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DICKENS IN ART Paintings of Scenes and Characters in Dickens's Novels—Portraits of Dolly Varden and Kate Nickleby Painted for the Novelist by Mr. W. P. Frith, R.A.—A Humorous Advertisement—Sale of the Two Pictures—Mr. Frith's Recollections—Mr. James Hamilton Presents to Dickens his Sketch of "What are the Wild Waves Saying?"—The Artist Rewarded for his Generosity—Water-Colour Drawings by Charles Green—How they Originated—An Interesting Series.
The novels of Charles Dickens are an interminable storehouse of subjects for pictures, so it is not surprising that they have always exercised a fascination over painters. The following is a list merely of those pictures that have come under my notice,—a collection which, doubtless, could be much amplified by reference to the catalogues of the Royal Academy and other important Art galleries. W. A. Atkinson.—"Little Nell and the two Gravediggers" ("The Old Curiosity Shop"). Royal Academy, 1856. Fred. Barnard.—"Sidney Carton" ("A Tale of Two Cities"). Exhibited at the Royal Academy, 1882. "Horatio Sparkins" ("Sketches by Boz"). Institute of Painters in Water-Colours, 1885. W. H. Bartlett.—"'The sea, Floy, what is it always Saying?'" ("Dombey and Son"). Edgar Bundy, R.I.—"Barnaby Rudge at the Country Justice's." Institute of Painters in Oil-Colours, 1896. R. W. Buss.—"Peerybingle, Dot, and Tilly Slowboy" ("The Cricket on the Hearth"). "Joe Willet taking leave of Dolly Varden" ("Barnaby Rudge"). "Trotty Veck and his Dinner" ("The Chimes"). (See p. 55.) G. Cattermole.—"Little Nell's Home" ("The Old Curiosity Shop"), 1842. "Little Nell's Grave" (companion picture), 1842. (See p. 134.) Horace H. Cauty.—"Bebelle looking out for the Corporal" ("Somebody's Luggage"). Society of British Artists, 1880. Herbert Dicksee. "The Grandfather at the Grave of Little Nell." Royal Academy, 1887. W. Maw Egley.—"The Marchioness Playing Cribbage in Dick Swiveller's Sick-Room" ("The Old Curiosity Shop"). Royal Academy, 1898. F. Edwin Elwell.—"Charles Dickens and Little Nell." A bronze group, purchased by the Fairmount Park Art Association for the Fairmount Park, Philadelphia, U.S.A. The figure of Little Nell was exhibited at the Art Club, Philadelphia, and awarded the Gold Medal, while the entire group obtained a prize at the Columbian Exhibition. When exhibited in England, this work of Art met with warm approval, and the sculptor offered it to the London County Council, but the emphatic wish of Dickens (as expressed in his Will) prohibited their acceptance of this interesting memorial. W. P. Frith, R.A.—"Dolly Varden," 1843. Also replicas and other portraits, including one representing her with Emma Haredale. (See pp. 246-7.) "Kate Nickleby at Madame Mantalini's." Royal Academy, 1843. "The Jailer's Little Daughter Feeding 'the Birds in the Cage.'" ("Little Dorrit"). "Little Dorrit Visits Arthur Clennam at the Marshalsea." The first portrait of Dolly Varden was engraved by C. E. Wagstaffe in 1843; the third (now in South Kensington Museum) was reproduced in mezzotint by S. W. Reynolds; the fourth, "Dolly Varden and Emma Haredale," was engraved by S. W. Reynolds and G. S. Shury in 1845. The second portrait of Dolly, which was painted for Dickens, has never been engraved; there are in existence, however, a few impressions of a chromo-lithographic reproduction (now very scarce) of Mr. Frith's original sketch for the picture, the publication of which was unauthorised. The portrait of Kate Nickleby was engraved by W. Holl, A.R.A., and published in 1848 exclusively for the members of the National Art Union for Ireland. The "Dorrit" pictures were painted in 1859, and engraved on steel by Lumb Stocks, R.A., as vignettes for the Library Edition, then in course of publication. W. Gale.—"Mr. F.'s Aunt" ("Little Dorrit"). Royal Academy, 1857. When Wilkie Collins saw this clever picture at the Academy, he was so much impressed that he wrote at once concerning it to Dickens, who replied (May 22, 1857): "I am very much excited by what you tell me of Mr. F.'s Aunt. I already look upon her as mine. Will you bring her with you?" The painting was purchased by Dickens through Collins, and realised at the sale of the novelist's effects the sum of sixty guineas. Florence Graham.—"Little Nell seated in the Old Curiosity Shop." Engraved in mezzotint by Edward Slocombe, and published by Buck & Reid, 179 New Bond Street, 1888.
Large Drawings in Water-Colours. Charles Green, R.I.—"Gabriel Varden Preparing to go on Parade" ("Barnaby Rudge"). "Tom Pinch and Ruth" ("Martin Chuzzlewit"). "Nell and her Grandfather at the Races" ("The Old Curiosity Shop"). "Captain Cuttle and Florence Dombey." "Little Dorrit's Visit to her Sister at the Theatre." "Mr. Turveydrop's Dancing Academy" ("Bleak House"). "Mr. Mantalini and the Brokers" ("Nicholas Nickleby"). "The Pickwick Club."
Small Drawings in Water-Colours. "Barnaby Rudge with the Rioters." "Simon Tappertit addressing the Rioters at the 'Boot' Tavern" ("Barnaby Rudge"). "Dolly Varden's Visit to Miss Haredale" ("Barnaby Rudge"). "Dick Swiveller and the Marchioness" ("The Old Curiosity Shop"). "Dick Swiveller and Fred. Trent in the Old Curiosity Shop." "Sam Weller's Valentine." James Hamilton.—"What are the Wild Waves Saying?" ("Dombey and Son"). Edgar Hanley.—"Dolly Varden." Royal Academy, 1883. E. Hunter.—"Little Charlotte's Writing-Lesson" ("Bleak House"). Royal Academy, 1858. C. R. Leslie, R.A.—"Mr. Pickwick and Mrs. Bardell." Painted for Dickens and engraved for the first Cheap Edition of the "Pickwick Papers." (See p. 220.) Eleanor E. Manly.—"'It's Cobbs! It's Cobbs!' cries Master Harry. 'We are going to be married, Cobbs, at Gretna Green. We have run away on purpose'" ("Boots at the Holly Tree Inn"). Royal Institute of Painters in Water-Colours, 1893. Mrs. McIan.—"Little Nell Reading Inscription on the Tombstone." Presented to Dickens by the artist. Fred. Morgan.—"Little Nell and her Grandfather." Royal Academy, 1883. R. H. Nibbs.—"Peggotty's Hut" ("David Copperfield"). Royal Academy, 1852. Charles W. Nicholls.—"What are the Wild Waves Saying?" ("Dombey and Son"). Engraved by G. H. Every, and published by A. Lucas, 37 Duke Street, Piccadilly, 1881. Kate Perugini.—"Brother and Sister.—'Oh, Floy!' cried her brother, 'how I love you! how I love you, Floy!' 'And I you, dear.' 'Oh, I am sure of that, Floy'" ("Dombey and Son"). Royal Academy, 1893. "Little Nell." Institute of Painters in Water-Colours, 1885. Mary S. Pickett.—"Little Nell in the Old Church." Royal Academy, 1898. A. J. Raemaker.—"What are the Wild Waves Saying?" Sculpture. J. Halford Ross.—"Our Mutual Friend." Eight Original Drawings in Water-Colour, illustrating incidents in the story. H. R. Steer, R.I.—"The Ball at Dr. Blimber's Establishment" ("Dombey and Son"). "Little Nell and her Pet Bird." Royal Institute of Painters in Water-Colours, 1888. "Nicholas Nickleby Interposes on Smike's Behalf." Royal Institute of Painters in Water-Colours, 1897. Lawson Stewart.—"'A Quiet Happy Place—A Place to Live and Learn to Die In.'" The Graveyard in "The Old Curiosity Shop." Institute of Painters in Water-Colours, 1885. Frank Stone, A.R.A.—"'Tilda Price," "Madeline Bray," and "Kate Nickleby." These three pictures were painted for Dickens. (See pp. 178-9.) F. W. Topham.—"Barnaby Rudge and his Mother." Presented to Dickens by the artist. (See p. 190.) "Little Nell and her Grandfather in the Tent, making Bouquets for the Racecourse." Presented to Dickens by the artist. (See p. 190.) H. Wallis.—"The Devotion of Sydney Carton" ("A Tale of Two Cities"). T. Webster, R.A.—"Dotheboy's Hall: The Brimstone and Treacle Scene." Painted for Dickens, and engraved for the first Cheap Edition of "Nicholas Nickleby." (See p. 220.)
In the above list the most interesting picture, in many respects, is Mr. Frith's "Dolly Varden." The artist was quite a young man, just rising into fame, when (in 1843) he made great success with several charming presentments of the locksmith's bewitching daughter, and on seeing one of these (described by Dickens as "Dolly with the bracelet"), the novelist so much admired it that he commissioned Mr. Frith to paint another portrait of her, together with a companion picture of Kate Nickleby. Writing shortly afterwards to the artist, whose acquaintance Dickens then made, he said, in reference to an engraving of the subject by C. E. Wagstaffe: "I saw an unfinished proof of Dolly at Mitchell's some two or three months ago: I thought it was proceeding excellently well then. It will give me great pleasure to see her when completed." The two pictures, when finished, were hung in the dining-room of the novelist's house. At the expiration of a few years, the portrait of Kate Nickleby was sent to Ireland (by Mr. Frith's desire) for the purpose of being engraved, and was delayed there so long that Dickens began to feel impatient. Accordingly, one morning he forwarded to the artist the following document, indited by himself:— "Advertisement.—To K—e N—y.—The Young Lady in Black, K.N.—If you will return to your disconsolate friends in Devonshire Terrace your absence in Ireland will be forgotten and forgiven, and you will be received with open arms. Think of your dear sister Dolly, and how altered her appearance and character are without you. She is not the same girl. Think, too, of the author of your being, and what he must feel, when he sees your place empty every day! "October Tenth, 1848."
For each of these remarkable canvases Mr. Frith received the by no means extravagant sum of twenty pounds, that being the price demanded by him. At the sale of Dickens's effects, however, the portrait of Dolly Varden realised a thousand guineas, while that of Kate Nickleby found a purchaser, on the same eventful occasion, for two hundred guineas—a tribute alike to author and artist. Mr. Frith has favoured me with some interesting information respecting his presentments of Dolly Varden:— "The picture of 'Dolly Varden' which I painted for Dickens was never engraved. Before I began it I made a study of the figure, but only the half-length, down to below the waist. This study was bought by Sir R. Rawlinson, who allowed (without asking my permission) a most villainous chromo-lithograph to be made from it, and one day to my horror I saw it in a shop-window. For anything I know to the contrary, many of these things may have been sold.[55] The original completed picture never left Dickens's possession from the time it was finished till he died, nor was it ever exhibited. The portrait of Dolly (the 'laughing' Dolly) now in the South Kensington Museum, was bequeathed by Forster, who had it from Frank Stone, for whom I painted it. I painted two copies of the 'laughing' Dolly, but I don't know what became of them. I also painted two pictures in which Dolly figures in company with Emma Haredale—in one she is feeling in her pocket for a letter addressed to Miss Haredale, and in the other she is disdainfully treating Miss Haredale's hints about Joe Willet—she throws up her head and 'hopes she can do better than that, indeed!' I have just remembered another—a small half-length—in which she is looking at herself in a mirror and giving her curls a 'killing twist.' I have no idea where these pictures are. I may add that when Dickens came to see (on completion) my portraits of Dolly Varden and Kate Nickleby, which I painted expressly for him, he told me they were 'exactly what he meant.' This, of course, delighted me. They led to a friendship which lasted till his death." It will be remembered that in 1859 the novelist gave sittings for his portrait by Mr. Frith, which was painted as a commission from Forster, by whom it was bequeathed to the Nation. This portrait, now at South Kensington, occupies the most important place between the earlier portraits of Dickens by Samuel Laurence, Maclise, and R. J. Lane, and the later presentments of him by photography. It is not generally known that Mr. Frith once had the privilege of illustrating a Dickens novel, Àpropos of which the artist writes: "I told Dickens one day when he was sitting for his likeness that I should like to be allowed to illustrate one of his books. He seemed pleased, and proposed 'Little Dorrit.' I forget to whom I sold the pictures, and where they are now I know not." The two paintings were beautifully engraved on steel by Lumb Stocks, R.A., as vignettes for the Library Edition, 1858-59. The sketch by an American artist, Mr. James Hamilton, of "What are the Wild Waves Saying?" has a little history attached to it. While Dickens was in Philadelphia, during his last visit to America, he expressed a wish to purchase a painting of this subject,—one of the artist's most successful productions,—but, much to the novelist's regret, it had already been sold. The original sketch was still available, however, and with this Dickens was so greatly pleased that he immediately offered to buy it; whereupon the artist insisted on presenting it to the famous author of "Dombey and Son." Soon afterwards, Mr. Hamilton was agreeably surprised to receive a set of Dickens's novels, containing a pleasant inscription in the novelist's autograph. The titles of Mr. Charles Green's admirable series of Dickens pictures were supplied to me by the artist himself, who favoured me with a complete list shortly before his death. In reference to these remarkable drawings I have received the following communication from Mr. William Lockwood, of Apsley Hall, Nottingham, for whom they were painted on commission: "The first work of Mr. Green's that really attracted my attention was his famous water-colour Race drawing, entitled, I believe, 'Here they come!' I saw that at a friend's house, and was so struck with admiration of Mr. Green's delicate sense of humour, subtle rendering of character, and fine drawing, that I at once told my friend of my great appreciation of Charles Dickens, and saw that, in my opinion, Mr. Charles Green would make the very best illustrator of his day of that great man's work. I then sought an introduction to Mr. Green, which resulted not only in my beautiful series of drawings, but in a warm friendship with the artist. In the execution of these pictures Mr. Green found most congenial work, and I think fully justified my judgment of his special power. When the series was exhibited at our local museum, it attracted universal admiration and the delighted appreciation of all classes." Mr. Lockwood has generously lent these pictures to many London galleries, including the English Humorists' Exhibition, held at the Royal Institute of Painters in Water-Colours in 1889. FOOTNOTES:
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