A "Prologue" to Wilkie Collins's play The Lighthouse. Autograph manuscript of 1 leaf; on 2 pages; containing approximately 190 words. Dickens wrote this piece for Collins's melodrama when it was first staged at Tavistock House in June 1856.
An "Address" to readers of Household Words. Autograph manuscript of 1 leaf; on 1 page; containing approximately 300 words. Dickens announces that he is starting a new magazine, All the Year Round, and will no longer be associated with Household Words. Bradbury and Evans, who held a proprietary share in Household Words, claimed that Dickens maliciously killed the magazine with this piece, which was published in Household Words, Vol. XIX, Whole No. 479 (28 May 1859), page [601].
A fragment of manuscript for "Aboard Ship," in New Uncommercial Samples. Autograph manuscript of 1 leaf; on 1 page; containing approximately 315 words. This passage, where the traveller sails from New York aboard a ship crowded with flowers, was published originally in All the Year Round, New Series, Vol. I, No. 1 (5 December 1868), page 13.
Revisions in proof for The Mystery of Edwin Drood. Autograph manuscript on page proof of 106 leaves; on 16 pages; containing approximately 15 words, and scattered editorial marks, in the hand of Dickens. There are 209 pages of printed text in these leaves of proof which Dickens gave to S. Luke Fildes to guide him in illustrating the novel. The full text of the novel is here, with a duplicate set of gathering M (pages 161-176), one leaf of galleys, and three fragmentary pieces of proof. All is described in The Mystery of Edwin Drood, edited by Margaret Cardwell (Oxford: The Clarendon Press, 1972), on pages [256]-266.
Fragments of the manuscript of the play, O'Thello. Autograph manuscript of 2 leaves; on 4 pages; containing approximately 495 words. The first leaf, from an unknown part of the play, is headed on both sides by the following handwritten testimony: "This manuscript is in the handwriting of Mr. Charles Dickens forming a leaf of the manuscript of a burlesque on Othello, written by him for performance in his own family in the year 1833," signed "John Dickens, Alphington, 17 July 1842." The second leaf is a fragment of Act I, Scene 3. The play was not printed.
Fragments of the manuscript of the play, O'Thello. Autograph manuscript of 2 leaves; on 4 pages; containing approximately 495 words. The first leaf, from an unknown part of the play, is headed on both sides by the following handwritten testimony: "This manuscript is in the handwriting of Mr. Charles Dickens forming a leaf of the manuscript of a burlesque on Othello, written by him for performance in his own family in the year 1833," signed "John Dickens, Alphington, 17 July 1842." The second leaf is a fragment of Act I, Scene 3. The play was not printed.
Revisions in a fragment of proof for "Doctor's Commons," in Sketches by Boz, Second Series: "His clothes were nearly threadbare, but it was easy to see that he wore them so, from choice, and not from necessity; all his looks and gestures down to the very small pinches of snuff which he every now and then took from a little tin canister, told of wealth, and penury, and avarice." Autograph manuscript on page-proof of 1/3 leaf, on 1 page, quoted in full. The printed text covers both sides of this small piece of proof. Published originally in the first edition of Sketches by Boz, Second Series (London: John Macrone, 1837), on pages, 188-189.
Autograph letter, signed, of 16 December 1869, published in Nonesuch III, pages 760-761. The letter was not written on 16 January 1870, as claimed in Nonesuch.
Autograph letter, signed, with envelope, of 27 April 1870, containing approximately 55 words. London. Dickens will see Fildes on the next day; he suggests the subjects to be illustrated in part No. V of The Mystery of Edwin Drood.
Autograph letter, signed, of 7 September 1853, containing approximately 90 words. London. In this "postscript" written on the inside of an envelope, Dickens thanks Macready for his "delightful note on the completion of B. H.--not the least of the joys of completing it." He reports that the 22nd of October is "the day appointed for Catherine."
To Albert Schloss. Autograph quotation, signed, of 22 January 1844, containing approximately 15 words. London. On this leaf, one of two from the visitors’ album of Schloss, Dickens writes: “And so, as Tiny Tim observed, God Bless Us Every One!” These leaves, which are summarized in Pilgrim II, in the fourth note on page 386, were inscribed at various times by twelve other men; John Leech’s drawing of “Old Scrooge” stands out on the page where Dickens’s quotation appears.
To Mr. and Mrs. Beecher Stowe. Autograph letter of 3 May 1853, containing approximately 25 words. London. This invitation to dinner on 14 May, from “Mr. and Mrs. Charles Dickens” to the Stowes, is written entirely in the hand of Catherine Dickens.
Autograph letter, signed, of 24 November 1869, containing approximately 40 words. Gad's Hill Place. Dickens wishes that the whole of The Mystery of Edwin Drood could be set in type before serial publication begins, but he will be satisfied if half is ready by then.
Fildes, S[amuel] Luke. "The Empty Chair, Gad's Hill--Ninth of June 1870." This large wood-engraving, which is printed on a sheet of plate paper 44 cm. x 62 cm., depicts Dickens's study at Gad's Hill on the day of his death. It is hand colored. Richard Gimbel owned Fildes's original sketch of the scene; see entry H1797. -- A second copy: Another impression. The typefae in the title is altered. This copy is not colored.
After George Cruikshank. “Dickens Beside Himself (from Sketches by Boz, Illustrated by George Cruikshank).” An etched portrait of Dickens based by Pailthorpe on a drawing in pencil made by Cruikshank in 1838, which is now in the Gimbel collection (see entry H1732).
Also present: Another issue, without the remarque-title and studies, but bearing the title, “Faithfully Yours Always, Charles Dickens”--being an etched facsimile of Dickens’s signature. Issue on India paper, mounted.
Lock and Whitfield, London, Photographers. A photograph of Frederick Dickens, taken circa 1867. He is seated with his legs crossed, reading from a book that sits on a pedestal. This carte-de-visite bears the photographers’ imprint.
Mayall, John, London, Photographer. A photograph of Catherine Hogarth Dickens, who is shown standing, with her blackgloved right hand resting on the back of a chair. The date of the photograph is unknowm; circa 1860 is suggested. This carte-de-visite bears the photographer’s imprint.
Watkins, Herbert, London, Photographer. An oval photograph of Alfred Lamert Dickens, taken in 1860. This carte-de-visite bears the imprint of the photographer.
"Wilkie Collins.” An autograph manuscript of 3 pages, on 3 leaves, being an autobiographical sketch of Collins. In the bibliography that closes this piece (which goes up to 1870), Collins writes that the play No Thoroughfare was "written in collaboration with Dickens and Fechter.”
Autograph letter, signed, of 28 June 1880 to Thomas Atkinson. Collins refers to an autobiographical sketch published in "the volume called men in This Time." The manuscript in question was owned by Richard Gimbel; see entry H1239. Collins also writes that "The Lighthouse is not published. As long as I kept this play in a manuscript, I keep it out of the reach of theatrical thieves.
Dickens, Alfred Lamert. Autograph letter, signed, to Mr. Wade. A fragment, with only the outside address, the complimentary close, and signature surviving.
Autograph letter, signed, of 6 May 1873 to Edward B. L. ("Plorn") Dickens. A long letter from mother to son, telling of the death of Charles Collins and touching on other family matters.
Fildes, Samuel Luke. Autograph letter, signed, of 6 May 1912 to Lord Curzon. The artist tells of his role in illustrating The Mystery of Edwin Drood. "Charles Dickens told me on an occasion & under circumstances that left no doubt in my mind, that Jasper murdered Edwin Drood." Fildes writes that Edwin Drood was strangled with the double neck-scarf that Jasper wore on the night of the storm.
Unknown Correspondent. Autograph letter of "Friday" to Richard Herne Shepherd. In place of a signature of this letter makes a pen-and-brown-ink sketch of Dickens, and writes: "Wot's his name!" The letter is not in Dickens's handwriting.
["Mr. Winkle's Situation When the Door Blew To"]. A drawing done with pen and brush in grey ink over pencil, heightened with white, on paper 22 cm. x 16.5 cm., mounted. At the head of this drawing Dickens writes in ink: "Winkle should be holding the candlestick above his head I think. It looks more comical, the light having gone out." Beneath the scene he writes in ink: "A fat chairman so short as our friend here, never drew breath in Bath. I would leave him where he is, decidedly. Is the lady full dressed? She ought to be. CD." The etching of this scene was first published in part No. XIII of The Pickwick Papers. Provenance: Stuart Samuel, Edward Lowell Dean, Lewis A. Hird.
A drawing in pencil, on tracing-paper 12.5 cm. x 18.5 cm., mounted. In this drawing of a scene from Bleak House, Jo is depicted sweeping in the midst of the crowd at the crossing. The style suggests that the drawing was made by Browne in the 1870s.
["In the Court"]. A drawing done with brush in black ink and white body-color over black chalk, on paper 16.5 cm. x 27 cm. The wood-engraving of this scene was first published as a plate in part No. I of The Mystery of Edwin Drood.
A drawing done with brush in black ink and grey ink over black chalk, heightened with white, on paper 26.5 cm. x 16.5 cm. A study of John Jasper, for "In the Court."
["Under the Trees"]. A drawing done with brush in black ink and white body-color over black chalk, on paper 17 cm. x 27 cm. To the left there is a study in black chalk of Rose Bud standing. The wood-engraving of the main scene was first published as a plate in part No. 1 of The Mystery of Edwin Drood.
A drawing done with brush in black ink and grey ink over black chalk, heightened with white, on paper 27 cm. x 16.5 cm. A study of Edwin Drood, for "Under the Trees."
["At the Piano"]. A drawing done with brush in black ink and grey ink and white body-color over black chalk, on paper 24.5 cm. x 17.5 cm. There is a brush-and black-ink sketch on the back of this drawing. The wood-engraving of the main scene was first published as a plate in part No. II of The Mystery of Edwin Drood.
Two drawings in black chalk and brush and black ink, heightened in white, on paper 17.5 cm. x 25 cm. Studies of Neville Landless standing at the piano, for "At the Piano."
A drawing in black chalk and brush and black ink, heightened with white, on paper 17.5 cm. x 25 cm. A study of John Jasper seated at the piano, for "At the Piano."
["On Dangerous Ground"]. A drawing done with brush in black ink and white body-color over black chalk, on paper 17 cm. x 25 cm. There is a rough sketch, done with brush in black ink and grey ink, on the back of this sheet of paper. The wood-engraving of this main scene was first published in part No. II of The Mystery of Edwin Drood.
["Mr. Crisparkle Is Overpaid"]. A drawing done with brush in black ink and white body-color over black chalk, on paper 16.5 cm. x 27 cm. A small study of Helena Landless is drawn in black chalk at the right. The wood-engraving of this scene was first published in part No. III of The Mystery of Edwin Drood.
A drawing in black chalk, and brush and black ink, heightened with white, on paper 17.5 cm. x 17 cm. A study of Septimus Crisparkle, for "Mr. Crisparkle Is Overpaid."
["Durdles Cautions Mr. Sapsea Against Boasting"]. A drawing done with brush in black ink and white body color over black chalk, on paper 17 cm. x 25 cm. There are studies in black chalk around the drawing. The wood-engraving of this scene was first published in part No. III of The Mystery of Edwin Drood.
A drawing in black chalk, and brush and black ink, heightened with white, on paper 41 cm. x 17.5 cm. A study of Thomas Sapsea, for "Durdles Cautions Mr. Sapsea Against Boasting."
"Rochester." A drawing in black chalk, on paper 17.5 cm. x 25 cm., mounted. A study of the Cathedral Close, for "Durdles Cautions Mr. Sapsea Against Boasting."
["Good-Bye Rosebud, Darling!"]. A drawing done with brush in black ink and white body-color over black chalk, on paper 16.5 cm. x 26.5 cm. There is a sketch in black chalk on the back of the sheet. The wood-engraving of the main scene was first published, in reverse, in part No. IV of The Mystery of Edwin Drood.
A drawing on paper 22 cm. x 14 cm. A study of a young woman in travelling clothes, for "Good-Bye Rosebud, Darling." This specific figure does not appear in the wood-engraving.
["Mr. Grewgious Has His Suspicions"]. A drawing in black chalk and white body-color, on paper 17 cm. x 25 cm. A sketch of a portcullis is done in black chalk on the back of this sheet. The wood-engraving of the main scene was first published, in reverse, in part No. IV of The Mystery of Edwin Drood.
["Jasper's Sacrifices"]. A drawing done with brush in black ink and white body-color over black chalk, on paper 17.5 cm. x 25 cm. The wood- engraving of this scene was first published, in reverse, in part No. V of The Mystery of Edwin Drood.
"Mr. Grewgious Experiences a New Sensation." A drawing done with brush in grey ink and black ink over pencil, heightened with white, on paper 17 cm. x 25 cm. On the back of this sheet there is a rough sketch-done with brush and grey ink over black chalk-of a different scene, which was not published. The wood-engraving of the published scene first appeared, in reverse, in part No. V of The Mystery of Edwin Drood.
A drawing in black chalk, and brush and black ink and grey ink, heightened with white, on paper 17.5 cm. x 25 cm. A close study of Hiram Grewgious and Rosa Bud seated at the table, for "Mr. Grewgious Experiences a New Sensation."
["Up the River"]. A drawing done with brush in black ink and white body-color over black chalk, on paper 17.5 cm. x 25 cm. On the back of this sheet, there is a rough sketch in black chalk of the same scene. The wood-engraving of this scene was first published in No. IV of The Mystery of Edwin Drood.
["Sleeping It Off"]. A drawing in black chalk, and brush and black ink and white body-color, on card paper 17.5 cm. x 25.5 cm. The wood-engraving of this scene was first published, in reverse, in part No. VI of The Mystery of Edwin Drood.
"Can't You See a Hint?" A drawing in black chalk and white body-color, touched with brush and black ink, on paper 25 cm. x 16 cm. There is on the back of this sheet what appears to be a black-chalk sketch of the same scene from a wider angle. Fildes's sons write that this drawing for The Mystery of Edwin Drood is "what probably would be a complete sketch for the thirteenth illustration, unentitled due to the death of Charles Dickens. It depicts apparently Rosa Bud holding the hand of a young man, perhaps Neville, but could be Tartar." Fildes did give the drawing a title, but there is a question whether or not the final word is "hint."
["In Rochester Cathedral"]. A drawing in black chalk, heightened with white on paper 18 cm. x 26 cm. This drawing, the final piece of Fildes's work on The The Mystery of Edwin Drood, is described by the artist's sons as "being the study of the illustration entitled 'In Rochester Cathedral.'"
["The Empty Chair. Gad's Hill-Ninth of June 1870"]. A drawing in black chalk and pencil, and brush and white body-color, on paper 33 cm. x 54 cm. This drawing is perhaps the first sketch that Fildes made of Dickens's study at Gad's Hill for what was to become a famous and widely published picture; see entry H1070.
"Scrooge's Third Visitor." A drawing in watercolor over pencil, on paper 15.5 cm. x 9.5 cm., mounted. The hand-colored etching of this scene was first published at page 78 of A Christmas Carol. Provenance: Stuart Samuel, William Randolph Hearst, Lewis A. Hird.
"Hollo, Jim, Where Are You Going with Yours?' 'Hesplandae!-Where Be You?' 'Prospect Place!'" A drawing in pen and brown ink and watercolor over pencil, on paper 16 cm. x 11 cm. This humorous drawing and the following five drawings were probably executed for Punch. None of them relates to Dickens.
"Hostess: 'Doctor, Won't You Dance the Lancers?' Doctor: 'No, Madam, Thank You, but I Don't Mind Lancing the Dancers.'" A drawing in pen and brown ink and watercolor over pencil, on paper 15 cm. x 11.5 cm.
"In St. Giles, Bloomsbury. 'Why, Mister Adolphus, Who'd Ha' Thought of Seeing You in the Holy Ground? 'How Dye Know Who I Am?' Lord Bless Ye, Sir! Not Know Ye! Why I'd Know Ye if Ye Was Boiled up in Soup.'" A drawing in pen and brown ink and watercolor, on paper 12 cm. x 15 cm.
"'I say, Bill, 'ave Yer Seen Wot's His Name?' 'Wot Yer Mean, Wot D'ye Callum?' 'O No! Not 'im. That 'ere Other.' 'Oh, ah. I Seed Him Fast Enuff.'" A drawing in pen and brown ink and watercolor over pencil, on paper 14.5 cm. x 11.5 cm., mounted.
"Mr. Charles Dickens as 'Captain Bobadil.'" A drawing in pen and brown ink on pale blue paper 24 cm. x 16 cm. This drawing and the following two drawings were executed by Meadows for a review in The London Illustrated News of Every Man in His Humour as staged by Dickens's amateur theatrical group. The review, published on page 329 in the 22 November 1845 issue of the paper, was illustrated with wood-engraved copies of Meadows's drawings. Cuttings from The London Illustrated News accompany the drawings.
"Aunt Kate." This collotype print, adapted from a photograph of Katherine Hogarth Dickens, appears to be shaded by hand with brush and black ink; it is mounted on paperboard and cut roughly following the shape of the subject. There are elements here of a print, photograph, drawing, and family memento. The title comes from the name written faintly in pencil on the back of the paperboard mounting.
A tapered cylindrical match-box of polished horn, 7 cm. tall by 4 cm. in diameter at the top, tapering down to 3 cm. in diameter at the base. Dickens's initials are engraved on a silver stud that is fixed into the cap of the match-box. It is accompanied by the following certificate of authenticity: "I certify that this horn match box was always used by my brother-in-law Charles Dickens at Gad's Hill until the time of his death--9th June 1870--and that it always stood on his desk and is shown in the picture of 'The Empty Chair' by Sir Luke Fildes, R.A., and has since stood on my desk and been used by me. Georgina Hogarth."
The desk-calendar from Dickens's study at Gad's Hill. Made of wood carved in a gothic style and measuring 11 cm. wide by 5 cm. deep by 9 cm. tall, the calendar is divided into three tiers holding white paper cards printed in red with day of the week, the month, and the numerical day of the month. The calendar is arranged to read "Wednesday June 8." With it is a letter of testimony from Georgina Hogarth, who writes: "I certify that this small daily calendar was standing on the writing table of Charles Dickens on the day of his death--8th June 1870--and it is introduced into the picture by Luke Fildes, R.A., which was published in the Graphic and called 'The Empty Chair.'"
A slate 21 cm. x 16 cm., of white porcelain framed in black leather, with a sheath for a pencil. The following is written in pencil on the slate: "This memorandum slate was the one used by Charles Dickens and was on his writing desk at his death. It is shown in the drawing I made of 'The Empty Chair' and was given to me, together with one of the quill pens and a sheet of paper that lay on the desk, by Miss Hogarth at Gad's Hill in June 1870. Luke Fildes." See the following two items (the quill pen and the manuscript paper).
