Later Illustrations

I think we are agreed that the illustrations by Phiz for the third monthly number are decidedly underwhelming. Rokujo Lady mentioned two later illustrators of TOTC (thank you!) and I thought it would be interesting to compare their efforts with those of Phiz.

The first image is by Fred Barnard from the 1870s for the Household Edition (scanned image and text by Philip V. Allingham). Interestingly, http://www.victoriaweb.org (the site I took the images from) claims that Barnard didn’t want to compete with Phiz’s fountain scene and so instead depicted the Marquis discovering he has a stalker.

The second image is by A. A. Gill for a 1905 edition (scanned image and text by Philip V. Allingham), which reproduces the same scene as Phiz but focuses on anger rather than  grief and zooms in on Gaspard, with the Parisian poor huddling as an undifferentiated mass in the background.

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About Ben Winyard

Ben Winyard is the Digital Publications Officer at Birkbeck, University of London. He completed his PhD at Birkbeck, where he also worked as an intern on '19: Interdisciplinary Studies in the Long Nineteenth Century' (www.19.bbk.ac.uk). More recently, he worked as a postdoctoral researcher and senior editor on the Dickens Journals Online project (www.djo.org.uk).

5 thoughts on “Later Illustrations

  1. Thanks for posting these. It’s interesting to compare them to Phiz’s which as previous bloggers have said, seem somewhat dry and don’t give credit to the comedy that Dickens uses in his writing. The “Killed” one is particularly striking.

  2. Thanks for posting these Ben. To me, these seem to be two extremes – the first picture is a little too restrained and lacks the ominous menace connected to the concerning phenomenon of a ghost-like figure lurking under the coach; the second picture swings the other way with over-dramatic posturing to the height of bad melodrama (you can almost hear the father saying “nooooooooooooooo” with 15 “o”s). This, in addition to the positioning of the father in the foreground with the crowd as extras in the background makes it feel like it’s based on a theatrical production, or at the very least that the artist was inspired by theatrical adaptations.

  3. I just like the delicacy of the Marquis’ face, and in the way faces are drawn in general in the A. A. Dixon ones (The second one). I am a simple woman that way. I’m going to have to agree with Pete the Downer* one this one, though. Too cold, too hot.

    *Don’t take it seriously. I’m griefing you.

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