Later Victorian Portraits Catalogue

By other artists
Photographs
Doubtful photograph

By other artistsback to top

c.1818
Oil on canvas by Jean-Francois Garneray, whole-length, in group with parents and siblings; untraced. Repr. Hill 1973, pl.4.

undated but early
Ink sketch by James Prinsep, whole-length; coll. Sven Gahlin. Repr. Cox & Ford 2003, p.16.

1850–52
Pencil drawing, 180 x110mm, by George Frederic Watts, head only, half-profile to left; priv. coll. Exh. The Whisper of the Muse, P.&D. Colnaghi, London, 1990 (58). Repr. Hill 1973, pl.7; and Howard 1990, no.58.

Oil on canvas by George Frederic Watts; see NPG 5046.

mid-1850s
Tempera? painting by George Frederic Watts, as figure representing ‘Hindustan’, fresco in dining-room at Little Holland House; destroyed.

Photographsback to top

1857–8
Photograph by unidentified photographer, with sons Charles and Henry; see NPG P148.

c.1858
Albumen prints by unidentified photographer, three known poses:
(a) 68 x 57mm, three-quarter-length, standing before oak tree, profile to right looking at watchcase in left hand; priv. coll. Repr. Cox & Ford 2003, fig.17.
(b) 102 x 78mm, whole-length, lowered profile to left, seated in conservatory reading to her daughter Julia; coll. Meir Beck. Repr. Olsen 2003, no.7.
In both (a) and (b) the sitter wears same costume.
(c) 102 x 78mm, whole-length, seated before oak tree, with sons Charles and Henry; coll. Stephen White. Repr. Cox & Ford 2003, fig.3. Here, the sitter’s sleeves are dissimilar to those in preceding images, but the setting resembles (a). No one’s dress is as in NPG P148.

1858–9
Albumen print, 183 x 113mm, possibly by Charles Somers Cocks, 3rd Earl Somers, three-quarter-length, standing, right hand touching locket, left holding book; NPG x18000. Repr. Gernsheim 1975, frontispiece (where dated c.1860); and Gould 2004, fig.28 (where dated c.1862).

early 1860s
Carte-de-visite by Robert Faulkner, Bayswater, whole-length, profile to left, standing in garden reading book; colls NPG x128762; and priv. coll. Robert Faulkner’s studio in Bayswater opened in 1863; as the image looks earlier, it may have been re-photographed by him from a now unlocated original.

1863
Albumen prints by Oscar Gustave Rejlander taken at sitter’s home on Isle of Wight, three known poses:
(a) 155 x 110mm, whole-length, profile to right, seated playing piano, seen through doorway; coll. Michael Mattis and Judith Hochberg. Repr. Cox & Ford 2003, fig.31.
(b) 160 x 115mm, whole-length, seated in garden, profile to right looking down at book; priv. coll. Repr. Cox & Ford 2003, fig.5.
(c) whole-length, profile to right, standing in group outside door receiving mail; coll. Michael Mattis and Judith Hochberg. Repr. Olsen 2003, fig.14.

c.1868
Photograph by unidentified photographer; see NPG P880.

c.1873
Photographs by Henry Herschel Cameron, two known poses:
(a) see NPG P696.
(b) carbon print, 250 x 215mm, inscr. with sitter’s name, half-length, half-profile to left, seated, left arm and hand across body, right hand half-visible, wearing same shawl and scarf, latter draped on head rather than shoulders; V&A, London, E.1217-2000 (transferred from BM).
A slightly cropped albumen cabinet card, 149 x 98mm, version of (b) printed by William Louis Henry Skeen, Colombo, one print inscribed by the sitter ‘Photograph from life taken by my youngest son Henry Herschel Hay Cameron / taken 1874 / To my cherished son Hardinge / with the love and blessing / of his mother / Julia Margaret Cameron / March 10th 1877’; colls NPG x128761; and Wilson Centre for Photography, London. Repr. Melville 2003, following p.50 (where dated to 1870).

Doubtful photographback to top

unknown date

Photograph by unidentified photographer, half-length, profile to right, left hand to collar; coll. Sean Sexton. Ref. NPG RN 36116. Though said to be a self portrait, the definition is too soft to assess either sitter or photographer.

Dr Jan Marsh