The title-page of "Pickwick" intimates that the volume contains "Forty-three illustrations by R. Seymour and Phiz," thus ignoring Buss's contributions. The fact is (as stated in the preceding chapter) that only a few copies of Part III., containing the two plates by Buss, were issued, these being quickly superseded by a couple of new designs by Browne; therefore, a copy of an absolutely first edition of the book should include seven etchings by Seymour, two by Buss, and thirty-four by "Phiz." Two plates, viz., "The Fat Boy Awake on this Occasion only" and "Mr. Wardle and his Friends under the Influence of 'the Salmon'" were etched for Part III. (after those in Part IV.), to take the place of Buss's cancelled designs. In early copies of the first edition all the plates were printed without titles, and throughout the first twelve numbers each plate bore only a reference in figures to the page which it was intended to illustrate. In the remaining numbers (Parts XIII. to XX.) the reference figures were withheld, the plates showing in the first published copies neither figures, titles, nor publishers' imprint.
For the first three parts of "The Pickwick Papers" there was so limited a demand that the publishers seriously contemplated a discontinuance of the work, a fate which, from the same cause, threatened Thackeray's famous novel, "Vanity Fair," in the early stages of its career. Happily, such a disaster was averted by the appearance in the fourth part of Sam Weller, who at once achieved such enormous popularity that the sale went up by leaps and bounds, the number of copies disposed of increasing from a few hundreds to several thousands. This was an extremely happy augury, not only for author and publishers, but for the young artist whose connection with the book began at this critical time, and the extraordinary circulation so suddenly imparted to the work was doubtless principally instrumental in obtaining for him other commissions, with which he was soon overflowing. Browne's earliest printed plates are signed "Nemo," and referring to this he says: "I think I signed myself as 'Nemo' to my first etchings (those of No. 4) before adopting 'Phiz' as my sobriquet, to harmonise—I suppose—better with Dickens's 'Boz.'" The third and succeeding plates bear the signature of "Phiz," a sign-manual which presently became well known to all readers of the novels of Dickens, Ainsworth, and Lever. Although he seldom appended his surname to his designs, we not unfrequently find (in his woodcuts especially) the initials "H.K.B.," in lieu of the more familiar pseudonym. It seems the public could never quite realise that the different signatures were those of the same artist, and were wont to remark that "Browne's work was better than Phiz's."
The "Pickwick" illustrations were produced in couples, that is, two subjects were etched on one plate, this being printed at a single operation and the sheets afterwards divided. "Phiz" was exceedingly rapid in his work when time was limited, and could design and etch a plate in the course of a day, and have it bitten-in and ready for the printer by the next morning. Unlike Seymour, he almost invariably drew his subjects on the steel without reversing them, so that they appeared reversed in the printing; it is evident, however, that he sometimes failed to remember this when preparing his designs, so that occasionally we find that his figures are left-handed, and other similar incongruities. Doubtless, the artist's motive in thus copying his drawings directly upon the plate was to facilitate operations, for in this way he could dispense with the aid of a mirror.
A noteworthy consequence of the increased sale of the "Pickwick" numbers was the serious deterioration of the plates caused by friction in printing, as for every impression the plate must be inked and the superfluous ink removed by wiping with the hand. In those days the process called "steel-facing," by means of which the etched or engraved surface is hardened, was unknown, so that, comparatively, only a few impressions could be struck off before the plate indicated any appreciable sign of wear-and-tear. The designs were therefore etched in duplicate, and this appears to have commenced at the date of the publication of the tenth part of "Pickwick." The system of duplicating the plates readily accounts for the interesting variations observable in different copies of the first issue; as, for example, the faces in the illustration delineating Mr. Pickwick's first meeting with Sam Weller are much improved in the replica, while other details are greatly altered; in the original plate portraying Mr. Pickwick in the pound, there are two donkeys and four pigs, while the later impression has but one donkey and two pigs; in the etching where Master Bardell is seen kicking Mr. Pickwick, the boy was first drawn with his head down, but was subsequently represented with it raised, the attitudes of Snodgrass and Winkle being also slightly changed; the second version of the plate entitled "The Break-down" (which, by the way, bears a remarkable resemblance to Buss's unused drawing of the same subject) differs considerably from the first, and this remark applies to many of the other designs; but it is chiefly in the earlier plates that these variations are particularly noticeable. It is by no means surprising that such unimportant alterations exist, for an artist like "Phiz" would find it infinitely tiresome to slavishly copy, line for line, the original designs, especially if he saw an opportunity for improving them.
The late George Augustus Sala held the opinion that Hablôt Browne's earlier illustrations to "Pickwick" are "exceedingly humorous, but exceedingly ill-drawn," and believed that it was the amazing success of the author which spurred the artist to sedulous study, thus conducing in a remarkable degree towards the development of his faculties. Remembering, however, that "Phiz" had only just attained his majority, we cannot but admire the deftness and skill he then displayed in so difficult an art as etching, for, although some of the illustrations are marked by a certain grotesqueness, these plates are marvels of technique.
In the preface to the first edition of "The Pickwick Papers" we read: "It is due to the gentleman, whose designs accompany the letterpress, to state that the interval has been so short between the production of each number in manuscript and its appearance in print, that the greater portion of the illustrations have been executed by the artist from the author's mere verbal description of what he intended to write." It was customary at this time for Dickens to call upon Browne, and hastily explain his intentions respecting the chapters to be illustrated, and from notes then made by the artist the requisite designs were evolved. This satisfactorily accounts for certain inaccuracies in the plates, for which, however, "Phiz" cannot justly be censured; for example, in the etching representing Mr. Pickwick hiding behind the door of the young ladies' seminary, the cook should have been the only person shown beyond the threshold; and in the plate depicting the discovery of Jingle in the Fleet, we see Job Trotter standing behind Mr. Pickwick, whereas, according to the text, he had not entered the room at that precise moment. On the other hand, we may detect some defects for which "Phiz" must be held responsible; as, for instance, the inaccurate perspective of the mantelshelf in the plate entitled "The Red-nosed Man Discourseth," and the absence of proportion in the size of the figures of Mr. Pickwick and the old lady in the etching portraying Christmas Eve at Mr. Wardle's, a similar anomaly appearing in the etching of Mr. Pickwick's encounter with Mrs. Bardell in the Fleet. Again, there surely never existed so enormous a sedan-chair as that from the roof of which Mr. Pickwick expostulates with Sam Weller when he attacks the executive of Ipswich, or that into which Mr. Winkle bolts in his robe de nuit. In the skating scene, curiously enough, there is no indication of skates being worn by any member of the company. "Phiz" sometimes posed his figures in attitudes which, if not physically impossible, are unnatural and unpicturesque; it must be admitted, however, that he usually succeeded where George Cruikshank invariably failed, that is, in delineating pretty women, of whom his skilled pencil has given us quite an extensive gallery.
A set of proofs of "Phiz's" plates sold for twenty guineas at Sotheby's in 1889. A reprint of "Pickwick," published at Launceston, Van Diemen's Land, in 1838-39, was illustrated by means of lithographic copies (signed "Tiz") of some of the original etchings. At the same time there appeared an American edition, issued in parts by Turney, New York, with facsimiles of the plates engraved on steel.
Plate XXX
STUDIES FOR THE CHEERYBLE BROTHERS
Facsimile of Original Drawings by H. K. BROWNE ("Phiz")