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Biography of Phiz

Portrait of "Phiz" (H. K. Browne)

A Memoir of "Phiz" (H. K. Browne), Dickens' Most Famous Illustrator

"Fizz, Whizz, or something of that sort," humorous TOM HOOD would say, when trying to recall the pseudonym that has since become so familiar by means of the innumerable works of art to which it was appended. At the time HABLOT[A] KNIGHT BROWNE first used this quaint _soubriquet_, it was customary to look upon book-illustrators as second, or even third-rate artists--mere hacks in fact; and for this reason they usually suppressed their real names, in order to give themselves the opportunity of earning the title of _artist_, when producing more ambitious results as painters. Occasionally, whether by accident or design, the subject of this memoir would affix his real name to his illustrations; and the public were consequently under the impression that the two signatures were those of different artists, and were even wont to remark that "_Browne's work was better than that of 'Phiz!_'"

It is not, perhaps, generally known that the artist's first _nom de crayon_ was "NEMO," which to some extent bears out the above statement that a book-illustrator was considered a "nobody." Mr. BROWNE himself, in referring to the _Pickwick Papers_, gave the following explanation:--"I think I signed myself as 'NEMO' to my first etchings (those of No. 4) before adopting 'Phiz' as my _soubriquet_, to harmonize--I suppose--better with Dickens' 'Boz.'" It is only on the earliest printed plates in some copies of the _Pickwick Papers_ that the signature of "NEMO" can be faintly traced.

The Departure, by Phiz

HABLOT KNIGHT BROWNE, son of William Loder Browne, a descendant from a Norfolk family, was born on the 12th of July, 1815, at Kennington, London. He was educated at a private school in Norfolk, and from an early age evinced a taste for drawing, which, being recognized by his relatives, induced them to apprentice him to FINDEN, the well-known line-engraver. An anecdote is told of him during his apprenticeship which will bear repetition. Finding BROWNE very painstaking and conscientious, his master usually sent him with engraved plates to the printer, in order that he might superintend the operation of proof-taking. As printers usually take their own time over such matters, the youth found that this waiting the pressman's pleasure tried his patience too much. It therefore occurred to him that to spend the interval in the British Museum, hard by, would be much more suited to his tastes. On his returning with the proofs, FINDEN would praise the boy's diligence, little thinking what trick had been practised on him.

Line-engraving, however, did not find much favour with the future "Phiz," the process being too tedious; for FINDEN would probably occupy some weeks to produce a small plate, which by the quicker process of etching, could have been executed in as many hours. He accordingly suspended operations in that quarter, and, in conjunction with a young kindred spirit, hired a small attic, and employed his time in the more fascinating pursuit of water-colour drawing, which he continued to follow with remarkable assiduity until a few days before his death.

The Death of Quilp, from The Old Curiosity Shop, by Charles Dickens

These juvenile disciples of the brush then worked hard at drawing in colour. BROWNE paid his share of the rent in drawings, which he produced rapidly; indeed, there was a solemn compact between the co-workers to "do three a day"--they subsisting, meanwhile, on the simplest fare. At this time he attended the evening class at the "Life" School in St. Martin's Lane, and was a fellow-pupil with ETTY, the famous painter of the "nude." It was BROWNE'S great delight to watch this talented student at work, and he considerably neglected his own studies in consequence.

At the age of seventeen, or thereabouts, he succeeded in gaining a medal offered for competition by the Society of Arts for the best representation of an historical subject; and was again fortunate in obtaining a prize, from the same Society, for a large etching of "John Gilpin." Mr. GEORGE AUGUSTUS SALA, himself an artist of no small ability, remembers to have seen, in a shop-window in Wardour Street, a certain print by a young man named HABLOT BROWNE, representing the involuntary flight of John Gilpin, scattering the pigs and poultry in his never-to-be-forgotten ride.

By the time he had attained his twentieth year he had acquired considerable facility with the pencil. CHARLES DICKENS, but three years his senior, and with whom the name of "Phiz" is inseparably connected, had just then made a wonderful reputation by his "Sketches," which first appeared, at intervals, during 1834-5, and were afterwards published in book form, illustrated by the renowned GEORGE CRUIKSHANK.

In 1836, there appeared in print a pamphlet of some forty or fifty pages, entitled _Sunday under Three Heads--As it is; as Sabbath Bills would make it; as it might be made_; "By Timothy Sparks; illustrated by H. K. B.;" and dedicated to the Bishop of London. The author was CHARLES DICKENS, whose satire was levelled at Sir Andrew Agnew and the extreme Sabbatarian party, and had immediate reference to a bill "for the better observance of the Sabbath," which the House of Commons had recently thrown out by a small majority. The illustrations in this little work were drawn by HABLOT BROWNE, and are very choice examples of wood-engraving of the school that existed half a century ago. Its original price was one shilling, but having become very scarce, it is now worth more than its weight in gold.

These early productions of BROWNE'S pencil at once introduced him to public notice, and DICKENS showed his appreciation of their excellence by selecting him as the illustrator of the _Pickwick Papers_, which appeared during the early part of that year. It is well known to the readers of Forster's _Life of Dickens_, that the idea of "Pickwick" was suggested to the author by ROBERT SEYMOUR, whose tastes induced him to etch a few plates of sporting subjects to which DICKENS was to supply the text. Thus commenced that immortal work known as _The Posthumous Papers of the Pickwick Club_. SEYMOUR produced seven illustrations, when he committed suicide, which obliged the publishers to make arrangements with another artist. R. W. BUSS[B] succeeded SEYMOUR, and etched two plates, which DICKENS, who had by this time assumed the control of the work, thought so unsatisfactory (as indeed they were), that he declined his further services. Here a fresh opening was created, and WILLIAM MAKEPEACE THACKERAY competed with HABLOT KNIGHT BROWNE for the post; both submitting to DICKENS' inspection some specimens of their work.

Next: a List of the Principal Works Illustrated by Phiz

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