RANDOLPH CALDECOTT.
RANDOLPH CALDECOTT, Born 1846; Died 1886.
RANDOLPH
CALDECOTT:
A Personal Memoir
OF HIS EARLY ART CAREER.
BY
HENRY BLACKBURN,
EDITOR OF "ACADEMY NOTES," ETC.; AUTHOR OF "BRETON FOLK," "ARTISTS AND ARABS," ETC.
WITH
ONE HUNDRED AND SEVENTY-TWO ILLUSTRATIONS
NEW YORK: GEORGE ROUTLEDGE & SONS,
9, LAFAYETTE PLACE.
LONDON:
SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON,
CROWN BUILDINGS, 188, FLEET STREET.
1886.
In Affectionate Remembrance.
DECORATIVE DESIGN BY R. CALDECOTT.
PREFACE.
The object of this memoir is to give some information as to the early work of Randolph Caldecott, an artist who is known to the world chiefly by his Picture Books.
The extracts from letters have a personal charm apart from any literary merit. The majority of the letters, and the sketches which accompanied them, were sent to the author's family; others have been kindly lent for this memoir by Mr. William Clough, Mr. Locker-Lampson, Mr. Whittenbury, and other friends. Acknowledgments are also due to the publishers who have lent engravings.
At the desire of Mr. Caldecott's representatives,--to whom the author is indebted for extracts from diaries and other material--the consideration of his later work is reserved for a future time.
Although the text of this book is little more than a setting for the illustrations, it is hoped that the material collected may be found interesting.
H. B.
103, VICTORIA STREET, WESTMINSTER,
September 1886.
CONTENTS.
PAGE
CHAP. I.--HIS EARLY ART CAREER 1
II.--DRAWING FOR "LONDON SOCIETY" 13
III.--IN LONDON, THE HARZ MOUNTAINS, ETC. 29
IV.--DRAWING FOR "THE DAILY GRAPHIC" 51
V.--DRAWING FOR "THE PICTORIAL WORLD" 67
VI.--AT FARNHAM ROYAL, BUCKS 90
VII.--"OLD CHRISTMAS" 100
VIII.--LETTERS, DIAGRAMS, ETC. 117
IX.--ROYAL ACADEMY, "BRACEBRIDGE HALL," ETC. 134
X.--ON THE RIVIERA 148
XI.--"BRETON FOLK," ETC. 165
XII.--AT MENTONE, ETC. 190
XIII.--CONCLUSION 203
APPENDIX 211
LIST OF ILLUSTRATIONS.
The unpublished illustrations are marked with an asterisk *
PAGE
PORTRAIT Frontispiece
*DECORATIVE DESIGN BY R. CALDECOTT vii
*TAILPIECE xvi
*AIR--"I KNOW A BANK" 1
*FIRST CLERK--SECOND DO. 2
*COOM, THEN 3
*THREE FRIENDS 4
*GOING TO THE DOGS 5
*A SKETCH IN COURT 7
*FULL CRY 8
*IN THE HUNTING FIELD 9
*STREET SKETCH--POLICEMAN, ETC. 10
*SOCIETY IN MANCHESTER 11
*A NEW CONTRIBUTOR (London Society) 13
EDUCATION UNDER DIFFICULTIES 14
YE MONTHE OF APRILE 15
SKETCH IN HYDE PARK 16
THE CHANCELLOR OF THE EXCHEQUER 17
*THE TROMBONE 18
THE TWO TROMBONES 19
CHRISTMAS DAY, 4.30 A.M. 20
CLINCHING AN ARGUMENT 21
SNOWBALLS 22
HEIGH-HO, THE HOLLY! 23
GOING TO COVER 25
HYDE PARK--OUT OF THE SEASON 26
COMING OF AGE OF THE PRIDE OF THE FAMILY 27
*THE END OF ALL THINGS 28
*SKETCH ON A POST CARD 29
FIRST DRAWING IN "PUNCH," 22ND JUNE, 1872 31
*A COOL SEQUESTERED SPOT 32
A TOUR IN THE TOY COUNTRY (Harz Mountains) 33
A MOUNTAIN BEER GARDEN 34
A FRAULEIN 35
A MOUNTAIN PATH 35
A WARRIOR OF SEDAN IN A BEER GARDEN AT GOSLAR, 1872 36
THE ARK OF REFUGE 37
*THE DANCE OF WITCHES 38
SPECTRES OF THE BROCKEN 39
A SKETCH AT SUPPER 40
BACK TO THE VIEW 40
THE GUIDE AT GOSLAR 41
PROCESSION OF THE SICK 42
DRINKING THE WATERS AT GOSLAR 43
A GENERAL IN THE PRUSSIAN ARMY 44
*A SCHOOL ON THE MARCH--HARZ MOUNTAINS, 1872 45
SKETCH--HARZ MOUNTAINS, 1872 46
SKETCH--HARZ MOUNTAINS, 1872 48
AT CLAUSTHAL 49
*SKETCH 50
SKETCH IN "PUNCH," 8TH MARCH, 1873 51
A CHECK 53
SKETCH (Published in Pall Mall Gazette) 55
LOOKING OUT FOR THE "GRAPHIC" BALLOON 57
OFF TO THE EXHIBITION--VIENNA, 1873 59
*A VIENNESE DOG 60
SKETCH (Published in Pall Mall Gazette) 62
*EARLY DECORATIVE DESIGN 64
THIS IS NOT A FIRST-CLASS COW 66
*STUDIES FOR A LARGE DECORATIVE DESIGN, 1874 67
THE POLLING BOOTH (Pictorial World) 70
*HOME RULE--MARCH 1874 71
ON THE STUMP 72
THE SCOTCH ELECTIONS--GOING TO THE HUSTINGS 73
PAIRING TIME 74
COURSING 75
HER FIRST VALENTINE 76
A VALENTINE 76
SOMEBODY'S COMING! 77
I WONDER WHO SENT ME THESE FLOWERS 78
THE YOUNG HAMLET 79
HOUSE OF COMMONS, MARCH 1874--ARRIVAL OF NEW MEMBERS 80
THE SPEAKER GOING UP TO THE LORDS 81
AT THE BAR OF THE HOUSE OF LORDS 82
THE NEW PRIME MINISTER 83
THE TICHBORNE TRIAL--BREAKING-UP DAY 84
THE MORNING WALK 86
*DECORATIVE PAINTING FOR A DINING-ROOM 89
*THE COTTAGE, FARNHAM ROYAL 90
*SKETCH FROM THE COTTAGE, FARNHAM ROYAL 91
*BRINGING HOME THE SULTANAS 92
*THE PADDOCK, FARNHAM ROYAL 93
*STUDYING FROM NATURE 95
SKETCH (Published in Pall Mall Gazette) 96
SKETCH (Published in Pall Mall Gazette) 97
*DRAWING FROM FAMILIAR OBJECTS 98
*COULD NOT DRAW A LADY! 99
HEADPIECE (Old Christmas) 100
THE STAGE COACHMAN 103
IN THE STABLE YARD 104
THE TROUBADOUR 106
THE FAIR JULIA 107
MASTER SIMON AND HIS DOGS 109
ON THE ROAD SIDE, BRITTANY 111
*AT GUINGAMP, BRITTANY 113
*TO M. H.--CHRISTMAS, 1874 114
*FACSIMILE OF LETTER 116
*ST. VALENTINE'S DAY 117
*AT FARNHAM ROYAL 118
*SUNRISE 119
*DIAGRAM. STUDY IN LINE 120
*DIAGRAM. STUDY IN LINE 120
*DIAGRAM. DESIGN FOR A PICTURE, 1875 121
*DIAGRAM. A MAD DOG 122
*DIAGRAM. THE LECTURER 123
DIAGRAM. CHILD 124
DIAGRAM. MAD DOG 125
*SKETCH 127
*SHOWS HIS TERRA COTTAS 129
*THE FIRST YEAR OF ACADEMY NOTES 130
*THREE PELICANS AND TORTOISE 131
*INSPECTING EMBROIDERIES 132
*FRESHWATER, ISLE OF WIGHT 132
*A CHRISTMAS CARD TO K. E. B. 133
OPINIONS OF THE PRESS (Manchester Quarterly) 134
THERE WERE THREE RAVENS SAT ON A TREE 135
*PRIVATE VIEW OF MY FIRST R.A. PICTURE 136
*A HORSE FAIR IN BRITTANY 137
CAPTAIN BURTON 139
PREFACE 1 Bracebridge Hall 140
PREFACE 2 Bracebridge Hall 140
THE CHIVALRY OF THE HALL PREPARED TO TAKE THE FIELD 141
THE FAIR JULIA AND HER LOVER 143
GENERAL HARBOTTLE AT DINNER 144
AN EXTINGUISHER 145
*AT WHITCHURCH 146
AT BUXTON 147
*A CHRISTMAS CARD 148
GAMING TABLES AT MONTE CARLO (Graphic) 151
PRIEST AND PLAYER (Graphic) 153
THE PRIEST'S SERVANT (North Italian Folk) 155
THE HUSBANDMAN 157
GOSSIP 158
DIGNITY AND IMPUDENCE (National Gallery) 160
SPANIELS, KING CHARLES'S BREED 160
PORTRAIT OF A LAWYER BY MORONI 161
*WAITING FOR A BOAT 163
*TAILPIECE 164
*CLEOPATRA 165
THE THREE HUNTSMEN (L'Art) 167
A BOAR HUNT (Grosvenor Notes) 168
THE TRAP (Breton Folk) 170
SKETCHING UNDER DIFFICULTIES 171
BRETON FARMER AND CATTLE 172
A WAYSIDE CROSS 173
AT THE HORSE FAIR, LE FOLGOET 174
TROTTING OUT HORSES AT CARHAIX 175
CATTLE FAIR AT CARHAIX 176
A TYPICAL BRETON 177
A BRETONNE 178
*SKETCH 179
A CAP OF FINISTERRE 180
RETURNING FROM LABOUR--PONT AVEN, 1878 181
A BRETON 183
*A FAMILY HORSE 184
*SKETCH IN WOBURN PARK 185
*A CARNATION 186
*HOTEL GRAY ET D'ALBION, CANNES 189
*AT MENTONE 190
*SKETCH 191
SKETCH 192
NOT SUCH DISAGREEABLE WEATHER AFTER ALL--SOME PEOPLE THINK (from Punch) 193
*A PIG OF BRITTANY 194
*A BOOKPLATE 195
*SKETCH 196
*SKETCH 197
*FACSIMILE OF LETTER 199
SKETCH 200
SKETCH OF WYBOURNES 201
*A NEW YEAR'S GREETING 203
APPENDIX.
*HEADPIECE. CALDECOTT'S PICTURE BOOKS 212
ÆSOP'S FABLES 214
A SKETCH BOOK 215
BRETON FOLK 216
AIR--"I KNOW A BANK."
CHAPTER I.
HIS EARLY ART CAREER.
Randolph Caldecott, the son of an accountant in Chester, was born in that city on the 22nd of March, 1846, and educated at the King's School, where he became the head boy. He was not studious in the popular sense of the word, but spent most of his leisure time in wandering in the country round. Thus, his love of sport and fondness for rural pursuits, which never forsook him, were evidenced at an early age. His artistic instincts were also early developed, and many treasured sketches, models of animals, &c., cut out of wood, were produced in Chester by the boy Caldecott.
Perhaps the best and most characteristic record of his early life is, that he and his brother were "two of the best boys in the school;" the genius that consists in "an infinite faculty for taking pains" having much to do with his after career of success.
FIRST CLERK--"GOT JONES' LEDGER?" SECOND DO. (NEWLY MARRIED)--"YES, LOVE!"
In 1861 Caldecott was sent to a bank at Whitchurch in Shropshire, where, for six years, he seems to have had considerable leisure and opportunity for indulging in his favourite pursuits. Here, living at an old farm-house about two miles from the town, he used to go fishing and shooting, to the meets of hounds, to markets and cattle fairs, gathering in a store of knowledge useful to him in after years. The practical, if half-unconscious, education that he thus obtained in his "off-time," as he termed it, whilst clerk at the Whitchurch and Ellesmere Bank, was often referred to afterwards with pleasure. Thus from the earliest time it will be seen that he lived in an atmosphere favourable to his after career. But the bank work was never neglected; from the day he left his school in Chester in 1861 to become a clerk in Whitchurch, until the spring of 1872 when he left Manchester finally for London, the record of his office work was that he "did it well."
"COOM, THEN."
"THREE FRIENDS."
During the Whitchurch days he had, as we have indicated, unusual advantages of leisure, and the opportunity of visiting many an old house and farm, driving sometimes on the business of the bank, in his favourite vehicle, a country gig, and "very eagerly," writes one of his fellow clerks and intimate friends, "were those advantages enjoyed. We who knew him, can well understand how welcome he must have been in many a cottage, farm, and hall. The handsome lad carried his own recommendation. With light brown hair falling with a ripple over his brow, blue-grey eyes shaded by long lashes, sweet and mobile mouth, tall and well-made, he joined to these physical advantages a gay good humour and a charming disposition. No wonder that he was a general favourite."
But soon he was transferred to Manchester, where a very different life awaited him--a life of more arduous duties--in the "Manchester and Salford Bank," but with opportunities for knowledge in other directions, of which he was not slow to avail himself. If in his early years his father discouraged his artistic leanings, he was now in a city which above all others encouraged the study of art--"as far as it was consistent with business." In the Brasenose Club, and at the houses of hospitable and artistic friends in Manchester, Caldecott had exceptional opportunities of seeing good work, and obtaining information on art matters.
One who knew him well at this time, writing in the Manchester Courier of Feb. 16th, 1886, says:--
"Caldecott used to wander about the bustling, murky streets of Manchester, sometimes finding himself in queer out-of-the-way quarters, often coming across an odd character, curious bits of antiquity and the like. Whenever the chance came, he made short excursions into the adjacent country, and long walks which were never purposeless. Then he joined an artists' club and made innumerable pen and ink sketches. Whilst in this city so close was his application to the art that he loved that on several occasions he spent the whole night in drawing."
For five years, from 1867 to 1872, Caldecott worked steadily at the desk in Manchester, studying from nature whenever he had the chance in summer; and at the school of art in the long evenings, sometimes working long and late at some water colour drawing. Caldecott owed much to Manchester, as he often said, and he never forgot or undervalued the good of his early training. The friends he made then he kept always, and they were amongst his dearest and best.
In Manchester on the 3rd of July, 1868--his first drawings were published in a serio comic paper called Will o' the Wisp; and in 1869, in another paper called The Sphinx, he had several pages of drawings reproduced. He was painting a little at the same time, making many hunting and other studies; they were chiefly for friends, but one picture was exhibited at the Manchester Royal Institution in 1869.
"CONSIDER, LADIES AND GENTLEMEN OF THE JURY, THE SAD POSITION IN WHICH MY CLIENT IS PLACED--DESERTED BY HIS WIFE AND LEFT TO SUPPORT HIMSELF AND TENDER INFANT BY HIS OWN EXERTIONS."
FULL CRY.
"IN THE HUNTING FIELD."
There was no restraining Caldecott now, his artistic bent and his delightful humour were finding expression in sketches in odd hours and minutes, on bits of note paper, on old envelopes, and on the blotting paper before him at his desk, until everybody about him must have been alive to his talent. He might no doubt have eventually attained a good position in the bank, for, as one of his friends writes of him very truly,
"Caldecott's ability was general, not special. It found its natural and most agreeable outlet in art and humour, but everybody who knew him, and those who received his letters, saw that there were perhaps a dozen ways in which he would have distinguished himself had he been drawn to them."
The unpublished sketches dispersed through this chapter indicate but slightly the originality and fecundity of Caldecott's genius at this time.
"THIS IS NOT A CULPRIT GOING TO GAOL--IT IS ONLY A GENTLEMAN IN LOVE WHO HAPPENS TO BE WALKING BEFORE A POLICEMAN!"
There was clearly but one course to pursue--to give up commercial pursuits and go to London--if such sketches as these were to be found scattered amongst bank papers!
"SOCIETY IN MANCHESTER."
And so, in May, 1870, Caldecott, as his diary records, went to London for a few days with a letter of introduction to Mr. Thomas Armstrong from Mr. W. Slagg; and in the same year, 1870, some of his drawings were shown to Shirley Brooks, and to Mark Lemon, then editor of Punch. Mr. Clough thus records the event:--
"Bearing an introductory letter he went up to London on a flying visit, carrying with him a sketch on wood and a small book of drawings of the 'Fancies of a Wedding.' He was well received. The sketch was accepted, and with many compliments the book of drawings was detained.
"'From that day to this,' said Mr. Caldecott, 'I have not seen either sketch or book.' Some time after, on meeting Mark Lemon, the incident was recalled, when the burly, jovial editor replied, 'My dear fellow, I am vagabondising to-day, not Punching.' I don't think Mr. Caldecott rightly appreciated that joke."
From this date and all through the year 1871, Caldecott was at work in Manchester and sending to London drawings, some of which have hardly been exceeded for humour and expression in a few lines.
"A NEW CONTRIBUTOR."
CHAPTER II.
DRAWING FOR "LONDON SOCIETY."
It was in February 1871, in the pages of London Society--a magazine which at that time included amongst its contributors J. R. Planché, Shirley Brooks, Francis T. Palgrave, Frederick Locker, G. A. Sala, Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur à Beckett, Tom Hood, Mortimer Collins, Joseph Hatton, &c.; and amongst its artists Sir John Gilbert, Charles Keene, Linley Sambourne, G. Bowers, Mrs. Allingham, W. Small, F. Barnard, F. W. Lawson, M.E.E., and many other notable names--that Caldecott made his first appearance before a London public.
"EDUCATION UNDER DIFFICULTIES."
On November 3rd, 1870, his diary says:--
"Some drawings which I left with A. in London have been shown, accompanied by a letter from Du Maurier, to a man on London Society. Must wait a bit and go on working--especially studying horses, A. said."
From this parcel of Caldecott's drawings the present writer, being the "man" referred to, selected a few to be engraved; the sketch of the Rt. Hon. Robert Lowe on horseback in Hyde Park, on page 17, "Ye monthe of Aprile" and "Education under Difficulties" being amongst the first published.
Ye monthe of Aprile.
SKETCH IN HYDE PARK--"ROTTEN ROW."
It was suggested to him early in 1870 that he should come to London for a short time and make sketches in Hyde Park, and it touched Caldecott's fancy, (as he often mentioned afterwards,) that he whose experiences were far removed from such scenes should have been chosen as a chronicler of "Society." The sketches were made always from his own point of view, and some were so grotesque, and hit so hard at the aristocracy, that they were found inappropriate to a fashionable magazine!--one especially of Hyde Park in the afternoon, called "Sons of Toil," had to be declined by the Editor with real regret.
"A PASSING GLIMPSE OF A GENTLEMAN WHOM I TOOK TO BE THE CHANCELLOR OF THE EXCHEQUER."
The packet of original sketches lies before the writer now; the pen and ink drawing of "The Chancellor of the Exchequer" is dated June 3rd, 1870. But the best and funniest of these early works could not be published in a magazine.
"THE TROMBONE."
For Christmas time, 1871, Caldecott made many sketches. Two were to illustrate a short story called "The Two Trombones," by F. Robson, the actor. It was a ridiculous story, bordering on broad farce, depicting the adventures of Mr. Adolphus Whiffles, a young man from the country, who in order to get behind the scenes of a theatre undertakes to act as a substitute for a friend as "one of the trombones," unknown to the leader of the orchestra. His friend assures him that in a crowded assembly "one trombone would probably make as much noise as two," and that, if he took his place in the orchestra, he had only to "pretend to play and all would be right."
"THE TWO TROMBONES."
In the first sketch we see him in his bedroom contemplating the unfamiliar instrument left by his friend; in the second he is at the theatre at the crisis when the leader of the band calls upon him to "play in" (as it is called) one of the performers on to the stage! Mr. Whiffles's instructions were to keep his eyes on the other trombone and imitate his movements exactly; but unfortunately the other trombone was a substitute also. The leader looks round, and seeing the two trombones apparently perfectly ready to begin, gives the signal, and the curtain rises. The dénoûment may be imagined! Other stories were illustrated by Caldecott, about this period, in London Society; one of Indian life, another called Crossed in Love, &c., but the artist wished that some illustrations should not be reprinted. Several drawings from London Society are omitted, from the same cause.
CHRISTMAS DAY, 4.30 A.M. "PLEASE, SIR, GIVE ME A CHRISTMAS-BOX."
"CLINCHING AN ARGUMENT." SKETCH AT A "DEBATING AND MUTUAL IMPROVEMENT SOCIETY."
The freshness of fancy, not to say recklessness of style, in many of the drawings which came by post at this time--the abundance of the flow from a stream, the course of which was not yet clearly marked--raised embarrassing thoughts in an editor's mind. "What to do with all the material sent?" was the question in 1871--a question which Caldecott was soon able to answer for himself.
"SNOWBALLS"
In 1871, many favourable notices appeared in the press referring to the humorous illustrations in London Society; but the sketch of all others which attracted attention to the work of the unknown artist was "A Debating and Mutual Improvement Society" on page 21, a recollection probably of some meeting or actual scene in Manchester.[1] Here the artist was on his own ground, and the result is one of the most rapid and spontaneous sketches in pen and ink ever achieved. It had many of the characteristics of his later work, a lively and searching analysis of character, without one touch of grossness or ill-nature--fun and satire of the subtlest and the kindliest. Here was the touch of genius unmistakable, an example of expression in line seldom equalled.
"HEIGH-HO, THE HOLLY!" * * * * "That's not Rosalind: oh dear no-- That damsel under the misletoe, Who seems to think life jolly: And as to the gentleman there behind, He wouldn't have pluck to kiss Rosalind, Can't you fancy his 'Heigh-ho, the Holly!'" MORTIMER COLLINS.
In an altogether different vein, drawing with pen, and a brush for the tint,--the new artist tries his hand at illustrating one of Mortimer Collins's madrigals called "Heigh-ho, the Holly!"
Amongst the most ambitious and interesting of Caldecott's drawings at this time were his "hunting and shooting friezes," of which several examples will be found in the pages of London Society for 1871 and 1872, drawn in outline with a pen; showing, thus early, much decorative feeling and a liking for design in relief which never left him in after years.
Two of the best that he did were the hunting subjects, entitled "Going to Cover" and "Full Cry."
"GOING TO COVER."
"The Coming of Age of the Pride of the Family" is another example, in a different style, of Caldecott's drawing in line at this period. It is reproduced opposite, in exact facsimile from the pen and ink drawing in possession of the writer.
HYDE PARK--"OUT OF THE SEASON."
Trivial as these things may seem now, the arrival in Manchester of the red covers of London Society containing almost every month something new by R. C., were among the events in the life of the young banker's clerk which soon set the tide of his affairs towards London.
"COMING OF AGE OF THE PRIDE OF THE FAMILY."
Referring to drawings made for the magazine after Midsummer 1872, when Mrs. Ross Church succeeded to the editorship, Caldecott writes to a friend:--
"Florence Marryat wants me to illustrate a novelette, very humorous, to run through five or six numbers of London Society, beginning in February. Engraved illustrations, no 'process.' I think I shall do them, I want coin!"
But he had soon other work in hand as will be seen in the next chapter.
"THE END OF ALL THINGS."
SKETCH ON A POST CARD.
CHAPTER III.
IN LONDON, THE HARZ MOUNTAINS, ETC.
Early in the year 1872 Caldecott left Manchester for London, "bearing with him the well wishes of the Brazenose Club and of an extensive circle of friends." This great change was not decided upon without considerable hesitation; but, to quote again from a Manchester letter:--
"Caldecott was greatly encouraged to take this step by the sale of some small oil and water colour paintings at modest prices, and by the acceptance of drawings by London periodicals. The clinking of sovereigns and the rustling of bank-notes became sounds of the past--the fainter the pleasanter, so at least Caldecott thought at that time, with energy, ardour, and the world before him."
In February and March, 1872, he was still drawing for the magazines and illustrating short stories.
In March, 1872, he exhibited hunting sketches in oil at the Royal Institution, Manchester.
On the 16th April he went to the Slade School to attend the Life Class under E. J. Poynter, R.A., until the 29th June.
As this was the turning point in Caldecott's career, it should be recorded that at this time, and ever afterwards, Mr. Armstrong, the present Art Director at the South Kensington Museum, was his best friend and counsellor.[2] He had also the advantage of the friendship of George du Maurier, M. Dalou, the sculptor, Charles Keene, Albert Moore, and others.
On the 8th June he records, "A. urged me to prepare caricatures of people well known," probably with the view of making drawings for periodicals.
Several drawings of Caldecott's were under consideration by the proprietors of Punch, and on the 22nd June, 1872, the first appeared.
In the same month he exhibited a frame of four small sepia drawings at the Black and White Exhibition, Egyptian Hall, London.
FIRST DRAWING IN "PUNCH," 22ND JUNE, 1872.
On the 28th June his diary records, "in the gallery of the House of Commons attending the debate on the Ballot Bill;" and again on the 8th July. On the 9th he is "engaged on chalk caricatures all day."
A letter dated 21st July, 1872, to one of his Manchester friends is worth having for the ludicrous sketch accompanying it. He writes:--
"London is of course the proper place for a young man, for seeing the manners and customs of society, and for getting a living in some of the less frequented grooves of human labour, but for a residence give me a rural or marine retreat. I sigh for some 'cool sequestered spot, the world forgetting, by the world forgot.'"
"A COOL SEQUESTERED SPOT."
About this time it was suggested to him to illustrate a book of summer travel, and on the 20th August 1872 he enters in his diary:--
"To Rotterdam, Harzburg, &c., to join Mr. and Mrs. B. in the Harz Mountains."
"A TOUR IN THE TOY COUNTRY."
This was the first book that Caldecott illustrated;[3] the title suggested was "A Tour in the Toy Country," and before leaving London he made the drawing on the preceding page. Caldecott, being then twenty-six, started on this journey with great readiness. The idea was altogether delightful to him; and here, as in every country he visited in after years, his playful fancy and facility for seizing the grotesque side of things stood him in good stead.
A MOUNTAIN "BEER GARDEN."
In a strange land, amidst unfamiliar scenes and faces, he roamed "fancy free"; in a country so compact in size that the whole could be traversed in a month's walking tour.
With Baedeker's Guide (English edition) in his pocket, and a dialogue book of sentences in German and English, he used to delight to interrogate the wondering natives; the necessary questions difficult to find, and "the elaborate and quite unnecessary" (as he expressed it), always turning up. Such little incidents gave opportunity to the observant artist to study the faces of the listeners; the interviews conducted slowly and gravely, and ending in a peal of laughter from the natives.
A "FRAULEIN."
A MOUNTAIN PATH.
Life at a German watering-place, as seen on a small scale in summer in the Harz mountains, was Caldecott's first experience of scenes with which his name afterwards became familiar in the pages of the Graphic newspaper. In looking at these early sketches we must bear in mind that they were made at a time when Caldecott, as an "artist," was scarcely two years old; that although his sense of humour was overflowing, his hand was comparatively untrained; that with his keen eye for the grotesque he turned his back upon much that was beautiful about him, that his sense of the fitness of things, of the requirements of composition and the like, were in embryo, so to speak.
A WARRIOR OF SEDAN IN A BEER GARDEN AT GOSLAR, 1872.
Nevertheless, as indicated in the next few pages he has left us work which, if ever a more complete life of Caldecott should be written, would form an important chapter in his art career.
Although little fitted for a mountaineer, he could not resist excursions to the highest points, and with a will which surmounted all difficulties, reached one evening the summit of the famous "Brocken." What he saw is recorded in the sketch below.
"THE ARK OF REFUGE."
There is a legend that when the deluge blotted out man from most parts of the earth, the waters of the northern seas penetrated far into Germany, and that the enormous rock which forms the top of the Brocken formed a shelter and resting-place.
There was no need of a romantic legend to suggest to the mind, at the first sight of the primitive hostelry on the top of the Brocken, its similitude to the "ark of refuge." The situation was delightful; we were in the "toy country" without doubt. There was the identical form of packing-case which the religious world has with one consent provided as a plaything for children; there were Noah and his family, people walking two and two, and horses, sheep, pigs, and goats stowed away at the great side door.
The resemblance was irresistible, and more attractive to Caldecott's mind than any of the legends and mysteries with which German imagination has peopled the district.
THE DANCE OF WITCHES.
There is "no holding" Caldecott now; on the "Hexen Tanzplatz," the sacred ground of Goethe's poetic fancy, within sound almost of the songs of the spirit world that haunt this lonely summit, he sets to work.
"SPECTRES OF THE BROCKEN."
The dance of witches, so weird and terrible, (as lately seen on the Lyceum stage in Henry Irving's production of Faust) took a different form in the young artist's eyes, whose fancy sketch from the Hexen Tanzplatz is reproduced opposite. He had been properly "posted," as he expressed it, he had read all that should be read about ghosts, witches, and spectres, and the result is before us. The last sketch from the dreary summit, showing the patient tourists waiting to see the view, was all we could get from him of spectres of the Brocken.
A SKETCH AT SUPPER.
One or two sketches of the interior of his Noah's ark, when some sixty travellers had assembled to supper, completed his subjects.
"BACK TO THE VIEW."
It may be noted that the feeling for landscape which Caldecott possessed in after years in such a high degree, if it touched him here, was not recorded in pencil. The magnificent scenery eastward through the valley of the River Bode, the grim iron foundries and ochre mines, and the wonderful view from the heights above Blankenberg, familiar to all travellers in the Harz, was recorded in only two sketches; one of a roadside inn, where we were invited to stay, the other of two tourists en route.
THE GUIDE AT GOSLAR.
How, at the little wayside sheds and "drink gardens" scattered on the mountain paths, the tourists sat persistently back to the view which they had toiled miles to see, were depicted by the artist in pencil, and many little incidents on the road were dotted down for future use.
In the old tenth-century city of Goslar, Caldecott's pencil was never at rest. Taking a guide to save time (whose portrait he gives us, with a note of a curious sixteenth-century street door) he explores from morning to night, choosing as subjects always "the life of the place."
PROCESSION OF THE SICK.
"Drinking the waters at Goslar" in 1872 was a crude effort artistically, which may be contrasted with his sketches of the same scenes at Buxton in 1876, but the humour is irresistible. An extract from our diaries is necessary here to explain the illustration.
"The figures are pilgrims, that have come from far and wide to combine the attractions of a summer holiday with the benefits of a wonderful 'cure' for which the city is celebrated. The promenades and walks on the ramparts lined with trees, are going through the routine of getting up early, taking regular exercise and drinking daily several pints of a dark mixture having the appearance, taste, and effect of taraxacum or senna. The bottles are supplied at the public gardens and cafés situated at convenient distances in the suburbs of Goslar."
DRINKING THE WATERS AT GOSLAR.
On another day he encounters a school starting for two or three days on the mountains, the band making hideous noises as the procession passes out of Goslar. Everything is characteristic here and full of local colour; the order of march, the costumes and the boots of the boys, and the general gravity of the company are given exactly--making the usual allowance for exaggeration. In the background is seen one of the iron factories and an indication of a bit of Harz scenery; the sketch recalling the incident with wonderful vraisemblance. The "School on the March" in its humour and exaggeration may remind the reader of some drawings by Thackeray.
A GENERAL IN THE PRUSSIAN ARMY.
Here, as in Belgium, the harnessing of dogs to carts, drawing sometimes two people over the rough cobble stones of Goslar, excited Caldecott's pity and anger; he made several sketches of the animals and one portrait of their master who had just got down to enjoy a pipe at the corner of a street.
"A SCHOOL ON THE MARCH"--HARZ MOUNTAINS, 1872.
Sketches at various table d'hôtes in hotels, public gardens and the like, were plentiful and perpetual. But the majority were destroyed or put away; out of fifty only one such as "A General in the Prussian Army" (see page 44) being selected for reproduction.[4]
At Clausthal we joined a party to explore one of the iron mines, and Caldecott gives a sketch of the preparations. A note from our diary will best explain the situation.
"In order to descend the mines at Clausthal, visitors have to divest themselves of their ordinary costumes and put on some cast-off suits of ill-fitting garments left at the entrance to the mine for the purpose. As we approach the mouth of the shaft where the miners are waiting with lanterns to commence the descent, our party,--consisting of four Englishmen--a professor of geology, a director of mines, an editor and an artist--present the somewhat undignified aspect in the sketch. This change of costume is necessary on account of the wet state of the mines, the thick caps being a protection against loose pieces of ore and the wet earth that falls from time to time in the galleries."
Caldecott gives the generally dismal and disreputable appearance of the party with great verve; his own portrait is presented in a few touches in the background, hurrying into garments much too big for him.
On one occasion the artist takes a solitary walk between Thale and Clausthal, a pathway lined in some parts by rows of trees with forbidden fruit, a novel and tempting experience. There being no mention of this route in the guide books, he writes as he says his "own Baedeker" in the familiar practical manner:--
"I start at 3.40 P.M. from the 'Tenpounds Hotel' at Thale to walk up the valley of the Bode, over a wooden bridge, then through a beer garden, round a rocky corner," &c. "The way next through woods of beech, birch and oak; a stream can be heard but not seen. Treseburg is reached at 5.40; a prettily situated village by the water side; homely inn, damp beds."
"Leave Treseburg at 9.40 A.M. over a bridge on the right bank of the Bode. Altenbrack at 10.50, Wendefurth at 11.50. Rubeland reached at 2.30 P.M., and so on to Elbingerode, where a halt is made for the night at the 'Blauer Engel,' a tolerable inn. Women of burden and foresters are the only wayfarers met with.
"The route hence south-west over high open land with fine views to the iron works of Rothehütte in an hour. Thence up a hill for half an hour and through dense fir woods, then out on the high road again, resting at the 'Brauner Hirsch' at Braunlage. From thence over hills commanding a vast extent of country with the familiar form of the Brocken continually in view. The road descends by easy stages through a district full of small reservoirs and leads the traveller in about two hours into the wide, clean, empty streets of Clausthal."
On the 19th September, 1872, Caldecott is at work again in his rooms at 46, Great Russell Street (opposite the British Museum) arranging with the writer for some of his Harz Mountain drawings to accompany an article in the London Graphic newspaper. These appeared in the autumn of 1872.
AT CLAUSTHAL.
On the 18th October, the following entry appears in Caldecott's diary: "Called at Graphic office, saw Mr. W. L. Thomas, who took my address." This entry is interesting as the beginning of a long connection with the Graphic newspaper which proved mutually advantageous.
In November, 1872, the present writer went to America, taking a scrap-book of proofs of the best of Caldecott's early drawings, a few of which were published in an article on the Harz Mountains in Harper's Monthly Magazine in the spring of 1873.[5] His drawings were also shown to the conductors of the Daily Graphic, of New York, which led to an engagement referred to in the next chapter.
During the latter part of 1872 numerous small illustrations were produced for London Society.
SKETCH IN "PUNCH," 8TH MARCH, 1873.
CHAPTER IV.
DRAWING FOR "THE DAILY GRAPHIC."
Some idea of the work on which Caldecott was engaged in 1873 and 1874, may be gathered from extracts from his diary in those years. They are interesting if only to show that at that early period his art studies were varied, and that his experience was not confined to book illustration as has generally been supposed.
In January, 1873, he made six illustrations for Frank Mildmay by "Florence Marryatt," and on January 22nd, an "Initial for Punch."
In February--
"Began wax-modelling for practice, hearing that my hunting frieze (white on brown paper) had been successful in Manchester, and that I should perhaps be asked to model some animals for a chimney-piece."
24th April.--"A. came to see my wax models; liked them, said I must do something further."
Several hunting subjects were also in progress at this time. Next are two letters to a friend in Manchester.
"46, GREAT RUSSELL STREET, LONDON, W.C.,
"March 28, 1873.
"MY DEAR ----,--The ancient Romans said, or ought to have said, that ingratitude was the greatest of human crimes. But, my dear fellow, I am not an ingrate. I have not forgotten you--unless, as the poet sings, 'if to think of thee by day and dream of thee by night, be forgetting thee, thou art indeed forgot.' I did receive your last collected joke, and a very good joke it was--for a Manchester joke. I'm sorry that I have not power to use it, but it will keep, although it will tread on some people's feelings when used. The fact is that this same joke nearly brought me to an untimely end. I went out hunting on the day I received it, and at one fence and ditch I had quite enough to do to avoid a rabbit-hole on the taking-off side and some barked boughs of fallen timber on the landing side--not to mention some low-hanging oak trees. Well, just when I was in the air I thought of your joke and smiled all down one side; my hunter--by King Tom, out of Blazeaway's dam, by Boanerges--took the opportunity of stumbling, and, before an adult with all his teeth could get as far as the third syllable in 'Jack Robinson,' my nose was engaged in cutting a furrow all across a fine grass field, some eight acres and a half in extent, laid down after fine crops of seeds and roots, and well boned last winter. However, in less than half a minute (having retained possession of the reins), I was again chasing the flying hounds.
A CHECK.
"About the middle of February I went down into the country to make some studies and sketches, and remained more than a month. Had several smart attacks on my heart, a little wounded once, causing that machine to go up and down like a lamb's tail when its owner is partaking of the nourishment provided by a bounteous Nature. Further particulars in our next--no more paper now. I hope you and ---- are well, and with kind regards, remain yours faithfully,
"R. C."
"46, GREAT RUSSELL STREET, LONDON, W.C.,
"April 27, 1873.
"MY DEAR ----,--I was delighted to receive your letter--quite a long one for you. I hope that you had a fine time of it at the ball. Dancing is not absolutely necessary to a man's welfare temporally or spiritually; so if you be a 'Wobbler,' wobble away and fear not, but see that thou wobblest with all thy might, then shall thy zeal compensate for lack of skill. I've nearly given up gymnastics. I only danced twenty-one times at the last ball.
* * * * *
"I now find that during quadrilles my mind wanders away from the subject before it, and I am continually reminded that I ought to be idiotically squaring away at some one instead of cogitating with my noble back leaning against the wall. 'Sed tempora new potater,' &c. I hope you are all well, and with kind regards, remain yours faithfully,
"R. C."
In May he is "working in clay in low relief."
6th June.--"Began modelling mare and foal in round."
In the latter part of June, and in July, he is "at Vienna with Mr. Blackburn," engaged on various illustrations for the Daily Graphic.
It was in the summer of 1873 that it occurred to the proprietors of the Daily Graphic (the American illustrated newspaper referred to) that the Gulf Stream, and the strong prevailing current of wind easterly from the continent of America in that latitude, might be turned to profitable account for advertising purposes. They constructed a large balloon which hung high above the houses in Broadway for some weeks, and announced that on a certain day the Daily Graphic balloon would sail for Europe. The start was telegraphed to London and gravely announced in the Times and other London papers, and every one was on the qui vive for this new arrival in the air.
"LOOKING OUT FOR THE 'GRAPHIC' BALLOON."
The humour and absurdity of the situation was seized at once by the comic journals, but probably nothing that appeared at the time was more telling than the drawing made by Caldecott at Farnham Royal for the Daily Graphic, and published in New York as a page of that newspaper.
Other drawings followed, descriptive of various scenes in London and England, such as a special service by Cardinal Manning at the Pro-Cathedral in Kensington; an address by Bradlaugh at the east end of London; a London picture exhibition; hunting in a northern county, &c., and Caldecott, to whom all this was a new experience, was pleased to work for the American newspaper as "London artistic correspondent."
In this capacity Caldecott went with the writer to Vienna to the International Exhibition of 1873, and there were sent to America various satirical sketches, accompanying letters, notably one of the banquet held on the 4th of July, with portraits of some well-known American citizens. One of the most successful and life-like of the smaller sketches was a Vienna horse-car entitled--"Off to the Exhibition," reproduced here.
OFF TO THE EXHIBITION--VIENNA, 1873.
The experience gained in various excursions during Caldecott's engagement with the Daily Graphic, was most valuable to him in after years; although as we have elsewhere said, illustrated journalism properly so-called, was never sympathetic to him, nor would his health have been equal to the strain of so trying an occupation. As occasional contributor to an illustrated newspaper he was destined to be without a rival, as the columns of the London Graphic for many years have testified.
A VIENNESE DOG.
The humour and vivacity, the abandon, so to speak, exhibited in some of these early drawings, form a delightful episode in his early art career, and many will wonder, looking at the variety of movement and expression (in the drawing of the overloaded car, for instance), that the artist should have been amongst us so long without more recognition. It is true that his drawings were uncertain, and that the results of want of training were sometimes too palpable; that the accusation made in 1872 that the editor of London Society had chosen "an artist who could not draw a lady," could hardly be gainsaid in 1873.
The artistic interest in these drawings is great, if only from the fact that they are amongst the few of his works drawn in pen and ink for direct reproduction without the intervention of the wood-engraver. Caldecott was one of the first to try, and to avail himself of, the various methods of reproduction for the newspaper press; and in the pages of the Daily Graphic, his facile touch and play of line was made to appear with startling emphasis on the printed page.[6]
But after all, the humour and drollery of Caldecott's nature appears with more unrestrained effect in the sketches on his letters to friends, such as are scattered through this volume; the natural awe of publication in any form having a restraining effect.
In July and August he is working "in the loose box at Farnham Royal," the country cottage sketched on page 90 and referred to in the following and other letters.
"HOGARTH CLUB, 84, CHARLOTTE STREET, FITZROY SQUARE, W.
"Dear ----,--The poet sings, 'Oh! have you seen her lately?' to which I answer, 'Yes.' But, whether or no, I returned to-day from a fortnight's sojourn in Buckinghamshire, and the first thing I was going to do was to write to you and say that I have no acquaintance with the happy medium who resides in my very old rooms in Great Russell Street. I have left those rooms, and am a wanderer and an Ishmaelite. I dare not take those rooms when she leaves. I called at the house just now and found another note from you. I had a good look at Europe during my Vienna expedition. I was away a month and saw many towns, and conversed with many peoples and tongues. I could say much, but will defer till we meet over the flowing bowl. Since I came back I have been staying with a friend at Holborn Circus, and also with some friends at Farnham Royal, near Slough, a lovely country place. There I have been working off some sketches of Vienna and England for the use of the neighbouring country of America. But I could not help being interrupted. Fancy a being like this bobbing about! Howsomedever, I am again in town at Bank Chambers, Holborn Circus, E.C., where I may be consulted daily. Please observe signature on the box, without which none others are genuine, post free for thirteen stamps. So you see that I have had a seven weeks' delightful mixture of toil and pleasure, and ought now to have a bout of toil only. There is a book waiting to be illustrated.
"R. C."
In the same month (August 1873), he went with a letter of introduction to Dalou, the French sculptor, then living in Chelsea. Of this interview he writes, "M. Dalou very kind in hints, showing me clay, &c." A friendship followed, cemented in the first instance by a bargain that Caldecott should come and work at the studio and teach the sculptor to talk English, whilst Dalou helped him in his modelling! Caldecott profited by the arrangement, and often spoke in after years of the value of Dalou's practical teaching. Many visits were paid to the sculptor's studio in the year 1873.
EARLY DECORATIVE DESIGN, THE PROPERTY OF G. AITCHISON, A.R.A.
In the intervals of work Caldecott also made life studies at the Zoological Gardens in London, and anatomical studies of birds.
In September he made a drawing of Mark Twain lecturing in London, for the Daily Graphic, and in October records the purchase by Mr. G. Aitchison, the architect, of a cast of his "first bas relief," a hunting subject; also of "two brown paper pelican drawings," one reproduced on the last page.
In November he writes the following to a friend in Manchester:--
"46, GREAT RUSSELL STREET, W.C.,
"November 16, 1873.
"Dear ----,--I have nothing to say to you--nothing at all. Therefore I write. I don't like writing when I have aught to say, because I never feel quite eloquent enough to put the business in the proper light for all parties. Having a love and yearning for Bowdon and Dunham, and the 'publics' which there adjacent lie, I think of you on these calm Sunday evenings about the hour when my errant legs used to repose beneath the deal of the sequestered inn at Bollington. How are you? I was pleased to see that the Athenæum gave a long space to your book, although I presume you did not care for the way they reviewed it. That is nothing. I have been very busy--not coining money, oh no!--but occupied, or I should say have descended into the country, during last month. 'Graced with some merit, and with more effrontery; his country's pride, he went down to the country.' My summer rambles shall be talked of, and the wonderful works in the regions of art shall be described when next I see you. Till then, farewell! This short letter is like a call.--Yours, R. C."
The last entry of interest in his diary in 1873, is on December 3rd.
"To Graphic office, saw Mr. Thomas. Fixed that I should go down to Leicestershire next week for hunting subjects."
"THIS IS NOT A FIRST-CLASS COW."
STUDIES FOR A LARGE DECORATIVE DESIGN, 1874.
CHAPTER V.
DRAWING FOR "THE PICTORIAL WORLD," ETC.
Let us now glance at Caldecott's diary for 1874, which, with his letters to friends and the sketches which so often accompanied them, give an insight into the character of his work at this time. It is altogether an extraordinary record.
On the 14th of January, 1874, he is "working in the afternoons, sketching swans at Armstrong's." This was part of a large decorative design which he afterwards assisted in painting (see illustration on page 89).
On the 23rd January, 1874, is an interesting note.
"J. Cooper, engraver, came and proposed to illustrate, with seventy or eighty sketches, Washington Irving's Sketch Book. Went all through it and left me to consider. I like the idea."
In February he completed a drawing of the Quorn Hunt for the Graphic newspaper.
On the 12th March, he enters in his diary, "Preparing sketch of choir for W. Irving's Sketch Book;" showing that he was already at work on the book which was to make his reputation.
At the same time he was preparing illustrations and trying new processes of drawing for reproduction, to aid in founding a new newspaper.
How far Mr. Caldecott was ready to conquer difficulties in his art, and how heartily he aided his friends in any project with which he was connected, are matters of history closely connected with his engagement on the Pictorial World, which had a bright promise for the future in 1874.
Some of the large illustrations were produced by Dawson's "Typographic Etching" process. The drawings were made with a point on plates covered with a thin coating of wax, the artist's needle, as in etching, removing the wax and exposing the surface of the plate wherever a line was required in relief--"a fiendish process!" as Caldecott described it, but with which he succeeded in obtaining excellent results--better than any artist previously.
On the 7th of March, 1874, a new illustrated newspaper called the Pictorial World was started in London, of which the present writer was the art editor.
It was the time of the general election of 1874, when the defeat of Mr. Gladstone, the question of "Home Rule," and many exciting events were being recorded in the newspapers. Caldecott was asked to make a cartoon of the elections, and at once sat down and made the pencil sketch overleaf.
For some reason this drawing was not completed; but instead, a group of various election scenes was drawn by him and appeared in the Pictorial World.
THE POLLING BOOTH.
There were numerous sketches combined on one page, three of which are reproduced here. The illustrations on pages 70, 72, 80, 81, 82, and 84 were drawn (generally under great pressure of time) with an etching needle on Dawson's plates. This was the beginning of what are now familiarly known as "process" drawings in newspapers, but the system of photographic engraving, now largely used, was not then perfected. In 1874 it would have been impossible to reproduce rapidly in a newspaper, either the delicate lines of a pen and ink sketch, or such a pencil drawing as that given above.
HOME RULE--MARCH 1874. Facsimile of pencil sketch for the Pictorial World.
Caldecott rendered valuable assistance at this time, and the early numbers of the paper are worth having if only for the reproduction of his work. It is not generally known how many of the large illustrations in the Pictorial World were by his hand, or how much he was identified with the publication in the first days of its career.
"ON THE STUMP."
Amongst the best illustrations by Caldecott for the newspaper at that period were sketches and studies that he had made for pictures, selected from his studio; such for instance as "Coursing," "Somebody's Coming," and the "Morning Walk," on pp. 75, 77, and 86. The latter design was not drawn specially for the Pictorial World, but Caldecott made a drawing of it for the paper, which appeared in the number for 18th July, 1874.
THE SCOTCH ELECTIONS--"GOING TO THE HUSTINGS."