A visit to the Holburne Museum is always a pleasure with its café, clean toilets, gardens and gift shop – albeit with a 21st century admission of £16.50 (with discounts for students and young people). Apart from the views of Great Pulteney Street from the upper floors which are almost worth the entrance fee there is until the New Year a small but worth it exhibition on the illustrations of the books of Jane Austen’s novels. For Janeites and fans of all things Jane Austen this is essential viewing since some of the illustrations are so familiar having been published in various editions of her novels or appeared online in stories about her stories. The one that is most familiar is the one closest to the entrance – the portrait of Jane by her sister Casandra – a print of the original in the National Portrait gallery and the one that all depictions of the author are based on. There is something slightly sad about her expression – or maybe a touch of boredom as she had to sit still for ages for the artist to do her work.
What follows are some exceptional illustrations – some in watercolour and others in pen and ink beginning with the brothers Charles and Henry Brock who illustrated novels by Gaskell, Dickens and Austen with their comical illustration from Sense and Sensibility with its Regency costumes and expression of Mr Robert Ferrars a delight. Christina Hammond’s pen and ink drawing of 1899 entitled ‘Oh Elinor! She cried. I have such a secret to tell you about Marianna,’ is superb – she was a member of the Cranford School – but died far too young at the age of 40. Hugh Thomson’s illustration of Mr and Mrs Bennet sitting in chairs facing in opposite directions sums up the couple but also perhaps, the majority of married couples of a certain age – note to self – don’t be so cynical.
Rex Whistler’s costume designs for a production of Pride and Prejudice in 1936 of Charlotte Lucas and Lady Catherine de Bourgh reveal that Austen mania is nothing new. The finely drawn and classic Empire line gown is delicate and perfect for Charlotte depicted in pen. Although not a large exhibition each image is precious and tells a story – which of course is what they were designed to do. Hugh Thomson’s ‘Fanny Price and Henry Crawford’ from Mansfield Park in ink evokes the scene while Charles Edmund Brock’s illustration from Persuasion of Louisa’s fall from the sea wall in Lyme Regis is also repeated – this time by Joan Hassall in the 1960s in a wood engraving.
Sometimes our ideas of what a character in a book – certainly on TV and film – and in posters and illustrations – shape our view for what they look like as we read. Not only their looks but their clothing and their surrounds which all help to bring to life the narrative. Perhaps in Jane Austen there is no need since she creates such strong characters in words alone – but these illustrations add something – and for many help to crystalise their personas. A beautifully created exhibition – if like Jane herself – somewhat modest is scope.
Book illustration is often seen as the poor relation of fine art – with its depictions of the everyday events from within the pages – but as the exhibition at the Victoria Art Gallery of the art of The Wonderful World of the Ladybird Book Artists which proved a hit with the public – illustrations of the highest quality will always be popular.
Harry Mottram
Bath Voice and Local Democracy Reporters
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