Founding of the Firm
The firm began in
1816 as a
London stationer and bookseller,
founded by two Scotsmen,
George Smith (
1789–1846) and
Alexander Elder (
1790–1876).
According to
Sidney Lee, the partners undertook their first modest publishing venture in
1819,
when they were admitted to the Stationersʼ Company, although more recently
Bill Bell has shown evidence
that they began publishing in a small way from the beginning in
1816
(
Lee, “Memoir of George Smith”, 3–4;
Bell, “Smith, George Murray (1824–1901)”).
John James Ruskinʼs initial dealings with the firm appear to have been as a customer of their stationery and books.
For example, an entry in his household accounts for
June 1827 shows the notation,
“Paid for Books to Smith E”, followed by a list of titles
(
John James Ruskin, Account Book [1827–45], 2r;
see
“Poetry Discriptive”: Title).
Thus,
John James was among the “friendly Scotch
clientèle” that, according to a history of the firm, Smith, Elder
supplied with writing materials, books new and used, and bookbinding services in its early days, as suggested by the preponderance of Scottish titles of books and music recorded in a daybook
(
Huxley, The House of Smith Elder, 4).
When first established, the premises were located in
Fenchurch Street, near to the counting house of
Ruskin, Telford, & Domecq in
Billiter Street, which linked
Fenchurch Street to
Leadenhall Street
(
Hilton, John Ruskin: The Early Years, 29).
In
1824, the firm moved one street farther west to 65
Cornhill; and taking on a third partner, it became Smith, Elder, & Company.
An important part of the business was focused on exporting books and stationery to
India,
supplying British subjects stationed with the East India Company
(
Lee, “Memoir of George Smith”, 4–6).
The headquarters of the East India Company,
East India House,
was situated close by (see
City of London; see also
Red Book).
It would have mattered to
John James Ruskin that the founders of the firm,
George Smith and
Alexander Elder were,
like himself, Scotsmen who were the first in their respective families to leave
North Britain in order to seek better
mercantile opportunities and cultured, metropolitan lives in
London. They also opened a window onto the romance of literary life.
Smith had served in the firm of John Murray, the publisher of
Byron,
and even had the honor on one occasion to deliver proof sheets to the poet himself—or, in a more colorful version of the story,
carried an inquiry about a new edition that caused
Byron to spring up and dance around the room
(
Lee, “Memoir of George Smith”, 3;
Huxley, The House of Smith Elder, 3).
Early Art and Literary Publishing
The popularity of
Friendshipʼs Offering
was key to the success of Smith, Elder & Company as a fine art and literary publisher. The firm took over this literary annual in
1827 from a neigboring bookseller
in
Cornhill Street,
Lupton Relfe, and rapidly developed it from a pale imitation
of Ackermannʼs
Forget Me Not
into one of the best‐selling productions of the two‐decade reign of the
annuals. The burgeoning innovations in visual and print culture
that made the
annuals a popular success—mass‐producible illustration such as steel engraving, along with mechanized bookbinding and papermaking—proved
particularly effective in the firmʼs make‐over of
Friendshipʼs Offering.
Again,
Alexander Elderʼs tastes appear to have been key in the up‐to‐date and high quality of the firmʼs illustrated publications,
for he was also an art enthusiast, and commissioned a number of ambitious portfolios of picturesque views. Among the earliest of these was
Views in Scotland,
by
John Heaviside Clark (
1771–1863),
a series of copper‐engraved views of the principal towns and historical sites of
Scotland, published in
1824.
Printed in aquatint, each plate sold at half a guinea, the series realizing a profit beyond the artistʼs substantial commission of £1,000
(
Huxley, House of Smith Elder, 10–11).
The high quality of art reproduction that the firm had achieved by the
1820s is testified by its role in producing
Scenery, Costumes and Architecture, Chiefly on the Western Side of India (
1826–30)
by
Robert Melville Grindlay (1786–1877),
which has been ranked “among the finest illustrated books ever produced” for the beauty and subtlety of its aquatints. Its first two parts were produced by
the more experienced firm of Ackermann, but the remaining four parts by Smith, Elder
(
Rohatgi, “Amateur Artists in Western India”, 19, 17).
Connections with the Ruskin Family
Many connections tied Smith, Elder intimately to the Ruskins.
Ruskinʼs older cousin,
Charles Thomas Richardson (1811–34),
worked as an apprentice or shopboy for the firm, starting probably no later than
October 1829,
when
Charles presented
John with a copy of
Friendshipʼs Offering
(probably the volume for
1830,
Friendshipʼs Offering: A Literary Album, and Christmas and New Yearʼs Present, for MDCCCXXX,
rather than the volume for
1829, as assumed by
Van Akin Burd, since the
1830 volume
would have just been published around
31 October 1829 when
Charles got “it in a present from Mssrs. Smith & Co.”
[
Burd, ed., Ruskin Family Letters, 208, 209 n. 6]).
Whether the volume for
1829 or for
1830, its editor was
Thomas Pringle,
who became
Ruskinʼs first editor of his poetry published in
Friendshipʼs Offering.
Pringle certainly was on a familiar footing with the Ruskin family by
January 1832,
when he introduced the Ruskins to the writer,
James Hogg (ca. 1770–1835).
Perhaps
Charlesʼs gift to
John prompted
John James to seek the acquaintance.
Pringleʼs editorship of the annual started in
1828—his first volume being that for
1829
(i.e., the volume marketed during the holiday season of
1828–29). He continued to serve
as editor until his death in
December 1834, having prepared the volume for
1835 (i.e., the volume for the holiday season of
1834–35).
This last volume, which featured the young
Ruskinʼs first poems for the annual, was substantially completed during the
summer of 1834
(
Vigne, Thomas Pringle, 244). In the latter volume,
Ruskin made his first
appearance in a prominent professional anthology, publishing two poems:
“Fragments from a Metrical Journal”,
which was abstracted from his
Account of a Tour on the Continent; and
“Saltzburg”, which accompanied an engraved vedute of the city, drawn by
William Purser (1790–1852),
and engraved by
Edward Goodall (1795–1870)
(
Pringle, ed., Friendshipʼs Offering; and Winterʼs Wreath . . . for 1835, 37–38, 317–19).