Jane Austen, Illustrated

Jane Austen, Illustrated

For today’s audience, visualising Jane Austen is easy. In numerous recent TV and film dramatisations, the Regency era is communicated through a parade of empire line gowns, sedate formal dances and serene stately homes. So settled are we, in fact, on this familiar interpretation of Austen novels today, that it is easy to discount the fact that Austen has been imagined very differently in the past.

The earliest film adaptation of Pride and Prejudice in 1940, for example, was set in the Victorian period, in order that it might be marketed in the same vein as the wildly popular Gone with the Wind, which had appeared the previous year. It thus featured a cast of female characters in enormous Scarlett O’Hara style dresses and bonnets.

MGM Studios , via Wikimedia Commons

To the first audiences of Austen on screen, the novels were presented as 19th century romances, rather than the acerbic social commentaries of the previous century which appear on the page, and the endurance of this conception of Austen in the popular collective consciousness still holds a certain amount of power.

This was not the first time, however, that Austen had been misrepresented to make her more marketable. Henry James, in 1905, can be found deploring the way in which

the body of publishers, editors, illustrators, producers of the pleasant twaddle of magazines … found their ‘dear,’ our dear, everybody’s dear, Jane so infinitely to their material purpose, so amenable to pretty reproduction in every variety of what is called tasteful, and in what seemingly proves to be saleable form.

From the first illustrated editions, which began to appear in the 1830’s, the content of the novels was being subjected to subtle (and sometimes not-so-subtle) manipulation to suit what the publishers perceived as palatable to the audience’s tastes at the time.

Just as in TV, film and stage adaptations, the illustrations of a novel have the power to profoundly influence the audience’s perception and draw out different aspects; the domestic or the pastoral, the political or social, the familial or the romantic. They can also alter factors such as the perceived age range of the audience for the novels by accentuating either scenes of gothic melodrama or the lighter, cosier elements of the narratives. When considering historical illustrations of Austen’s books, we must keep in mind that illustrators’ choices could have been influenced by a number of factors we may never be able to puzzle out; a publishers’ brief, market considerations, current trends or fashions etc. The illustrators themselves may not even have read the novels cover to cover.

Austen’s novels did not appear in illustrated form until the early 19th century. Illustrated novels were expensive to produce, and even works celebrated from the time of publication (which Austen’s were not) were often not illustrated until later editions. The copyrights to all of Austen’s six major novels were bought in 1832 by publisher Richard Bentley, fifteen years after Austen’s death. It was Bentley whose publication of each in turn as part of his Standard Novels series cemented their place in the literary canon. The illustrations for these editions – each featured a steel-engraved frontispiece and a title page vignette – were the first visualisations of Austen to be seen by a wide audience, and thus impacted greatly upon the reception of her works in the cultural consciousness.

First Bentley Edition of Sense and Sensibility, with illustrated frontispiece after Ferdinand Pickering

First Bentley Edition of Sense and Sensibility, with illustrated frontispiece after Ferdinand Pickering

This first interpreter of Austen was Ferdinand Pickering, illustrator of previous Bentley publications of the Gothic, romantic and domestic persuasion. Perhaps feeling most comfortable in this territory, Pickering duly provided illustrations for Austen’s novels which conformed to the mould of standard Victorian pot-boilers. Ignoring the Regency fashions that would be accurate to the setting of the novels, Pickering depicts female characters as wasp-waisted and voluminous-skirted, stepping with implausibly tiny feet through a series of scenes either domestically or dramatically preoccupied: in short, images familiar to readers from the post-gothic melodramas popular in the 1830s. Instances of surprise or strife are emphasised, almost to the extent of stretching the actual content of a scene to breaking point while leaving Austen’s native humour and mitigating satire unillustrated. For example, the image chosen for the frontispiece of Northanger Abbey depicts Henry Tilney on discovering Catherine Morland snooping in his late mother’s off-limits chambers. Catherine clasps her hands together beseechingly  and the whole scene is bathed in menacing shadows. It is unclear, at a glance, whether Tilney is the villain of the piece rather than its hero. Historian and critic Thomas Babbington-Macaulay wrote to a friend of the Bentley edition: ‘Get a sight of the Book next time you go to a circulating library at Liverpool; and tell me whether Henry Tilney be not the most offensive Varmint man that ever you saw’. In reality, the scene, within the wider context of Austen’s mock-gothic novel, is intended as a send-up of exactly the kind of sinister moment Pickering has ultimately represented. The illustration, it seems, has rather missed the joke.

Pickering’s illustrations: Frontispiece to Northanger Abbey and title page vignette to Sense & Sensibility

Similarly misleadingly, the title-page vignette selected for Sense & Sensibility depicts an exaggeratedly gothic version of Marianne’s illness.  The illustration, showing Marianne as a ghostly vision in frilled nightclothes being almost physically restrained by Elinor, would look more at home in Wuthering Heights, or another more gothically-disposed novel of the 19th century. While technically true to the novel, the choice of this scene (one of comparatively unrepresentative peril and drama in the larger context of the narrative) seems a strange introduction.

Indeed, Pickering’s tendency both to draw out and amplify gothic themes, and to place his characters in fashions contemporary to the 1830s, situated Austen’s novels so firmly in the context of the 19th century that she was often grouped with other Victorian novelists such as Charlotte Bronte and George Eliot in later literary discussion. This misappropriation was compounded by the fact that Bentley’s Standard Novels series of Austen’s work was reissued with Pickering’s illustrations until 1886. As it would have been through Bentley’s editions that many readers first approached Austen, her novels were effectively frozen in time as artefacts of early Victorian literature. When, in the mid-nineteenth century, other publishers issued illustrated editions of Austen’s work as the copyright on each novel expired, Pickering’s designs became the benchmark. Several illustrators chose to perpetuate the early Victorian fashions and setting. The illustrations for the 1851 Routledge edition of Pride and Prejudice by Sir John Gilbert, for example, have been criticised as rather lacklustre imitations of Pickering’s work, retaining the determinedly Victorian setting while shedding the sensationalist subjects. The resulting illustrations depict neat and demure heroines engaged in generic and passive activities, and are remarkable largely only for their lack of interest. Chapman & Hall’s 1870 ‘Yellowback’ edition also chooses Victorian dress for its characters but is, in contrast, notable for its bizarre choice of scene to illustrate; Lydia (we presume) is depicted in lurid colour at a soldiers’ encampment at Brighton, conversing with three officers, despite the fact that Austen never wrote this scene. Subsequent American editions of the novels, presumably taking their cue from the British, continued to illustrate characters in Victorian dress into the late nineteenth century.

Chapman & Hall 'Yellowback' edition of Pride & Prejudice, 1870

Chapman & Hall ‘Yellowback’ edition of Pride & Prejudice, 1870

The first illustrations to make an attempt at period-appropriate representation were those created by William Cubitt Cooke for J. M. Dent & Company’s ten volume edition of Austen’s novels in 1892. Cooke produced thirty illustrations for Dent which made an attempt at representing Regency dress and furnishings, providing readers with a more accurate visualisation of the books as they actually appeared on the page, rather than a more superficial rendering which kept an eye firmly on marketability.

The edition, however, which would set the standard for Austen illustration was George Allen’s 1894 ‘Peacock’ Pride and Prejudice, illustrated by Hugh Thomson. So called because of the lavish peacock motif that appeared on the endpapers, title page and gilt-embossed cover, it featured over 160 illustrations and decorations. Its landmark status in the publishing history of Austen, as well as its attractiveness, ensure its continued collectability, with copies usually fetching prices in the low thousands. Thomson’s Austen was also the first to attempt to inject humour into illustrations of the novels. Whimsical headpieces, often not depicting scenes directly described by Austen but attempting to capture the light and ironical tone off the novels, appear at the head of each chapter. For example, the five Bennet daughters are shown in one instance seated, flanked on the left by a fussing Mrs Bennet and on the right by the odious would-be suitor Mr Collins, who inspects them. A small sign above the head of the middle sister (presumably Jane) reads ‘not for sale’. Thomson went on to illustrate the five other Austen novels after his defection from George Allen to Macmillan. When it came, however, to Mcmillan’s own edition of Pride and Prejudice, they were in something of a bind, as Thomson’s earlier illustrations for the novel belonged to George Allen. They therefore engaged another illustrator, Charles Brock, for the project.

‘Peacock’ Pride and Prejudice, illustrated by Hugh Thomson

the ‘Peacock’ Pride and Prejudice, illustrated by Hugh Thomson

Charles Brock and his brother Matthew must also be credited with shaping the visual trend of Austen, producing over two hundred illustrations across several editions and formats. Chief amongst their innovations was the use of coloured plates, as in the ten volume Austen edition of 1898 produced by J. M. Dent. Following the trend of historical accuracy that emerged in the 1890s, the Brocks’ illustrations depict characters in period costume inhabiting highly detailed scenes.

The Brock brothers reputedly collected period furniture and would have their friends model for scenes in their Cambridge studio. Brock’s illustrations also capture some of Austen’s characteristically arch humour in the scenes and captions chosen. A plate for Emma, for example, shows the obnoxious Mrs Elton in a rather gaudy dress asking “How do you like my gown?”

An illustration of Lydia for Pride & Prejudice by C. E. Brock

Though the popularity of illustrated editions of Austen continued into the 20th century, ensuring repeated illustrated interpretations, it was film adaptations that increasingly began to shape popular notions of how Austen’s novels looked. The first on-screen adaptation of Pride & Prejudice in 1940 starred Laurence Olivier and Greer Garson and was marketed heavily to theatre-goers and was seen by millions.

As mentioned above, it took advantage of the recent success of other book-to-screen adaptations, opting for lavish and exaggerated Victorian costumes and sets for maximum visual titillation.  As with the illustrated editions, the prevailing trends of the day dictated the visual presentation of Austen. Almost from the advent of her popularity, Austen has been big business, and marketability continues to be the main factor affecting our conception of how the novels are visualised.

Illustrated Jane Austen novels:

By A Lady: First Editions of The Novels of Jane Austen

By A Lady: First Editions of The Novels of Jane Austen

First edition of Jane Austen’s Sense & Sensibility in the original boards (1811).

In spite of becoming a twentieth-century pop-culture phenomenon, the inspiration for numerous romantic films and chick-lit publications, Jane Austen remains one of literature’s most significant novelists. Today, in honour of International Women’s Day, we’ll push aside the accumulated sentiment to look at Jane Austen as writer and author, and examine the publishing history of her novels.

Austen was born in Hampshire, England in 1775, the seventh and youngest child of George and Cassandra Austen. George was an Oxford-educated rector, and the family was comfortably middle-class, closely-knit, and engaged with literature and culture. George saw to it that his daughters, Cassandra and Jane, were both educated, and Jane developed her taste for reading and theatricals from activities within the family, including the influence of her older brothers, as well as the libraries she had access to during several years at boarding school. Influenced by authors such as Henry Fielding, Jonathan Swift, and Samuel Richardson, she began writing stories and poetry at a young age, and many of her early pieces parodied the dramatic popular novels and histories of the era.

In the early 1790s Austen started composing full-length novels, beginning with Sense and Sensibility. It was not yet finished when, in 1796, she began work on “First Impressions”, the book that would become Pride and Prejudice. The first of her novels to be completed, this became a family favourite and was offered by her father to the publisher Thomas Cadell in 1797, but was turned down. Undaunted, Austen in 1798 and 99 completed her third novel, first titled “Susan”, and then “Catherine”, but renamed Northanger Abbey when it was later published posthumously. The rights to this third novel were sold to Richard Crosby & Son in 1803, though they failed to publish it.

Despite this setback, Austen and her family persisted in seeking publication, and they offered Sense and Sensibility to Thomas Egerton, who had previously printed James and Henry Austen’s Oxford periodical The Loiterer. As was common during the period, Austen was asked to pay for publication on a commission basis: Egerton fronted the money and the author was only paid after the printing costs and publisher’s commission were recouped. Henry Austen wrote that Jane was so concerned about the book not meeting the printing costs that she “made a reserve from her very moderate income to meet the expected loss” (Gilson p. 8). Austen, as she would be with each of her novels, was heavily involved in editing and preparing the text for publication, and wrote to her sister in spring of 1811 that, “No indeed, I am never too busy to think of S. & S. I can no more forget it, than a mother can forget her sucking child… I have had two sheets to correct, but the last only brings us to W.s. first appearance. Mrs. K. regrets in the most flattering manner that she must wait till May, but I have scarcely a hope of its being out in June” (Gilson p. 8).

Sense & Sensibility finally appeared in October 1811 as a three volume set in a print run of fewer than 1,000 copies, priced 15 shillings each. Despite Austen’s fears, it was a success, selling quickly and garnering positive reviews. The copy pictured above is a first edition in the original boards. This is a truly rare survival, as the board bindings produced by early nineteenth-century publishers were relatively flimsy and not originally intended to be permanent. Those who could afford it usually preferred to have the book bound in leather. Below, an example of the title page, with the anonymous attribution “By A Lady”:

Title page of the first edition of Sense & Sensibility

Title page of the first edition of Sense & Sensibility.

The first edition was sold out by July 1813, and a second edition was published by Egerton in October of that year, with some corrections and changes, but also a number of textual errors, and it sold only slowly.

Austen’s second novel, Pride and Prejudice, was first published in January of 1813, also in three volumes by Egerton, in a print run that was likely 1500 copies.

Five copies were sent to the author, and on 29 January she wrote that “I have got my own darling child from London” (Gilson p. 24).

Below, an example of a first edition bound in contemporary tree calf, along with the title page. Pride and Prejudice was Austen’s bestselling book during her lifetime, and a second edition was published by Egerton in 1813 (it’s easy to tell the difference between the first and second editions because “second edition” is stated on the title page), as well as a third edition in 1817.

First edition of Jane Austen's Pride & Prejudice

First edition of Jane Austen’s Pride & Prejudice (1813).

It is clear from her letters and other primary sources that Austen was serious about her writing and eager to be published. She established a routine for writing and was freed from much of the burden of housekeeping by her close female relatives. Austen also “dealt directly and firmly with her two publishers, Thomas Egerton and John Murray, complained when they were dilatory, and took a close interest in the progress of each of her publications, the costs of printing and paper (for which she was liable), and the copyrights and subsequent editions. She was not ashamed of meaning to make money” (ODNB).

Most tellingly, she carefully planned ahead for an additional three novels, ambitious narratives that would subvert the traditional storylines and sentiments to which her earlier books had adhered. Mansfield Park was begun in 1811 and finished in the summer of 1813, to be published in three volumes by Egerton in 1814. The print run was only 1,250 copies, with the publisher John Murray later expressing “astonishment that so small an edition of such a work should have been sent into the world” (Gilson p. 49). Pictured below is a copy in contemporary half calf with marbled boards:

First edition of Mansfield Park by Jane Austen

First edition of Mansfield Park by Jane Austen (1814).

Title page to the first edition of Mansfield Park.

At this time Austen was becoming unhappy with the Egerton firm, feeling ignored and hoping for larger royalties and greater control over her work. Most importantly, she had been unable to make editorial changes to later editions of her previous novels, since the copyrights belonged to the publisher, who could do with the texts as he wished. So she approached another publisher, John Murray, who offered to print the second edition of Mansfield Park along with the first edition of her fourth novel, Emma. This is the only one of Jane Austen’s novels to bear a dedication, to the Prince Regent, the arrangement of which generated a richly comic correspondence between the author and the Prince Regent’s librarian. Both books appeared in 1816, and unfortunately competed with one another, reducing the number of copies sold and forcing Murray to remainder 539 of the 2,000 copies of Emma. Below, a first edition of Emma in contemporary black half calf with marbled boards:

First edition of Jane Austen’s Emma (1816).

Title page to the first edition of Emma.

Unfortunately, this disappointment was the culmination of Austen’s literary career. In 1816 she completed Persuasion, the third of her planned novels, but she also began having back pains, and by autumn was suffering severely from what was probably Addison’s disease. She soldiered on, and in January 1817 began a new novel, Sanditon, though very little had been written by March, when she became too ill to continue. Austen died aged 41 on the morning of 18 July 1817, with her closest companion, her sister Cassandra, at her bedside. Two more novels, the recently completed Persuasion and the older work Northanger Abbey (her brother had recently repurchased the copyright from Crosby), were published posthumously as a set  in 1818. This was the first time that Austen was credited as the author of any of her books, and it also included a biographical note by her brother Henry, which was lavish (most have felt overly so) in its praise. The copy below is in a contemporary binding of half calf with marbled boards:

First edition Northanger Abbey and Persuasion

First edition of Northanger Abbey and Persuasion by Jane Austen (1818).

Title page Northanger Abbey and Persuasion

Title page to the first edition of Northanger Abbey and Persuasion.

Following this publication, Austen’s novels remained out of print for 12 years until the publisher Richard Bentley purchased the rights to all six books and in 1833 issued the first inexpensive editions, single volumes with an engraved frontispiece as illustration. His market was apparently the private buyer, as circulating libraries still had copies of the originals, and the lower cost allowed him to target the middle class. These early Bentley editions are more easily obtainable than true first editions of Austen’s books, and are very popular with collectors. Pictured below is the first Bentley edition of Mansfield Park in its original binding of purple calico with black labels to the spine. Like the first editions, Bentley’s editions were also available in more robust leather bindings, making these original,  relatively fragile, cloth bindings uncommon.

First Richard Bentley edition of Mansfield Park by Jane Austen

First Richard Bentley edition of Mansfield Park by Jane Austen (1833).

Frontispiece to the first Bentley edition of Pride & Prejudice

Frontispiece to the first Bentley edition of Pride & Prejudice (1833). The Bentley editions were the first copies of any of Austen’s book to be illustrated.

Despite the Bentley editions, Austen remained a marginal author through much of the nineteenth century. It was not until the publication of her nephew James Edward Austen-Leigh’s A Memoir of Jane Austen in 1869 that interest in her was renewed and the first serious literary analyses of her novels were published. In 1892 J. M. Dent published the first collected edition of her works to include critical commentary (pictured below is a set of the Dent editions illustrated by C. E. Brock). The first scholarly editions, edited by R. W. Chapman, were published in 1923. These became the standard for future study and placed Austen firmly within the canon.

The insistence from some quarters that Austen’s work is romantic escapism, light reading revolving around unimportant women’s interests such as dresses and balls, is far from the truth. Inspired by a wide-ranging English literary tradition that included non-fiction, serious novels, and dramatic fiction, Austen used her intellect and unique wit to subvert and parody contemporary literary styles. She experimented with a variety of subjects and formulas, constantly innovated, and creatively incorporated a range of earlier material into her own books.

Though she didn’t write directly about what some consider “serious subjects” such as war or politics, she engaged with important social issues from a female perspective, notably class distinctions, the gulf between manners and morality, religion and hypocrisy among the upper classes, and women’s dependence on men. And while she was later portrayed by her nephew as demure and hesitant to be published, she was in fact serious about her role as author, dealing with her male publishers firmly and directly, and involving herself in all aspects of the publishing process.

Her impact on the world of English letters has been justifiably significant, and her books continue to be as engaging, humorous, and thought-provoking as they were in her own time.

The J. M. Dent edition of the collected works of Jane Austen

The J. M. Dent edition of the collected works of Jane Austen, the first edition illustrated by C. E. Brock (1907).

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Links  & Bibliography

  • The standard bibliographies of Jane Austen are A Bibliography of Jane Austen by David Gilson (Oak Knoll Press, revised edition 1997) and Jane Austen:A Bibliography by Geoffrey Keynes (Nonesuch Press, 1929). Both are available from used booksellers on websites such as ABE.
  • Though many biographies have been written, my favourite is Jane Austen: A Life by Claire Tomalin.
  • Austen’s letters are available online. The text is that of the 1952 edition of the collected letters edited by R. W. Chapman, and is hosted by the University of Virginia Library.
  • There are only two conclusively identified portraits of Jane Austen taken from life, both by her sister Cassandra. The most famous is this pencil and watercolour sketch c. 1810, which is  held by the National Portrait Gallery. (The other is of the back of her head, probably a joke on her sister’s part.)
  • The Bodleian recently acquired the last substantial Austen manuscript still in private hands, the unfinished novel The Watsons.
  • In this amusing clip from her recent documentary From Elegance to Decadance: The Age of the Regency, historian Lucy Worsley discusses Jane Austen, her relationship to politics, and the infamous visit to the Prince Regent’s palace.