Later Victorian Portraits Catalogue

Francis Montague ('Frank') Holl (1845-1888), Painter and son of Francis Holl

Self-portraits
Possible self-portrait
By other artists
Posthumous portrait
Photographs

Self-portraitsback to top


1863
Oil on canvas; see NPG 2531.

1885
Oil on canvas, head-and-shoulders, profile to left in oval; Aberdeen AG, ABDAG002766. Wood-engr. by [Paul] Jonnard repr. MA, 1888, p.413 (for obituary); repr. Gillett 1990, p.123, fig.21.


Possible self-portraitback to top


1866
Oil on canvas, A Difference of Position; untraced; Sotheby’s, 11 June 1986 (201), where catalogued as a probable self-portrait (no evidence beyond slight physical resemblance).


By other artistsback to top


1854
Watercolour drawing by Francis Holl, head-and-shoulders slightly to right, looking to front, as a boy; BM, London, 1955,0811.5.

publ. 1878
Design by Alfred Bryan for At the Play, half-length, full-face, at very bottom right-hand corner, at a performance by Henry Irving, among 92 prominent figures also including the Prince and Princess of Wales; untraced. Chromolithograph, 317 x 503mm, printed by Maclure, MacDonald & Co., repr. World, Dec. 1878 (with key; print V&A, London, S.3730-2009); and Denker 1995, p.79.
See also Burnaby, Leighton, Millais, Orchardson, Prinsep, Whistler.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs: or, A High (Art) Tide., amongst the ARA ‘ducklings’ swimming at the shore beside their larger RA peers; untraced. Repr. Punch, 12 July 1879, p.6; McMaster 2008, p.69, fig.15; McMaster 2009, p.38, fig.22. Sambourne’s drawings were apparently based on cartes-de-visite and photographs.
See also Alma-Tadema, Ansdell, Armitage, Boughton, Butler, Calderon, Cope, Du Maurier, Fildes, Goodall, Herkomer, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

1881
Design by Theodore Blake Wirgman for Artists of the London ‘Graphic.’, signed and dated 1881, whole-length, seated to left, at centre, one of ten men; untraced. Woodcut by unidentified engraver repr. Harper’s Monthly Magazine (European ed.), vol.3, Jan. 1882, p.236; Graphic, Christmas number, 1882 (unpaginated, captioned ‘Some “Graphic” Artists’); and MA, 1890, p.39 (captioned ‘The “Graphic” Artists’).
See also Fildes, Gregory, Herkomer.

publ. 1881
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, full-length, seated, to front, seventh from right on bottom 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; Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

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

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, full-length, profile slightly to left, climbing up the maypole; untraced. Engr. by Swain repr. Punch, 12 May 1883, p.218; McMaster 2008, p.72, fig.26; McMaster 2009, p.38, fig.33.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Horsley, Leighton, Marks, Millais, Orchardson, 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 slightly to left, in a jockey’s cap; untraced. Engr. by Swain repr. Punch, 24 May 1884, p.250; McMaster 2008, p.73, fig.28; McMaster 2009, p.58, fig.35.
See also Alma-Tadema, Calderon, Faed, Foster, Frith, Goodall, Hodgson, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Watts, Yeames.

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

Drawing by (Edward) Linley Sambourne for The Pictures of 1885 and the Men who Paint them., signed, head only, slightly profile to left, with body of a butterfly; untraced. Repr. Pall Mall Gazette 'Extra', no.17, 1885, frontispiece.
See also Alma-Tadema, Barlow, Leighton, Millais, Orchardson, Pettie

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus: or, the Academia of the Gods, half-length, with back to viewer and head turned face outwards, with a huge club swung over left shoulder; untraced. Repr. Punch, 8 May 1886, p.218; McMaster 2008, p.74, fig.31; McMaster 2009, p.64, fig.38.
See also Alma-Tadema, Boehm, Calderon, Frith, Goodall, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Poynter, Watts.

publ. 1887
Drawing by (Edward) Linley Sambourne for The Art Hesperides, head only, profile slightly to left, next to the figure of ‘sculpture’; untraced. Repr. Punch, 7 May 1887, p.218; McMaster 2008, p.75, fig.32; McMaster 2009, p.66, fig.39.
See also Barlow, Boehm, Leighton, Millais.

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

publ. 1888
Drawing from life by Charles-Paul Renouard, signed by artist bottom left, whole-length, standing to right in front of canvas, palette in left hand, brush in right, painting portrait of thePrince of Wales; Louvre, Paris, RF1714.B, Recto. Repr. as process print Graphic, 30 June 1888, p.692; and Universal Review, 15 Aug. 1888; copy MEPL, London, 10073779|http://www.maryevans.com}. .

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

publ. 1889
Portrait, repr. Zeitschrift für bildende Kunst, vol.24, 1889, p.129 (ref. in Lane & Browne 1906).


Posthumous portraitback to top


exh. 1889
Bust by Joseph Edgar Boehm, presumably the model for Holl’s memorial, crypt of St Paul’s Cathedral; untraced. Exh. RA 1889 (2084).[1]


Photographsback to top


c.1867
Photograph by unidentified photographer at time of Holl’s marriage. Repr. Reynolds 1912, facing p.42.

reg. 1874
Photograph by John Jabez Edwin Mayall, head-and-shoulders to left, nearly profile; reg. for copyright 1874 June 25: National Archives (COPY 1/25) [no copy available].

publ. 1878
Photograph by A.E. Fradelle, head-and-shoulders, slightly to left. Wood engr. by ‘?ST’ repr. ILN, 20 July 1878, p.53; ILN, 4 Aug. 1888, p.146

publ. 1880
Photograph by unidentified photographer, head-and-shoulders to left, nearly profile. Wood-engr. by unidentified engraver, with facsimile signature, repr. MA, 1880, p.188
A larger version without facsimile signature; loose cutting, NPG SB (Holl).

publ. 1882
Photograph by unidentified photographer, head-and-shoulders slightly to right. Wood-engr. vignette by J.J. Puyplat repr. L’Art, vol.31, 1882, p.274.

reg. 1883
Albumen print by Frank Dudman, two versions:
(a) whole-length, profile to left, seated in interior in front of an easel, palette in hand; reg for copyright (by J.P. Mayall) 24 Sept. 1883: National Archives (COPY 1/365/281).
(b) whole-length, to front, seated in interior in front of an easel; reg. for copyright (by J.P. Mayall) 1883 Sept. 24: National Archives (COPY 1/365/282).

publ. 1883
Woodburytype by Lock and Whitfield, head-and-shoulders to left. Repr. Cooper 1876–83, vol.7, 1883, p.31; colls NPG Ax17723; The Rob Dickins Coll., Watts G., Compton, COMWG2008.2197.

later 1880s
?Woodburytype by unidentified photographer, mounted on card with a letter (dated 1886) and a reproduction of a Holl subject painting, half-length, seated to left, arms crossed; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3687. Repr. Bills & Webb 2007, no.45.

Photograph by unidentified photographer, head-and-shoulders, slightly to right. Repr. Reynolds 1912, facing p.140.

c.1887
Photographs by Elliott & Fry, two poses:
(a) albumen carte-de-visite, head-and-shoulders, full-face; The Rob Dickins Coll., Watts G., Compton, COMWG2008.118. Repr. Maas 1984, p.62.
(b) profile to left. Repr. The Year’s Art 1888, p.40 and frontispiece; Reynolds 1912, frontispiece (‘a year before his death’).
This profile photograph is probably the primary image for Holl.

publ. 1890
Photograph by unidentified photographer, head-and-shoulders slightly to left, wearing striped cravat. Wood-engr.by unidentified engraver repr. Graphic, 6 Dec. 1890, p.635.


Footnotes
1) The memorial, completed by Alfred Gilbert after Boehm’s death in 1890, comprised a bronze bust in a black marble surround. A drawing of it by E. Evelyn repr. MA, 1897, p.288; Art Annual 1903, p.25. See also a photograph of the memorial by Hollyer, showing the lead cap and gown perhaps added by Gilbert, repr. McAllister 1929, facing p.112; Hatton 1903, p.25. ‘How well the Doctor’s cap and hooded gown once enhanced the expression of Frank Holl’s portrait in the crypt of St Paul’s. The former, fashioned out of soft lead, was removed by order of the Dean and Chapter as in the course of time it had been spoilt by the meddlesome fingers of visitors’: Bury 1954, p.54.

Carol Blackett-Ord