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English School 19th, Century old Martin Chuzzlewit oil on Canvas 76.20 X 60.96 Cm. (30 X 24 In.)
Artware Fineart
for sale €1,170     $1,270
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English School 19th, Century old Martin Chuzzlewit oil on Canvas 76.20 X 60.96 Cm. (30 X 24 In.)

19th century
For Sale by Artware Fineart
Description

English School 19th, Century

Old Martin Chuzzlewit

oil on canvas

76.20 x 60.96 cm. (30 x 24 in.)

The Life and Adventures of Martin Chuzzlewit (commonly known as Martin Chuzzlewit) is a novel by Charles Dickens, considered the last of his picaresque novels. It was originally serialised between 1842 and 1844. While writing it Dickens told a friend that he thought it his best work, but it was one of his least popular novels. Like nearly all of Dickens' novels, Martin Chuzzlewit was released to the public in monthly instalments. Early sales of the monthly parts were disappointing, compared to previous works, so Dickens changed the plot to send the title character to America. This allowed the author to portray the United States (which he had visited in 1842) satirically as a near wilderness with pockets of civilisation filled with deceptive and self-promoting hucksters.

The main theme of the novel, according to a preface by Dickens, is selfishness, portrayed in a satirical fashion using all the members of the Chuzzlewit family. The novel is also notable for two of Dickens' great villains, Seth Pecksniff and Jonas Chuzzlewit. It is dedicated to Angela Georgina Burdett-Coutts, a friend of Dickens.

Martin Chuzzlewit has been raised by his grandfather and namesake. Years before, Martin senior took the precaution of raising an orphaned girl, Mary Graham. She is to be his nursemaid, with the understanding that she will be well cared for only as long as Martin senior lives. She thus has strong motivation to promote his well-being, in contrast to his relatives, who only want to inherit his money. However, his grandson Martin falls in love with Mary and wishes to marry her, ruining Martin senior's plans. When Martin refuses to give up the engagement, his grandfather disinherits him.

Martin becomes an apprentice to Seth Pecksniff, a greedy architect. Instead of teaching his students, he lives off their tuition fees and has them do draughting work that he passes off as his own. He has two spoiled daughters, nicknamed Cherry and Merry, having been christened as Charity and Mercy. Unbeknown to Martin, Pecksniff has actually taken him on to establish closer ties with the wealthy grandfather, thinking that this will gain Pecksniff a prominent place in the will.

Old Martin and Mary

A Game of Love

Young Martin befriends Tom Pinch, a kind-hearted soul whose late grandmother had given Pecksniff all she had, believing Pecksniff would make an architect and gentleman of him. Pinch is incapable of believing any of the bad things others tell him of Pecksniff, and always defends him vociferously. Pinch works for exploitatively low wages, while believing he is the unworthy recipient of Pecksniff's charity.

When Martin senior hears of his grandson's new life, he demands that Pecksniff kick young Martin out. Then, Martin senior moves in and falls under Pecksniff's control. During this time, Pinch falls in love with Mary, but does not declare it, knowing of her attachment to young Martin.

One of Martin senior's greedy relatives is his brother, Anthony Chuzzlewit, who is in business with his son, Jonas. Despite considerable wealth, they live miserly, cruel lives, with Jonas constantly berating his father, eager for the old man to die so he can inherit. Anthony dies abruptly and under suspicious circumstances, leaving his wealth to Jonas. Jonas then woos Cherry, whilst arguing constantly with Merry. He then abruptly declares to Pecksniff that he wants to marry Merry, and jilts Cherry - not without demanding an additional 1,000 pounds on top of the 4,000 that Pecksniff had promised him as Cherry's dowry, with the argument that Cherry has better chances for matchmaking.

Jonas, meanwhile, becomes entangled with the unscrupulous Montague Tigg and joins in his pyramid scheme-like insurance scam. At the beginning of the b

Physical Dimensions
Height
76cm (29.92")
Width
61cm (24.02")
Depth
2cm (0.79")
Declaration

Artware Fineart has dated this 19th Century Oil Painting to the 19th Century.

Reference Numbers
Sellingantiques Reference
SA837517
Dealers Internal Reference
3554
Description
English School 19th, Century

Old Martin Chuzzlewit

oil on canvas

76.20 x 60.96 cm. (30 x 24 in.)

The Life and Adventures of Martin Chuzzlewit (commonly known as Martin Chuzzlewit) is a novel by Charles Dickens, considered the last of his picaresque novels.
Artware Fineart

It was originally serialised between 1842 and 1844. While writing it Dickens told a friend that he thought it his best work, but it was one of his least popular novels. Like nearly all of Dickens' novels, Martin Chuzzlewit was released to the public in monthly instalments. Early sales of the monthly parts were disappointing, compared to previous works, so Dickens changed the plot to send the title character to America. This allowed the author to portray the United States (which he had visited in 1842) satirically as a near wilderness with pockets of civilisation filled with deceptive and self-promoting hucksters.

fig 1. A 19th-century oil painting depicting a gentleman wearing a top hat and waistcoat, leaning on a cane in an outdoor setting.
fig 1. English School 19th, Century old Martin Chuzzlewit oil on Canvas 76.20 X 60.96 Cm. (30 X 24 In.)

The main theme of the novel, according to a preface by Dickens, is selfishness, portrayed in a satirical fashion using all the members of the Chuzzlewit family. The novel is also notable for two of Dickens' great villains, Seth Pecksniff and Jonas Chuzzlewit. It is dedicated to Angela Georgina Burdett-Coutts, a friend of Dickens.

Martin Chuzzlewit has been raised by his grandfather and namesake. Years before, Martin senior took the precaution of raising an orphaned girl, Mary Graham. She is to be his nursemaid, with the understanding that she will be well cared for only as long as Martin senior lives. She thus has strong motivation to promote his well-being, in contrast to his relatives, who only want to inherit his money. However, his grandson Martin falls in love with Mary and wishes to marry her, ruining Martin senior's plans. When Martin refuses to give up the engagement, his grandfather disinherits him.

Martin becomes an apprentice to Seth Pecksniff, a greedy architect. Instead of teaching his students, he lives off their tuition fees and has them do draughting work that he passes off as his own. He has two spoiled daughters, nicknamed Cherry and Merry, having been christened as Charity and Mercy. Unbeknown to Martin, Pecksniff has actually taken him on to establish closer ties with the wealthy grandfather, thinking that this will gain Pecksniff a prominent place in the will.

Old Martin and Mary

A Game of Love

Young Martin befriends Tom Pinch, a kind-hearted soul whose late grandmother had given Pecksniff all she had, believing Pecksniff would make an architect and gentleman of him. Pinch is incapable of believing any of the bad things others tell him of Pecksniff, and always defends him vociferously. Pinch works for exploitatively low wages, while believing he is the unworthy recipient of Pecksniff's charity.

When Martin senior hears of his grandson's new life, he demands that Pecksniff kick young Martin out. Then, Martin senior moves in and falls under Pecksniff's control. During this time, Pinch falls in love with Mary, but does not declare it, knowing of her attachment to young Martin.

One of Martin senior's greedy relatives is his brother, Anthony Chuzzlewit, who is in business with his son, Jonas. Despite considerable wealth, they live miserly, cruel lives, with Jonas constantly berating his father, eager for the old man to die so he can inherit. Anthony dies abruptly and under suspicious circumstances, leaving his wealth to Jonas. Jonas then woos Cherry, whilst arguing constantly with Merry. He then abruptly declares to Pecksniff that he wants to marry Merry, and jilts Cherry - not without demanding an additional 1,000 pounds on top of the 4,000 that Pecksniff had promised him as Cherry's dowry, with the argument that Cherry has better chances for matchmaking.

Jonas, meanwhile, becomes entangled with the unscrupulous Montague Tigg and joins in his pyramid scheme-like insurance scam. At the beginning of the b

Height
76cm (29.92")
Width
61cm (24.02")
Depth
2cm (0.79")
Date of Manufacture

Artware Fineart has dated this 19th Century Oil Painting to the 19th Century.

Reference Numbers
Sellingantiques Ref
SA837517
Dealers Internal Ref
3554
Artware Fineart
Sellingantiques verified Since Sep 2008
Dealer Profile

You can view the stock and full dealer information on the Artware Fineart Profile Page

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A 19th-century oil painting depicting a gentleman wearing a top hat and waistcoat, leaning on a cane in an outdoor setting.
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Archive I A 19th-century oil painting depicting a gentleman wearing a top hat and waistcoat, leaning on a cane in an outdoor setting.

English School 19th, Century old Martin Chuzzlewit oil on Canvas 76.20 X 60.96 Cm. (30 X 24 In.)

Archive II A 19th-century oil painting depicting a gentleman wearing a top hat and waistcoat, leaning on a cane in an outdoor setting. View II
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A 19th-century oil painting depicting a gentleman wearing a top hat and waistcoat, leaning on a cane in an outdoor setting.
English School 19th, Century Old Martin Chuzzlewit oil on canvas 76.20 x 60.96 cm. (30 x 24 in.)
Ref: SA837517
A 19th-century oil painting depicting a gentleman wearing a top hat and waistcoat, leaning on a cane in an outdoor setting.
Detail View 1
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

19th-century English School narrative paintings are defined by their visual storytelling, often drawing inspiration from literature, folklore, and contemporary social life. Artists emphasised detailed figurative rendering, character expression, and dramatic lighting to evoke specific moods and theatrical narratives.

Paintings from this era were primarily executed using natural oil pigments suspended in linseed or walnut oil, applied onto hand-stretched linen or cotton canvas. Wooden stretcher bars held the support taut, and works were typically finished with a protective layer of natural resin varnish, such as dammar or mastic.

Authentic period canvases usually display natural age-related craquelure, subtle oxidisation of the varnish, and consistent patina on the reverse of the canvas and wooden stretcher. Examining the construction of the frame, canvas weave, and signs of historical restoration under ultraviolet light helps confirm age.

Displaying a dark narrative oil painting against a contemporary neutral or deep jewel-toned backdrop creates a strong visual focal point. Pair the artwork with clean-lined modern furniture or dark timber cabinetry to balance traditional fine art with contemporary interior architecture.

Keep the canvas away from direct sunlight, extreme humidity, and direct heat sources to prevent cracking or warping. Dust the surface gently using a clean, soft dry brush, and consult a professional conservator for surface cleaning or varnish removal.
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