Later Victorian Portraits Catalogue

Self-portraits
By other artists
Photographs

Self-portraitsback to top

c.1855
Drawing, signed ‘EP’, head-and-shoulders to front, clean shaven; untraced. Repr. Strand, vol.4, 1892, p.155 (as ‘Age 19’).

1858
Oil on panel, on Yatman Cabinet designed by William Burges, inside cupboard door, head only; V&A, London, 217-1961. Cabinet exh. Architectural Exh., London, 1858; International Exh., London, 1862; and The Strange Genius of William Burges, NM Wales, Cardiff and V&A, London, 1981 (B1, but portrait not visible).

1882
Oil on canvas, 345 x 297mm false oval, signed and dated, head-and-shoulders, rear view, profile to right; Aberdeen AG, ABDAG004348. Repr. Apollo, April 1991, p.256 (detail).

exh. 1888
Oil on canvas, 800 x 685mm, head-and-shoulders, full-face, anxious expression; Uffizi, Florence, A715. Exh. RA 1888 (141). Repr. Strand, vol.4, 1892, p.155 (engr. by R. Taylor); MA, 1897 p.113; Scribner’s Magazine, 1897, p.702; Chiarini 1979, no.A715; Christie’s, 19 Feb. 2003, fig.1.

1904
Black chalk drawing, 255 x 200mm (image), signed and dated ‘19EJP04’, head, nearly full-face; untraced. Repr. Sotheby’s, 2 Nov. 1994 (217).
Collotype reproduction, sheet 484 x 368mm, plate 304 x 225mm, by The Autotype Company ‘from Sir E.J.Poynter’s Portrait of Himself’, with facsimile sig.; NPG D9904 and NPG D20780.

By other artistsback to top

1837
Drawing by unidentified artist, possibly his mother Emma Poynter, half-length, looking left, in babyclothes; untraced. Engr. by R. Taylor & Co. repr. Strand, vol.4, 1892, p.155 (as ‘Age 9 months’).

1858
Pencil drawing, 114 x 152mm, by ‘EJH’ or ‘EHJ’ (monogram), inscr. ‘Fontainebleau / March 58’ and ‘?date or ?port. of E J Poynter by [monogram]’, head-and-shoulders, eyes lowered, small moustache and beard, right hand to head, wearing large kepi with peak and voluminous crown; in sitter’s sketchbook coll. Earl Baldwin. Exh. and repr. Abbott & Holder 2007 (14, not for sale) where conjecturally identified as a self-portrait. The sitter was in Paris 1856–8, so the identification seems secure but the pose does not look like a self-portrait.

publ. 1869
Wood-engr. by unidentified artist (with elaborate monogram [CTJS?]), engr. by ‘JM’, head-and-shoulders to front. Repr. ILN, 8 May 1869, p.469.

publ. 1877
Design by (Edward) Linley Sambourne for The Pick of the Pictures; or, Our Own Handy Guide to the Royal Academy., head attached to the body of a large hound being restrained by other Academicians; untraced. Repr. Punch, 12 May 1877, p.208.

Drawing by Alphonse Legros, head-and-shoulders to right, facing forwards; untraced; ref. Athenaeum, 3 Jan. 1880, p.24 (‘more brilliant and more like the subject than the etching’); and Bell 1927, when said to be with the family. Exh. Grosvenor G., London, Winter 1880 (307).
Etching, sheet 330 x 215mm, image 255 x 158mm, by Alphonse Legros after his own drawing, signed in plate; prints colls BM, London, 1878,0511.240, 1893,0516.324 and 1907,0424.11 (ref. O'Donoghue 1908–22, vol.3, p.510, no.1); and NPG D5553; copy Georgetown UL, Washington, DC (without signature, incorrectly dated to 1876). Exh. Grosvenor G., London, Winter 1880 (alongside drawing); repr. (before issue) Hamerton 1877, p.12 (‘by permission of Messrs Seeley’); and MA, 1883, p.250 and 1897, p.111.
This is the most expressive portrait of Poynter.

publ. 1878
Design by (Edward) Linley Sambourne, Ars Britannica, whole-length, profile to left, clinging precariously to the top of a huge statue, drawing Lilly 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, Millais, Orchardson.

Design by (Edward) Linley Sambourne for An Anxious Moment., featuring the heads of members of the Royal Academy, 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, Orchardson, Sant.

1878–9
Terracotta bust by Aimé-Jules Dalou; untraced; ref. The Times, 6 June 1879, p.4; and Bell 1927 when in possession of the family. Exh. RA 1879 (1558) together with bust of Poynter’s wife.

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 and facing upwards, at the base of 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, Orchardson, Prinsep, Sant, Watts.

publ. 1881
Pen and ink drawing, 306 x 444mm, by (Edward) Linley Sambourne for Royal Academy Banquet at Burlington House., a comic take on William Salter’s The Waterloo Banquet, signed and dated Apr. 1881, head-and-shoulders, seated on the back row of RAs, to the left of table decoration/trophy; 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, Orchardson, Pearson, Pettie, Pickersgill, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

publ. 1882
Pen and ink drawing, 317 x 419mm, by (Edward) Linley Sambourne for Saturday Review of the Royal Academy.- The March Past.; signed and dated Apr. 1882, head and shoulders, almost profile to left, wearing a cone-shaped hat, amongst the rows of Academy ‘troops’; coll. Juliet McMaster. Engr. by Swain repr. Punch, 6 May 1882, p.206; McMaster 2008, p.71, fig.20; 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, Orchardson, Pettie, Pickersgill, Prinsep, Sant, Watts, Woolner.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, whole-length, seated at base of the maypole, around which others dance; 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, Orchardson, Pickersgill, Prinsep, Sant, Watts, Yeames.

publ. 1884
Drawing by (Edward) Linley Sambourne, Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design., half-length, to left, facing towards viewer, wearing a toga and laurel wreath; 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, Orchardson, Pickersgill, Prinsep, Watts, Yeames.

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

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus: or, the Academia of the Gods, head and shoulders, seated to left beside John Everett Millais, wearing loose-fitting crown; 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, Orchardson, Pettie, Watts.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, head only, facing forward with eyes 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, Millais, Orchardson.

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

publ. 1890
Wood-engr. by E.J(?).W., Artistic Stars, oversized head on small body, facing front, at bottom left-hand corner; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890, where satirically described as ‘the gay dog Poynter’.
See also Alma-Tadema, Boehm, Boughton, Calderon, Fildes, Frith, Herkomer, Hodgson, Leighton, Millais.

1892
Black chalk [sometimes said to be pencil] drawing, 228 x 190mm, by (William) Walker Hodgson, signed and dated 28 Apr. 1892; untraced; ref. Wood 1984, no.24; offered Christie’s, 7 July 1993 (55), 6 Nov. 1995 (81), 15 May 1996 (188); Sotheby’s, 26 Feb. 1997 (313); and see NPG collection 4041(1–5).

publ.1894
Design by Edward Tennyson Reed, for 'Prehistoric Peeps: Opening of the Primeval Royal Academy', signed, whole-length, standing at bottom left-hand corner in prehistoric dress, at gathering of 'cavemen' Royal Academicians amongst wall painting exhibits; untraced. Repr. as an engr. Punch, 12 May 1894, p.226
See also Alma-Tadema, Calderon, Ford, Frampton, Gilbert, Gregory, Herkomer, Horsley, Leighton, Lucas, Marks, Millais, Moore, Orchardson, Stone, Thornycroft.

after 1896
Caricature drawing by George Roland Halkett, with oversized head caricatures as carved chair back, on which rests artist's palette and brushed bearing initials 'N.G' and 'P.R.A', open paint box and National Gallery catalogue in foregraound; coll. Scott Thomas Buckle.

publ. 1897
Caricature drawing by Leslie Ward (‘Spy’), whole-length, profile to left, seated on folding studio chair wearing grey waistcoat but no jacket, holding palette and brushes; untraced.
Chromolithograph repr. Vanity Fair, 4 Mar. 1897 (‘Men of the Day no.675’); copy colls. NPG D44845; MEPL, London, 100798545; and Getty Images, 3330637 (colour).

publ. 1898
Drawing by H.M. Paget, Prize Day at the Royal Academy Schools: Sir Edward Poynter PRA presenting the awards, whole-length, standing, profile to left, shaking hands with student; untraced. Repr. Graphic, 17 Dec. 1898, p.767.
See also Alma-Tadema, Herkomer, W.H. Thornycroft.

Caricature by Edward Tennyson Reed, whole-length an imaginary creature with body comprising artist's palette with paint tubes for spikes, and oversized head facing front; untraced. Publ. Reed 1898, no.18 (captioned 'The Painticheef').

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 forth from right, 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, Orchardson, Richmond, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells, Whistler.

1908
Oil on canvas, 2972 x 6223mm, by Hubert von Herkomer, The Council of the Royal Academy, whole-length, seated centre, holding magnifying glass, in multi-figure group; Tate, NO2481 . Repr. Herkomer 1910–11, vol.2, facing p.64; and Mills 1923, facing p.298.
Photogravure, 335 x 710mm, signed by artist and sitters, publ. Franz Hanfstangel; ref. Bonhams, 29 Mar. 1990 (171).
See also Brock, Gregory, Herkomer, Solomon.

Watercolour, 304 x 203mm, by Hugh Poynter, dated ‘7.4.08.’, inscr. ‘P.R.A’ and ‘myself / drawn by Hugh’, whole-length to left, wearing spectacles and dark suit, seated on adjustable chair holding palette and brushes, painting canvas to left; untraced. Exh. and repr. Abbott and Holder 2007 (43, as ‘Portrait of Sir Edward Poynter at his easel’). This may be the otherwise untraced work, 310 x 210mm, attributed to Hugh Poynter, ref. Sotheby’s, Sussex, 6 Dec. 1994 (1600A) where said to be oil on canvas.

1909
Oil on canvas by Philip Burne-Jones; see NPG 1951.

exh. 1909
Miniature by Lillian Burns; untraced. Exh. RA 1909 (994).

1910
Oil sketch, 813 x 711mm, by John Seymour Lucas, half-length, seated, nearly full-face, wearing formal dress and medal; untraced, known from photograph offered 1937 by S.S. Lucas.

Oil on canvas, 889 x 736mm, by John Seymour Lucas, signed and dated, same half-length pose as preceding, with greater detail of accessories; RA, London, 03/904, three-quarter-length, seated, hands clasped in lap, wearing decorations; RA, London, 03/890. Exh. RA 1911 (178); Repr. Cassell’s RA Pictures 1911, p.96 (engr. by André & Sleigh); RA Illustrated Catalogue of Diploma Gallery 1931, p.38.

1913
Caricature, 87 x 86mm, by Philip Burne-Jones, inscr. ‘Uncle Edward / 1913’, half-length to left, recumbent on pillows; Katie Lewis Album, Bodleian L., Oxford, Dep.c.846 f55.

exh. 1913
Oil on canvas by Albert Chevallier Tayler; untraced. Exh. RA 1913 (770).


Undated portrait

Bas relief by W. Robert Colton; untraced. Exh. RA 1920 (1355).

Photographsback to top

1860s
Albumen cartes-de-visite by John Watkins, two known poses:
(a) 85 x 57mm, head-and-shoulders, near-profile to left, wearing wide-lapelled jacket; NPG Ax14870.
(b) half-profile to right; The Rob Dickins Coll., Watts G., Compton, COMWG2008.210.

c.1866
Photograph by London School of Photography, half-length, half-profile to left, seated, left arm across body. Repr. Strand, vol.4, 1892, p.155 (engr. by R. Taylor, as ‘Age 30’).

publ. 1880
Woodburytype, 114 x 89mm, by Lock & Whitfield, head-and-shoulders, half-profile to left, wearing dark jacket and tie with spectacle chain; The Rob Dickins Coll., Watts G., COMWG2008.1106.
Oval version, 115 x 93mm; colls NPG Ax17601; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.1003. Repr. Cooper 1876–83, ser. 4, 1880; L’Art, 1883, p.73 (engr. by H. Thiriat, with some licence, as full-face gaze to spectator); Maas 1984, no.245; Taylor 1987 between pp.172–3; and Campbell Fraser Fine Art, cat.10, 2003 (121).

c.1881
Half-plate glass negs by Alexander Bassano, five known poses:
(a) head-and-shoulders, profile to left; NPG x96607. Repr. The Year’s Art 1888, p.24.
(b) head-and-shoulders, full-face; NPG x96608.
(c) three-quarter-length, full-face, standing in photographer’s studio; NPG x96609. Repr. as thumbnail sketch, ‘Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.15.
(d) three-quarter-length, profile to left, seated in photographer’s studio holding small sketchbook; colls NPG x96610; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3532;
(e) head-and-shoulders, looking left; NPG x96611. Repr. Strand, vol.4, 1892, p.155 (engr. by R. Taylor, as ‘age 45’); Flanders 2001, between pp.264–5.

reg. 1883
Albumen prints by Frank Dudman for J.P. Mayall, two known poses:
(a) whole-length, profile to left, seated on folding chair, legs apart, in interior at 28 Albert Gate, in front of easel; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/286, where location incorrectly given as 1 Holland Park Road).
(b) whole-length, near-profile to left, seated, legs crossed, in same interior, holding sheet of paper, while a second white rectangle obscures lower-left corner of work on easel (Ides of March, RA 1883 (260)), other paintings visible including small version of Solomon and the Queen of Sheba and design for dome of St Paul’s; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/287, where location incorrectly given as The Avenue, 76 Fulham Road); photogravure by Sampson Low, Marston, Searle & Rivington, 164 x 218mm, publ. Stephens 1884, part 6, pl.1; colls NPG Ax27833; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3755. Repr. Maas 1984, no.246; Flanders 2001 between pp.264–5; and MacCarthy 2011, pl.29.

1888–9
Photograph by unidentified photographer, standing, in studio of Henry Jamyn Brooks, shaking hands with Brooks’s daughter; see ‘By other artists, c.1888–9’ above.

publ. 1892
Platinum print, 202 x 153mm, by Ralph Winwood Robinson, whole-length, head turned to left, standing in studio (probably at The Avenue, 76 Fulham Road), holding palette and mahlstick, in background full-size Solomon and Queen of Sheba, smaller work on easel; NPG x7386. Repr. Robinson [1892]; exh. NPG, London, Dec. 1997; repr. RA Pictures of 1901, p.129; and Inglis 2004.

before 1894
Photograph by Elliott & Fry, head-and-shoulders, profile, dark beard, wearing wide-lapelled coat, waistcoat with small pattern, cravat in ring and eyeglass cord; repr. Graphic, 5 May 1894, p.518 (as engr., profile to right); ILN, 5 May 1894, p.540 (as engr. vignette, profile to left, without attribution).

1896
Photographs by Elliott & Fry, three known poses:
(a) albumen cabinet card, 146 x 100mm (image signed by sitter and inscr. ‘July 13, 1911’, possible date of presentation to M.H. Spielmann), head-and-shoulders, full-face from right, wearing stiff collar and wide-knotted tie; NPG x12764. Repr. Review of Reviews 1896, p.480 (as ‘The new President of the Royal Academy’); and (in oval format) Prominent Men 1907–1909, p.49.
(b) head-and-shoulders, profile to left. Repr. ILN, 5 July 1902, p.20 (as vignette).
(c) half-length from left, nearly full-face, wearing stiff collar, wide-knotted tie, seated in photographer’s studio, hands clasped in lap; repr. Baldwin 1960, facing p.174.

reg. 1896
Photographs by John Thomson, three known poses:
(a) head-and-shoulders, nearly full-face. Repr. The Year’s Art 1897, frontispiece; reg. for copyright 1896 Dec. 23.
(b) head-and-shoulders, looking left; reg. for copyright 1896 Dec. 23.
(c) head-and-shoulders, near-profile to right. Repr. Pictures for ’97 (Black & White Co.) cover (in oval format).

publ. 1896
Photographs by Russell & Sons, two known poses:
(a) whole-length, seated, holding palette at easel with canvas of neo-classical female figures. Repr. ILN, 14 Nov. 1896, p.619, insc. 'PNT' (engr. by Paul Naumann).
(b) half-length, nearly full-face, wearing dark coat, holding palette. Repr. Temple Magazine, vol.2, 1897–8, p.525.

c.1897?
Photograph by unidentified photographer, half-length, nearly full-face, trim beard, left arm across body; coll. AWG, London.

c.1899
Photographs by Rotary Photographic Co., issued as 140 x 89mm postcards, three known poses:
(a) half-length, profile to left, holding brushes and palette at work on painting.
(b) variant position of head.
(c) quarter-length, nearly full-face; The Rob Dickins Coll., Watts G., Compton, COMWG2008.351 (print signed and dated by sitter ‘Dec.14.05’).

c.1900
Photograph by R.W. Thomas, Cheapside, whole-length, near-profile to left, seated on folding chair in studio, holding palette and mahlstick; issued as postcard, 140 x 89mm, from ‘The R.A. Series’. Repr. (cropped) Sketch, 8 May 1901, p.105; and (full frame) Bystander, 11 May 1904, p.614; The Rob Dickins Coll., Watts G., Compton, COMWG2008.352, COMWG2008.353.

1900s?
Photograph by unidentified photographer, nearly whole-length, profile to left, seated in studio at work on canvas. Repr. Christie’s, 14 June 2005, fig.1.

Photograph by unidentified photographer, head-and-shoulders, profile to right, prominent greying moustache; autograph album (‘Celebrities’), William Andrews Clark Memorial Library, UCLA (MS.1950.006) (with sitter signature).

1908
Platinum print, 156 x 202mm, by (John) Benjamin Stone, inscr. on mount 'July 17th 1908', in large group at luncheon party at the House of Commons, whole-length, seated second from left in front row; NPG x135013.
See also Alfred East, William Mathew Flinders Petrie, Richmond, A. Webb.

Platinum prints by (John) Benjamin Stone, inscr. on mount 'July 17th 1908', in group of 35 sitters, lunch party at the House of Commons, two known poses;
(a) 156 x 202mm, whole-length, seated second from left in front row;NPG x135013.
(b) 155 x 203mm, whole-length, seated second from left in front row, with hands in different position; NPG x135569.
See also East, Petrie, Richmond, A. Webb.

Platinum prints probably by Roland Parker Stone, inscr. on mount 'July 17th 1908’, group of 35 sitters, lunch party at the House of Commons, two known poses:
(a)156 x203mm, whole-length, seated second from left in front row, with left hand on back of chair; NPG x135567.
See also East, Petrie, Richmond, A. Webb.
(b) 155 x 207mm, whole-length, seated second from left in front row, wearing top hat; NPG x135568.
See also East, Petrie, Richmond.

1910s
Bromide print, 148 x 104mm, by Walter Stoneman for NPR, half-length, half-profile to left, seated wearing tweed jacket and waistcoat; NPG Ax46102.

1914
Monotone photographs by Grove and Boulton, of the RA Selection Committee, Apr. 1914, three known poses:
(a) 99 x 204mm, half-length, seated centrally as PRA, behind table, flanked by 10 other artists; RA, London, 08/2671.
(b) 99 x 204, half-length, seated behind table, committee photographed from opposite angle, 11 others visible with the addition of W. Lamb (Sec.); RA, London, 08/2671.
(c) 99 x 204mm, slightly variant pose to above image, taken moments apart; ref. Conway L., Courtauld Inst., London.
See also Lucas, Solomon, W.H. Thornycroft.

c.1917–18
Photograph by Lafayette, New Bond St., quarter-length, profile to left, seated. Repr. Graphic, 2 Aug. 1919, p.174 (as vignette); undated sale catalogue of sitter’s books (as full frame).

Dr Jan Marsh