Later Victorian Portraits Catalogue

Self-caricatures
Self-portraits
By other artists
Undated portrait
Posthumous portraits
Photographs

Self-caricaturesback to top

1850s–1890s
Correspondence to family and friends was often decorated with self-caricatures: boyish, tousled, scruffy figures. See Moscheles 1896 for a good collection from the 1850s. For a range from the 1860s, see Du Maurier 1951, p.32ff. passim. (For specific examples of self-portraits incorporated into the letter K of his ‘Kicky’ signature, see Du Maurier 1951, pp.62, 108, 116, 157, 161.)
For self-caricatures with James McNeill Whistler, c.1894, see Walter S. Brewster Collection of Whistleriana, AI Chicago, 1933.225. See also an undated pen and ink drawing, walking with Whistler and Charles Keene; coll. Howard Mansfield, New York; repr. Gallatin 1918, pp.40–41, no.64, facing p.44. For another Whistler/Du Maurier portrait drawing, see the letter repr. Literary Digest (New York), 20 April 1918 (Gallatin 1918, p.65, no.219).
Du Maurier sometimes introduced lightly disguised caricatures of himself (and friends and acquaintances) in drawings for Punch and the illustrated novels. See Mr Titwillow in Paris, repr. Punch, 28 Sept. 1867. Some other examples repr. Ormond 1969, figs 11, 22, 27, 94, 120, 134. For more reproductions of these caricatures see Graphic, 17 Oct. 1896, p.498 (obits); Millais 1899, vol.2, pp.271, 280; Strand, vol.19, 1900, pp.71, 73; Ormond 1969, figs 13–16, 19, 24, 37, 57. See also ref. to a self-caricature in Louise Jopling’s studio, for Punch, undated but perhaps 1870s, cited in Jopling 1925, p.90.
For examples of self-caricatures in the salerooms see Sotheby’s Printed Books, 20 July 1976 (405, various); Bonhams, 23 May 1990 (162); Phillips, 17 Nov. 2000 (372); Bonhams, 3 Oct. 2000 (780); Christie’s, 1 July 2004 (508).

Self-portraitsback to top

c.1856
Oil on board, head-and-shoulders, full-face, unfinished; priv. coll.; Christie’s, 16 Dec. 1994 (34, ill.). Repr. Du Maurier 1951, frontispiece; Ormond 1969, pl.5; and Ormond 2004.

c.1856–7
Pen and ink drawing with Edward John Poynter and T.R. Lamont (as three dogs); BM, London, 1945,0714.4.

c.1857
Etching, as a street singer with a guitar; untraced. [1]

publ. 1860
Pen and ink drawing, as ‘Dick Tinto’, whole-length, profile to left, with James McNeill Whistler and T.R. Lamont, entering photographer’s studio from right; untraced, coll. E.H. Coles, 1948. Repr. Whiteley 1948, p.51; and Du Maurier 1951, facing p.32. Repr. as wood-engr. Punch, 6 Oct. 1860, p.140 (where captioned ‘No smoking here, sir!’ etc.), Du Maurier’s first contribution to Punch; also repr. in supplement to Punch, ‘George Du Maurier Centenary Number’, 7 Mar. 1934; Ormond 1969, p.110; Denker 1995, p.39.

1861
Pen and ink design for theatre programme, The Thumping Legacy, 14 Jan. 1861, whole-length, profile to left, at top; untraced. Repr. Ormond 1861, fig.26.

1862
Pen and ink caricature drawing in letter to Ellen Du Maurier, July 1862, head, profile to left, evening at Little Holland House; untraced. Repr. Du Maurier 1951, facing p.224.
See also Hunt, Millais, Prinsep, Sandys, Walker, Watts, Whistler.

1863–6
Pen and ink caricature drawing, with physician; BM, London, 1977,0225.1.

1864
Pen and ink sketch, John Leech’s Funeral. souvenir, third from left, seated with four other whole-length figures; untraced, coll. E.H. Coles, 1948. Repr. Whiteley 1948, p.48. Leech’s funeral took place at Kensal Green on 4 Nov. 1864.
See also Keene, Millais.

early 1860s
Watercolour on paper, head-and-shoulders to left, eyes to front; priv. coll. Repr. Ormond 1969, pl.1. Features similar, probably close in date to photograph by David Wilkie Wynfield, see below, ‘Photographs, c.late 1850s-early 1860s’. [2]

1867
?Pencil sketch, whole-length standing profile to right, smoking a pipe and dropping coins into John Hare’s outstretched hand, and inscr. with six lines of verse referring to Hare’s part as Sam Gerridge in Caste, 1867; untraced (coll. John Hare 1908). Repr. Strand, vol. 35, May 1908, p.524.

c.1868
Pen and ink caricature drawing, inscr. 'an author's faith in the resources of an artist ... they are arranging the detail of one of du M's illustrations of "Sooner or Later" ...', etc., whole-length, profile to right, seated on stool, hands on knees, facing Charles William Shirley Brooks; New York PL, image ID ps_mss_cd21_309. Brooks' Sooner or Later was published in 1868.

1869
Pen and ink caricature drawing, inscr. 'settling the big cut / Sept.1 1869', whole-length, profile to left, seated at right end of the Punch table, wearing spectacles and smoking; New York PL, image ID ps_mss_cd21_310.
See also Tenniel.

1870
Design for the Punch dinner invitation card, as a fledgling bird (head with dark glasses) under the wing of Horace Mayhew, with other Punch colleagues; coll. S. Houfe. Exh. Charles Keene: The Artist’s Artist 1823–1891, Christie’s, 3–20 Jan. 1991 (122, not ill.); repr. Spielmann 1895a, pp.69, 128; Ormond 1969, fig.59; McMaster 2008, p.67, fig.8; and McMaster 2009, p.29, fig.15.
See also Keene, Tenniel.

1879
Pencil drawing on paper, dated 16 Feb. 1879, head-and-shoulders, head to right, eyes to left, wearing spectacles; untraced, coll. D. Pepys Whiteley, 1969. Repr. Kelly 1996, p.225. Related to NPG 3656 below.

c.1879
Oil on canvas; see NPG 3656.
Probably the primary image of Du Maurier.

publ. 1879
Pen and ink on paper, At the R.A. – Triumph of Realism, as sculpted bust, profile to left; Barber Inst. of Fine Arts, Birmingham, 52.3. Repr. Punch, 17 May 1879, p.226.

1886
Pen and ink drawing, head, profile to left, signed, dated and inscribed ‘July 1886 / Hampstead’; untraced. Repr. Whiteley 1948, title page; and Furniss [1919], facing p.220.

By other artistsback to top

c.1835–7
Oil on panel by Emmanuel Noterman; untraced; Bearne’s Torquay, 1 Nov. 1989 (294, not ill.). Du Maurier as a child in Belgium.

c.1860
Miniature by unidentified artist, head-and-shoulders, full-face, in oval; priv. coll. Repr. Kelly 1996, p.224; and Ormond 1969, pl.3. Sometimes called a self-portrait.

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, profile to left, standing at extreme right (no.17 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 to 27. Repr. Hacking 2000, p.14, fig.3.
See also Calderon, Leighton, Millais, Prinsep, Sandys, 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 a 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; McMaster 2009, p.27, fig.14.
See also Alma-Tadema, Butler, Calderon, Fildes, Foster, Frith, Goodall, Herkomer, Hodgson, Leighton, Marks, Millais.

Design by (Edward) Linley Sambourne for Academicians and Outsiders – A Battle-piece., whole-length, banging drum at right-hand side of composition; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Ansdell, Boughton, Butler, Calderon, Cope, Frith, Herkomer, Horsley, Leighton, Marks, Millais, Orchardson, Sant.

publ. 1877
Cartoon by Charles Keene, VOL. SEVENTY THREE., second from right, back view. Repr. Punch, 14 July 1877, p.1.

publ. 1878
Design by (Edward) Linley Sambourne, Ars Britannica, head only, with body of a snail labelled ‘Black & White’, bottom left-hand corner; untraced. Engr. by Swain repr. Punch, 1 June 1878, p.251; McMaster 2008, p.68, fig.13; McMaster 2009, p.36, fig.20.
See also Alma-Tadema, Boehm, Calderon, Frith, Horsley, Leighton, Marks, Millais, Orchardson, Poynter.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs: or, A High (Art) Tide., head only, to front, receiving the heel of Mr Punch’s boot; untraced. Repr. Punch, 12 July 1879, p.6; McMaster 2008, p.69, fig.15; McMaster 2009, p.38, fig.22.
See also Alma-Tadema, Ansdell, Armitage, Boughton, Butler, Calderon, Cope, Fildes, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

1881
Pen and ink caricature drawing by Harry Furniss on Punch dinner invitation card, 3 Jan. 1881, two heads, profile to left and three-quarters to left, at upper left; untraced. Repr. Furniss 1901, vol.1, p.218.

1882
Oil on canvas by John Everett Millais, head-and-shoulders to left, in feigned oval; Aberdeen AG, ABDAG004394. Repr. Ormond 1969, pl.14. [3]

exh. 1882
Terracotta bust by Samuel Fry, untraced. Exh. RA 1882 (1572).

c.1882–3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, head only, facing left, wearing top hat, visible between two aesthetic ladies in left foreground, beside Sir John Tenniel (no.9 on key); coll. C.J.R. Pope, on long-term loan to Leighton House, LH/TL, 014. Exh. RA 1883 (163); repr. Gazette des Beaux-Arts, July/Aug. 1958, vol.6, p.87, no.4; Gaunt 1972, nos 144–5; Snow 1975, pp.168–9; Wood 1976, no.215; Bills & Knight 2006, p.70 (whole image), p.129 (detail); and 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, 1920,0420.193 and 1920,0124.4) respectively.
An oil sketch for this work, 600 x 1140mm, signed and dated ‘W P Frith 1882’, is now in Mercer AG, Harrogate, HARAG 2490.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Langtry, Marks, Millais, Tenniel, Terry.

publ. 1883
Drawing by Harry Furniss for parody of William Powell Frith’s A Private View at the Royal Academy (see above), head only, profile to left, wearing top hat, sixth from the left along back row; untraced. Repr. Punch, 12 May 1883, p.220; McMaster 2008, p.65, fig.3; and McMaster 2009, p.17, fig.9.
See also Calderon, Leighton, Marks, Millais, Tenniel.

1889
Pen and ink drawing by Harry Furniss, signed lower right, three-quarter-length profile to left, at left among Punch journalists in dining car on staff visit to Paris Exposition Universelle, May 1889; untraced, formerly Punch coll. Repr. Punch, Special Number, 29 June 1889, p.315 (as ‘En Route. Mr. Punch at Lunch’); Furniss 1901, vol.1, p.227 (as ‘Punch staff returning [sic] from Paris’); Ormond 2010, p.189, fig.81.
See also Furniss, Sambourne.

1880s-1900s
Pen and ink drawings by Harry Furniss; see NPG 3568 and NPG 3569.

c.1880–90s
Caricature by Harry Furniss, head-and-shoulders to right, with bowler hat and dark glasses; untraced. Repr. Furniss [1919], p.120.

publ. 1890
Drawing by Charles E. Wilson, head-and-shoulders to left; untraced. Engr. by Petit repr. L’Art, vol.1, 1890, p.220. Cutting of engr. by an unidentified wood engraver after Wilson (plus facsimile signature), NPG D38708. Further copies colls BM, London (see O’Donoghue 1908–22, vol.2, p.98(1)); and MEPL, London, 10157682.

1891
Pen and ink drawing by Edmund Joseph Sullivan; see NPG 2899.

Pen and ink drawing by (Edward) Linley Sambourne for The Mahogany Tree, signed and dated June 1891, whole-length, seated to left, with Punch papers by his chair, at right with 13 other men around dinner table; untraced, formerly coll. Sir William Agnew. Engr. by Swain repr. Punch, 18 July 1891 (jubilee issue), frontispiece; Spielmann 1895a, frontispiece and p.536; and Ormond 2010, pp.230–31, fig.95. Exh. Punch 150 Anniversary Exhibition, RFH, London, 1991 (handlist no.30, not ill.)
See also Agnew, Furniss, Keene, Sambourne, Tenniel.

1895
Coloured chalk drawing by Robert Ponsonby Staples, inscr. ‘At Trilby rehearsal, Haymarket, October 1895’, head-and-shoulders to left; untraced. Exh. and repr. A Spice of Life: An Exhibition of Drawings by Sir Robert Ponsonby Staples, Bt c.1853–1943, David Messum Fine Art, London, 1991 (36, ill.).

publ. 1896
Watercolour drawing by Leslie Ward (‘Spy’); see NPG 2711.

Undated portraitback to top

Watercolour and pastel drawing by Harrington Mann; untraced; Phillips Marylebone, 27 May 1988 (384, not ill.).

Posthumous portraitsback to top

1896
Lithograph by Edward Penfield, three-quarter-length to left, standing, holding a dog; Met., New York, 1896.1005.9. Repr. Du Maurier 1897, dust cover (copy New York PL, image ID 1131201).

Undated
Pen and ink drawing by Nicolas Bentley, head-and-shoulders slightly to left; untraced; Christie’s, 6 Dec. 2001 (155, ill.). Based on a photograph by Fradelle & Young, see below, ‘Photographs, 1890s’.

Photographsback to top

c.late 1850s–early 1860s
Albumen carte-de-visite by London Stereoscopic & Photographic Company, oval, whole-length, standing in studio, full-face, with cane and top hat in right hand; The Rob Dickins Coll., Watts G., Compton, COMWG2008.55. Repr. Bills & Webb 2007, no.155.

Carte-de-visite by John Golden Short, Lyndhurst, head, slightly to left, ruffled hair. Repr. Black & White, 17 Oct. 1896, p.488 (obits, captioned ‘in early life’).

Albumen print, 216 x 165mm, by David Wilkie Wynfield, half-length, full-face, slightly to right, in armour, left hand on breast plate; RA, London, 03/7336. Repr. Hacking 2000, p.85 (no.40) and MacCarthy 2011, pl.6. See NPG collection P70–P100.

1867
Albumen prints by London Stereoscopic & Photographic Company, The Green Room , 11 May 1867, with Punch staff in cast of charity theatricals, two known poses:
(a) whole-length, seated cross-legged between Ellen Terry and Kate Terry; prints colls NPG x18489; and V&A, London, S.133:137-2007. Repr. Spielmann 1895a, facing p.132; and Ormond 1969, pl.7 (see pp.196–8 for details of performances).
(b) as in a), slightly more profile to left; coll. Watts Soc., copy print NPG SB (Ellen Terry).
See also: Tenniel, Terry.

1867
Albumen prints by London Stereoscopic & Photographic Company, The Green Room , 11 May 1867, with Punch staff in cast of charity theatricals, two known poses:
(a) seated cross-legged between Ellen Terry and Kate Terry; prints colls NPG x18489; and V&A, London, S.133:137-2007. Repr. Spielmann 1895a, facing p.132.
(b) half-length, full-face, looking ahead; coll. Watts Soc., copy print NPG SB (Ellen Terry).
See also: Tenniel, Terry.

1874
Albumen prints by Julia Margaret Cameron, Freshwater, Isle of Wight, September 1874, two known poses:
(a) standing at right, looking slightly to left, behind Emma (his wife) and May Du Maurier (child) seated; RPS, Bath, 2159. Repr. Cox & Ford 2003, no.214.
(b) half-length to let, head to front, holding May Du Maurier; RPS, Bath, 2001. Repr. Cox & Ford 2003, no.215.

1889
Albumen cabinet prints by Elliott & Fry, the photographers’ studio, two known poses:
(a) three-quarter-length, seated slightly forwards, elbows resting on knees, hands clasped, full-face, spectacles, combed hair; colls NPG x19825; The Rob Dickins Coll., Watts G., Compton, COMWG2008.303. Repr. Black & White, 17 Oct. 1896, p.488; and Review of Reviews 1891, p.210, and 1895, p.370; see also Maas 1984, no.255.
(b) head-and-shoulders, to left, spectacles; NPG x127428 and half-plate neg. NPG x82279. Repr. The Year’s Art 1891, p.102; Hillier 1975, p.87.

Photograph by unidentified photographer, ‘The Owners and Members of the “Punch” Staff’, on a trip to the Paris Exposition Universelle, May 1889, on extreme right of group, wearing hat; untraced. Repr. Millar 1937, facing p.64; and Ormond 1969, pl.17.
See also Agnew, Furniss.

c.1890–91
Photographs by Alexander Bassano, in photographer’s studio, two known poses: [4]
(a) head-and-shoulders, slightly to left. Repr. Daily Graphic, 9 Oct. 1896, p.5 (obits).
(b) half-length, full-face. Repr. ILN, 17 Oct. 1896, p.517 (obits).

publ. 1890
Carbon prints by Walery [Stanislas Julian, Count Ostrorog], in the photographer’s studio, two known poses:
(a) three-quarter-length, seated to left, legs crossed, chin on right hand; NPG Ax38511; and Getty Images, 2634007 (where attrib. to ‘Herbert Barraud’). Repr. Walery 1888–92, vol.3, issue no.28 (Oct. 1890).
(b) bust, slightly to left, head to viewer, and facsimile signature; loose cutting, NPG SB (Du Maurier).

c.1891
Photograph by (Edward) Linley Sambourne, as study for The Mahogany Tree (see ‘Portraits by other artists, publ. 1891’ above), seated at table, profile to left, right arm raising glass; Linley Sambourne House, Royal Borough of Kensington & Chelsea.

publ. 1891
Carbon prints by W.& D. Downey, in photographer’s studio, two known poses:
(a) quarter-length bust, slightly to left, head to front; colls NPG x19824 and Ax15905. Further copies colls MacDonnell DNB Coll., Suppl., vol.2, p.164, NPG Archive; BM, London (see O’Donoghue 1908–22, vol.6 (1925), p.141 (2)); The Rob Dickins Coll., Watts G., Compton, COMWG2008.3616; Getty Images, 79021445; and MEPL, London, 10023256). Repr. Downey & Downey 1890–94, vol.2, 1891, facing p.38; Spielmann 1895a, p.570; and MA, 1897, p.56.
This is probably the primary photographic image of Du Maurier.
(b) quarter-length bust, head turned to left; Getty Images, 2633102.


publ. 1893
Carbon prints by Herbert Rose Barraud, in photographer’s studio, two poses:
(a) half-length, to left, looking left, dark suit, large bold-patterned dark silk tie; NPG Ax27641. Repr. MWD, vol.4, 1893.
(b) bust-length, almost full-face, hand on right cheek. Repr. Graphic, 17 Oct. 1896, p.498 (obits).

1895
Photograph by Henry Van der Weyde, three-quarter-length, seated, facing right, at left of group; repr. Spielmann 1895a, facing p.570 (captioned 'The Staff of Punch at Table, 1895').
See also Sambourne, Tenniel.

1890s
Photographs by Fradelle & Young, at New Grove House, Hampstead, two known poses:
(a) three-quarter-length facing, full-face, seated at raised drawing table (for table see ‘Portraits by other artists, publ. 1896’ above). Repr. Leicester G. exh. cat., 1910 (cutting, BM, London, see O’Donoghue 1908–22, vol.6 (1925), p.141 (3)); Millar 1937, frontispiece; Ormond 1969, pl.18. N. Bentley based his cartoon head on this photograph (see ‘Posthumous portrait’ above).
(b) three-quarter-length to left, drawing, eyes lowered. Wood engraving ‘after unpublished photograph by Fradelle and Young, London’, cutting, NPG SB (Du Maurier).


Footnotes
1) ‘In [Du Maurier’s plate] he has represented himself with a guitar, earning his living as a street singer, which he thought he might be able to do if everthing else failed. […] The copper plate of this etching was lost with the family papers. To the best of my knowledge it was the only etching du Maurier ever did, and there are only two or three prints of it in existence.’ Lamont 1912, pp.146–7.
2) ‘I found him once painting in water-colour, which I think he had seldom if ever done before, and delighted with the change from black-and-white. But it proved so injurious to his sight that he was soon obliged to abandon colour. And a time came later when he could only do his ordinary work on a greatly enlarged scale.’ Guthrie 1934. ‘He had practised water-colour painting a little […] it was my belief that if he could have persevered he might have got a vogue for small portraits in water-colour, which would have been very profitable. He did such portraits of his daughters which had great merit’: Lamont 1912, pp.164–5.
3) ‘In private life [Du Maurier] was habitually reserved and unobtrusive; but to Millais, whom he knew to be moved by the same impulses as himself, and whose ideals were in the main much the same as his, he opened his heart as freely as a child, discoursing with him on every subject under the sun, and often on matters that he would confide to no one else.’ Millais 1899, vol.2, p.266.
4) These photographs were chosen for some of the obituaries, but in 1896 they were not recent images. Pose (a) had been the model for NPG 2899, published in July 1891.

Carol Blackett-Ord