Later Victorian Portraits Catalogue

Henry Stacy Marks (1829-1898), Painter

Self-portraits
By other artists
Photographs

Self-portraitsback to top



1863
Design, signed ‘H. S. M’ bottom right and inscr. ‘The visit to the Orchard’, whole-length, standing to right in the background, Frederick Walker and another man in foreground; 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.47, no.324. Repr. Marks 1894, vol.1, p.88 (as ‘Swanage’).

1864
Design, whole-length to left, reclining at base of platform, 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.1, f.57, no.343. Repr. Marks 1894, vol.1, facing p.152 (as ‘Election of A.R.A’s, 1864’).
See also Calderon, Hodgson, Leighton, Walker, Yeames.

1882
Oil on canvas, 345 x 297mm oval, signed and dated, half-length to right, looking to front; Aberdeen AG, ABDAG004366. Repr. Morris & Milner 1992, p.60.


By other artistsback to top


1861
Design by John Dawson Watson, signed and dated 25 Jan. 1861, almost whole-length to left, leaning left elbow on shelf below mirror, smoking; untraced. Repr. Marks 1894, vol.1, p.255 (as ‘Portrait of the author drawn by J.D. Watson one evening at Langham Chambers’).

1863
Design by Frederick Walker, three-quarter-length, reclining, with jester’s staff and monocle, in centre front row as part of 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.1, 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 Calderon, Hodgson, Walker, Wynfield, Yeames.

Design by Frederick Walker, signed ‘F. W’, whole-length, seen from behind, with P.H. Calderon on the 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.1, f.47, no.327. Repr. Marks 1894, vol.1, p.89.

Design by Frederick Walker, whole-length to front, following group, on left-hand side; 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.47, no.326. Repr. Marks 1984, vol.1, facing p.88 (as ‘Swanage – The Donkey Ride’).
See also Calderon, Walker.

c.1860s
Pencil drawing by Frederick Walker, whole-length to left, wearing a hat and smoking a pipe; untraced; Christie’s, 22 July 1975 (32).

Design by John Evan Hodgson, signed ‘J. E. Hodgson’, whole-length to right, in ecclesiastical robes, delivering mock sermon from pulpit; 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.2, f.57, no.384. Repr. Marks 1894, vol.1, p.90(b) (as ‘Sermon to the Clique’).
See also Calderon, Hodgson, Walker, Wynfield, Yeames.

Design by Frederick Walker, whole-length, standing to front, with monocle; untraced. Repr. Marks 1894, vol.1, p.71.

Design by Frederick Walker, whole-length to front, recumbent, hands behind head, with monocle; untraced. Repr. Marks 1894, vol.1, p.72.

Design by Frederick John Skill, whole-length, from rear, in military uniform, smoking a pipe; untraced. Repr. Marks 1894, vol.1, p.171 (as ‘Marks as a Volunteer’).

Design by Frederick Walker, three-quarter-length to front, arms folded, with speech bubble saying ‘Me name’s Betsy Walker’; 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.2, , f.57, no.379. Repr. Marks 1894, vol.1, p.187 (as ‘At Arthur Lewis’s’).

Design by Frederick Walker, signed ‘F.W.’ and inscr. ‘The Wane-Doodle’ lower left, three-quarter-length to left, wearing monocle, left arm in air delivering 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.2, , f.57, no.381. Repr. Marks 1894, vol.1, p.188 (as ‘Preaching a sermon at Moray Lodge’).

Pen and ink drawing by Frederick Walker, with G.D. Leslie and Frederick Walker going for a walk; untraced; Abbott and Holder, Bloomsbury, List no.299, Aug. 1995 (244).

Design by Frederick Walker, The Return from Boulogne, head only, on body of a cat, running along beside P.H. Calderon (caricatured as a dog); 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.

Design by Frederick Walker, Billiards at Calderon’s, caricatured with bird-like features, whole-length to right, bending forwards over billiard table with cue in hands; 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.315.

Design by Frederick Walker, ‘G. D. Leslie and his friends at Harry Orme’s Public House’, head-and-shoulders to front, wearing top hat, seated at table to left of Frederick Walker; 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.57, no.343.

c.1870
Sketch by Hubert von Herkomer, Smoking Concert by members of the ‘Wandering Minstrels’, inscr. ‘H.H.’, three-quarter-length to left, standing, with monocle and pipe in hand; untraced. Wood-engr. ref. photo in NPG TB (Artists & Connoisseurs 1850–1900).
See also Calderon, Keene, Leighton, Walker

Sketch by Hubert von Herkomer, whole-length to left, one hand at chest, one in pocket, wearing monocle; untraced. Repr. Marks 1894, vol.1, p.146 (as ‘sketch of me by Herkomer’). ‘A watercolour drawing by Mr Herkomer, done at one sitting, is exact as a likeness and splendidly drawn’; Radford 1901.

1871–2
Oil on canvas by P.H. Calderon; untraced. Exh. RA 1872 (65).

publ. 1872
Design by (Edward) Linley Sambourne for Vision of Burlington House. Sixth of May., head only, profile to right at the top of the composition; untraced. Repr. Punch, 11 May 1872, p.198; McMaster 2008, p.66, fig.6; McMaster 2009, p.25, fig.13; and Ormond 2010, p.84, fig.31.
See also Ansdell, Calderon, Faed, Leighton, Millais, Ruskin.

publ. 1873
Design by Hopper for An Artist’s Soirée at the Hogarth Club, head-and-shoulders, profile to right, at extreme left-hand side of image, with spectacles and full beard; untraced. Wood-engr. by ‘E.J.B.’ repr. Graphic, 24 May 1873, p.489.
See also F.W. Burton, Gregory, Herkomer, Walker

publ. 1874
Design by (Edward) Linley Sambourne for Essence of Parliament, head slightly profile to left, attached to very small body at bottom of composition; untraced. Repr. Punch, 8 Aug. 1874, p.55.
See also Butler, Millais, Sant.

1875
Oil on canvas, 838 x 1092mm, by Walter William Ouless, three-quarter-length, profile to right, seated, legs crossed, holding book, figure painting on wall to right; Walker AG, Liverpool, 2574. Exh. RA 1875 (29); repr. in cropped form Marks 1894, frontispiece to vol.1. According to G.D. Leslie, this ‘wonderfully successful portrait’ portrayed ‘the usual grave and thoughtful expression that was habitual’ to Marks; see below, ‘1877’.
Etching by B.L.A. Damman; Achenbach Graphic Arts Council, San Francisco, 1963.30.23538.

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head, three-quarter profile to right, 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, Calderon, Du Maurier, Fildes, Foster, Frith, Goodall, Herkomer, Hodgson, Leighton, 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, Calderon, Cope, Du Maurier, Frith,Herkomer, Horsley, Leighton, Millais, Sant., Orchardson

1876
Drawing, 300 x 500mm, by Theodore Blake Wirgman for The Volunteers at Wimbledon – the Artists Corps after a skirmish, inscr. lower left, standing, profile to left, at right-hand side of composition, with arms across chest; untraced. Wood-engr. repr. Graphic, 22 July 1876, p.81; loose print Henry Moore Inst., Leeds, Thornycroft Archive, TII-E69.
See also Brock, Horsley, Leighton, P.R. Morris, Prinsep, W.H. Thornycroft, Wynfield.

1877
Oil on canvas, 305 x 253, by Walter William Ouless, after the oil of 1875 (see above), head-and-shoulders, profile to right, red tie; RA, London, 03/575.

publ. 1877
Design by Alfred Thompson for Coming Objects Cast Their Shadows Before, whole-length, wearing jester’s costume with hood, seated on right at work on canvas; untraced. Repr. London Society, Apr. 1877, p.270; loose copy RA Archive, SP/6/41.
See also Calderon, Leighton, Millais, Whistler.

Design by (Edward) Linley Sambourne for Welcome, Little Stranger! Or the RA Cock of the Walk and the Bond Street Bird of (Art) Paradise, head included with others amongst 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, Calderon, Goodall, Horsley, Leighton, Lindsay, Millais, Orchardson, Sant.

1878
Terracotta by John Adams-Acton; untraced. Exh. RA Summer 1878 (1520).

publ. 1878
Design by (Edward) Linley Sambourne, Ars Britannica, head only, profile to left with pipe, attached to the body of a bird, hovering close to the top of a huge statue; 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, Calderon, Du Maurier, Frith, Horsley, Leighton, Millais, Orchardson, Poynter.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, A High (Art) Tide., head, profile to left, attached to body of a duck 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, Calderon, Cope, Du Maurier, Fildes, Goodall, Herkomer, Holl, Horsley,Leighton, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

c.1880s
Black chalk and crayon drawing by Robert Ponsonby Staples; untraced. Ref. Phillips, 11 June 1991 (73, not ill.)

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, whole-length, seated to right, sixth from left 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; and Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Millais, Orchardson, Pearson, Pettie, Pickersgill, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

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 to left, among the rows of 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, Calderon, Cope, Faed, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

c.1882–3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, whole-length, profile to left, standing to left, wearing top hat, at the right-hand side of composition (no.30 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, nos 144–5; Snow 1975, p.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 principle figures; BM, London, 1920,0420.193 and 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, half-length, profile to right with pipe in mouth, 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, fig.33, p.56.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, 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., half-length, standing to left, with pipe and wearing jester’s costume; 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, Calderon, Faed, Foster, Frith, Goodall, Hodgson, Holl, Horsley}, Leighton, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Watts, Yeames.

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods., whole-length to right, bending forwards, dressed as the figure of Momus; 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, Barlow, Calderon, Frith, Goodall, Holl, Horsley}, Leighton, Millais, Orchardson, Pettie, Poynter, Watts.

publ. 1887
Four drawings by Charles-Paul Renouard:
(a) The Opening of the Royal Academy: The Selecting Committee at Work, half-length, seated, with pipe, hat and glasses, inspecting a picture with other members of the committee at the RA; untraced. Repr. Graphic, 7 May 1887, pp.476, 477; and Sunday Times, 5 May 1968, front page.
See also Alma-Tadema, Leighton, Orchardson, Sant, A. Waterhouse, Yeames.
(b) Judging the Watercolours, whole-length, seated at front, profile to left, looking at picture; untraced. Repr. Graphic, 7 May 1887, p.489.
See also Leighton, Sant, Yeames.
(c) Searching the ‘Doubtfulls’ for one to fit, head-and-shoulders to front, in middle of composition; untraced. Repr. Graphic, 7 May 1887, pp. 488.
See also Orchardson, Sant, Yeames.
(d) Royal Academicians as Porters, full-length, to left-hand side, carrying one side of large picture frame; untraced. Repr. Graphic, 7 May 1887, pp.489.
See also Yeames.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, whole-length, head profile to left, back to viewer, dressed as court jester; 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, Boehm, Calderon, Frith, Goodall, Hodgson, Holl, Horsley}, Leighton, Millais, Orchardson, Pettie, Poynter.

1889
Pencil sketch by Lawrence Alma-Tadema, 20 Feb. 1889, head-and-shoulders to front (very faint), in margin of Report of the Special Committee of the RA; untraced. Ref. Sotheby’s, 25 Oct. 1977 (25).
See also Armitage, Boehm, Fildes, Frith, Millais, Pickersgill, Sant, W.H. Thornycroft.

Drawing by Charles-Paul Renouard, three-quarter-length, profile to right, standing working at an easel, smoking pipe, left hand behind back; untraced. Photolithograph after Renouard; NPG D23460 (with Studio stamp); repr. Studio, vol.14, no.85, Apr. 1900, p.167.

publ. 1889
Engraving by Charles Keene, Marry come up, whole-length to left, seen from behind, holding an umbrella and wearing a top hat; untraced. Repr. Punch, 3 Aug. 1889, p.51.

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, profile to right (slightly cropped), at far left-hand margin; untraced. Repr. as engr. Graphic, 18 Dec. 1889, p.227.
See also Calderon, Cope, Horsley, Leighton, Sant, Yeames.

exh. 1889
Bronze by Walter Ingram; untraced. Exh. RA 1889 (2087).

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

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

c.1892
Pen and ink drawing by Reginald Cleaver; see NPG 4245.

Undated portrait
Drawing by J.M. Leigh, head-and-shoulders from behind; untraced. Repr. Marks 1894, vol.1, p.24.


Photographsback to top



1863
Albumen print by David Wilkie Wynfield: see NPG P78 and NPG P94.

c.1864
Albumen print by David Wilkie Wynfield, half-length, to front, looking down at card (carte?), fourth figure from left 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 Calderon, Hodgson, Wynfield, Yeames.

early 1870s
Albumen print by Elliott & Fry, head-and-shoulders, profile to left; RA, London, 04/1946. Repr. as engr., Supplement to ILN, 8 May 1875, p.445 (see NPG D23463). See also NPG D23461 (publ. 1871).

1883
Albumen print by Frank Dudman, in studio at 17 Hamilton Terrace, St John’s Wood, seated to left of semi-circular painting of storks:
(a) whole-length, profile to right, holding brushes, looking at art work; reg. for copyright by J.P. Mayall 1883 Sept. 14: National Archives (COPY 1/365/279).
(b) whole-length, turning head almost profile to left, holding palette; reg. for copyright by J.P Mayall 1883 Sept. 14: National Archives (COPY 1/365/280).

1880s
Platinum print, 135 x 96mm, by Frederick Hollyer, half-length to left; colls RPS, Bath, 14180; and V&A, London, 7771-1938. Repr. The Year’s Art 1888, p.8. See also wood-engr. after photograph, published posthumously as ‘The Late Mr. H. Stacey Marks R A.’; NPG D23462. Possibly also sketch, head-and-shoulders to left, repr. as thumbnail sketch, ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra, no.62, 2 May 1892, p.14.

reg. 1889
Albumen print by Ralph Winwood Robinson, whole-length to left, standing in studio, hand on hip; reg. for copyright 1889 Aug. 20: National Archives (COPY 1/397/273); NPG x7377. Repr. Robinson [1892]; and Maas 1894, p.45, no.67.

Magdalene Keaney