Charles Dickens c. 1860s–1900s Based On a John Charles Watkins Engraving

Victorian portraits of Charles Dickens proliferated from the 1860s onward, and a great many of them trace back to the celebrated London photographer John Charles Watkins (1823–1874). Dealers, inscriptions, and auction listings often describe these prints as “based on a John C. Watkins engraving,” though in strict technical terms many nineteenth-century Dickens portraits were engravings made after a Watkins photograph, not engravings by Watkins himself. Understanding that nuance—photograph first, engraving second—will help you identify, date, and appraise your example with confidence.

Below is a practical guide for enthusiasts and appraisers navigating Dickens prints produced between the 1860s and early 1900s.

What You Likely Have: Photograph-To-Engraving Portraits of Dickens

• The source image: John Charles Watkins and his studio produced widely circulated portrait photographs of Dickens circa 1861–1863. These head-and-shoulders views, sometimes three-quarter length, became the canonical likeness used by publishers.
• The engraved prints: Publishers commissioned engravers to translate Watkins’s photographs into printable intaglio plates (steel or copper) or, later, relief and photomechanical processes. Common captions read “Engraved by D. J. Pound from a photograph by J. Watkins,” or credit other engravers such as James Scott or Holl. The publisher’s line often includes names active in the portrait-book trade, for example “William Mackenzie,” “Virtue & Co.,” “Cassell, Petter & Galpin,” or “The London Printing and Publishing Company.”
• The timeline:
  • 1860s: Steel/stipple engravings “after a photograph by J. Watkins.”
  • 1870s–1880s: Wood engravings for illustrated periodicals; some continued steel re-strikes.
  • 1890s–1900s: Photogravures and collotypes based on the same Watkins source image or the earlier engravings; later halftone book plates follow.

If your print says “after J. Watkins” or “from a photograph by J. Watkins,” you’re in the mainstream lineage. If it says “after a painting” or credits a painter rather than a photographer, you may have a different Dickens likeness that is not part of the Watkins chain.

Dating Your Print: Technique, Paper, and Imprint Clues

Dating hinges on three pillars: how the image was made (technique), what it is printed on (paper), and what is written beneath (imprint).

1. Technique recognition under a loupe

• Steel/stipple engraving (intaglio), 1860s–1870s:
  • Look for crisp, incised lines forming cross-hatching and delicate dot patterns (stipple) in the flesh tones.
  • Ink sits slightly below the paper surface in the furrows of the lines.
  • Expect a visible plate mark: a rectangular indentation from the plate’s pressure at the image border.
• Wood engraving (relief), 1870s–1880s:
  • Lines look more uniform and “cut,” with occasional breakpoints; no plate mark.
  • Ink sits on top of the paper; often printed with letterpress text on the same sheet (magazine pages).
• Photogravure (photomechanical intaglio), 1890s–early 1900s:
  • A fine, even grain visible under magnification, not a rosette screen; rich, velvety darks.
  • Often a plate mark present; sometimes printed on heavier or art papers.
• Halftone (photomechanical relief), c. 1895 onward:
  • Distinct dot screen in a rosette pattern; no plate mark; typically on coated or thin book paper.

2. Paper and sheet architecture

• 1860s intaglio portraits typically on wove paper, sheet sizes roughly 12 x 9 to 14 x 11 inches; image/plate area around 7 x 5 to 10 x 8 inches. Margins of 1 to 2 inches are common.
• Proofs “on India” (thin, smooth India paper) are mounted onto a heavier wove support; you will see a distinct edge where the thin India paper sits on the backing sheet.
• Watermarks: Some higher-end papers bear watermarks such as “J Whatman” and a date. Hold the sheet to light to check.
• Later photogravures may appear on thicker, cream papers with a deckle edge; halftone book plates are usually smaller and bound margins may show stitch or glue marks.

3. Imprint, captions, and typography

• Locate inscriptions below the image. Common elements:
  • The sitter’s name in small caps: “CHARLES DICKENS.”
  • Credit line: “Engraved by D. J. Pound from a Photograph by J. Watkins,” or “Engraved by James Scott, from a Photograph by J. Watkins.”
  • Publisher and city: “London: William Mackenzie,” “London & New York: Virtue & Co.,” etc.
• Typographic style:
  • 1860s engraved plates often carry elegant small-roman and small-cap fonts incised into the plate (intaglio lettering).
  • Later photogravures sometimes have typeset titles blind-embossed or printed letterpress beneath.
  • Halftone reproductions carry modernized typography and are frequently embedded within text or on thin, glossy paper.

A note on variants: Because the same Watkins photograph fed many projects, you will encounter similar poses with slightly different cropping, background tone, or vignette. Small design differences, the presence of a facsimile Dickens signature, or a decorative border often correspond to different publishers and dates rather than to quality shifts.

Editions, Proofs, and “States”

While Dickens portrait engravings were often marketed to the general public, some were issued in multiple “states” favored by collectors:

• Proof before letters: Early pulls from the plate without the engraved name or captions. Typically scarcer and more desirable.
• Lettered proof: The portrait with the sitter’s name but lacking the publisher’s imprint.
• India proof: Printed on thin India paper and mounted; valued for tonal subtlety.
• Standard issue: With full titling, engraver and photographer credits, and publisher’s line.

Remarques—small etched doodles in the margin—are not a feature of these Victorian portraits; be cautious if you see added decorations that look modern. Also, later restrikes from worn plates exist; these can show softened detail, lighter lines, and less bite in the plate mark.

Condition Factors That Move the Market

For Victorian literary portrait prints, condition is often the difference between a $60 wall print and a $300 collector’s example. Evaluate:

• Margins: Full, untrimmed margins with a strong plate mark are desirable. Tight trimming into the plate line lowers value.
• Paper color and stability: Even, cream tone is acceptable; deep overall browning (oxidation) or brittle paper depresses value.
• Foxing and staining: Rust-colored spots (foxing) or tidelines reduce appeal. Minor speckling can be tolerated; heavy foxing is penalized.
• Abrasions and surface wear: Rubbing across the sitter’s face or background is especially detrimental.
• Mounting and adhesive: Old glue, tape, or laid-down (fully mounted) prints complicate conservation and reduce price.
• Tears and losses: Edge nicks within the margin can be stabilized; tears into the image are significant issues.
• Inscriptions: Publisher’s blindstamps enhance authenticity; personal dedications on the sheet can be a plus if period and unobtrusive.

Indicative price ranges (subject to market, availability, and venue):

• 1860s steel/stipple engravings after Watkins in clean, full-margin condition: roughly $100–300. India proofs and proofs before letters can exceed this range.
• 1890s–1900s photogravures: roughly $60–180 depending on size, paper, and presentation.
• Magazine wood engravings or halftone book plates: typically $30–90, higher if beautifully matted or with notable provenance.

Original carte-de-visite photographs by the Watkins studio of Dickens (not engravings) are far scarcer and can command four-figure prices, especially with contemporary captions or association provenance. They are a different market segment.

Authentication Workflow for Appraisers and Enthusiasts

Follow a repeatable procedure to identify, date, and value your piece:

1. Measure twice

• Record image size, plate mark size, and full sheet size to the nearest millimeter. Note any trimming.

2. Identify the technique

• Use a 10x loupe. Look for intaglio lines and a plate mark (steel/stipple) versus a relief screen (wood engraving) versus a rosette dot pattern (halftone). A photogravure shows a continuous, even grain.

3. Read the fine print

• Transcribe all inscriptions: sitter, engraver, photographer (Watkins), publisher, and any addresses. This data is your dating backbone.

4. Check the paper

• Backlight for a watermark. Feel thickness and surface. Note if printed on India paper mounted to wove.

5. Compare variants

• Match pose, cropping, and caption style to known 1860s portrait-book plates or later photogravure issues. Minor typographic changes often point to later printings.

6. Assess condition honestly

• Photograph front and back under even light. Note foxing, toning, tears, and any mounting.

7. Place it in the market

• Align your example with comparable sales for the same process, publisher, and state, adjusted for condition and margins.

8. Document

• Keep a one-page report with techniques observed, measurements, transcription, condition notes, and valuation rationale.

Care, Conservation, and Display

• Surface cleaning: Light, dry surface cleaning with a soft brush is safe; avoid erasers unless trained. Do not introduce moisture.
• Flattening: Humidification and flattening should be performed by a paper conservator, especially for India paper proofs.
• Deacidification and repairs: Professional conservation can reduce acidity and mend tears; amateur work and pressure-sensitive tapes are harmful.
• Mounting: Use museum-grade, 100% cotton boards and Japanese paper hinges with wheat starch paste; never dry-mount collectible intaglio prints.
• Framing: UV-filtering glazing, acid-free mats with a generous window to reveal the plate mark, and environmental control (no direct sun, low humidity swings).

Quick Appraisal Checklist

• Technique confirmed (intaglio lines with plate mark, photogravure grain, or halftone dots)
• Full transcription of below-image captions (engraver, “from a photograph by J. Watkins,” publisher)
• Measurements of image, plate mark, and sheet
• Paper type noted (wove vs India on wove; watermark if present)
• Condition issues itemized (margins, foxing, toning, tears, mounting)
• Edition state identified (proof before letters, India proof, standard lettered)
• Market comparables gathered and adjusted for condition
• Conservation and framing recommendations prepared

FAQ

Q: Did John Charles Watkins engrave Dickens portraits himself? A: Watkins was a photographer. Engravings were produced by specialist engravers after his photographs. Captions often read “engraved by [engraver’s name] from a photograph by J. Watkins.”

Q: How can I tell if mine is an 1860s steel engraving versus a later photogravure? A: Look for a plate mark and examine under magnification. Steel/stipple engravings show incised lines and dot hatching; photogravures show a fine, even grain without visible engraved lines. Both can have plate marks, so the loupe is decisive.

Q: Are proofs on India paper more valuable? A: Often, yes. India proofs typically show superior tonal subtlety and were issued in smaller numbers. Condition and margins still govern price.

Q: My print has no plate mark. Is it a reproduction? A: Not necessarily. Wood engravings (relief) and halftone plates do not create a plate mark and can be period originals. Evaluate technique, paper, and captions to determine age and quality.

Q: What’s a reasonable insurance value for a clean 1860s engraved Dickens after Watkins? A: For a standard lettered steel/stipple engraving with full margins and minimal foxing, a mid-range insured value of $200–300 is typical. Exceptional proofs, notable provenance, or scarce variants may justify more.

By grounding your appraisal in technique, captions, and paper evidence—and by understanding the role John C. Watkins played as the photographic originator—you can accurately position Dickens portraits from the 1860s through the early 1900s in both history and the marketplace.