Later Victorian Portraits Catalogue

Sir John Everett Millais, 1st Bt (1829-1896), Painter and President of the Royal Academy

Self-portraits
By other artists
Doubtful portrait
Posthumous portraits
Photographs

For contemporary iconographies, see Millais 1899, especially vol.2, pp.217–23 (though the dates are not always reliable). See also ‘The Portraits of Millais’ in Spielmann 1898, pp.46–52.

Self-portraitsback to top


c.1838
Pencil drawing on board, head-and-shoulders, profile to left, short hair; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (50); repr. Donovan & Bushnell 1996, no.50.

Pen and ink drawing, whole-length on pony, profile to left, with cap and long hair, at right on page of equestrian sketches drawn in Jersey; untraced; coll. Lord Ronald Sutherland Gower, 1902. Repr. Gower 1902, facing p.247.

1846
Pen and ink drawing on back of cheque for £5 (dated 28 Feb. 1846), whole-length to left, long hair, seated at easel; untraced. Repr. Millais 1899, vol.1, p.35.

1847
Oil on board, three-quarter-length, seated to left, at easel with palette and brushes; Walker AG, Liverpool, 9240. Exh. Millais, Tate, London, 2007 (1); repr. Funnell & Warner 1999, p.43; and Rosenfeld & Smith 2007 no.1.

Pencil drawing, head, profile to left; untraced. Known from tracing inscr. ‘Tracing from a pencil drawing, said to be by Millais of himself, formerly in the possession of Miss E. Lempriere’; NPG SB (Millais).

Drawing, signed and dated 1847, whole-length, seated at left sketching; untraced. Known from pencil tracing of drawing of Capt. William Lemprière and his family (fifteen figures); Millais Coll. Exh. Jersey 1979 (17); repr. Warner 1979b, no.17.

Pencil sketch, inscr. ‘Likeness of J.E. Millais R.A. / drawn by himself’, profile to left, with portrait of Ralph Thomas as a child; Ashmolean M., Oxford, WA1894.57.1. Exh. Jersey 1979b (19). Repr. Thomas 1901, p.31.

c.1847
Oil on board, The Artist Attending the Mourning of a Young Girl, whole-length, standing to left, holding top hat; Tate, (T07135). Exh. Millais, Tate, London, 2007 (8); repr. Mancoff 2001, p.76; and Rosenfeld & Smith 2007, no.8.

1848
Sketch, half-length, full-face, behind donkey-cart; untraced. Repr. Millais 1899, vol.1, p.41 (captioned ‘Mr Drury and Millais take the air. 1848’).

?1840–50s
Pen and ink sketch of the artist and other figures, and a lunette decoration, inscr. ‘Mercy’; untraced; Christie’s, 5 Sept. 1983 (199, not ill.).

Pencil sketch on reverse of drawing of Lemprière family, whole-length, profile to left, long hair; untraced; Sotheby’s, 27 Apr. 1982 (301); photograph in NPG SB (Millais).

c.1851
Pen and ink drawing, inscr. ‘Miss Sm-th’s Party’, whole-length, back view, centre of figure group; Winnipeg AG, G-73-513. Repr. Warner 1979a, no.15.

1853
Pen and sepia ink and wash sketches, made in the Highlands, July–Oct. 1853, include:
(a) inscr. ‘My feet ought to be against the wall’, whole-length, full-face, arms and legs outstretched; Millais Coll. Exh. Millais: Portraits, NPG, London, 1999 (26); and Millais, Tate, London, 2007 (45); repr. Funnell & Warner 1999, no.26; and Rosenfeld & Smith 2007, no.45.
Related sketch, whole-length, standing, arms outstretched, legs together; untraced. Repr. Millais 1899, vol.1, p.196 (captioned ‘Close quarters’).
(b) whole-length, profile to right, crouched before canvas, Effie Ruskin standing behind and William Millais fishing in background; untraced. Repr. Millais 1899, vol.1, p.206 (captioned ‘The Idle and Industrious Painter’); and Lutyens 1967, p.66 (where coll. Hamish Miles).
(c) inscr. ‘Awful protection against midges’, whole-length, seated, drawing, head in a bag, with Michael Halliday on his right; Yale Center for British Art, New Haven, B1996.9.2. Exh. Millais, Tate, London, 2007 (44); repr. Rosenfeld & Smith 2007, no.44. John Leech’s cartoon based on Millais’s drawing was engraved by Swain; see Ingenious protection against midges – a valuable hint to sketchers from Nature, repr. Punch, Nov. 1853, p.198.
(d) inscr. ‘This is the protection a plaid affords to those who do not know the way to carry it’, whole-length to left, wrapped in a plaid, struggling into the wind; Millais Coll. (including preparatory sketch). Exh. Millais Centenary, Southampton Inst., 1996 (91); repr. Donovan & Bushnell 1996, no.91. Leech’s cartoon based on Millais’s drawing was engraved by Swain; see Punch, Oct. 1853, p.162.
(e) inscr. ‘A wet day’s pastime’, three-quarter-length, standing, rear view, holding a racket, playing shuttlecock with John Ruskin and William Millais; Athenaeum Club, London, 1036. Repr. Millais 1899, vol.1, p.203; and Tait & Walker 2000, p.126.
(f) inscr. ‘Cruel treatment of a Master to his Pupil’, whole-length, standing to right, holding a piece of fern, with Effie and John Ruskin; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (88); repr. Donovan & Bushnell 1996, no.88.
(g) inscr. ‘Pre-Raphaelite sketching inconveniences in windy weather’, whole-length, rear view, toppling off camp stool; untraced; Sotheby’s, 18 Mar. 1971 (134, ill.).
(h) inscr. ‘Getting Mama up a Ben’, half-length to left, with hat, at head of group; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (92); repr. Donovan & Bushnell 1996, no.92.
(i) inscr. ‘The Countess as barber. Rain’, whole-length, seated to left on trunk, with bandaged left hand; Morgan L&M, New York, 1968.7. Exh. Millais: Portraits, NPG, London, 1999 (21); repr. Funnell & Warner 1999, no.21.
(j) inscr. ‘Highland Shelter’, whole-length to left, sheltering under a plaid with Effie Ruskin; priv. coll. Exh. Millais: Portraits, NPG, London, 1999 (20); repr. Funnell & Warner 1999, no.20.
(k) whole-length, kneeling to left, offering Effie Ruskin a drink from a stream; priv. coll. Exh. Drawings of John Everett Millais, Arts Council, London, 1979 (23); and Millais: Portraits, NPG, London, 1999 (25); repr. Warner 1979a, no.23; and Funnell & Warner 1999, no.25.
(l) inscr. ‘Two Masters and their Pupils’, three-quarter-length, rear view, seated to right at easel, Effie Ruskin at left reading; untraced; Sotheby’s, 19 Feb. 1987 (170). Exh. Drawings of John Everett Millais, Arts Council, London, 1979 (24); repr. Warner 1979a, no.24.
(m) inscr. ‘The best days sketching’, whole-length, standing to right in rain; untraced. Repr. Millais 1899, vol.1, p.211.
(n) inscr. ‘Kirk’, three-quarter-length, rear view, seated on church pew; Tate, N04278.
(o) inscr. ‘Shower bath in the Highlands’, half-length, rear view, in pool by a waterfall; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (89); repr. Lutyens 1967, p.79; and Donovan & Bushnell 1996, no.89.
p) inscr. ‘The Scottish bog exercise’, whole-length to right, crossing a bog; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (90); repr. Donovan & Bushnell 1996, no.90.
(q) inscr. ‘Awey-yegoo’, whole-length to left; Millais Coll. Repr. Lutyens 1967, p.211.[p0ojkl
(r) inscr. ‘Salmon a Myth’, three-quarter-length to left, seated in fishing boat with five others; Millai Coll. Repr. Millais 1899, vol.1, p.198.

Pen and ink sketch, two whole-length figures, full-face; Athenaeum Club, London, 1008. Repr. Tait & Walker 2000, p.121.

1854
Pen and ink and wash drawing, St Agnes’ Eve, three-quarter-length, profile to right; priv. coll. Exh. Drawings of John Everett Millais, Arts Council, London, 1979 (30); and Millais, Tate, London, 2007 (28); repr. Warner 1979a, no.30; and Rosenfeld & Smith 2007, no.28. ‘The Saint’s face looking out on the snow with the mouth opened and dying-looking is exactly like Millais’’ (Warner 1979a, p.24).

Pen and ink drawing, inscr. ‘Tear him to pieces … Fox Hunting’; Millais Coll. No figure clearly of Millais on recto.
On verso, caricatures include Millais whole-length, to right, as an elderly hunstman. Exh. Millais Centenary, Southampton Inst., 1996 (185); and Millais, Tate, London, 2007 (43); repr. Rosenfeld & Smith 2007, no.43 (recto and verso).

Pen and ink caricature drawings, on sketching trips to Winchelsea and Scotland, with Michael Halliday; untraced. Fourteen drawings repr. Millais 1899, vol.1, pp.238–53. See also Sotheby’s, NY, 24 Nov. 1987 (390, ill.).

c.1855
Pen and ink drawing, based on William Wyon’s design of Great Exhibition medal (1851), inscr. ‘EVER & EFFI REX’, head in profile with that of Effie Millais; untraced; Christopher Wood sale, Christie’s, 28 Feb. 2007 (27, ill.). For a similar double portrait by George Du Maurier, see below, ‘By other artists, 1862’.

1873
Pen and ink drawing, inscr. ‘Millais & his family / 10 Sept / 1873’, whole-length, rear view, in line of ten figures; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (28); repr. Donovan & Bushnell 1996, no.28.

1878
Oil on board, signed and dated 4 June 1878, head-and-shoulders, three-quarters to right; NT, Wightwick Manor, Wolverhampton.

1879
Pen and ink drawing, inscr. ‘Millais by himself.1879’, head, profile to left; Millais Coll. Repr. Millais 1899, vol.2, p.223. Exh. Jersey 1979 (62); and Millais Centenary, Southampton Inst., 1996 (205); repr. Warner 1979a, no.62; and Donovan & Bushnell 1996, no.205.

1880
Oil on canvas, half-length, standing, slightly to left, with palette; Uffizi, Florence, 849. Repr. Millais 1899, vol.1, frontispiece; exh. Millais, Tate, London, 2007 (114); repr. Rosenfeld & Smith 2007, no.114.
Copy by Charles Holroyd, 1897; Garrick Club, London, RW/CKA 336.
Copy by unidentified artist, Christie’s, 23 May 1996 (80).
Copy by unidentified Italian artist; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (203); repr. Donovan & Bushnell 1996, no.203. For prints after the Uffizi self-portrait by C.A. Waltner and J.M. Johnstone, see below, ‘By other artists, exh. 1880’ and ‘publ. 1896’.

Oil on canvas painted jointly with George Reid, bust to right in oval, profile; Aberdeen AG, ABDAG003989.

1883
Oil on canvas, head-and-shoulders in oval, full-face; Aberdeen AG, ABDAG004392. Exh. Millais: Portraits, NPG, London, 1999 (45); repr. Funnell & Warner 1999, no.45.

By other artistsback to top


early 1840s
Oil on canvas studies by John Phillip:
(a) head-and-shoulders to right in roundel; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (57); repr. Millais 1899, vol.1, p.15 (see vol.2, p.217, for details); and Millais 1979, p.9.
(b) half-length, head turned three-quarters to right, with cap, plaid and sword; untraced; coll. Thomas Oldham Barlow, 1887. Exh. Millais Centenary, Southampton Inst., 1996 (58); repr. The Portfolio, 1887, p.158; and Donovan & Bushnell 1996, no.58.
(c) half-length, profile to left, holding helmet; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (56); repr. Donovan & Bushnell 1996, p.42. A study of Millais as the Highland page in Bruce receiving the Abbot of Inchaffray on the evening of Bannockburn. (This might be a copy by George Reid after Phillip; see Millais 1899, vol.2, p.217.) For this history painting (and Millais’s place in the composition) see a large sketch; Brechin Town House M., Angus, B1978.58.

1843
Oil on canvas by William Powell Frith, The Merry Wives of Windsor, standing, profile to left, as Anne Page’s little son; European AG, Dallas, TX. See Millais 1899, vol.2, p.217.

1848
Chalk drawing by William Holman Hunt, profile to right; priv. coll. Exh. Collected Works of W. Holman Hunt, Leicester G., London, 1906, Manchester CAG, 1906, Walker AG, Liverpool, 1906–7 and Kelvingrove AG, Glasgow 1907 (44); ref. Bronkhurst 2006, vol.2, D35. A discarded study for the knight in Hunt’s Rienzi (1848–9; Bronkhurst 2006, vol.1, no.61).

c.1848
Pen and brown ink drawing by William Holman Hunt, profiles to left and right on double-sided sheet; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (78); ref. Bronkhurst 2006, vol.2, L15; repr. Donovan & Bushnell 1996, no.78.

c.1848–9
Drawing, medium and dimensions unknown, by William Holman Hunt, The Pre-Raphaelite Meeting, reclining in chair to left-hand side of composition also including James Collinson (seated) and William Michael Rossetti; untraced; known only from a photograph of a drawing made by Arthur Hughes, c.1904–5 from a sketch by Hunt. Ref. Bronkhurst 2006, vol.2, L13; repr. (from Hughes’s sketch) Hunt 1905, vol.1, p.140; Hunt 1913, vol.1, p.101; Roberts & Wildman 1997, no.B57.2, p.276; and Fredeman 2002–10, vol.1, p.65.
See also Rossetti, Stephens, Woolner.

c.1849
Pen and ink drawing by William Michael Rossetti, head, profile to left; priv. coll. Repr. Thirlwell 2003, p.111.

late 1840s/early 1850s
Watercolour on ivory, 75 x 59mm oval, by Samuel Lover, head-and-shoulders to right, eyes facing, black cravat; Nationalmuseum, Stockholm, NMB2575; Christie’s, 5 June 2007 (178). Exh. The Pre-Raphaelites, Nationalmuseum Stockholm, 2009 (11); repr. Ahlund 2009, no.11.

Miniature by unidentified artist, as a young man; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (72); repr. Donovan & Bushnell 1996, no.72.

1850
Pencil and wash drawing by Charles Allston Collins, head-and-shoulders slightly to right, hair parted on sitter’s right, smooth on top, no sideburns; Ashmolean M., Oxford, WA1894.58. Repr. Apollo, Nov. 1967, p.384, no.11.

1851
Pen and ink drawing by William Holman Hunt, whole-length to left, seated on tree stump in front of easel, painting Ophelia; priv. coll. Ref. Bronkhurst 2006, vol.2, D57 (ill.).

c.1851
Pen and ink drawing by Charles Alston Collins, The Artist with Millais and Others, seated, cross-legged, at centre of five figures; Ashmolean M., Oxford, WA1976.47.

c.1851–3
Pen and ink drawing by Dante Gabriel Rossetti, three-quarter-length, standing, profile to left, with word ‘Slosh!’ in speech bubble; Birmingham MAG, 437'04. Repr. Surtees 1971, vol.2, no.592, pl.434; and Cruise 2011, p.25, fig.18.

1852
Oil on panel by Charles Robert Leslie; see NPG 1859.

Pen and ink sketches by William Millais:
(a) inscr. ‘Going to Hayes / juillet 23 1852’, whole-length, walking to right; untraced. Repr. Millais 1899, vol.1, p.157 (captioned ‘Millais on the way to paint “The Royalist”’).
(b) inscr. ‘Hayes Common July 23 / 52’; untraced. Repr. Millais 1899, vol.1, p.160 (captioned ‘Sketch of Millais painting the background of “The Royalist”’).
(c) inscr. ‘The PRB’s dining Hall / July 24 / 52’, whole-length, profile to right, standing at head of dining table; untraced. Repr. Millais 1899, vol.1, p.161 (captioned ‘Dinner at the George Inn, Hayes’ and incorrectly dated 1853).
(d) inscr. ‘The P.R.B. champion at his Devours’ (related to sketch [c]), whole-length, profile to right, seated at dining table; untraced; Sotheby’s, 11 Dec. 1997 (397, ill.). Repr. Millais 1899, vol.1, p.158 (captioned ‘Millais at dinner’ and incorrectly dated 1853).

c.1852
Pen and ink drawing by William Holman Hunt, two profiles to left, longish hair, smooth on top; priv. coll. Exh. Victorian Paintings, Drawings & Watercolours, Maas & Co., London, 1971 (87); ref. Bronkhurst 2006, vol.2, L22.

Pen and ink drawing on paper, 184 x 114mm, by William Holman Hunt, inscr. clockwise from top left by Frederic George Stephens, 'Drawn by Holman Hunt / F.G. Stephens, D.G. Rossetti., / Aspinall, went to / Australia? / Millais', two profiles to left, longish hair smooth on top; coll. Lady Juliet Townsend. Exh. Victorian Paintings, Drawings & Watercolours, Maas G., London, 1971 (88); ref. Bronkhurst 2006, vol.2, L23; repr. Bronkhurst 1987, vol.1, pl.211.
See also Rossetti, Stephens.

1853
Coloured chalks drawing by William Holman Hunt; see NPG 2914.

Drawing by Dante Gabriel Rossetti, 1 Jan. 1853; untraced. See Fredeman 2002–10, vol.1, p.222 n.2.

Drawing by F.G. Stephens, 12 Apr. 1853; untraced. See Millais 1899, vol.1, p.82; and Bronkhurst 2006, vol.2, p.43.

Pencil drawing by William Michael Rossetti, inscr. ‘To Thomas Woolner / WMR 12 April 1853’, head, profile to left; coll. Mrs N. Murray-Smith, Australia. Repr. Thirlwell 2003, p.108.

Pencil and grey wash drawing by William Holman Hunt, signed and dated Dec. 1853, head-and-shoulders, face turned three-quarters to right; priv. coll. Exh. Millais, Tate, London, 2007 (35); repr. MEPL, London, 10061889; and Rosenfeld & Smith 2007, no.35. In 1882 Hunt did an etching based on the 1853 drawing, now untraced; see Bronkhurst 2006, vol.2, D76.

Pen and ink sketch by William Millais, inscr. ‘Le Postillon s’arrete en route / June 30 / 53’, whole-length, profile to right, at left of group; untraced. Repr. Millais 1899, vol.1, p.195 (captioned ‘Crossing the Border. 1853’); and Lutyens 1967, p.53.

c.1853
Plaster medallion by Alexander Munro; see NPG 4959.

Pen and ink drawing by Dante Gabriel Rossetti, three-quarter-length, profile to left, left hand in trouser pocket; priv. coll. Ref. Surtees 1971, vol.1, no.352 (not ill.).

Pen and ink drawing by Dante Gabriel Rossetti, head-and-shoulders turned to left, head in profile; coll. Lady Mander. Ref. Surtees 1971, vol.1, no.353 (not ill.).

c.1854
Pencil and watercolour drawing by John Leech, inscr. ‘oh! Blow the midges!!!’ half-length, profile to right with cap, fishing at Stobhall; priv coll; Christie’s, 14 Nov. 1967 (153, ill.). Exh. Shepherd G. Ass., New York City, 1989 (67, ill.); and Millais Centenary, Southampton Inst., 1996 (186); repr. Millais 1899, vol.1, p.267.

?Oil on canvas by Charles Robert Leslie, The Rape of the Lock, two versions, 1854 and 1856; both untraced. Millais posed for the figure of Lord Petre.
Oil on panel preparatory sketch; Tate, N01804.

publ. 1857
Zincotype caricature, 446 x 490mm, by (Anthony) Frederick Augustus Sandys, A Nightmare, based on Millais’s painting Sir Isumbras (A Dream of the Past), 1857, as knight riding an oversized donkey, standing for Ruskin; publ. by Smith & Elder, 4 May 1857; colls V&A, London, E.907-1887; BM, London, 1859,0709.848; Athenaeum Club, London, 1009; Walker AG, Liverpool, 5620; Lady Lever AG, Port Sunlight, LL3453 and LL3452; for location of other impressions see Elzea 2001, pp.130–33. Exh. South Kensington M., 1898–9 (554); International Society Exhibition, 1905 (160a); MFA, Boston, 1985; repr. Millais 1899, vol.1, p.321; Graphic, 27 Jan. 1900, p.114; Bookman, Mar. 1900, p.179; Dearden 1999, p.53, no.46; Hewison, Warrell & Wildman 2000, fig.12; Elzea 2001, p.131, no.1B28; and Fredeman 2002–10, vol.2, p.164; see photograph by Emery Walker, neg. no.452/12, NPG Archive. An untraced original drawing for this was recorded in 1892; see Elzea 2001, p.106, no.1.A.94.
See also Hunt, Rossetti, Ruskin

1859
Oil by John Philip; untraced. ‘John Philip painted him once more in 1859, a serious work’; Spielmann 1898, p.47.

1850s
Pencil drawing attributed to William Henry Hunt, head, full-face, eyes facing, hair parted on left; in sketchbook coll. Scott Thomas Buckle, 240507p44.

Pen and ink and wash drawing by John Leech, whole-length on galloping hunter, profile to left; Fitzwilliam M., Cambridge, 866. Engr. after drawing repr. Millais 1899, vol.1, p.266 (captioned ‘Millais Hunting 1854’).

1850s
Terracotta medallion by Alexander Munro, signed in monogram, head only, profile to left attached to the small body of a bat with wings and extended claws; priv. coll.

1860
Oil on panel, 229 x 388mm, by Florence Claxton, The Choice of Paris: An Idyll, a satire on the PRB, appears three times (in the centre of the composition, in the background riding a donkey and in a portrait hanging on the back wall of the room); untraced. Exh. Portland G., London, 1860; Victorian Paintings, Agnews, London, 1961 (54); repr. Fredeman 1960, p.527, fig.26.
Wood-engr. by unidentified engraver, loosely based on the original, repr. ILN, 2 June 1860, p.541.
There are four known watercolours after the original:
(a) V&A, London, E.1224-1989. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (106); repr. Cruise 2011, p.90, fig.105.
(b) untraced. Ref. Christie's, London, 17 Jun. 2014 (68, ill.)
(c) untraced. Ref. Bonham's, 21 Nov. 2007 (80).
(d) untraced. Repr. Fredeman 1960, p.527, fig.27.
See also F. Madox Brown, Hunt, Ruskin.

1862
Pen and ink caricature drawing by George Du Maurier, in letter to Ellen Du Maurier, July 1862, head only, profile to left, with Effie Millais (inscr. ‘Mrs M. / Millais / 6 feet, & / such a figger!’), evening at Little Holland House; untraced. Repr. Du Maurier 1951, facing p.224. The composition is close to Millais’s double profile medal sketch: see above, ‘Self-portraits, c.1855’.
See also Du Maurier, Hunt, Millais, Prinsep, Sandys, Walker Whistler.

1863
Plaster cast of statuette by Joseph Edgar Boehm; see NPG 1516.

1864
Pen and ink sketch by George du Maurier, inscr. ‘John Leech’s Funeral. souvenir’, second 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 Du Maurier, Keene.

publ. 1865
Design by C.H. Bennett for A Private View of the Royal Academy., signed in monogram by the artist ‘C H B’, whole-length, profile to right, with exaggerated head, at top right-hand side of composition; untraced. Repr. Punch, 13 May 1865, p.196; McMaster 2008, p.65, fig. 4; and McMaster 2009, p.21, fig.11.
See also Calderon, Faed, Frith, Leighton, Whistler.

c.1865
Pen and ink drawing by Charles Samuel Keene, whole-length, to left, crouched in front of easel; coll. Michael Broadbent. Repr. Houfe 1995, p.87. See also NPG 1117.

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, head-and-shoulders, profile to left, seated second from right (no 13 in key); untraced. Ref. photo Witt L., Courtauld Inst., London; 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, 1915,0710.1–27, vol.2, f.61, no.399. Repr. Hacking 2000, p.14, fig.13.
See also Calderon, Du Maurier, Leighton, Prinsep, Sandys, Walker.

1868
Pencil drawing by Rudolf Lehmann, inscr. ‘London May 1868’, head turned three-quarters to right; BM, London, 1906,0419.32. Repr. Marillier 1896, p.53.

exh. 1868
Oil on canvas by Henry Tanworth Wells, Letters and News at the Loch Side, three-quarter-length to right, head in profile to right, standing in boat, wearing tam-o'-shanter, with F.D.P. Astley and eight other figures; West Highland Museum, Fort William, Scotland. Exh. RA 1868 (440); repr. Bradbury 2012, pl.LIV between pp.256–7.

1869
Oil on canvas, 925 x 1550mm, by Henry Nelson O’Neil, Forty-three Members in the Billiard Room of the Garrick Club, half-length, profile to left, at right among a group of 44 men (no.39 on collection key, where catalogued as ‘Sir Charles Taylor and Others’); Garrick Club, London, G0793. Repr. Adams 1936, no.333; Hudson 1969, p.274; Snow 1975, p.88–9; Hankinson 1982, between pp.182, 183, fig.9a; and Ashton 1997, no.793.
See also Frith, Leighton, Prinsep.

c.1860s
?Oil on canvas by John Ballantyne, whole-length to left, standing at easel painting My Second Sermon (RA 1864); untraced; J. Houston Hill; see photograph NPG SB (Millais). Chromolithograph by Vincent Brooks after Ballantyne; NPG D7619. Repr. Mancoff 2001, p.101.

?c.1860s
Pen and ink drawing by Charles Samuel Keene; see NPG 1117.

1871
Terracotta bust by Joseph Edgar Boehm, head turned slightly down and to right; V&A, London, 1774-1892. Repr. Bilbey & Trusted 2002, p.200.

Pencil, watercolour and gouache drawing by Carlo Pellegrini; see NPG 2626.

exh. 1871
Oil on canvas by George Frederic Watts; see NPG 3552.

publ. 1872
Design by Edward Linley Sambourne for Vision of Burlington House. Sixth of May., whole-length to left, carting off a sack full of coins; 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, Marks, Ruskin.

publ. 1873
Caricature drawing by Frederick Waddy, whole-length, profile to right, seated on and driving a palette and brushes; untraced. Repr. Waddy 1873, p.8; wood-engr. repr. Review of Reviews 1895, p.321; and MEPL, London, 10061892.

by 1874
Shell cameo carved by James Ronca, head, profile to right; V&A, London, 1386E-1874. Repr. Baker & Richardson 1997, no.32.

1874
Pencil drawing (not caricature) by Leslie Ward (‘Spy’), half-length, standing, three-quarters to right, in windowpane-check jacket, with palette and brushes; Garrick Club, London, RW/CKA 584. Repr. Ashton 1997, no.65; also repr. as halftone Ward 1915, facing p.54; and as wood-engr., Graphic, 22 Aug. 1896, p.247 (where dated 1874). Spielmann 1898, p.48 dates it c.1881. For an unfinished, undated caricature by Ward in Millais Coll., see Donovan & Bushnell 1996, no.207 (not ill.).

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

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head only, attached to a large clothes peg with others on a washing line (although he appears to have fallen off); 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, Marks.

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, Marks, Orchardson, Sant.

c.1875–6
Chalk and pencil drawing by Charles West Cope, head, profile to right; Fitzwilliam M., Cambridge, PD.83-1975. Preparatory drawing for following work.

1876
Oil on canvas, 1452 x 2201mm, by Charles West Cope, The Council of the Royal Academy Selecting Pictures for the Exhibition, 1875, profile to right, seated in foreground, with other RAs, scrutinizing a picture held up by group at right; RA, London, 03/1288. Exh. RA 1876 (160).
Wood-engr. after Cope, 122 x 192mm, repr. as a book illustration, with key to the principal figures pasted on the verso, c.1876; copy BM, London, 1895,0617.742.
There is a parody sketch after this picture by Harry Furniss; untraced. Repr. Furniss 1890b, p.51.
See also Armitage, Calderon, Cope, Faed, Horsley, Leighton.
The composition bears a remarkable resemblance to the etching by H.Woods of the same subject (The Graphic, 4 May 1870, p.450–51) and, although details and the figures depicted vary, was perhaps inspired by it.

c.1876
Drypoint by Georges Labadie Pilotell after photograph by Fradelle & Marshall (see below, ‘Photographs, publ. 1876’), head-and-shoulders to right (i.e., reversed), publ. Imprimerie Delâtre, London, for The Artist, n.d.; colls NPG D33172; and BM, London, 1876,0108.7.

publ. 1877
Design by Alfred Thompson for Coming Objects Cast Their Shadows Before, head-and-shoulders, caricature profile to left with enlarged nose, right arm stretched out towards canvas; untraced. Repr. London Society, Apr. 1877, p.270; loose copy RA Archive, SP/6/41.
See also Calderon, Leighton, Marks, Prinsep, Whistler.

Design by (Edward) Linley Sambourne for Welcome, Little Stranger! Or the R.A. Cock of the Walk and the Bond Street Bird of (Art) Paradise, head included with others among 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, Marks, Orchardson, Sant.

Wood-engr. designed and cut by E.H. Fahey, whole-length, seated to right in front of fire, reading newspaper; repr. Graphic, 19 May 1877, p.481 (captioned An Artist’s Studio – Mr. J.E. Millais, RA at Home); and MEPL, London, 10001772.

1878
Oil on canvas by Nicaise de Keyser, signed and dated lower left, bust, three-quarters to right; untraced. Ref. Millais 1899, vol.2, p.106; photo supplied to NPG in 1946 by artist’s heir. Painted in Paris as study for group image below.

Oil on canvas by Nicaise de Keyser, Les Grands Artistes, Ecole du XIXme siècle, bust, three-quarters to right, in group; M. des Beaux-Arts, Nice. Repr. Connoisseur, vol.190, 1975, pp.82, 85; and Swanson 1977, p.15.
See also Alma Tadema, Frith.

publ. 1878
Design by (Edward) Linley Sambourne, Ars Britannica, whole-length, profile to left, standing precariously at the top of a huge statue, drawing Lillie Langtry, who appears as a butterfly; 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, Marks, Orchardson, Poynter.

Design by (Edward) Linley Sambourne for An Anxious Moment., featuring the heads of members of the RA attached to the bodies of a gaggle of farmyard geese, based on Briton Riviere’s painting of the same name (1878); untraced. Engr. by Swain repr. Punch, 27 July 1878, p.34; Herkomer 1910–11, vol.1, facing p.112; McMaster 2008, p.68, fig.12; McMaster 2009, p.34, fig.19; and Ormond 2010, p.78, fig.27.
See also Calderon, Frith, Herkomer, Horsley, Leighton, Orchardson, Poynter, Sant.

Design by Alfred Bryan for At the Play, head-and-shoulders, profile to left in the front row, 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, Holl, Leighton, Orchardson, Prinsep, Whistler.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, a high (art) tide., head attached to body of a duck, profile to left, riding the first ‘wave’ of RAs; 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, Marks, Orchardson, Poynter, Prinsep, Sant, Watts.

1880
Oil on canvas by George Reid jointly with Millais (see above, ‘Self-portraits, 1880’).

publ. 1880
Design by (Edward) Linley Sambourne for A May Meeting., half-length, bowing to left, perched upon the top of a giant artist’s palette; untraced. Repr. Punch, 8 May 1880, p.206; McMaster 2008, p.70, fig.17; and McMaster 2009, p.41, fig.24.
See also Frith, Horsley, Leighton, Orchardson.

exh. 1880
Etching by Charles Albert Waltner after Uffizi self-portrait (see above, ‘Self-portraits, 1880’). Exh. RA 1880 (1288). Impressions Millais Coll. (exh. Millais Centenary, Southampton Inst., 1996 [204]); and BM, London (on silk; ref. O’Donoghue 1908–1922, vol.6, p.295, no.8). Collotype reproductions; colls NPG D33173 (publ. London, Jan. 1881) and NPG D33174; and Birmingham MAG, 1920P623. See also Davids 2000 (103, 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, head-and-shoulders, seated tenth from right along back 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, Marks, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Thornycroft, Watts, Woolner, Yeames.

Oil on board by Henry Thompson, bust-length to right, in a grey coat; untraced; Christie’s, 9 Sept. 2004 (77, ill.). See Millais 1899, vol.2, pp.143–7, repr. p.144.

publ. 1881
Drawing by W. Hatherley, rear view, slightly to right, seated in front of fireplace, reading newspaper; untraced. Repr. MA, 1881, p.293; and Mancoff 2001, p.114.

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, facing front and profile to right, with pipe in mouth and gun slung over his shoulder, far left of second row 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, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Thornycroft, Watts, Woolner, Yeames.

publ. 1882
Drawing by unidentified artist, whole-length to front, seated with newspaper in studio; untraced. Repr. as ?lithograph by unidentified artist, Century Magazine (New York), 1882 (captioned 'J.E. Millais' studio'; cutting New York PL, Digital Gallery ID 834189).

c.1882–3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, whole-length, standing in top hat, second from right (no.32 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, pp.168–9; Wood 1976, no.215; Bills & Knight 2006, p.70 (whole image), p.129 (detail); 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’ (with slightly different pose); Mercer AG, Harrogate, HARAG 2490.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Marks, Millais, Tenniel, Terry. 1883 Watercolour caricature, 445 x 562mm, by George Pipeshanks [John Wallace], ‘Cope’s Christmas card’, head-and-shoulders, profile to right, at foot of a ladder, at a country fair among more than 100 figures; Mark Samuels Lasner Coll., on loan to U. of Delaware L. Exh. Yale Center for British Art, New Haven (and other venues), 1984–5 (170); Newark, DE, 2002; ref. Denker 1995, pp.79–80 (repr. p.80); Stetz 2007, front cover. See also {Burnaby}, Herkomer, Leighton, Ruskin, Whistler.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, whole-length, profile to right, seated holding looking glass before him, at the top of the maypole; untraced. Engr. by Swain repr. Punch,12 May 1883, p.218; McMaster 2008, p.72, fig.26; and McMaster 2009, p.56, fig.33.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Thornycroft, Watts, Woolner, Yeames.

Drawing by Harry Furniss for parody of William Powell Frith’s Private View at the Royal Academy (see above, ‘c.1882–3’), whole-length, standing in top hat, second from right; untraced. Repr. Punch, 12 May 1883, p.220; McMaster 2008, p.65, fig.3; and McMaster 2009, p.17, fig.9.

exh. 1883
Bronze bust by Joseph Edgar Boehm; RA, London, 03/1675, presented by the artist. Exh. RA 1883 (1581).
Bronze cast; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (253).
Plaster version; V&A, London, 1773-1892. Repr. Bilbey & Trusted 2002, p.200.

1884
Pencil and wash drawing with white heightening, 370 x 305mm, by ‘EP’ (probably Edward John Poynter), The Hanging Committee of the Royal Academy, whole-length, profile head, seated to right on bench; untraced. Exh. The Artist Delineated, Clarendon G., London, 1984 (101, ill.). Almost certainly a preparatory sketch for one of the illustrated magazines of the period.
See also Leighton, Prinsep.

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design, whole-length, profile to right, standing to front, dressed as a Yeoman of the Guard, the subject of his 1877 painting; 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, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Thornycroft, Watts, Woolner, Yeames.

publ. 1885
Drawing by (Edward) Linley Sambourne for The Royal Academy Argonauts., half-length, second from left 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; and McMaster 2009, p.45, fig.26.
See also Alma-Tadema, Calderon, Holl, Horsley, Leighton, Orchardson, Pettie, Poynter, Watts.

Drawing by (Edward) Linley Sambourne for The Pictures of 1885 and the Men Who Paint Them., signed, head only, profile to left smoking pipe, with body of a butterfly; untraced. Repr. Pall Mall Gazette ‘Extra’, no.17, 1885, frontispiece.
See also Alma-Tadema, Barlow, Holl, Leighton, Orchardson, Pettie.

1886
Oil on canvas by Frank Holl, three-quarter-length, profile to right, standing to right, holding palette and brushes; RA, London, 03/1342. Exh. RA 1886 (405). Repr. Reynolds 1912, p.316; and wood-engr. by P. Naumann after Holl repr. MA, 1888, p.289; and Spielmann 1898, p.49. See MEPL, London, 10061890.

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods., half-length, profile to left, seated to left beside Edward Poynter, wearing robes and sandals; 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, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Thornycroft, Watts, Woolner, Yeames.

Drawing by Harry Furniss for An Affair of Art, signed lower left ‘Harry Furniss’, head-and-shoulders, profile to right, with pipe and cap, fourth from the front of a parade of dancing artists; untraced. Wood-engr. repr. Punch, 7 Aug. 1886, p.71; Judy, 8 Dec. 1886; Denker 1995, p.87 (ref. p.86). See Gallatin 1918, p.63, no.208.
See also Lindsay, Leighton, Whistler.

publ. 1887
Drawing by (Edward) Linley Sambourne for The Art Hesperides., head only, facing front, between figures of ‘Painting’ and ‘Sculpture’; untraced. Repr. Punch, 7 May 1887, p.218; McMaster 2008, p.75, fig.32; and McMaster 2009, p.66, fig.39.
See also Barlow, Boehm, Holl, Leighton.

Composite engr. by unidentified artist, after photographs of well-known individuals, A Memento of Her Majesty’s Jubilee Year – 1887, half-length, profile to right, arm resting on banister, at lower left-hand corner; repr. Graphic, 17 Dec. 1887, between pp.672–3 (supplement, double-page pullout), with a key to the figures on p.678.
See also Alma-Tadema, Boehm, Leighton, Morris, Ruskin, Stanley, Tenniel, Watts.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, head-and-shoulders, with back to viewer and head turned profile to right; 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, Marks, Orchardson, Pettie, Poynter

Drawing by Thomas Walter Wilson for The 10th of December – Prize Day, signed bottom left-hand corner, whole-length, seated to left, in centre front row of group of Academicians; untraced. Engr. by R. Taylor repr. MA, 1888, p.61.
See also Alma-Tadema, Gregory, Hodgson, Horsley, Leighton, Prinsep, Sant, Watts.

Two drawings from life by by Charles Paul Renouard:
(a) signed by artist bottom left, back view, seated in front of fireplace; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (174); repr. as process print Graphic, 28 July 1888, p.105 and 22 Aug. 1896, p.248 (captioned ‘Sir J.E. Millais reading the “Times” after breakfast’); and Millais 1899, vol.2, p.241.
(b) signed by artist bottom left, profile to left with palette & brushes; Louvre, Paris, RF1714.C, Recto. Exh. Millais Centenary, Southampton Inst., 1996 (175); repr. as process print Graphic, 28 July 1888, p.104.

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

Preparatory oil sketch for the above work, undated, bust-length, almost profile to right; untraced; coll. R. de Beaumont by whom offered to NPG 1961. Photograph NPG SB (Millais).

Pencil sketch by Lawrence Alma-Tadema, 20 Feb. 1889, head-and-shoulders, profile to right, in margin of Report of the Special Committee of the RA; untraced. Ref. Sotheby’s, 25 Oct. 1977 (25, in parcel of sketches of various Academicians, not ill.).
See also Armitage, Boehm, Fildes, Frith, Marks, Pickersgill, Sant, Thornycroft.

publ. 1889
Caricature by unidentified artist, Our National (Portrait) Disgrace, whole-length to left, pointing umbrella at portrait of John Bull; untraced. Repr. Punch, 4 May 1889, p.215; and Hulme, Buchanan & Powell 2000, p.50.

c.1889
Drawing by Rudolf Lehmann; untraced. Ref. letter from R. Lehmann to Marion Harry Spielmann, 15 Aug. 1889 ('I beg to say that I have drawn Millais & Watts and that Leighton has promised me a sitting, when his portrait together with the 2 others will be at your disposal'), John Rylands UL, U. of Manchester, Spielmann Papers, Misc. Letters GB 133 Eng MS 1302, 362. For an earlier drawing of Millais by Lehmann, see above, '1868'.

publ. 1890
Wood-engr. by E.J(?).W., Artistic Stars, oversized head on small body, profile to right, smoking pipe, at left-hand margin; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Boughton, Calderon, Fildes, Frith, Herkomer, Hodgson, Leighton, Poynter.

Mezzotint by D.A. Wehrschmidt, almost half-length; publ. 20 Oct. 1890 by Thos. Agnew & Sons Ltd.

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

1892
Pen and ink drawing by Phil May, whole-length, standing to left, with deerstalker cap, pipe, palette and brushes; untraced. Repr. May [1904], p.33.

publ. 1892
Pen and ink caricature drawing by Harry Furniss, signed, head only, profile to right, in a squeeze of paint with others on a palette held by figure of Art, second head from the top; 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, Marks, Orchardson, Watts.

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

early 1890s
Pen and ink sketches by George Du Maurier, illustrating Millais–Du Maurier correspondence; untraced. Repr. Millais 1899, vol.2, pp.271, 273, 279–80.

1896
Pencil drawing by Theodore Blake Wirgman; see NPG 1711.

Sketch by Edward Burne-Jones; untraced. ‘The slight sketch by Sir Edward Burne-Jones can hardly be included here because, although it was undertaken at the request of the daughters of the dying artist, it was never so far proceeded with as to be much more than a tentative outline’; Spielmann 1898, p.52.

Pencil and grey wash drawing by Frank Baden Powell, Millais at his last Varnishing Day, Summer Exhibition RA; untraced; Phillips, 8 May 1979 (122). See cutting NPG SB (Millais) inscr. ‘Daily Telegraph, ?10–15 May 1979’.

publ. 1896
Pen and ink drawing by Theodore Blake Wirgman, half-length to right; untraced. Repr. Daily Chronicle, 21 Feb., 1896.

Engr. by G.R. Aylmer, His Lordship, whole-length, profile to left, standing, wearing long dark robes, at head of procession, with Frederic Leighton behind, fanciful depiction in the background including the rear façade of Leighton House; repr. AJ, Feb. 1896, p.58.
See also Leighton, Watts.

Wood-engr. by J.M. Johnstone after Alinari photograph of Uffizi self-portrait (see above, ‘Self-portraits, 1880’) repr. MA, 1896, p.iii and p.247.

c.1896
Bronze bust by Edward Onslow Ford; RA, London, 03/1719. Exh. RA 1897 (1993).
Plaster and subsequent bronze cast; NPG 1329 and NPG 1329a.


Undated portraits
Print by unidentified artist, Young Millais receiving the Medal at the Society of Arts, as a child, whole-length, standing in profile to right; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (49); repr. Rosenfeld & Smith 2007, p.246. Millais received medals from 1839 to 1841, at competitions run by the Society of Arts.

Oil on panel by ‘R.C.’ after photograph by Rupert Potter (see below, ‘Photographs, 1879’); untraced; Christie’s, 30 Apr. 1998 (188, ill.).

Watercolour by J.E. Hodgson, Millais catching a salmon on the Tay, whole-length to left, with fisherman; Millais Coll. Exh. Millais Centenary, Southampton Inst., 1996 (195); repr. Millais 1979, p.11.


Doubtful portraitback to top


Pen and ink drawing by William Henry Hunt, head-and-shoulders, head facing and slightly to right; untraced; Sotheby’s, 4 June 1997 (189). Exh. Master Drawings of C18 and C19, Peter Nahum, London, 1985 (66).


Posthumous portraitsback to top


exh. 1897
Etching by J.M. Johnstone. Exh. RA 1897 (1716).

1904
Bronze statue by Thomas Brock, whole-length, standing, left hand with palette; coll. Tate, T07664. Erected in garden on east side of Tate G., Nov. 1905, and moved to John Islip St (near rear of building), Nov. 2000.

1909
Stone statue by James Alexander Stevenson, whole-length in PRA robes, holding paintbrushes; Cromwell Road (South) façade, V&A, London.

1914
Oil on canvas, 1130 x 1510mm, by (John) Byam Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, standing at top of stairs, profile to right, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London. Exh. RA 1914 (536); Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Centre for British Art, New Haven, 2013 (55, ill. with key [no.65]). Repr. Sketch, 6 May 1914, p.133.
The full-size act drop was destroyed.
See also Alexander, Alma-Tadema, Anderson, M.E. Bancroft, S. Bancroft, Campbell, Farren, Forbes-Robertson, Hare, Irving, Leighton, Leno, Terry, Tree, Waller, Watts, Whistler, C. Wyndham.

1916–17
Pencil and watercolour caricature by Max Beerbohm, inscr. ‘A momentary Vision that once befell young Millais’, young Millais (whole-length, profile to right) sees old Millais (seated, profile to left) with little girl on knee; Tate, A01044. Ref. Hart-Davis 1972, no.1039; repr. Mancoff 2001, p.4.

Pencil and watercolour caricature, 298 x 419mm, by Max Beerbohm, inscr. ‘British Stock and Alien Inspiration. 1849’, whole-length to left, head turned to right, hands behind back, second from left in group with Disraeli and others; Tate, A01039. Exh. Leicester G., London, 1921 (2); and Tate, 1923 (2); ref. Hart-Davis 1972, no.776, p.80; repr. Beerbohm 1922 and 1987, pl.1.
See also Hunt, Rossetti.

c.1920
Pen and watercolour caricature by Hugh Deane, inscr. ‘The Infant Prodigy: Little Johnny Millais enters the Royal Academy School’, whole-length to right; coll. Scott Thomas Buckle.

publ. 1923
Drawing by Harry Furniss, half-length, profile to right, with palette and brushes, pipe and deerstalker cap; untraced. Repr. Furniss 1923, facing p.162.


Photographsback to top


The Beatrix Potter Collections (Linder Bequest), V&A, London, have important holdings of photographs by Rupert Potter of Millais in London and Scotland, 1870s–80s. See A.S. Hobbs and J.I. Whalley, Beatrix Potter: The V&A Collection, London, 1985, pp.207–217, for 31 such photographs. Many are listed below. See also Millais Album, Aberdeen AG, ABDAG012274, ABDAG012276, ABDAG012277 and ABDAG012300 for photographs by Potter.

1855
Photograph by unidentified photographer, St Andrews, Aug. 1855, standing at right, profile to left, with Effie Millais and nine members of the Gray family; print coll. Mrs Esmé Prowse, 1967. Repr. Lutyens 1967, p.227.

c.1855–6
Daguerreotype by unidentified photographer, three-quarter-length, profile to right, seated in carver chair, left hand at throat; Millais Coll. Repr. Millais 1979, p.9 (‘J.E. Millais as a young married man’). Modern print exh. Millais Centenary, Southampton Inst., 1996 (11).

1857
Albumen print by (George) Herbert Watkins; see NPG P301(36).

c.1861–3
Albumen cartes-de-visite by Adolphe Beau, four known poses:
(a) whole-length, standing to right, right arm resting on small cabinet, top hat and cane in left hand; NPG Ax14799.
(b) whole-length, profile to left, standing, right hand resting on cabinet; Getty Images, 50699329.
(c) half-length, seated to right, right arm resting on table; Getty Images, 50699326.
(d) half-length to right, profile to right, top hat in right hand; coll. Paul Frecker, 27 Sept. 2008.

Albumen carte-de-visite by Heath and Beau, whole-length to right, right hand in pocket, top hat on ornate chair; coll. Erich Sommer (print NPG SB [Millais]).

early 1860s
Albumen carte-de-visite by Mason & Co., head-and-shoulders, profile to left; prints colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.185; and Getty Images, 3069763.

Albumen cartes-de-visite by John and Charles Watkins, at least six known poses:
(a) whole-length to right, head facing, seated on table, sketchbook in left hand, right hand holding pencil; prints colls NPG Ax7550; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.181 and COMWG2008.183.
(b) whole-length to right, head facing, seated on table, hand on hip; prints colls V&A, London, 1451-1928; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.180 and COMWG2008.541).
(c) whole-length to right, head to left, seated on table, ruffled papers in left hand; prints colls NPG x6277, NPG x6279, NPG Ax38741; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1384 and COMWG2008.182; and RA, London, 04/710.
(d) whole-length to right, head to left, seated on table, sketchbook in left hand, right hand holding pencil on table; NPG x6278. Repr. Mancoff 2001, p.9; and as wood-engr. Strand, vol.1, 1891, p.372.
(e) whole-length to right, head to left, seated on table, arms folded; NPG Ax14867.
(f) whole-length to right, profile to right, seated on chair, statuette of centaur and lapith on table; NPG x76456.

reg. 1863
Albumen cartes-de-visite by London Stereoscopic Co., reg. for copyright 1863 Dec. 30: National Archives (COPY 1/5), four known poses:
(a) sitting on chair, hands locked and resting on davenport desk.
(b) sitting to right on desk, left foot on chair; Archives of American Art, Smithsonian Inst., Washington, DC, Hiram Powers Papers 1819-1903, series 6, box 10, folder 66, no.49.
(c) bust vignette, profile to right; prints colls NPG x76318; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.178.
(d) bust vignette, head turned three-quarters to right; prints colls. NPG x136798; and V&A, London, PH.560-1885.

c.1863–4
Albumen print by David Wilkie Wynfield; see NPG P79.

c.1864
Albumen prints by John and Charles Watkins, three known poses:
(a) three-quarter-length, head to left, seated to right on table, portfolio in left hand, statuette of Lorenzo de Medici on table at left; NPG Ax7337. Repr. Rosenfeld & Smith 2007, p.247, fig.36 (where dated 1850s).
(b) head-and-shoulders vignette, detail of pose (a); prints colls NPG x21343; RA, London, 05/2582; BL Manuscript Coll., Millar bequest, Add. 54316 380; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1385, COMWG2008.4363, COMWG2008.177, and COMWG2008.991; and Bristol CMAG, Album of Artists I, MB7227. Probably the image reg. for copyright 1864 Jan. 21: National Archives (COPY 1/105/181). [1]
(c) three-quarter-length, head turned further to left than pose (a), seated to right on table, portfolio in left hand, no statuette on table; Aberdeen AG, ABDAG012272. Engr. by D.J. Pound [n.d.]; MEPL, London, 10061891.

1865
Albumen prints by Charles Lutwidge Dodgson (Lewis Carroll), at 7 Cromwell Place, South Kensington, 21 July 1865, two known poses:
(a) three-quarter-length in oval, profile to right, seated on windowsill, with album on knees; Morris L. Parrish Coll. of Victorian Novelists, Princeton UL, Album P.3:53. Repr. Gernsheim 1969, pl.48. Halftone by Art Repro Co. after Carroll (enlarging oval into rectangular format with rounded top corners) repr. Collingwood 1898, p.420; loose copies MEPL, London, 10061893; and Getty Images, 50673613.
(b) half-length in oval, profile to left,seated on windowsill, with Effie Millais and two daughters; prints colls Gernsheim Coll., HRHRC, U. of Texas at Austin, album 3; and Aberdeen AG, Millais Album, ABDAG012273. Repr. Gernsheim 1969, pl.49; and Rosenfeld & Smith 2007, p.248, fig 39.

early/mid-1860s
Albumen carte-de-visite by John and Charles Watkins, whole-length, turned slightly to left, holding pale top hat; NPG x6276.

mid to late 1860s
Albumen prints by Elliott & Fry, two known poses:
(a) whole-length, profile to right, standing, hands in trouser pockets, leaning against wall;NPG x135897.
(b) carte-de-visite, head-and-shoulders, bust facing, head profile to right, pale silk tie more clearly visible; prints colls NPG Ax17857, NPG Ax18328, NPG Ax28941, NPG x6280, NPG x6281; The Rob Dickins Coll., Watts G., Compton, COMWG2008.186; and V&A, London, 81:686.

later 1860s
Albumen cartes-de-visite by Elliott & Fry, two known poses:
(a) head-and-shoulders, three-quarters to right, left hand on cheek; NPG Ax17258.
(b) head-and-shoulders, head three-quarters to right; The Rob Dickins Coll., Watts G., Compton, COMWG2008.184.

1860s
Photograph by unidentified photographer; known from wood-engr. by Horace Harral, profile to left, caricature on plinth inscr. ‘Stones of Venice / Ruskin Fecit’ and two lay figures; untraced, photocopy of repr. in unidentified publication NPG SB (Millais).

1875
Albumen print by Rupert Potter, inscr. on back ‘30 September 1875’, seated in the Potters’ garden (column in background), Dalguise, Perthshire, with John Bright and Henry James, Baron James of Hereford; reg. for copyright 1875 Oct. 14: National Archives (COPY 1/31); prints colls NPG x4324 (repr. Funnell and Warner 1999, p.144); Millais Album, Aberdeen AG,ABDAG012276 and ABDAG012277; Millais Coll.; Christie’s, 30 Oct. 1986 (124); and Bonhams, 16 Nov. 2004 (182).

reg. 1876
Albumen print, 222 x 159mm, by Hughes & Edmonds, after untraced composite drawing by unidentified artist (probably executed after a photograph), head-and-shoulders, profile to left, seated at centre in studio with five other figures (including J.M.W. Turner, D. Wilkie and W.H. Landseer); reg. for copyright 1876 Aug. 16: National Archives (COPY 1/34); prints colls NPG Ax132902; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1118; and Getty Images, 3069828. Repr. Hughes & Edmonds 1876 (as ‘Artists’).
See also Frith, Hunt.

publ. 1876
Woodburytype carte-de-visite by Fradelle & Marshall, head-and-shoulders to left; NPG Ax14907, NPG Ax7607 and NPG x6282 (inscr. ‘Saturday Programme Supplement. / JANUARY 29, 1876. / JOHN EVERETT MILLAIS, R.A. / Photograph from life by Fradelle and Marshall, / 230, Regent Street, London’). Wood-engr. by R. Taylor & Co. repr. Strand, vol.1, 1891, p.372 (wrongly captioned ‘age 40’). Coloured lithograph by Maclure & Macdonald after Fradelle & Marshall (pose in reverse) publ. Cassell’s [1874–7], vol.2, 1875, p.9; copies colls MEPL, London, 10061888; and Getty Images, 3227474.
For print by Georges Labadie Pilotell after Fradelle & Marshall, see above, ‘By other artists, c.1876’.

Woodburytype by Lock & Whitfield, head-and-shoulders in oval, profile to right, crown of head noticeably bald; prints colls NPG Ax17494, NPG x6283; V&A, London, 228-1929; The Rob Dickins Coll., Watts G., Compton, COMWG2008.986, COMWG2008.987; MEPL, London, 10061883; and Getty Images, 50699327. Repr. Cooper 1876–83, ser.1, 1876, p.19.

1877
Photograph by unidentified photographer, whole-length, full-face, seated, with Rupert Potter, W. Browne, and Sir Henry James in garden, Dalguise; Millais Coll. Repr. Rosenfeld & Smith 2007, p.249, fig.43.

reg. 1877
Albumen prints by E.G. Cutts, Aberdeen, for G.W. Wilson, reg. for copyright 1877 Apr. 16: National Archives (COPY 1/37), three known poses:
(a) half-length to right, head three-quarters profile; Millais Album, Aberdeen AG, ABDAG012271.
(b) half-length to right, three-quarters profile.
(c) half-length, full-face, arms crossed.

1879
Albumen print by Rupert Potter, seated on garden bench with John Bright, Dalguise; reg. for copyright 1880 Jan. 12: National Archives (COPY 1/48); repr. Millais 1899, vol.2, p.246.
Similar pose from a different sitting repr. ILN, 22 Aug. 1896, p.238.

Albumen prints by Rupert Potter, Oct. 1879, with Mary Millais at Dalguise; prints colls Millais Coll.; and V&A, London, BP.1295 and E.760-2005.

Albumen print by Rupert Potter, whole-length to right, seated on folding chair with hat, pipe and walking stick, Dalguise; repr. Millais 1899, vol.2, p.240; and Millais 1979, p.10. For painting by ‘R.C.’ after Potter, see above, ‘By other artists, Undated portraits’).

Albumen print by Rupert Potter, Sept. 1879, seated in garden with Lillie Langtry, Eastwood House, Dunkeld; reg. for copyright 1880 Jan. 12: National Archives (COPY 1/48); prints colls V&A, London, E.750-2005; and Millais Coll. Repr. Millais 1979, p.12.

Photograph by unidentified photographer (possibly Rupert Potter at Eastwood House, as above), whole-length to right, full-face, seated on low folding chair, legs extended; Millais Coll. Repr. Millais 1979, p.12.

c.1879
Photograph by Rupert Potter, whole-length, seated to right in studio, smoking pipe, unfinished portrait of Gladstone on easel; reg. for copyright 1881 Feb. 26: National Archives (COPY 1/52); prints colls Aberdeen AG, ABDAG012300; and Millais Coll. Repr. Millais 1979, p.13. Engr. by J.D. Cooper repr. Armstrong 1885, p.30 (copy MEPL, London, 10165064). See also Mancoff 2001, p.115.

late 1870s/early 1880s
Albumen cartes-de-visite by London Stereoscopic & Photographic Co., two poses:
(a) half-length to right, profile, right arm resting on carved and upholstered couch; The Rob Dickins Coll., Watts G., Compton, COMWG2008.988 and COMWG2008.989. Repr. Maas 1984, p.107, no.203. Vignette detail, head-and-shoulders profile only; prints colls NPG x27583; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3540.
(b) vignette detail, profile to left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.176.

1870s/1880s
Photomontage in album ‘Photographic Groups of Eminent Personages’, n.d, no.75 in key to plate A; NPG Photographs Coll.

1880
Albumen print by Rupert Potter, 13 Sept. 1880, seated in a doorway, with his daughters Mary and Caroline and a young girl; V&A, London, E.739.2005.

c.1880
Photograph by unidentified photographer, whole-length, full-face, standing on doorstep, hands clasped, in group of 11 figures, Erigmore; Millais Album, Aberdeen AG, ABDAG012278.

1881
Albumen print by Rupert Potter, inscr. on reverse ‘29 August 1881’, whole-length, full-face, seated by garden column, with fishing tackle and catch, Dalguise; NPG x131239. Repr. Millais 1899, vol.2, p.253 (dated 1879); and Funnell & Warner 1999, p.15. Wood-engr. by W. and J.R. Cheshire after Potter repr. Armstrong 1885, p.27; and Review of Reviews 1895, p.318.

Albumen print by Rupert Potter, inscr. on reverse ‘October 1881’, seated on edge of boat, profile to right, with fisherman, tackle and catch, Dalguise; NPG x131238. Repr. Millais 1899, vol.2, p.251; and ILN, 22 Aug. 1896, p.238.

reg. 1881
Photographs by A.F. Mackenzie, three known poses:
(a) head-and-shoulders in roundel, profile to right; reg. for copyright 1881 Dec. 29: National Archives (COPY 1/55); also copy The Rob Dickins Coll., Watts G., Compton, COMWG2008.993. Halftone repr. Black & White, 22 Aug.1896, front cover (obits.). Chromolithograph by Maclure & Macdonald after Mackenzie, supplement to Pictorial World, NS, 19 May 1883 (full-page plate, no page no.); NPG D33175. See also wood-engr. by T. Johnson after Mackenzie repr. Harper’s Monthly Magazine (European ed.), Nov. 1883, p.835 (half-page plate); loose cutting NPG SB (Millais).
(b) half-length, full-face, leaning against doorway, wearing cap, with pipe in right hand; reg. for copyright 1881 Dec. 29: National Archives (COPY 1/55); repr. Millais 1899, vol.2, p.255 (captioned ‘The best photograph of Millais’); and Millais 1979, p.10.
(c) half-length, face three-quarters to right, leaning against doorway, wearing cap, with pipe in right hand; reg. for copyright 1881 Dec. 29: National Archives (COPY 1/55).

Albumen print by A.F. Mackenzie from a separate sitting, three-quarter-length, seated to right, in thick coat with hood, holding cap, right arm resting on table; reg. for copyright 1881 Dec. 29: National Archives (COPY 1/55); also print NPG x1451. Halftone repr. The Year’s Art 1888; wood-engr. after Mackenzie, head-and-shoulders detail in oval, repr. ILN, 19 Sept. 1885, p.297 (whole page).

c.1881
Photographs by Window & Grove, two known poses:
(a) albumen carte-de-visite, head-and-shoulders, profile to right; NPG x46580. Wood-engr. by F. Méaulle repr. L’Art, vol.31, 1881, p.270 and by R. Taylor & Co. repr. Strand, vol.1, 1891, p.372.
(b) albumen cabinet card, half-length, three-quarters to right; NPG x6284 (signed and dated 1881 by the sitter).

1884
Albumen prints by Rupert Potter, Dalguise, 4 Sept. 1884, two known poses:
(a) whole-length, head turned to right, seated in doorway, holding gun; Millais Coll. Repr. Christie’s International Magazine, Mar.–Apr. 1987.
(b) whole-length, full-face, standing in doorway, holding gun; Millais Coll. Repr. Christie’s International Magazine, Mar.–Apr. 1987.

c.1884
Albumen print by Frank Dudman for Joseph Parkin Mayall, whole-length, head raised to viewer, seated to right by studio fireplace, holding newspaper; reg. for copyright 1896 Feb. 29: National Archives (COPY 1/423/591); photogravure by Sampson Low, Marston, Searle and Rivington publ. Stephens 1884, part 2, facing p.18 (twelve years earlier than photograph was registered); colls NPG Ax27818; RA, London, 05/4662; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4601; MEPL, London, 10061894; and Getty Images, 2664192. Repr. Maas 1984, p.107, no.203; Mancoff 2001, p.6; and Bills & Webb 2007, p.76 (112).

1885
Albumen print by Rupert Potter, inscr. on reverse ‘December 1885’, seated, reading newspaper in front of fire, back view, Bubbles on easel at left; prints colls NPG x131234; and Millais Coll. Repr. Millais 1979, p.20; and Funnell & Warner 1999, p.18.

publ. 1885
Wood-engr. by Carl Dietrich after a photograph by Rupert Potter, bust-length in oval, profile to right, with cap; repr. Armstrong 1885, p.3; and Review of Reviews 1895, p.319.

1886
Albumen print by Rupert Potter, inscr. on reverse ‘July 1886’, profile to left, seated reading newspaper in front of studio fireplace, portrait of Lord Roseberry on easel; NPG x131236. Repr. ILN, 22 Aug. 1897, p.237; Millais 1899, vol.2, p.258; Funnell & Warner 1999, p.18.

?1886
Photograph by Elliott & Fry, almost whole-length, seated to right on ivy-covered bank, wearing black hat and holding letter; known from photogravure by Maclure, Macdonald & Co., copies colls NPG x6286 and NPG x21344; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3703. For engr. after Elliott & Fry see also copies colls MEPL, London, 10027473; and Getty Images, 50699328.
Perhaps connected with a photograph by Elliott and Fry, with Gladstone and his wife at Hawarden, 1886; repr. Millais 1899, vol.2, p.257; and Millais 1979, p.15.

1887
Albumen print by Rupert Potter, inscr. on reverse ‘12 June 1887’, profile to left, seated reading newspaper in front of studio fireplace; NPG x131235. Repr. Rosenfeld & Smith 2007, fig.40.

reg. 1889
Platinum prints by Ralph Winwood Robinson, two known poses:
(a) three-quarter-length, profile to right, seated in studio, hands clasped; reg. for copyright 1889 Oct. 26: National Archive (COPY 1/398/117); repr. Robinson [1892]; and Windsor Magazine, vol.3, Jan.–June 1896, p.539; prints colls. NPG x7379 and NPG x6285; and RA, London, 06.1024.
(b) whole-length, face in profile, seated in armchair, legs crossed; reg. for copyright 1889 Oct. 26: National Archives (COPY 1/398/116).

late 1880s/early 1890s
Albumen print by unidentified photographer (?Potter), whole-length, standing to left in woodland, with walking stick, black hat and fur-trimmed coat; Sotheby’s, 9 Mar. 1977. Repr. Rosenfeld & Smith 2007, p.219, fig.27.

Albumen print by unidentified photographer, whole-length, full-face, seated on doorstep, Dalguise, Rupert Potter at left and unidentified man at right; prints colls Millais Album; Aberdeen AG, ABDAG012274.

publ. 1890
Photograph by Fradelle and Young, half-length to right in striped jacket; halftone vignette repr. Review of Reviews 1890, p. 190. May be connected with another photograph, three-quarter-length to left, in cap and striped jacket, with palette and brushes: see halftone repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.3 (loose cutting in NPG SB [Millais]); and a cabinet card formerly with www.antiquephotographics.com.

c.1890–91
Cabinet card by London Stereoscopic & Photographic Co., three-quarter-length, profile to right, writing at desk in front of studio fireplace; prints colls NPG x131725; and Getty Images, 3163371.

1891
Albumen print by Rupert Potter, inscr. on reverse ‘12 July 1891’, whole-length to right, seated by desk in studio, three framed paintings on easels; NPG x131237.

reg. 1894
Photographs by Alfred James Philpott for Elliott & Fry, two poses:
(a) albumen cabinet card, bust, three-quarters to right; NPG x4620; reg. for copyright 1894 June 19: National Archives (COPY 1/416/741); repr. Daily Graphic, 14 Aug. 1896, p.4 (halftone); and Graphic, 22 Aug. 1896, p.244 (wood-engr.). Another wood-engr. after Elliot & Fry; loose cutting, NPG SB (Millais).
(b) chlorobromide print, bust, profile to right, with cap; reg. for copyright 1894 June 19: National Archives (COPY 1/416/740); prints colls NPG x127464; and V&A, London, 214-1923.

publ. 1896
Photograph by James Russell & Sons, Feb. 1896, half-length to right in fur-trimmed coat; repr. Review of Reviews 1896, p.201 (halftone, head-and-shoulders detail); ILN, 29 Feb. 1896, p.269 (to mark PRA election); and ILN, 22 Aug. 1896, p.236 (halftone, obits.).

reg. 1896
Cabinet cards by Alfred Ellis, five known poses:
(a) half-length, almost full-face, seated, with arms folded; reg. for copyright 1896 Mar. 28: National Archives (COPY 1/424/306); prints colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.341; and Millais Coll. Repr. Millais 1899, vol.2, p.263 (‘The last Portrait of Millais’); and Millais 1979, p.10.
(b) three-quarter-length, almost profile, seated, holding paper in left hand; reg. for copyright 1896 Mar. 28: National Archives (COPY 1/424/304).
(c) three-quarter-length, almost full-face, standing, right hand on back of chair; reg. for copyright 1896 Mar. 28: National Archives (COPY 1/424/303).
(d) three-quarter-length, almost full-face, seated, paper in lap; reg. for copyright 1896 Mar. 28: National Archives (COPY 1/424/307).
(e) half-length, three-quarter face, seated; reg. for copyright 1896 Mar. 28: National Archives (COPY 1/424/305).

1890s
Photograph by unidentified photographer, whole-length, with walking stick, back view in wooded landscape; stuck on verso of finished pencil study for Speak, Speak! (painting exh. RA 1895); Millais Coll. Ref. Donovan & Bushnell 1996, no.167; repr. Rosenfeld & Smith 2007, p.238, fig.30.


Footnote
1) Information from NPG PRO database; there is now no evidence at the National Archives, Kew which would confirm the registration date or the pose registered.

Carol Blackett-Ord