In Bohemia with Du Maurier: The First of a Series of Reminiscences

In Short

Felix Moscheles offers a warm, affectionate memoir of his youthful student days in Antwerp and Malines alongside his lifelong friend, the artist and writer George du Maurier. Through lighthearted anecdotes, shared sketches, and nostalgic reflections, Moscheles chronicles their early bohemian adventures, mutual artistic development, and joint fascination with mesmerism. Written just as du Maurier’s literary fame reached its height and published shortly after his death, the memoir captures the exuberant humor, creative ambition, and enduring camaraderie of two young artists finding their footing before entering the wider social and professional circles of Victorian London.

The Story

The narrative opens with Felix Moscheles recalling his initial encounter with George du Maurier at an art studio in Antwerp. Dressed in a paint-stained workman’s blouse adorned with humorous handwritten warnings across his back and wearing a crocheted headband, Moscheles immediately catches the keen eye of du Maurier, who observes him with the sharp, eager gaze of a natural caricaturist. The two young men strike up an instant friendship grounded in shared humor, artistic enthusiasm, and a mutual love of music. Joined by fellow art students such as Jean Heyermans—affectionately nicknamed "Peggy"—and an Englishman named Sprenk, whom they dub "Tag," the companions embrace the informal, creative atmosphere of continental student life. Moscheles and du Maurier adopt their own playful aliases, "Bobtail" and "Rag," cementing a bond that shapes their daily rambles, studio work, and social calls.

As their studies progress, the scene shifts between the vibrant streets of Antwerp and the quieter, historic city of Malines. When du Maurier suffers from serious eye trouble and requires treatment under a local specialist, he relocates to Malines with his mother and sister. Moscheles makes frequent weekend visits, transforming their home into a lively haven filled with vocal performances, musical caricatures, and collaborative song-writing. During these visits, the duo frequently stops by a local shop to pay court to a charming tobacconist named Carry. They turn these simple romantic rivalries and playful flirtations into endless pen-and-ink drawings, mock-heroic duels, and comical verses. Alongside these lighthearted pursuits, Moscheles introduces du Maurier to his practical investigations of mesmerism, drawing on experiences he had cultivated in Paris with his housekeeper Virginie Marsaudon. Their late-night conversations regarding hypnotic suggestion, unseen forces, and eerie psychological phenomena deeply impress du Maurier, planting the imaginative seeds that later blossom into his famous literary creations.

Eventually, their continental student days come to a close as both artists transition to London. Du Maurier establishes himself in the English publishing world, contributing illustrations to prominent periodicals such as Punch and mingling with notable artistic contemporaries including James McNeill Whistler, Edward Poynter, and Thomas Armstrong. Moscheles records their continued friendship amidst the lively social gatherings at Moray Lodge, the residence of Arthur Lewis, where artists, musicians, and performers regularly meet. Du Maurier's rising career as an illustrator is matched by personal milestones, culminating in his engagement and marriage to his wife. Moscheles concludes his reminiscences by reflecting on how these early bohemian adventures shaped du Maurier’s iconic visual style and literary imagination, leaving behind a rich legacy of mutual devotion, humor, and shared memories.

How It Unfolds

The first meeting in Antwerp Moscheles arrives in the studio wearing a painted workman’s blouse and a crochet band, immediately catching the sharp gaze of du Maurier. The two exchange quick witticisms in their native tongue and form an immediate international friendship.

Bohemian life and musical evenings Joined by student companions like Jean Heyermans, the friends explore Antwerp’s cafés and art circles. They spend their hours making sketches, learning local idioms, and improvising elaborate musical performances on the piano.

Sojourns and flirtations in Malines When du Maurier moves to Malines to seek treatment for an eye condition, Moscheles becomes a regular weekend guest at his family home. Together they frequent a local shop to pay joint homage to a tobacconist named Carry, filling sketchbooks with comical drawings of their friendly rivalry.

Experiments in mesmerism Moscheles introduces du Maurier to his interest in mesmeric phenomena, sharing stories of his Parisian experiments with Virginie Marsaudon. Deep late-night discussions about hypnotic influence leave a lasting impression on du Maurier’s creative mind.

Transition to London society The narrative shifts to London as du Maurier builds his career as an illustrator for major publications like Punch. The two friends reunite at Moray Lodge, joining an influential circle of painters, actors, and musicians.

Matrimony and lasting memory Du Maurier invites Moscheles to meet his future wife, marking the end of their bachelor days. Moscheles closes the volume reflecting on the permanent strength of their youthful bond and the artistic legacy of his late friend.

The People

• Felix Moscheles ("Bobtail") wants to develop his artistic career while fully experiencing the musical, social, and intellectual pleasures of youth. Unbothered by strict convention, he readily experiments with mesmerism, musical parodies, and comedic antics. Through his travels and artistic endeavors, he matures into a devoted friend and recorder of his circle's creative spirit.
• George du Maurier ("Rag" / "Kicky") seeks to overcome severe eye troubles while striving to succeed as a visual artist and illustrator. He possesses an eye for character, a sympathetic tenor voice, and a deep sensitivity to mystery and romance. Driven by a intense curiosity about human nature, he transforms his student experiences into popular illustrations and literary themes.
• Jean Heyermans ("Peggy") aims to master painting and assist his foreign student friends in navigating local Belgian customs. As a polyglot and generous companion, he introduces Moscheles and du Maurier to Flemish idioms and integrates them into his family's musical household.
• Carry wants to run her shop while enjoying the dramatic, poetic attention of her local admirers. She serves as the muse for numerous sketches, gracefully entertaining the joint attentions and playful chivalry of Moscheles and du Maurier.

In Its Own Voice

"To me it was a source of enjoyment to evoke these memories, and if I publish them, it is because I strongly feel that pleasures shared are pleasures doubled."

Moscheles explains his motivation for putting their youthful adventures into print.

"Yes, governor, it's all very well to ask a nervous fellow to Antwerp and amuse him and make him ever so jolly and comfortable--But why, when the bleak November wind sobs against the lattice... why should you make nervous fellows' flesh creep by talk about mesmerism...?"

Du Maurier reacts to Moscheles’s late-night tales of mesmeric phenomena and uncanny spirits.

"My reason for not writing was that I intended to make my position before giving of my news to anybody. I was just funky and blue about it at first, but fortunately I was twigged almost immediately, and, barring my blessed idleness, am getting on splendaciously just now."

Du Maurier writes to Moscheles detailing his initial struggle and rapid success upon arriving in the London art scene.

What It's Really About

Beneath its anecdotal surface, the book explores the deep connection between youthful companionship and the genesis of creative inspiration. Moscheles examines how informal, unrestrained environments—the classic "Bohemia" of mid-nineteenth-century art students—provide the necessary emotional and intellectual freedom for artists to discover their distinct voices. The memoir highlights how casual banter, musical improvisation, and playful rivalry serve as the raw material for mature artistic expression. It also touches on the nature of memory itself, showing how shared laughter and early vulnerability sustain friendships through personal hardship, physical illness, and eventual success. Finally, the text illuminates the origins of literary ideas, demonstrating how casual conversations about hypnotism and psychology can gradually coalesce into iconic cultural works.

Why Read It Today

This memoir offers readers a warm, unpretentious glimpse into nineteenth-century art culture, far removed from formal academic histories. It feels like overhearing an intimate conversation between old friends who happened to be present at the birth of major Victorian cultural movements. Readers will enjoy the spirited energy of student life in Antwerp, the vivid musical evenings in Malines, and the colorful descriptions of London’s historic artistic gatherings.

The text is generally accessible and fast-paced, though readers should anticipate period-specific elements. The prose occasionally includes light French phrases, student slang from the 1850s, and gentle Victorian humor that relies on mock-chivalric phrasing. A few historical references to Victorian theater figures or forgotten local personalities may require light context, but the core narrative remains clear. The memoir will particularly appeal to readers interested in the history of illustration, the origins of famous Victorian novels, and genuine accounts of artistic camaraderie. What lingers long after reading is the sincere, unaffected affection Moscheles holds for his companion, capturing a lost moment in time when art, music, and youth seemed entirely limitless.