Later Victorian Portraits Catalogue

Sir William Quiller Orchardson (1832-1910), Portrait and subject painter

Self-portraits
By other artists
Photographs

Self-portraitsback to top



c.1870s
Oil on canvas, 819 x 711mm, half-length, looking to left, wearing dark coat, stiff collar, yellow tie; Castle MAG, Nottingham, NCM 1904-62.

1881
Oil on canvas, 345 x 297mm, quarter-length, profile to right, wearing light brown coat against red background; Aberdeen AG, ABDAG004495. Exh. Master Class: Robert Scott Lauder and His Pupils, NGS, Edinburgh, 1983 (132); and Divided Selves: The Scottish Self-Portrait, Talbot Rice G., Edinburgh and Fleming Coll., London, 2006 (20); repr. Hare & Bielecka 2006, p.86.

1890
Charcoal on panel (study for following oil), 1206 x 927mm, three-quarter-length, standing, nearly full-face, with brushes and palette; Aberdeen AG, ABDAG004493. Exh. Sir William Quiller Orchardson, RA, RSA, Edinburgh and other venues, 1972 (53); repr. Orchardson 1972, fig.5.

Oil on canvas, 1270 x1000mm, signed and dated, three-quarter-length, standing beside easel, nearly full-face, holding palette and brushes; Uffizi, Florence, 3091. Exh. Grosvenor G., London, 1890 (36); RBSA, 1891; and Firenze e l’Inghilterra, Uffizi, Florence, 1971 (88); repr. (in photo of RBSA show) The Year’s Art 1892, p.166; Armstrong 1895b, p.19 (see below); Monkhouse 1899, p.158; Orchardson 1913, frontispiece; Gray 1930, frontispiece; Chiarini 1979, p.946; and Codell 2003, p.51.
Several engravings after this work are listed: by Paul Jonnard repr. MA, 1890, p.327; by Robert Walker Macbeth exh. RA 1893 (1364, NPG D32124); and by André & Sleigh repr. Armstrong 1895b, p.19 and 1905, p.19.


Probable self-portrait

c.1854
Oil on panel, 241 x 184mm, half-length, half-profile to left, right hand raised across body, in historical costume; Macmanus AGM, Dundee, 0240 Orchar Coll., formerly Orchar G., Broughty Ferry. Exh. Sir William Quiller Orchardson, RA, RSA, Edinburgh and other venues, 1972 (5); and Master Class: Robert Scott Lauder and His Pupils, NGS, Edinburgh, 1983 (41); repr. Art Annual, Christmas 1897, p.19; Orchardson 1972, fig.8; Errington 1983, p.66.


Possible self-portrait

c.1860
Oil on canvas; see NPG 3166.


Rejected self-portrait
Oil sketch, 343 x 254mm, half-length, profile to right, both hands fingering book-like object; untraced. Repr. Christie’s, 16 July 1965 (149) as ‘Portrait sketch of the Artist playing the Piano’, but sitter has waxed moustache and goatee beard, neither of which is characteristic of Orchardson (and whatever he is doing, no piano keys are visible).


By other artistsback to top


1850s?
Sketch by John MacWhirter, whole-length, profile to right, seated on sofa, legs crossed; untraced. Repr. Orchardson 1972, fig.6.

c.1850s
Terracotta bust by John Hutchison. Ref. Gray 1930, p.191, presumably related to plaster bust 624mm high by John Hutchison, NGS, Edinburgh, PG 1093. A terracotta bust by Hutchison mentioned in Gray 1930 (p.191) is presumably related to this work, or perhaps mis-described.

c.1862–5
Oil on canvas, 1219 x 661mm, by John Pettie, whole-length, standing, half-profile to left; NGS, Edinburgh, PG 828. Repr. Smailes 1990, p.229.

c.1863
Oil on canvas, 406 x 355mm, by John Pettie, half-length, half-profile to left, head only complete; NGS, Edinburgh, PG 875. Exh. Sir William Quiller Orchardson, RA, RSA, Edinburgh and other venues, 1972 (80, not ill. in Orchardson 1972); repr. Smailes 1990, p.229.

1860s
Pen and ink sketch by John Dawson Watson, half-length, profile to left, wearing top hat, on horseback with two others; priv. coll., Birket Foster sketchbook, p.13.

Pencil sketch by Frederick Walker, three-quarter-length, seated in carriage with Mrs Birket Foster, wearing small hat; priv. coll., Birket Foster sketchbook, p.32.

publ. 1868
Woodcut by ‘IM’ (monogram), probably from a photograph, head-and-shoulders, nearly full-face. Repr. ILN, 29 Feb. 1868, p.201 (on election ARA).

c.1870s
Oil on board, 194 x 148mm, by James Archer, head-and-shoulders, slightly profile to left, wearing white cravat and clasp; NGS, Edinburgh, PG 726, formerly coll. RSA.

publ. 1875
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, Millais, Sant.

c.1875
Oil sketch, 332 x 432mm, for the following work by Thomas Graham, half-length, nearly profile to left, seated, hands clasped on lap; RSA, Edinburgh, 1993.21. Exh. Master Class: Robert Scott Lauder and His Pupils, NGS, Edinburgh, 1983 (128, where dated to 1890); repr. Errington 1983, p.105, detail.

Oil on canvas, 512 x 661mm, by Thomas Graham, inscr. upper left ‘Tom Graham’, half-length, profile to left, seated, hands clasped on lap; Aberdeen AG, ABDAG002462. Exh. RSA 1890 (321); Whitechapel AG, London, 1912; Sir William Quiller Orchardson, RA, RSA, Edinburgh and other venues, 1972 (79, ‘at perhaps forty years of age’); and Master Class: Robert Scott Lauder and His Pupils, NGS, Edinburgh, 1983 (131); repr. Armstrong 1895b, p.6 (engr. by André & Sleigh); Studio, vol.50, 1910, p.87; Gray 1930, facing p.258 (where incorrectly dated); and Orchardson 1972, fig.9.

publ. 1877
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, Millais, Sant.

publ. 1878
Design by (Edward) Linley Sambourne, Ars Britannica, head only, profile to left, above the giant artist’s palette with brushes; 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, Millais, Poynter.

Design by (Edward) Linley Sambourne for An Anxious Moment., among 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; 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, Millais, Poynter, Sant.

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

c.1878-81
Oil on canvas by Henry Weigall; see NPG 2117.

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, Millais, Poynter, Prinsep, Sant, Watts.

publ. 1880
Design by (Edward) Linley Sambourne for A May Meeting, three-quarter-length, bowing to left, meeting the politicians at the RA Banquet, surrounded by others; 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, Millais.

Design by Herbert Johnson for A Savage Club Dinner – A Portrait Group, half-length, profile to right, balding, seated directly to the right of Gladstone on the top table; untraced. Wood-engr. by unidentified engraver repr. Graphic, 6 Mar. 1880, pp.356–7 (double-page ill.); and Watson 1907, facing p.143 (where entitled ‘The Gladstone Night’ and said to have taken place at the Pall Mall restaurant, Regent St).
See also Armitage, Frith, Gregory, Herkomer, Horsley, P.R. Morris, W.L. Thomas.

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 on the back row of RAs, just to the left of George Frederic Watts; 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, Millais, Pearson, Pettie, Pickersgill, Poynter, 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, wearing Scots uniform, third from right in 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, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

c.1882
Etching, 255 x 179mm, by Augustin Mongin, Paris, signed on plate, three-quarter-length, half-profile to left, standing before doorway holding hat behind back; colls. BM, London, 1883,0414.52; and NPG D21527. Repr. by A. Salmon, L’Art, vol.29, 1882, facing p.255 (copy MEPL, London, 10029208).

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, whole-length, suspended in mid-air, hanging by one arm from 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, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

1884
Caricature drawing by Julius Mendes Price (‘Imp’), signed and dated, whole-length, standing, profile to left, cigarette in mouth, holding brush and palette; untraced. Intended for Vanity Fair, but not publ.; repr. Price 1914, p.199.

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy: or, Men of Mark in Costumes of Their Own Design, three-quarter-length, profile to left, in Scots uniform, standing among the Scottish contingent including Thomas Faed and John Pettie; 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, Marks, Millais, Pickersgill, Poynter, Prinsep, Watts, Yeames.

publ. 1885
Drawing by (Edward) Linley Sambourne for The Royal Academy Argonauts., half-length, third 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, Millais, 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, with body of a butterfly, in bottom right-hand corner; untraced. Repr. Pall Mall Gazette ‘Extra’, no.17, 1885, frontispiece.
See also Alma-Tadema, Barlow, Holl, Leighton, Millais, Pettie

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus: or, the Academia of the Gods, half-length, profile to right wearing a toga and holding a torch with flame; 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, Marks, Millais, Pettie, Poynter, Watts.

publ. 1887
Two drawings by Charles-Paul Renouard
(a) The Opening of the Royal Academy: The Selecting Committee at Work, three-quarter-length, seated to left at right-hand side of composition, wearing top hat, inspecting a picture with other members of the committee at the RA; untraced. Repr. Graphic, 7 May 1887, pp.476, 477; Sunday Times, 5 May 1968, front page.
See also Alma-Tadema, Leighton, Marks, Sant, A. Waterhouse, Yeames.
(b) Searching the ‘Doubtfulls’ for one to fit, head-and-shoulders to right, wearing top hat; untraced. Repr. Graphic, 7 May 1887, pp.488.
See also Leighton, Marks, Sant, Yeames.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, whole-length, profile to left with left hand raised to chin, wearing court dress; 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, Millais, Poynter.

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

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

Black chalk and wash drawing, 457 x 289mm, by (William) Walker Hodgson, signed and dated 25 Nov. 1891; untraced; ref. [Wood] 1984, no.14; and see NPG collection 4041(1–5).

1891–5
Bronze bust by Edward Onslow Ford, four castings known: NGS, Edinburgh, PG915 (610mm high); NGS, Edinburgh, PG1092 (622mm high, dated to 1891); Tate, N02971 (660mm high); and Sotheby’s, 20 Nov. 1997 (121, 660mm high), this last with Edwin Savage, 1961 and with Agnew’s, 2006 (38). Exh. RA 1895 (1643), Victorian Era Exhibition, London, 1897 (347D); and RSPP 1903 (144). Repr. Graphic, 6 May 1895, supplement p.2; Cassell’s RA Pictures 1895, p.91; and MA, 1895, p.279.

1892
Pencil drawing, 355 x 254mm, by John Henry Lorimer, whole-length, seated, profile to right, legs crossed, holding papers; NGS, Edinburgh, PG 771.

publ. 1892
Pen and ink caricature drawing by Harry Furniss, signed, head, profile to right, in a squeeze of paint with others on a palette held by figure of Art, fifth 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, Marks, Millais, Watts.

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

1890s?
?Oil by C.M.Q. Orchardson, ‘Portrait of W Q Orchardson’; untraced. Exh. Royal Glasgow Inst. Fine Arts 1901 (451). See entry for NPG 3166.

1898
Watercolour by Leslie Ward (‘Spy’); see NPG 5005.

publ.1902
Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, full length, seated to front, in front row third from left, wearing toga; untraced. Repr. Punch, 21 May 1902, p.363; and Trippi 2002, p.167, fig.136.
See also Alma-Tadema, Brock, Crane, East, Frampton, Goodall, Poynter, Richmond, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells, Whistler.

c.1909–10 (possibly posthumous)
Pen and ink caricature sketch by Harry Furniss, head-and-shoulders, nearly full-face, with palette; untraced. Repr. Furniss 1923, p.167.


Photographsback to top



1860s
Carte-de-visite, 105 x 64mm, by John & Charles Watkins, vignette, head-and-shoulders, slightly to left facing forwards, with white shirt and moustache; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4404.

Albumen cartes-de-visite from same sitting by Elliott & Fry, two known poses:
(a) 89 x 57mm, vignette, head-and-shoulders, half-profile to left; NPG Ax14873.
(b) 91 x 58mm, vignette, head-and-shoulders, profile to left; NPG Ax28958.
A full-frame quarter-length version of (a) showing sitter in overcoat with velvet collar; priv. coll., London.

publ. 1882
Woodburytype on mount, 114 x 91mm oval, by Lock & Whitfield, head-and-shoulders, profile to right, moustache and tousled hair; colls. NPG Ax17662; MEPL, London, 10091341; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.997, COMWG2008.998, COMWG2008.2136. Repr. Cooper 1876–83, ser. 6, 1882.
Thumbnail sketch after this repr. ‘Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.15.

1880s?
Albumen cabinet card, 145 x 100mm, by Elliott & Fry, with facsimile signature, vignette, head-and-shoulders, full-face, wearing jacket with wide lapels, and breast-pocket handkerchief; NPG x12617.

before 1888
Photograph by F. Palmer, head-and-shoulders, facing front, with stiff white collar; repr. The Year’s Art 1881, p.16.

publ. 1892
Platinum print, 199 x 150mm, by Ralph Winwood Robinson, whole-length, half-profile to left, seated in sitter’s home, arms crossed, legs extended; colls NPG x7382; and RA, London, 06/1037. Repr. Robinson [1892]; and Windsor Magazine, vol.3, Jan.–June 1896, p.540.

1890s
Photograph by unidentified photographer, whole-length, profile to left, standing before easel holding palette, turning towards wife reading on left. Repr. Gray 1930, facing p.332.

c.1899
Photogravure by James Craig Annan, Glasgow, half-length, profile to left, seated, holding hat. Exh. London Photographic Salon 1899; ref. MA, 1900, p.46. Repr. (in installation) Photograms of the Year 1899, p.96; and ‘Artistic Photography of Today: James Craig Annan’, MA, 1903, p.462.

1900s
Bromide print on grey card, circular, 135mm diameter, by Ernest Herbert Mills, signed by sitter lower right, and by photographer on left, half-length, full-face, grey moustache, right hand to cheek; NPG x12618.

publ. 1902
Gelatin print, 256 x 216mm, by Frederic G. Hodsoll, whole-length, standing in palatial studio, with portrait of lawyer on easel; NPG Ax25159. Publ. Tatler, 30 Apr. 1902, p.184.

1907
Photograph by unidentified photographer, whole-length, wearing Court dress (on knighthood) with Sir James Dewar. Repr. Orchardson 1972, fig.13.

1910
Bromide matt print, 164 x 214mm, by E. Smerdon, three-quarter-length, half-profile to left, seated with left arm in sling holding palette and brush, at easel with portrait of Lord Blyth of Blythswood (RA 1910 (148)), with wife on left looking at sitter; NPG Ax26049 (pasted into NPG Library copy of Armstrong 1905, where inscr. ‘His Last Picture: from a photo taken a few months before his death’). Repr. (cropped) Gray 1930, facing p.340 (where dated to ‘ten days’ before sitter’s death).

Dr Jan Marsh