TROLLOPE (ANTHONY) Album of 26 original illustrations to "The Way We Live Now"
Lot 218
TROLLOPE and 'THE WAY WE LIVE NOW'. The original illustrations by Lionel Grimshaw Fawkes for the first publication of Anthony Trollope's novel The Way We Live Now, comprising twenty-six drawings (one unpublished), c.1874-1875
Sold for £20,000 (US$ 33,164) inc. premium
Lot Details
The original illustrations by Lionel Grimshaw Fawkes for the first publication of Anthony Trollope's novel The Way We Live Now, comprising twenty-five drawings out of a total of forty as published, with one extra unpublished drawing, mostly executed in pen-and-ink and mounted or loose in a partly disbound small quarto 'Scrap Book', as follows:
(i) 'The Duchess followed with the male victim', Chapter V, pen-and-ink, 108 x 167mm.
(ii) '"You should remember that I am his mother"', Chapter XV, pen-and-ink,170 x 110mm.
(iii) 'She marched majestically out of the room', Chapter XXI, pen-and-ink, 172 x 104mm.
(iv) '"I have come again across the Atlantic to see you"', Chapter XXVI, pen-and-ink, 170 x 110mm.
(v) '"Get to your room"', Chapter XXIX,
(vi) 'Sir Damask solving the difficulty', Chapter XXXII, pen-and-ink, 170 x 110mm.
(vii) '"I loiks to see her loik o' that"', Chapter XXXIII, pen-and-ink, 170 x 110mm.
(viii) 'The Board Room', Chapter XXXVII, pen-and-ink, 110 x 170mm.
(ix) 'Lady Carbury allowed herself to be kissed', Chapter XXXIX, pen-and-ink, 170 x 110mm.
(x) '"It's no good scolding"', Chapter XLI, pen-and-ink, 170 x 110mm.
(xi) '"I don't care about any man's coat"', Chapter XLIII, pen-and-ink, 170 x 110mm.
(xii) 'The sands at Lowestoffe', Chapter XLVI, pen-and-ink, 110 x 170mm.
(xiii) '"You, I think, are Miss Melmotte"', Chapter L, pen, ink and wash, 170 x 110mm.
(xiv) 'The door was opened for him by Ruby', Chapter LI, pen-and-ink, 170 x 110mm.
(xv) 'Should she marry one man when she loved another?', Chapter LII, pen-and-ink, 170 x 110mm.
(xvi) 'Father Barham', Chapter LVI, pen-and-ink, 170 x 110mm.
(xvii) 'Mr Squercum in his office', Chapter LVIII, pencil on card, 174 x 107mm.
(xviii) '"What's up, Ju?"', Chapter LXI, here captioned in ink "'Have you heard what's up, Ju?'/ p. 65", pen-and-ink, 200 x 128mm.
(xix) 'Melmotte speculates', Chapter LXII, here captioned in ink "Melmotte after the party./ p. 77", pen-and-ink, 200 x 128mm.
(xx) 'Not a bottle of champagne in the house', Chapter LXIX, here captioned in pencil "Not a bottle of champagne in the club/ Vol. 117. Vol. 2", pen-and-ink on card, loose, overall 208 x 130mm.
(xxi) 'Melmotte in Parliament', Chapter LXIX, here captioned in pencil "Melmotte in Parliament – p. 1200. Vol 2", pen-and-ink on card, loose, overall 208 x 130mm.
(xxii) '"Get up, you wiper!"', Chapter LXXI, here captioned in pencil "'Get up, you wiper'/ p. 133 Vol ii", pen-and-ink on card, 190 x 140mm.
(xxiii) '"I might as well see whether there is any sign of violence having been used"', Chapter LXXV, here captioned in pencil "''I might as well see whether there is any sign of violence having been used.'/ p. 158 Vol ii", pen-and-ink on card, 190 x 140mm.
(xxiv) '"You had better go back to Mrs Hurtle"', Chapter LXXVI, here captioned in pencil "'You had better go back to Mrs Hurtle.'/ p. 165 Vol ii", pen-and-ink on card, 190 x 130mm.
(xxv) '"Ah, ma'am-moiselle," said Croll, "you should oblige your father"', Chapter LXXVII, here captioned in pencil "'Ah, ma'am-moiselle you should oblige your father'/ p. 158 Vol ii", pen-and-ink on card, 190 x 130mm.
(xxvi) '"There goes the last of my anger"', Chapter C, captioned in pencil at the head "Keep this drawing" and below "'There goes the last of my anger'./ p. 218 Vol ii", pen-and-ink on card, 190 x 130mm.


  • THE ORIGINAL ILLUSTRATIONS BY L.G. FAWKES FOR THE FIRST PUBLICATION OF WHAT MANY REGARD AS TROLLOPE'S GREATEST NOVEL: 'the masterpiece The Way We Live Now... is essence of Trollope. If he had written no other novel, The Way We Live Now would have ensured his immortality, though he could not have written it if he had written no other novel. It grew out of the compost of a lifetime's observation, anger, amusement and writing-experience. He embraced in his satire, with an understanding that bordered in some cases on affection, all his preoccupations – the corruption of the literary world, the Church of England and the flaccid beliefs of its adherents, the venal world of love and marriage, the financial world of insider dealings and City frauds, and the society world. Because he was Anthony Trollope, it is the people that we remember... The Way We Live Now is a great shout in the long conversation that Anthony Trollope sustained, and sustains, with his readers, about the betrayal of all that is "honest and true". Always, for him, the worst aspect of individual dishonesty was that it corrupted the whole community by being perceived as success, and rewarded' (Victoria Glendinning, Anthony Trollope, 1993, pp. 431-4). Trollope began it in 1873, having got back from his tour of Australia and New Zealand and having moved into a new house in Montagu Square, describing its genesis in his Autobiography: 'If dishonesty can live in a gorgeous palace with pictures on all its walls, and gems in all its cupboard, with marble and ivory in all its corners, and give Apician dinners, and get into Parliament, and deal in millions, then dishonesty is not disgraceful, and the man dishonest after such a fashion is not a low scoundrel. Instigated, I say, by some such reflections as these, I sat own in my new house to write The Way We Live Now' (Chapter XX). And of course it remains all too topical, as the recent television adaptation attests, and the great swindler Melmotte can be seen as much of a representative figure of our times as he was of the times in which Trollope wrote.

    It is perhaps fitting that for many years the illustrations to The Way We Live Now were ascribed to the better-known, more fashionable, artist Luke Fildes. The injustice to their lesser-known, less fashionable author, L.G. Fawkes, being corrected only in 1947 by A.R. Jabez-Smnith and Michael Sadleir in letters published in the Times Literary Supplement (22 March and 5 April 1947). Trollope himself seems to have been pleased with the choice of Fawkes, writing to his publisher Chapman on 24 September 1873: 'I write a line to say that I have one drawing from Fawkes. It is with slight exceptions very good. I shall be back on 1st October and will shew you. It's time something should be decided". This suggests that he took a direct hand in supervising the illustrations, and opens the possibility that alterations between the preliminary drawings and the final versions reveal his influence as much as that of the publishers. The Way We Live Now appeared in monthly shilling parts from February 1874 to September 1875, with the two-volume edition being published in June 1875.

    These, the original drawings, will require considerable study. The bulk of them do indeed appear to be for the original serialization. But some of those on card were clearly intended for the novel's publication in the two-volume book form as they have been marked up with the relevant volume number (in all cases Vol. ii). But what may seem a discrepancy can perhaps be explained by the fact that the two-volume edition appeared before the serialization had run its course.

    Many of the originals differ from the woodcut versions by H. Linton (which are – it should be said – often a good deal cruder in their treatment, whatever Fawkes's shortcomings might have been as a draftsman). One drawing in particular stands out. This is the original of 'Sir Damask solving the difficulty' at Chapter XXXII. In this, the figure of Sir Damask Monogram seems pretty indisputably – to the present cataloguer at least – to be a portrait of Charles Dickens (who had died five years earlier). Whether or not this is the case, when it came to the published version, he was replaced by a younger man with a pudding-basin haircut and a walrus moustache. This drawing is also typical in that its background differs from the final version. Other examples of such relatively minor differences may be cited: in 'Should she marry one man when she loved another?' at Chapter LII a china cabinet appears in the finished version; in 'It's no good scolding' at Chapter XLI Sir Felix is given an umbrella in the final cut and a tree has been pruned back to allow more of the buildings to show; in 'Lady Carbury allowed herself to be kissed' at Chapter XXXIX the portrait in the woodcut is not present in the drawing (for some reason, this is the only drawing where the image is reversed in the cut); in the published version of 'You, I think, are Miss Melmotte' at Chapter L the railway porter has shifted position, the policeman about-faced and hanging lanterns appear; in our version of 'The sands at Lowestoffe' at Chapter XLVI, Paul Montague with Mrs Hurtle on his arm has not yet noticed Roger Carbury, nor does he have a cane clutched in his hand; in the published version of 'The door was opened for him by Ruby' at Chapter LI, the baby has shifted position and Paul Montague has been given an overcoat to wear; in 'Father Barham' at Chapter LVI, the perspective of the bar has been shifted, as have the workmen and furnishings in the background;. The most striking difference is in the first illustration here (and the first in the book), 'The Duchess followed with the male victim' at Chapter V, where only the trio at the right of our picture makes it into the final version and where our depiction of the ball in progress is dropped altogether.

    Of greater significance possibly is the alteration to 'Get up, you wiper!' at Chapter LXXI. In our version, John Crumb grabs Sir Felix by the throat and has his right arm poised to punch him, while Ruby hangs on to him, screaming. In the published version we are presented with a more peaceable scene. John Crumb is shown supporting Sir Felix. Ruby has her mouth shut, and stands back while a friendly policeman looms in the background. Two of the most famous illustrations also differ considerably, once again conceivably as a result of Trollope's intervention. Our version of 'Not a bottle of champagne in the house' features the distraught Lord Nidderdale and empty-handed waiter only, whereas the published version includes his friends Grasslough and Miles Grendall. Our version of 'Melmotte in Parliament' shows just the figures of Melmotte and Brown with the other figures much more lightly drawn and very much in the background. But more to the point, our version shows a forceful Melmotte staring aggressively at his opponent with his left arm swept out in an oratorical gesture. Whereas the published version is truer to the text and shows Melmotte looking perplexed and non-plussed, with his left arm no longer confidently outstretched but rather held to his lips in uncertainty. The final drawing, 'There goes the last of my anger' at Chapter C, marked "Keep this drawing", seems to have been dropped altogether.
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  1. Luke Batterham
    Specialist - Books, Maps, Manuscripts and Historical Photographs
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