Mary Ann Evans Collection

George Eliot, c1850, (1942). Creator: Francois d Albert Durade
George Eliot, c1850, (1942). Portrait of British author George Eliot (1819-1880), born Mary Ann Evans. Painting in the National Portrait Gallery, London

Poets and Novelists of the Victorian Era, late 19th century. Charlotte Bronte; William Makepeace Thackeray; George Eliot; Robert Browning; Elizabeth Barrett Browning; Tom Hood; Charles Dickens;

Scene from Silas Marner by George Eliot, 1882. Artist: Mary L Gow
Scene from Silas Marner by George Eliot, 1882. Eppie, the orphan adopted by the lonely miser and linen-weaver, Silas Marner

It is coming, Maggie! Tom said, in a deep hoarse voice, loosing the oars and clasping her (engraving)
725508 It is coming, Maggie! Tom said, in a deep hoarse voice, loosing the oars and clasping her (engraving) by English School, (19th century); Private Collection; (add.info.: It is coming, Maggie)

George Elliot's house, Cheyne Walk, Chelsea Embankment, London (coloured photo)
8635436 George Elliot's house, Cheyne Walk, Chelsea Embankment, London (coloured photo) by English Photographer, (20th century); Private Collection; (add.info.: George Elliot's house)

Portrait of George Eliot
2604131 Portrait of George Eliot; (add.info.: George Eliot (1819 - 1880) pen name of Mary Ann Evans. Important British novelist

Tessa at Home. From George Eliots Romola, 1862-63, (1923). Artist: Frederic Leighton
Tessa at Home. From George Eliots Romola, 1862-63, (1923). Romola (1862-63) is a historical novel by George Eliot set in the fifteenth century

Scene from Silas Marner, by George Eliot (engraving)
7184944 Scene from Silas Marner, by George Eliot (engraving) by Cowper, Max (1860-1911); Private Collection; (add.info.: Eppie had quietly passed her arm behind Silass head: scene from Silas Marner)

Maggie Tulliver with the gypsies, scene from The Mill on the Floss, by George Eliot (colour litho)
7185278 Maggie Tulliver with the gypsies, scene from The Mill on the Floss, by George Eliot (colour litho) by Charleson, Malcolm Daniel (1888-1943); Private Collection; (add.info)

Scene from The Mill on the Floss, by George Eliot (engraving)
7184945 Scene from The Mill on the Floss, by George Eliot (engraving) by Hatherell, William (1855-1928) (after); Private Collection; (add.info.: Maggie neared the front of the house)

Scene from Romola, by George Eliot (engraving)
7184943 Scene from Romola, by George Eliot (engraving) by Shaw, Byam (1872-1919); Private Collection; (add.info.: It was Tito Melema who felt that touch: scene from Romola)

George Eliot, Mary Ann Evans, 1880-81 (oil on canvas)
3506537 George Eliot, Mary Ann Evans, 1880-81 (oil on canvas) by Albert-Durade, FranAzois d (1804-1886); 32.5x27 cm; Herbert Art Gallery & Museum, Coventry

He felt his heart begin to beat violently, and for a few moments he was unable to stretch out his hand
725510 He felt his heart begin to beat violently, and for a few moments he was unable to stretch out his hand and grasp the restored treasure (engraving) by English School

She retreated to her fathers chair again, and held him round the neck (engraving)
725509 She retreated to her fathers chair again, and held him round the neck (engraving) by English School, (19th century); Private Collection; (add.info.: She retreated to her fathers chair again)

What does this all mean, Mrs Tulliver? said Mr Wakem (engraving)
725507 What does this all mean, Mrs Tulliver? said Mr Wakem (engraving) by English School, (19th century); Private Collection; (add.info.: What does this all mean, Mrs Tulliver? said Mr Wakem)

My dear-dear-husband-you have been-very-good to me (engraving)
725492 My dear-dear-husband-you have been-very-good to me (engraving) by English School, (19th century); Private Collection; (add.info.: My dear-dear-husband-you have been-very-good to me)

Shepperton Church, as it was (engraving)
725490 Shepperton Church, as it was (engraving) by English School, (19th century); Private Collection; (add.info.: Illustration of Shepperton Church, as it was)

In the wood (engraving)
725484 In the wood (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info.: In the wood. Illustration from Adam Bede)

Hetty Sorrel, 1859
1574596 Hetty Sorrel, 1859 by Bradley, Basil (1842-1904); (add.info.: Hetty Sorrel, working in the dairy, visited by Captain Donnitorne, her seducer, while here aunt, Mrs Poyser looks)

Father, I have not been good to you; but I will be, I will be, said Esther, laying her head on his knee (engraving)
725498 Father, I have not been good to you; but I will be, I will be, said Esther, laying her head on his knee (engraving) by Cooper, J

The horror that rushed over Adam completely mastered him (engraving)
725487 The horror that rushed over Adam completely mastered him (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info)

In his tall stalwartness Adam Bede was a Saxon, and justified his name (engraving)
725483 In his tall stalwartness Adam Bede was a Saxon, and justified his name (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info)

Mary Anne Evans, aged five, feels with more intensity her burst into the consciouness of public life when she is made
3622046 Mary Anne Evans, aged five, feels with more intensity her burst into the consciouness of public life when she is made to stand upon the seat during the psalms and the singing (colour litho)

Aunt Glegg learns the breadth of Bobs thumb (engraving)
725505 Aunt Glegg learns the breadth of Bobs thumb (engraving) by English School, (19th century); Private Collection; (add.info.: Aunt Glegg learns the breadth of Bobs thumb)

It was one of their happy mornings (engraving)
725502 It was one of their happy mornings (engraving) by English School, (19th century); Private Collection; (add.info.: It was one of their happy mornings)

Lizzie advanced without hesitation, and put out one hand, while she fingered her coral necklace with the other
725494 Lizzie advanced without hesitation, and put out one hand, while she fingered her coral necklace with the other (engraving) by English School

She sinks down on her knees, takes the dear head in her arms, and kisses the cold forehead (engraving)
725493 She sinks down on her knees, takes the dear head in her arms, and kisses the cold forehead (engraving) by English School

4 Cheyne Walk, Chelsea, the residence of the late George Eliot (engraving)
560476 4 Cheyne Walk, Chelsea, the residence of the late George Eliot (engraving) by English School, (19th century); Private Collection; (add.info.: 4 Cheyne Walk, Chelsea)

Let me go, you scoundrel, said Harold fiercely, or I ll be the death of you (engraving)
725500 Let me go, you scoundrel, said Harold fiercely, or I ll be the death of you (engraving) by Cooper, J. (19th century); Private Collection; (add.info.: Let me go, you scoundrel)

You are very beautiful (engraving)
725499 You are very beautiful (engraving) by Cooper, J. (19th century); Private Collection; (add.info.: You are very beautiful)

Slowly, while Dinah was speaking, Hetty rose, took a step forward, and was clasped in Dinahs arms (engraving)
725488 Slowly, while Dinah was speaking, Hetty rose, took a step forward, and was clasped in Dinahs arms (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info.: Slowly)

What am I to write father? said Tom (engraving)
725506 What am I to write father? said Tom (engraving) by English School, (19th century); Private Collection; (add.info.: What am I to write father? said Tom)

Here, my dear, try if you can eat a bit of this (engraving)
725503 Here, my dear, try if you can eat a bit of this (engraving) by English School, (19th century); Private Collection; (add.info.: Here, my dear, try if you can eat a bit of this)

A bullet whizzed, and passed through Felix Holts shoulder... Felix fell (engraving)
725501 A bullet whizzed, and passed through Felix Holts shoulder...Felix fell (engraving) by Cooper, J. (19th century); Private Collection; (add.info.: A bullet whizzed)

The Hall Farm (engraving)
725485 The Hall Farm (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info.: Illustration of The Hall Farm engraved by J Cooper after original artwork by William Small)

Romola (engraving)
1045947 Romola (engraving) by Leighton, Edmund Blair (1853-1922) (after); Private Collection; (add.info.: Romola. Illustration for The Graphic)

In charge (colour litho)
3622047 In charge (colour litho) by Kilburne, George Goodwin (1839-1924); Private Collection; (add.info.: In charge. Illustration for George Eliot)

She heard herself called Mother! and felt a slight kiss on the cheek (engraving)
725496 She heard herself called Mother! and felt a slight kiss on the cheek (engraving) by Cooper, J. (19th century); Private Collection; (add.info.: She heard herself called Mother)

Dorlcote Mill (engraving)
725504 Dorlcote Mill (engraving) by English School, (19th century); Private Collection; (add.info.: Title page of The Mill on the Floss)

Mrs Holt sat on a stool, in singular relief agaisnt the pedestal of the Apollo (engraving)
725497 Mrs Holt sat on a stool, in singular relief agaisnt the pedestal of the Apollo (engraving) by Cooper, J. (19th century); Private Collection; (add.info.: Mrs Holt sat on a stool)

She lingered at the door before she gathered courage to knock (engraving)
725495 She lingered at the door before she gathered courage to knock (engraving) by English School, (19th century); Private Collection; (add.info)

You may run away from my words, Sir, continued Mrs Poyser (engraving)
725489 You may run away from my words, Sir, continued Mrs Poyser (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info.: You may run away from my words, Sir)

Dinah, he said suddenly, taking both her hands between his (engraving)
725486 Dinah, he said suddenly, taking both her hands between his (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info.: Dinah, he said suddenly)

Fedalma, 1883-1884. Creator: George Fuller
Fedalma, 1883-1884

George Eliots house, Chelsea, London, 1912. Artist: Frederick Adcock
George Eliots house, Chelsea, London, 1912. The home of English novelist Mary Anne Evans (1819-1880), better known by her pen name of George Eliot

George Eliots house, Wimbledon Park, London, 1912. Artist: Frederick Adcock
George Eliots house, Wimbledon Park, London, 1912. The home of English novelist Mary Anne Evans (1819-1880), better known by her pen name of George Eliot

Original manuscript of Adam Bede, 23rd March 1859. Artist: George Eliot
Original manuscript of Adam Bede, 23rd March 1859. First page of the original manuscript of Adam Bede by George Eliot (pseudonym of Mary Anne Evans)

George Eliot, English novelist, 19th century. Artist: G Sidney Hunt
George Eliot, English novelist, 19th century. Eliot (1819-1880), is the pen name of Mary Anne Evans who was one of the leading writers of the Victorian era

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Mary Ann Evans, better known by her pen name George Eliot, was a prominent figure in the world of Victorian literature. Her works captivated readers with their depth and emotional intensity, leaving an indelible mark on the literary landscape of the late 19th century. In one engraving titled "Tessa at Home, " we see a glimpse into George Eliot's novel Romola. The artist Frederic Leighton skillfully captures the essence of this powerful story, transporting us to a different time and place. Another engraving depicts a scene from Silas Marner, where we witness the protagonist's heart-wrenching journey. As he clasps his restored treasure tightly in his hands, his heart beats violently with overwhelming emotions. In yet another engraving from The Mill on the Floss, Maggie Tulliver finds solace among gypsies. This colorful lithograph portrays her seeking refuge amidst uncertainty and turmoil—a poignant moment that showcases Eliot's ability to delve into complex human experiences. The engravings offer glimpses into some of George Eliot's most beloved works—scenes filled with raw emotion and profound introspection. Through her writing, she explored themes that resonated deeply with readers during this era: love, loss, societal constraints, and personal growth. George Eliot herself is immortalized in an oil painting from 1880-81. The canvas captures her essence as a writer—an intellectual force who challenged conventions through her thought-provoking narratives. As we immerse ourselves in these engravings and paintings inspired by Mary Ann Evans' work as George Eliot, we are reminded of her enduring legacy as one of the greatest poets and novelists of Victorian literature. Her words continue to resonate across generations—inviting us to reflect on our own lives while exploring universal truths about humanity itself.