Later Victorian Portraits Catalogue

George Frederic Watts (1817-1904), Painter and sculptor

Self-portraits
Possible self-portraits
By other artists
Doubtful portraits
Posthumous portraits
Undated portraits
Photographs

Self-portraitsback to top


The majority are listed and reproduced in M.S. Watts, MS ‘Catalogue of the works of G.F. Watts’, compiled c.1910, Watts G. Archive, Compton, vol.ii (Portraits), typescript copy NPG.

c.1830
Chalk drawing, 307 x 246mm, half-length, in costume, with curled moustache, as ‘Charles I’ in style of Van Dyck; Watts G., Compton, COMWG2007.695a. Repr. Gould 2004, fig.2.

c.1834
Oil on canvas, head-and-shoulders, turned slightly to right, with long hair and large collar, aged 17; untraced. Engr. repr. Strand, vol.1, Apr. 1891, p.371.

Unfinished oil sketch, 533 x 381mm, half-length, facing forwards; Watts G., Compton, COMWG.10. Exh. New G., London, 1896 (2); Works of G.F. Watts, RA, OM, RA Winter 1905 (1); G.F. Watts, Tate, 1954–5 (1); G.F. Watts, Whitechapel AG, London, 1974 (1); and Victorian Visionary, Guildhall AG, London, 2008 (1); ref. Watts MSS ‘Catalogue’, vol.ii, p.166c; repr. Watts 1912, vol.1, p.26; Chapman 1945, pl.2; Blunt 1975, facing p.44; Gould 2004, fig.3; and Bills & Bryant 2008, pp.78 and 81.

c.1836
Oil on canvas, 248 x 187mm, Hawking (also known as The Falconer), one of two men depicted; Watts G., Compton, COMWG.236. Exh. Victorian Visionary, Guildhall AG, London, 2008 (3.1); repr. Bills & Bryant 2008, p.84.

c.1840
Charcoal study, 506 x 450mm, for Fear, head only; Watts G., Compton, COMWG2007.904.

Two early drawings in sketchbook 20:
(a) half-length;
(b) on horseback, hand shielding eyes; Watts G., Compton, COMWG2007.201.

Oil sketch on copper, 127 x 102mm, head-and-shoulders; Watts G., Compton, COMWG.184. Exh. Ruskin and his Circle, Arts Council, 1964 (233); repr. Bills & Bryant 2008, p.21.

c.1844–5
Oil on canvas, 864 x 660mm, painted at Casa Feroni, Tuscany, half-length, wearing armour; Ilchester Coll. Exh. British Portraits, RA Winter, 1956–7 (459); British Self Portraits, Arts Council, 1962 (81); and G.F. Watts Portraits, NPG, London, 2004 (8); ref. Watts MSS ‘Catalogue’, vol.ii, p.167a; repr. Ilchester 1937, p.338; Bryant 2004a (8, where dated 1844–5); Gould 2004, fig.11; and Bills & Bryant 2008, pp.25 and 94 (where dated 1845).
A watercolour version, 875 x 685mm; priv. coll.; formerly with Ronald Chapman and Christopher Forbes. Repr. Sotheby’s, 27 Oct. 1999 (1101).

Fresco fragment, head-and-shoulders, turning towards viewer; V&A, London, 254-1886.

c.1848
Drawing, head-and-shoulders; untraced. Repr. Watts 1912, vol.1, facing p.106; Bryant 2004a, fig.6; and Bills & Bryant 2008, p.28, fig.38.

c.1853
Oil on canvas, 1549 x 749mm, ‘The Venetian Senator’, three-quarter-length, standing, wearing red robe; priv. coll. Exh. Works of G. F. Watts, RA, OM, RA Winter 1905 (9); and Watts Memorial Exh., various locations, 1905–6; ref. Sotheby’s, 1 Oct. 1979 (33) and 14–16 Sept. 1999 (780); Christie’s, 25 June 1998 (318), 9 June 2004 (31) and 17 June 2014 (10, ill.). Repr. Schleinitz 1904, p.74 (visible in a photograph of a room); Bryant 2004a, fig.9 (as ‘Self-Portrait (“the Venetian Senator”)’); Gould 2004, pl.vi; and Bills & Bryant 2008, pp.19, 122.

c.1860
Oil on panel; see NPG 5087.

1862–4
Oil on canvas, 648 x 521mm, ‘The Bowman Self-Portrait’, signed and dated 1864, half-length, wearing black coat and wide-brimmed black hat; Tate, N01561. Exh. Grosvenor G., Winter 1882 (56); Manchester Jubilee Exh., 1887 (258); New G., London, 1896 (83); G.F. Watts Portraits, NPG, London, 2004 (48) and elsewhere; ref. Watts MSS ‘Catalogue’, vol.ii, p.167c; engr. by Moritz Klinkicht repr. MA, 1878, p.241 (repr. Gillett 1990, p.62, fig.14); engr. (as mezzotint) by Charles W. Campbell, 1885 (exh. The Artist as Portrait, FAS, London, 2000 [171]) and by Robert Dunthorne, 1887 (both in reverse pose); engr. (as woodcut), 148 x 120mm, by Gustav Kruell, c.1890 (prints BM, London, 1907,1003.1 and MEPL, London, 101078115; frequently repr., incl. Bryant 2004a, no.48; and Gould 2004, fig.57.
This may be considered the prime portrait of Watts, owing to its date and frequency of reproduction.

Unfinished oil sketch, head-and-shoulders to left, wearing hat; Dublin CG, The Hugh Lane, 14.327

1863
Oil on canvas, 1420 x 1015mm, The Eve of Peace (cut-down subject picture), signed and dated 1863, three-quarter-length, standing, looking down, wearing armour, holding helmet and sword; Dunedin Public AG, New Zealand, 3-1934. Ref. Watts 1912, vol.1, p.287 (where said to be in progress in 1870, but Watts’s appearance indicates an earlier date; see below ‘Photographs, 1863’); repr. Bryant 2004a, fig.18; and Gould 2004, fig.105

1867
Oil on canvas, 660 x 533mm, half-length, to left but looking to front, wearing brown hat; priv. coll; formerly with C.H. Rickards (1887 sale, [18]). Exh. G.F. Watts, Tate, 1954–5 (44); and G.F. Watts, Whitechapel AG, London, 1974 (19); repr. Chapman 1945, pl.18. Mistakenly dated ‘1869’ in Watts MSS ‘Catalogue’, vol.ii, p.168a.

1879
Oil on canvas, 660 x 533mm, signed and dated, half-length, profile to left; Watts G., Compton, COMWG.9; formerly with C.H. Rickards (1887 sale [45]). Exh. Manchester, 1880 (6); and Victorian Visionary, Guildhall AG, London, 2008 (51); ref. Watts MSS ‘Catalogue’, vol.ii, p.168b; repr. Bills & Bryant 2008, pp.176 and 207. Related to Uffizi (see below ‘1879–80’) and NPG self-portraits. A letter from Watts to Rickards dated Nov. 1879 is in the Watts G. Archive, Compton.
A related pencil drawing, 152 x 82mm; Watts G., Compton, COMWG2007.329.

c.1879
Oil on canvas; see NPG 1406.

1879–80
Oil on canvas, 765 x 645mm, half-length, profile to right, wearing skullcap, with palette, standing in front of Time, Death and Judgement; Uffizi, Florence, 1093. Exh. RA 1880 (212); Firenze e L’Inghilterra, Pitti Palace, Florence, 1971 (93); and G.F. Watts Portraits, NPG, London, 2004 (59); repr. Bookman, Apr. 1913, cover; and elsewhere incl. Bryant 2004a, no.59.

1882
Oil on canvas, 345 x 297mm oval, signed and dated, head-and-shoulders, looking right; Aberdeen AG, ABDAG003581. Ref. Watts MSS ‘Catalogue’, vol.ii, p.169b.

c.1882
Oil on canvas, unfinished half-length, turning; coll. Compton parish. Ref. Watts MSS ‘Catalogue’, vol.ii, p.169a.

1904
Oil on canvas, 635 x 457mm, unfinished head-and-shoulders, profile to right, looking down, wearing skullcap; Watts G., Compton, COMWG.6. Exh. Works of G.F. Watts RA, OM, RA Winter 1905 (190); and elsewhere incl. Victorian Visionary, Guildhall AG, London, 2008 (83); ref. Watts MSS ‘Catalogue’, vol.ii, p.169a; repr. Brooke 1994, p.108; and Bills & Bryant 2008, pp.256 and 283.


Possible self-portraitsback to top


c.1860s
Pencil, pen and ink drawing, 352 x 213mm, study for unexecuted painting Edward III and Queen Philippa, head-and-shoulders, profile to right, wearing chainmail, looking down and embracing woman; Watts G., Compton, COMWG2007.699. Repr. Bills & Bryant 2008, no.24, p.137 (where identified as a possible self-portrait. Although it may not be intended as such, the features strongly resemble those of Watts in other images in which he adopted the persona of the thoughtful knight in armour.)

1892–1901
Oil on canvas, Industry and Greed, half-length, grasping money-bags; Watts G., Compton, COMWG.159. Repr. Gould 2004, fig.220.
Another version; Christie’s, 15 June 1990 (135). This is not generally accepted as a portrait of the sitter.


By other artistsback to top


c.1849
Watercolour on ivory, 400 x 200mm, by Charles Couzens, whole-length, wearing long jacket, standing before cast of Parthenon frieze; Watts G., Compton, COMWG.501. Exh. The Rediscovery of Greece, FAS, London, 1979; and Victorian Visionary, Guildhall AG, London, 2008 (12); repr. Chapman 1945, pl.11; Blunt 1975, between pp.44–5; Gaja 1995, no.VI; Dakers 1999, p.20; Gould 2004, fig.24; and Bills & Bryant 2008, pp.106 and 109.
Pencil on paper drawing, 225 x 185mm, study for above; Watts G., Compton, COMWG2006.9. Exh. Victorian Visionary, Guildhall AG, London, 2008 (12.1); repr. Bills & Bryant 2008, p.108.

c.1850
Oil on canvas by Henry Wyndham Phillips; see NPG 1378.

1862
Pen and ink caricature drawing by George Du Maurier, in letter to Ellen Du Maurier, July 1862, head, profile to left, evening at Little Holland House; untraced. Repr. Du Maurier 1951, facing p.224.
See also Du Maurier,Hunt, Millais, Prinsep, Sandys, Walker, Whistler.

1863
Two pencil sketches by George Howard, 9th Earl of Carlisle, signed and dated 2 July 1863, in a sketchbook approx. 134 x 178mm:
(a) half-length, profile to left, right arm outstretched;
(b) half-length, from behind right shoulder, profile perdu to right, right arm outstretched; repr. Apollo, July 1982, p.51.
Sketchbook untraced. Exh. George Howard and his Circle, Carlisle CAG, 1968 (10); and Pre-Raphaelites: Painters and Patrons in the North-East, Laing AG, Newcastle, 1989 (49).

1867
Wood-engr. by unidentified artist, head-and-shoulders, profile to left, bareheaded; repr. ILN, 9 Mar. 1867, p.224; and MEPL, London, 10178113. Although this likeness appears to be taken from a photograph, none has as yet been identified.

1868
Pencil drawing on green paper, 244 x 190mm by Rudolf Lehmann, signed and dated 8 Oct. 1868 with sitter’s signature along lower edge, head-and-shoulders, slightly to right, wearing skullcap; BM, London, 1906,0419.47. Exh. RA 1869 (1135); RA 1905 (1381); and Drawings of English Sitters, BM, London, unknown date; repr. Marillier 1896, p.78 (copy MEPL, London, 101078110).

publ. 1870
Engraving by H. Woods, The Council of Selection of the Royal Academy, whole-length, seated with legs crossed, to far left of a group of figures deliberating over a canvas, next to Charles Landseer and Frederic Leighton. Repr. Graphic, 7 May 1870, pp.540–41 (double-page spread).

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 crest of a wave; untraced. Repr. Punch, 12 July 1879, p.6; McMaster 2008, p.69, fig.15; and McMaster 2009, p.38, fig.22.
See also Alma-Tadema, Ansdell, Armitage Boughton, Butler, Calderon, Cope, Du Maurier, Fildes, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant.

c.1879
Black and white chalk drawing on blue paper by Alphonse Legros, half-length to left, head-and-shoulders only in detail; untraced; formerly Lord Leverhulme, in Leverhulme Sale, Anderson, New York, 2–4 Mar. 1926 (220). This drawing is probably the portrait loaned by Frederic Leighton exh. Grosvenor G., London, Winter (Mar.) 1880 (320). From it, Legros produced the following prints:
(a) etching with drypoint, 314 x 202mm, signed, half-length, to right, eyes to front, with skullcap and beard; prints BM, London, 1949,0411.2236; and NPG D32232 (inscr. ‘before the plate was cut down’).
(b) etching with drypoint, 186 x 135mm, head-and-shoulders as in pose (a); BM, London, 1949,0411.2237.
(c) etching with drypoint, 186 x 134mm, as pose (b) with added strokes on body; colls BM, London, 1931,0214.18; Watts G., Compton, COMWG2007.967; and Dublin CG, The Hugh Lane, 1667 (205 x 145mm).
Head-and-shoulders version repr. Beraldi 1890 (198); Apollo, Feb. 1947, p.41; Sotheby’s, 22 Oct. 1972 (6); and Colnaghi’s 1976 (299).

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, half-length, profile to right, standing 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, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Thornycroft, 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, head-and-shoulders, profile to left, wearing skullcap, beside John Gilbert on a horse; 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, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Thornycroft, Woolner, Yeames

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head-and-shoulders, profile to right, positioned 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, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Yeames.

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design., half-length, with back to viewer, profile to left, wearing an academic gown and familiar skullcap; 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, Pettie, Pickersgill, Poynter, Prinsep, Yeames.

publ. 1885
Drawing by (Edward) Linley Sambourne for The Royal Academy Argonauts., half-length, sixth 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, Orchardson, Pettie, Poynter.

mid-1880s
Two watercolour drawings by unidentified artists, views of Little Holland House with figures of Watts painting and sitting in garden; untraced; known from Emery Walker photographs.

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods., whole-length, standing, profile to right, depicted as the figure of Saturn; 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, Poynter.

1887
Watercolour drawing by Cecil Schott, head-and-shoulders, near profile to left, wearing skullcap, before swirling clouds; untraced. Repr. Barrington 1905, frontispiece (colour).

Drawing by Cecil Schott, head to right, eyes closed; untraced. Repr. Barrington 1905, facing p.206.

publ. 1887
Composite engr. by unidentified artist, after photographs of well-known individuals, A Memento of Her Majesty’s Jubilee Year – 1887, head only, wearing skullcap, left-hand side in the middle ground; 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, Millais, Morris, Ruskin, Stanley, Tenniel.

c.1887n`
Miniature by Charlotte E. Howard, probably head-and-shoulders; untraced. Exh. RA 1887 (1406).

publ. 1888
Drawing by Thomas Walter Wilson for The 10th of December – Prize Day, signed bottom left-hand corner, seated, slightly to left, to the right-hand side of composition in multi-figure group; untraced. Engr. by R. Taylor repr. MA, 1888, p.61.
See also Alma-Tadema, Gregory, Hodgson, Horsley, Leighton, Millais, Prinsep, Sant.

1888–9
Bronze bust, 584 mm high, by Alfred Gilbert, head-and-shoulders; colls Tate, N01949 (bronze); and RA, London, 03/2410 (plaster, 559mm high) and 03/2429 (bronze, 785mm high, cast in 1939). Plaster cast exh. RA 1889 (2153); Manchester CAG, 1905 (205); and Alfred Gilbert: Sculptor and Goldsmith, RA, London, 1986 (122); engr. by Paul Jonnard repr. MA, 1889, p.253. Reduced bronze cast, 170mm high; untraced; formerly with Watts G., Compton; Sotheby’s, 1 Mar. 1972 (75), 17 June 1987 (256) and 30 Mar. 1999 (108); and Christie’s, 11 June 2004 (89). Repr. Hutchings 1994, p.42; Gould 2004, fig.166; Edwards 2006, pl.7.4; and Bills & Bryant 2008, pp.296 and 303.

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

1889
Painting, 735 x 545mm, by Philip Burne-Jones, after photograph by Henry Herschel Hay Cameron (see below, ‘Photographs, 1885’), signed and dated, whole-length, in his studio at work on Physical Energy; Johannesburg AG. Exh. New G., London, 1889 (132); RSPP 1892 (12); and New Zealand Int. Exh., 1906–7; repr. Graphic, 28 May 1910, p.774; and Bryant 2009, p.56.

Oil sketch, 265 x 130mm, by Cecil Schott, three-quarter-length, profile to right, wearing straw hat; Athenaeum Club, London, 896. Repr. Tait & Walker 2000, no.896.

Plaster cast, 150 x 330 x 160mm, by unidentified artist, right hand clasping that of wife; Watts G., Compton, COMWG2007.933.1. Repr. Gould 2004, fig.160.

Wood-engr., 389 x 295mm, by Moritz Klinkicht, ‘from a photograph by Mr Henry Cameron’, signed in plate, half-length to right, looking to front, left hand to cheek; proof impression BM, London, 1889,0409.365. Repr. ILN, 4 May 1889 (as double-page supplement).

1889–90
Oil mural by Phoebe Traquair, whole-length, standing, profile nearly to left, holding sketch of Love and Death, with other figures in frieze; South Wall, Song School, St Mary’s Cathedral, Edinburgh. Repr. Gould 2004, fig.178; and Cumming 2005, fig.19.

1890
Pastel by John McLure Hamilton, head-and-shoulders to right; untraced. Exh. RSPP 1891 (152); repr. AJ, 1896, p.342; Scribner’s Magazine, 1900, p.737; and Hamilton 1921, facing p.202.

c.1890
Crayon lithograph, 246 x 200mm, by Alphonse Legros, head-and-shoulders, turned to front with white beard and skullcap; publ. Soulier & Legros, 1904, no.527; BM, London, 1949,0411.2160.

1891
Chalk and grey wash drawing, 451 x 295mm, by (William) Walker Hodgson, signed and dated; untraced. Ref. Christie’s, 6 Dec. 1957 (part of lot 7); and Christopher Wood G., 1984, no.23. See NPG collection 4041(1–5).

Drawing by Reginald Cleaver, three-quarter-length, seated, back to viewer, painting Lord Tennyson at Farringford; untraced. Engr. repr. Daily Graphic, 8 Sept. 1891; and Gould 2004, fig.164 .

Bronze bust, 612mm, by Emma Cadwallader Guild, signed and dated, head-and-shoulders, wearing smock; Whitworth AG, U. of Manchester, S.1887.2. Exh. RA 1893 (1665). Terracotta version repr. Studio, 1898, p.54; and Gould 2004, fig.175; offered to NPG by artist, 1905.

Pencil and watercolour drawing, 317 x 175mm, by Leslie Ward (‘Spy’), whole-length, profile to left, left foot raised on stool; untraced. Exh. Sir David Murray and his Times, Chris Beetles, London, 1988 (61); repr. Christie’s, 4 Feb. 1986 (268); and Chris Beetles, May cat. 1986 (149). See NPG collection 2566–2606, 2698–2746, 2964–3012, 3265–3300, 4605–4611, 4627–4636, 4707(1–30), 4711–4758.
Chromolithograph, 380 x 250mm, repr. Vanity Fair, 26 Dec. 1891; and Bills & Bryant 2008, p.45. Exh. Victorian Visionary, Guildhall AG, London, 2008 (97).

c.1891
Drawing or print by W. Biscombe Gardner; untraced. Exh. RA 1891 (1712).

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; 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, Orchardson.

1894
Drawing by T. Gordon Stowers, head-and-shoulders, looking to front; untraced. Exh. RA 1894 (1430); offered to NPG by artist, 1911.

Pencil drawing, 230 x 175mm, by (Marion Margaret) Violet Manners (née Lindsay), Duchess of Rutland, whole-length, at work on portrait of Alfred Gilbert; coll. Jean van Caloen Foundation, Belgium. Repr. Dorment et al. 1986 (122).

Pencil drawing, 317 x 235mm, by Alphonse Legros, head, profile to left, wearing skullcap; untraced. Repr. with companion portrait of wife, Bonham’s, 9 Nov. 2004 (109).
Probably dating from the same period:
See also bronze medallion, c.1897, below.

Watercolour drawing, 126 x 407mm, by Mary Seton Watts, Oct. 1894, half-length, profile to right, propped up in bed, wife looking on; Watts G., Compton, COMWG2007.959. Repr. Gould 2004, fig.190 (where dated). Another version; priv. coll.

Ink caricature drawing, 200 x 121mm, by Mary Seton Watts, May 1895, inscr. ‘An Epsom Beggar / drawn from life by / the Beggar’s Wife’, whole-length, looking down, holding out hat; Watts G., Compton, COMWG2007.430a. Exh. Mary Seton Watts (1849–1938) Unsung Heroine of the Art Nouveau, Watts G., Compton, 1998 (36); repr. Gould 2004, fig.194 (where dated).

1895–9
Bronze statuette, 482mm high, by Alfred Gilbert, whole-length, standing, wearing robes and crown, holding sword and model of Westminster Abbey, as Edward the Confessor; on Memorial to the Duke of Clarence (Royal Coll., Windsor). Repr. Edwards 2006, pl.7.1; and Bills & Bryant 2008, pp.296, 303 (102); see also photograph in album presented by Christopher Turnor, Watts G., Compton, GFW/6/29.

publ. 1896
Engr. by G.R. Aylmer, His Lordship, whole-length, wearing long dark robes, at head of procession, fanciful depiction in the background including the rear façade of Leighton House; repr. AJ, Feb. 1896, p.58.
See also Leighton, Millais.

c.1896
Pencil caricature drawing, 224 x 170mm by James McNeill Whistler, as Minotaur; coll. J.F. McCrindle. Repr. MacDonald 1995, no.1483.

1897
Oil on canvas, 559 x 406mm, by Charles Holroyd, head-and-shoulders, profile to left; Tate, N03397.

Watercolour drawing, 171 x 120mm, by Hubert von Herkomer, signed and inscr. ‘To my friend G.F. Watts’, head-and-shoulders, profile to right; untraced. Exh. RWS 1897; RSPP 1898 (25); possibly also RSPP 1900 (26) and RSPP 1913 (143); repr. MA, 1897, p.140; Baldry 1901, facing p.58; and Edwards 1999, fig.95.
A sketch of this, 165 x 110mm, with same pose, head-and-shoulders, profile to right; priv. coll. Exh. Christie’s, 14 Apr. 1950 (20); repr. Whistler 1993, p.21.

Bronze medallion by Elinor Hallé (for the New G. for presentation to sitter on his 80th birthday), head-and-shoulders, profile to right; colls M. d’Orsay, Paris, 0.094; and Watts G., Compton, COMWG2008.479 and COMWG2008.145. Ref. Spielmann 1901, p.170; and Gould 2004, p.311.

c.1897
Bronze medallion by Alphonse Legros; see NPG 1980.

1898
Drawing by Violet Manners, Duchess of Rutland, three-quarter-length, profile to left, at work on portrait of Cecil Rhodes; untraced. Repr. Burlington Magazine, Aug. 1904, p.453.

1899
Oil on canvas by Louis Reid Deuchars; see NPG 5223.

Oil on ivory miniature, 76 x 57mm (oval), by Ethel Webling (after photograph), head-and-shoulders; Watts G., Compton, COMWG2007.961. Repr. Schleinitz 1904, p.68.

c.1900
Drypoint, 301 x 240mm (plate), by Mortimer Menpes, head, profile to right; colls Watts G., Compton, COMWG2007.964; and NPG D32233. Repr. The Artist as Portrait, FAS, London, 2000 (169); and Bonhams, 3 Oct. 2005 (220).

publ.1902
Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, half-length, facing front, in middle row first 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, Herkomer, Orchardson, Poynter, Richmond, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Wells, Whistler.

before 1904
Relief sculpture, 420 x 220mm, by George Thompson (d. early 1904), life-size head; Watts G., Compton, COMWG2007.934. Ref. Hutchings 1994, p.41.

1904
Bronze medal, 83mm diam., by Theodore Spicer-Simson, head-and-shoulders, profile to right; BM, London, 1917,2.8.1. Exh. RA 1905 (1715); repr. International Studio, 1904, p.335; Connoisseur, vol.49, 1917, p.145; and Attwood 1992, no.12. One cast offered to NPG by artist 1948.

Oil on canvas, 505 x 725mm, by Louis Reid Deuchars, whole-length, profile to right, seated in garden with barn at Limnerslease (pose taken from photograph by Alexander Fraser Tytler below, see ‘Photographs, 1898’); untraced. Exh. Walker AG, Liverpool, 1904 (1191); and New G., London, 1905 (178); repr. Bonhams, 8 Mar. 2005 (233).


Doubtful portraitsback to top


1843
Watercolour drawing by Essex, head-and-shoulders, facing forwards with long dark locks, wearing high collar and blue cravat; Watts G., Compton. This is an unconfirmed portrait of Watts.


1854
Pen and wash drawing attributed to Samuel Cousins, head, full-face, wearing white stock, in album belonging to Mary Seton Watts; priv. coll. Repr. Sotheby’s, 16 Dec. 2004 (273).

Posthumous portraitsback to top



1904
Plaster death mask by Cantoni; see NPG 5283.

c.1904
Two bronze statuettes by Louis Reid Deuchars:
(a) 425mm high, cast by foundry in Tonbridge, Kent, whole-length, standing, wearing wide-brimmed hat and Inverness cape; Watts G., Compton, COMWG.475, presented by Ronald Chapman. Repr. Studio, vol.24, Nov. 1901, p.134; and Hutchings 1994, front cover.
(b) 370mm high, no foundry stamp, whole-length, standing, wearing cape, with hands clasped behind back holding hat; Watts G., Compton, COMWG.476. Probably that 375mm high offered Christie’s 5, Dec. 1972 (73) and 24 January 1974 (73); repr. Hutchings 1994, frontispiece.
A terracotta version of one of these exh. RGI 1904 (898); untraced.

1905
Marble life-size bust by George Frampton, head-and-shoulders, wearing wide-collared cape; South London AG., GA0140. Exh. RA 1906 (1671); repr. Cassell’s RA Pictures 1906, p.139; and Hutchings 1994, p.43.

Carved mahogany relief, by T.H. Wren, In Memoriam G.F. Watts, whole-length; Postman’s Park, Aldersgate St., London EC1, erected 1905. Ref. Cooper 1928, p.96; and Byron 1981, p.51.

c. 1905
Two plaster effigies, 200 x 540mm, by T.H. Wren, whole-length, recumbent; colls Watts G., Compton, COMWG2007.938

1909
High-relief sculpture by Reginald Goulden, whole-length, wearing long smock and holding sketchblock and pencil; Cromwell Rd. (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, half-length, profile to right in skullcap, half-way up staircase to right-hand side, behind Frederic Leighton, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London. Exh. RA 1914 (536); and Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Centre for British Art, New Haven, 2013 (55, ill. with key [no.62]). 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, Millais, Terry, Tree, Waller, Whistler, C. Wyndham.


Undated portraitsback to top


Oil on canvas, 214 x 161mm, by J.V. Gibson (after a photograph), head-and-shoulders, wearing red cap; Watts G., Compton, COMWG2007.960.

Two drawings by Brian Hatton:
(a) half-length, profile;
(b) head, with that of wife;
untraced; known from photographs at Watts G., Compton.

Pencil and chalks drawing, 423 x 521mm, by Mrs Alfred Southerby (after photograph, see below, ‘1903–4’), half-length, profile to right, seated reading in drawing room; untraced. Repr. Christie’s, 25 Mar. 1994 (343); and Bonhams, 12 June 1996 (66).

Bronze statuette by Henry Poole; see NPG 2480.


Photographsback to top


c.1854–8
Albumen prints by James Soame, at least four known poses:
(a) see NPG P68.
(b) 224 x 189mm, whole-length, slightly to left, looking down, wearing hat and dark tunic, holding book; Watts G., Compton. Ref. Sotheby’s, Belgravia, 28 June 1978 (134).
(c) albumen print, 137 x 96mm, half-length, to front, wearing hat and pale tunic, holding large book; copy print Watts G., Compton. Ref. Sotheby’s, Belgravia, 14 Mar. 1979 (321); repr. Gould 2004, p.37.
(d) whole-length, slightly to left, wearing hat and pale tunic over trousers, holding book at waist; glass neg. Watts G., Compton, COMWG2010.1.170 (inscr. ‘Study for Lincoln’s Inn. about 1854. by Soame at old Little Holland House’).
Possibly by Soame also:
(e) half-length to left, seated on floor, hatless but wearing chainmail shirt; ref. Sotheby’s, Belgravia, 14 Mar. 1979 (322).

late 1850s
Albumen carte-de-visite by (Cornelius) Jabez Hughes, Royal Photographic Studio, Isle of Wight, whole-length, to right; Royal Coll., in album compiled 1860. Repr. Maas 1984, p.68.

Albumen print by unidentified photographer, whole-length, reclining to left, first on right in group in garden of Little Holland House; glass neg. Watts G., Compton, COMWG2010.1.169. Repr. Gould 2004, p.44.

1860
Photograph by unidentified photographer, whole-length, standing with rifle, in uniformed group including William Holman Hunt; repr. from The Artists’ Rifles Journal in Gould 2004, p.56.

1863
Albumen prints by David Wilkie Wynfield: see NPG P86 and NPG P96.

c.1863
Carbon print, 212 x 162mm, by David Wilkie Wynfield, half-length, profile to right, wearing Venetian costume (the same robe as used in Leighton’s A Noble Lady of Venice, c.1865); RA, London, 03/6939. Repr. (reversed) Gould 2004, p.61. See NPG collection P70–P100.

early 1860s
Albumen prints by Henry Thoby Prinsep
(negs in Watts G., Compton), three known poses:
(a) whole-length, to front, seated, wearing hat and coat in garden at Little Holland House with Sophia Dalrymple; repr. Gould 2004, p.45; and Bryant 2009, p.29, fig.25.
(b) three-quarter-length, to front, seated, wearing sealskin coat and holding stick; glass neg. Watts G., Compton, COMWG2010.1.174. Repr. Gould 2004, p.72.
(c) half-length, to front, right hand on left sleeve, known as ‘The Titian Sleeve’. Repr. Gould 2004, p.69 (where captioned ‘arranging drapery folds before posing for Julia Margaret Cameron at Cromwell Place’; see below, ‘1864’).

Photograph by unidentified photographer, half-length to front, slightly profile to right, seated, with cape over shoulders and long beard; glass neg. Watts G., Compton, COMWG2010.1.175. Repr. Bryant 2009, p.33, fig.28.

Albumen carte-de-visite by Elliott & Fry, quarter-length to right, hand at chin; NPG Ax17281, NPG Ax17855 and NPG x27302.

Albumen cartes-de-visite by John Watkins, three known poses:
(a) quarter-length, profile to left; NPG Ax14830.
(b) head-and-shoulders to left; RA, London, 05/2682.
(c) half-length, to left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.259.

Small or cut carte-de-visite by unidentified photographer, head-and-shoulders, profile to left, bareheaded, in front of heavily studded door; Eastnor Castle, Herefordshire, Album 2.

1864
Albumen prints by Julia Margaret Cameron, four known poses:
(a) half-length, profile to left, seated on balcony of John Everett Millais’s house, 7 Cromwell Place, London; reg. for copyright 1964 June 30: National Archives (COPY 1/6); colls J. Paul Getty Museum, Malibu, CA, Overstone Album, 84.XZ.186.55; RPS, Bath, 2296/ (circular format); and Eastnor Castle, Herefordshire; photogravure V&A, London, E.2748-1990 and other colls. Engr. repr. ILN, 9 Mar. 1867, p.224; photograph repr. Gernsheim 1975, p.101; Weaver 1986, p.83; Cox & Ford 2003, no.826; and elsewhere.
Three other untraced poses were registered on the same day, with the following details:
(b) full-face, cloak and hat, right hand on shoulder, left arm extended.
(c) bust, nearly profile, looking down, in sealskin coat.
(d) 3/4 face, hand to head, loose robe.

Albumen print by Julia Margaret Cameron; see NPG P215.

1865
Albumen prints by Julia Margaret Cameron, reg. for copyright 1865 May 19: National Archives (COPY 1/8), two known poses:
(a) in group composition entitled The Whisper of the Muse, half-length, profile to left, holding violin; J. Paul Getty Museum, Malibu, CA, Overstone Album, 84.XZ.186.96. Repr. Cox & Ford 2003, no.1086, p.438 (also fig. 46, p.61).
(b) in group composition entitled The Whisper of the Muse, half-length, profile to right, holding violin; colls V&A, London, 44.764; and Watts G., Compton, COMWG2010.1.176. Repr. Cox & Ford 2003, no.1087, p.448; Gould 2004, p.77; and Bills & Bryant 2008, pp.35, 140.

Albumen print by Julia Margaret Cameron, taken at Freshwater, Isle of Wight, Oct. 1865, half-length, profile to right, reg. for copyright 1865 Nov. 11: National Archives (COPY 1/9); colls J. Paul Getty Museum, Malibu, CA, 84.XM.443.55; RPS, Bath, 2022/1-2; HRHRC, U. of Texas at Austin, 964:003715:09:180060; and elsewhere. Repr. Cox & Ford 2003, no.828. The registration details (‘3/4 face, head slightly inclined, part of hand and part of shirt sleeve shewn’) do not exactly correspond with the published image; possibly two variant poses were taken.

1866
Albumen print, 439 x 279mm, by Julia Margaret Cameron, half-length, profile to right; reg. for copyright 1866 Nov. 22: National Archives (COPY 1/12) as ‘life size’; Eastnor Castle, Herefordshire.

1865–9
Albumen print by Julia Margaret Cameron; see NPG P125.

1875
Albumen print, in mount with arched top, by Julia Margaret Cameron, three-quarter-length, seated, profile to left, bare-headed, wearing large overcoat; probably that reg. for copyright 1875 Oct. 20: National Archives (COPY 1/31) as ‘head looking down, figure draped, face almost profile’; Eastnor Castle, Herefordshire.

1880
Platinum prints by Frederick Hollyer, two known poses:
(a) 142 x 103mm, half-length, profile to right, seated, wearing skullcap and pale-coloured jacket, right hand on arm of chair; NPG x20029. Drawing by Bichard, engr. by Petit repr. L’Art, vol.29, 1882, p.9; and (cropped to head-and-shoulders) MA, 1897, p.109.
(b) three-quarter-length, to front, seated, right hand on arm of chair, wearing skullcap and pale-coloured coat; colls V&A, London, 7703.1938; and NPG x129604 (142 x 102mm cropped version). Exh. in cropped form Photographic Salon (Linked Ring), London, 1900 (219), as seen in Photograms of the Year 1900, p.122; repr. Lady’s Realm, vol.5, Nov. 1898–Apr. 1899, p.2.

before 1882
Woodburytype, 114 x 91mm oval format, by Lock & Whitfield, head-and-shoulders, profile to left, wearing skullcap and dark coat; colls NPG Ax17676 and NPG x27298; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1017 and COMWG2008.2150; and MEPL, London, 10178112. Repr. Cooper 1876–83, 6th ser., 1882, p.20.

c.1882
Photographs by Alexander Bassano, apparently related to Watts’s honorary doctorate at University of Oxford in June 1882, two known poses:
(a) half-length, near-profile to left, wearing hat, checked suit and and overcoat; neg. Watts G., Compton.
(b) whole-length, profile to left, standing outdoors wearing doctoral robes; original glass neg. Watts G., Compton, COMWG2010.1.6.

Photograph by Alexander Bassano, 23 Nov. 1883, three-quarter-length to left, seated, wearing dark suit and skullcap, with pale ulster coat, scroll or letter in hand; colls NPG x9054; glass neg. Watts G., Compton, COMWG2010.1.178. Repr. Gould 2004, p.174.

1883
Photographs by Frank Dudman for Joseph Parkin Mayall, two known poses:
(a) albumen print, whole-length, to front, wearing skullcap, seated amidst paintings in studio; reg. for copyright 1896 Feb. 29: National Archives (COPY 1/423/588); photogravure by Sampson Low, Marston, Searle and Rivington publ. Stephens 1884, part 4, pl.1 (twelve years earlier than photograph was registered); colls NPG Ax27825; MEPL, London, 10178118; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3747. Exh. The Art of the Picture Frame, NPG, London, 1996–7; repr. Maas 1984, no.124; Gould 2004, p.176; Bills & Bryant 2008, p.43; and Bryant 2009, p.60, fig.62 and p.80, fig.83 (detail).
(b) in studio amidst other paintings; repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, 2 May 1892, p.5.

1885
Albumen prints by Henry Herschel Hay Cameron, two known poses:
(a) 240 x 190mm, half-length, to front, wearing skullcap, left hand to cheek; reg. for copyright 1885 Oct. 22: National Archives (COPY 1/374/126); colls Eastnor Castle, Herefordshire; and NPG x20030. Another print exh. Colnaghi Photographic Exh. 1976 (196). Photogravure, 245 x 183mm, repr. in A.T. Ritchie, Alfred Lord Tennyson and His Friends, London, 1893; coll. NPG Ax29137. See above, ‘By other artists, 1889’ for the large wood-engr. by Klinkicht based on this photograph.
(b) half-length, half-profile to left, wearing skullcap, hands clasped; reg. for copyright 1885 Oct. 22: National Archives (COPY 1/374/125).

1885–6
Photographs by William James Stillman, two known poses:
(a) ‘in his studio’; reg. for copyright 1885 Nov. 13: National Archives (COPY 1/374/312).
(b) whole-length, seated ‘in arm chair in his own studio’; reg. for copyright 1886 May 26: National Archives (COPY 1/376/186) [image not attached].

c.1887
Photographs by Frederick Hollyer, three known poses:
(a) three-quarter-length, to right, seated, reading; repr. The Year’s Art 1888, p.16.
(b) half-length, profile to right, seated, not wearing cap; repr. Bridgeman AL online.
(c) whole-length, profile to right, reading with Mary Seton Watts at Little Holland House 1887; Watts G., Compton. Repr. Gould 2004, p.218; and Bills & Bryant 2008, p.218.

1888
Photograph by Henry Herschel Hay Cameron, whole-length, standing to right, head turned to camera, left hand on statue of Physical Energy; copy neg. by Emery Walker coll. NPG EW 953/6. Repr. Watts 1912, vol. 2, frontispiece; MEPL, London, 101778117; and Gould 2004, p.229.

1888–9
Photograph, 310 x 353mm, by Donovan & Son (St James’s St., Brighton), whole-length, profile to right, painting Ariadne at Brighton; Watts G., Compton. Exh. Victorian Visionary, Guildhall AG, London, 2008 (91); repr. Gould 2004, p.232 and back cover.

1889
Chlorobromide prints by Elliott & Fry, two known poses:
(a) 298 x 201mm, head-and-shoulders, profile to right wearing skullcap and tweed jacket and coat; NPG x127493. Repr. The Bookman, Apr. 1913, p.46.
(b) head-and-shoulders, full-face, eyes left; repr. C. Werckmeister, Das Neunzehnte Jahrhundert in Bildnissen, 1898–1901, vol.4, Berlin, 1900, no.467.

reg. 1889
Platinum prints by Ralph Winwood Robinson, three known poses:
(a) whole-length, to right, seated at base of Physical Energy; reg. for copyright 1889 Oct. 26: National Archives (COPY 1/398/115); NPG x7399 and NPG x27300. Repr. AJ, 1890, p.135; and Robinson [1892].
(b) three-quarter-length, seated, mallet on one hand, gouge in other; reg. for copyright 1889 Oct. 26: National Archives (COPY 1/398/114); glass neg. Watts G., Compton, COMWG2010.1.47.
(c) standing at base of statue (Physical Energy); reg. for copyright 1889 Oct. 26: National Archives (COPY 1/398/113); glass neg. Watts G., Compton, COMWG2010.1.316.

1889–91
Photographs by unidentified photographer, six known poses:
(a) whole-length, profile to left, painting outdoors at Monkshatch (near Compton); glass neg. Watts G., Compton, COMWG2010.1.191. Repr. Gould 2004, p.239.
(b) three-quarter-length, to left, facing front, at Monkshatch, painting The Life of Unrequited Toil; Watts G., Compton. Repr. Gould 2004, p.240.
(c) as pose (b) above, leaning forwards towards canvas; glass neg. Watts G., Compton, COMWG2010.1.180.
(d) whole-length, to left, with The Court of Death; glass neg. Watts G., Compton, COMWG2010.1.188. Repr. Chapman 1945, p.161; and Gould 2004, p.256.
(e) whole-length, to front, at Monkshead quarry (close to Monkshatch); original neg. Watts G., Compton.
(f) three-quarter-length, to front, standing in front of brick house (Monkshatch); original glass neg. Watts G., Compton, COMWG2010.1.15.

Photograph by unidentified photographer, possibly from same occasion as above, three-quarter-length to front, holding wicker basket to front, dressed as above; glass neg. Watts G., Compton, COMWG2010.1.184.


1890
Platinotype cabinet card, possibly by Donovan & Co., half-length, profile to left, bareheaded, wearing woollen jacket and ulster; NPG x27296.

early 1890s
Photographs by unidentified photographer:
(a) whole-length to left, head turned to camera, standing at top of ladder, at work on Physical Energy with George Thompson standing below; glass neg., Watts G., Compton, COMWG2010.1.314. Repr. Bryant 2009, p.57, fig.59.
(b) as above, standing, whole-length to front of sculpture, Thompson positioned behind; glass neg., Watts G., Compton, COMWG2010.1.312.
(c) as above, standing, whole-length to rear of sculpture, Thompson positioned to front; glass neg., Watts G., Compton, COMWG2010.1.318.

1890s
Albumen cabinet card by Elliott & Fry, whole-length, to left, seated wearing skullcap; NPG x27297.

Photograph by unidentified photographer, whole-length, to front, in front of Physical Energy in the garden at Little Holland House; glass neg. Watts G., Compton, COMWG2010.1.313. Repr. Gould 2004, p.244.

Photograph by unidentified photographer, probably from same session as above, whole-length, facing front, wearing smock, reclining on wicker lounger in the garden; glass neg. Watts G., Compton, COMWG2010.1.7.

c.1890s
Photograph by unidentified photographer, head-and-shoulders, seen from behind, seated with Mary Watts in carriage going down Limnerslease driveway; glass neg. Watts G., Compton, COMWG2010.1.22. Repr. Greenhow & Naughton 2011.

1893
Photographs by Frederick Hollyer, three known poses:
(a) three-quarter-length, profile to left, standing, wearing pale jacket with handkerchief, left hand in pocket, right hand touching portfolio of photographs taken by Hollyer; V&A, London, 7705.1938. Repr. Gould 2004, fig.186, p.285 (where dated to 1903).
(b) platinum print, 146 x 89mm, three-quarter-length, profile to right, standing, looking down at portfolio; NPG x19020. Repr. (as platinum print, 145 x 90mm) Bonhams, 12 July 2007.
(c) three-quarter-length, profile to right, seated in bentwood chair wearing skullcap and smock; V&A, London, 7702.1938. Repr. Bills & Bryant 2008, p.15.

1895
Photographs by George Andrews, 6 June 1895, six known poses:
(a) three-quarter-length, profile to right, seated in studio; original neg. Watts G., Compton. Repr. The Year’s Art 1902, frontispiece, and The Year’s Art 1905, p.364.
(b) whole-length, profile to right, wearing hat and white coat, at work on Physical Energy; photogravure publ. 1912.
(c) nearly whole-length, profile to left, hands crossed, seated in front of The Court of Death; reg. for copyright 1895 Aug. 19: National Archives (COPY 1/421/711); Watts G., Compton.
(d) whole length, near-profile to right, seated in garden alcove at Limnerslease beneath Della Robbia plaque; reg. for copyright 1895 Aug.19: National Archives (COPY 1/421/712). Bromide print, 214 x 164mm; NPG x19021 (inscr. ‘GFW / Copyright’ lower right); original negs The Rob Dickins Coll., Watts G., Compton, COMWG2008.1016, Watts G., Compton, COMWG2010.1.189 and Watts G., Compton, COMWG2010.1.14; copy print exh. Victorian Visionary, Guildhall AG, London, 2008 (90); repr. Bills & Bryant 2008, p.x. Enlarged and publ. by John Caswall Smith; repr. AJ, 1895, p.351; Schleinitz 1904, p.129; Studio, vol.2, 1897, p.50; and Gould 2004, p.297. See also NPG 5223.
(e) whole-length, near-profile to right, in workshop at Limnerslease; original glass neg. Watts G., Compton, COMWG2010.1.4; photogravure, NPG x27301 repr. Gould 2004, p.329.
(f) whole-length, to left, standing in garden next to steps; original glass neg. Watts G., Compton, COMWG2010.1.3.

Photograph by unidentified photographer, probably from same session as above, bust to left, profile to left looking down, dressed as above (without hat); glass neg. Watts G., Compton, COMWG2010.1.181.

Photograph by unidentified photographer, whole-length, near-profile to right, in workshop at Limnerslease, wearing dark velvet jacket, cape and skullcap; Watts G., Compton, COMWG2010.1.179.

1896
Photograph by George Andrews, Feb. 1896, whole-length, profile to left, seated in the studio at Limnerslease with Love and Death, Death, Naked and Not Ashamed, and The Building of the Ark, on easels; copies colls NPG x35396; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.395, COMWG2008.396 and glass neg. COMWG2010.1.185. Exh. Victorian Visionary, Guildhall AG, London, 2008 (29.2); repr. Gould 2004, p.303 (where dated); and Bills & Bryant 2008, p.150.
Probably from same date, whole-length, to front, reclining in alcove at Limnerslease, with Mary Seton Watts; glass neg. Watts G., Compton, COMWG2010.1.40. Repr. Chapman 1945, p.161.

1898
Photograph by Alexander Fraser Tytler, whole-length, profile to right, seated, in garden with barn at Limnerslease; reg. for copyright 1901 May 18 (but currently untraced at NA); repr. Gould 2004, p.335.

Photograph by unidentified photographer, whole-length, to left, seated in garden in group with Mary Seton Watts and others at Limnerslease; repr. Gould 2004, p.324.

c.1898
Photographs by unidentified photographer, with Mary Seton Watts in the garden at Limnerslease, two known poses:
(a) whole-length to right, standing to right; glass neg. Watts G., Compton, COMWG2010.1.12.
(b) whole-length, seated on garden chair to right; glass neg. Watts G., Compton, COMWG2010.1.13.

before 1899
Photographs by John Caswall Smith,at least two known poses:
(a) half-length, to front; repr. Country Life, 9 July 1904, p.45.
(b) three-quarter-length, to left, seated, arm across chest; repr. AJ, 1899, p. 214.
Possibly also
(c) whole-length, profile to right, seated in studio; known from relief halftone print NPG D32140. Repr. Bryant 2009, p.55, fig.57.

1899
Photographs by unidentified photographer, Scotland, nine known poses:
(a) whole-length, profile to left, facing front, seated, painting in his specially constructed cabin in the Highlands; glass neg. Watts G., Compton, COMWG2010.1.66. Repr. Gould 2004, p.331, no.213.
(b) whole-length, profile to right, seated with legs crossed, viewed from behind painting in his shelter in the Highlands; glass neg. Watts G., Compton, COMWG2010.1.67.
(c) whole-length, seated in group aboard yacht, to left of image; original neg. Watts G., Compton. Repr. Gould 2004, p.333.
(d) as pose (c) above, half-length, seated to right, second from left in group; glass neg. Watts G., Compton, COMWG2010.1.49.
(e) seated outside next to his ward, Lillian Chapman, dressed as above with netting round hat to protect against midges; glass neg. Watts G., Compton, 2010.1.11.
(f) whole-length, to front, wearing white hat, left-hand side of image, with a local family in Scotland, lake behind; glass neg. and print Watts G., Compton, COMWG2010.1.70.
(g) whole-length, profile to right with unidentified woman; original neg. Watts G., Compton.
(h) whole-length to right, wearing white hat and Inverness cape, leaning against a wall; glass neg. Watts G., Compton, 2010.1.69.
(i) whole-length to front, wearing white hat, amongst group on a hillside;glass neg. Watts G., Compton, 2010.1.65.

c.1899
Photograph by unidentified photographer, possibly same as above, Amongst group in garden in Scotland crouched down to front tying the shoe lace of a small boy; glass neg. Watts G., Compton, 2010.1.61.

Photograph by unidentified photographer, Scotland, whole-length to left, seated in garden (possibly Aldourie Castle);glass neg. Watts G., Compton, 2010.1.64.

Photograph by unidentified photographer, nearly whole-length, to front, standing with Mary Seton Watts and others, outside Limnerslease front door; Watts G., Compton. Repr. Gould 2004, p.332.

1900
Photographs by Edward J. Steichen, October, two known poses:
(a) see NPG P168.
(b) gum bichromate print, 223 x 165mm, inscr. on neg. ‘GEORGE FREDRICK WATTS’ and ‘STEICHEN / MDCCCCIII’, quarter-length, profile to right, looking down, right hand to cheek, wearing skullcap and shirt with deep frilled cuff; AI Chicago, 1949.824. Exh. Steichen the Photographer, MMA, New York, 1961 (ill. p.26); and Steichen 1963, pl.13.

c.1900
Bromide print postcard, 123 x 81mm, by Ernest Herbert Mills, three-quarter-length, profile to left, wearing pale-coloured coat and skullcap; colls NPG x27299 and The Rob Dickins Coll., Watts G., Compton, COMWG2008.397. Repr. Bills & Bryant 2008, p.3.

Photograph by unidentified photographer, possibly from same session as above, half-length, standing to left holding brush to canvas, dressed as above; glass neg. Watts G., Compton, COMWG2010.1.190.

Probably from same session, full-length, profile to right, seated in doorway, dressed as above, before a study for Love Steering the Boat of Humanity; glass neg. Watts G., Compton, COMWG2010.1.182.

Photograph by unidentified photographer, three-quarter-length, to front, outside Limnerslease with Joseph Joachim; glass neg. Watts G., Compton, COMWG2010.1.187. Repr. Gould 2004, p.352.

Photograph by unidentified photographer, whole-length, standing to front, right hand resting on chairback, outside, wearing suit and cape with slippers and skullcap; glass neg. Watts G., Compton, COMWG2010.1.5.

Photographs by unidentified photographer, four known poses:
(a) whole-length, to front, seated, eyes closed, at Limnerslease, with Mary Seton Watts reading; formerly with L. Chapman. Repr. Gould 2004, p.271.
(b) half-length, to front, seated in front of The Messenger; glass neg. Watts G., Compton, COMWG2010.1.186. Repr. Gould 2004, p.286.
(c) whole-length, to front, standing, in group with Mary Seton Watts and others, brick wall and fencing in background; neg. Watts G., Compton.
(d) nearly whole-length, profile to right, seated in doctoral robes, with study for Love Steering the Boat of Humanity to left; glass neg. Watts G., Compton, COMWG2010.1.127. Exh. Victorian Visionary, Guildhall AG, London, 2008 (83.1); repr. Gould 2004, p.324.

1902
Photograph by George Andrews, whole-length, full-face, working on the statue of Tennyson; glass neg. Watts G., Compton, COMWG2010.1.2 and COMWG2010.1.315. Repr. Gould 2004, p.345.

Photograph by unidentified photographer, whole-length, standing in Kensington studio, wearing long ceremonial robes, upon receiving OM; glass neg., Watts G., Compton, COMWG2010.1.183.

c.1903
Photographs by Christopher Turnor, two known poses:
(a) whole-length, at work on statue of Tennyson; repr. Watts 1912, vol.2, p.305.
(b) three-quarter-length, seated in bentwood chair, profile to right, wearing white smock; coll. Turnor family. Repr. Bills & Bryant 2008, p.15.

Photograph by Frederick Hollyer, half-length, profile to right, seated wearing pale jacket; V&A, London, 7704.1938. Undated but possibly around 1903.

c.1903–4
Photographs by unidentified photographer:
(a) quarter-length, full-face, wearing tweed jacket; glass neg. Watts G., Compton, COMWG2010.1.71. Repr. Gould 2004, p.352 (as ‘The octogenarian artist’).
(b) as above, head-and-shoulders, profile to right with head titled back; glass neg. Watts G., Compton, COMWG2010.1.72

after 1900
Photograph by unidentified photographer, ‘An instantaneous photograph’, quarter-length, profile to right, reading at Limnerslease; repr. Watts 1912, vol.2, p.314.

Photographs by unidentified photographer, three known poses:
(a) whole-length, to front, seated next to statue of Tennyson; Watts G., Compton.
(b) whole-length, to front, seated with Mrs Watts (?) next to statue of Tennyson; glass neg. Watts G., Compton, COMWG2010.1.1.
(c) whole-length, to right, at work on statue of Tennyson; glass neg. Watts G., Compton, COMWG2010.1.303.

Photograph by unidentified photographer, whole-length, to front, in group with Mrs Watts; original neg. Watts G., Compton.

Dr Jan Marsh