Gustave Doré’s illustrations of London life have played an important role in shaping public perceptions of Victorian life in the city.
The French artist first came to public attention in Britain through his illustrations of Milton, Dante, Byron and Cevantes and particularly through his Bible illustrations (1866). The success of this latter work led to the opening of a major exhibition in London in 1867, followed by the establishment in 1868 of the Doré Gallery in Bond Street by Messrs Fairless and Beetforth, which ran until 1892. In 1869 he embarked upon an ambitious project with the writer Blanchard Jerrold to produce a portrait of London in 180 wood engravings. Based on earlier series like Rudolph Ackermann’s ‘Microcosm of London’ (1808–1810), the work was originally issued in monthly instalments and then in book-form in 1872.
Originally intended to document the city through the eyes of a pilgrim arriving in England, the series evolved into a set of scenes representing the extremes of London life. Accordingly images of fashionable society enjoying the pleasures of the city are contrasted with pictures of deprivation and desperation. Doré made yearly visits to England while he was working on the book, visiting a wide range of sites (sometimes in disguise), from gala balls to opium dens and slums. Although he undertook extensive first-hand research, his illustrations were worked up from memory in his Paris studio. Critics accused him of invention and criticised him for giving a selective view of the metropolis with an overemphasis on its most squalid aspects. The publication was nevertheless a great success and Doré’s vision of London has become iconic. The book was published in France in 1876 as Ennault's 'Londres', and was Doré presented to Queen Victoria by the Prince of Wales in 1875.
As well as holding a copy of the book, the Museum of London has two related works in its collection. A chalk drawing of ‘a watercress girl’ (2008.83) is likely to be a study for a potential illustration, and although this subject did not appear in ‘London: A Pilgrimage’, the depiction of an emaciated young street seller with her child is comparable to an engraving of a flower girl in the book. ‘A Poor House’ (88.60) is the only known large-scale London painting by the artist. It depicts men, women and children in the dark basement of a London lodging house, which is dramatically lit by a single candle on the table in the centre. Although the image was not engraved it closely mirrors Jerrold’s description of an East London poor house in 'London: A Pilgrimage'.