Later Victorian Portraits Catalogue

Philip Hermogenes Calderon (1833-1898), Historical and genre painter

Self-portraits
By other artists
Photographs

Self-portraitsback to top



1861
Oil on canvas, On the Quay at Whitby, three-quarter-length, standing with other figures; untraced. Repr. Sotheby’s, 29 Mar. 1984 (191).

1866
Oil on canvas, 869 x 119mm, Whither?, whole-length, profile to right, standing wearing historic costume; RA, London, 03/848. Exh. RA 1868 (579, diploma work).

c.1866
Pen and ink sketch, whole-length, profile to left standing in a boat clutching paddle; untraced. Repr. Smith 1927, p.102 (as 'Gallant Rescue of Yeames from the Hever Castle Moat by Calderon and Story [sic]').


Probable self-portrait

?late 1850s
Oil on canvas; see NPG 6498.


By other artistsback to top



1863
Design by Frederick Walker, signed ‘F. W’, whole-length, with Henry Stacy Marks on cliffs at Swanage, 30 Aug. 1863; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.I, f.47, no.327. Repr. Marks 1894, vol.1, p.89.

Design by Frederick Walker, whole-length to right, with exaggerated limbs, bending forwards to push the donkey; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.I, f.47, no.326. Repr. Marks 1984, vol.1, facing p.88 (as ‘Swanage – The Donkey Ride’).
See also Marks, Walker

Design by Frederick Walker, whole-length to front, flying arm-in-arm with W.F. Yeames, second from right in multi-figure group; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.I, f.57, no.378. Repr. as engr. Marks 1894, vol.1, facing p.90 (as ‘A Vision of “the Clique”’); and Walkley 1994, p.190, fig.153 (where dated 1864).
See also Hodgson, Marks, Walker, Yeames, Wynfield

1864
Design by Henry Stacy Marks, whole-length, seated on platform in a god-like manner, next to Frederic Leighton, presiding over candidates, in multi-figure group; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.I, f.57, no.343. Repr. Marks 1894, vol.1, facing p.152 (as ‘Election of A.R.A’s, 1864’).
See also Hodgson, Leighton, Marks, Walker, Yeames.

c.1864–5
Design by Henry Stacy Marks, whole-length, profile to right, standing with others decorating walls in John Evan Hodgson’s studio; untraced. Repr. Marks 1894, vol.1, facing p.156 (as ‘Decorating Hodgson’s Studio’); and Walkley 1994, p.121, fig.91.
See also Hodgson, Yeames.

1865
Pen and ink sketch by John Evan Hodgson, Mallet on 91/2 o’clock, dated 10 Apr. 1865, half-length, profile to left, holding cigarette and wine glass, with male figure; untraced. Repr. Marks 1894, p.181.

publ. 1865
Design by C.H. Bennett, for A Private View of the Royal Academy., signed in monogram by the artist ‘C H B’, whole-length, with exaggerated head, seated in lower right corner, holding up a canvas; untraced. Repr. Punch, 13 May 1865, p.196; McMaster 2008, p.65, fig.4; and McMaster 2009, p.21, fig.11.
See also Faed, Frith, Leighton, Millais, Whistler.

1866
Design by Frederick Walker, Dear Arthur’s Round Table: An Evening at Moray Lodge, Campden Hill, Kensington, the residence of Mr Arthur J. Lewis, head-and-shoulders, profile to right in multi-figure group (no.4 in key); untraced. Ref. photo Witt L., Courtauld Inst.; see also F.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol. 2, f.61, no.399. Repr. Hacking 2000, p.14, fig.3.
See also Du Maurier, Leighton, Millais, Prinsep, Sandys, Walker.

c.1860s
Design by John Evan Hodgson, signed ‘J. E. Hodgson’, three-quarter-length, profile to left, seated, arms crossed, with several other men listening to mock sermon; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.II, f.57, no.384. Repr. Marks 1894, vol.1, p.90(b) (as ‘Sermon to the Clique’).
See also Hodgson, Marks, Walker, Wynfield, Yeames.

Design by Frederick Walker, The Return from Boulogne, head only, on body of a dog, running along beside Henry Stacy Marks (caricatured as a cat); untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.1, f.45, no.313

Pen and ink sketch by W. F. Yeames, whole-lengh to left wearing doublet and cap, gesturing with right arm, left hand on hip; untraced. Repr. Smith 1927, p.152 (as 'Calderon Sings').

1870
Oil on canvas by George Koberwein; untraced. Exh. RA 1870 (842).

c.1870
Sketch by Hubert von Herkomer, three-quarter-length, seated looking left; untraced. Repr. Marks 1894, p.36. For the date, see Herkomer’s sketch of Marks, dated 1870, in Marks 1894, p.146.

Sketch by Hubert von Herkomer, Smoking Concert by members of the ‘Wandering Minstrels’, inscr. ‘H.H.’, whole-length, looking to right, seated at centre of composition, between Charles Keene and Frederick Walker; untraced. Wood-engr. ref. photo in NPG TB (Artists & Connoisseurs 1850–1900).
See also Keene, Leighton, Marks, Walker.

1871
Oil on canvas, 662 x 525mm, by George Frederic Watts, half-length, to front, hooded eyes and long bony nose; Watts G., Compton, COMWG.40. Exh. RA 1872 (153). Photogravure of this image by Emery Walker, captioned ‘Philip Hermogenes Calderon R.A. / father of George Calderon’, was issued at a later, unknown date.

publ. 1872
Design by Edward Linley Sambourne for Vision of Burlington House. Sixth of May., half-length, with miniature body and exaggerated head, top right-hand corner; untraced. Repr. Punch, 11 May 1872, p.198; McMaster 2008, p.66, fig. 6; McMaster 2009, p.35, fig.13; and Ormond 2010, p.84, fig.31.
See also Ansdell, Faed, Leighton, Marks, Millais, Ruskin.

publ. 1873
Caricature drawing by George du Maurier, Scenes of Club Life: Election of an Honorary Member, whole-length, seated, head between hands, amidst nine other men; untraced. Repr. Punch, 1873 (details unknown); repr. Ormond 1969, p.195 (where identity incorrectly bestowed)
See also Keene, Leighton, Walker.

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head only, facing front, attached to a large clothes peg pinning his canvas to a washing line, with others; untraced. Repr. Punch, 22 May 1875, p.222; Herkomer 1910–11, vol.1, facing p.82; McMaster 2008, p.66, fig.7; and McMaster 2009, p.27, fig.14.
See also Alma-Tadema Butler, Du Maurier, Fildes, Foster, Frith, Goodall, Herkomer, Hodgson, Leighton, Marks, Millais.

Design by (Edward) Linley Sambourne for Academicians and Outsiders. – A Battle-piece., whole-length with oversized head, in bottom tier of defending Academicians; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Ansdell, Boughton, Butler, Cope, Du Maurier, Frith, Herkomer, Horsley, Leighton, Marks, Millais, Orchardson, Sant.

1876
Oil on canvas, 1452 x 2201mm, by Charles West Cope, The Council of the Royal Academy Selecting Pictures for the Exhibition, 1875, whole-length, seated and leaning forwards, with hat in left hand, with other RAs, scrutinizing a picture held up by group at right; RA, London, 03/1288. Exh. RA 1876 (160).
Wood-engr. after Cope, 122 x 192mm, repr. as a book illustration, with key to the principal figures pasted on the verso, c.1876; copy BM, London, 1895,0617.742. There is a parody sketch after this picture by Harry Furniss; untraced. Repr. Furniss 1890b, p.51
See also Armitage, Cope, Faed, Horsley, Leighton, Millais
The composition bears a remarkable resemblance to the etching by H. Woods of the same subject (Graphic, 4 May 1870, p.450–51) and, although details and the figures depicted vary, was perhaps inspired by it.

publ. 1877
Design by Alfred Thompson for Coming Objects Cast Their Shadows Before, whole-length, large head on diminutive body, facing forwards and holding palette and maulstick to right-hand corner of composition; untraced. Repr. London Society, Apr. 1877, p.270; loose copy RA Archive, SP/6/41.
See also Leighton, Marks, Millais, Prinsep, Whistler.

Design by (Edward) Linley Sambourne for Welcome, Little Stranger! Or the R.A Cock of the Walk and the Bond Street Bird of (Art) Paradise, head included with others among the tail feathers of the RA bird; untraced. Repr. Punch, 12 May 1877, p.214; McMaster 2008, p.67, fig.10; and McMaster 2009, p.31, fig.17.
See also Alma-Tadema, Goodall, Horsley, Leighton, Lindsay, Marks, Millais, Orchardson, Sant.

exh. 1878
Terracotta by John Adams-Acton, bust; untraced. Exh. RA 1878 (1500).

publ. 1878
Design by (Edward) Linley Sambourne; Ars Britannica, head only, in shadow, perched upon huge statue, above a giant palette and brushes; untraced. Engr. by Swain repr. Punch, 1 June 1878, p.251; McMaster 2008, p.68, fig.13; and McMaster 2009, p.36, fig.20.
See also Alma-Tadema, Boehm, Du Maurier, Frith, Horsley, Leighton, Marks, Millais, Orchardson, Poynter.

Design by (Edward) Linley Sambourne for An Anxious Moment., featuring the heads of members of the RA attached to the bodies of a gaggle of farmyard geese, based on Briton Riviere’s painting of the same name (1878); untraced. Engr. by Swain repr. Punch, 27 July 1878, p.34; Herkomer 1910–11, vol.1, facing p.112; McMaster 2008, p.68, fig.12; McMaster 2009, p.34, fig.19; and Ormond 2010, p.78, fig.27.
See also Frith, Herkomer, Horsley, Leighton, Millais, Orchardson, Poynter, Sant.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, a High (Art) Tide., head attached to body of a duck, facing front, riding the crest of a wave; untraced. Repr. Punch, 12 July 1879, p.6; McMaster 2008, p.69, fig.15; and McMaster 2009, p.38, fig.22.
See also Alma-Tadema, Ansdell, Armitage, Boughton, Butler, Cope, Du Maurier, Fildes, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

1881
Oil on canvas, 345 x 297mm oval, by George Reid, inscr. ‘From R[eid] and PHC[alderon] to A[lexander] M[acdonald] 1881’, head-and-shoulders, nearly full-face, full beard, bald head; Aberdeen AG, ABDAG003995.

Pen and ink drawing, 306 x 444mm, by (Edward) Linley Sambourne for Royal Academy Banquet at Burlington House., a comic take on William Salter’s The Waterloo Banquet, signed and dated Apr. 1881, head-and-shoulders, slightly profile to left, tenth from the right on the back row of RAs; Aberdeen AG, ABDAG003898. Repr. Punch, 7 May 1881, p.206; Gould 2004, p.154, fig.122; McMaster 2008, p.70, fig.18; McMaster 2009, p.42, fig.25; and Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pearson, Pickersgill, Poynter, Prinsep, Sant, W. H. Thornycroft, Watts, Woolner, Yeames

1882
Pen and ink, 317 x 419mm, by (Edward) Linley Sambourne for Saturday Review of the Royal Academy.- The March Past, signed and dated Apr. 1882, whole-length, profile to left, standing in sombrero and spotted bandana, amongst the Academy ‘troops’; coll. Juliet McMaster. Engr. by Swain repr. Punch, 6 May 1882, p.206; McMaster 2008, p.71, fig.20; and McMaster 2009, p.46, fig.27.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Cope, Faed, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

exh.1882
Oil on canvas, 1282 x 2328mm, by Henry Tanworth Wells, Friends at Yewden, signed and dated ‘Henry T. Wells 1882–85’, three-quarter-length, profile to left wearing hat, in group of eight men at the home of G.C. Schwabe; Hamburger Kunsthalle, HK-2271 (as ‘Schwabes Freunde in Yewden’). Exh. RA 1882 (261); ref. Hamburg 1886, p.8; repr. Country Life, 8 Feb. 1979, p.345; Morris & Milner 1992, p.11; and Gustav Christian Schwabe.
See also Hodgson, Yeames, Wells.

c.1882–3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, whole-length to left (partly obscured), bearded, to the right-hand side of composition, wearing top hat (no.31 on key); coll. C.J.R. Pope, on long-term loan to Leighton House, London, LH/TL,014. Exh. RA 1883 (163); repr. Gazette des Beaux-Arts, July/Aug. 1958, vol.6, p.87, no.4; Gaunt 1972, no.144–5; Snow 1975, pp.168–9; Wood 1976, no.215; Bills & Knight 2006, p.70 (whole image), p.129 (detail); Wood 2006, pp.212–13.
Also repr. by Henry Graves & Co. 1885 as photogravure, 588 x 983mm, and as lithograph, 226 x 443mm, with key to the principal figures; BM, London, 1920,0420.193and 1920,0124.4) respectively.
Oil sketch for this work, signed and dated ‘W P Frith 1882’; Mercer AG, Harrogate, HARAG 2490.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Marks, Millais, Tenniel, Terry.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head-and-shoulders, slightly to left, dancing with others at the bottom of the maypole; untraced. Engr. by Swain repr. Punch,12 May 1883, p.218; McMaster 2008, p.72, fig.26; and McMaster 2009, p.56, fig.33.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design., head-and-shoulders, profile to left, in sombrero and spotted bandana; untraced. Engr. by Swain repr. Punch, 24 May 1884, p.250; McMaster 2008, p.73, fig.28; and McMaster 2009, p.58, fig.35.
See also Alma-Tadema, Faed, Foster, Frith, Goodall, Hodgson,Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Watts, Yeames.

publ. 1885
Drawing by (Edward) Linley Sambourne for The Royal Academy Argonauts., half-length, second from right in a line of RA oarsmen, working oars fashioned from oversized artist’s palettes; untraced. Repr. Punch, 9 May 1885, p.219; McMaster 2008, p.71, fig.19; and McMaster 2009, p.45, fig.26.
See also Alma-Tadema, Holl, Horsley, Leighton, Millais, Orchardson, Pettie, Poynter, Watts.

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods, whole-length, standing with arms crossed at left-hand margin, wearing a toga; untraced. Repr. Punch, 8 May 1886, p.218; McMaster 2008, p.74, fig.31; and McMaster 2009, p.64, fig.38.
See also Alma-Tadema, Boehm, Frith, Goodall, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Poynter, Watts.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, head only, slightly profile to left; untraced. Engr. by Swain repr. Punch, 12 May 1888, p.218; McMaster 2008, p.75, fig.32; and McMaster 2009, p.67, fig.40.
See also Alma-Tadema, Barlow, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Poynter.

1889
Oil on canvas by Henry Jamyn Brooks; see NPG 1833.

publ. 1889
Small sketch by unidentified artist for The distribution of prizes, by Sir Frederick Leighton, to the successful students of the Royal Academy schools, half-length, facing front, at right-hand side of composition; untraced. Engr. repr. Graphic, 18 Dec. 1889, p.227.
See also Cope, Horsley, Leighton, Marks, Sant, Yeames.

publ. 1890
Wood-engr. by E.J (?).W., Artistic Stars, oversized head with collar of flower petals, positioned lower right; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Boughton, Fildes, Frith, Herkomer, Hodgson, Leighton, Millais, Poynter.

1891
Pen and ink drawing by G. Grenville Manton; see NPG 2820.

publ. 1891
Drawing by Herbert Johnson for Prize Day at the Royal Academy of Arts: A Fair Prize Winner, seated with crossed legs, to right-hand side of composition; untraced. Repr. unknown publication, 12 Dec. 1891, copy Kensington & Chelsea L.
See also Horsley, Leighton, P.R. Morris, Stone, Wells.

1892
Drawing by Leonard Raven Hill, three-quarter-length to right, seated holding palette in front of easel; untraced. Repr. AJ, 1892, p.190.

Pen and ink drawing, 150 x 100mm, by Eyre Crowe; untraced; ref. Abbott & Holder August 1995 (28).

Black chalk and grey wash drawing, 367 x 315mm, by (William) Walker Hodgson, signed and dated 9 May 1892; untraced. Exh. A Fraternity of Artists, Christopher Wood G., London, 1984 (56); ref. Christie’s, 6 Dec. 1957 (part of lot 7). See NPG collection NPG collection 4041(1–5).

publ. 1892
Pen and ink caricature drawing by Harry Furniss, signed, head only, in a squeeze of paint with others on a palette held by the figure of Art, seventh head down; untraced. Engr. by ‘CH’ repr. ‘Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, cover.
See also Alma-Tadema, Frith, Leighton, Marks, Millais, Orchardson, Watts.

1893
Bronze by Domenico Trentacoste, head; untraced. Exh. RA 1893 (1704); repr. MA, 1899, p.400.

publ.1895
Design by Frank Craig, for ‘Prize-giving at Royal Academy Schools’, thumbnail sketch, head-and-shoulders profile to right, inscr. with name; repr as an engr. The Graphic, 14 December 1895, p.735.

1897
Oil on canvas by Robert Walker Macbeth; untraced. Exh. RA 1897 (918).


Possible portrait
Chalks drawing on sanguine paper, 268 x 203mm, by William Rothenstein, dated 10 Aug. 1897; head, profile to left; untraced. Repr. Christie’s, 9 June 2005 (177, where bearded sitter erroneously identified as Charles Shannon).


Photographsback to top


1849–50
Daguerreotype by unidentified photographer, Paris, half-length, to front, small moustache; repr. Strand, 1892, p.152.

c.1860
Albumen carte-de-visite, 93 x 54mm, by Pierre Petit, Paris, three-quarter-length, standing, looking to right, full beard, holding bowler hat in right hand; NPG x127214.

1863
Albumen print by David Wilkie Wynfield: see NPG P72.

1864
Studio photos by John & Charles Watkins, four known poses:
(a) albumen carte-de-visite, 88 x 55mm, three-quarter-length, facing front, seated on a chair to right with legs crossed, holding sketchbook and pencil on lap; V&A, London, PH.411-1978.
(b) albumen carte-de-visite, 88 x 55mm, nearly whole-length, looking left, holding pencil and sketchbook; colls NPG Ax14834; The Rob Dickins Coll., Watts G., Compton, COMWG2008.24 and COMWG2008.1380; and Bristol CMAG, MB7228, Album II. Engr. as vignette repr. ILN, 13 Aug. 1864, p.173.
(c) albumen carte-de-visite, 89 x 55mm, three-quarter-length, full-face, seated, body to left, right hand to chin; NPG Ax7560.
(d) profile image from same sitting; repr. as vignette Strand, 1892, p.152.

According to the Art Journal, Apr. 1864, p.123, Calderon was among the fifty sitters photographed by Maull & Polyblank for a series of cartes-de-visite depicting British artists, but this image has not been traced.

c.1864
Albumen print by David Wilkie Wynfield, whole-length, seated in low chair, in group with St John’s Wood Clique, probably in garden of Wynfield’s home, Park Place Villas; repr. Marks 1894, vol.1, p.182 (as ‘The St John’s Wood Clique’).
See also Hodgson, Marks, Wynfield, Yeames.

1866
Albumen print by David Wilkie Wynfield, whole-length, wearing beret and riding boots, seated on steps with St John’s Wood Clique at Hever Castle, Kent; priv. coll. Repr. Maas 1984, p.51, no.85.
See also Wynfield, Yeames.

c.1867
Photograph by Albert Eugene Fradelle, head-and-shoulders, full-face, looking left; engr. by ‘MK’ repr. with facsimile signature in unidentified periodical, NPG SB (Calderon).

1860s
Photograph by Elliot & Fry, half-length, full-face, turned slightly to right; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3675.
Carte-de-visite, head-and-shoulders vignette of this pose; colls Rob Dickins Coll., Watts G., Compton, COMWG2008.1890; and V&A, London, 1706:29/A-1956.

c.1874
Photograph by London Stereoscopic Co., head-and-shoulders to right; engr. R. & E. Taylor, signed and dated ‘RT / May 2 1874’ repr. in unidentified publication; NPG SB (Calderon).

publ. 1882
Woodburytype, 114 x 91mm, by Lock & Whitfield, head-and-shoulders, near-profile to right, bushy beard, bald crown; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.925 and COMWG2008.2145; and NPG Ax17671. Repr. Cooper 1876–83, ser. 6, 1882, p.15; and The Year’s Art 1888, p.48.

reg. 1883
Albumen prints by Frank Dudman for Joseph Parkin Mayall, three known poses:
(a) whole-length to front, seated on sofa in domestic interior, sketchbook on lap; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/274); repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.10.
(b) whole-length to front, seated in domestic interior in front of easel, palette on pillow on floor; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/275).
(c) whole-length, facing front, seated, body to right, palette in hand; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/275); photogravure by Sampson Low, Marston, Searle and Rivington publ. Stephens 1884, part 5, pl.2; colls NPG Ax27830 and NPG x9218; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3752.

1891–2
Photograph by Window & Grove, head-and-shoulders, half-profile to right, full beard, bald head; repr. Strand, 1892, p.152.

publ. 1892
Platinum print, 196 x 153mm, by Ralph Winwood Robinson, whole-length, half-profile to right, seated in Pugin chair, grey beard, bald head, with brushes and palette before easel; coll. NPG X7356. Repr. Robinson [1892]; and Maas 1984, p.21.

Dr Jan Marsh