Later Victorian Portraits Catalogue
John Seymour Lucas (1849-1923), Historical and portrait painter
Self-portraitsback to top
Pencil drawing; see NPG 3040.
Portrait signed and dated 1888, three-quarter-length; Forbes Coll.; Christie’s, 20 Feb. 2003 (122). This is not a self-portrait: the features do not match and Lucas’s iconography shows him invariably clean-shaven.
By other artistsback to top
?late 1870s, 1880s
Watercolour drawing by Charles Green, half-length, right hand on hip, in eighteenth-century costume; untraced; Christie’s, 19 Jan. 1994 (69).
Watercolour by Thomas Walter Wilson, The Members of the Institute [of Painters in Water-colour] Touching Day 1882, profile to left, in group of 88 sitters; untraced. Probably exh. IPWC 1883 (342a); repr. Graphic, 28 Apr. 1883, p.422 (with key, Lucas no.71); and Christie’s, 9 May 1984, p.1.
See also Boughton, Clausen, Crane, Gregory, Hayes, Herkomer, Hine, Parsons, Tenniel, W.L. Thomas, J.W. Waterhouse.
Pen and ink drawing by G. Grenville Manton: NPG 2820.
Drawing by Leonard Raven-Hill, whole-length to left, at easel; untraced. Repr. AJ, 1891, p.247.
Chalk and grey wash sketch, 508 x 349mm, by (William) Walker Hodgson, signed and dated 26 Apr. 1892; untraced. Ref. Christie’s, 6 Dec. 1957 (part of lot 7); exh. A Fraternity of Artists, Christopher Wood G., London, 1984 (6). See NPG collection 4041(1–5).
Design by Edward Tennyson Reed, for 'Prehistoric Peeps: Opening of the Primeval Royal Academy', signed, head-and-shoulders profile to left in prehistoric dress, at bottom right hand corner of gathering of 'cavemen' Royal Academicians, amongst wall painting exhibits; untraced. Repr. as an engr. Punch, 12 May 1894, p.226
See also Alma-Tadema, Calderon, Ford, Frampton, Gilbert, Gregory, Herkomer, Horsley, Leighton, Marks, Millais, Moore, Orchardson, Poynter, Stone, Thornycroft.
Drawing by ‘N’, whole-length to left, with palette; untraced.
Chromolithograph repr. Vanity Fair, 14 Dec. 1899, p. 405 ('Men of the Day no.768‘, captioned 'A Connoisseur’); prints colls NPG; and MEPL, London, 10076513.
Bronze bust by George Frampton, priv. coll. 
Oil on canvas by John Singer Sargent; see NPG 5219.
This is the prime image for Lucas.
Sketch by John Singer Sargent, with David Murray at RA meeting; Fogg AM, Harvard, Cambridge, MA, Sargent sketchbook. Ref. Ormond & Kilmurray 2003, p.160 (not ill.).
Painting by Lance Calkin; untraced; formerly coll. M.H. Spielmann. Ref. Robinson and Foster sale, 29 Jan. 1948 (156).
Photographsback to top
Photograph by Henry Van der Weyde, head-and-shoulders, profile to right; repr. as wood-engr. Graphic, 13 Mar. 1886, p.280; by another wood-engraver AJ, 1887, p.65; and as halftone The Year’s Art 1889, facing p.116. It is the basis for Lucas’s head in NPG 2820.
Photograph by unidentified photographer; repr. as wood-engr. head-and-shoulders, oval in rectangle, ILN, 8 May 1886, p.487 (on election ARA).
Photograph by Fradelle & Young, almost profile to left; repr. as thumbnail sketch Pall Mall Budget, 3 Apr. 1890, p.490; and ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.16 (‘Portraits of the RAs and ARAs’).
Pen and ink sketch by Bernard Partridge, a sheet from 1880/1890s sketchbook; untraced; Abbott and Holder, Apr./May 1992, stock list 276 (232). Apparently relating to the same photographic source
Silver bromide print on postcard publ. Rotary Photo, half-length to left, with palette; The Rob Dickins Coll., Watts G., Compton, COMWG2008.332. Repr. Maas 1984, p.43.
Photographs by Elliott & Fry, two known poses:
(a) head-and-shoulders, slightly to left; repr. as halftone, MA, 1898, p.281; and ILN, 19 Feb. 1898, p.263 (on election RA).
(b) head turned to left, in oval; repr. London 1907–9, p.50.
Carbon print, 227 x 315mm, by Fradelle & Young, in multi-figure group at banquet in honour of Lawrence Alma-Tadema, at the Whitehall Rooms, London, 4 Nov. 1899 (presence confirmed on sheet of over 100 signatures); NPG x19022. Repr. MA, 1900, p.137 (with signatures insert); and Swanson 1990, p.85.
See also Alma-Tadema, Boughton, Brock, Clausen, J. Collier, Crane, East, E.O. Ford, Frampton, Gregory, Hacker, Parsons, Sant, Solomon, Spielmann, W.H. Thornycroft, J.W. Waterhouse, A. Webb.
Glossy sepia gelatin bromide print on card by Frederic G. Hodsoll, whole-length, standing to left, at easel in his studio (designed by Sydney Lee), New Place, Woodchurch Rd, West Hampstead; NPG Ax25165. Repr. Tatler, 6 May 1903, p.200.
Photograph 107 x 82mm, by Richard William Thomas on postcard (‘RA Series’), whole-length, seated to right in studio; colls NPG x136027; The Rob Dickins Coll., Watts G., Compton, COMWG2008.333; and V&A, London, 1455-1928. Repr. Bystander, 11 May 1904, p.615.
Photograph by unidentified photographer, three-quarter-length, seated to right at easel; repr. as halftone (loose cutting, NPG SB [Lucas]).
Photograph by unidentified photographer, three-quarter-length, standing, full-face; repr. half-tone Bystander, 1 May 1912, p.225.
Monotone photographs by Grove and Boulton, of the RA Selection Committee, April 1914, three known poses:
(a) 99 x 204mm, whole-length, seated fifth from left, with 10 other artists; RA, London, 08/2671.
See also Poynter, Solomon, W.H. Thornycroft.
(b) 99 x 204, whole-length, seated fifth from left, committee photographed from opposite angle, 11 others visible with the addition of W. Lamb (Sec); RA, London, 08/2669.
(c) 99 x 204mm, slightly variant pose to above image, taken moments apart; ref. Conway L., Courtauld Inst., London.
Photograph by W. Withall, whole-length, standing in armour, head to right; repr. Fea 1927, facing p.232 (captioned ‘Seymour Lucas in one of his suits of armour’).
1) Lucas was an authority on armour and costume and he painted a small portrait of Charles Green in armour (undated and untraced; Christie’s, 9 May 1984 ). The two portraits may have been an exercise between friends. Lucas’s 18th-century costume might refer to the Meissoniers he ‘enthusiastically studied’ in Richard Wallace’s collection in 1874. Green and Lucas were elected to the RIPWC in 1867 and 1877 respectively.
2) There are no further details on ‘N’: this drawing is his only contribution to the Vanity Fair series.