Suppressed Plates, Wood-engravings, &c.: Together with Other Curiosities Germane Thereto; Being an Account of Certain Matters Peculiarly Alluring to the CollectorLayard, George Somes
History
Suppressed Plates, Wood-engravings, &c.: Together with Other Curiosities Germane Thereto; Being an Account of Certain Matters Peculiarly Alluring to the Collector
Layard, George Somes
Engraving; Engraving -- Collectors and collecting
As a matter of fact I have reason to believe that suggestions were
made by certain persons who arrogate to themselves a sort of private
proprietorship in the “fine old English novel” and the “fine old
English caricature” that the little tailpiece was in rather bad
taste, and that the artist, rather than allow the slightest grounds
for such an imputation to exist, hastened to remove the offender, and
substituted one that was irreproachable. Personally I grieve to think
that there should be any one in existence with a moral digestion so
dyspeptic as to discover the least coarseness or ill-flavour in {175}
this dainty little fancy, And though the artist, we may be sure, has
not troubled himself unduly about the insinuation, I cannot but feel
indignant that even a hint of indecorousness should be made against
one who, above all others, has kept his pencil free from any taint of
unworthiness. However, it is an ill wind that blows nobody any good,
and we are fain to congratulate ourselves upon thus being enabled to
enrol Mr. Hugh Thomson in a brotherhood which he certainly will not
repudiate.
Passing allusion has been made above to certain illustrations which
also disappeared from Mr. Outram Tristram’s very readable book
_Coaching Days and Coaching Ways_, illustrated by Mr. Hugh Thomson and
Mr. Herbert Railton, after the first edition of that very charming
volume was exhausted. It had been my intention to reproduce these
cancelled drawings here, but I have since come to the conclusion that
it would be little short of an outrage to perpetuate what would be
cruelly unrepresentative of Mr. Hugh Thomson’s work. So far as the
artist himself is concerned no obstacle is raised, for he writes {176}
to me in the most generous way, “‘Calling for the Squire’s Mailbag’
was withdrawn for the same reason as ‘Wild Darrell’ (viz. because it
was not considered sufficiently good). _I should like to withdraw
scores of other drawings._ However, one cannot help oneself. It is not
very pleasant to have these reproduced again, but I quite understand
the motive of your book, and should be very churlish indeed to put
any obstacle in your way.” This seems to me so nobly altruistic an
attitude that I feel I should be lacking in mannerliness were I to take
advantage of it.
It will be enough merely to draw attention to facts which will be of
interest to those who possess one or other of the editions of this book.
Public-domain text, read in full here on John Shaqi.
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