Later Victorian Portraits Catalogue

Self-portraits
By other artists
Undated portraits
Photographs

Self-portraitsback to top

1892–3
Wood-engr., 161 x 126mm, At the Wedding Feast, designed in conjunction with Charles Shannon, head-and-shoulders, profile to left as figure in group (illustration for edition of Longus’ The Marriage of Daphnis and Chloe, trans. George Thornley, printed at the Vale Press and publ. by Elkin Mathews and John Lane, 1893, p.97; published version exh. NPG 2009); two proof copies Fitzwilliam M., Cambridge, P.154-1943 and P155-1943.

c.1898
Wood-engr. on Japan paper, 340 x 255mm, signed in pencil bottom right, half-length, wearing cape; BM, London, 1949,0411.989.
Another print, in black and green ink, 337 x 255mm; Fitzwilliam M., Cambridge, P.1965-R. Exh. An Aesthetic Partnership, Orleans House, Twickenham, 1979 (5).

c.1903
Drawing, 140 x 197mm, A Fancy Dress Dinner Party at 13 Lansdowne Road, whole-length, profile to left, standing far right, with Max Beerbohm, Mr and Mrs Charles Conder, Sir Edmund Davis and Lady Davis; Carlisle CAG, 1949.125.73; ref. Christie’s, 15 May 1942 (144). Exh. An Aesthetic Partnership, Orleans House, Twickenham, 1979 (71).

By other artistsback to top

1892
Pencil caricature drawing by Charles Haslewood Shannon, whole-length, standing, wearing short cape and holding flower and bowler hat; untraced. Repr. Holmes 1936, facing p.170 (with caption ‘Ricketts taken for a walk by Savage and Shannon’).

1893
Caricature by Charles Holmes, 25 Aug. 1893, whole-length, prostrate on floor, being stamped on by Holmes who is simultaneously punching Charles Shannon on the nose; untraced. Repr. Holmes 1936, p.164.

1894
Pencil sketch, 185 x 187mm, by Charles Haslewood Shannon, signed ‘CS’, whole-length, profile to right, seated at worktable with lamp; BM, London, 1938,1008.53; this is a study for the following item.
Lithograph, 170 x 175mm, by Charles Haslewood Shannon, The Wood-Engraver, signed in stone, whole-length, profile to left, bent over desk working on woodblock; publ. ‘Six Lithographs’, Portfolio, 1894. Exh. William Rothenstein: A Unique Collection, Carlisle CAG, 1971 (21); An Aesthetic Partnership, Orleans House, Twickenham, 1979 (63); U. of Delaware, Newark, DE, 2002; Delaware AM, Wilmington, DE, 2006; Grolier Club, New York, 2008; and elsewhere; ref. Delaney 1978, no.28; repr. Calloway 1979, p.9; Garton & Cooke autumn list 1984 (246); Delaney 1978, p.41; and Stetz 2007, p.95. Proof print V&A, London, E.1959-1926; other prints Carlisle CAG, 125-1949, 113; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE; and BM, London, 1896,1028.26.
See below under ‘Unknown date’ for a possibly related item.

Five studies on brown paper by William Rothenstein:
(a) pastel, 146 x 107mm, head, three-quarter profile to left; untraced. Ref. Rothenstein 1926, no.48.
(b) pastel, 181 x 114mm, head, half-profile to left; untraced; Sotheby’s, 10 Dec. 1970 (126). Exh. British Portraits, RA, 1956–7 (456); ref. Rothenstein 1926, no.49.
(c) pastel, 375 x 255mm, half-length, profile to left, torso merely indicated; priv.coll. Exh. possibly RSPP 1896 (195); Carfax G., London, 1902; Sir William Rothenstein, Tate, 1950 (69); ref. Rothenstein 1926, no.50; repr. Rothenstein 1931–2, vol.1, facing p.174; and Christie’s, 20 June 1996 (1).
(d) chalks, 336 x 241mm, unfinished sketch, on same sheet as portrait of Charles Shannon; untraced. Ref. Rothenstein 1926, no.51.
(e) black chalk and pastel, 445 x 355mm, signed and dated ‘Will R ’94’, half-length, profile to left, with Charles Shannon; priv. coll.; formerly with Laurence Hodson. Exh. RSPP 1897 (138); ref. Rothenstein 1926, no.52; repr. Sotheby’s, 17 Mar. 1976 (6); Sotheby’s, 21 May 1986 (102, in colour); and Christie’s, 1 July 1993 (74, in colour).

1895
Pastel drawing on brown paper, 133 x 82mm, by William Rothenstein, signed and inscr. ‘C.Ricketts, W.R.’, head, three-quarter profile to left; untraced. Ref. Rothenstein 1926, no.71.

Lithograph, In the House of Delia, by Charles Haslewood Shannon, signed and dated, head-and-shoulders, profile to right, as accessory character in figure composition; publ. The Dial, 1895, no.4 (ed. of 25); ref. Delaney 1978, no.35, p.46 (ill.).
Various versions, including:
(a) 207 x 204mm, printed in green ink; Fitzwilliam M., Cambridge, P.2101-R.
(b) 213 x 220mm; exh. An Aesthetic Partnership, Orleans House, Twickenham, 1979 (81); repr. Darracott 1980, p.61; and Roy Davids Coll., Bonhams, 3 Oct. 2005 (216).
(c) 216 x221mm; BM, London, 1899,0321.1, plus an impression from the cancelled stone, BM, London, 1938,0804.14. Repr. McKeown 2010, p.304.

1896
Silverpoint, 276 x 219mm, by Alphonse Legros, signed and dated, head, full-face; on loan to Fitzwilliam M., Cambridge, 2095. Exh. possibly RSPP 1896 (185); and The Wilde Years, Barbican AG, London, 2000 (99); repr. Sato, Lambourne & Holland 2000, p.64.

Drypoint etching on cream paper, 149 x 99mm, by Charles Haslewood Shannon, inscr. and signed in pencil beneath image, three-quarter-length, profile to right, standing and looking at a large sheet of paper; BM, London, 1949,0411.449.

1897
Bronze medallion, 64mm diam., by Alphonse Legros, head-and-shoulders, profile to right; various colls incl. Ashmolean M., Oxford. Exh. Soc. of Medallists 1898 (3); Manchester CAG, 1912 (298-5); and Artistic Circles: The Medal in Britain 1880–1918, BM, London, 1992 (5); ref. Studio, 1898, p.264; repr. Attwood 1984, no.40; and Attwood 1992, p.9.

Two lithographs by William Rothenstein:
(a) 332 x 415mm, signed and dated ‘W.R.97’, three-quarter-length, near-profile to right, seated, turning away from Charles Shannon; ref. Rothenstein 1926, no.67; repr. Phillips, 5 Oct. 1981 (148).
(b) 335 x 230mm, signed and dated ‘W.R. 97’, three-quarter-length, seated, profile to right, holding woodblock, with Charles Shannon above right; publ. Rothenstein 1898a, no.18; BM, London, 1903,1006.28; and various other colls, incl. Sheffield CAG, Bradford AG, Auckland CAG, Fitzwilliam M., Cambridge. One print exh. The Wilde Years, Barbican AG, London, 2000 (147); ref. Rothenstein 1926, no.69 (two states); repr. Speight 1962, pl.2a; Darracott 1980, p.18; Calloway 1979, p.11; and Sato, Lambourne & Holland 2000, p.119.

1898
Oil on canvas by Charles Haslewood Shannon; see NPG 3106.
This is the primary painted portrait of Ricketts.

Oil sketch on canvas, 571 x 577mm, by Charles Haslewood Shannon, for In the House of Delia, head-and-shoulders, as accessory figure; Bristol CMAG, K2388. Exh. The Last Moments of Raphael, Bristol AG, 1969 (19); and Victorian and Edwardian Paintings, Bristol AG and Glynn Vivian AG, Swansea, 1975. See below for finished work.

1899
Chalk drawing by Charles Haslewood Shannon; see NPG 2631.

1902
Bronze bust by R.F. Wells, head only, under life-size; priv. coll. Arolo, Italy. Exh. possibly RA 1915 (1915, as ‘C.R. Esq. - mask, bronze’); and RA 1933 (1692, as ‘The late Charles Ricketts, Esq., R.A. - mask, bronze’); repr. Delaney 1990, p.398.

1904
?Drawing by Charles Haslewood Shannon; untraced. Ref. ‘Sat to Shannon’ (1 Jan. 1904) in Ricketts 1939, p.101. Possibly related to the watercolour exh. Guildhall, London, 1904 (196); or the chalk exh. Franco-British Exh., White City, London, 1908 (989). See below under ‘Unknown date’ for a possibly related sketch.

Oil on canvas, 921 x 730mm, by Jacques-Emile Blanche, three-quarter-length, profile to left, seated, with Charles Shannon; Tate, N04907. Exh. NEAC winter 1904 (116); Beaux-Arts, Paris, 1906 (123); Nat. Portrait Soc., London, 1911 (44); Venice Biennale, 1912 (8); RSA, Edinburgh, 1914 (397); Jacques-Emile Blanche, peintre, M. des Beaux-Arts, Rouen, 1997 (33); and The Edwardians: Secrets and Desires, NG Australia, Canberra, 2004 (5); ref. 11 July 1904, Ricketts 1939, p.109; and Blanche 1937, p.144; repr. Sutton 1966, p.147; Delaney 1978, p.13; Darracott 1980, p.67; and Rouen 1997, no.33.

1900–1905
Pastel study, 444 x 406mm, by Charles Haslewood Shannon, for In the House of Delia, head-and-shoulders, as accessory figure (see above, ‘1898’ and next item); coll. Dennis L. Lanigan, Canada; Sotheby’s, SK, 1 Dec. 2004 (266).

Oil on canvas, 762 x 762mm, by Charles Haslewood Shannon, In the House of Delia, half-length, profile to left as accessory figure (a more recognizable portrait than 1895 lithograph above); Castle MAG, Nottingham, 1945-1; formerly with Sir Edmund Davis (sale, Christie’s, 15 May 1942). Exh. Irish Int. Exh., Dublin, 1907 (119, owned Lockett Agnew); Franco-British Exh., White City, London, 1908 (254, as ‘Delia’); Loan Exh., Belfast, 1911 (6, owned Agnews); An Aesthetic Partnership, Orleans House, Twickenham, 1979 (113); NEAC exh., Christie’s, 1986 (93); At the Sign of the Dial: Charles Haslewood Shannon and his Circle, Usher AG, Lincoln, 1987; The Wilde Years, Barbican AG, London, 2000; repr. Franco-British Exh., 1908, exh. cat., unpaginated; Darracott 1980, p.60; and McKeown 2010, p.303.

1905
Chalks drawing on grey paper, 380mm x 279mm, by Francis Dodd, signed and dated, head-and-shoulders, profile to left; BM, London, 1940,0210.7. Exh. RA Draughtsmen 1769–1969, BM, London, 1969 (19); Portrait Drawings, BM, London, 1974 (213); and An Aesthetic Partnership, Orleans House, Twickenham, 1979 (7).

c.1905
Lithograph, 324 x 182mm, by Charles Haslewood Shannon, signed, three-quarter-length, profile to right, standing, cape folded over right arm; untraced. Repr. Sotheby’s, 25 Oct. 1996 (86).

1907
Watercolour caricature, 326 x 406mm, by Max Beerbohm, Mr Ricketts and Mr Shannon in the enjoyment of popular success, whole-length, profile to left, standing with Charles Shannon and giant figure of John Bull; Fitzwilliam M., Cambridge, PD.24-1952. Exh. Carfax G., London, 1907; Leicester G., London, 1952; An Aesthetic Partnership, Orleans House, Twickenham, 1979 (9); ref. Christie’s, 15 May 1942 (13); repr. Hart-Davis 1972, no.1227; and Delaney 1990, p.50.
An unidentified Beerbohm caricature of Ricketts and Shannon was exh. Edwardian Art, Towner AG, Eastbourne, 1951 (24).

1908
Bronze statuette, 325mm high, by Kathleen Scott, Lady Kennet, whole-length, seated, legs crossed, arms folded; Leeds CAG, 4.3/49. Exh. RA 1908 (1920); ref. Droth 2000, pp.9–10; repr. Leeds Sculpture Colls Illustrated Concise Catalogue, 1996.

1911
Watercolour caricature by Max Beerbohm, parody of Found by Dante Gabriel Rossetti, whole-length, standing, attempting to ‘rescue’ Charles Shannon from election to RA; Johannesburg AG. Exh. Leicester G., London, 1911; repr. Hart-Davis 1972, no.1228, pl.62.
This could be the Beerbohm caricature of Shannon and Ricketts exh. Edwardian Art, Towner AG, Eastbourne, 1951 (24).

1912
Ink drawing, 148 x131mm, by Edmund Dulac, half-length, profile to right, as figure in medieval style, with Dulac, Charles Shannon and Edmund Davis; untraced. Repr. Sotheby’s, 20–21 June 1985 (632).

c.1914
Watercolour caricature, 290mm diam., by Edmund Dulac, Ri-Ke-Tsan-Dcha-Nhon, whole-length, seated with Charles Shannon as Hindu gods; Fitzwilliam M., Cambridge, 2483. Exh. An Aesthetic Partnership, Orleans House, Twickenham, 1979 (11); Edmund Dulac, Mappin AG, Sheffield, CMAG Bristol and Geffrye M., London, 1983 (81); and The Age of Enchantment, Dulwich Picture G., 2007 (30); ref. Christie’s, 15 May 1942; repr. Calloway 1979, p.23; Dulac 1983, p.33; and Engen 2007, no.30 (in colour).

1916
Oil on canvas, 750 x 620mm, by Charles Haslewood Shannon, The Man with the Greek Vase, signed and dated, half-length, full-face, seated on highbacked sofa, holding antique red-figure vessel; Leamington Spa AGM, War., A446.1954. Exh. RA 1917 (62); possibly RSPP 1926 ( 27); Paintings and Drawings by Charles Shannon, R.A., Barbizon House, London, 1928 (6); Kettering MAG, 1964; Usher G., Lincoln and tour, 1987–8; and An Aesthetic Partnership, Orleans House, Twickenham, 1979 (12); ref. Christie’s, 15 May 1941 (151); repr. Moore 1933, pl.60; Darracott 1980, p.122; and Delaney 1990, p.307.

1920
Tempera on linen over board, 387 x 305mm, by Edmund Dulac, whole-length, full-face, in medieval monastic habit as Sanctus Carolus Barbatus, with Charles Shannon as Sanctus Carolus Imberbis; Fitzwilliam M., Cambridge, PD.51-1966. Exh. Nat. Portrait Soc., 1921; and The Wilde Years, Barbican AG, London, 2000 (70); ref. Christie’s, 15 May 1942 (47); repr. Darracott 1980, p.80; and Sato, Lambourne & Holland 2000, p.102.

c.1920
Pencil drawing by Laura Anning-Bell; see NPG 3108.

1922
Pencil, ink and wash drawing, 129 x 88mm by Francis Derwent Wood, signed and dated 7 Jan. 1922, inscr. ‘Amico di Shannoni’, head-and-shoulders, three-quarter profile to right, looking at viewer; RA, London, 06/4651.

before 1926
Pen and ink drawing by Powys Evans, head, profile to left, drawn for London Mercury; untraced. Repr. Evans 1928, no.42.

1926
Paired watercolours by Max Beerbohm, The Five Friends, whole-length, profile to left, standing in modern and Renaissance costume:
(a) 404 x 273mm, ‘Here are five friends of mine … all are designers of fantastic and lovely costumes, yet they dress themselves thus:’; Birmingham MAG, 1960P54.
(b) 404 x 273mm, ‘ … Why not rather thus?’; Birmingham MAG, 1960P55.
Both exh. Leicester G., London, 1957; and An Aesthetic Partnership, Orleans House, Twickenham, 1979 (13); ref. Hart-Davis 1972, nos 382 and 383.

c.1927
?Plaster bust by Cecil Lewis; untraced; known from photograph exh. An Aesthetic Partnership, Orleans House, Twickenham, 1979 (134).

1928
Pencil and black chalk drawing, highlighted with red chalk, on paper, 388mm x 253mm, by Charles Haslewood Shannon, signed and dated ‘CS 1928’, three-quarter-length to right, profile to right, hands clasped, left arm over rail, on same sheet as self-portrait sketch of Shannon; Fitzwilliam M., Cambridge, PD.15-1948 (where entitled ‘Studies for a double portrait of Charles Ricketts and Charles Shannon’ and dated to 1918). But not visibly related to the destroyed work listed below, and the inscribed date certainly appears to be 1928. Possibly exh. Barbizon House, 1928 (38).

Undated portraitsback to top

Grey and white ink over pencil drawing, 181 x 128mm, by Charles Haslewood Shannon, whole-length, working on a wood-block, attended by his muse at the printing press; BM, London, 1938, 1008.77. Thought to be a study for a lithograph. It appears to be a sketch for a figure composition and may relate to the 1894 wood-engraving or the untraced work listed under ‘1904’ above.

Bodycolour over pencil, 172 x 163mm, by Charles Haslewood Shannon, study for a double portrait with Charles Shannon, half-length, seated, features not delineated, by lamp; BM, London, 1938.1008.76.
A subsequent painting of the pair by Shannon was later destroyed, but is known from a photograph in V&A. Exh. An Aesthetic Partnership, Orleans House, Twickenham, 1979 (8).

Photographsback to top

A large collection of photographs mainly taken in the 1890s and formerly in the Ricketts and Shannon collection is now in the Fitzwilliam Museum; those published are listed below.

early 1880s?
Photograph by unidentified photographer, half-length, profile to left, with wispy facial hair, seated with arms outstretched; Fitzwilliam M., Cambridge. Repr. Darracott 1980, p.82; and (cropped from left) Delaney 1990, p.22.

mid-1880s
Photograph by unidentified photographer, half-length, nearly full-face, with beard, standing in art school studio in group of fellow-students; Fitzwilliam M., Cambridge. Repr. Darracott 1980, p.11.

c.1888
Photograph by unidentified photographer, whole-length, profile nearly perdu to left, wearing long smock and kneeling, right arm in air; Fitzwilliam M., Cambridge. Repr. Darracott 1980, p.9.

1893
Photograph by unidentified photographer, three-quarter-length, standing on balcony at the Vale, Chelsea, with three others incl. Llewellyn Hacon; repr. Holmes 1936, facing p.170.
See also Conder, Shannon.

before 1900
Photograph by unidentified photographer, head-and-shoulders, profile to right, eyes half-closed, wearing silk scarf; rep. The Year’s Art 1900, facing p.100.

c.1900
Photograph by unidentified photographer, half-length, seated, looking down to right, with Vale Press volumes; Fitzwilliam M., Cambridge. Repr. Darracott 1980, p.26.

c.1902
Photograph by unidentified photographer, with four others incl. Florence Humphrey and Llewellyn Hacon; exh. Charles Conder, Graves AG, Sheffield 1967 (40).
See also Conder, Shannon.

1903
Photographs by George Charles Beresford, 13 Oct. 1903, six known poses:
(a) sepia-toned platinotype, 155 x 107mm, head, profile to right, looking down; colls NPG x12803; and Getty Images, 3265839.
(b) sepia-toned platinotype, 153 x 110mm, head-and-shoulders, nearly full-face, looking at viewer; NPG x12804.
(c) composite photograph on dry-plate glass neg., 113 x 157mm, head-and-shoulders, profile to left, alongside Charles Shannon to front; NPG x6624.
(d) probably composite photograph, head-and-shoulders, profile to right, alongside Charles Shannon profile to right; modern print (110mm x 157mm) from original neg., NPG x32790.
(e) sitter as in (b) but eyes looking left; Getty Images, 2633468.
(e) head-and-shoulders, looking left, with left hand to chin; V&A, London, 1807-1939. X.610. Repr. Darracott 1980, p.59 (where credited to Hulton Archive, though this pose does not appear on Getty Images website); Delaney 1990, p.189; and Engen 2007, fig.8.

1911–12
Photograph by unidentified photographer, whole-length, profile to left, wearing straw hat, holding cane and seated in amphitheatre, on visit to Greece; Fitzwilliam M., Cambridge. Repr. Delaney 1990, p.256.

Photograph by unidentified photographer, whole-length, profile to left, wearing straw hat, standing before ruined walled with hieroglyphs, on visit to Egypt; Fitzwilliam M., Cambridge. Repr. Darracott 1980, p.78.

1922
Photographs by unidentified photographer, with Charles Shannon and others at Chilham Castle; exh. An Aesthetic Partnership, Orleans House, Twickenham, 1979 (135).

c.1926
Photograph by unidentified photographer, ‘aged sixty’, nearly whole-length, standing looking left, left hand in trouser pocket, before fireplace over which hangs drawing for Work by Puvis de Chavannes; repr. Darracott 1980, p.194, when in Mander & Mitchenson coll.

Photograph by unidentified photographer, ‘aged about sixty’, half-length, nearly full-face, seated before multi-figure painting; Fitzwilliam M., Cambridge. Repr. Calloway 1979, p.7.

c.1928
Photograph by Popperfoto, ‘Writer and Artist Mr Charles Ricketts pictured in London with a bust he is to exhibit at the Royal Academy’, half-length to front, hands clasped resting on plinth holding sculpted bust of young man (possibly that of Cecil Lewis, exh. RA 1928 [1443]); Getty Images, 796688758.

c.1930
Photograph by unidentified photographer, half-length, standing, looking towards viewer, holding brushes, in studio with painting Faust and Mephistopheles finished but unframed on easel; repr. Delaney 1990, p.394; and Christie’s, 23 Nov. 2005 (ill. without photo credit).
Two other images possibly from same session:
(a) nearly whole-length, half-profile to left, seated, holding brushes before painting Christ before Pilate; repr. (cropped) Evening News, 8 Oct, 1931; and (full frame) Manchester Guardian 9 Oct. 1931.
(b) half-length, half-profile to right, seated in high-backed chair; repr. Daily Herald, 8 Oct. 1931.

Dr Jan Marsh