Left: William M. Thackeray. Center: Crowe’s illustration of Richmond 1853. Right: Eyre Crowe.
Daily Dispatch, March 2, 1853
In November of 1852, William Makepeace Thackeray, still enjoying the considerable success and fame accruing from his novel of the previous decade, Vanity Fair, arrived after a two week voyage from Liverpool (on the Royal Mail ship “Canada”) in Boston harbor. Thackeray’s purpose, besides adventure, was financial gain, a cushion for his daughters from a life he suspected might be foreshortened. In fact, it was–He died ten years later at only 52.
The lecture route, somewhat planned and somewhat improvised, would take a leisurely southern direction, with an appearance in Richmond scheduled for the following February. Thackeray was accompanied by Erye Crowe, who acted as personal secretary, tour manager, amanuensis and, most importantly, good company during what promised to be a stimulating, but inescapably trying and lengthy journey.
Like Thackeray, Crowe was a skilled sketch artist. Unlike Thackeray, who abandoned art studies as a young man to sketch words as a journalist, Crowe, 29 years of age and about a dozen years the author’s junior, still aspired to be an artist. While Thackeray’s lectures and impressions of America inscribed in his letters now interest only scholars, Crowe’s oil painting, “Slaves Waiting for Auction”, derived from his drawing above, can still jab the conscience.
The work acts as centerpiece for the Library of Virginia’s exhibit opening later this month, “To Be Sold,” a close examination of Richmond as a distribution hub for the business of selling human beings.
Yet minus the intercession of a book and a newspaper, the painting might not exist at all. “I expended 25 cents”, writes Crowe in his memoir of 1893, With Thackeray in America, “in the purchase of Uncle Tom’s Cabin and was properly … read more »