It should be mentioned that, as in the case of Leech, many of Sir John Tenniel's Punch cartoons are adapted from illustrations in the works of Dickens, these happily suggesting the political situation of the moment. This subject is fully treated in my paper on "Dickens and Punch" in the English Illustrated Magazine, August 1891.
Sir John is one of the oldest members of the Royal Institute of Painters in Water-Colours. In June 1893 the distinction of knighthood was conferred upon the veteran artist, his name having been included in the list of Royal birthday honours, at the recommendation of Mr. Gladstone, whose face and figure he has so frequently delineated; thus for the first time were the claims of black-and-white draughtsmen deservedly recognised. Sir John Tenniel's busy pencil continues to be effectively employed in the pages of Punch; but he remains, alas! the sole survivor of the band of clever artists whose designs adorn the Christmas Books of Charles Dickens.
FRANK STONE, A.R.A.
Early Career—Intimacy with Dickens—Illustrations for "The Haunted Man"—Selects his Own Subjects—A Letter from Dickens—His Approbation of the Drawing of "Milly and the Old Man"—Hints from the Novelist to the Artist—Amateur Theatricals—Frank Stone's Portrait of Lieutenant Sydney Dickens—His Election as Associate of the Royal Academy—His Portraits of 'Tilda Price, Kate Nickleby, and Madeline Bray—His Frontispiece for the First Cheap Edition of "Martin Chuzzlewit"—Sudden Death.
Frank Stone, A.R.A., father of Mr. Marcus Stone, R.A., was privileged to join the ranks of Dickens Illustrators. This distinguished artist, born in 1800, was the son of a Manchester cotton-spinner, which business he also followed until twenty-four years of age, when he abandoned mercantile pursuits in favour of Art. During the early portion of his professional career, which was begun in London under very modest and unassuming conditions, he made pencil-drawings for Heath's "Book of Beauty," and presently became successful as a painter in water-colours. His engaging personality and innate abilities caused him to be welcomed in both literary and artistic circles, and in this way he secured the warm friendship of Dickens, Thackeray, and other celebrities of the day.
The Haunted Man, 1848.Frank Stone's intimacy with Charles Dickens was especially close. In 1845 the artist, with his family, went to reside in Tavistock House, Tavistock Square, remaining there until 1851, when it became the home of Dickens. In the interval the novelist's fourth Christmas Book, "The Haunted Man," was published, for which Frank Stone prepared three designs, representing respectively "Milly and the Old Man," "Milly and the Student," and "Milly and the Children." As indicated by the following letter (dated November 21, 1848), the novelist dispatched proofs of the letterpress to the artist, in order that he might select his own subjects:—
"My Dear Stone,—I send herewith the second part of the book, which I hope may interest you. If you should prefer to have it read to you by the Inimitable rather than to read it, I shall be at home this evening (loin of mutton at half-past five), and happy to do it. The proofs are full of printer's errors, but, with the few corrections I have scrawled upon it, you will be able to make out what they mean.
"I send you on the opposite side a list of the subjects already in hand from the second part. If you should see no other in it that you like (I think it important that you should keep Milly, as you have begun with her), I will in a day or two describe you an unwritten subject for the third part of the book."
"Subjects in hand for the Second Part.
1. Illuminated page. Tenniel. Representing Redlaw going upstairs, and the Tetterby family below.
2. The Tetterby Supper. Leech.
3. The boy in Redlaw's room, munching his food and staring at the fire."