Later Victorian Portraits Catalogue

Sir Joseph Edgar Boehm, 1st Bt (1834-1890), Sculptor

By other artists
Posthumous portrait
Photographs
Undated photograph

By other artistsback to top


1874
Etching by Lucy, Lady Boileau, head-and-shoulders; untraced.
A pen and ink drawing by ‘F.G.M.B.’ after this etching is listed coll. Ketteringham Hall, Norfolk, 1927 (Duleep Singh [1928], vol.1, p.351, no.17).

Exh. 1875
Terracotta bust by Aimé-Jules Dalou; untraced. Exh. Society of French Artists, London, 1875 (82). It is seen in the photograph by Frank Dudman of Boehm’s studio, placed on the cupboard at left, see Photographs, reg. 1883, pose (a). This may be the bust displayed at The Victorian Exhibition, 1891(1077), see exh. 1891 below. Information kindly supplied by Martin Hopkinson.

c.1874–5
Watercolour drawing by C. Goebel, three-quarter-length, to left, standing; untraced. See Sotheby’s, 13 Mar. 1986 (61), from album of watercolours c.1840s–1893, formerly coll. Queen Victoria (Millar 1995, vol.1, p.364); sold again Sotheby’s, 10 Apr. 1997 (112).[1]

publ. 1878
Design by (Edward) Linley Sambourne, Ars Britannica, head only, as decoration on the breastplate of a huge statue with palette and brushes in her left hand and a mirror on her right; 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, Calderon, Du Maurier, Frith, Horsley, Leighton, Marks, Millais, Orchardson, Poynter.

1879
Pencil drawing by Princess Louise, Duchess of Argyll, half-length, to right; coll. Jean van Caloen Foundation, Bruges. Repr. Dorment 1985, p.17; and Roberts 1987, p.161.

publ. 1881
Watercolour cartoon by Leslie Ward (‘Spy’), whole-length, standing to left; untraced.
Chromolithograph repr. Vanity Fair, 22 Jan. 1881, ‘Men of the Day no.237’ (‘the Queen’s Sculptor’); colls NPG; MEPL, London, 10024399; Henry Moore Inst. Archive, Leeds; Getty Images, 3330716.
See also the incised brass by Boehm’s son (1890) after the Spy cartoon on Boehm’s tomb, St Paul’s Cathedral; repr. Ward 1915, p.290.[2]

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, full-length, seated to front, fifth from right on bottom row of Academicians; 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, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

publ. 1882
Drawing by (Edward) Linley Sambourne, ‘Punch’s Fancy Portraits no.71’, whole-length, to right, on model horse; untraced. Repr. Punch, 18 Feb. 1882, p.82.

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, full-length, to front, with walking cane and bowler hat, third from right in the second row of Academy ‘troops’; coll. Juliet McMaster. Engr. by Swain repr. Punch, 6 May 1882, p.206; McMaster 2008, p.71, fig.20; and McMaster 2009, p.46, fig.27.
See also Alma-Tadema, Ansdell, Barlow, Boughton, Calderon, Cope, Faed, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

c.1882
Drawing by Theodore Blake Wirgman; see NPG 5414.

c.1882–3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, head only, facing, at right of main group (no.29 on key); coll. C.J.R. Pope, on long-term loan to Leighton House, London, LH/TL/014. Exh. RA 1883 (163); repr. Gazette des Beaux-Arts, July/Aug. 1958, vol.6, p.87, no.4; Gaunt 1972, nos 144–5; Snow 1975, pp.168–9; Wood 1976, no.215; Bills & Knight 2006, p.70 (whole image), p.129 (detail); and Wood 2006, pp.212–13.
Also repr. by Henry Graves & Co 1885 as photogravure, 588 x 983mm, and as lithograph, 226 x 443mm, with key to the principal figures; BM, London, 1920,0420.193 and 1920,0124.4 respectively.
Oil sketch for this work, signed and dated ‘W P Frith 1882’; Mercer AG, Harrogate, HARAG 2490.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Marks, Millais, Tenniel, Terry.

1883
Oil on canvas by John Pettie, head-and-shoulders, to left in oval; Macdonald Coll., Aberdeen AG, ABDAG004098.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, half-length, to front, dancing with others at the bottom of the maypole; untraced. Engr. by Swain repr. Punch, 12 May 1883, p.218; McMaster 2008, p.72, fig.26; and McMaster 2009, p.38, fig.33.
See also Alma-Tadema, Ansdell, Barlow, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

by 1883
Marble bust by Robert Glassby, slightly to right; Royal Coll., Windsor. Not dated but appears in a photo by J.P. Mayall registered for copyright 1883 Sept. 24: National Archives (see below, ‘reg.1883’).

exh. 1885
Statuette by Edward (Edouard) Lantéri; untraced. Exh. RA 1885 (2049).

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

Composite engr. by unidentified artist, after photographs of well-known individuals, A Memento of Her Majesty’s Jubilee Year – 1887, head and shoulders, to front, in a gap between two heads, centre back; 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, Leighton, Millais, Morris, Ruskin, Stanley, Tenniel, Watts.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, head only, to front, to right-hand side of composition; untraced. Repr. Punch, 12 May 1888, p.218; McMaster 2008, p.75, fig.32; McMaster 2009, p.67, fig.40.
See also Alma-Tadema, Barlow, Calderon, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter.

exh. 1888
Drawing by Henry Tanworth Wells for Grillion Club series; untraced. Exh. RA 1888 (1636). Stipple engr. by George J. Stodart after Wells, head-and-shoulders, to right, with Boehm’s facsimile signature; NPG D9639, NPG D20731; Athenaeum Club, London. Repr. Tait & Walker 2000, no.89, p.11.

1889
Oil on canvas by Henry Jamyn Brooks: see NPG 1833.
Painting by Henry Jamyn Brooks, probably posthumous, based on his studies and photographs for NPG 1833; untraced. Exh. RA 1891 (687).

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

1890
Bronze medallion by Edward (Edouard) Lantéri; see NPG 5273. See the catalogue entry for evidence the portrait was modelled from life.

publ. 1890
Wood-engr. by E.J.(?)W., Artistic Stars, head only, top centre; repr. Punch, Christmas Number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boughton, Calderon, Fildes, Frith, Herkomer, Hodgson, Leighton, Millais, Poynter.

exh. 1891
Terracotta bust by Aimé-Jules Dalou; untraced. Exh. The Victorian Exhibition, New Gallery, London, 1891 (1077, not ill. in catalogue, coll. Boehm’s executors).[3] This may be the terracotta exh. in 1875 at the Society of French Artists, London (82), see above.


Posthumous portraitback to top


1891
Marble bust by Robert Glassby, head only, three-quarters profile to right, commissioned by Queen Victoria; Royal Coll., Windsor. A terracotta copy purchased by Queen Victoria a little later for Balmoral; untraced. A terracotta bust was also presented to Weston Park Museum, Sheffield, in 1896; untraced. Either of these may be linked to the terracotta bust signed, inscr. and dated ‘1891’, Christie’s, Glasgow, 20 Apr. 1995 (68, ill.). Information kindly supplied by Martin Hopkinson.


Photographsback to top


c.1878
Photograph by A.E. Fradelle, half-length, seated to front, slightly to right. Repr. as wood engraving by TS [or ST], ILN, 9 Feb. 1878, p.116; as engr. by unidentified artist, MA, 1880, p.333.
This image also formed the basis for a pen and ink drawing by E.J. Sullivan; priv. coll.
The Fradelle photograph is one of the two images by which Boehm is best known.

reg. 1883
Albumen prints by Frank Dudman for J.P. Mayall}, three known poses:
(a) whole-length, seated to right in studio; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/258); photogravure by Sampson Low, Marston, Searle & Rivington publ. Stephens 1884, part 5, pl.4; colls NPG Ax27832, NPG x9211; MEPL, London, 10153030; and The Rob Dickins Coll., Watts Gallery, Compton, COMWG2008.3754.
(b) whole-length, seated in studio, profile to left, working on a cast; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/257).
(c) whole-length, standing to front, in studio leaning against a bust on a plinth; reg. for copyright 1883 Sept. 24: National Archives (COPY 1/365/259).

publ. 1883
Woodburytype by J.J.E. Mayall, head-and-shoulders, to left; colls NPG Ax 17721; The Rob Dickins Coll., Watts Gallery, Compton, COMWG2008.2195; Graphic Arts Dept., Princeton UL. Publ. Cooper 1876–83, vol.7, 1883, p.29.

c.1887–90
Sepia albumen cabinet photograph by Elliott & Fry, head-and-shoulders, to right; print NPG x1131. Corresponds in date to Walery photograph (see below, ‘publ.1889’).[4]

c.1888
Albumen carte-de-visite by Alexander Bassano, half-length, to right; NPG Ax38753. Repr. in halftone, The Year’s Art 1888; AJ, 1891, p.62; Tilbrook 1986, p.50.

publ. 1889
Cabinet photographs by Walery [Stanislas Julian, Count Ostrorog], four known poses reg. for copyright 1899 May 29: National Archives (copy 1/440/503):
(a) three-quarter-length, straddling chair, head resting on right hand, facsimile signature; carbon prints colls NPG Ax9109 and NPG x9110; MEPL, London, 10024398. Repr. Walery 1888–96, vol.1, issue no.7 (Jan. 1889); in halftone, ILN, 20 Dec. 1890, p.776 (‘One of the published series of “Our Celebrities”’), coll. NPG; as wood engr. by J.M. Johnstone, MA, 1891, p.132 (detail of bust only), colls NPG and MEPL, London, 10153032.
This Walery photograph is one of the two images by which Boehm is best known.
(b) head and shoulders, full face, showing a little of coat sleeve.
(c) head and shoulders, arms folded.
(d) head and shoulders, full face, facing front.

reg. 1889
Platinum print by Ralph Winwood Robinson, whole-length, to left, in studio with models for Cupid and the Mermaid (exh. RA 1889); reg. for copyright 1889 Aug. 20: National Archives (COPY 1/397/263); prints colls NPG x7352; NMM, Bradford, 2003-5001_3_21635_29. Publ. Robinson [1892].


Undated photographback to top


Photograph in Hope Coll., Ashmolean M., Oxford, HP44066.


Footnotes
[1] This is an undated composite image: Boehm was in Vienna c.1852–9 – as suggested by his costume – but the large white statue in the background represents Thomas Carlyle: the life-size plaster statue was exh. RA 1875 (the life-size white marble version 1881).
2) ‘Very shortly after the deaths of Boehm, Millais and Leighton ... it interested me to visit their tombs in St. Paul’s, and I was almost staggered when I beheld on Sir Edgar Boehm’s tomb a crude reproduction in brass of my Vanity Fair cartoon! Some time after I met Linley Sambourne ... and when I asked him if he knew who was the designer, he replied: “His son – I thought you were aware of that. Have you never heard that Sir Edgar said that he should never give any friend his photograph in future, but always send the Vanity Fair representation of himself instead.”’ Ward 1915, p.290.
3) Dalou worked in London 1871–80.
4) Elliott & Fry’s studio was at 7 Gloucester Terrace, the address on the mount, between 1887 and 1893.

Carol Blackett-Ord