a mastery over the difficulties and mysteries of etching, which now proved eminently serviceable. Buss declared that "Phiz" was by no means an expert when he commenced working for "Pickwick," being compelled to obtain help from an experienced engraver named Sands, who "touched up the drawings with his own needle, adding shade where required, and then applied the acid and did all the necessary 'biting-in' and 'stopping-out.'" The facts, however, are rather over-stated, as witness that early effort (perhaps unknown to Buss), viz., the etching of John Gilpin, which was undoubtedly unaided work, testifying that the artist was then quite capable of running alone. It is acknowledged, however, that, so far as the "biting-in" was concerned, he invariably secured co-operation, not on account of his own incapacity, but merely to save time, and for this purpose he generally sought and obtained the requisite help of his quondam fellow-apprentice, Robert Young.
Browne speedily communicated to Mr. Young the welcome intelligence respecting the "Pickwick" appointment; indeed, we are told that he went at once to his friend's chambers, and on entering said, "Look here, old fellow: will you come to my rooms to assist me with a plate I have to etch?" Mr. Young, who was still in the employ of Finden, had acquired such a thorough knowledge of the art of biting-in designs upon steel plates, that Browne realised the importance of securing his co-operation without delay, and, happily for him, his friend readily acceded to his wish; whereupon "Phiz" suggested that he should take his key with him, as they might be late. The design having already been drawn upon the plate, the two conspirators devoted the entire night to the operation of biting-in, the outcome of which was the production of the plate depicting the eventful meeting of Mr. Pickwick and Sam Weller at the old White Hart Inn, perhaps the most notable illustration in the book. Mr. Young's share of the undertaking consisted in the application and manipulation of acid, which corroded the plate where exposed by the needle—a troublesome and delicate operation, requiring considerable experience, as, by too lengthy or too brief a subjection of the metal to the action of the acid, the plate would be ruined, and the labour of the artist rendered of no avail.
Mr. Young writes in reply to my enquiry respecting this and subsequent collaboration: "I did not bite-in the whole of 'Phiz's' etchings. I was some years abroad, during which he had assistance from two engravers, Sands and Weatherhead. 'Phiz' was quite capable of doing this part of the work himself, for he had two or three years' practice during his apprenticeship at Finden's; but he had no time for such work, being always fully occupied in etching or drawing on wood."
Plate XXIX
"A SUDDEN RECOGNITION, UNEXPECTED ON BOTH SIDES"
Facsimile of the Original Drawing for "Nicholas Nickleby" by H. K. BROWNE ("Phiz")
Above the Sketch is written the following, in the autograph of Dickens:—"I don't think that Smike is frightened enough [or that Squeers is] earnest enough, for my purpose."
Lent by Mr. M. H. Spielmann.
