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This is a free digital copy of a book that has been carefully scanned by Google as part of a project to make the world's books discoverable online. To make this print edition available as an ebook, we have extracted the text using Optical Character Recognition (OCR) technology, and further improved the text to ensure its accuracy and legibility across different screen sizes and devices. Google is proud to partner with libraries to make this book available to readers everywhere.
More-over, it may be regarded as a fortunate circumstance that the three works, here reproduced with amazing fidelity in facsimile, represent happily the very chefs d'oeuvre of his wonderful productions; in their respective categories, preserving the best examples of his remarkable genius as an imaginative creator of vivid pictures, alike stirring and animated, and representing at one glance his vast dramatic powers, his mastery of the humorous side of life, and the intensity he was consistently able to infuse into terrible and tragic scenes.
It is noteworthy that the inimitable artist George Cruikshank but rarely pro-duced finished water-colour drawings; the bulk of his prolific and familiarly rec-ognised designs for book illustrations were mostly dainty pencil sketches, occa-sionally finished in pen and ink. It is a problem difficult to solve satisfactorily whether, beyond the three memorable instances of the works here reproduced in facsimile, there are in existence any other complete suites of original illustrations by George Cruikshank—that is to say, fully executed by his master hand as finished water-colour drawings.
Tinted sketches may be found in the prized possessions of Cruikshank collectors, and spirited studies for many of his favourite and most successful subjects have been cleverly touched in with watercolours; for instance, such as certain of his original drawings as designed for the illustrations of Harri-son Ainsworth's Tower of London, and the clever historical and picturesque series of Windsor Castle designs; these are, however, to be regarded as exceptional cases, for the bulk of these most successful and popular designs were carefully executed in pencil, or occasionally outlined with the pen, and highly finished with washes of warm sepia. It is worthy of recollection that Cruikshank was a most dexterous artist in this monochrome branch, his earlier artistic experiences having been al-most exclusively in the walk of aqua-tinted etchings; all his early book illustrations, his caricatures, and satirical plates—social or political—were uniformly etched by his hand in the most spirited fashion, after his ready sketches and rough studies, and when the outline etching was bitten in, Cruikshank elaborately worked out his colour suggestions, for light and shade, with a brush over the first-etched outline, in tones of sepia or Indian ink, for the guidance of the professional 'aquatinters'—the school of artists to whose trained skill was entrusted the task of completing these plates to produce the effect of highly finished washed drawings in mono-chrome.
By this, his youthful practice, George Cruikshank had acquired remarka-ble dexterity, his original pen-and-ink designs, and the outline etchings, after his earlier book illustrations, being worked up in monochrome to the dainty finish of delicate miniatures, in which art both his father Isaac and his brother Isaac Robert were first-class proficients, as he himself has recorded with pride in describing the special gifts and qualifications which distinguished the Cruikshank family.
ABOUT THE AUTHOR;
George Cruikshank (1792 – 1878) was a British caricaturist and book illustrator, praised as the "modern Hogarth" during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience.
Cruikshank was born in London. His father, Isaac Cruikshank, was one of the leading caricaturists of the late 1790s and Cruikshank started his career as his father's apprentice and assistant.
His older brother, Isaac Robert, also followed in the family business as a caricaturist and illustrator. Cruikshank's early work was caricature; but in 1823, at the age of 31, he started to focus on book illustration. He illustrated the first, 1823 English translation (by Edgar Taylor and David Jardine) of Grimms' Fairy Tales, published in two volumes as German Popular Stories.
On 16 October 1827, he married Mary Ann Walker (1807–1849). Two years after her death, on 7 March 1851, he married Eliza Widdison. The two lived at 263 Hampstead Road, North London.
Upon his death, it was discovered that Cruikshank had fathered 11 illegitimate children with a mistress named Adelaide Attree, his former servant, who lived close to where he lived with his wife. Adelaide was ostensibly married and had taken the married surname 'Archibold'.
Perhaps no writer in the English language is more closely associated with orphaned characters than Charles Dickens. The trials and dangers for children without parental protection play a significant part in nearly all his work, as both a source of highly entertaining melodrama and pointed social criticism.
Oliver Twist: Having endured deplorable conditions in an orphans’ workhouse, Oliver Twist eventually escapes to London, where he falls in with the Artful Dodger, one of a gang of young pickpockets led by the criminal Fagin. Dickens’s heartrending descriptions of institutional abuses as well as the brutal reality of life on London’s streets for homeless children argued strongly for social reform.
Great Expectations: Dickens’s penultimate novel centers on the orphan Pip and his anonymous benefactor, whom he assumes is the wealthy and eccentric recluse Miss Havisham, and whose adopted daughter, the beautiful but emotionally distant Estella, he falls hopelessly in love with. John Irving called it “the most wonderful and most perfectly worked-out plot for a novel in the English language.”
Bleak House: Dickens’s masterful satire of the English judicial system features his only female narrator, Esther Summerson, who is raised as an orphan. Esther’s true identity forms much of the mystery and drama of a complex novel involving an endless legal case—“the family curse”—and all the lives it affects.
As an entertainer and a moralist, Dickens utilized his vulnerable young protagonists to great effect, creating some of the most unforgettable characters in the history of literature.
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Oliver Twist, subtitled The Parish Boy's Progress, is the second novel by Charles Dickens, published by in 1838. The story is about an orphan, Oliver Twist, who endures a miserable existence in a workhouse and then is placed with an undertaker. He escapes and travels to London where he meets the Artful Dodger, leader of a gang of juvenile pickpockets. Naïvely unaware of their unlawful activities, Oliver is led to the lair of their elderly criminal trainer Fagin.
The Old Curiosity Shop is a novel by Charles Dickens, published in 1841. The plot follows the plight of a homeless thirteen year-old girl, Nell Trent, and her aged Grandfather, as they wander the countryside of England, keeping one step ahead of their horrible dwarf nemesis, Daniel Quilp.
Charles John Huffam Dickens ( 1812 – 1870) was an English writer and social critic. He created some of the world's most memorable fictional characters and is generally regarded as the greatest novelist of the Victorian period. During his life, his works enjoyed unprecedented fame, and by the twentieth century his literary genius was broadly acknowledged by critics and scholars. His novels and short stories continue to be widely popular.
After eighteen years as a political prisoner in the Bastille the aging Dr Manette is finally released and reunited with his daughter in England. There two very different men, Charles Darnay, an exiled French aristocrat, and Sydney Carton, a disreputable but brilliant English lawyer, become enmeshed through their love for Lucie Manette. From the tranquil lanes of London, they are all drawn against their will to the vengeful, bloodstained streets of Paris at the height of the Reign of Terror and soon fall under the lethal shadow of La Guillotine.
It begins on a muddy English road in an atmosphere charged with mystery and it ends in the Paris of the Revolution with one of the most famous acts of self-sacrifice in literature. In between lies one of Dickens’s most exciting books—a historical novel that, generation after generation, has given readers access to the profound human dramas that lie behind cataclysmic social and political events. Famous for its vivid characters, including the courageous French nobleman Charles Darnay, the vengeful revolutionary Madame Defarge, and cynical Englishman Sydney Carton, who redeems his ill-spent life in a climactic moment at the guillotine (“It is a far, far better thing that I do, than I have ever done”), the novel is also a powerful study of crowd psychology and the dark emotions aroused by the Revolution, illuminated by Dickens’s lively comedy.
With an Introduction by Simon Schama
From the Trade Paperback edition.
As a small boy at Joe Gargery's forge, Pip meets two people who will affect his whole life - an escaped convict he is forced to help, and the eccentric Miss Haversham, whose beautiful, cold-hearted ward Estella young Pip adores. But when a secret benefactor pays for him to go to London to become a gentleman, Pip never dreams he will meet the dreadful Magwitch again, nor just how wrong his expectations are.
With a light-hearted introduction by bestselling author Anthony Horowitz, creator of the highly successful Alex Rider novels, most recently Snakehead.
"Dickens's French Revolution is probably more like the French Revolution than Carlyle's," said G. K. Chesterton. "In dignity and eloquence A Tale of Two Cities almost stands alone among the books by Dickens."
Original illustrations by John Leech, with an afterword by Anna South.
Designed to appeal to the booklover, the Macmillan Collector's Library is a series of beautiful gift editions of much loved classic titles. Macmillan Collector's Library are books to love and treasure.