i-k-
 
 A CONSIDERATION OF THE LIFE AND WORKS OF 
 
 GEORGE JOHN PINWELL 
 
 (1842— 1875) 
 
 TOGETHER WITH LISTS OF HIS EXHIBITED AND ENGRAVED WORKS 
 
 AND A CATALOGUE OF THE SALE OF HIS WORKS AFTER HIS 
 
 DEATH. ILLUSTRATED BY MANY REPRODUCTIONS 
 
 OF HIS PICTURES, DRAWINGS, STUDIES 
 
 AND WOODCUTS
 
 WORKS BT THE SAME AUTHOR. 
 
 LIFE OF JOHN RUSSELL, R.A. ^2 is. net. 
 
 Out of print. 
 
 RICHARD COSWAY, R.A., and His Com- 
 
 
 panions £,'2- '2.S. net. 
 
 Out of print. 
 
 PORTRAIT MINIATURES, from the Time 
 
 
 OF Holbein, I 53 I, to that of Sir William 
 
 
 Ross, i860. A Handbook for Colleftors. 
 
 
 With 206 Illustrations 
 
 I2S. 6d. net. 
 
 Large paper (one copy only left) . . . 
 
 j^2 2x. net. 
 
 BERNARDINO LUINI [Bell's Great Masters 
 
 
 Series]. With 41 Illustrations 
 
 5^. net. 
 
 PIETRO PERUGINO [Bell's Great Masters 
 
 
 Series]. With 41 Illustrations 
 
 5j. net. 
 
 SONS. 
 
 LONDON: GEORGE BELL AND
 
 2 
 
 '■J
 
 GEORGE J. PINWELL 
 
 AND HIS WORKS 
 
 BY 
 
 GEORGE C. WILLIAMSON, Litt.D. 
 
 LONDON 
 GEORGE BELL tf SONS 
 1900
 
 CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON.
 
 PREFACE 
 
 George J. Pin well was one of that school of 
 water-colour artists whose style was directly de- 
 rived from the practice of drawing upon wood for 
 book illustration. He is perhaps the most interest- 
 ing personality in the little group which included 
 Frederick Walker and Houghton, and formed one 
 of the most interesting of modern developments in 
 British painting. With Houghton and Walker, 
 he died in 1875, three of our greatest book illus- 
 trators passing away in one year, but, unlike them, he 
 has had no literary memorial creeled to his honour. 
 Of the entire group of earnest students, Pinwell 
 was the most poetic in imagination, and the great- 
 est colourist. His inventive power was of a very 
 high order, his imaginative fancy, refined grace
 
 VI 
 
 PREFACE 
 
 and pathos, marked him out from his fellows ; but 
 his love of pure colour and capability of using it 
 in jewel-like quality constitute, together with his 
 ability to combine figures in a dramatic manner, 
 perhaps his greatest claims to importance. As he 
 died young his works are few in number, but his 
 promise was so great that had he lived he would 
 probably have attained a supreme position. His 
 career has never yet been accurately described, but 
 in this work such information as is known to his 
 widow and friends has been used, and a first at- 
 tempt made to depid: Pinwell in his true circum- 
 stances and environment. The narrative, simple 
 and short as it is, may be accepted as absolutely 
 reliable, and will, it is hoped, serve to clear his 
 memory from the legends that have gathered around 
 it, and to reveal his character in all its high tone and 
 strenuous uprightness. The work has been largely 
 undertaken for the satisfaction of Mrs. Pinwell, and 
 in order also to provide such information as may 
 be interesting and useful to the owners of pictures 
 painted by her late husband. The catalogue of
 
 PREFACE vii 
 
 the Exhibition held in New Bond Street in 1876, 
 after Pinwell's death, which has now become 
 very scarce, is here appended, together with a 
 chronological list of pictures and many notes as to 
 sales, and the names of past and present owners as 
 far as they can be traced out. The catalogue also 
 of the sale of the artist's works at Christie's is re- 
 produced, and by permission of the firm, the prices 
 realized and the purchasers' names added. Lists 
 of other exhibitions of Pinwell's works are given, 
 and by kind permission of the various owners, and 
 also from photographs retained by Mrs. Pinwell, 
 many of the artist's best works in colour and in 
 pencil are reproduced. 
 
 Examples of his drawing for wood illustrations 
 are also given, and by permission of the publishers, 
 impressions from the original wood blocks with 
 which he so lavishly adorned the illustrated books 
 of the " Sixties." Pinwell's life was not marked 
 by any great incident or notable event, but 
 was a short one full of trouble, difficulty, and 
 promise, and cut off by an early death. This
 
 viii PREFACE 
 
 volume will at least fulfil a desire to give to his 
 memory the recognition it deserves. The author 
 is specially grateful to Mr. H. T. Hartley, Mr. J. 
 S. Budgett, Sir John Jaffray, Mr. E. A. Waterlow, 
 A.R.A., Mrs. Capron, and Mrs. Joseph for per- 
 mission to reproduce works in their possession, and 
 notably to Mr. Hartley, who has a large collection 
 of Pinwell's works, for the loan of many books and 
 for much valuable information. 
 
 He is also most warmly grateful to Mr. J. 
 W. North, A.R.A., for very much information and 
 for the generous manner in which he has aided 
 him by reading the proofs. He must further ac- 
 knowledge the help of Sir James Linton, Mr. John 
 Parker, Mr. Waterlow, Mr. Waller, Mr. Strahan, 
 and Mr. Halkett, for information and assistance, 
 and returns to all of them his hearty thanks. 
 
 350 copies only of the volume have been 
 printed, and it will not be reprinted.
 
 CONTENTS 
 
 Preface 
 
 List of Illustrations . 
 
 Chapter I. Biographical 
 
 11. 
 
 III. 
 
 Appendix I. 
 
 II. 
 
 III. 
 
 His Personal Character 
 
 PiNWELL AS AN ArTIST . 
 
 Catalogue of the Exhibition of Pin- 
 well's Works at Deschamps' Gal- 
 lery, 1 68, New Bond Street, W., 
 February and March, 1876; 
 WITH Notes as to the present 
 Owners of the Pictures 
 
 Catalogue of the Sale of Pinwell^s 
 Works at Christie's Sale Rooms 
 on March i6th, 1876, with the 
 Names of Purchasers and the 
 Prices realized . . . . 
 
 Works Exhibited at the New 
 Gallery in 1897-98, with Names 
 of Owners . . . . . 
 
 b 
 
 PAGE 
 V 
 
 xi 
 I 
 
 31 
 
 47 
 
 73 
 
 95 
 
 109
 
 X CONTENTS 
 
 PAGE 
 
 Appendix IV. Works Exhibited at Birmingham 
 IN 1895, WITH THE Names of the 
 Persons then owning them . 112 
 V. Drawings and Prints Exhibited at 
 
 the Camberwell Art Gallery . 119 
 VI. List OF Pinwell's Engraved Works 125 
 VII. List of Pinwell's Chief Works in 
 Colour, arranged under Owners' 
 Names . . . . .145 
 
 Note as to Missing Pictures . . . • 151 
 
 The Elixir of Love, a Poem . . . .152 
 
 List of Pinwell's Exhibited Works in Tabular 
 
 Form . . . . . . . • '^53 
 
 Posthumous Exhibition of Unfinished Works at 
 
 THE Gallery of the Water-Colour Society 154 
 Index . . . . . . . ' ^ 55
 
 LIST OF ILLUSTRATIONS 
 
 Gilbert a Becket's Troth .... Frontispiece 
 
 George John Pinwell. From a photograph by Hubbard . i 
 
 The Gossips. Black and white drawing to illustrate a poem, 
 " Mother Rumour," in ^' English Rustic Pidlures." 
 Hartley colledion ....... 3 
 
 Memories. From the original woodcut engraved by Swain . 5 
 
 The Quarrel. Black and white drawing to illustrate a poem, 
 
 " Sailor's Love." " English Rustic Pidures " . . 7 
 
 Illustration for the " Goldsmith," from the original drawing 
 
 on the wood in the Vidoria and Albert Museum . . 9 
 
 Another illustration for the " Goldsmith," from the same . 1 1 
 "Will you go to church if father takes ninepence.'' " Black 
 
 and white drawing for a woodcut. Hartley colledion . 13 
 The Tramps. Water-colour drawing illustrating the " Un- 
 commercial Traveller" (Charles Dickens). Joseph col- 
 ledtion . . . . . . . . .15 
 
 Mamma's Watch. Water-colour drawing. Hartley collec- 
 tion 15
 
 xii LIST OF ILLUSTRATIONS 
 
 TO FACE 
 PAGE 
 
 The Pied Piper of Hamelin — Children. Water-colour picflure. 
 
 J. S. Budgett colledion 17 
 
 Original water-colour study for the above pifture. Hartley 
 
 colledion . . . . . • • • • ^7 
 
 The Pied Piper of Hamelin— Rats. Water-colour pidure. 
 
 J. S. Budgett collection 17 
 
 New books. Water-colour drawing used as an illustration to 
 a story, " Lovely yet unloved," *' Good Words," 1868, 
 p. 277. Joseph colledlion . . . . . .19 
 
 Water-colour sketch for The Haymakers. Hartley collec- 
 tion -19 
 
 A Country Walk. Water-colour pidure, exhibited 1871-72. 
 
 Capron colledlion . . . . . . .21 
 
 Chalk study for the Saracen Maiden, afterwards called Gilbert 
 
 a Becket's Troth. Hartley colle6lion . . . .21 
 
 The Beggar's Roost, Tangier. Water-colour pi6ture, exhibited 
 
 1874. Sale colle6lion . . . . . .23 
 
 The Prison Hole, Tangier. Water-colour pidure, exhibited 
 
 1875. Henderson colledion ..... 25 
 George J. Pinwell. From a photograph by Hubbard . . 27 
 Out of Tune, or the Old Cross. Water-colour pidure. Ex- 
 hibited 1869-70. Sir Cuthbert Quilter's colle6lion . 29 
 
 The original scene from which the above pidlure was painted, 
 
 with the Quantock hills in the distance ... 29 
 
 Water-colour study for "A Seat in St. James's Park." Hart- 
 ley colledion, (N.B. — An etching was made by Prof. 
 Herkomer, R.A., of this pidure.) . . . • 31
 
 LIST OF ILLUSTRATIONS xiii 
 
 TO FACE 
 PAGE 
 
 The Paris Pawn-shop. Water-colour pidure. Strahan col- 
 
 ledlion ......... 33 
 
 Pencil sketch for the same work, which first appeared as an 
 illustration in "Good Words," 1868, p. 223. Hartley 
 colledlion ......... 33 
 
 Time and his Wife. Water-colour drawing illustrating the 
 "Uncommercial Traveller" (Charles Dickens). Ex- 
 hibited 1871-72. Joseph colledlion . . . -35 
 
 Visiting the Poor. Water-colour drawing. Strahan collec- 
 tion 3S 
 
 The Elixir of Love. Water-colour drawing, exhibited 1870 37 
 
 Nelly Whelan. From a pencil drawing . . . -39 
 
 The Last Load. Water-colour picture, exhibited 1869-70. 
 
 From the artist's own photograph of the pidure . . 41 
 
 Water-colour sketch for The Last Load. Hartley collec- 
 tion . . . . . . . . . .41 
 
 Away from Town. Water-colour pidure, exhibited 1871. 
 
 From the artist's own photograph of the picture . . 43 
 
 The Captive. Oil painting. Hartley colledion ... 45 
 
 A chalk study for the same pidure. Hartley colledion . . 45 
 
 The Lost Child. From the pencil drawing for the "Graphic," 
 
 first used as an illustration in the "Sunday Magazine" . 47 
 
 The Calf, also called The Unwilling Playmate, or The Shadow. 
 
 From the original woodcut ...... 49 
 
 Upon the roofe we sate that night. Drawing V. for the poem. 
 
 " High Tide," 1866. From the original woodcut . 51 
 
 The End of the Journey. Drawing for " English Rustic 
 
 Pi6tures," 1865. From the original woodcut . . ^^
 
 xiv LIST OF ILLUSTRATIONS 
 
 PAGE 
 
 The waters laid thee at his doore. Drawing VI. for the poem 
 
 " High Tide," 1866. From the original woodcut . ^2 
 
 The Dovecot. Drawing for " English Rustic Pidlures," 1865. 
 
 From the original woodcut . . . . . ■ S5 
 
 Clara. The only drawing the artist did for "Punch." Re- 
 produced from the original woodcut by kind permission 
 of the proprietors . . . . . . -57 
 
 The Princess and the Ploughboy. Water-colour pifture, ex- 
 hibited 1873-74. From the artist's own photograph of 
 the pidlure ........ 59 
 
 By the River. Water-colour drawing. Hartley colledion . 6 1 
 
 A Long Conversation. Water-colour pidlure, exhibited 
 1872-73. From the artist's own photograph of the 
 pidlure ......... 63 
 
 The Pied Piper of Hamelin — Children. A caricature of the 
 picture by G. R. Halkett, used as an illustration to the 
 Gladstone Almanack of 1885 . . . . . 6^ 
 
 Do(5lor Tom, also called The Cowshed. Drawing for " English 
 
 Rustic Pidlures," 1866. From the original woodcut . 6^ 
 
 Pencil study for the figure of a sailor. Hartley colledion . 67 
 Oil sketch for Sally in our Alley. Hartley colledion . . 69 
 
 Chalk study for a female figure, made, it is believed, for The 
 
 Maid Mettelil. Hartley coUedion . . . .69 
 
 The Earl o' Quarterdeck. Water-colour pidure, exhibited 
 1871-72. From the artist's own photograph of the 
 pidure . . . . . . , . . ji
 
 LIST OF ILLUSTRATIONS xv 
 
 TO FACE 
 PAGE 
 
 The Enchanted Prince. Oil painting. Waterlow colledlion. 
 From the illustration lent by the proprietor of " The 
 Studio "......... 73 
 
 Sweet Content. Water-colour drawing. Hartley colle6tion . 75 
 
 N.B. — The copyright and privileges as to reproduftion for all the illustrations 
 in this volume are stridtly retained by the author on behalf of the various owners 
 of the works. Most of the photographs were taken for the author by Messrs. 
 Elliott and Fry, of Baker Street, W., but those of the piftures at Stoke Park and 
 at Mrs. Capron's by Mr. Shawcross, of Guildford. The process blocks are by the 
 Art Reproduftion Company, of Fetter Lane, London, and the original woodcuts 
 are kindly lent by Messrs. F. Warne and Co., George Bell and Sons, Bradbury, 
 Agnew and Co., and Messrs. Blackwood, to all of whom very hearty thanks are 
 rendered. The set of photographs which were taken for Pinwell, and belonged to 
 his widow, were kindly lent by Mr. H. T. Hartley, and from them several blocks 
 have been made in cases where the present owners of the piftures are unknown. 
 The pencil drawing of Nelly Whelan is also from Mr. Hartley's colledlion, while 
 the original piftures of the Paris Pawn-shop and Visiting the Poor have been most 
 generously placed at the author's disposal by their owner, Mr. A. Strahan, and 
 have been photographed for this book. The book has been printed at the Chiswick 
 Press under the personal supervision of the managing partner, Mr. C. T. Jacobi.
 
 GEORGE JOHX PIXWELL. 
 From a photograph by J. Hubbard.
 
 GEORGE JOHN PINWELL 
 
 CHAPTER I 
 BIOGRAPHICAL 
 
 George John Pinwell was born at Wycombe, 
 December 26th, 1842, and died in London Sep- 
 tember 8th, 1875. His father was a builder who 
 it is believed built the original station at Surbiton, 
 and who was in a very fair way of business, but he 
 died young, and the care of the family fell upon 
 Mrs. Pinwell, who was a somewhat rough and a 
 very determined person. Her means were not 
 large, and at times were so reduced that she was 
 not able to give to her children the education that 
 she would in other circumstances gladly have given 
 them, and this obliged her son to leave home at 
 an early age, and sustain himself as well as aid his 
 
 B
 
 2 GEORGE JOHN PINWELL 
 
 mother. His first important employment was with 
 a firm of embroiderers for whom he made designs, 
 as from his very earliest days he had shown a 
 desire to draw, and a power of designing that was 
 unusual. It was while he was with the firm of 
 embroiderers, who were Cambridgeshire people, 
 that he met first the lady who afterwards became 
 his wife, and who now survives him. She was 
 a Miss Isabella Mercy Stevens, and the firm who 
 employed Pinwell were well known to her 
 mother. Miss Stevens needed a design for a 
 piece of difficult work that she had projected, 
 and went to this house to obtain it, but as the 
 matter was not an easy one to decide, she was 
 referred to the designer himself, and to him she 
 explained her wishes. Pinwell, whose constant 
 good nature was even then well known, at once 
 grasped the young lady's idea, and promised her 
 the design that she wanted. He entered into 
 some conversation with her as to it, and found 
 that she had decided on the colouring for the work, 
 and that her decision gave proof of a good judg-
 
 X o 
 
 :i: = 
 
 o
 
 GEORGE JOHN PINWELL 3 
 
 ment in colour, and of the power of combining 
 colours. Colour fascinated Pinwell, and he was 
 specially noted in after years for his jewel-like 
 colour and opulence of glowing effedl. He was 
 therefore struck by the facility that this young 
 lady possessed in suggesting colours suitable for 
 her work, and, started in this way, the acquaint- 
 ance grew into affedion and ripened into a very 
 happy married life. 
 
 Whilst Pinwell was with the embroiderers his 
 mother married again, and the severe strain upon 
 his means having been in this way reduced, he 
 was able to leave his work, and devote himself 
 entirely to training in Art. He first entered the 
 St. Martin's Lane School, where amongst his com- 
 panions were Carew and Paul Mahoney, and 
 where in the intervals of his work he had already 
 studied in the night classes. In 1862, he joined 
 the Academy in Newman Street, which at that 
 time had come under the management of Mr. 
 Heatherley after Leigh's death. All the training 
 in Art that Pinwell had was obtained at these two
 
 4 GEORGE JOHN PINWELL 
 
 schools, and one may almost say that all the 
 education he had was so obtained, as beyond the 
 ordinary teaching of a very small school Pinwell 
 had only the education which he gave himself. 
 Drawing had always been his hobby, and time at 
 school that should have been given to other sub- 
 jedts was devoted to this pursuit, so that when he 
 first came out into the world he found himself 
 without the ordinary information that his fellows 
 possessed. All his life, however, Pinwell was 
 educating himself, and hence his lack of book 
 knowledge was not so apparent as it would have 
 been in a man of less determination, or of less 
 assiduity. 
 
 He worked at Heatherley's during 1862, trying 
 at intervals to earn some money by practical work, 
 and during that year produced the first of his 
 illustrations that are known. They are of a sin- 
 gularly uninteresting character, and show but little 
 promise of what was to follow. The volumes 
 containing these quaint early drawings, are " Lil- 
 liput Levee," a book of delightful rhymes for
 
 MEMORIES OF THE PAST. 
 From a wood block done for Swain.
 
 GEORGE JOHN PINWELL 5 
 
 children by Matthew Browne, '' The Happy 
 Home," and " Hacco the Dwarf." " No engraver's 
 name appears on these pidlures," says Gleeson 
 White, ^' and it is not easy to know by what 
 process they were reproduced. They are in- 
 serted plates, and under strong magnifying glasses 
 the lines suggest lithography. The unfamiliar 
 medium, supposing they were drawn in Utho- 
 graphic ink, or by graphotype or some similar 
 process, would account for the entire absence of 
 the qualities that might have been expected. ' The 
 Happy Home ' illustrations were in colour, and 
 were vulgar, crude and raw, but those in ' Hacco 
 the Dwarf were a little better, as they were in 
 monochrome of a peculiar violet brown shade." 
 
 A little before this time ''Fun," which after- 
 wards was the property of the Dalziel Brothers, was 
 started by a tradesman in the Strand. He ex- 
 pressed himself willing to purchase at a low price 
 drawings and footnotes suitable for his new publi- 
 cation, and Pinwell was able occasionally to sell 
 such work to him. It was in " Fun," by the way.
 
 6 GEORGE JOHN PINWELL 
 
 that the earliest engraved drawing of Du Maurier 
 appeared, one representing Dick Tinto and his 
 friend (apparently Mr. Whistler) being rebuked in 
 a photographic studio by the owner for smoking ; 
 the letterpress being, '' Remember, gentlemen, 
 you are not in a common artist's studio ! " 
 
 Pinwell never did much work, however, for 
 " Fun," and was more often engaged in preparing 
 drawings for Elkington's the silversmiths, than in 
 black-and-white illustration, until his connexion 
 with '' Once a Week " commenced. 
 
 Pinwell's acquaintance with Mr. J. W. Whym- 
 per began at this time, and must not be over- 
 looked. Whymper, who was residing at Canter- 
 bury Place, Lambeth, was a member of the Royal 
 Institute of Painters, then known as the New 
 Society. Many artists who afterwards became 
 prominent in art had been apprenticed to him, 
 notablv Samuel Read, afterwards of the Old 
 Society, and for many years a manager of the 
 " Illustrated London News " ; Charles Keene, 
 Fred Walker, Charles Green, J. W. North, A.R.A.,
 
 THE QUARREL. 
 
 51ack and white drawing for illustration to poem "Sailor's Love."' *' English Rustic Pictures,'' iS68. 
 
 //. Jl Hartley collection.
 
 GEORGE JOHN PINWELL 7 
 
 and others, and he was well known as being able 
 and willing to help a lad with artistic instinds and 
 a head for black and white work. His system was 
 apprenticeship of a modified character, the master 
 being entitled to, say, three days per week, at a 
 certain wage, and the lad having the remainder 
 of his time free for study or other work. At the 
 time of Pinwell's call upon Whymper Fred Walker 
 had just left, and Charles Green was on the point 
 of departure, and there was no definite figure 
 draughtsman in the office. North was there at the 
 time, and first became acquainted with Pinwell 
 when he called to introduce himself to Whymper, 
 and in this way started a friendship that lasted as 
 long as Pinwell's life, and has been loyally con- 
 tinued to his widow. Pinwell was not regularly 
 apprenticed to Mr. Whymper, but a running 
 arrangement, something on the lines of apprentice- 
 ship, was made between them. Mr. Whymper 
 greatly appreciated the instinct for design and 
 character that he could discern in Pinwell, but his 
 want of knowledge of drawing could not be over-
 
 8 GEORGE JOHN PINWELL 
 
 looked by the publisher, and no great amount 
 of success attended Mr. Whymper's efforts with 
 him. 
 
 It appears to have been Thomas White, who 
 shared a room with Pinwell in Millman Street, 
 that first introduced him to regular work. White 
 had been working for *' Fun," and had just started 
 a drawing for " Once a Week," that important 
 magazine that was to contain within its pages all 
 the best work of the " Sixties," and in vol. viii., at 
 p. 169, appeared the first of Pinwell's drawings, 
 called " Saturnalia," and dated January 3 ist, 1863. 
 Many of Pinwell's old fellow students at Heather- 
 ley's were working on the same magazine and in 
 similar works, and of those with whom he was most 
 familiar may be mentioned Linton, Fred Barnard, 
 and Charles Green. This same year saw other 
 drawings from Pinwell's hand in the magazines 
 of the day. " Good Words " had '' Martin Ware's 
 Temptation" (p. 573); ''London Society" had 
 "The Confessor" (p. 37); ''The Churchman's 
 Family Magazine" had "By the Sea" (p. 257);
 
 SCENE FROM THE ILLUSTRATED (iOLDSMLlH. 
 
 Process block from the original drawing on the wood in the 
 A'ictoria and Albert Museum. 
 
 By pe?-mission of Messrs. George Bell and Sons.
 
 GEORGE JOHN PINWELL 9 
 
 ''Cornhill" one block, and '* Sunday at Home " had 
 "The German Band " on p. 753. None of these 
 were, however, noteworthy, save as the beginnings 
 of the flood of good sound work that was to appear 
 later; but in the following year Pinwell made 
 the personal acquaintance of the Brothers Dalziel, 
 and commenced to work on "The Arabian Nights" 
 and on his most important volume, " The Illus- 
 trated Goldsmith." 
 
 The artistic world is hardly conscious of what 
 it owes to these Northumberland brothers, who, 
 trained by pupils of Bewick in Newcastle-on-Tyne, 
 came to London in 1835, and from that time down 
 to quite recent days were concerned with producing 
 the finest illustrated books that the method of 
 wood-engraving permitted. George Dalziel was 
 the first to come to London, and he was followed 
 by Edward and Thomas, and by their sister Mar- 
 garet, and it is from Mr. Edward Dalziel, who 
 with one brother, I am glad to say, still survives, 
 that I have acquired much of the information that 
 appears in these pages. The Dalziels soon saw the 
 
 c
 
 lo GEORGE JOHN PINWELL 
 
 genius of Pinwell, and added him to the band of 
 young artists whom, with rare discrimination, they 
 had gathered around them, and to whom they 
 adled with great generosity and kindness. At their 
 house he met Houghton, Millais, Tom Taylor, 
 and North, and commenced many a friendship 
 that lasted all his short life. The first book that 
 he illustrated for the Dalziels was the " Arabian 
 Nights," and for that he did ten illustrations (not 
 seven as is usually stated). The full list of these 
 blocks, as well as all the others that he did, will be 
 found in the schedule at the end of this volume. 
 Following upon the '' Arabian Nights " came his 
 greatest work in the way of wood-block illustra- 
 tion, the edition of Goldsmith, published by Ward, 
 Lock and Tyler in 1865 first in parts and then 
 in a complete volume. Of this book the " Spec- 
 tator " said : 
 
 '' Mr. Pinwell may be congratulated upon 
 having really produced an illustrated Goldsmith, 
 and not after a fashion which has long obtained 
 among us, certain pid:ures of more or less value to
 
 SCENE FROM THE IIXUSTRATED C.OLDS.MITH. 
 
 Process bluck from the original drawing on the wood in the 
 \'ictoria and Albert Museum. 
 
 J>v pL'r>/iissio/i of Messrs. George Be// and Sons.
 
 GEORGE JOHN PINWELL n 
 
 which the text of an estabUshed author is ap- 
 pended. His drawings really help us to under- 
 stand, or at least to realize the meaning of a writer 
 who deals in broad contrasts rather than in subtle 
 differences of character : and as the difficulty of 
 such illustration is the greater, so also is the 
 artist's merit when it is overcome." 
 
 The " Athenaeum " said of the same book : 
 " Messrs. Dalziel's issue is that of the work of 
 artists of considerable ability, men who delight in 
 what they do, who have given attention to their 
 tasks, and who really ' illustrate ' the theme put 
 before them. There is a pretty little point, which 
 may be named to justify our remarks, in the sketch 
 of the vicar putting up the epitaph, where one of 
 his sons holds the hammer, the other the box of 
 nails, and the vicar himself is gravely setting the 
 frame straight against the wall." For this volume 
 Pinwell did no fewer than one hundred drawings 
 upon wood. He completed them week by week 
 for the issue of the book in parts; producing 
 them in about six months, and putting all his
 
 12 GEORGE JOHN PINWELL 
 
 heart into them. The reason of their success was 
 that which the papers pointed out, namely, that 
 the artist read with great care the poems that he 
 had to illustrate, thought over the scenes described, 
 and then endeavoured to depidl them actually 
 taking place as he believed the author had ima- 
 gined them at the time. By such means he caused 
 the scenes to Hve again in the mind of the reader, 
 interested him in the work that he was perusing, 
 and presented its finest parts vividly to the sight, 
 and impressed them upon the memory and under- 
 standing. For '' interest " Pinwell never surpassed 
 the work that he did for this book, although he 
 improved in drawing and in composition. His 
 work on the Goldsmith is so thoroughly good, 
 so full of his earnest desire to represent the author, 
 that it can be taken as a model of what an illus- 
 trated book should be. 
 
 In the year that saw the completion and the 
 issue, in one volume, of the " Goldsmith," Pin- 
 well married. The wedding took place at Mary- 
 lebone parish church on the 25th of April, 1865,
 
 WILL VOU GO TO CHURCH IF FATHER TAKES NIXEPENCE? 
 Black and white drawing for illustration in a magazine.
 
 GEORGE JOHN PIN WELL 13 
 
 and the honeymoon was spent at Hastings. He 
 was then living at 70, Newman Street, but shortly 
 afterwards moved to Charlotte Street, Fitzroy 
 Square, and later, in 1873, he moved into Ade- 
 laide Road, No. 52, and eventually, in 1873, took 
 Mr. Topham's house in the same road. No. 86, 
 where he died. When living in Newman Street 
 he first made the acquaintance of Joseph Swain, 
 who called upon him as to some business, and 
 who records the hopeless confusion of his studio. 
 " It was filled," he says, '' with lumber — artistic 
 lumber — of every kind, damaged casts, dusty 
 dresses, fragments of armour, pictures in every 
 stage of progress, hangings, curtains, dilapidated 
 chairs : and there were candles stuck in the 
 mouths of wine-bottles." Mr. Swain seems to 
 have taken the young artist to task for the untidy 
 state of his room, and expostulated with him, and 
 Pinwell merrily gave him to understand that all 
 would soon be altered, as he had made up his 
 mind to get married. In his usual playful way he 
 gave as his reason for so serious a step the fadl that
 
 14 GEORGE JOHN PINWELL 
 
 he found the drain upon his resources for models 
 too great to continue, and he put the matter in 
 the form of a question to Mr. Swain. Did he not 
 think it would be better therefore to take a wife 
 who would be a perpetual model to him ? 
 
 No wedding was ever entered upon with more 
 full assurance of happiness than was Pinwell's, and 
 the assurance was more than justified. He found 
 in his wife a most devoted and affedlionate com- 
 panion, and he proved a very dutiful husband to 
 her. Very soon she found that her role was to be 
 that of a nurse to the poor fellow, but all was 
 done with the greatest affedlion and assiduity, and 
 the prolongation of the artist's life was due, humanly 
 speaking, to the tender care of his wife. 
 
 The years from 1865 to 1870 were very full 
 of work. Each volume of " Once a Week " down 
 to 1869 contained his drawings, and other maga- 
 zines include ''Good Words" down to 1871, 
 "London Society," "Sunday Magazine," "Quiver," 
 and "Sunday at Home." Beside these are his 
 more important works: "Touches of Nature,"
 
 THE TRAMPS. 
 
 Water-colour picture. Exhibited 1868. 
 
 " Ah ! You are a foine breed <>' dog too, and you aint kep for nolhink ! I'd take it werry 
 koind o' your master if he'd 'elp a traveller and his woife as envies no gentlefolk their good 
 fortun, wi' a bit of your broken wittles. He'd never know the want of it, no more would you. 
 Don't bark like that at poor persons as never done you no 'arm ; the poor is down-trodden 
 and broke enough without that." — Uncommercial Traveller. (Charles Dickens.) 
 
 Joseph collection.
 
 MAMiMA'S WATCH. 
 
 \\'atcr-colour drawing. 
 //. T. Hartley solicction.
 
 GEORGE JOHN PINWELL 15 
 
 issued by Strahan in 1866, which contained eight 
 of his works ; " The Spirit of Praise " and '' Golden 
 Thoughts," both pubUshed by Warnes in 1867; 
 " Wayside Posies," a work published by Rout- 
 ledge's for Dalziel, and issued in the same prolific 
 year ; " A Round of Days," another of Dalziel's 
 and Routledge's books ; and then, perhaps, 
 greatest of all, " Poems by Jean Ingelow," issued 
 by Longmans in 1867, in which he had twenty 
 illustrations of his very finest work. These do 
 not exhaust the list of his engraved work, as there 
 are books which do not bear a date, such as 
 " Buchanan's Stories of the Affedions," "Our Life 
 Illustrated by Pen and Pencil," and also " The 
 North Coast," by Buchanan, 1868, ''National 
 Nursery Rhymes," 1877, ^^^ ^^^ " Musical An- 
 nual," 1870, which contain charming drawings 
 by our artist. It can, therefore, be easily seen 
 with what feverish activity he worked, and what a 
 vast quantity of material he was enabled to pro- 
 duce. Hardly any magazine of importance in 
 those wonderful " Sixties," but contained some-
 
 i6 GEORGE JOHN PINWELL 
 
 thing from his pencil, and yet all of it was done 
 with conscientious determination to do his best, and 
 with the ever-constant idea before his mind that 
 his duty was to reproduce the ideas of the author 
 in his pictures, and so cause the words to live 
 again in the illustrations. 
 
 He was not working alone for Dalziel's, but 
 was doing much of the work for Swain and for 
 other engravers, but at the hands of his best friends 
 in this department of labour he suffered severely. 
 A comparison of the woodcuts with the few 
 original drawings that remain, reveals how much 
 has been lost. The ease and grace of his figures, 
 the light airy feeling of his draperies, the feeling 
 of movement that characterized so much of his 
 best work are lost or much impaired in the trans- 
 lation that took place ere the drawing reached the 
 printer, and the regret that is felt at this loss is 
 intensified with every lover of fine drawing, when 
 it is remembered how much lovely work has been 
 lost for ever, cut away on the block by the tool of 
 the engraver.
 
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 GEORGE JOHN PIN WELL 17 
 
 The labour of these years was by no means 
 devoted entirely to drawing upon wood, but 
 side by side with that work Pinwell was steadily 
 building up a reputation as a painter. It was 
 in 1865 that his first exhibited work was seen. 
 It was shown at the Dudley Gallery, then just 
 founded, and was, as might have been expeded, a 
 development in oil-painting of an idea used in his 
 black-and-white work. He called it "An Incident 
 in the Life of Oliver Goldsmith "; it has also been 
 styled after what it depidls, '' Goldsmith earning 
 his Board and Lodging by a Merry Tune." The 
 pidlure in 1876 belonged to Mr. R. H. Waithman. 
 It was to be seen in 1899 ^^ Agnew's Gallery, 
 No. 183, and was sold on that occasion, but I 
 have not been able to trace its present owner. 
 
 In many of his succeeding pictures Pinwell 
 used motives which had been previously used by 
 him in book illustration. He was loth to let a 
 good subjedl slip, and what he had used in a 
 magazine he often altered and rearranged for an 
 oil or water-colour picture, adding to the original 
 
 D
 
 1 8 GEORGE JOHN PINWELL 
 
 motive such embellishment as seemed suitable for 
 its new medium and environment. 
 
 From the time of that first appearance till 1869, 
 when he joined the Water-Colour Society, Pin- 
 well exhibited at the Dudley Gallery. In 1866 
 he sent three works : " The Watch," which in 
 1876 belonged to Mr. Edw. Dalziel, and is now 
 in Mr. Hartley's gallery; ''The Double Trans- 
 formation," which I have not been able to trace 
 since it left Mr. Dalziel's collection ; and " Old 
 Wives," which was, I am told, burnt by an acci- 
 dent. In 1868 he sent "The Tramps," which is, 
 I believe, to be recognized under the name of'' The 
 Vagrants " in Mrs. Samuel Joseph's coUedlion, and 
 then, in 1869, occurs the last at the Dudley, " The 
 Calf," which was sold in 1899 at Agnew's, and 
 was a small drawing measuring only 15I by 12 
 inches. 
 
 Brought thus into favourable notice, by exhibits 
 at the Dudley Gallery, " he sought eledlion at the 
 Water-Colour Society and was at once chosen an 
 Associate on the 3rd of April, 1869." He at-
 
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 WATER-COLOUR SKETCH FOR "THE HAYMAKERS." 
 J/. T. Hartley collection.
 
 GEORGE JOHN PINWELL 19 
 
 tained full rank in the Society in 1870 — although 
 Mr. Quilter, in his notes on Pinwell, affirms just 
 the contrary — and he exhibited as a member in 
 the summer of 1871. His first exhibit in 1869 
 consisted of three works, two scenes from the 
 " Pied Piper of Hamelin," called respectively 
 " Children " and '' Rats," which now belong to 
 Mr. J. S. Budgett, of Stoke Park, Guildford; and 
 a pathetic scene called '' A Seat in St. James's 
 Park," a development of a drawing done in the 
 same year for " Once a Week" (vol. iii,, p. 518), 
 a sketch for which can now be found in Mr. 
 Hartley's gallery, the original being in Australia 
 in a public Gallery. In the Winter Show of the 
 same year we find four more : " The Quarry," a 
 sketch for the pidure (6j by 9^ inches) ; " The 
 Last Load," a fine sketch for which belongs to 
 Mr. Hartley ; " New Books " and " The Old 
 Cross." The one called " New Books " belongs 
 to Mrs. Samuel Joseph ; but the other, which could 
 not be found in 1876 when the small Pinwell 
 show was held in Bond Street, now belongs to
 
 20 GEORGE JOHN PINWELL 
 
 Sir Cuthbert Quilter, Bart., and is called " Out of 
 Tune." 
 
 In 1870 appeared a really important picture, 
 " The Elixir of Love," which I believe belongs to 
 Mr. Thomas Wood,^ and is a very fine work con- 
 taining many figures, " full," says Mr. Roget, " of 
 beauteous tenderness and refinement." It measures 
 1 8 X 42 inches, and was sold at Christie's in 1 87 1 for 
 ^273. This was shown at the summer exhibition, 
 and in the winter of the same year Pinwell ex- 
 hibited two more : " At the Foot of the Quan- 
 tocks," which lately belonged to the late G. E. 
 Street, R.A., and '' Landlord and Tenant," which 
 I cannot trace. The summer exhibition of the 
 following year possessed only one pidure, which, 
 like the one next to be mentioned, could not be 
 found for the Pinwell show in 1876, and has not 
 since been heard of. It was called '' Away from 
 Town," and the one in the next year was called 
 " The Poachers (Early Morn)." Three others ap- 
 peared in the winter exhibition of 1 87 1-2 : '' Time 
 
 1 Mr. Hartley has two fine studies for this work.
 
 5 " ^
 
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 A', k 
 
 
 
 I'KXriL S'lUDV FOR "THE SARACEN MAIDEN." 
 //. T. Hart lex collection.
 
 GEORGE JOHN PIN WELL 21 
 
 and his Wife," a tiny but very fine work now be- 
 longing to Mrs. Samuel Joseph ; an illustration to 
 the '' Uncommercial Traveller" (Charles Dickens) ; 
 '' The Earl o' Quarterdeck," w^hich in 1876 was the 
 property of Mr. Frank Topham, but has since been 
 sold ; and '' A Country Walk," which belongs to 
 Mrs. Rand Capron of Guildford. The year 1872 
 saw a grand picture exhibited, one of Pinwell's very 
 best in the way of rich colour and fine composition. 
 It was called '' Gilbert a Becket's Troth," and be- 
 longs to Sir John Jaffray, Bart., who has very kindly 
 had it photographed in order that I may reproduce 
 it in this book. This was Pinwell's first exhibited 
 work as a full member of the Water-colour Society 
 and as a composition he never surpassed it. "A long 
 Conversation," the soHtary pidure that the artist 
 exhibited at the winter exhibition of 1872-3, used 
 to belong to Mr. R. H. Waithman, a great admirer 
 of Pinwell's work, and is now the property, with 
 three others, of Mr. William Newall of Redheath, 
 Rickmans worth. In 1873 " The Great Lady," a 
 charming stately picture, appeared, and was at once
 
 22 GEORGE JOHN PINWELL 
 
 bought from the artist by Mr. William Austin of 
 Ellern Mede, Totteridge, who still has it in his 
 possession. It is quite refreshing in going through 
 the list of the artist's works to find one that has 
 remained in the same owner's possession since it 
 was painted, as the very greatly enhanced value of 
 the artist's works since he has died has led to their 
 changing hands very frequently, and those wise 
 persons who bought of the artist and appreciated 
 him during his life have had their judgment more 
 than justified. 
 
 In 1870 Mrs. Pinwell fell ill with typhoid fever 
 and had a very long illness, which lasted well into 
 the following year, and was a great trial to both of 
 the devoted pair. Pinwell worked harder than 
 ever that his wife might have every comfort and 
 attention, but he negleded to look after himself. 
 He had always been delicate and had required 
 constant attention, and, in fa6l, to use his wife's 
 words, " she had always looked after him as she 
 would a child." He was a man of high spirits 
 and of a lively temperament, and was therefore
 
 
 O ^ >
 
 GEORGE JOHN PINWELL 23 
 
 popular and in demand in the society of other 
 artists, in the Langham Sketching Club, and the 
 Savage Club (then meeting once a week in Exeter 
 Hall), and there is no doubt that in the months of 
 his wife's illness, when he missed her care, he laid 
 the seeds of the illness that was so soon to carry 
 him off. 
 
 On Mrs. Pinwell's recovery she was ordered 
 away, but for four months they could not start, 
 as no sooner was the severe strain of her ill- 
 ness over than he failed, and for many weeks lay 
 at death's door. Gradually he became a little 
 better, and then he went to Ventnor, accompanied 
 by Miss Dora Dalziel, her brother, and Pinwell's 
 great friend Houghton. Here the party remained 
 for six weeks, and then came home, but Pinwell's 
 health had become no better, and he was ordered 
 to Africa for the winter. One more pidure he 
 sent in for exhibition ere he started, " The Princess 
 and the Plough boy," which was to be seen at the 
 winter exhibition of 1873-4, and is now in the 
 possession of Mr. William Newall. It is a pidure
 
 24 GEORGE JOHN PINWELL 
 
 measuring 24 by 13^ inches, and is signed in 
 monogram. A fine study for it, which is almost a 
 finished pidure, belongs to Mr. Dalziel, and a 
 sketch to Mr. Hartley. The original belonged in 
 1876 to Birket Foster, who prized it very highly. 
 In Africa, Pinwell painted three pidures that 
 were exhibited, one was at the summer exhibition 
 of 1874, " The Beggar's Roost, Tangier," and the 
 other two, " The Prison Hole, Tangier," and '^ The 
 Auctioneer, Tangier," were at the winter exhibition 
 in 1875. The first work, " The Beggar's Roost," 
 was not exhibited at the show in 1876, and is now 
 in the Sale coUedion. "The Prison Hole" was 
 shown at Agnew's in 1899, and was then the pro- 
 perty of Mr. R. H. Waithman, but has since been 
 sold to Mr. H. W. Henderson, while '' The Auc- 
 tioneer " still belongs to Mr. Charles Waithman. 
 Pinwell was in Africa for eight months, and, 
 in the spring of 1875, he returned home, spending 
 a week on the homeward journey at Gibraltar. In 
 the summer of that year he sent five pictures to 
 the Water-Colour Society, and they were the last
 
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 X. V
 
 GEORGE JOHN PIN WELL 25 
 
 that he himself exhibited, although after his death 
 there was a show of posthumous works. The five 
 pidlures exhibited in 1875 were: ''Sweet Melan- 
 choly," which belongs to Mr. Harry Quilter, having 
 been bought by him at the Dalziel Sale in 1886 
 for 25 guineas, and " The Old Clock," bought at 
 the same sale for ^^50; "Waiting," which is, I 
 think, to be found in Mr. Hartley's gallery under 
 a new name ; " The Letter," which used to belong 
 to a Mr. S. H. Lefevre ; and " We fell out, my 
 Wife and L" 
 
 On his return home the artist at once moved 
 into the house in Adelaide Road that he had taken 
 from Topham, but he was not to remain in it very 
 long. In a few months the insidious pulmonary 
 disease that had been his constant trouble began to 
 show itself more clearly, and the doctor warned 
 him that he would have to winter abroad again. 
 The prosped: was not an agreeable one to him 
 as he was full of work, and very anxious to 
 stay in England and finish the great pidure, 
 " Vanity Fair," that had been so long in hand. 
 
 £
 
 26 GEORGE JOHN PINWELL 
 
 The idea of a long journey in his weak state of 
 health he could not bear, and in his own words, 
 he " would almost rather die than go abroad." 
 He was to have that wish gratified, as in a few 
 days after he had received the doctor's report he 
 grew worse, took to his bed, and never rose from 
 it again. " He was bright, gay and lively," says 
 his old friend, Mr. North, '* up the last day of his 
 life although he foresaw with perfedl clearness his 
 fate." He died on the 8th of September, 1875, 
 in the arms of his loving wife, and was buried three 
 days afterwards. The funeral left Warwick House 
 at 12 o'clock on the Saturday and proceeded to 
 Highgate Cemetery, where the artist was buried. 
 Around the grave were a number of representative 
 men in the walks of art and literature, including 
 Mr. (now Sir L.) Alma-Tadema, Messrs. F. W. 
 Topham, J. W. North, A.R.A., Mr. (now Sir J.) 
 Linton, A. B. Houghton, so soon to follow his old 
 friend, E. J. Gregory, Edward Dalziel, George 
 Dalziel, Chas. Green, and many others, number- 
 ing in all about seventy.
 
 GE0R(;E JOHN PINWELL. 
 From a pliotoi^raph by J. Hu:'bard.
 
 GEORGE JOHN PINWELL zq 
 
 A fine red granite cross stands over his grave, 
 and has upon it the following inscription : 
 
 IN MEMORY OF 
 
 GEORGE JOHN PINWELL, 
 
 BORN DECEMBER 26, 1 842; 
 DIED SEPTEMBER 8, 1 875. 
 
 In the winter exhibition of the same year 
 there were exhibited upon one of the screens 
 some thirty-three of his unfinished sketches and 
 studies, and this was followed in February, 
 1876, by a very full show of his works in Mr. 
 Deschamp's gallery, i68. New Bond Street. 
 For this exhibition, which was projected and 
 arranged by a committee of his oldest friends, 
 many of the owners of finished works lent their 
 pidlures, and all the studies that could be found 
 were also colleded together, so that the catalogue 
 forms an authoritative record of the works that 
 were known at that time. Mr. Deschamps very 
 generously lent his gallery freely to the com- 
 mittee, and afforded them every possible assist-
 
 28 GEORGE JOHN PINWELL 
 
 ance in his power in colleding and arranging the 
 pidlures. The committee were the late Sir John 
 Gilbert, Messrs. North and Edward Dalziel, Mr. 
 (now Sir James) Linton, and the late Messrs. 
 Birket Foster, J. D. Watson, Topham, and C. 
 Green — Mr. Dalziel ading as Hon. Sec. The 
 exhibition continued open until the nth of 
 March, and was largely attended, and when it 
 closed, the contents, with the exception of the 
 works that were private property and only lent by 
 their owners, were removed to Messrs. Christie's 
 sale rooms, and sold for the benefit of the widow. 
 I have appended to this book the Deschamps 
 catalogue complete (with the exception of the 
 preface, which is not needed,) as it forms so impor- 
 tant a document with regard to Pinwell's works, 
 and have added to it a few notes of my own as to 
 some of the pidures named in the list. By the 
 great courtesy of Messrs. Christie, Manson and 
 Woods, I am also enabled to print the complete 
 catalogue of the sale of March i6th, 1876, with 
 the prices fetched by each item and the buyers'
 
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 GEORGE JOHN PINWELL 29 
 
 names. This will enable many works to be traced 
 from the time of their sale down to the present 
 time, and is a privilege for which I am most 
 grateful to the firm. 
 
 It will be seen that the sale realized ^1,164 
 IIS, 6d,, but the expenses of a long illness, the 
 cost of moving into a new house, and the serious 
 cost of travelling abroad, had pradlically exhausted 
 the slender resources and hard-earned savings of 
 the artist, and therefore, as Mr. Roget records in 
 his book, " a body of Pinwell's professional friends, 
 with their usual kindly charity to their brethren, 
 combined to raise a fund for the benefit of his 
 widow. Since that time other friends, with gene- 
 rosity of heart, including Mr. Hartley, a great 
 lover and collector of Pinwell's works, have 
 assisted Mrs. Pinwell from time to time. I may 
 say, without any breach of confidence, that her 
 means, quite small at her husband's death, have 
 been brought down to the barest sum owing to 
 the failure of the Liberator Company, and also 
 record with much satisfaction the fad that the
 
 30 GEORGE JOHN PINWELL 
 
 Artists' General Benevolent Institution has been 
 very good to her. All this assistance is, how- 
 ever, of a temporary character, and it is much 
 to be desired that some permanent annuity could 
 be obtained which would provide that measure of 
 comfort which her friends desire for her, and 
 which her late husband's eminence in Art and 
 her own merits deserve.
 
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 CHAPTER II 
 
 HIS PERSONAL CHARACTER 
 
 I CANNOT do better in writing of Pinwell's personal 
 character than give the tribute of his old friend 
 Edward Dalziel. In writing to me as to the 
 artist, he states : '' Of Pinwell, as a man, I can 
 only speak in the highest terms of admiration. A 
 genius in his art, a man of most original mind, 
 vivid imagination, dramatic and poetic, with a 
 natural refined taste in all things, he was also brimful 
 of pathos, as may be clearly seen in the rustic and 
 domestic pictures that he did for ' Good Words.' 
 He had a great love for music, and could hold his 
 own in the most refined society. There was a 
 feeling abroad of a very different kind to this, 
 which was altogether wrong." 
 
 " I remember," continues Mr. Dalziel, " once 
 standing in front of one of his pictures, ' The
 
 Z2 GEORGE JOHN PINWELL 
 
 Saracen Maiden,' with Tom Taylor, then art critic 
 for the ' Times,' and Millais. Taylor was holding 
 forth as to the general idea of Pinwell to the ex- 
 tent that I found it necessary to say what my 
 personal knowledge was, when Millais, in his usual 
 emphatic way, said, ' You must be right, for no 
 man could produce such work unless he had a 
 most refined taste as well as great imagination.' " 
 
 '^ His private life was a pure domestic one. 
 He had a charming wife who was always with him, 
 and naturally proud of his achievements. The 
 delicate state of his health kept him much at home, 
 and yet he had a touch of the Bohemian in him, 
 but never to the detriment of his love of home. 
 Houghton and my eldest son were his most con- 
 stant companions, and I saw so much of him and 
 his wife in a purely social way that I know that 
 his life, broadly speaking, was a purely domestic 
 one, and that his early death was due to a long- 
 standing lung disease from which he had suffered 
 much and severely. I saw so much of him and of 
 Houghton that in spite of their eccentricities I

 
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 GEORGE JOHN PIN WELL 33 
 
 loved them both, and mourned their loss as good 
 men as well as great artists." 
 
 These words are the expression of the man 
 who perhaps knew more of Pinwell than did any- 
 one else save his wife, and its statements are cor- 
 roborated by those other friends who yet remain 
 of the small circle of persons who really knew 
 Pinwell. 
 
 Mr. J. W. North, A.R.A., who was one of 
 his dearest friends, writes as follows as to him : 
 " Pinwell had the best animal spirits of any man I 
 have known ; good taste, and a feeling for music : 
 and being blessed with a perfed wife, his life, 
 though sadly short, was an enjoyable and a happy 
 one. His education had been much negleded, 
 but he had great delight in literature and poetry, 
 and intense feeling for the romantic side of things ; 
 so that in spite of his never having acquired the 
 polish of the schoolboy, he was well informed in 
 the truest and best sense. He had remarkable 
 talent for composition, and was indefatigable in 
 trying to work out his ideas to greater technical 
 
 F
 
 34 GEORGE JOHN PINWELL 
 
 perfedion, and was all round a very self-reliant 
 
 man." 
 
 Sir James Linton and Mr. John Parker tell 
 the same tale, which Lord Leighton summed up in 
 the words, " Pinwell was one of Nature's gentle- 
 men." Some stress is laid upon these remarks, 
 as a report got about soon after Pinwell's death, 
 and was repeated in later years, that the artist 
 was neither a sober nor an upright man, and 
 that his death was due to his own excesses, and 
 that his home life was the reverse of happy. To 
 all this I can offer a most definite contradiction, 
 and one of the aims of this little volume is to re- 
 move from the name of Pinwell the stigma that 
 has been untruthfully cast upon it. The man, as 
 already stated, was pradlically self-educated, and 
 had been compelled to rely upon his own re- 
 sources all his life ; but his earnest desire had been 
 to learn from others, and this had been a guiding 
 purpose in life with him. His own natural courtesy 
 and humility saved him from many an error into 
 which a less observant man would have fallen, and
 
 
 
 
 TIME ANT) HIS WIFE. 
 Water-colour picture. Exhibited 187 1-2. 
 
 " Gravely among; the graves, they made hay all alone by themselves ; they looked like Time 
 and his wife." — Uncotiuiiercial Travelki: (Charles Dickens.) 
 
 Joseph collection.
 
 VISITING THE POOR. 
 Water-colour picture. 
 Strahan collection.
 
 GEORGE JOHN PIN WELL 35 
 
 the tender afFedlion that he possessed kept him 
 from that neglect of home ties which charaderized 
 some of his friends. 
 
 He was a man of very high and exuberant 
 spirits, passionately fond of children, whom he 
 constantly took to the Zoological Gardens and to 
 the Lowther Arcade, and sent them home laden 
 with toys, and was so merry and witty that he 
 was always very good company, and was in great 
 demand with his friends. These capabilities laid 
 him open to great temptations, from which he was 
 restrained by his love for his wife, and by the 
 gentle influence that she exercised over him, and, it 
 may be definitely stated on the authority of those 
 who knew him best, that the reports as to a fast 
 life are absolutely untrue. Pin well, of course, 
 went out a great deal with his friends, and at times 
 led the easy and irresponsible life that so many 
 men of genius lead ; but his joyous, merry ways, 
 and his good fellowship were not abused, and 
 his friend. Sir James Linton, who was his con- 
 stant companion, states very clearly : '^ I never
 
 36 GEORGE JOHN PINWELL 
 
 once saw Pinwell drunk, nor met him in evil 
 society." 
 
 He was closely concerned in the foundation of 
 the new Hogarth Club. He was one of those who 
 met at the " Horseshoe " to discuss the matter, 
 and he and Linton went to Parker's house in 
 Grove Terrace, Grove Road, to arrange details as 
 to the proposed club. He sat on the first House 
 Committee with Charles Green and Linton, and 
 on his recommendation the first steward was ap- 
 pointed in the person of one Stewart, whose por- 
 trait can yet be seen on the drop scene at the Court 
 Theatre. The club started in Fitzroy Square, 
 then migrated into Charlotte Street, then into 
 Albemarle Street, and, finally, into Dover Street. 
 
 This club must not of course be confused 
 with the original Hogarth Club, started on July 2, 
 1858, at 178 Piccadilly, in which the brothers 
 Rossetti were prominent members. This P.R.B. 
 Hogarth Club removed later on to 6, Waterloo 
 Place, Pall Mall, " where," according to Mr. F. G. 
 Stephens, " it continued to meet and show pictures
 
 :£ -^E 'S^ 
 
 5 ^ 
 
 
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 GEORGE JOHN PIN WELL 37 
 
 by its members until April 19, 1861, when it was 
 dissolved." 
 
 Edwin Edwards was the first chairman of 
 the new Hogarth Club, and Tom Grey its first 
 secretary. Pinvvell spent many evenings at the 
 club, perhaps too many, as his health was always 
 delicate, and during the winter he ought not 
 to have been out in the evenings at all ; but 
 he was so popular and so much beloved, that 
 it was not easy for him to refuse the constant 
 invitations that he received. Another favourite 
 place of amusement with him was the Heath at 
 Hampstead, over which he used to stroll with 
 Linton for hours together, and on this heath and 
 on Primrose Hill he used to astonish his com- 
 panions by his clever gymnastic feats, his amusing 
 contortions, and his method of " running wheels," 
 walking on his hands and turning somersaults. 
 On one occasion he was amusing himself with one 
 or two children in this way and sending them into 
 fits of laughter, when he was approached by a 
 stranger, who offered him a good position in a
 
 38 GEORGE JOHN PIN WELL 
 
 travelling company at a substantial salary, and 
 could hardly be persuaded that he was not a pro- 
 fessional acrobat at his pradlice, and that the 
 ingenious man whom he found walking on his 
 hands on Primrose Hill was the clever artist who 
 was at that time obtaining four to five hundred 
 pounds apiece for his pidures. 
 
 He was a good swimmer and very fond of 
 boating, and he was also an expert player at 
 bowls. It was from one or the other of these 
 amusements he caught the cold which brought 
 back his old complaint, and developed the 
 phthisis that carried him off at last. One of his 
 friends tells me that he was playing bowls at 
 Kilpatrick's Rooms in King Street, Covent Garden, 
 one summer evening, and got exceedingly hot, and 
 that it was on his return journey home on the top 
 of an omnibus in the chilly air that he got his 
 cold ; while another states that in boating he was 
 in a specially merry mood, and when "larking" 
 in the boat fell overboard and got wet through, 
 and that then he persisted in going home without
 
 NELLY WHELAN. 
 Pinwell's favourite modeL 
 
 From a pencil drawin^^. 
 11. T. Hartley collection.
 
 GEORGE JOHN PINWELL 39 
 
 taking any precautions as to his health. Both of 
 these occurrences took place during his wife's ill- 
 ness, and for that reason were lightly treated by 
 him, and did not receive the attention that ought 
 to have been given to them by a man of his 
 delicate health. When joked one day by Houghton 
 on his fondness for children, and told that he 
 ought to have a round dozen of them, as he would 
 have been so ideal a father, he replied, '' What 
 should I do ? my wife has enough to do already 
 to look after her one big baby." 
 
 Few men were better looked after than was 
 Pinwell, because the care that Mrs. Pinwell be- 
 stowed on him was never made obtrusive but went 
 on quietly without any fuss. Few men, it must 
 also be said, repaid such care with so intense an 
 affedion as he did, and to his wife he gladly left 
 all his affairs, including a good deal that was con- 
 neded with his artistic work. She selected the 
 costumes for his sitters, she bought what draperies 
 he needed, she suggested the oriental splendour 
 of many of the scenes that he depicted, and besides
 
 40 GEORGE JOHN PINWELL 
 
 all this she sat to him for all his draperies and con- 
 stantly for the face and hands, and devoted her 
 whole life to him and to his work. Her sister, 
 Mrs. Walker, was his favourite model for the face, 
 and from her he said he could paint better than 
 from anyone else that he knew. Her face appears 
 in many pictures, notably in " Gilbert a Becket's 
 Troth" and " The Elixir of Love " ; but it was his 
 wife whose influence is to be most clearly traced 
 by anyone who knew them, as with all his wonderful 
 genius for colour and his sense of beauty, his power 
 of combining colour with colour in contrasting 
 strength was learned from Mrs. Pinwell,and was her 
 heritage of genius that she brought to the household. 
 Another favourite model whom Pinwell often 
 employed was a girl named Nelly Whelan, whose 
 mother was a well-known and popular model at 
 that time. The child was a beautiful one, and 
 her face is reproduced in these pages from a pencil 
 sketch ; but over and over again he dismissed his 
 paid models and called out his wife or her sister 
 to him to sit, and from them he painted his most
 
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 GEORGE JOHN PIN WELL 41 
 
 successful works. He often spoke of the astonish- 
 ment that Mr. Swain betrayed in his countenance, 
 when calling soon after the marriage he first saw 
 Mrs. Pinwell and was surprised to find how youth- 
 ful she was, and ever after his care and anxiety 
 were for this devoted wife who lavished all the 
 treasures of her affedlion upon him. The week 
 before his death he begged her to go out to a 
 concert to which she had been invited as she was 
 passionately fond of music, and sorely against 
 her will she went while Mr. North came in and 
 sat with him. Although tired out and feeling, 
 even better than she knew, that the end was 
 not far off, he insisted on sitting up for her 
 return, though it involved his being alone part 
 of the evening, and his feeble strength was 
 almost exhausted. The day before his death he 
 was terribly sad at the thought of what would be- 
 come of " his little wife," and committed her to 
 the care of his friends, one of whom I can truly 
 say has most tenderly carried out the sacred trust. 
 No consideration of the charaAer of Pinwell
 
 42 GEORGE JOHN PINWELL 
 
 would be complete without reference to his thought- 
 fulness for the troubles of others, especially for 
 artists who were in difficulties. Those who were 
 his contemporaries will remember an old friend 
 of Pinwell's, an exceedingly clever artist, but 
 one who, by reason of his bad habits, was almost 
 an impossible man to have anything to do with 
 towards the later years of his life. On this man, 
 whom all his older companions had agreed to shun, 
 Pinwell lavished a vast amount of affection, trying 
 by every means in his power to win the poor 
 fellow from the degradation to which he was so 
 fast proceeding. Pinwell had known the man in 
 the old days when both of them were struggling, 
 and in his days of more prosperity he did not 
 forget him, but m.any a time rescued him from 
 difficulties and set him straight once again. Even 
 he was at last obliged to stop, as his friend 
 would have drawn him down to his level instead 
 of rising to the position to which Pinwell would 
 have raised him ; but it was with the greatest con- 
 cern that Pinwell had to let him go, and it was
 
 AWAY FROM TOWN. 
 
 Water-colour picture. Exhibited Summer Exhibition, 1871. 
 
 From the artist's invn photograph.
 
 GEORGE JOHN PINWELL 43 
 
 really only because he had himself to go abroad 
 for his health that he did so. 
 
 What he did for this man he did for many 
 others, notably for Pierpont, a designer for Messrs. 
 Elkington ; and White, a metal-worker in Bond 
 Street, and his kindness was proverbial, and was, 
 I fear, often imposed upon. He could not bear 
 to see an artist in trouble, and with but little for 
 himself would share that little with the brother 
 who was in distress. He had gone through so 
 much trouble in his early days, and had been 
 compelled to work so hard for his living that it 
 had made his heart very tender towards others 
 who were struggling as he had done, and many 
 a man has to thank George Pinwell for a help- 
 ing hand when the world looked very dark 
 with him, and when his benefador was hardly in 
 a position to do all that he did for his fellow- 
 artist. 
 
 Such a charaderistic, it will readily be believed, 
 made him much loved and respeded ; but it is fair 
 to say that it is a characteristic specially to be noted
 
 44 GEORGE JOHN PINWELL 
 
 in the art world, although few men of his time 
 carried its expression to the extent that Pinwell 
 did. In his case generosity and kindliness of 
 heart were so constantly pradised that they became 
 the leadino; features of his nature. It must not be 
 thought, however, that Pinwell was of a weak or 
 efFeminate nature, or easily yielded to others. He 
 was very different from this, and was possessed of 
 a great reserve of determination, and could at 
 times be almost obstinate. He worked extremely 
 hard when in his studio, as can be realized when 
 the output of his short life is considered, and his 
 greatest desire was to complete the oil picture of 
 '' Vanity Fair" that he had planned for so long, 
 and which he believed was to be his master- 
 piece. It is sad to look upon the sketch as it 
 hangs in Mr. Henderson's dining-room in Princes' 
 Gardens, and feel what great possibilities there 
 were in it, and that the gifted artist was taken 
 away before he had ever completed his full idea of 
 what the picture was to be. 
 
 Pinwell's determination was responsible for the
 
 U ii 

 
 CHALK STUDY FOR -THE CAl'TIVE." 
 //. T. Hartley cullection.
 
 GEORGE JOHN PINWELL 45 
 
 strength of his language upon certain occasions. 
 One of his friends wickedly said to him one day 
 that " in him was a good London cabman spoiled "; 
 and certainly in the vigour and warmth of his lan- 
 guage, when he was rebuking a mean adlion, there 
 was nothing left to be desired. His early days 
 had taught him many pungent methods of express- 
 ing his thoughts, and these he used to eiFedl when 
 he was roused; but the use of them was but seldom, 
 and generally to proclaim indignantly against some 
 piece of sharp practice, to denounce the negled: of 
 a home or a wife, and to repel any insinuations 
 against the perfedl affedion that existed between 
 his own wife and himself. Meanness and cant he 
 visited with a perfe6l outburst of rage, and to a man 
 who insulted home life by evil practices he had no 
 mercy. His unmarried friends could adt as they 
 pleased, but to those who had wives he was an in- 
 dignant prophet, and the more so as his own ex- 
 perience was so well known and so much respected 
 by all who knew him. His love for children 
 appears over and over again in his drawings, and
 
 46 GEORGE JOHN PINWELL 
 
 the only one that he did for " The Graphic " — 
 " The Lost Child " — was drawn from a scene that 
 he witnessed on Hampstead Heath in 1865, and 
 which he first drew in that year for "The Sunday 
 Magazine." In it he himself played the part of 
 the protector of the child, and it is full of that 
 pathos that he was able to depidl so well. His wife 
 speaks truly of Pinwell as '^ a good, noble, loving 
 man, full of the tenderness of a child, simple- 
 hearted, true, straight, merry, and full of fun," and 
 her testimony is supported by that of all his friends 
 without a single exception. Foolish he sometimes 
 was, careless, frivolous, light-hearted, blunt, hasty 
 in language, vehement and indifferent to some of 
 the habits of society ; but more than that he 
 was not, and in his short life he made many happy 
 and left behind him the sweet savour of a joyous 
 and upright life, and the sorrows at parting with 
 him were intensified by the knowledge that a true 
 and honourable man was leaving a world that has 
 but too few men in it of whom such a report may 
 be given.
 
 -a
 
 CHAPTER III 
 
 PINWELL AS AN ARTIST 
 
 In considering Pinwell as an artist, whether we 
 look at his drawings on wood or his water-colour 
 work, or the great unfinished picture in oil, 
 '* Vanity Fair," that he had hoped would be his 
 masterpiece, we are struck at once by the leading 
 feature of his art, which is that above all he was a 
 poet. His work lay amongst domestic scenes ; 
 his duty was to depid: them as illustrations for the 
 books that were placed in his hands, but he trans- 
 formed them by the magic of his pencil into 
 scenes that are full of the poetry and pathos of 
 life. He had a great and very real love of beauty, 
 and an unerring eye to discover it ; and to him life 
 was full of that sense of mystery that concerns even 
 the humblest duties, and which the eye of the 
 poet alone can pierce. Pinwell was a deep thinker.
 
 48 GEORGE JOHN PINWELL 
 
 and the sight of a child at play, an old man seated 
 upon a bench, a maiden in a garden or a man at 
 the plough, would start in his mind a long chain 
 of fancies giving the inspiration for a story that 
 had been indistinctly present in his thoughts for a 
 long time, and enabled him to produce a drawing 
 which, while representing the simple scene, in- 
 vested it with the halo of poetry that it presented 
 to the artist himself. 
 
 It must be remembered that the ability to see 
 the poetry in a simple scene, and the ability so to 
 depidl it that the observer may realize the same 
 thought, do not always exist in the same person ; 
 but in Pinwell the two powers did exist side by 
 side. There is always a story in his drawings, and 
 it is very seldom more than suggested. You do 
 not at a glance reaHze all that the artist felt when 
 he drew the pidlure ; you are conscious that there 
 is a deeper meaning in the scene than at first is 
 conveyed, and you also feel as you gaze at the 
 pidure that the artist has left you to draw out 
 from the scene your own story, and has contented
 
 THE CALF, ALSO CALLED THE UNWH.LINC 1>LAVMA'J'E OR THE SHADOW. 
 
 From the original woodcut for " English Rustic Pictures." 
 
 By permission of Messrs. F. W'arne and Co.
 
 GEORGE JOHN PINWELL 49 
 
 himself with setting you thinking. To the draw- 
 ing you are bound, if you love poetry, to return 
 again and again. You will not exhaust its re- 
 sources on your first or second visit, and each 
 time you look with the eye of poetry into the 
 picture, you will discover some fresh beauty in it. 
 True, there is a stern truth in the drawing, and a 
 vein of hard tragedy often running through the 
 most trivial of scenes ; but that is because there is 
 this tragedy in life underlying its most joyous 
 moods, and the true poet does not touch the sur- 
 face merely, but probes down to the depths and 
 reveals ever so slightly the suffering that is at the 
 base of life. 
 
 Again, a characteristic of Pinwell's work in 
 illustrating, to which we are specially alluding just 
 now, is the fad: that his pictures illustrate the 
 poem with which they are concerned so well 
 because the artist has tried in them to place him- 
 self completely into the place of the author, to see 
 as he saw, to feel as he felt, and to enter into the 
 life of the characters that have been created by 
 
 H
 
 so GEORGE JOHN PINWELL 
 
 him as though they yet lived, or as though he 
 himself had created them. Take the drawings to 
 Ingelow's poems, notably '' High Tide " or " Win- 
 stanley," and compare them with the text; or look 
 at the " Goldsmith " and read the text as you gaze 
 at the drawings, and you cannot fail to realize that 
 the artist had drank deeply at the spring whence 
 came the inspiration for the story and had known 
 with a full knowledge the very persons who were 
 depicted in its pages. Leaving aside for the 
 moment the question of technical excellence, it is 
 well to consider this side of Pinwell's work, as it 
 will help us to form a just opinion of his merits. 
 
 Of the little group of artists of the " Sixties," 
 he seems to me to be the poet who possessed the 
 fullest inspiration of all. Many would except 
 Millais from this criticism, but even compared with 
 the great President, I think Pinwell can hold his 
 own. His love of old legend and fantastic story 
 was greater than was Millais', and his ability to 
 charm was at least equal; whilst for opulence of 
 imagination, dreamy mystery of thought, and
 
 UPON THE ROOFE WE SATE THAT NIGHT. 
 
 Illustration to " The High Tide," V. From the original woodcut, 1866. 
 
 By permissiofi of Messrs. F. W'ante and Co.
 
 GEORGE JOHN PIN WELL 51 
 
 pathetic suggestion he rivalled his great and suc- 
 cessful competitor, whose later works proved the 
 danger of success. Walker was fine in his sense 
 of beauty, in the dainty grace of his figures, and 
 in his love of colour; but he lacked imagination, 
 and his theme is too evident upon the surface of 
 his work. The story is too quickly told, and all 
 its details can be too quickly realized. There 
 is little mystery in Walker, and he had not the 
 power to create an emotion and start a train of 
 thought that Pinwell so distinctively possessed. 
 Houghton was strong and strenuous, and proud of 
 his gift of fine line, " swirling curves," and weird 
 or gaunt expression. Pinwell is never weird, 
 always tender, but never sickly or mawkish in his 
 sweetness, or morbid in his pathos. In the '' High 
 Tide " drawing, how tender is the fifth pidure, 
 " Upon the roof we sat that night," and how 
 wonderfully is the scene suggested : the grief of 
 the man, which is almost uncontrollable, and has 
 caused him to bow his face upon his knees, and 
 hide his features in the gloom of his sorrows;
 
 5 2 GEORGE JOHN PINWELL 
 
 the grief, no less severe, of the woman, yet re- 
 strained by her determination; and the sadness of 
 the child, which is, however, powerless to over- 
 come her childish wonder, and causes her to forget 
 almost the tragedy of the waters in the view of 
 the strange sight that she has from the top of the 
 roof. Then look at the great sea-birds with their 
 huge wings outspread, finding their way inland by 
 the unwonted sight of food in the water-washed 
 streets of the place, the terror of the timid doves, 
 and the satisfaction of the cat as she goes off 
 quite unconcerned with her prey. All this and 
 more can be seen in the drawing, and over all 
 hangs the gloom of sorrow, intensified in the next 
 pidlure, when '' the waters laid thee at his doore : 
 ere yet the early dawn was clear," and yet 
 brightened even in that pidure by the puzzled 
 and inquisitive face of the old dame at the win- 
 dow, and by the calm composure of the doves 
 that rest near by. 
 
 Every drawing of that wonderful series might 
 be gone over in this way, with the result that a
 
 THE END OF THE JOURNEY. 
 
 Drawing for "English Rustic Pictures," 1866. From the original woodcut. 
 
 By permission of Alessrs. F. I J arm- and Co.
 
 THE WATERS LAID THE!-: AT HLS DOOKE. 
 
 Illustration to " The High Tide,"' VI. Erom the original woodcut, 1866. 
 
 By permission of Messrs. F. U'ar/ie and Co.
 
 GEORGE JOHN PINWELL 53 
 
 fuller appreciation would be gained of the genius 
 of Pinwell; but as a specimen of the deeper tender- 
 ness of his pathos, let '' The End of the Journey " 
 be examined. Contrast the sleep of the woman, 
 the natural result of great exhaustion and worn-out 
 nature, with the yet deeper sleep of the man near, 
 who has come to the end of his life's journey, and 
 has passed away from the cares of life while yet 
 slumbering after his terrible toils, and who is lying 
 there dead by the side of the loving partner of his 
 sorrows, while she, overcome by the weariness of 
 the journey, is unconscious at his side. Look at 
 the faces of the two rustics as they creep up softly 
 to the sleeping couple, and dare not to disturb the 
 repose that for one of them will be never ending, 
 and for the other but the beginning of deeper sor- 
 row. See the dog, faithful companion of the tired 
 man, sleeping also by his head, and so tired as not 
 to wake by the movements of the two rustics who 
 have discovered the tragic scene. Early dawn is 
 depided, the geese are on their way out to pasture; 
 the pigeons leaving their cote, the animals will
 
 54 GEORGE JOHN PINWELL 
 
 soon be moving in the farmyard, and there are 
 the two sleepers resting ; one for ever, and the 
 other to waken soon and start alone on her 
 journey of life, leaving her comrade in the silent 
 earth. Nothing that is much fuller of the tragedy 
 and poetry of life can well be found even in those 
 wonderful drawings of the sixties that are so preg- 
 nant with the emotions of life. 
 
 It will readily be granted that in technical 
 skill some of these drawings by Pinwell are lacking. 
 There are cases in which the drawing is very in- 
 accurate, and in which a lack of knowledge of the 
 human form is apparent, but some of these faults 
 must be accredited to the wood-engraver who has 
 not rendered faithfully the work of the artist. 
 Still, even with these faults, it will be conceded 
 that Pinwell had a fine knowledge of the value of 
 line, and a full appreciation of the use of mass ; 
 and that by means of this knowledge the result is 
 obtained that every one of his illustrations is not 
 only what it was prepared for, but a pidfure as well. 
 He never allowed a pidure to be monotonous in
 
 THE DOVECOTE. 
 
 Drawing for "English Rustic Pictures,"' 1865. From the original woodcut. 
 
 By permission of Messrs. F. Warne and Co.
 
 GEORGE JOHN PINWELL 55 
 
 its effedl, but broke up the distances, and by cross 
 effedls redeemed the straight lines from becoming 
 too severe. The " High Tide," No. i, and " The 
 Quarrel," or " The Dovecote," may be taken as 
 illustrations of this masterly ability of his ; and in 
 each of these drawings will be seen the success 
 that Pinwell has secured by the grace of his curving 
 lines, or by the rigid strength of his vertical and 
 cross lines. 
 
 It is not, however, as a draughtsman that 
 Pinwell stands out so clearly. In this he is not 
 without fault, and at times serious fault, and to 
 the end of his days the same faults are to be seen. 
 His training was not long enough for him to learn 
 to be a perfed: draughtsman, and his success came 
 upon him in too short a space of time for him to 
 overcome his own shortcomings. In delicacy, in 
 gradation, in knowledge of anatomy, in the draw- 
 ing of birds and animals, in the hands, and es- 
 pecially in the legs of his human creatures, in 
 flowers, and at times in the masses of buildings, 
 he was not altogether either easy or accurate ; and
 
 56 GEORGE JOHN PINWELL 
 
 to tell the hard truth there are some of his faces, 
 lovely and expressive though they are, that are 
 not free from faults in drawing, and will be pro- 
 nounced " out of drawing " by some purist critic. 
 
 The capabilities of mere mechanical excel- 
 lence are not, however, what we seek to find in 
 Pinwell. It is in his imagination that we find his 
 chief claim to immortality. It is by his poetry 
 that he will be known, and by the power that he 
 had to suffuse his themes with the rosy glow of 
 poetic feeling, and to clothe them with rich and 
 varied colour, vividly presenting the image that 
 was in his mind and impressing it, in all its variety, 
 upon the mind of the observer, rather than by any 
 clever and expert method of accurate drawing or 
 technical skill. 
 
 Humour, which was such a marked trait in 
 Pinwell's character, does not much appear in his 
 drawings, save in a subdued and dryly suggested 
 way ; nor am I aware of any distindly humorous 
 drawing by him. He contributed to " Fun," as 
 already mentioned, and did one solitary drawing for
 
 "PUNCH." Jink 6, 1863. 
 The only drawing done hy I'inwcll for that publication. 
 
 C/ara: " Don't you think it an anomaly, Tom, your preparing to fight 
 for your hearth and home, whilst you have not a wife ? " 
 
 By permission of the proprietors of '■'■ Fujich.''
 
 GEORGE JOHN PINWELL si 
 
 ''Punch," which by the kindness of the pro- 
 prietors is reproduced in these pages, but none of 
 these works are really humorous drawings. Here 
 and there, as in " The Pied Piper and the Rats," 
 the sketch of an old lady gazing upon a toy -house 
 which she has taken from a bureau, or in the pic- 
 tures of " The Old Clock," "We fell out, my Wife 
 and I," and " The Poachers," there is a subtle vein 
 of humour to be seen ; but as a rule the side of 
 Hfe that Pinwell depided was the pathetic and sad 
 one, although the side that in his conversation he 
 dwelt upon was the amusing and happy one. 
 Perhaps these very antitheses were the result one 
 of the other, as his suffering so caused him to 
 think of the sad side and his own peculiar poetic 
 nature so invested these soberer scenes with 
 charm, that to relieve his mind and to remove it 
 from the thought of his own illness, he dwelt in 
 his conversation the more upon the brighter side of 
 life to which a natural gaiety inspired him. Al- 
 though humour is not so apparent, his love of 
 legend, romance, and fantastic story is very clear; 
 
 I
 
 58 georl.:: jDhn pin well 
 
 and the *'Earl o' Quarterdeck," '* Gilbert a Becket's 
 Troth," " The Princess and the Ploughboy," " The 
 Elixir of Love," and '* The Great Lady " are all 
 examples of this the main feature of his art. In 
 all of them he was sternly realistic, however, 
 painting things as they were with Pre-Raphaelite 
 vigour and grasp of character. With it all is 
 the strain to do better, the desire to improve ; 
 the constant strenuous effort to progress, that is so 
 touching when it is recognized in the work of a 
 young genius, especially in one who, as in Pin- 
 well's case, had so short a time in which to work 
 out the message of his life. His pictures are the 
 revelation of a struggle and the preparation for 
 greater work that, alas ! was never to be done ; 
 and they leave upon the mind an impression of 
 sadness, coupled with great admiration, and with 
 a curious speculation as to what might have been 
 his future had he lived. 
 
 Considered by themselves his coloured works are 
 in technique extraordinary. He could not con- 
 tent himself with the ordinary manner of expres-
 
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 GEORGE JOHN PIN WELL 59 
 
 sion or with the use alone of water-colour. From 
 student-days he had been attracted by the con- 
 troversies as to the vehicles and pigments used by 
 the old masters, and the recolledion is still vivid in 
 the mind of one of his companions of an animated 
 conversation that he pursued with a friend on the 
 respective merits of chinese white and madder 
 yellow in a pidure, and of the use of such pigments 
 as produced these colours in early Italian work. 
 
 For the latter colour he had a peculiar fond- 
 ness, using it freely for grounding ; and chinese 
 white he used most freely in almost every one of 
 his more ambitious pictures, producing with it, and 
 not with the usual glazing, a strange opalescent 
 effect of light which was very charaderistic of the 
 man, and which by reason of its mystery and varied 
 beauty appealed very strongly to him. There is 
 at times a certain mothery result in his pidures, 
 which is caused by his odd combinations of or- 
 dinary water-colour and body-colour used as 
 water-colour, and which further obliges owners of 
 his works to keep them carefully shielded from
 
 6o GEORGE JOHN PINWELL 
 
 the light. Colour was such a passion with him, 
 and his sense of colour so clear, that he was 
 always ready to try fresh experiments in his 
 methods, to the despair not only of his friends, 
 but of the critics and of his clients. 
 
 The most marked feature of his work is per- 
 haps his love of tiny brilHant touches of crude 
 vivid colour, which he used with such dexterity 
 and which gave a jewel-like effed: to the surface 
 of the picture, and lit it up in a marvellous way. 
 By means of these touches he produced a precious 
 glow of rich colouring that was the expression of 
 his passion and peculiarly suitable to the oriental 
 stories in which he delighted. Even his deep 
 shadows gleam with this almost unearthly light of 
 colour, and the points of brilliance shine out of 
 the blue mist of opalescent whiteness with a very 
 striking effed. 
 
 When his pictures were first exhibited, many 
 of the critics criticised severely this strange effect 
 of light, which was quite new to them, and there- 
 fore appeared to be wrong. He was accused of
 
 BY THE RIVER. 
 
 Water-colour drawing. 
 
 H. T. Hartley collection.
 
 GEORGE JOHN PINWELL 6i 
 
 a *' gluttony in yellow," " a morbid efFedl of 
 light," " a straining after novelty," " awkward 
 transition between the use of transparent and 
 body colour," " streaky washiness," and a host of 
 other curious crimes. At this distance from the 
 artist we may regret some of his incursions into 
 forbidden fields of technique, but we shall not 
 condemn his work as it was condemned, because 
 we feel its poetic attradlion and the charm 
 of its marvellous colour. We know the reason 
 why the limbs were often badly drawn ; we under- 
 stand the stress that the artist felt to work " while 
 it was yet the day " ; we appreciate his earnest 
 desire to paint glorious colour which stirred him 
 to the depths of his nature ; and we can lay hold 
 upon the exquisite feeling that pervades the work, 
 and which kindles a like emotion in us as we look 
 upon it now he has passed away. We must not 
 be blinded to his faults, but to one who loved so 
 much, much can be forgiven, and the harvest of 
 his labour is so small and so full of genius that we 
 overlook his faults of drawing and technique in
 
 62 GEORGE JOHN PINWELL 
 
 our admiration for the man who could under such 
 difficulties do such fine and lovely work. 
 
 Why pit one artist against another when they 
 were so different ? Why allude to the refinement 
 and gradation of Walker's painting, to the subtle 
 exquisiteness of Mason, to the blazing force of 
 Gilbert, to the delicate emotion of Houghton, or 
 to the faultless tone of North, when each man in 
 his own way was masterly ? Even if some of Pin- 
 well's effedls were obtained in questionable methods, 
 if his rough rapid blobs of colour were quite 
 regardless of finish, and were lumpy, crude and 
 vivid ; even if the faces were finished with a 
 miniature-like work, while the limbs were only 
 roughly hatched in, the result was the main pur- 
 pose, and we can forget in contemplating so fine 
 a result the sins of commission and omission that he 
 committed in order to get the effed: that his com- 
 panions in more accepted manner strove equally to 
 obtain. Pinwell's is a case for such forgiveness, 
 and the person who really loves the pidure, and 
 finds in it a constant fount of inspiration, will
 
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 GEORGE JOHN PINWELL 63 
 
 readily condone the faults of method that some of 
 the modern critics are as ready to condemn as 
 their predecessors did when the artist first ex- 
 hibited his pictures in London. 
 
 The refinement for which they seek, the 
 accuracy of line and the much-loved finish will be 
 found freely in his pencil drawings ; but in his 
 works of colour a diff*erent set of emotions is 
 called out, and a fresh set of rules must be used 
 in their consideration. 
 
 Pinwell did not live long enough to fulfil all 
 he promised. Had he lived, he would have been 
 perhaps one of the greatest artists in his century. 
 He was full of sympathy with ordinary life, but 
 able to dramatize it all and invest it with the glow 
 of romance, and he has left behind him such work 
 as will insure to his memory lasting and increasing 
 honour. 
 
 I must not omit to mention how well several of 
 the artist's works have lent themselves to the etching 
 needle, and how successfully Mr. R. W. Macbeth, 
 A.R.A., has transferred their beauties to the plate.
 
 64 GEORGE JOHN PINWELL 
 
 Pinwell would have been interested could he 
 have seen how quaintly one of his best works, 
 " The Pied Piper and the Children," lent itself for 
 purposes of somewhat bitter caricature. It was 
 reproduced in the " Gladstone Almanack " for 
 1885 by Messrs. Blackwood, and represented the 
 old leader with his motley followers being led to 
 destrudion. By permission of Mr. G. R. Halkett 
 the artist and Messrs. Blackwood this caricature 
 is presented in these pages. 
 
 It is interesting in looking at some of his 
 drawings to recall the circumstances under which 
 they were painted or drawn. He was very fond 
 of Devonshire and Somersetshire, and many of his 
 most pleasing drawings were inspired by what he 
 saw in these counties. He went with North in 
 early days to Seaton and to Beer, but one of his 
 favourite resorts was a place known as Halsway 
 Court, in Somerset, and there many of his draw- 
 ings were done. 
 
 " The Dovecote " depids this charming old 
 house, which again appears in '' The Unwilling
 
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 DOCTOR TOM, OR THE COWSHED. 
 
 Drawing for " English Rustic Pictures," iS66. From the original woodcut. 
 By permission of Messrs. F. Warne and Co.
 
 GEORGE JOHN PINWELL 65 
 
 Playmate;' or ''The Shadow." The buildings 
 attached to the house are to be seen in '' The End 
 of the Journey" and in "The Cowshed," also 
 called " Dodor Tom," while the garden is to be 
 seen in " Anglers," which has the other name of 
 " Substance and Shadow." The very farmer who 
 lived at the house is to be seen with the local doc- 
 tor who is drawn in " The Cowshed," and who gives 
 to this drawing its other name of " Doctor Tom," 
 and the fields which lay near to the house appear 
 in the fishing scene in '' High Tide " pidure. 
 No. 3. The ringers in the first scene in "High 
 Tide " were taken from a belfry in Somersetshire, 
 and were drawn in the ringing-chamber while at 
 work, so that their adion might be absolutely cor- 
 real ; and the rustics in " The Cowshed " and 
 "The End of the Journey" are equally lifelike 
 portraits of men whom he knew in his life in 
 Somersetshire. Mrs. Pinwell appears in the second 
 drawing to " High Tide " in the woman at the 
 door, and she is again to be found in " The 
 Quarrel," "An Errand of Charity," "Anglers," 
 
 K
 
 66 GEORGE JOHN PINWELL 
 
 and '' Martha and Mary"; while her sister is to be 
 seen in ''The Dovecote," in "Gilbert a Becket's 
 Troth," '' The Elixir of Love," and in the " We 
 fell out, my Wife and I." 
 
 Pinwell was extremely careful to obtain his 
 scenes diredl from life and to paint them true in 
 every way to what he saw, so that there is never a 
 feeling of caricature in his work or an idea that 
 his people are merely dressed-up lay -figures. They 
 represent, as well as it was possible for him to de- 
 pid: them, the adlual persons whom he painted. 
 So far did he carry this extreme conscientiousness 
 that the pidure of ''The Old Clock" was held 
 back from one exhibition because he had failed to 
 find a clockmaker who answered to his idea, and 
 he would not use an ordinary model. The old 
 man was painted in the next year from a clock- 
 maker, whom, to his great delight, he discovered 
 at a friend's house in the very ad; of winding up a 
 large clock. The same statement may be made of 
 other pidures ; " At the Foot of the Quantocks " 
 represents the adual scene with the persons who
 
 PENCIL SKETCH FOR FIGURE OF A SAILOR. 
 //. T. Ilartlev collection.
 
 GEORGE JOHN PINWELL 67 
 
 * 
 
 were to be found on the spot ; the three Tangier 
 scenes are truthful to the last degree, and faithful 
 representations of both places and people. The 
 tramps, the poachers, the ploughboy, the calf, and 
 the couple at the foot of " The Old Cross " were 
 all painted from actual persons, and with all the 
 Pre-Raphaelite truth that Pinwell possessed. 
 
 Those critics, therefore, who state, as one of 
 the leading ones has done, that " his rustics, arti- 
 sans, or seamen are dwellers in towns, but slightly 
 disguised," and that, while " their emotions are 
 true but their clothes a manifest fraud," do so with- 
 out understanding the artist whom they criticise, 
 as no man was more careful in painting the men 
 as he saw them in the country in which he found 
 them and in the midst of their own surroundings. 
 He carried his conscientiousness to excess at times, 
 and has been known to refuse a commission which 
 involved a sea-scene or a fishing-boat because it was 
 not possible for him at that moment to leave town to 
 go to the sea to make his drawing, and he would not 
 paint a seaman in town from a model. This same
 
 68 GEORGE JOHN PINWELL 
 
 leading critic, clever and capable as he is, makes 
 several errors in dealing with Pinvvell's life, arising 
 from an incomplete knowledge of the man, and 
 from starting with an inaccurate and legendary story 
 as to his early life ; but the praise that he gives to 
 the work of the artist is so full of discretion and 
 so truthful that his lapses from history into legend 
 are but the faults of an otherwise interesting account 
 of Pinwell that it has been a pleasure to use in the 
 compilation of this work. 
 
 Pinwell's studies are curiously varied. Some- 
 times they are in monochrome only, of gray or 
 rich dark brown, but even in these there is a 
 suggestion of atmosphere and a knowledge of light 
 that is surprising in such slight works. At other 
 times the pencil alone is used boldly and roughly, 
 and with great dexterity ; and yet again there are 
 coloured studies, and these latter constitute the 
 bulk of his sketches. He was so fond of colour 
 that he did not like omitting it even from his 
 very roughest studies. In some of them the 
 colours are put on in lumps with brilliant effed:,
 
 SKETCH IN OILS FOR "SALLY IN OUR ALLEY." 
 H. T. Hartley collection.
 
 CHALK STUDY FOR FEMALE FIGURE IX "THE MAID .METTELIL." 
 
 H. T. Ilartlev collection.
 
 GEORGE JOHN PINWELL 69 
 
 and strange oriental contrasts, say of orange with 
 emerald green or vermilion against bright yellow, 
 are attempted with much success. In all there 
 are surprisingly few touches, great economy of 
 labour, and an entire absence of elaboration ; while 
 the power of observation that they convey and the 
 accuracy of delineation are very marked. In his 
 finished works he was too often careless in consider- 
 ing the chemical qualities of the colours he used, 
 preferring to put on the colour he desired, and 
 leave the result " in the lap of the gods." Such 
 unfortunate combinations as emerald green and 
 cadmium yellow, and these with vermilion, are 
 frequent in his early work ; and '' in consequence," 
 says an artist friend, " after a few years these 
 colours turned black, and had to be repainted." 
 
 The influence of other men upon Pinwell has 
 not been rightly conceived, as too much stress has 
 been laid upon a supposed influence of Walker. 
 Pinwell admired Walker greatly, but he knew him 
 very slightly, and only once did they actually meet 
 after the Heatherley days. Walker, on one occasion.
 
 JO GEORGE JOHN PINWELL 
 
 came to see Pinwell in his illness, at the suggestion 
 of a mutual friend, and it was a bitter disappoint- 
 ment to Pinwell that he had so little to show the 
 artist whose work he so much admired. Walker 
 did not express any great satisfadiion with Pin- 
 well's pictures. They did not appeal to him in 
 their hidden poetry, as he preferred a motive more 
 clear and apparent, and colour more refined. He 
 criticised Pinwell's drawing in a somewhat severe 
 manner; but his remarks were at once recognized 
 by Pinwell as accurate, and also as the just merit 
 of the work, and he thanked Walker for his honest 
 opinion, adding, with a touch of bitterness, that 
 Walker had the advantage of him in training, and 
 that his early life had been very different from that 
 of the man whose shortcomings he had so faith- 
 fully pointed out. 
 
 When Walker returned home he regretted that 
 he had spoken so plainly, and feared that in his 
 too critical mood he had overlooked the high 
 merits of colour and poetry that the work pos- 
 sessed, and he wrote to Pinwell to that effedl and
 
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 GEORGE JOHN PINWELL 71 
 
 promised to call again, but he never did so ; and 
 a few months before Pinwell died Walker had 
 passed into another world. One of the very few 
 things that Pinwell owed to Walker was the 
 advice to go to Algiers, as Walker had himself 
 only lately returned from that place, and hearing 
 of Pinwell's illness, he, through a friend, advised 
 him to try the climate which he fancied had done 
 him some good. Never but this once did the 
 two men meet in their exhibiting days, and while 
 Pinwell admired Walker's technique, he resented 
 what was to him its superficiality ; while Walker 
 on his part could not understand Pinwell's rough 
 handling, or appreciate his touches of brilliant 
 colour, and his experiments in the combined use of 
 different colours and methods in the same picture. 
 Houghton, on the other hand, was his firm 
 friend, and from him Pinwell learnt many a lesson, 
 and taught him on his part much as to colour and 
 poetry. In character the two men were very 
 different, but their very antithesis made them the 
 more close friends. Pinwell much regretted the
 
 72 GEORGE JOHN PINWELL 
 
 life that Houghton led, and rebuked it plainly more 
 than once ; but Houghton, who as a trained medi- 
 cal man understood his disease, and whose life was 
 ruined through the death of a young wife to whom 
 he was greatly attached, seemed bent upon running 
 out his years in full and lavish excitement, and with- 
 out any regard to the future. He was present at 
 Pinwell's funeral, and said to his friends as they 
 stood round the grave after the burial, '' Ah, my 
 boys, you will be planting me here also before 
 three months " ; and it was so, for he died in the 
 November of the same year.
 
 EXHIBITION 
 
 OF 
 
 WORKS 
 
 BY 
 
 The Late G. J. PINWELL, 
 
 MEMBER OF THE SOCIETY OF PAINTERS IN WATER-COLOURS, 
 AT 
 
 MR. DESCHAMPS' GALLERY, 
 
 i68, NEW BOND STREET, W. 
 
 FEBRUARY, 1876, to MARCH 11, 1876.
 
 THE PINWELL EXHIBITION. 
 
 Executive Committee. 
 
 Sir John Gilbert, Vanbrugh Park, Blackheath. 
 
 F. W. ToPHAM, Dinas, Arkwright Road, Hampstead. 
 
 BiRKET Foster, The Hill, Widey, Surrey. 
 
 J. D. Watson, St. John's Terrace, Regent's Park. 
 
 J. W. North, Charlotte Street, Fitzroy Square. 
 
 J. D. Linton, Leith House, i, Park Road, Haverstock Hill. 
 
 C. Green, 78, Park Road, Haverstock Hill. 
 
 E. G. Dalziel, 23i Belsize Park Gardens, N.W. 
 
 Edward Dalziel, Hon. Sec, 22i Belsize Park Gardens, N.W. 
 
 'Thanks are hereby tendered to the Owners of the various Pi5iures 
 and Drawings who have so kindly lent their valuable works, and 
 to Mr. Charles Deschamps, who has so generously given the free 
 use of his Gallery for the Exhibition.
 
 SWEET CONTENT. 
 
 Water-colour drawing. 
 H. T. Hartley collection.
 
 ORIGINAL CATALOGUE. 
 
 \JVith Notes (Jn italics) as to the present owners of some of the pi£iureSj 
 added by the Author of this book.'] 
 
 The pidures marked (*) were private property at the time of the Exhibition. 
 All the others belonged to Mrs. Pinwell, and were removed to Christie's and sold 
 on March i6th. See Catalogue, page 95. 
 
 I Among the Rocks. 
 
 1 *The Violoncello Player. 
 
 Lent by Edward Dalziely Esq.^ in 1876, 
 
 3 Bicknoller. 
 
 4 Bedtime. 
 
 5 *The Princess and the Ploughboy. (14I- x ■24f in.) 
 
 Lent by Birket Foster , Esq.^ in 1876; now belongs to 
 William Newall^ Esq. (^signed P.). 
 
 6 Study for Fiddler and Flower-girl. 
 
 Belongs to H. T. Hartley, Esq. Lot ;^6. 
 
 7 Study for Park Seat. 
 
 8 Saturday Night. 
 
 9 Haymakers. (7f x 6f in.) H. T. Hartley ^ Esq. Lot 39
 
 76 CATALOGUE OF EXHIBITION 
 
 10 *The TifF. 
 
 Lent by Edward Dalziel^ Esq.y in 1876 ; now belongs to 
 H. T. Hartley, Esq. 
 
 11 By the Seaside. 
 
 1 2 Garden Scene at Cookham. 
 
 This is probably the sketch called " In a Garden " ; now 
 belonging to H. T. Hartley, and shown at the New Gallery, 
 219. Lot 41. 
 
 1 3 A Harvest Moon. 
 
 14 Hot Chestnuts. 
 
 15 Danish Ballad, " Maid Mettelil." 
 
 Sold by Fine Art Society in 1899. 
 
 16 Sketch — Vanity Fair. (17^x38 in.) 
 
 Sold at Dalziel's sale for ^49 "]s. Sold two years ago by 
 E. J. Gregory, R.A., to Mr. H. W. Henderson^ of 9, Princes 
 Gardens. Lot i98(?). 
 
 17 My Son's Wife Elizabeth. 'The High Tide," by Jean 
 
 Ingelow. (15x11 in.) P. Waller, Esq. Lot 45. 
 
 18 Goldsmith and his Landlady. 
 
 1 9 Study of a Woman. 
 
 20 The Captive. Oil (size, 2i|- x 36I- in.). 
 
 Exhibited, New Gallery, 1898. Now belongs to 
 H. y. Hartley, Esq. Lot 187. 
 
 21 Study of a Man's Head. 
 
 22 The Enchantress of Flowers. P. Waller, Esq. Lot 49. 
 
 23 Sigurd of Saxony. H. filter, Esq. Lot 50.
 
 CATALOGUE OF EXHIBITION 77 
 
 24 Head of a Lady. H. T. Hanky y Esq. 
 
 25 Study of a Soldier, 
 16 At Ventnor. 
 
 27 The Musical Box. 
 
 28 *The Last Load. (16 x 23I- in.) 
 
 Leni by Edward Dalziel, Esq., in 1876. 
 
 29 The Recruit. 
 
 30 At the Bedside. 
 
 31 The Deserter. 
 
 32 *New Books. (5 x 6| in.) 
 
 Lent by Edward Dalziel^ Esq.^ in 1876. 
 Sold at his sale in \%%G for 24 guineas; now owned by 
 Mrs. Samuel Joseph. 
 
 1^1^ Study for the Pied Piper of Hamelin — The Children. (7 x 
 1 1 in.) 
 
 Exhibited^ New Gallery, 1898 ; now belongs to H. T. 
 Hartley, Esq. Lot 108. 
 
 34 Return of the Prodigal. - 
 
 35 *A Seat in St. James's Park. (16 x 23I- in.) 
 
 Lent by Edward Dalziel, Esq., 1876. 
 Sold at his sale in 1886 to Vokins for a public gallery in 
 Australia for £111. 
 
 36 Study for Gilbert a Becket's Troth. (21 x 38 in.) 
 
 P. Waller, Esq. Lot 1 1 1 . 
 
 37 Hard Times. 
 
 38 Lady at the Piano.
 
 78 CATALOGUE OF EXHIBITION 
 
 39 A Day with Grandmamma. 
 
 Sold at Balziels sale to Agnews for 7 guineas. 
 
 40 * Lovers. 
 
 Lent by C. Green, Esq., in 1876; now belongs to H. T. 
 Hartley y Esq. 
 
 41 The Poor Boy. 
 
 42 Life Study. 
 
 43 Sweet Melancholy. (22 x 15J in.) 
 
 Now owned by W. Gilbert Dalziel, Esq. 
 Sold at Dalziefs sale for 25 guineas. 
 
 44 *The Great Lady. (21 J x 31J in.) ff^. Austin^ Esq. 
 
 45 Mariana — Head. 
 
 46 Distraining for Rent. 
 
 47 A London Garden. 
 
 Now owned by E. A. Waterlow., Esq.^ A.R.A. Lot 66. 
 
 48 The Letter. 
 
 49 Study for Vanity Fair. 
 
 50 *The Earl o' Quarterdeck. (15JX 22 J in.) 
 
 " Quothe skipper, 'Ye are a lady fair. 
 
 And a princess grand to see ; 
 But ye are a woman, and a man wad sai 
 
 To hell in yer company.' 
 
 "She liftit a pale and a queenly face ; 
 
 Her een flashed, and syne they swam ; 
 'And what for no' to heaven ?' she says. 
 
 And she turn'd awa' frac him.
 
 CATALOGUE OF EXHIBITION 79 
 
 " But she took na her han' frae the good ship's helm 
 
 Until the day did daw' ; 
 And the skipper he spake, but what he said 
 
 It was said atween them twa." 
 
 Lent by F. W. Topham^ Esq., in 1876. 
 Sold at his sale in 1878 for £^i 9 j. 
 
 5 1 Plucking Flowers. 
 
 52 A Harvest Whoop, Edward Dalziel, Esq. Lot 69. 
 
 53 The Young Smoker. Edward Dalziel, Esq. Lot 70. 
 
 54 "^Time and his Wife. (6J x 5|- in.) 
 
 " Gravely among the graves, they made hay all alone by themselves ; 
 they looked like Time and his Wife." — Uncommercial Traveller (Charles 
 Dickens). 
 
 Mrs. Samuel Joseph. 
 
 Sold at DalzieFs sale in 1886 for 16 guineas. 
 
 The Vagrants. (6^ x 5|- in.) 
 
 "'Ah! You are a foine breed o' dog, too, and you ain't kep for 
 nothink ! I'd take it werry koind o' your master if he'd elp a traveller 
 and his woife as envies no gentlefolk their good fortun, wi' a bit o' your 
 broken wittles. He 'd never know the want of it, no more would you. 
 Don't bark like that at poor persons as never done you no arm ; the 
 poor is down-trodden and broke enough without that.' " — Uncommercial 
 Traveller (Charles Dickens). 
 
 Lent by Edward Dalziel, Esq., in 1876 ; now belongs to 
 Mrs. Samuel Joseph. 
 
 Sold at DalzieTs sale in \%%G for 32 guineas. 
 
 55 ^Backwater near Medmenham. (8-| x 7|- in.) 
 
 Lent by George Dalziel, Esq., in 1876. 
 
 56 Sheep Pen.
 
 8o CATALOGUE OF EXHIBITION 
 
 57 *A Country Walk. (22JX 15J in.) Mrs. J. Rand Capron. 
 
 A sketch for this was sold at DalziePs sale in 1886 for 
 £6 16s. 6d. 
 
 58 King Pippin. 
 
 59 Going a-Milking. 
 
 60 *The Quarry. Sketch for a pidlure. (6^ x 9|- in.) 
 
 Lent by Edward Dalziel, Esq., in 1876. 
 Sold at his sale in 1886 for 1 1 guineas. 
 
 61 "It was a farmer and his lass." 
 
 62 Sweet Content. (6x8 in.) W. Newall., Esq. 
 
 Dated 1875, ^ f^'^ months before his deaths signed G. J. 
 Pinwell. 
 62 *The Old Clock. ( 1 8|- x 1 5 in.) 
 
 "The old clock still keeps honest time, 
 
 The old wheels still run true ; 
 As shrill and cheery sounds its chime 
 
 As when its case was new. 
 " Their eighty years, on that old pair 
 
 Have left their wrinkling trace ; 
 But not one seal of time is there 
 
 Upon the old clock face." 
 
 Tom Taylor. 
 
 Lent by Edward Dalziel^ Esq.., in 1876. 
 Sold at his sale in \%^(i for £^0 Ss. 
 
 64 Pawning the Wedding Ring. 
 
 65 Finished Sketch — The Elixir of Love. (11 x 25 in.) 
 
 Sold at Dalziel's sale in 18 86 /or ;^84. 
 
 66 Beer Church, South Devon. 
 
 67 *The Peacock. (4! x 6 in.) 
 
 Lent by Edward Dalziel, Esq.y in 1876.
 
 CATALOGUE OF EXHIBITION 8i 
 
 68 The Enchanted Prince. Oil Sketch. 
 
 E. A. JVaterlow, Esq., A.R.A. Lot 196. 
 
 69 After the Day's Work. Edward Dalziel^ Esq. Lot 78. 
 
 70 *The Elixir of Love. (18 x 42 in.) 
 
 Lent by 'Thomas Wood, Esq.j and still I believe in his 
 possession. 
 
 7 1 Sketch from the Vicar of Wakefield. 
 
 72 The New Servant. 
 
 73 *The Pied Piper of Hamelin — Rats. (12 x 18 in.) 
 
 "Into the street the piper stept, 
 
 Smiling first a little smile, 
 As if he knew what magic slept 
 
 In his quiet pipe the while ; 
 Then like a musical adept, 
 To blow the pipe his lips he wrinkled, 
 And green and blue his sharp eyes twinkled, 
 Like a candle flame where salt is sprinkled ; 
 And ere three shrill notes the pipe utter'd, 
 You heard as if an army mutter'd ; 
 And the muttering grew to a grumbling ; 
 And the grumbling grew to a mighty rumbling ; 
 And out of the houses the rats came tumbling — 
 Great rats, small rats, lean rats, brawny rats. 
 Brown rats, black rats, grey rats, tawny rats, 
 Grave old plodders, gay young friskers. 
 
 Fathers, mothers, uncles, cousins. 
 Cocking tails and pricking whiskers. 
 
 Families by tens and dozens, 
 Brothers, sisters, husbands, wives, 
 
 Follow'd the piper for their lives." 
 
 Browning. 
 
 Lent by Edward Dalziel, Esq., in 1876 ; now belongs to 
 J. S. Budgett, Esq. 
 
 M
 
 82 CATALOGUE OF EXHIBITION 
 
 74 Poachers. 
 
 75 A Storm. 
 
 76 The Country Cousin. Edward Dalziel, Esq. Lot 83. 
 
 77 *At the Well. (51x8 in.) 1874. 
 
 Lent by R. H. Waithman, Esq.., in 1876, and sold 
 by him at Christie s^ J^b I4> 1900. 
 
 78 *The Visit. (6lx5iin.) 
 
 Lent by George Dalziel^ Esq.^ in 1876. 
 
 79 The Quarrel. 
 
 80 ^Gilbert a Becket's Troth — the Saracen Maiden entering 
 
 London at Sundown. (22|- x 43 in.) 
 
 "Among the yeomen of Saxon race whose necessities compelled 
 them to seek the service of the Norman Barons as esquires or attend- 
 ants, was a man whose romantic history, no less than the extraordinar)^ 
 career of his son, caused his name to become famous to a degree which 
 rarely happened in those days to one of obscure birth. Gilbert Becket 
 was born in London in the reign of Henry I. At the beginning of the 
 twelfth century, Gilbert Becket followed his lord to the Holy Land. 
 After having taken part in the ordinary dangers and sufferings of the 
 soldiers of the Cross, Gilbert was made prisoner and reduced to slavery. 
 In this condition the Saxon yeoman attrafted the notice of the daughter 
 of a Saracen chief, and gained her love. With her assistance he suc- 
 ceeded in effefling his escape, and returned to England. The Paynim 
 damsel could not live without him, and she determined to find her way 
 to the distant country whither he had told her he was going. She knew 
 only two words of English, which were London and Gilbert. With the 
 help of the former she obtained a passage in a ship which carried re- 
 turning pilgrims and traders ; and by means of the latter — wandering 
 through the country, and repeating, 'Gilbert! Gilbert!' — she at last 
 found the man she loved. Gilbert Becket appears to have received her 
 tenderly and honourably, and, having asked the advice of the clergy, he
 
 CATALOGUE OF EXHIBITION 83 
 
 caused her to be baptized, and, having changed her name to that of 
 Matilda, he married her. The strange circumstances of this marriage 
 caused it to become famous throughout the country, and it was made 
 the subjedl of various popular ballads and romances, two of which are 
 still extant," 
 
 Sold at the Water-colour Show to George Boulton^ Esq.^ 
 of I, Gordon Square, for ;^42o, and afterwards to Sir 
 J. Jaffray, Bart.^ who still owns it. 
 
 81 To the Rescue. (5^- x 7 in.) 
 
 Sold at Dalziel's sale for £6 1 6s. 6d. 
 
 82 *Relics of the Past. (6| x 5 J in.) 
 
 Lent by George Tialxiel., Esq., in 1876. 
 
 83 *The Pied Piper of Hamelin — Children. (12 x 21 in.) 
 
 "All the little boys and girls. 
 
 With rosy cheeks and flaxen curls. 
 
 And sparkling eyes, and teeth like pearls. 
 
 ***** 
 
 And to Koppelberg Hill his steps address'd ; 
 And after him the children press'd." 
 
 Browning. 
 
 Lent by Edward Dalziel, Esq., in 1876; now belongs to 
 J. S. Budgett, Esq. 
 
 84 ** She was a phantom of delight." 
 
 85 ''^Study for The Great Lady. 
 
 Lent by Thos. Batterbury, Esq., in 1876. 
 
 86 *The Trysting-place. (6| x 5J in.) 
 
 Lent by F. W. Topham, Esq., in 1876. 
 Sold at his sale in 1878 for £2>9 ^^^-
 
 8+ CATALOGUE OF EXHIBITION 
 
 87 Christmas Fairies. 
 
 88 *TheCalf. (15x12 in.) 
 
 Lent by George Dalziei^ Esq., in 1876. 
 Sold at his sale in 1886 to Agnews for ^56 14J., and 
 exhibited by them in 1899, No. 89 in their catalogue. 
 
 89 *The Sisters, (16 x 14^ in.) 
 
 Lent by Edward Dalziel^ Esq., in 1876. 
 
 Sold at his sale in 1886/0 Maclean for £29 4-^- 
 
 90 ^Sketch for The Last Load. 
 
 Lent by Edward Dalziel, Esq., in 1876. 
 
 91 Sally in our Alley. Oil. (41 x 82 in.) 
 
 P. Waller, Esq. Lot 197. 
 
 92 A Knight returning from War. 
 
 93 "^Landlord and Tenant, (ifj-x ii\ in.) 
 
 Lent by George Dalziel, Esq., in 1876. 
 Sold at his sale in i886/(?r_^55 ijj., and now owned by 
 Davison Dalziel, Esq. 
 
 94 *The Auftioneer. A Street scene, Tangier. (15I- x 27 in.) 
 
 C. Waithman, Esq. 
 
 95 Knight and Lady, Danish Ballad. 
 
 E. A. Waterlow, Esq., A.R.A. Lot 88. 
 
 96 *An Incident in the Life of Oliver Goldsmith. 
 
 Lent by R. H. Waithman, Esq., in 1876, and sold by him. 
 Exhibited at Agnew's Gallery in 1899, No. 183. 
 
 97 *The New Slipper, 
 
 Lent by Edward Dalziel, Esq., in 1876; now owned by 
 Gilbert Dalziel, Esq.
 
 CATALOGUE OF EXHIBITION 85 
 
 98 Kitty Morris. Edward Dalziel, Esq. Lot 89. 
 
 99 Vanity Fair. (47 x 98 in.) 
 100 Lalla Rookh. 
 
 loi Winter. 
 
 102 Mamma's Watch. (6x6 in.) 
 
 H. T. Hartley, Esq. New Gall., 160. Lot 117. 
 
 103 " To carry the milking pail." 
 
 104 *The Prison Hole, Tangier. Women visiting a Prisoner. 
 
 (20 X 26J in.) 1874. 
 
 Lent by R. H. Waithman, Esq., in 1876, and afterwards 
 sold by him ; now belongs to H. W. Henderson, Esq. 
 
 Exhibited at Agnew's Gallery in 1899, No. 89. 
 
 105 The Knight and the Wood Nymph. (15 x 27 in.) 
 
 P. Waller, Esq. Lot 91. 
 
 106 Sketch for The Princess and Ploughboy. (14 x 24 in.) 
 
 Sold at Dalziel's sale in 1886 /or _^3i los. 
 
 107 The Naughty Child. 
 
 108 Pleasure-seekers. 
 
 109 Life Study. 
 
 1 10 Oil Sketch — The Earl o' Quarterdeck. 
 
 111 A Winter's Evening. 
 
 1 1 2 Small Oil Sketch — The Sisters. 
 
 1 13 The Lesson. 
 
 114 A Rainy Day. Oil. (8x6 in.) P. Waller, Esq. Lot 191. 
 I I 5 French Rustic.
 
 86 CATALOGUE OF EXHIBITION 
 
 1 1 6 Study for Gilbert a Becket's Troth. 
 
 1 17 Study for Vanity Fair. (24 x 43 in.) 
 
 P. Waller^ Esq. Lot 99. 
 
 118 Regent's Park : Town Children and Town Sheep. 
 
 1 19 Scene from the " Vicar of Wakefield." 
 
 120 Little Sweethearts. H. filter ^ Esq. Lot 98, 
 
 121 Sketch for Vanity Fair. 
 
 122 "^The Tramps. (18 x 15^ in.) 
 
 Now owned by R. H. Prance^ Esq. 
 
 123 Study of a Woman. 
 
 124 A Severe Ledure. Edward Dalziel^ Esq. Lot 10 1, 
 
 125 Classic group. 
 
 126 Cartoon — Vanity Fair. Black and white. 
 
 SCREEN. 
 
 I 27 Kitchen Scene. 
 
 128 Study of a Mule. 
 
 129 A Duel, 
 
 130 The New Novel. 
 
 131 Sketch — Arabian Nights. 
 
 132 Sketch — Pied Piper of Hamelin (Children). 
 
 H. T. Hartley, Esq. Lot 147 (.?). 
 
 133 A Drummer.
 
 CATALOGUE OF EXHIBITION 87 
 
 134 The Connoisseurs. 
 
 135 Study for Gilbert a Becket's Troth. 
 
 136 Bicknoller Church. 
 
 137 The Visitor. 
 
 138 Study near Hampstead. 
 
 139 Ramble Mill. (4i x 5|- in.) P. Waller^ Esq. Lot \\t^. 
 
 140 Katharine. 
 
 141 The Quarry. Indian ink. 
 
 142 Mamma's Watch. Phene S-piers, Esq. 
 
 143 Farmyard, Somerset, with Figure. (9x9 in.) 
 
 P. Waller., Esq. Lot 118. 
 
 144 Fuel Gatherers. (13x9 in.) P. Waller^ Esq. Lot 119. 
 
 145 *" Well, I must go." 
 
 Lent by P. H. Rathbone, Esq., in 1876. 
 
 146 A Holy Friar. 
 
 147 Study from the Life. 
 
 148 Sketch for " Well, I must go." 
 
 149 Spring Meadows. 
 
 150 The Sailor's Wife. 
 
 151 Study of a Lady. 
 
 152 The New Baby. 
 
 153 The Kitchen Maid. 
 
 154 Watching for the Carrier's Cart. 
 
 155 Mending Armour.
 
 88 CATALOGUE OF EXHIBITION 
 
 156 A Fairy Tale. 
 
 157 Sketch for Elizabeth. ''The High Tide," by Jean Ingelow. 
 
 158 Moonlight. 
 
 159 Mending the Nets. 
 
 160 Watchet Harbour. 
 
 161 Out for a Holiday. Edward Dalzielj Esq. Lo/ 135. 
 
 162 Indian Princess. 
 
 163 Strollers — after the Fair. 
 
 164 Sigurd of Saxony. 
 
 165 At the Church Door. " Brothers, and a Sermon," by Jean 
 
 Ingelow. 
 
 Lent by George Dalziel, Esq., in 1876. 
 
 166 *A Long Conversation. 1872. {S'k^l'k ^'^•) 
 
 Lent by R. H. Waithman in 1876; now belongs to 
 W. Newall, Esq. Signed G. J. P. 
 
 167 Chalk sketch — Pied Piper of Hamelin (Children). 
 
 168 The Little Sister. 
 
 169 Landscape. 
 
 170 Sketch — Gilbert a Becket's Troth. 
 
 171 Volume of studies for wood drawings. H. "T. Hartley y Esq. 
 
 172 Studies for The High Tide. 
 
 173 Study of a Girl's Head. H. T. Hartley, Esq. 
 
 174 Studies for Shadow and Substance, etc. 
 
 175 Sketch of a Girl's Head.
 
 CATALOGUE OF EXHIBITION 89 
 
 176 The Toy Shop. 
 
 177 Study of a Lady. 
 
 178 Elsie. 
 
 179 A Mediaeval Pedlar. 
 I 80 The Fisherwife. 
 
 1 8 1 Sketch for Pied Piper of Hamelin (Children). 
 
 182 The Betrothed. 
 
 1 83 *Study for Winstanley, 
 
 Lent by Edward Dalziel, Esq.^ in 1876. 
 
 184 Sketch for the Elixir of Love. (6|- x 1 1|- in.) 
 
 H. T. Hartley, Esq. 
 
 185 Study of a Head — Tangier. 
 
 Edward Dalziely Esq. Lot 150. 
 
 186 The Fairy Tale. 
 
 187 Studies in Tangier. 
 
 188 Study for wood blocks. 
 
 189 Study for the water-colour — Lovers. 
 
 1 90 Study for wood drawing. 
 
 191 Study of a Man's Head. 
 
 192 Study — Costume. 
 
 193 Topsy — Head. 
 
 194 Sketch — Pied Piper of Hamelin (Children). 
 
 195 Study for wood blocks. 
 
 196 Sketch for " The milking pail." 
 
 N
 
 90 CATALOGUE OF EXHIBITION 
 
 197 A Garden Scene. 
 
 198 The Double Transformation. 
 
 199 *Love in the Middle Ages. 
 
 Lent by N. Cookcy Esq., in 1876. 
 
 200 The Letter. 
 
 SECOND SCREEN. 
 
 (I presume that these were chiefly, if not entirely, drawings 
 in pencil.— G. C. W.) 
 
 201 *" Brothers, and a Sermon," by Jean Ingelow. 
 
 Lent by Edward Dalziel, Esq., in 1876. 
 
 202 *"The High Tide," by Jean Ingelow. 
 
 Lent by George Dalziel, Esq., in 1876. 
 
 203 *A Long Conversation — The Calf — The Old Couple and the 
 
 Old Clock. Three drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 204 *Strife and Peace, etc. 
 
 Lent by Thomas Dalziel, Esq., in 1876. 
 
 205 *The Park Seat. (8x12 in.) 
 
 Lent by Edward Dalziel, Esq., in 1876 ; now belongs to 
 H. T. Hartley, Esq. 
 
 206 *Wood block — Sweet Content. 
 
 Lent by G. MacDonald, Esq., in 1876. 
 
 207 *A Dead Year. 
 
 Lent by Edward Dalziel, Esq., in 1876.
 
 CATALOGUE OF EXHIBITION 91 
 
 208 *Rural Happiness — Shadow and Substance — The Sick Lamb. 
 
 Three drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 209 *Study for Last Load. (5 J x 8J- in.) 
 
 Lent by Edward Dalziely Esq., in 1876; now belongs 
 to H. T. Hartley, Esq. 
 
 210 *Maid Mettelil — Refledlions. (30 x 24!- in.) 
 
 Lent by George Dalziel, Esq., in 1876; now belongs to 
 William Newally Esq. 
 
 2 1 1 *Young Axelvold. 
 
 Lent by George Dalziel, Esq., in 1876. 
 
 2 1 2 "^Sigurd of Saxony. 
 
 Lent by Edward Dalziel, Esq., in 1876, 
 
 2 1 3 Studies for ReHcs of the Past, etc. 
 
 214 *Kitty Morris — Old Wives. Two drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 215 * Tramps — Sailor's Love — The Swallows. Three drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 216 Head of a Lady. 
 
 217 Maid Mettelil and others. 
 
 218 *King Pippin — The Old Cart. Two drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 219 A Long Conversation — The Great Lady. 
 
 220 *At the Foot of the Quantocks. (isJx 21 in.) 
 
 Lent by G. E. Street, R.A. in 1876.
 
 92 CATALOGUE OF EXHIBITION 
 
 221 Study for The Elixir of Love. (7x11 in.) 
 
 H. T. Hartley, Esq. 
 Ill *By the Dovecot — Dodor Tom — Bess. Three drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 223 *The Goose Going Home — At Home. Two drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 224 Studies for wood drawings. 
 
 225 Study of a Head. 
 
 226 *Patience. 
 
 Lent by Edward Dalziel, Esq., in 1876. 
 
 227 ^Connoisseurs — A Winter Song. Two drawings. 
 
 Lent by Dalziel Brothers in 1876. 
 
 228 Studies for wood drawings. 
 
 229 Study for Sally in our Alley. (0/7.) (10 x iij in.) 
 
 H. T. Hartley, Esq. 
 
 230 Study for Head in The Elixir of Love. 
 
 231 *Sketch from " The Vicar." 
 
 Lent by C. Green, Esq., in 1876. 
 
 232 *The Sick Sheep. 
 
 Lent by T. fVhite, Esq., in 1876. 
 
 Sold at Dalziel' s sale in 1886 for ^27 6s., to Permain. 
 Probably this was in colour.
 
 LIST OF CONTRIBUTORS TO THE 
 EXHIBITION. 
 
 Austin, W., Esq^, 44. 
 
 Batterbury, Thomas, Esci., 85. 
 
 Capron, J. Rand, Esq^, 57. 
 
 Cook, Nathaniel, Esq., 199, 
 
 Dalziel Brothers, 208, 214, 215, 218, 222, 223, 227. 
 
 Dalziel, Edward, Esq^, 2, 10, 28, 32, 25, 54j 60, 63, 67,73, 
 
 835 89, 90, 97, 183, 201, 205, 207, 209, 212, 226. 
 Dalziel, George, Esq^, sS^ 7^i 82, 88, 93, 165, 202, 210, 211. 
 Dalziel, Thomas, Esq^, 204. 
 Foster, Birket, Esq^, 5. 
 Green, C, Esq^, 40, 231. 
 Jaffray, J., EsQ^, 80. 
 MacDonald, G., EsQi, 206. 
 Prance, R. H., Esq., 122. 
 Rathbone, p. H., EsQi, 145. 
 Street, G. E., R.A., 220. 
 ToPHAM, F. W., EsQi, 50, 86. 
 Waithman, C, Esq., 94. 
 Waithman, R. H., Esq_, 77, 96, 104. 
 White, T., Esq^, 232. 
 Wood, Thomas, Esq., 2, Mandeville Place, 70.
 
 CATALOGUE 
 
 OF 
 
 THE WHOLE OF 
 
 THE REMAINING WORKS 
 
 OF 
 
 G. J. PINWELL, Deceased, 
 
 LATE MEMBER OF THE SOCIETY OF PAINTERS IN WATER COLOURS 
 
 COMPRISING 
 
 About 200 Water-colour Drawings and Sketches^ a large Number of 
 
 Pencil and Pen-and-ink Drawings, and some Oil Figures, 
 
 including The Earl of ^arterdeck. The Old Cross ^ a 
 
 large unfinished Work from Bunyans " Pilgrim 
 
 Progress,' " Vanity Fair^' etc. : 
 
 SOLD BY AUCTION 
 
 BY 
 
 Messrs. CHRISTIE, MANSON &> WOODS, 
 
 AT THEIR GREAT ROOMS 
 
 8, KING STREET, ST. JAMES'S SQUARE, 
 ON THURSDAY, MARCH i6th, 1876, 
 
 AT ONE o'clock PRECISELY.
 
 CONDITIONS OF SALE. 
 
 I. The highest Bidder to be the Buyer; and if any dispute arise 
 between two or more Bidders, the Lot so in dispute shall be 
 immediately put up again and re-sold. 
 
 II. No person to advance less than is. ; above ^5 5^. ; and so on 
 in proportion. 
 
 III. In the case of Lots upon which there is a reserve, the 
 
 Audtioneer shall have the right to bid on behalf of the Seller. 
 
 IV. The Purchasers to give in their Names and Places of Abode, 
 
 and to pay down 5^. in the pound, or more, in part of pay- 
 ment, or the whole of the Purchase-Money, if required ; in 
 default of which, the Lot or Lots so purchased to be im- 
 mediately put up again and re-sold. 
 
 V. The Lots to be taken away and paid for, whether genuine and 
 authentic or not, with all faults and errors of description, at 
 the Buyer's expense and risk, within Two days from the sale ; 
 Messrs. Christie, Manson and Woods not being re- 
 sponsible for the corre6l description, genuineness, or au- 
 thenticity of, or any fault or defed in, any Lot ; and mak- 
 ing no warranty whatever. 
 
 VI. To prevent inaccuracy in delivery, and inconvenience in the 
 settlement of the Purchases, no Lot can on any account be 
 removed during the time of Sale; and the remainder of the 
 Purchase-Money must absolutely be paid on the delivery. 
 
 VII. Upon failure of complying with the above Conditions, the 
 Money deposited in part of payment shall be forfeited; all 
 Lots uncleared within the time aforesaid shall be resold by 
 public or private Sale, and the deficiency (if any) attending 
 such re-sale shall be made good by the Defaulter at this Sale.
 
 Dalziel 
 
 4 Studies for the High Tide 
 
 5 Study of a Girl's Head ) 
 
 V Marsden 
 
 6 Studies for Shadow and Substance, etc. j 
 
 7 Study for Wood Blocks 
 
 WORKS IN BLACK AND WHITE 
 
 1 Sigurd of Saxony Dalziel o i o o 
 
 2 Chalk Sketch — Pied Piperof Hamelin (Children) 
 
 Dalziel i 2 o 
 
 3 Studies for Wood Drawing 
 
 I lO 
 
 Chipp o I 
 
 8 Study for the Water Colour : Lovers 
 
 9 Study for Wood Drawing 
 
 10 Study for Wood Blocks 
 
 1 1 Study for Last Load 
 
 1 2 Studies for ReHcs of the Past, etc. 
 
 13 Head of a Lady 
 
 14 Maid Mettelil ; and others 
 
 15 A Long Conversation — The Great Lady 
 
 'Thibeauden 
 O 
 
 Way 
 
 
 
 16 
 
 
 
 Dalziel 
 
 
 
 8 
 
 
 
 Dalziel 
 
 I 
 
 4 
 
 
 
 rdcastle 
 
 
 
 10 
 
 
 
 Waller 
 
 I 
 
 8 
 

 
 98 
 
 CATALOGUE OF SALE 
 
 1 6 Study for the Elixir of Love 
 
 I 7 Studies for Wood Drawings 
 i8 Study of a Head 
 
 1 9 Studies for Wood Drawings 
 
 20 Study for Sally in our Alley 
 
 21 Study for Head in the Elixir of Love 
 
 22 The Old Clock; and others 
 
 23 The Elixir of Love ; and others 
 
 24 Winstanley, by Jean Ingelow 
 
 25 Peeling Potatoes 
 16 Uncommercial Traveller (C. Dickens) Dalziel 
 
 II Study for a Pidlure 
 
 28 The Double Transformation 
 
 29 Maid Mettelil : Danish Ballad 
 
 30 Seat in St. James's Park 
 
 3 1 Another of the same Subjed 
 
 32 Cartoon — " Vanity Fair " 
 
 
 L 
 
 /. 
 
 d. 
 
 Hardens tie 
 
 I 
 
 I 
 
 
 
 Way 
 
 I 
 
 I 
 
 
 
 Hardcastle 
 
 
 
 17 
 
 
 
 Dalziel 
 
 I 
 
 2 
 
 
 
 Waller 
 
 I 
 
 
 
 
 
 e JVay 
 
 
 
 15 
 
 
 
 Marsden 
 
 2 
 
 
 
 
 
 Way 
 
 2 
 
 2 
 
 
 
 Walker 
 
 2 
 
 4 
 
 
 
 Walker 
 
 3 
 
 3 
 
 
 
 s) Dalziel 
 
 
 
 ^5 
 
 
 
 ^lilter 
 
 2 
 
 4 
 
 
 
 Major 
 
 I 
 
 I 
 
 
 
 Way 
 
 I 
 
 14 
 
 
 
 Thibeauden 
 
 3 
 
 10 
 
 
 
 Waller 
 
 I 
 
 10 
 
 
 
 Marsden 
 
 4 
 
 10 
 
 
 
 WATER-COLOUR DRAWINGS. 
 
 2)1 Among the Rocks 
 
 34 Bicknoller 
 
 35 Bed-time 
 
 ^d Study for Fiddler 
 
 Heath 
 
 300 
 
 Waterlow 
 
 3 5 
 
 Walker 
 
 200 
 
 iardcastle 
 
 I
 
 CATALOGUE OF SALE 
 
 37 Study for Park Seat Water low 
 
 38 Saturday Night Chipp 
 
 39 Haymakers Dalziel 
 
 40 By the Seaside JValler 
 
 41 Garden Scene at Cookham Dalziel 
 
 42 A Harvest Moon Dalziel 
 
 43 Hot Chestnuts Waterlow 
 
 44 Danish Ballad : Maid Mettelil Way 
 
 45 My Son's Wife Elizabeth, The High Tide, by 
 
 Jean Ingelow Dalziel 
 
 46 Goldsmith and his Landlady Marsden 
 
 47 Study of a Woman Waterlow 
 
 48 Study of a Man's Head Hardcastle 
 
 49 The Enchantress of Flowers Waller 
 
 50 Sigurd of Saxony filter 
 
 5 1 Head of a Lady Dalziel 
 
 52 Study of a Soldier Waterlow 
 
 53 At Ventnor ^hibeauden 
 
 54 The Musical Box Hardcastle 
 55-56 The Recruit and The Deserter — a pair Dalziel 
 
 57 At the Bed-side Walker 
 
 58 Return of the Prodigal Cox 
 
 59 Study for Gilbert a Becket's Troth Redford 
 
 60 Hard Times Marsden 
 
 99 
 
 4 o 
 
 2 15 
 
 1 10 
 
 18 
 
 12 I 
 
 5 o 
 
 17 17 
 
 12 I 
 
 17 6 
 
 7 7 
 
 2 o 
 
 3 3 
 3 13 
 
 27 6 
 
 1 5 
 
 7 7 
 
 5 15 
 
 I 15 
 12 I 
 
 5 15 
 3 5 
 
 12 12 
 
 6 6 
 
 o 
 o 
 o 
 o 
 6 
 o 
 o 
 6 
 
 6 
 
 o 
 o 
 o 
 6 
 o 
 o 
 o 
 6 
 o 
 6 
 6 
 c 
 o 
 

 
 lOO 
 
 CATALOGUE OF SALE 
 
 
 
 
 C 
 
 /. 
 
 ^. 
 
 6i 
 
 Lady at the Piano 
 
 Vokins 
 
 1 1 
 
 1 1 
 
 
 
 62 
 
 The Poor Boy 
 
 Hillyer 
 
 4 
 
 H 
 
 6 
 
 63 
 
 Life Study 
 
 Wright 
 
 I 
 
 10 
 
 
 
 64 
 
 Mariana : Head 
 
 ColUnson 
 
 2 
 
 10 
 
 
 
 65 
 
 Distraining for Rent 
 
 Thibeauden 
 
 12 
 
 12 
 
 
 
 66 
 
 A London Garden 
 
 Waterlow 
 
 5 
 
 5 
 
 
 
 67 
 
 Study for '* Vanity Fair " 
 
 Way 
 
 6 
 
 16 
 
 6 
 
 68 
 
 Plucking Flowers 
 
 Heath 
 
 4 
 
 4 
 
 
 
 69 
 
 A Harvest Whoop 
 
 Dalziel 
 
 4 
 
 4 
 
 
 
 70 
 
 The Young Smoker 
 
 Dalziel 
 
 5 
 
 5 
 
 
 
 71 
 
 Sheep Pen 
 
 Bayer 
 
 2 
 
 5 
 
 
 
 72 
 
 Going a-Milking 
 
 Dalziel 
 
 5 
 
 15 
 
 6 
 
 73 
 
 " It was a Farmer and his Lass " 
 
 Dalziel 
 
 7 
 
 7 
 
 
 
 74 
 
 Sweet Content 
 
 Burr 
 
 9 
 
 9 
 
 
 
 75 
 
 Pawning the Wedding Ring 
 
 Wright 
 
 3 
 
 3 
 
 
 
 76 
 
 Study for the Elixir of Love 
 
 Waller 
 
 5 
 
 15 
 
 6 
 
 77 
 
 Beer Church, South Devon 
 
 Way 
 
 2 
 
 5 
 
 
 
 78 
 
 After the Day's Work 
 
 Dalziel 
 
 2 
 
 12 
 
 6 
 
 79 
 
 Sketch from the " Vicar of Wakefield 
 
 Robertson 
 
 I 
 
 15 
 
 
 
 80 
 
 The New Servant 
 
 Marsden 
 
 4 
 
 14 
 
 6 
 
 81 
 
 Poachers 
 
 Marsden 
 
 2 
 
 2 
 
 
 
 82 
 
 A Storm 
 
 Newcomb 
 
 3 
 
 3 
 
 
 
 83 
 
 The Country Cousin 
 
 Dalziel 
 
 5 
 
 15 
 
 6 
 
 84 
 
 To the Rescue 
 
 Dalziel 
 
 14 
 
 14 
 

 
 
 UAlALUi^Ut U 
 
 1^ bALt 
 
 
 lOI 
 
 
 
 
 £ 
 
 s. 
 
 ^. 
 
 85 
 
 She was a Phantom of Delight 
 
 Waterlow 
 
 4 
 
 4 
 
 
 
 86 
 
 Christmas Fairies 
 
 Waller 
 
 4 
 
 14 
 
 6 
 
 87 
 
 A Knight returning from War 
 
 Cox 
 
 2 
 
 2 
 
 
 
 88 
 
 Knight and Lady : Danish Ballad 
 
 Waterlow 
 
 8 
 
 8 
 
 
 
 89 
 
 Kitty Morris 
 
 Dalziel 
 
 7 
 
 1 
 
 
 
 90 
 
 Lalla Rookh 
 
 Waller 
 
 3 
 
 13 
 
 6 
 
 91 
 
 The Knight and the Wood Nymph Waller 
 
 7 
 
 7 
 
 
 
 92 
 
 Sketch for the Princess and Ploughboy Dalziel 
 
 32 
 
 II 
 
 
 
 93 
 
 The Naughty Child 
 
 Robertson 
 
 3 
 
 3 
 
 
 
 94 
 
 Pleasure Seekers 
 
 Waterlow 
 
 6 
 
 16 
 
 6 
 
 9S 
 
 Life Study 
 
 Wright 
 
 I 
 
 5 
 
 
 
 96 
 
 Regent's Park : Town Children 
 
 and Town 
 
 
 
 
 
 Sheep 
 
 Burr 
 
 4 
 
 14 
 
 6 
 
 97 
 
 Scene from the « Vicar of Wakefield " Waller 
 
 3 
 
 13 
 
 6 
 
 98 
 
 Little Sweethearts 
 
 Thibeauden 
 
 3 
 
 13 
 
 6 
 
 99 
 
 Sketch for '' Vanity Fair " 
 
 Waller 
 
 9 
 
 9 
 
 
 
 100 
 
 Study of a Woman 
 
 Marsden 
 
 2 
 
 2 
 
 
 
 lOI 
 
 A Severe Ledure 
 
 Dalziel 
 
 I 
 
 10 
 
 Q 
 
 102 
 
 Classic Group 
 
 Cox 
 
 2 
 
 2 
 
 
 
 103 
 
 Kitchen Scene 
 
 Dalziel 
 
 5 
 
 5 
 
 
 
 104 
 
 Study of a Mule 
 
 Wright 
 
 I 
 
 15 
 
 
 
 105 
 
 A Duel 
 
 Wright 
 
 3 
 
 10 
 
 
 
 106 
 
 The New Novel 
 
 Walker 
 
 2 
 
 10 
 
 
 
 107 
 
 Sketch : Arabian Nights 
 
 Cox 
 
 I 
 
 10 
 

 
 102 
 
 CATALOGUE OF SALE 
 
 1 08 Sketch : Pied Piper of Hamelin (Children) 
 
 L 
 
 
 
 
 Marsden 
 
 6 
 
 6 
 
 
 
 109 
 
 A Drummer 
 
 
 Waterlow 
 
 6 
 
 16 
 
 6 
 
 1 10 
 
 The Connoisseurs 
 
 
 Dalziel 
 
 5 
 
 15 
 
 6 
 
 II 1 
 
 Study of Gilbert a Becket' 
 
 s Troth 
 
 Waller 
 
 II 
 
 1 1 
 
 
 
 112 
 
 Bicknoller Church 
 
 
 Way 
 
 I 
 
 II 
 
 6 
 
 113 
 
 The Visitor 
 
 
 Cox 
 
 7 
 
 17 
 
 6 
 
 114 
 
 Study near Hampstead 
 
 
 Major 
 
 2 
 
 2 
 
 
 
 ti5 
 
 Ramble Mill 
 
 
 Waller 
 
 I 
 
 10 
 
 
 
 [16 
 
 Katharine 
 
 
 Walker 
 
 3 
 
 13 
 
 6 
 
 [17 
 
 Mamma's Watch 
 
 
 Marsden 
 
 1 1 
 
 1 1 
 
 
 
 [18 
 
 Farmyard, Somerset, with 
 
 Figure 
 
 Waller 
 
 5 
 
 5 
 
 
 
 [19 
 
 Fuel Gatherers 
 
 
 Waller 
 
 4 
 
 14 
 
 6 
 
 20 
 
 A Holy Friar 
 
 
 Walker 
 
 I 
 
 15 
 
 
 
 21 
 
 Study from the Life 
 
 
 Bayer 
 
 2 
 
 2 
 
 
 
 [22 
 
 Sketch for '' Well, I must 
 
 Go" 
 
 Pocock 
 
 5 
 
 15 
 
 6 
 
 23 
 
 Spring Meadows 
 
 
 Hardcastle 
 
 I 
 
 15 
 
 
 
 24 
 
 The Sailor's Wife 
 
 
 Marsden 
 
 12 
 
 12 
 
 
 
 25 
 
 Study of a Lady 
 
 
 Waterlow 
 
 I 
 
 1 1 
 
 6 
 
 26 
 
 The New Baby 
 
 
 Walker 
 
 6 
 
 6 
 
 
 
 27 
 
 The Kitchen Maid 
 
 
 Vokins 
 
 6 
 
 6 
 
 
 
 28 
 
 Watching for the Carrier's 
 
 Cart 
 
 Waller 
 
 2 
 
 2 
 
 
 
 29 
 
 Mending Armour 
 
 
 Robertson 
 
 4 
 
 14 
 
 
 
 30 
 
 A Fairy Tale 
 
 
 Burr 
 
 2 
 
 2 
 

 
 
 (^AIALULjU 
 
 L UJt^ bALl: 
 
 
 103 
 
 
 
 
 £ 
 
 /. 
 
 ^. 
 
 131 
 
 Sketch for Elizabeth : " The 
 
 High Tide." Jean 
 
 
 
 
 
 Ingelow 
 
 Dalziel 
 
 3 
 
 3 
 
 
 
 132 
 
 Moonlight 
 
 Dalziel 
 
 5 
 
 5 
 
 
 
 133 
 
 Mending the Nets 
 
 Robertson 
 
 4 
 
 4 
 
 
 
 134 
 
 Watchet Harbour 
 
 Way 
 
 2 
 
 2 
 
 
 
 ^3S 
 
 Out for a Holiday- 
 
 Dalziel 
 
 I 
 
 II 
 
 6 
 
 136 
 
 Indian Princess 
 
 Gurney 
 
 2 
 
 12 
 
 6 
 
 137 
 
 Strollers : after the Fair 
 
 Newcomb 
 
 2 
 
 2 
 
 
 
 138 
 
 The Little Sister 
 
 Dalziel 
 
 I 
 
 15 
 
 
 
 139 
 
 Landscape 
 
 Major 
 
 I 
 
 I 
 
 
 
 140 
 
 Sketch : Gilbert a Becket's 
 
 Troth Burr 
 
 
 
 15 
 
 
 
 141 
 
 Sketch of a Girl's Head 
 
 Hardcastle 
 
 I 
 
 I 
 
 
 
 142 
 
 The Toyshop 
 
 Waller 
 
 2 
 
 2 
 
 
 
 143 
 
 Study of a Lady 
 
 Major 
 
 2 
 
 2 
 
 
 
 144 
 
 Elsie 
 
 Newcomb 
 
 
 
 15 
 
 
 
 145 
 
 A Mediaeval Pedlar 
 
 Thibeauden 
 
 4 
 
 
 
 
 
 146 
 
 The Fisherwife 
 
 Collinson 
 
 .7 
 
 7 
 
 
 
 147 
 
 Sketch for Pied Piper of Hamelin (Children) ^^j 
 
 I 
 
 I 
 
 
 
 148 
 
 The Betrothed 
 
 Wright 
 
 
 
 18 
 
 
 
 149 
 
 Sketch for Elixir of Love 
 
 Waller 
 
 I 
 
 15 
 
 
 
 150 
 
 Study of a Head (Tangier) 
 
 Dalziel 
 
 
 
 15 
 
 
 
 151 
 
 The Fairy Tale 
 
 Wright 
 
 I 
 
 15 
 
 
 
 152 
 
 Studies in Tangier 
 
 Blackmore 
 
 
 
 12 
 
 
 
 ^S3 
 
 Study of a Man's Head 
 
 Robertson 
 
 3 
 
 5 
 

 
 104 
 
 CATALOGUE OF SALE 
 
 154 Study : Costume Heath 
 
 155 Topsy: Head Wright 
 
 156 Sketch : Pied Piper of Hamelin (Children) 
 
 I I 
 I 15 
 
 
 Finished Study of heads 
 
 
 Way 
 
 1 
 
 5 
 
 
 
 157 
 
 Sketch for the " Milking Pail " 
 
 Dalziel 
 
 
 
 16 
 
 
 
 158 
 
 A Garden Scene 
 
 
 Waller 
 
 5 
 
 5 
 
 
 
 159 
 
 The Letter : Sketch 
 
 
 Waller 
 
 3 
 
 10 
 
 
 
 160 
 
 The Double Transformation 
 
 Vokins 
 
 25 
 
 4 
 
 
 
 161 
 
 Study for Pied Piper of Hamelin (The 
 
 
 
 
 
 Children) 
 
 
 Dalziel 
 
 24 
 
 3 
 
 
 
 162 
 
 A Day with Grandmamma 
 
 
 Dalziel 
 
 7 
 
 7 
 
 
 
 163 
 
 King Pippin 
 
 
 Dalziel 
 
 7 
 
 7 
 
 
 
 164 
 
 Mamma's Watch 
 
 
 Waller 
 
 3 
 
 13 
 
 6 
 
 165 
 
 The Letter 
 
 
 Marsden 
 
 12 
 
 12 
 
 
 
 166 
 
 Sweet Melancholy 
 
 
 Dalziel 
 
 22 
 
 I 
 
 
 
 167 
 
 Sketch for '^ Vanity Fair " 
 
 
 Dalziel 
 
 36 
 
 15 
 
 
 
 168 
 
 The Hunted Fox 
 
 
 Walker 
 
 I 
 
 ro 
 
 
 
 169 
 
 The Young Truant 
 
 / the Soci 
 er Colou 
 
 Creighton 
 
 5 
 
 5 
 
 
 
 170 
 
 Greek Sorceress 
 
 Waller 
 
 2 
 
 
 
 
 
 171 
 
 In the Snow 
 
 
 Dalziel 
 
 4 
 
 15 
 
 
 
 172 
 
 The Little Windmill 
 
 1 -^ 
 
 Dalziel 
 
 3 
 
 10 
 
 
 
 173 
 
 Children and Geese 
 
 
 Dalziel 
 
 4 
 
 5 
 
 
 
 174 
 
 Lovers by the Sea 
 
 
 'Thibeauden 
 
 2 
 
 
 
 
 
 175 
 
 The Milk Pail 
 
 ^^ 
 
 Marsden 
 
 5 
 
 10 
 

 
 CATALOGUE OF SALE 
 
 176 Old Woman : Street Scene "^ 
 
 177 A Street Scene 
 
 178 Fiddler and Flower Girl 
 
 179 The Captive 
 
 180 A Cock Fight 
 
 181 Regent's Park : Winter 
 
 182 Children 
 
 183 A Fine Lady 
 
 1 84 The Strolling Players 
 
 185 The Elixir of Love. Re- 
 
 plica unfinished I 
 
 V 
 ^ 
 
 Co 
 
 "^ 
 
 o 
 
 ^ 
 
 ^ 
 
 ^ALL 
 
 
 105 
 
 
 £ 
 
 /. 
 
 d. 
 
 Waller 
 
 3 
 
 5 
 
 
 
 Dalziel 
 
 4 
 
 5 
 
 
 
 Waller 
 
 6 
 
 6 
 
 
 
 Marsden 
 
 3 
 
 
 
 
 
 Dalziel 
 
 7 
 
 7 
 
 
 
 Marsden 
 
 4 
 
 4 
 
 
 
 Waller 
 
 2 
 
 
 
 
 
 Waller 
 
 3 
 
 13 
 
 6 
 
 Dalziel 
 
 25 
 
 4 
 
 
 
 Dalziel 
 
 32 II 
 
 PICTURES. 
 
 186 Winter 
 
 187 The Captive 
 
 188 A Winter Evening 
 I 8 9 The Sisters 
 
 190 The Lesson 
 
 191 A Rainy Day 
 
 192 A French Rustic 
 
 Waterlow 
 
 Waller 
 
 Waller 
 
 Cox 
 
 'Thibeauden 
 
 Waller 
 
 Thibeauden 
 
 193 Study for Gilbert a Becket's Troth Burr 
 
 \^4r To carry the Milking Pail Dalziel 
 
 P 
 
 3 13 
 
 5 15 
 
 1 15 
 7 17 
 
 4 4 
 
 2 12 
 
 2 2 
 
 4 4 
 
 6 6 
 
 6 
 6 
 
 o 
 6 
 o 
 6 
 o 
 o 
 o
 
 io6 
 
 CATALOGUE OF SALE 
 
 £ s. d. 
 
 ^9S 
 
 " Vanity Fair " 
 
 Major 
 
 11 
 
 12 
 
 
 
 196 
 
 The Enchanted Prince 
 
 Waterlow 
 
 12 
 
 12 
 
 
 
 ^97 
 
 Sally in our Alley 
 
 Waller 
 
 25 
 
 4 
 
 
 
 198 
 
 *' Vanity Fair " 
 
 Burr 
 
 79 
 
 16 
 
 
 
 199 
 
 The Earl of Quarterdeck 
 
 Dalziel 
 
 14 
 
 14 
 
 
 
 200 
 
 The Quarrel : Old Cross 
 
 Marsden 
 
 63 
 
 
 
 
 
 
 [,164 
 
 II 
 
 6
 
 EXHIBITED WORKS OF GEORGE 
 J. PINWELL.
 
 WORKS EXHIBITED AT THE NEW GALLERY, 
 LONDON, IN 1897-98. 
 
 The New Book. 
 
 Within a room; a priest and a lady in evening costume 
 standing before a table and looking at an open book, which he 
 holds ; in the background is seated a man, also in evening 
 dress, who is watching them. Water-colour, S '^ ^h ^"• 
 
 (No. 159, N. G. ; Deschamps, 32 ; Water-Colour Society, 
 1869-70.) Mrs. Samuel Joseph 
 
 Mamma's Watch. 
 
 In a room, a little girl listening to the ticking of a watch, 
 which is held by her mother to her ear. Water-colour, 
 6 X 6 in. 
 
 (No. 160, N. G. ; Dudley, 1066; Deschamps, 102. Lot 
 117.) Harold T. Hartley j Esq. 
 
 " Old Time and his Wife." 
 
 In a churchyard, an old couple raking up grass; they both 
 hold the same rake ; his hat is placed on a tombstone. Water- 
 colour, 6|- X 4J in.
 
 no EXHIBITED WORKS 
 
 This and the next pidlure are in illustration of Dickens's 
 ** Uncommercial Traveller." 
 
 (No. 165, N. G. ; Deschamps, 54; Water-Colour Society, 
 
 1871-72.) Mrs. Samuel Joseph 
 
 The Vagrants. 
 
 Two vagrants, a man and a woman, approaching a cottage, 
 at the door of which stand a woman and child ; on the right, 
 a dog half out of his kennel and barking ; flowers in the fore- 
 ground. Signed G. J. P., 71. Water-colour, 6 J x 5|- in. 
 (No. 166, N. G. ; Deschamps, 54A.) Mrs. Samuel Joseph 
 
 The Witch's Cave (Sketch in Oils). (Should be called <* The 
 
 Captive.") 
 
 A half-naked girl, with long black hair, standing before a 
 
 cave, at the entrance of which is seated a witch, leaning both 
 
 arms on a table ; in front a brazier ; within the cave are seen 
 
 men drinking. Signed G. J. P. Canvas, 21 x 36 in. 
 
 (No. 172, N. G. Lot 187.) Harold T. Hartley, Esq. 
 
 Out of Tune. 
 
 A lad seated on the steps of a village cross, and tuning his 
 fiddle ; a quarrel has evidently taken place with a girl, who is 
 seated on the other side of the cross, in a brown dress, holding 
 flowers and watching some sheep, on the back of one of which 
 is perched a rook ; trees and a cottage in the background, with 
 a view of distant hill. Signed "G. J. Pinwell." Canvas, 
 30 X 501 in. 
 
 (No. 177, N. G. Lot 200.) 
 
 Sir Cuthhert filter, Bari., M.P.
 
 EXHIBITED WORKS 
 
 III 
 
 A Study for " The Elixir of Love." 
 Water-colour, 6|- x 1 1|- in. 
 (No. 217, N. G. Lot 76.) Harold T. Hartley, Esq. 
 
 First Sketch for " The Last Load." 
 Water-colour, 5|- x 8^ in. 
 (No. 218, N. G.) Harold T*. Hartley, Esq. 
 
 In a Garden at Cookham. 
 
 A child with its mother standing in a garden in front of a 
 cottage. Water-colour, 71^X6 in. 
 
 (No. 219, N. G. Lot 41.) Harold T". Hartley, Esq. 
 
 By the River. 
 
 A lady standing on the bank of a river, on which are two 
 girls in a boat. Water-colour, 8|- x 7f in. 
 
 (No. 220, N. G. Harold T. Hartley, Esq. 
 
 A Study for '^ The Elixir of Love." 
 Water-colour, 7 x 11 in. 
 (No. 221, N, G. Lot 149.) Harold T. Hartley, Esq. 
 
 Seat in St, James's Park. 
 
 A man, a soldier and a girl, and a woman with a child 
 seated on a bench ; before stands a child with a dolPs perambu- 
 lator ; other figures and trees in the background. Water- 
 colour Sketch, 8x12 in. 
 
 (No. 222A, N. G. Lot 37 (r).) Harold T. Hartley, Esq. 
 
 A Study for ''The Pied Piper of Hamelin." 
 Water-colour, 7x11 in. 
 (No. 223, N. G. Lot 156 or 161 (?).) 
 
 Harold T. Hartley, Esq.
 
 112 EXHIBITED WORKS 
 
 First Sketch for " The Haymakers." 
 Water-colour, yf x 6^ in. 
 (No. 224, N. G.) Harold T. Hartley, Esq. 
 
 N.B. — In addition to these Mr. Hartley possesses *' A Study 
 of a Cavalier" and "A Bride," neither of which was at 
 Deschamps Exhibition in 1876, (See page 147.) 
 
 WORKS EXHIBITED IN BIRMINGHAM IN 
 
 MARCH, 1895, AT THE ROYAL 
 
 SOCIETY OF ARTISTS, 
 
 WITH THE NAMES OF THE PERSONS THEN OWNING THEM. 
 
 Seat in St. James's Park. 
 
 (No. 6.) Miss J. Dalziel 
 
 (Now belongs to Mr. H. T. Hartley.) 
 
 Waiting. 
 
 A Dead Year. 
 
 (No. 348.) Miss J. Dalziel 
 
 An Old Man, etc. 
 
 (No. 349.) Miss J. Dalziel 
 
 An Old Rustic, etc. 
 
 (No. 350.) Miss J. Dalziel 
 
 Tramps Asleep. 
 
 (No. 351.) Miss J. Dalziel
 
 EXHIBITED WORKS 
 
 113 
 
 Tramps; Sailors' Love ; Swallows. 
 (No. 352.) 
 
 Miss J. Dalziel 
 
 Rural Happiness; Shadows and Substance; The Sick Lamb. 
 
 (No. ^^2-) ^^^^ J- Dalziel 
 
 Patience. 
 
 (No. 354.) 
 
 Sigurd of Saxony. 
 (No. 3SS') 
 
 Brothers. 
 
 (No. 3s6.) 
 
 Miss J. Dalziel 
 Miss J. Dalziel 
 
 Miss y. Dalziel 
 
 Illustrations to Jean Ingelow's Poem " Winstanley." 
 (No. 357.) 
 
 Sheep and Lamb, etc. 
 (No. 358.) 
 
 Kitty Morris ; Old Wives. 
 (No. 359.) 
 
 Beehives, Bicknoller Church, etc. 
 (No. 360.) 
 
 Simple Simon. 
 (No. 361.) 
 
 Young Archibald. 
 (No. 362). 
 
 The Windmill. 
 (No. 363.) 
 
 Miss y. Dalziel 
 Miss y. Dalziel 
 Miss y. Dalziel 
 Miss y. Dalziel 
 Miss y. Dalziel 
 Miss y. Dalziel 
 Miis y. Dalziel
 
 114 
 
 EXHIBITED WORKS 
 
 Miss J. Dalziel 
 Miss J. Dalziel 
 
 Harvesters. 
 
 (No. 364.) 
 
 The Violoncello Player. 
 (No. 365.) 
 
 Exchange. 
 
 Sketch made at the Langham Sketching Club. 
 
 (No. 2>^6.) Edwin Hayes, R.I. 
 
 Fiddler and Flower Girl. 
 
 (No. 367.) Harold T. Hartley, Esq. 
 
 Study for " Vanity Fair." 
 (No. 368.) 
 
 Study for Children in " The Pied Piper." 
 (No. 369.) 
 (Now belongs to H. T. Hartley, Esq.) 
 
 Strolling Players. 
 (No. 370.) 
 
 Sketch for " Seat in St. James's Park." 
 
 (No. 371.) 
 
 Sketch for " The Pied Piper." 
 (No. 372.) 
 
 A Cock Fight. 
 (No. 373.) 
 
 A Severe Lefture. 
 (No. 374.) 
 
 The Tiff. 
 
 (No. 375.) 
 
 Lewis Jarvis, Esq. 
 Miss J. Dalziel 
 
 Miss J. Dalziel 
 W. Weeks, Esq. 
 W. Weeks, Esq. 
 Miss J. Dalziel 
 Miss J. Dalziel 
 Miss J. Dalziel
 
 EXHIBITED WORKS 115 
 
 Lovers by the Sea. 
 (His last work.) 
 (No. 376.) Miss J. Dalziel 
 
 Driving Geese. 
 
 (No. 377.) Miss J. Balziel 
 
 Works lent by Harry Quilter, Esq. 
 
 Sweet Melancholy. 
 (No. 378.) 
 
 Sigurd of Saxony. 
 (No. 379.) 
 
 Jack and Jill. 
 (No. 380,) 
 
 Sweethearts. 
 
 (No. 381.) 
 
 The Smuggler's Wife. 
 
 (No. 382.) 
 
 Original Drawings for Jean Ingelow's Poems. 
 
 (No. 383.) 
 
 The Red House, 
 
 (No. 385.) 
 
 Memories. 
 
 (No. 386.) 
 
 A Visit. 
 
 (No. 387.)
 
 ii6 EXHIBITED WORKS 
 
 Vanity Fair. 
 
 (No. 393.) 
 
 Original Drawing for Jean Ingelow's Poems. 
 (No. 406.) 
 
 Peg Woffington before Manager Rich. 
 
 (No. 407.) 
 
 My Son's Wife Elizabeth. 
 (No. 408.) 
 
 The Poachers. 
 (No. 409.) 
 
 The Pied Piper of Hamelin. 
 (No. 410.) 
 
 Street Minstrels. 
 (No. 41 1.) 
 
 Sketch for '' The Pied Piper." 
 (No. 412.) 
 
 The New Servant. 
 (No. 413.) 
 
 Original Drawings for Jean Ingelow's Poems. 
 (No. 414.) 
 
 My Son's Wife Elizabeth. 
 
 (No. 415.) Mw y. Dalziel 
 
 Sweet Melancholy. 
 
 (No. 416.) Miss J. Dalziel
 
 EXHIBITED WORKS 
 
 117 
 
 She was a Phantom of Delight. 
 
 (No. 417.) 
 
 Study for the " Elixir of Love." 
 (No. 418.) 
 
 The Young Smoker. 
 (No. 419.) 
 
 Out for a Holiday, 
 (No. 420.) 
 
 Danish Ballad. 
 (No. 421.) 
 
 The Great Lady. 
 (No. 422.) 
 
 A London Garden, 
 (No, 423.) 
 
 The Harvest Whoop. 
 (No, 424.) 
 
 Haymakers. 
 (No. 425.) 
 
 The Recruit. 
 (No. 426,) 
 
 The Deserter. 
 
 (No. 427.) 
 
 Going a Milking, 
 (No, 428.) 
 
 The Enchanted Prince. 
 
 (No, 429.) 
 
 E. A. Waterlow^ Esq. 
 
 H. T". Hartley, Esq. 
 
 Miss J. Dalziel 
 
 Miss J. Dalziel 
 
 E. A. Water low, Esq. 
 W. Austin, Esq. 
 
 E. A. Waterlow, Esq. 
 J. Dalziel, Esq. 
 Miss J. Dalziel 
 Miss J. Dalziel 
 Miss J. Dalziel 
 Miss J. Dalziel 
 
 E. A. Waterlow, Esq.
 
 ii8 
 
 EXHIBITED WORKS 
 
 The Pied Piper. 
 
 (No. 430.) 
 
 Another one (No, 439). 
 
 Earl of Quarterdeck. 
 (No. 431.) 
 
 A Kitchen Scene. 
 (No. 432.) 
 
 A Country Cousin. 
 
 (No. 433.) 
 
 Out of Tune. 
 (No. 435.) 
 
 The New Shoes. 
 (No. 436.) 
 
 The Princess and the Ploughboy. 
 (No. 440.) 
 
 The Milking Pail. 
 (No. 441.) 
 
 Kitty Morris in the Spinney. 
 (No. 442.) 
 
 Gilbert a Becket's Troth. 
 (No. 446.) 
 
 First Sketch for " The Last Load." 
 (No. 447.) 
 
 Study of a Woman. 
 
 (No. 448.) 
 
 J. S. Budgeit, Esq. 
 
 P. H. Rathboncy Esq. 
 
 Miss J. Dalziel 
 
 Miss J. Dalziel 
 
 Sir C. filter y Bart. 
 
 Miss Dalziel 
 
 Miss J. Dalziel 
 
 Miss J. Dalziel 
 
 Miss J. Dalziel 
 
 Sir John J affray^ Bart. 
 
 Miss J. Dalziel 
 
 E. A. Waterlow^ Esq.
 
 EXHIBITED WORKS 
 
 119 
 
 The Letter. 
 
 (No. 449.) ^' H. Lefevre^ Esq. 
 
 The Park Seat. 
 
 (No. 451.) E. A. Waterlow^ Esq. 
 
 Connoisseurs. 
 
 (No. 452.) Miss J. Dalziel 
 
 DRAWINGS AND PRINTS EXHIBITED AT THE 
 CAMBERWELL ART GALLERY. 
 
 WITH THE NAMES OF THE PERSONS THEN OWNING THEM. 
 
 A Scene in St. James's Park. 
 (No. 113.) 
 
 Rural Happiness. 
 Autumn. 
 (No. 114.) 
 
 Illustrations to " Wayside Posies." 
 (No. 115.) 
 
 Sisters. 
 
 (No. 117.) 
 
 The Quarrel. 
 
 (No. 118.) (Colour.) 
 
 Rough Sketches for figures in " Vanity Fair." 
 
 (No. 119.) H. T. Hartley, Esq. 
 
 H. T. Hartley, Esq. 
 
 Gilbert Dalziel^ Esq. 
 
 J. Pennell, Esq. 
 
 Gilbert Dalziel, Esq. 
 
 H. T. Hartley, Esq.
 
 I20 
 
 EXHIBITED WORKS 
 
 Drawings on Wood. 
 (No. 1 20.) 
 
 The Gossips. 
 (No. 121.) 
 
 Drawing for Goldsmith. 
 (No. 123.) 
 
 Old Rustic and Lady. 
 (No. 124.) 
 
 Illustration of " Wayside Posies." 
 (No. 125.) 
 
 A Cock Fight. 
 (No. 2.) 
 
 Study of " The Pied Piper of Hamelin." 
 (No. 3.) 
 
 South Kensington Museum 
 {Owner s name not given) 
 
 J. Pennelly Esq. 
 
 G. Dalzielj Esq. 
 
 J. Penneily Esq. 
 
 G. Dalziel, Esq. 
 H. T. Hartley, Esq. 
 
 Black and White. 
 In a Garden. 
 (No. 7.) 
 
 Haymakers. 
 (No. II.) 
 
 Kitchen Scene. 
 (No. 12.) 
 
 Study for '^ Seat in St. James's Park." 
 (No. 14.) 
 
 By the River. 
 (No. 15.) 
 
 H. T. Hartley, Esq. 
 
 G. Dalziel, Esq. 
 
 G. Dalziel, Esq. 
 H. T. Hartley, Esq. 
 H. T. Hartley, Esq.
 
 EXHIBITED WORKS 
 
 121 
 
 Sketch for " The Ehxir of Love." 
 (No. 17.) 
 
 First Sketch for " The Last Load." 
 (No. 32.) 
 
 Mamma's Watch. 
 (No. 34.) 
 
 Sketch for '* The Elixir of Love." 
 (No. 3S.) 
 
 The Captive. 
 (No. 36.) 
 
 The New Shoe. 
 (No. 37.) 
 
 Kitty Morris in the Spinney. 
 (No. 41.) 
 
 Fiddler and Flower Girl. 
 (No. 42.) 
 
 Sally in our Alley. 
 
 (No. 70.) (Colour.) 
 
 H. T. Hartley, Esq. 
 H. T. Hartley, Esq. 
 H. T. Hartley y Esq. 
 H. T. Hartley, Esq. 
 H. T. Hartley, Esq. 
 
 G. Dalziel, Esq. 
 
 G. Dalziel, Esq. 
 H. T. Hartley, Esq. 
 H. T. Hartley, Esq.
 
 ENGRAVED WORKS OF GEORGE 
 J. PINWELL.
 
 ENGRAVED WORKS OF GEORGE 
 J. PINWELL. 
 
 " FUN." 
 Several drawings. 
 
 '' ONCE A WEEK." 
 
 Vol. VIII. The Saturnalia, p. 159. 
 
 The Old Man at D8, p. 197. 
 Seasonable Wooing, p. 322. 
 A Bad Egg, p. 392. 
 A Foggy Story, p. 477. 
 Blind, p. 645. 
 Tidings, p. 700, 
 Vol. IX. The Strong Heart, p. 29. 
 
 Not a Ripple on the Sea, p. 57. 
 
 Laying a Ghost, p. 85. 
 
 The Fisherman of Lake Sinapee, p. 225. 
 
 Waiting for the Tide, p. 281. 
 
 Nutting, p. 378. 
 
 The Sirens, p. 616.
 
 126 ENGRAVED WORKS 
 
 Vol. X. Bracken Hollow, pp. 57 and 85. 
 
 The Expiation of Charles V., p. 99. 
 The Blacksmith of Holsby, pp. 113 and 154. 
 Calypso, p. 183. 
 Horace Winston, p. 211. 
 Proserpine, p. 239. 
 A Stormy Night, p. 253. 
 Mistaken Identity, p. 281. 
 Hero, p. 350. 
 
 The Vizier's Parrot, p. 406. 
 A Pastoral, p. 490. 
 A Becket's Troth, p. 574. 
 The Stonemason's Yard, p. 701. 
 Vol. XI. Hettie's Trouble, p. 26. 
 Delsthorpe Sands, p. 586. 
 The Legend of the Bleeding Cave, p. 699. 
 Rosette, p. 713. 
 Vol. XII. Followers not allowed, p. 71. 
 Homer, p. 127. 
 Dido, p. 527. 
 1866. 
 Vol. XIII. Achilles, p. 239. 
 Vol. II. N,S. The Pastor and the Landgrave, p. 631. 
 Vol. III. Joe Robertson's Folly, p. 225. 
 The Old Keeper's Story, p. 483. 
 1869. 2ndN.S. 
 
 Vol. III. A Seat in the Park, p. 518.
 
 ENGRAVED WORKS 127 
 
 *' CORNHILL." 
 
 1864. The Lovers of Bally vooken. 
 
 "GOOD WORDS." 
 
 1863. Martin Ware's Temptation, p. 573. 
 
 1864. A Christmas Carol, p. 30. 
 
 The Cottage in the Highlands, p. 427. 
 McDiarmid Explained, p. 504. 
 Malachi's Cave, p. 729, 
 Mourning, p. 760. 
 
 1866. Bridget Daily's Change. 
 
 1 867. 1 2 to George Macdonald's '* Guild Court." 
 A Bird in the Hand. 
 
 The Cabin Boy. 
 
 1868. Notes on the Fire, pp. 47 and 49. 
 Much work for little pay, p. 89. 
 The Paris Pawnshop, p. 233. 
 
 Mrs. Dubosq's Daughter, 4 pidlures. 
 
 Una and the Lion, p. 360, 
 
 Lovely yet Unloved, pp. 376-377. 
 
 Hop Gathering, p. 424. 
 
 The Quaker in Norway, p. 504. 
 1 87 1. Aid to the Sick, p. 40. 
 
 The Devil's Boots, p. 217. 
 
 Toddy's Legacy, p. 336. 
 
 Shall we ever meet again, p. 817. 
 1875. Illustrations to Jean Ingelow's story, "Fated to be 
 Free."
 
 128 ENGRAVED WORKS 
 
 " LONDON SOCIETY." 
 
 1863. The Confessor, p. 37. 
 Wolsey, pp. 311 and 319. 
 
 1865. The Courtship of Giles Languish, p. 384. 
 
 1867. Beautiful Mrs. Johnson, pp. 136 and 248. 
 
 '' CHURCHMAN'S FAMILY MAGAZINE." 
 1863. Vol. I. By the Sea, p. 257. 
 
 ''THE SUNDAY MAGAZINE." 
 
 1865. Vol. I. The House of God, p. 144. 
 Only a Lost Child, p. 592. 
 A Westphalian Parsonage, p. 192. 
 Madame de Krudener, pp. 704, 785. 
 1869. The Crust and the Cake, 34 pidlures. 
 
 (In one of these (p. 529) the artist has forgotten 
 that the block has to be reversed, and has put 
 the curve of a grand piano on the wrong side !) 
 The Gang Children, p. 25. 
 
 " CASSELL'S FAMILY MAGAZINE." 
 
 1868. Cleve Cliff, p. 9. 
 
 ''THE ARGOSY." 
 
 1864. A group with Napoleon as the central figure.
 
 ENGRAVED WORKS 129 
 
 "THE QUIVER." 
 
 See illustrations on pages 121, 193, 449, 481, 585, 
 
 753. 
 A reprint of the best illustrations was made in 
 
 1867, called "Idyllic Pidures," and in it are 
 
 the following: 
 Faded Flowers, p. 12. 
 The Sailor's Valentine, p. 47. 
 The Angel's Song, p. 73. 
 The Organ-man, p. 121. 
 Straight On, p. 161. 
 
 « GOOD WORDS FOR THE YOUNG." 
 
 1869. Black Rock, p. 255. 
 
 "SUNDAY AT HOME." 
 
 1863. The German Band, p. 753. 
 
 "THE GRAPHIC." 
 
 1870. The Lost Child. (January 8.) 
 
 « PUNCH." 
 1863. Clara, p. 228. (June 6th.)
 
 I30 ENGRAVED WORKS 
 
 THE FOLLOWING BOOKS ALSO CONTAIN HIS 
 
 WORK. 
 
 Our Life illustrated by Pen and Pencil. R.T.S. No date. 
 
 Hacco the Dwarf. (Possibly these were done in graphotype.) 
 
 Ballads and Stories of the Affections. By Robert Buchanan. 
 Routledge. No date. Maid Mettehl on page 47 is especially 
 good. 
 
 Wayside Poesies. Routledge's (really Dalziel's). 1867. 18 
 pidlures. 
 
 Touches of Nature by Eminent Artists. Strahan. 1866. 
 8 pidures. (These were all taken from magazines issued by the 
 firm.) 
 
 The Spirit of Praise. Warne. 1867. 2 pidlures, pp. 19 and 
 
 157- 
 LiLLiPUT Levee. Strahan. Several pictures. 
 
 North Coast and other Poems. By Robert Buchanan. Rout- 
 ledge. 1868. 6 pidlures. 
 
 Golden Thoughts from Golden Fountains. Warne. 1867. 
 Several pictures. 
 
 Novello's National Nursery Rhymes. By J. W. Elliott. 1871. 
 Many pi6tures. 
 
 H. Leslie's Musical Annual. Cassell. 1870. (" The boat- 
 swain's leap.") 
 
 Thornbury's Legendary Ballads, 1876, has 8 pidures taken 
 from other publications.
 
 ENGRAVED WORKS 131 
 
 Art Pictures from the Old Testament. S, P. C. K. 1897. 
 
 Contains one prepared for Dalziel's " Bible Gallery," but never 
 
 used in it. 
 The Happy Home contains some early works in very crude colours, 
 
 possibly done in graphotype. 
 
 A ROUND OF DAYS. 
 
 ROUTLEDGE AND SoNS, 1 866. 
 
 AT THE THRESHOLD. 
 
 A MILKING SONG. (2 blocks.) 
 
 THE OLD COUPLE AND THE CLOCK. 
 
 KYRIE ELLISON. (2 blocks—" Going to Church " 
 and *' In Church.") 
 
 POEMS BY JEAN INGELOW. 
 
 Longmans, 1867. 
 A DEAD YEAR, (i block.) 
 
 And the gracious echoes woke 
 
 By man's work : the woodman's stroke. 
 
 REFLECTIONS, (i block.) 
 
 " I cannot heed it now," she said, 
 " For carrying of the milking pail."
 
 132 ENGRAVED WORKS 
 
 HIGH TIDE ON THE COAST OF LINCOLNSHIRE. 
 
 (7 blocks.) 
 
 " Pull, if ye never pulled before ; 
 Good ringers, pull your best," quoth he. 
 
 And there was nought of strange beside 
 The flights of mews and peewits pied. 
 
 Cusha! Cusha ! Cusha ! calling, 
 For the dews will soon be falling. 
 
 Save where full fyve good miles away 
 The steeple towered from out the green. 
 
 I looked without and lo ! my sonne 
 Came riding downe with might and main." 
 
 Upon the roofe we sate that night. 
 
 The waters laid thee at his doore, 
 Ere yet the early dawn was clear. 
 
 BROTHERS AND A SERMON. (3 blocks.) 
 
 Surely, sir, quoth he. 
 Took off his hat and stroked his old white head. 
 
 We came out on churchyard grass, 
 And close upon a porch. 
 
 Poor tired soul ! and she has nought to do. 
 For there is neither fire nor candle-light. 
 
 STRIFE AND PEACE. (2 blocks.) 
 
 And he stepped on blithe and debonair, 
 That warm Odlober Day. 
 
 A man of strife in wrathful mood 
 He neared the nurse's door.
 
 ENGRAVED WORKS 133 
 
 WINSTANLEY. (6 blocks.) 
 
 Good mercer be the ships come up, 
 But still he answered " Nay." 
 
 Winstanley rode to Plymouth town 
 All in the sleet and snow. 
 
 The old Mayor laughed but sighed also : 
 " All youth," quoth he, " is rash." 
 
 Whatever the man reared up by day 
 The sea broke down by night. 
 
 What manner of creatures may be these 
 That build upon the sea ? 
 
 And Plymouth in the silent night 
 Looked out and saw her star. 
 
 DALZIEL'S ILLUSTRATED GOLDSMITH. 
 
 Ward, Lock and Co., 1865. lOJ. 6^. 
 
 1 Oliver Goldsmith. 
 
 2 The Man in Black. 
 
 3 Goldsmith wandering among the streets of the great cold 
 
 wicked city. 
 
 4 The Strolling Player. 
 
 5 Jack Spindle and the Scrivener. 
 
 6 Jack Spindle rejefted by Miss Jenny Dismal. 
 
 7 Goldsmith and his Landlady. 
 
 THE VICAR OF WAKEFIELD. 
 
 8 The Vicar. 
 
 9 Olivia and Sophia.
 
 134 ENGRAVED WORKS 
 
 10 And having got it copied fair, with an elegant frame, it was 
 
 placed over the chimney-piece. 
 
 1 1 And take this book, too, it will be your comfort on the way. 
 
 12 My wife and daughter joining in entreaty, he was prevailed 
 
 upon to stay to supper. 
 
 13 Sometimes Farmer Flamborough, our talkative neighbour, and 
 
 often the blind piper, would pay us a visit. 
 
 14 Mr. Thornhill was highly delighted with their performance and 
 
 choice, and then took the guitar himself. 
 
 1 5 I could not avoid, however, observing the assiduity of Mr. 
 
 Burchell in aiding my daughter, Sophia, in her part of the 
 task. 
 
 1 6 And when he bought each of the girls a set of ribbons, hers was 
 
 the finest. 
 
 1 7 Two young ladies richly dressed, whom he introduced as women 
 
 of very great distinction and fashion from town. 
 
 18 The tawny sybil no sooner appeared than my girls came running 
 
 to me for a shilling a piece to cross her hand with silver. 
 
 19 ^' But a thing of this kind, madam," cried she addressing my 
 
 spouse, " requires a thorough examination into character and 
 a more perfecft knowledge of each other." 
 
 20 We had at last the satisfaftion of seeing him mounted upon the 
 
 colt, with a deal box before him to bring home groceries in. 
 
 21 " You need be under no uneasiness," cried I, " about selling the 
 
 rims, for they are not worth sixpence, for I perceive they are 
 only copper varnished over." 
 
 22 " No," cried the dwarf, who by this time was grown wiser ; 
 
 " no, I declare off: I'll fight no more." 
 
 23 " But, sir, I ask pardon, I am straying from the question."
 
 ENGRAVED WORKS 135 
 
 24 So saying I threw him his pocket-book, which he took up with 
 
 a smile. 
 
 25 The family use art, which is opposed by still greater. 
 
 26 '^ Madam," returned he, " I highly approve the justice as well 
 
 as the novelty of your remarks ; and if I were a king it 
 should be otherwise." 
 
 27 After any of these interviews between her lovers, of which there 
 
 were several, she usually retired to solitude and there indulged 
 her grief. 
 
 28 But she is gone ; the honour of our family is contaminated and 
 
 I must look out for happiness in other worlds than here. 
 
 29 The description of a person discontented with the present 
 
 government. 
 
 30 He was going to begin when, turning his eyes upon the audi- 
 
 ence, he perceived Miss Wilmot and me, and stood at once 
 speechless and immoveable. 
 
 31 As I was one day sitting on a bench in St. James's Park a 
 
 young gentleman of distindion approached me. 
 
 32 And without taking further notice, he went out of the room. 
 22 Whenever I approached a peasant's house towards nightfall I 
 
 played one of my most merry tunes and this procured me not 
 only a lodging but subsistence for the next day. 
 34 Walked along from city to city. 
 
 25 Out I say : pack out this moment. 
 
 26 ''My dear papa," returned my daughter, "you labour under 
 
 a strange mistake ; Mr. Burchell never attempted to deceive 
 me. 
 37 " Ah, madam," cried her mother, " this is but a poor place you 
 are come to after so much finery."
 
 136 ENGRAVED WORKS 
 
 38 " Go," cried I, " thou art a wretch, a poor pitiful wretch, and 
 
 every way a liar." 
 
 39 I then turned to my wife and children, and diredled them to 
 
 get together what few things were left us, and to prepare 
 immediately for leaving this place. 
 
 40 The execrations, lewdness and brutality that invaded me on 
 
 every side drove me back to my apartment again. 
 
 41 " Alas ! dodor," cried he, " these children are too handsome 
 
 and too good for such a place as this." 
 
 42 Olivia and Sophia leaving the prison. 
 
 43 My children, however, sat by me, and while I was stretched on 
 
 my straw read to me by turns, and listened and wept at my 
 instrudions. 
 
 44 What ! not one left ! not to leave me one ! the monster ! 
 
 45 The prisoners assembled themselves according to my diredions, 
 
 for they loved to hear my counsel. 
 
 46 Mr. Burchell running up shivered his sword to pieces, and then 
 
 pursued him for near a quarter of a mile, but he made his 
 escape. 
 
 47 " What, Billy, you chubby rogue," cried he, " do you remem- 
 
 ber your old friend Burchell?" 
 
 48 " And I hope," said his nephew, " that the rest of my condudl 
 
 will not be found to deserve censure." 
 
 49 We had now, therefore, the satisfaction of seeing them fly into 
 
 each other's arms in a transport. 
 
 50 So saying he put the license into the baronet's hands, who read 
 
 it and found it perfed: in every resped. 
 
 5 1 Will you have him ?
 
 ENGRAVED WORKS 137 
 
 THE TRAVELLER. 
 
 52 Remote, unfriended, melancholy slow. 
 Or by the lazy Scheld or wandering Po. 
 
 53 Or sigh with pity at some mournful tale. 
 
 54 Here may be seen in bloodless pomp arrayed 
 The pasteboard triumph and the cavalcade. 
 
 55 Here vanity assumes her pert grimace. 
 
 And trims her robes of frieze with copper lace. 
 
 THE DESERTED VILLAGE. 
 
 56 The bashful virgin's sidelong looks of love, 
 
 The matron's glance that would those looks reprove. 
 
 57 The swain responsive as the milkmaid sung. 
 
 58 But in his duty prompt at every call. 
 
 59 Near her betrayer's door she lays her head. 
 
 THE HAUNCH OF VENISON. 
 
 60 I had thought in my chamber to place it in view. 
 
 THE CAPTIVITY. 
 
 61 Desist, my sons, nor mix the strains with theirs. 
 
 62 The master prophet grasps his full-toned lyre. 
 
 RETALIATION. 
 
 62 Dr. Goldsmith and some of his friends al the St. James's Coffee 
 House.
 
 138 ENGRAVED WORKS 
 
 AH ME! WHEN SHALL I MARRY ME? 
 
 64 Ah me ! 
 
 THE HERMIT. 
 
 65 Turn, gentle hermit. 
 
 THE DOUBLE TRANSFORMATION. 
 
 66 By turns a slattern or a belle. 
 
 THRENODIA AUGUSTALIS. 
 
 67 As helpless friends, who view from shore 
 The labouring ship, and hear the tempest roar. 
 
 68 In decent dress and coarsely clean. 
 The pious matron next was seen. 
 
 THE LOGICIANS REFUTED. 
 
 69 Brutes never meet in bloody fray, 
 Nor cut each other's throats for pay. 
 
 ON THE DEATH OF A MAD DOG. 
 
 70 Title-page. 
 
 A NEW SIMILE. 
 
 71 Title. 
 
 ON THE GLORY OF HER SEX, MRS. MARY BLAIZE. 
 
 72 Title.
 
 ENGRAVED WORKS 139 
 
 STANZAS ON WOMAN. 
 
 73 Title. 
 
 THE GOOD-NATURED MAN. 
 
 74 Sir, I'll not stay in the family with Jonathan. 
 
 75 A pleasant morning to Mr. Honey wood, 
 
 76 Well, and you have both of you a mutual choice. 
 
 77 For being as you are in love with Mr. Honey wood, madam. 
 
 78 But if modesty attra6ls her impudence may disgust her. 
 
 79 Look ye, sir, I have arrested as good men as you in my time. 
 
 80 Taste us, by the Lord, madam, they devour us. 
 8 I Either you or I, sir. 
 
 8 2 Oh, Jarvis, are you come at last. 
 
 83 It's your supreme pleasure to give me no better consolation ? 
 
 84 How does he look now.'* 
 
 85 Madam, you seem at least calm enough to hear reason. 
 
 86 Ay, stick it where you will, for, by the Lord, it cuts a very poor 
 
 figure where it sticks at present. 
 
 SHE STOOPS TO CONQUER. 
 
 87 You shan't go. 
 
 88 I protest, sir, I do not comprehend your meaning. 
 
 89 Then I'll sing you, gentlemen, a song. 
 
 90 You must not be so talkative, Diggory. 
 
 91 Let your brains be knocked out, my good sir, I don't like 
 
 them. 
 
 92 I was observing, madam. 
 
 93 Extremely elegant and degageey upon my word, madam.
 
 I40 ENGRAViD WORKS 
 
 94 Yes, but upon conditions. 
 
 95 And why not now, my angel. 
 
 96 I'm your very humble servant. 
 
 97 Let it be short, then. 
 
 98 Constancy is the word. 
 
 99 Don't be afraid, mamma. 
 
 1 00 Does this look like security ? 
 
 ENGLISH RUSTIC PICTURES BY 
 WALKER AND PINWELL. 
 
 ROUTLEDGE AND SoNS, I 882. 
 
 At the Threshold. 
 
 The Dove Cot. 1865. 
 
 Sailor's Love. 1868. 
 
 The Goose. (2 pictures, ) 
 
 The Swallows. 
 
 Shadow and Substance. 1865. 
 
 Kitty Morris. 1866. 
 
 The Journey's End. 
 
 Mother Rumour. 
 
 Norlan Farm, i 866. 
 
 Do6tor Tom. i 866. 
 
 The Shadow. 
 
 The Old Couple and the Old Clock. 
 
 The Island Bee. 1865. 
 
 A Milking Song. (2 pidtures.)
 
 ENGRAVED WORKS 141 
 
 DALZIEL'S ILLUSTRATED ARABIAN 
 
 NIGHTS. 
 
 Ward, Lock and Co. 21s. 
 
 The Fisherman and the Genie. 
 
 The Prince and the Ogress. 
 
 The Sultan and his Court at the Fishpond. 
 
 Sindbad in the Tub. 
 
 Sindbad in the Valley of Diamonds. 
 
 After Supper. 
 
 Sindbad makes a saddle for the King. 
 
 Sindbad kills the Old Man of the Sea. 
 
 Sindbad sleeps on the Raft. 
 
 Sindbad is freed from the Elephants.
 
 CHIEF WORKS IN COLOUR BY 
 GEORGE J. PINWELL.
 
 CHIEF WORKS IN COLOUR BY 
 GEORGE J. PINWELL. 
 
 Arranged under the Owners' Names. 
 
 D. stands for the Deschamps Exhibition Catalogue^ 1876. Lots 
 refer to Christie's sale, 1876. 
 
 Austin, W., Esq., Ellerngreen, Totteridge. 
 
 The Great Lady. (2 1 J- x 31 J in.) 1873. D. 44, 
 
 Three pidures, each called The Great Lady, were sold at 
 Christie's sale-rooms : 
 
 1876, ^^152 5J'., Cranston sale. Bought in. 
 
 1877, ;^75 I2J., Cranston sale. Sold to Marsden. 
 1879, ^^152 5J., A. Brook sale. Purchaser's name not 
 
 given. 
 
 Whether these were successive sales of one and the same pidlure, 
 or were sales of separate studies, I have no means of 
 ascertaining for certain. 
 
 Australia, A Public Gallery in. 
 
 A Seat in St. James's Park. (16 x 23! in.) 1869. D. 35. 
 
 Brown, E. G., Esq., 82, Edith Road, West Kensington. 
 
 Sketch for an unidentified pidure, probably " We fell out, my 
 Wife and I." 
 
 U
 
 146 CHIEF WORKS IN COLOUR 
 
 Budgett, J. S., Esq., Stoke Park, Guildford. 
 
 The Pied Piper of Hamelin — Children. (12 x 21 in.) 1869. 
 
 D. 83. 
 
 The Pied Piper of Hamelin— Rats. (i2xi8in.) 1869. D. 73. 
 
 Capron, Mrs. J. Rand, The Loquats, Guildford. 
 
 A Country Walk. (22^ x 15I- in.) 1871. D. 57. 
 
 Dalziel, Davison, Esq., 26, Collingham Road, South Kensington. 
 Landlord and Tenant. (15IX22I- in.) 1870-71. D. 93. 
 Sold at Dalziel Sale (1886) for ^55 13s. 
 
 Dalziel, Edward, Esq., 7, Willoughby Road, Hampstead. 
 Haymakers. Lot 39. 
 Head of a Lady. Lot 5 1 . 
 A Harvest Whoop. Lot 69. 
 The Young Smoker. Lot 70. 
 After a Day's Work. Lot 78. 
 The Country Cousin. Lot 83. 
 Kitty Morris. Lot 89. 
 A Severe Ledlure. Lot 101. 
 Out for a Holiday. Lot 135. 
 Study of a Man's Head, Tangier. Lot 1 50. 
 The Little Windmill. Lot 172. 
 A Cock Fight. Lot 180. 
 
 Dalziel, Gilbert, Esq., 7, Willoughby Road, Hampstead. 
 The New Slipper. D. 97. 
 
 Sweet Melancholy. (22 x 15J in.) 1875. D- 43- ^^^^ ^^ 
 Dalziel Sale (1886) for 25 guineas. Lot 166.
 
 CHIEF WORKS IN COLOUR 147 
 
 Henderson, H. W., Esq., Princes Gardens, S.W, 
 
 Unfinished study for "Vanity Fair" in oil, (171^x38 in.) 
 
 D. 16. Lot 198. 
 The Prison Hole, Tangier. (20 x 26J in.) 1874. D. 104. 
 
 Hartley, H. T., Esq., Romney Lodge, 177, New Park Road, 
 Clapham Park. 
 Study for "The Fiddler and Flower Girl." D. 6. Lot 36. 
 Haymakers. (7fx6Jin,) D. 9. Lot 39. 
 The Tiff. D. 10. 
 In a Garden. D. 12. Lot 41 (?). 
 
 The Captive. Oil. (2i|- x 36^^ in.) D. 20. Lot 187. 
 Study for the ^' Pied Piper of Hamelin " — Children. 
 
 (7x11 in.) D. 23- Lot i56(.?) or 161 (?). 
 Lovers. D. 40. 
 
 Mamma's Watch. (6x6 in.) D. 102. Lot 117 or 164 (?) 
 By the River. 
 Study of a Girl's Head. 
 
 Study for the "Elixir of Love." (6lxii|-in.) D.184. Loti49. 
 The Park Seat. (8x12 in.) D. 205. Lot 37 (?). 
 Study for " Last Load." (5I x ^ in.) D. 209. 
 Study for the " Elixir of Love." (7x11 in.) D. 221. Lot 76. 
 Study for " Sally in our Alley." Oil. (loxijlin.) D. 229. 
 Sketch of a Cavalier. 
 Sketch of a Bride. 
 
 Hayes, E., Esq., R.I., 19, Streatley Road, Brondesbury. 
 Sketch made at the Langham Sketching Club. 
 
 Jarvis, Lewis, Esq., Bedford. 
 Study for " Vanity Fair."
 
 1+8 CHIEF WORKS IN COLOUR 
 
 Joseph, Mrs. Samuel, 29, Hyde Park Gardens, W. 
 
 The New Book. (5 x 6^ in.) 1869-70. D. 32. Lot 106 (?). 
 Old Time and his Wife. (6i x 4J in.) 187 1-2. D. 54. 
 The Vagrants. (6Jx5jin.) D. 54A. 
 
 JafFray, Sir John, Bart., Park Grove, Edgbaston. 
 
 Gilbert a Becket's Troth. (22^x43 in.) 1872. D. 80. 
 
 Lefevre, S. H., Esq. 
 
 The Letter. 1875. Loti59(?) 
 
 Newall, W., Esq., Redheath, Rickmansworth. 
 
 A Long Conversation. (5J-X7jin.) 1872-3. D. 166. 
 The Princess and the Ploughboy. (14I- x 24! in.) 1873-4. D. 5. 
 Sweet Tranquillity. (6x8 in.) D. 62. 
 Maid Mettelil. (30 x 24 in.) D. 210. Lot 29. 
 
 Pennell, Joseph, Esq., 14, Buckingham Street, W.C. 
 
 Several pencil drawings for woodcut illustrations. See pp. 1 1 9- 
 120. 
 
 Prance, R. H., Esq. 
 
 The Tramps. (18x15^ in.) 1868. D. 122. This was once 
 in Mr. Strahan's collection. 
 
 Puller, Laurence, Esq., The Lea, Bridge of Allan, N.B. 
 An Old Woman teaching a Girl to make Lace. 
 
 Quilter, Sir Cuthbert, Bart., Bawdsey Manor, Woodbridge, Suffolk. 
 Out of Tune, or the Old Cross. (30 x ^o^ in.) 1869-70. 
 Lot 200. 
 
 Quilter, Harry, Esq., Bryanston Square, London. 
 Sweet Melancholy. 
 Sigurd of Saxony. D. 23. Lot 50.
 
 CHIEF WORKS IN COLOUR 149 
 
 Quilter, Harry, Esq. — continued. 
 Jack and JilJ. 
 Sweethearts. Lot 98 (?). 
 The Smuggler's Wife. 
 The Red House. 
 Memories. 
 A Visit. 
 Study for " Vanity Fair." Lot 195 (.?). 
 
 Rathbone, P. H., Esq. 
 
 Well, I must go. D. 145. 
 
 Sale, Mrs., Upper Wick, near Worcester. 
 
 The Beggar's Roost, Tangier. 1874. Signed G. J. Pinwell. 
 Bought from the artist at the Exhibition. 
 
 Saltmarshe, Ernest, Esq., 4, St. James's Street, London. 
 
 The Calf, also called The Unwilling Playmate, or The Shadow. 
 (i5xi2in.) Exhibited 1869. Lent by George Dalziel in 
 1876, sold at his sale in 1886 to Agnews for ^56 i4J.,and 
 exhibited by them in 1889 and sold to its present owner. 
 
 Strahan, Alexander, Esq., Oakhurst, Ravenscourt Park. 
 
 Visiting the Poor. (7 x 6 in.) 
 
 The Paris Pawnshop. Important water-colour study. (42 x 
 20 in.) 
 Waterlow, E. A., Esq., A.R.A., i, Maresfield Gardens, Fitzjohn's 
 Avenue, London. 
 
 The Enchanted Prince. Oil. Lot 196. 
 
 A Danish Legend (also called Knight and Lady). Lot 88. 
 
 Study of a Woman. Lot 47. 
 
 The Park Seat. Lot 37.
 
 I50 CHIEF WORKS IN COLOUR 
 
 Waterlow, E. A., Esq., A.R.A. — continued. 
 A London Garden. Lot 66. 
 Paolo and Francesca. 
 
 Weeks, W., Esq. 
 
 Sketch for " Seat in St. James's Park. " 
 
 Wood, T., Esq. 
 
 The Elixir of Love. (i8 x 42 in.) 1870. D. 70. Sold at 
 the Gambard sale at Christie's in 1871 to Tooth for £2^2 - 
 
 Waithman, R. H., Esq., 56, Bouverie Road, Folkestone. 
 
 At the Well, (fj x 8 in.) 1874. D. 77. Sold to Agnews 
 at Christie's sale rooms, July 14, 1900, for 50 guineas. 
 
 Waithman, C, Esq., The Croft, Gomshall. 
 
 The Audioneer, Tangier. (151x27 In.) 1875. D. 94. 
 
 Waller, Pickford, Esq., 27, St. George's Road, S.W. 
 
 Oil Paintings Unfinished. 
 Sally in our Alley. (72 x 42 in.) D. 91. Lot 197. 
 A Rainy Day. (8x6 in.) Lot 191. 
 
 Water-Colour Drawings. 
 A Fine Lady. (6 x 7 in.) Lot 183. 
 My Son's Wife Elizabeth. (15 x 11 in.) D. 17. Lot 45 (?). 
 
 Water-Colour Sketches. 
 Farmyard, Somerset, with Figure. (9x9 in.) Lot 118. 
 The Knight and the W^ocd Nymph. (15 x 27 in.) D. 105. 
 
 Lot 91. 
 The Saracen Maiden (afterwards called Gilbert a Becket's 
 
 Troth). (21x38 in.) D. 36. Lot in.
 
 CHIEF WORKS IN COLOUR 151 
 
 Ramble Mill. (4! x 5 J in.) D. 139. Lot 115. 
 
 Hinda, Lalla Rookh. (13x9 in.) Lot 90. 
 
 Fuel Gatherers. (13x9 in.) D. 144. Lot 119. 
 
 The Greek Sorceress. (6x7 in.) Lot 170. 
 
 Old Woman : Street Scene, {y^ x 4^ in.) Lot 176. 
 
 The Enchantress of the Flowers. (9x5 in.) D. 22. Lot 49. 
 
 " I know where the visions dwell 
 That around the Night bed play." 
 
 Vanity Fair. (24 x 43 in.) D. 117. Lot 99. 
 Cottage Interior, possibly The Letter. (8 x si i"-) Lot 1 59 (.?). 
 Figures at Table, possibly A Winter Evening. (4I- x 7 J in.) 
 Lot i88(.?). 
 
 Charcoal Study. 
 For Sally (Sally in our Alley). (12 x 14 in.) Lot 20. 
 
 Pencil Study. 
 Female Head. (12x8 in.). D. 173. Lot 13. 
 
 NOTE. 
 
 I have been unable to trace the present owners of many pidlures, 
 notably : 
 
 The Prison Hole. 1875. Exhibited at Agnew's, 1899. 
 
 No. 75. 
 Away from Town. 1871. Exhibited at Agnew's, 1900. 
 No. III. 
 
 N.B.— This was sold to Mr. Alex. Strahan at the Water- 
 Colour Exhibition in 1871 for 400 guineas, and by 
 him sold to Goupil and Co.
 
 152 CHIEF WORKS IN COLOUR 
 
 An Incident in the Life of Goldsmith. Oil. 1865. 
 
 The Double Transformation. 1866. 
 
 Old Wives. 1866. (I am told this has been burnt by 
 
 accident.) 
 The Quarry. 1869-70. 
 The Last Load. 1869-70. 
 At the Foot of the Quantocks. 1870-71. 
 Poachers (Early Morn). 1871-72. 
 The Earl o' Quarterdeck. 1871-72. 
 The Old Clock. 1875. 
 Waiting. 1875. 
 We fell out, my Wife and I. 1875. 
 
 I shall be very glad to hear from the owners of these pidures 
 or of other works by Pinwell. 
 
 G. C. W. 
 
 The following are the lines entitled " The Elixir of Love " which form 
 
 THE subject of PiNWELl's PICTURE. 
 
 " Buy, — who'll buy ! " In the market-place, 
 
 Out of the market din and clatter, 
 The quack with his puckered persuasive face, 
 
 Patters away in the ancient patter. 
 
 "Buy, — who'll buy ! In this flask I hold, — 
 In this little flask that I tap with my stick, 
 sir. 
 
 Is the famed infallible Water of Gold, — 
 The One, Original, True Elixir ! 
 
 " Buy, — who'll buy ! There 's a maiden there 
 She with the ell-long flaxen tresses — 
 
 Here is a draught that will make you fair, 
 Fit for an emperor's own caresses. 
 
 " Buy, — who'll buy ! Are you old and grey ! 
 
 Drink but of this and in less than a minute, 
 Lo, you will dance like the flowers in May, — 
 
 Chirp and chirk like a new-fledged linnet ! 
 
 " Buy, — who'll buy ! Is a baby ill ! 
 
 Drop but a drop of this in his throttle, — 
 Straight he will gossip and gorge his fill, 
 
 Brisk as a burgher over a bottle ! 
 
 " Here is wealth for your life, — if you will but ask ! 
 
 Here is health for your limb, — without lint or 
 lotion, 
 Here is all that you lack in this tiny flask, — 
 
 And the price is a couple of silver groschen ! 
 
 " Buy, — who'll buy ! " So the tale runs on, 
 And still in the Great World's market-place. 
 
 The Quack, with his quack-catholicon. 
 Finds ever his crowd of upturned faces ; 
 
 For he plays on our hearts with his pipe and drum, 
 On our vague regret, on our weary yearning ; — 
 
 For he sells the thing that never can come, 
 
 Or the thing that has vanished, past returning !
 
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 INDEX 
 
 To the Text only : the Schedules are not indexed. 
 
 Adelaide Road, 13, 25. 
 
 Africa. See Tangier. 
 
 Agnew, 18, 24. 
 
 Albemarle Street, 36. 
 
 Anglers, The, 65. 
 
 Arabian Nights, The, 9, 10. 
 
 Artists' Genl. Ben. Institution, 30. 
 
 Au6tioneer, The, 24. 
 
 Austin, Mr. A., 22. 
 
 Australian Gallery, 19. 
 
 Away from Town, 20. 
 
 Barnard, Fred, 8. 
 Becket's Troth, 21, 40, 66. 
 Beggar's Roost, The, 24. 
 Blackwood and Co., 64. 
 Browne, Matthew, 5. 
 Buchanan's Works, 15. 
 Budgett, Mr. J. S., 19. 
 
 Calf, The, 18. 
 Capron, Mrs., 21. 
 Carew, 3. 
 Charity, Errand of, 65. 
 
 Charlotte Street, 13, 36. 
 
 Christie's, 20, 28. 
 
 Churchman's Family Magazine, 8. 
 
 Conversation, A Long, 21. 
 
 Cornhill, 9. 
 
 Country Walk, A, 21. 
 
 Court Theatre, The, 36. 
 
 Cowshed, The, 65. 
 
 Dalziel Brothers, 5, 9, 26, 28, 31. 
 
 Dalziel, Miss Dora, 23. 
 
 Deschamps Exhibition, 19, 27, 
 
 Dickens, Charles, 21. 
 
 Do6lor Tom, 65. 
 
 Double Transformation, The, 18. 
 
 Dovecote, The, 55, 64, 66. 
 
 Dover Street, 36. 
 
 Dudley Gallery, The, 17, 18. 
 
 Du Maurier, 6. 
 
 Earl o' Quarterdeck, The, 21, 58. 
 Edwards, Mr. Edwin, 37. 
 Elixir of Love, The, 20, 40, 58, 66. 
 Elkington, Messrs., 6, 43.
 
 156 
 
 INDEX 
 
 End of the Journey, The, 53, 65. 
 Exeter Hall, 23. 
 Exhibition. See Deschamps. 
 
 Foster, Birket, 28. 
 Fun, 5, 56. 
 
 Gibraltar, 24. 
 
 Gilbert a Becket. See Becket's 
 
 Troth.' 
 Gilbert, Sir John, 28, 62. 
 Gladstone Almanack, The, 64. 
 Golden Thoughts, 15. 
 Goldsmith, Illustrated, 9-12, 50. 
 Goldsmith, Incident in the Life of, 
 
 17- 
 Good Words, 8, 14. 
 Graphic, The, 46. 
 Great Lady, The, 21, 58. 
 Green, Chas., 6-8, 26, 36. 
 Gregory, Mr. E. J., 26. 
 Grey, Mr. Tom, 37. 
 
 Hacco the Dwarf, 4, 5. 
 Halkett, Mr. G. R., 64. 
 Halsway Court, 64. 
 Hampstead Heath, 46. 
 Happy Home, The, 4, 5. 
 Hartley, Mr., 18, 24, 25, 29. 
 Heatherley's School, 3, 4, 8, 69. 
 Henderson, Mr. R. H., 24, 44. 
 Highgate Cemetery, 26, 27. 
 High Tide, The, 50, 51, 55, 65. 
 Hogarth Club, New, 36 ; original, 36. 
 Horseshoe, The, 36. 
 
 Houghton, A. B., 10, 23, 26, 32, 39, 
 62, 71, 72. 
 
 Ingelow's Poems, 15. 
 
 JafFray, Sir J., 21. 
 
 Joseph, Mrs. Samuel, 18, 19, 21. 
 
 Keene, Chas., 6. 
 Kilpatrick's rooms, 38. 
 
 Landlord and Tenant, 20. 
 Langham Sketching Club, The, 22. 
 Lefevre, Mr. S., 25. 
 Leigh, Mr., 3. 
 Leighton, Lord, 34. 
 Letter, The, 25. 
 Liberator Society, The, 29. 
 Linton, Sir J., 8, 26, 28, 34-37. 
 London Society, 8, 14. 
 Longman and Co., 15. 
 Lost Child, The, 46. 
 Lowther Arcade, The, 35. 
 
 Macbeth, Mr., 63. 
 Mahoney, Paul, 3. 
 Martha and Alary, 66. 
 Mason, 62. 
 
 Millais, Sir J. E., 10, 32, 50. 
 Millman Street, 8. 
 Musical Annual, The, 15. 
 
 National Nursery Rhymes, 15. 
 Newall, Mr. W,, 21, 23. 
 New Books, 19. 
 Newman Street Academy, 3.
 
 INDEX 
 
 157 
 
 Newman Street, No. 70, 13. 
 North, Mr. J. W., 7, 10, 26, 28, 33, 
 41, 62. 
 
 Old Clock, The, 25, 57, 66. 
 Old Cross, The, 19, 67. 
 Old Wives, 18. 
 Once a Week, 8, 14, 19. 
 
 Parker, Mr. John, 34, 36. 
 
 Piccadilly, No. 178, 36. 
 
 Pied Piper of Hamelin, 19, 57, 64. 
 
 Pinwell, birth, i ; mother, i ; de- 
 signing for embroiderers, 2 ; at St. 
 Martin's School, 3; with Mr. 
 Whymper, 6, 7 ; working for 
 Once a Week, 8 ; Arabian Nights 
 and Goldsmith, 9 ; working for 
 Dalziel, 9, 10 ; married, 12 ; 
 moved, 13 ; met Swain, 13 ; draw- 
 ing for various books, 15 ; first oil 
 pidlure exhibited, 17; exhibiting 
 atWater-Colour Society, 18 ; Dud- 
 ley Gallery, 18; full member of 
 Water-Colour Society,2i ; journey 
 to Ventnor, 23 ; in Sketching Club, 
 23 ; to Tangier, 24 ; to Gibraltar, 
 24; moving again, 25; working 
 at Vanity Fair, 25 ; death, 26 ; 
 funeral, 26 ; tomb, 27 ; posthumous 
 exhibition, 27 ; Deschamps Exhi- 
 bition, 27 ; sale at Christie's, 28 ; 
 personal chara6ler, 31 ; love of 
 children, 35 ; working at Hogarth 
 Club, 36 ; never drunk, 36 ; at 
 gymnastic tricks,37 ; playing bowls. 
 
 38; his models, 40 ; his illness, 
 41 5 kindness to others, 42 ; strength 
 of language, 45 ; love of beauty, 
 47; love of story, 50 ; pathos, 51 ; 
 lack of skill, 54; imagination, 56; 
 humour, 57 j extraordinary colour, 
 59 J technique, 59 ; caricature of 
 his work, 64 ; scenes in which he 
 worked, 65; conscientiousness, 66 j 
 his studies, 68 ; influence of other 
 men, 69 ; rebuke of Houghton, 
 
 71- 
 Pinwell, Mrs., marriage, 1 2 ; her 
 
 illness, 22 ; her serious losses, 29 ; 
 
 assistance rendered to her, 30 ; 
 
 her face as his model, 39, 65 i 
 
 her knowledge of colour, 40 ; hei 
 
 love of music, 41. 
 Poachers, The, 20, 57. 
 Pre-Raphaelite Influence, 36, 58, 67. 
 Primrose Hill, 37, 38. 
 Princess and Ploughboy, The, 23, 
 
 58. 
 Prison Hole, The, 24. 
 
 Quantocks, At the Foot, of the, 20, 
 
 66. 
 Quarrel, The, 55. 
 Quarry, The, 19. 
 Quilter, Mr. H., 19, 25. 
 Quilter, Sir C, 20. 
 Quiver, The, 14. 
 
 Read, Samuel, 6. 
 Roget, Mr., 29.
 
 158 
 
 INDEX 
 
 Rossetti, D. G., 36. 
 Round of Days, 15. 
 Routledge and Co., 15. 
 
 Sale coUedlion, 24. 
 
 Saturnalia, 8. 
 
 Savage Club, 23. 
 
 Shadow, The, 65. 
 
 Somersaults, 37. 
 
 Spirit of Praise, The, 15. 
 
 Stephens, Mr. F. G., 36. 
 
 Stevens, Miss I. M., 2. 
 
 Stewart, steward of Hogarth Club, 
 
 36. 
 Street, Mr. G. E., 20. 
 Substance and Shadow, 65. 
 Sunday at Home, 9, 14. 
 Sunday Magazine, 14, 46. 
 Swain, Joseph, Mr., 13, 41. 
 Sweet Melancholy, 25. 
 
 Tadema, Sir L. Alma-, 26. 
 Tangier, 23, 24, 67. 
 Taylor, Tom, 10, 32. 
 Topham, Mr. F., 21. 
 Touches of Nature, 14. 
 Tramps, The, 18. 
 
 Uncommercial Traveller, The, 21. 
 Unwilling Playmate, The, 64. 
 
 Vagrants, The, 18. 
 Vanity Fair, 25, 44, 47. 
 Ventnor, 23. 
 
 Waithman, Mr. C, 24. 
 
 Waithman, Mr. R. H., 17, 21, 24. 
 
 Waiting, 25. 
 
 Walker, Fred, 6, 7, 51, 62, 69-71. 
 
 Walker, Mrs., 40. 
 
 Watch, The, 18. 
 
 Water-Colour Society, 18. 
 
 Waterloo Place, No. 6, 36. 
 
 Watson, J. D., 28. 
 
 Wayside Poesies, 15. 
 
 We fell out, 57, 66. 
 
 Whelan, Nelly, 40. 
 
 Whistler in a caricature, 6. 
 
 White, a metal-worker, 43. 
 
 White, Gleeson, 5. 
 
 White, Thomas, 8. 
 
 Whymper, Mr. J. W., 6. 
 
 Winstanley, 50. 
 
 Wood, Mr. Thomas, 20. 
 
 Zoological Gardens, 35.
 
 CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. 
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 THE LIBRARY 
 UNIVERSITY OF CALIFORNIA 
 
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