Inside the illustrated edition
Charles Dickens
Great Expectations
No. 4 · 1861
An illustrated edition
A world remembered
Violet skies, tidal marshes and a small figure facing the unknown. Sixteen dreamlike paintings accompany Pip’s journey.
View artwork detailsA light in the darkness
Torchlight catches the water and breaks into colour. Enter the troubled beauty of Dickens’s marsh country.
View artwork detailsA room outside time
Faded ivory, candlelight and a life held in suspense. A haunting painting of one of literature’s unforgettable rooms.
View artwork detailsThe warmth of home
The glow of the forge, the rhythm of work. Discover the human warmth beneath the novel’s restless ambitions.
View artwork detailsBeside the quiet water
Summer light and a listening presence. A moment of stillness opens a different view of Pip’s world.
View artwork detailsThe world beyond
Morning mist rises over a familiar road. Hope and hesitation share the same soft light.
View artwork detailsA small private kingdom
A garden, an old window, the pleasure of tending something. Dickens’s quieter affections find their colours here.
View artwork detailsThe shape of a dream
Ivy climbs the old brickwork. A house becomes a place where longing and imagination gather.
View artwork detailsWhat ambition costs
Loose papers, lamplight and two friends. A small room holds the weight of larger dreams.
View artwork detailsWeather within and without
Rain sweeps across the riverside. Deep colour and broken light lend the city an unsettled life.
View artwork detailsListening in the firelight
Three figures, a quiet room, a story to be heard. Let gesture and colour carry the moment.
View artwork detailsBehind familiar windows
Weathered timber and curved glass beside the water. An ordinary house invites a second look.
View artwork detailsA gentler understanding
Pale silk and quiet shadows. An intimate painting makes room for vulnerability and compassion.
View artwork detailsWith the moving river
A small boat beneath an expansive sky. Rose, violet and gold linger on the water.
View artwork detailsThe strength of kindness
Sunlight through the leaves, the support of an arm. A painting of affection without ceremony.
View artwork detailsInto the evening light
Mist softens the edges of a ruined garden. The final painting leaves room for the reader’s own thoughts.
View artwork details
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From the introduction
Pip begins by trying to read his own history from the lettering on his parents' gravestones. He has little knowledge and an active imagination, a combination that will matter throughout Great Expectations. An orphan living with his sister and her blacksmith husband, Joe Gargery, he knows the flat Kent marshes, the forge and the frightening authority of adults. A meeting in the churchyard brings the wider world abruptly close. Dickens makes the child's terror both convincing and strangely comic: even in danger, Pip notices clothes, voices, gestures and the absurd shapes people assume. The novel asks how such a boy learns to imagine a future, and what happens when he begins to despise the life already around him.
An excerpt from the original Read Classics introduction.
The marsh country
the low leaden line beyond was the river
Chapter 1 · Painting 1 of 16
Torchlight on the marshes
Light those torches.
Chapter 5 · Painting 2 of 16
The room without daylight
had lost its lustre and was faded and yellow
Chapter 8 · Painting 3 of 16
The forge after dark
when I was pulling the bellows for Joe, and we were singing Old Clem
Chapter 14 · Painting 4 of 16
Biddy beside the river
with the water rippling at our feet
Chapter 17 · Painting 5 of 16
Leaving home
the light mists were solemnly rising, as if to show me the world
Chapter 19 · Painting 6 of 16
Wemmick’s other life
pretending to employ the Aged, and nodding at him in a most devoted manner
Chapter 25 · Painting 7 of 16
The imagined promise of Satis House
strong green ivy clasping even the stacks of chimneys
Chapter 29 · Painting 8 of 16
The arithmetic of debt
Herbert would also take a sheet of paper
Chapter 34 · Painting 9 of 16
A storm over the Temple
a vast heavy veil had been driving over London from the East
Chapter 39 · Painting 10 of 16
The story behind the fortune
both looked at Provis as he stood smoking by the fire.
Chapter 42 · Painting 11 of 16
The house on Mill Pond Bank
a house with a wooden front and three stories of bow-window
Chapter 46 · Painting 12 of 16
Asking forgiveness
I want forgiveness and direction far too much, to be bitter with you.
Chapter 49 · Painting 13 of 16
Down the river
There was the red sun, on the low level of the shore, in a purple haze
Chapter 54 · Painting 14 of 16
Joe’s supporting arm
sitting in the bright warm sunlight, looking at the river
Chapter 57 · Painting 15 of 16
The evening mists
in all the broad expanse of tranquil light
Chapter 59 · Painting 16 of 16
Charles Dickens
Great Expectations
No. 4 · 1861
An illustrated edition
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