Lucinda Hawksley - Dickenss Artistic Daughter Katey: Her Life, Loves & Impact

DICKENSS

ARTISTIC DAUGHTER

KATEY

HER LIFE, LOVES AND IMPACT

This book is dedicated to my mother, Sue Hawksley, and to the memory of my father, Henry Hawksley, with thanks for their love, support, and encouragement.

I also dedicate this book to the memory of Katey, whose life it has been fascinating to research.

HER LIFE, LOVES AND IMPACT

LUCINDA HAWKSLEY

First published in Great Britain in 2018 by

PEN AND SWORD HISTORY

an imprint of

Pen and Sword Books Ltd 47 Church Street Barnsley South Yorkshire S70 2AS

Copyright Lucinda Hawksley, 2018

ISBN 978 1 52671 230 1

eISBN 978 1 52671 232 5

Mobi ISBN 978 1 52671 231 8

The right of Lucinda Hawksley to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988.

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There are many people who have given me help with this book. First I would like to mention my much-missed friend Andrew Xavier (1968-2011), former Director of the Charles Dickens Museum, who provided constant advice and help and who made me laugh at all times (however inappropriately!). He was also one of the first people to read Katey and he was genuinely thrilled every time I made a new discovery about her life. His presence, his laughter and his friendship are missed every day.

I have met and interviewed many people while researching Kateys life and this updated manuscript has been helped immensely by the people who contacted me with stories of their own familys connections with Katey and about her works hidden away in private collections. My thanks go especially to (in alphabetical order): John Aplin for his Thackeray wisdom; Joe Beard for information on Dickens and copyright law; Dr James Bennett-Levy for answering medical queries about depression; Brigitte Berg for information about the Schwabe family; Simon Bowring for kindly contacting me and giving me information about Kateys association with the Hagborgs; Colin Bruce at the Imperial War Museum; Dr Simon Butcher for invaluable advice about 19th-century illnesses and medicine; Erin Coffin at the Royal Canadian Mounted Police archives; Evelyn Cook for her information about Dorothy de Michele; Dr Caroline Dakers for advising about Val Prinsep research; the inimitable and much-missed Cedric Dickens for his enthusiasm, recollections and practical help; Clare Double, for selflessly risking life, limb and fingernails helping me clear away decades of brambles and ivy from Kateys grave; Laurence Duttson for information about Florence Perugini; Isabel Eakins for her invaluable information and help about the last years of Kateys life; Chris Forrest for information about Kateys works; the Richard Green Gallery; Belinda Graham, for sharing her research into her familys connection with the Peruginis; Thelma Grove for a very interesting tour of Gads Hill Place; Colin Harris at the Bodleian; Elizabeth Hawkins for allowing me to search through her family archives; the late Eleanor Hawksley for many family reminiscences; Sue Hawksley for help with research; my first editor Michele Hutchison; Crispin Jackson at Christies; Diana Kahn for sharing information with me about Kateys works and friendships; Dr Maria Lazari for medical advice; Sue Meynell for Val Prinsep research help; Geoffroy Millais for help, advice and a wonderful tea; Jo Micklem who worked so hard on the first edition of the book; the late Belinda Norman-Butler for telling me so many stories both about the Thackeray family and about my own ancestors; Peter OToole at the Artists Rifles and SAS archives; Sandra Penketh at the Lady Lever Art Gallery; Peter Selley at Sothebys; Daniel Robbins, Senior Curator of Leighton House Museum, for sharing information about Carlo Perugini; Becky Sherrington-Cross for providing answers about midwifery and childbirth in the nineteenth century; Christopher Sinclair-Stevenson, who first believed in Katey; Professor Michael Slater not only for his excellent book Dickens and Women , but also for his interest, invaluable research advice about Charles Dickens and for reading a long manuscript at very short notice; Reena Suleman for assistance with researching Kateys connections to Lord Leighton; Simon Toll at Sothebys; Malcolm Warner for invaluable Millais advice; Christopher Wood for Carlo Perugini information; and Richard Wragg at the Royal Holloway archives for his diligent research on Bedford College. Thanks also to those people who still work or have worked at the Charles Dickens Museum. Thanks also to all the various Dickens family members who showed encouragement, interest and support (very much appreciated).

My thanks also to the Society of Authors, and to staff at the British Library, the Family Records Office in Islington, Hammersmith Library, the Kensington Local Studies Library, the National Art Library, the National Portrait Librarys Heinz archives and picture library, the Royal Academy Library, the Royal Literary Fund, the Tate Britain archives, the V&A archives (at Olympia) and the Witt Library (at the Courtauld Institute).

For help with the pictures I would like to thank: Brigitte Berg, Chris and Gill Bottomley, Jennifer Camilleri at the Royal Academy, Chris Forrest, Diana Kahn, Robina Lamche-Brennan, Louisa Price and Jo Walton.

I would also like to thank my agent, Broo Doherty at DHH, and everyone at Pen & Sword who has worked on the book, including Kate Bamforth, Laura Hirst, Emily Robinson, Carol Trow and Jonathan Wright. Thanks to Saravanan Jayaraman at Aura Technology and Software Services who handled the design work of this book.

Charles Dickenss wife, Catherine, is often referred to in his letters as Kate; however, in order that readers should not confuse her with her daughter, I have referred to her as Catherine throughout.