The Engraver's Hand
Illustrations of Pride & Prejudice
A collected survey of the artists who first gave Austen's characters a visible form — public-domain plates from the great illustrated editions of the 1890s, gathered artist by artist.
Hugh Thomson
Pride and Prejudice, George Allen, 1894
The Irish-born illustrator whose light, sprightly pen-work for the 1894 'Peacock' edition did more than any other to shape the popular Regency image of Austen's novel. Thomson's figures dance, curtsey, and whisper with an almost musical grace.
Frontispiece
Mr. Darcy
The proud master of Pemberley, as Thomson first gave him to readers.
Plate
Mr. Wickham
The charming officer whose countenance 'may vouch for his being amiable.'
Chapter VI
'Such Very Superior Dancing'
Elizabeth and Darcy observed at the Netherfield ball.
Chapter XLIII
At Pemberley
Elizabeth tours the grounds and hears the housekeeper's praise.
Chapter LI
A Letter from Lydia
News that darkens every prospect for the Bennet family.
Chapter LVII
Mr. Bennet's Study
A father receives unwelcome intelligence from his favourite daughter.
Charles Edmund Brock
Pride and Prejudice, Macmillan, 1895
C.E. Brock's illustrations are more historically researched and domestically observed than Thomson's. Working from genuine Regency costume and interiors, Brock gave the novel its first archaeologically faithful images — quieter, denser, and rich in period detail.
Plate
'Bingley Entered the Room'
The amiable Bingley, ever eager to please.
Plate
'I Hope Mr. Bingley Will Like It, Lizzy'
Mrs. Bennet attends to her daughter's toilette.
Plate
'He Looked Surprised, Displeased, Alarmed'
Darcy's first proposal, spoken and received badly.
Plate
'I Assure You I Feel It Exceedingly'
Mr. Collins, ever assuring.
Plate
'I Never Saw Any One So Shocked'
A drawing-room reaction, meticulously rendered.
Plate
Elizabeth and Darcy
The closing understanding, in faithful Regency dress.