Later Victorian Portraits Catalogue

Charles Edward Conder (1868-1909), Painter

Possible self-portrait
By other artists
Undated portrait
Posthumous portraits
Undated photograph

Self-portraitsback to top

Oil on canvas, 559 x 383mm, signed top right, three-quarter-length, seated, full-face, looking down, clean shaven, hands clasped; Tullie House MAG, Carlisle, 125-1949, 444, Bottomley Bequest. Exh. and repr. Gordon Bottomley: Poet & Collector, Carlisle, 1970 (97); Rothenstein 1971, no.13, p.8; and McConkey 1995, no.37, p.112. This seems the chief candidate for the self-portrait recorded as exh. RSPP 1900 (47).

Pen and ink caricature drawing, whole-length, profile to left, on Pegasus chained to a bottle, with speech bubble ‘Ah que j’ai soupé de ce vin la’; untraced. Repr. Rothenstein 1931–2, vol.1, p.59.

Oil on millboard, 475 x 350mm, inscr. ‘C.C TO WILL R[othenstein] SOUVENIR DE NOTRE LONGUE AMITIE’, head-and-shoulders, half-profile to left, with light brown hair, curled moustache, dark eyes, white collar, dark jacket, painted to mark reconcilation after quarrel; Manchester AG, 1925.291. Exh. NG (Tate) 1927 (96); repr. Manchester 1978, p.47; Brooke 1994, p.41 (where dated 1895–1900); and Galbally & Pearce 2003, p.180.

Chalk drawing on paper; see NPG 4556.

Crayon drawing; coll. Lord Lambton, 1967. Exh. Charles Conder 1868–1909, Graves AG, Sheffield, 1967 (113, not ill., as ‘portrait of the artist reclining on a couch with his wife Stella behind him’); ref. Maas G., June 1964 (41).

Pencil drawing on tinted paper, 280 x 250mm, head, profile to left, tousled hair, no moustache; untraced; Christie’s Australia, 6 June 1989 (205, ill.).

Possible self-portraitback to top

Oil on panel, 407 x 287mm, The Gray and Gold, whole-length, bearded but indistinct, with female figure; NG Australia, 79.1421. Repr. Eagle 1997, p.33.

By other artistsback to top

Pencil sketch on sheet with others by Arthur Streeton, head, full-face, clean shaven, wearing wing collar; State L. of New S Wales, DL PX 78, f.31(v)a. Repr. Eagle 1997, p.43.

Black conté sketch by William Rothenstein, half-length, seated, looking down, bearded, at atelier Julian, Paris; coll. Barry Humphries. Repr. Galbally 2002, p.67.

Black and white chalk drawing by William Rothenstein, whole-length, standing, profile to right, wearing cape; untraced. Ref. Rothenstein 1926, no.9.

Black and white chalk drawing, 370 x 245mm, by William Rothenstein, inscr. ‘CHAS CONDER’, whole-length, seated, profile to right, stubbly beard, no moustache, holding a cigarette in raised left hand; mount inscr. ‘A drawing of Charles Conder by Will Rothenstein when they were students in Paris. From a sketch book…’; untraced; with Anthony d’Offay, 1968. Repr. Sotheby’s, 13 Dec. 1967 (15).

Pencil drawing, 179 x 113mm, by Charles Leandre, signed and dated lower right, half-length, full-face, looking down, clean shaven, chin resting on right hand, by lamplight?; Ashmolean M., Oxford, 1946.371. Repr. Catalogue of Drawings in the Ashmolean Museum, vol.7. French School, Oxford, 2000, no.1240.

Chalks drawing on brown paper, 365 x 230mm, by William Rothenstein, three-quarter-length, profile perdu to left, seated behind table in studio, legs crossed; coll. Barry Humphries. Probably exh. The Artists of the Yellow Book, Clarendon and Parkin G., London, 1983 (267, although dimensions differ); exh. Degas, Sickert and Toulouse-Lautrec, Tate, 2005 and Phillips Coll., Washington, DC, 2006 (54, ill.).

Black crayon caricature drawing on paper, 370 x 240mm, by William Rothenstein, inscr. ‘Puvis de Havanne’, whole-length, upright, draped round lamppost, wearing dress suit and top hat, no moustache, with Rothenstein; coll. Barry Humphries. Repr. Galbally 2002, p.71.

Crayon and white chalk drawing, 360 x 235mm, by William Rothenstein, three-quarter-length, seated to right, profile perdu, moustache and possible beard, wearing corduroy jacket; untraced; with Anthony d’Offay, 1984.

Oil on canvas, 649 x 320mm, by William Rothenstein, signed lower right, whole-length to left, hands behind back, half-profile to left, dark brown hair, black frock coat, white spats; NG of Victoria, Melbourne, 1579-5. Repr. Galbally & Pearce 2003, p.50.

Oil on canvas, 1203 x 552mm, by William Rothenstein, known as ‘L’Homme qui sort’, signed and dated lower left, whole-length, standing with back to viewer in corner of room, wearing overcoat and top hat, profile to left, with moustache, no beard, arms outstretched, finger on doorlatch; Toledo MA, 1952.86. Exh. Paris Salon, 1892; NEAC, London, 1894; Rothenstein memorial exh., Tate, London 1950 (4); British Art 1890–1928, Columbus G. of Fine Arts, OH, 1971 (85); ref. Galbally 2002, p.104; repr. Catalogue of European Paintings, Toledo MA, 1976, p.144, pl.338; Sato, Lambourne & Holland 2000, p.80; Galbally & Pearce 2003, p.11. Rothenstein recalled that ‘Conder wished me to make him look more Daumieresque, to style his coat and give him a fatale and romantic appearance’: Rothenstein 1931–2, vol.1, p.121.
Probably the premier portrait of Conder, painted in Paris by his close colleague.

Essence on card, 843 x 634mm, by Henri de Toulouse-Lautrec, Jane Avril sortant du Moulin Rouge, signed and dated, whole-length, from back, wearing pale greatcoat and dark hat; Wadsworth Athenaeum, Hartford, 1941.163. Exh. Toulouse-Lautrec and Jane Avril, Courtauld Inst., London, 2011 (3); repr. Ireson 2011, p.66 and widely as poster.

Oil on canvas by Henri de Toulouse-Lautrec, Au Moulin Rouge: les valseuses, head-and-shoulders, wearing hat, in background; NG Prague, O 3200. Repr. Rothenstein 1938, facing p.53.

Pen and ink caricature in letter by Phil May, whole-length, profile to left, seated before easel, cigarette in mouth; untraced. Repr. Rothenstein 1938, p.56 (when owned by Theodore Fink).

Oil/essence sketch on board, 473 x 363mm, by Henri de Toulouse-Lautrec, for Aux Ambassadeurs: Gens Chics, signed and dated, half-length, half-profile to left, light brown hair, white face, wearing dress suit, left hand on hip; Aberdeen AG, ABDAG003036. Exh. Impressionism in Britain, Barbican AG, London, 1995 (237); and Galbally & Pearce 2003, p.43; repr. McConkey 1995, p.59.

Oil over black chalk drawing on paper, 843 x 655mm, by Henri de Toulouse-Lautrec, Aux Ambassadeurs: Gens Chic, half-length, nearly full-face, seated, wearing dress suit with buttonhole; NGA Washington, DC, 1995.47.67. Repr. G. Geoffroy, ‘Les Restaurants et les cafés-concerts des Champs-Elysées’, Le Figaro Illustré, no.40, 1893; and Ireson 2011, p.29, fig.8.
A related work, possibly a preparatory sketch, black chalk on paper, 619 x 554mm, inscr. ‘C Conder/Lautrec’, seated, sketchily indicated with left arm on hip, facing a seated three-quarter-length female figure seen from behind; BM, London, 1928,0417.9. Exh. Toulouse-Lautrec, Hayward G., London, 1991–2 (52); French Drawings in the British Museum, BM, London, 1996 (no cat.).

Conté drawing on paper by Dugald Sutherland MacColl, head, half-profile to left looking at spectator, long moustache; coll. Barry Humphries. Repr. Galbally 2002, p.120.

Two pencil sketches by Dugald Sutherland MacColl, done at Sainte Marguerite-sur-mer, Normandy, both head studies, profile to left; untraced. Exh. Charles Conder 1868–1909, Graves AG, Sheffield, 1967 (23) as ‘Head of Conder’; repr. London Mercury and Bookman, Jan. 1939, facing p.288.

Chalk on paper, 508 x 381mm, by William Rothenstein, three-quarter-length, seated, profile to left, right hand to chin, left hand on chairback; Tate, N04010. Exh. Tate, 1927 (119).

Lithograph, 372 x 327mm (image), by Henri de Toulouse-Lautrec, La loge au mascaron doré, for theatre programme, head only, as spectator; BNF, Paris, FRBNF 40283424. Ref. W. Wittock, Toulouse-Lautrec: The Complete Prints, London, 1985, no.16.

Gouache by Louis Anquetin, in group with Toulouse-Lautrec, Jean Moréas, Anquetin and Henri Bourges; untraced. Study for illustration publ. Courier français, 25 Feb. 1894.

Oil on canvas, 285 x 307mm, by Henri de Toulouse-Lautrec, Danse Mauresque, right-hand panel of diptych for booth of dancer La Goulue at the Foire de Trône, Paris, dated on right, half-length, rear view, wearing top hat and pale greatcoat; M. d'Orsay, Paris, RF 2826 (diptych). Repr. Ireson 2011, p.76, fig.26.

Pencil drawing by William Rothenstein; see NPG 2558.

Lithograph, 310 x 340mm, by Henri de Toulouse-Lautrec, Souper à Londres, half-length, profile to left, seated at table with woman, male figure standing behind; BM, London, 1923,1205.14. Exh. Degas, Sickert & Toulouse-Lautrec, Tate, 2005 and Phillips Coll., Washington, DC, 2006 (95, not ill.); repr. Le Livre vert (L’Estampe Originale, André Marty), Paris, 1894 (ed. of 100), in the series ‘Etudes des Femmes’.

Chalk and oil sketch, 1030 x 650mm, by Henri de Toulouse-Lautrec, Conquête de passage, half-length, seated to left, wearing top hat and dress suit; M. des Augustins, Toulouse, RO618. In the subsequent lithograph poster for Elles, although similarly dressed this figure does not especially resemble Conder.

Black chalk drawing, 480 x 300mm, by William Rothenstein, inscr. and dated centre left, two studies on one sheet:
(a) head-and-shoulders looking up to right;
(b) half-length, seated, profile to left looking down;
coll. Barry Humphries. Ref. (as pencil) Rothenstein 1926, no.78; repr. Galbally & Pearce 2003, p.41.

Oil on canvas, 1215 x 560mm, by William Rothenstein, whole-length, standing indoors, profile to right, wearing redingote; M. d’Orsay, Paris, RF 1980-161. Repr. Brighton 1992, p.59.

Pastel drawing by William Rothenstein, head only, profile to left, looking down, with moustache; Ashmolean M., Oxford, WA 1940.3.2. Repr. Rothenstein 1926, no.119; and Rothenstein 1931–2, vol.1, p.54.

Sanguine and black chalk drawing, 320 x 205mm, by William Rothenstein, signed and misdated ‘89’ lower right, re-dated verso, head, profile to left, eyes closed; coll. Barry Humphries. Repr. Galbally & Pearce 2003, p.36.

?Drawing by Florence Humphrey, head-and-shoulders, profile to right; untraced. Repr. as lithograph by same artist; BM, London (ref. O’Donoghue 1908–1922, vol.6, p.102, no.1).

Wash drawing, 255 x 180mm, by William Orpen, half-length, profile to left, wearing dress suit, with nude female; V&A, London, E 1096-1948. Repr. Rothenstein 1938, facing p.117.

Pencil and wash caricature drawing, 197 x 255mm, by William Orpen, inscr. ‘O what does little Conder say in his crib at break of day?’, whole-length, reclining, profile to right; untraced; Christie’s 27 Oct. 1970 (197).

Pencil and black ink drawing on paper, 197 x 254mm, by William Orpen, whole-length, standing, profile to right, wearing greatcoat, cigarette in right hand, next to Orpen in group caricature of NEAC, said to refer to Conder and Orpen joining Club in 1900; untraced. Repr. Christie’s, 14 May 2004 (198).

Pen and ink drawing by Ursula Tyrwhitt; untraced; coll. Mrs Richard Huws, 1974. Exh. Ursula Tyrwhitt Oxford Painter and Collector, 1872–1966, Ashmolean M., Oxford, 1974, p.18.

Pencil drawing, 202 x 207mm, by William Orpen, inscr. lower left ‘Conder / Wm Orpen 1900’, half-length, seated, profile to right, wearing greatcoat; coll. AG New South Wales, Sydney, 296. Exh. Charles Conder, AG New South Wales, Sydney, NG of Victoria, Melbourne, AG of South Australia, Adelaide, 2003–4 (107); repr. Galbally & Pearce 2003, p.6.

Pen and ink caricature drawing, by William Orpen, Conder as Penitent, whole-length, profile to left, kneeling in monk’s costume; untraced. Repr. Rothenstein 1938, p.187.

Pencil sketches on one sheet, 223 x 300mm, by Augustus John, head only, profile to left, looking down, hand holding pencil; untraced; Christie’s, 6 June 1989 (206). Exh. Charles Conder 1868–1909, Graves AG, Sheffield, 1967 (65). Inscr. ‘Barlow by John’ but repr. as Conder in Rothenstein 1938, facing p.196.

Oil on canvas, 140 x 197mm, by Charles Ricketts, A Fancy-Dress Party at 13 Lansdowne Road (home of Sir Edmund Davis), half-length, profile to left, second from right in group; Carlisle CAG, 1949.125.73. Exh. Orleans House, Twickenham, 1979 (71).

Oil on canvas, 1108 x 864mm, by Jacques-Emile Blanche, signed and dated, three-quarter-length, seated, profile to left, brown hair, wearing white collar, light brown waistcoat, black suit; Tate, N05754. Repr. Blanche 1937, facing p.84, Galbally & Pearce 2003, p.55; and elsewhere.
Associated pencil and watercolour sketch, 136 x 105mm, after Blanche’s oil, possibly by John Rothenstein, tipped into proof copy of Rothenstein 1938; NPG D11251.

Pencil drawing by George Washington Lambert, head-and-shoulders, profile nearly perdu to left, reading on sofa; coll. Barry Humphries. Repr. Galbally 2002, p.268.

Pencil, chalk [or charcoal], pen, ink and watercolour drawing by William Orpen; see NPG 6345.

Watercolour caricature by Max Beerbohm, Conder and the Burglar, whole-length, standing, head largely obscured by long octopus of hair entangling a cartoon burglar; Ashmolean M., Oxford, WA 1945.8. Ref. Hart-Davis 1972, no.365; repr. Rothenstein 1938, facing p.196.

Watercolour caricature by Max Beerbohm, The New English Art Club, with 11 others; HRHRC, U. of Texas at Austin, 65.224.51. Ref. Hart-Davis 1972, no.1586; repr. Rothenstein 1931–2, vol.2, frontispiece.

Undated portraitback to top

Watercolour by Max Beerbohm, whole-length, profile to right; untraced. Ref. Hart-Davis 1972, no.355; repr. Lynch 1921, p.80.

Posthumous portraitsback to top

Tempera and ink on gesso on canvas by Max Beerbohm, fresco containing heads and shoulders of Conder and 20 other men; HRHRC, U. of Texas at Austin, 65.170. Ref. Hart-Davis 1972, no.614.
Pencil sketch for above fresco minus one figure; HRHRC, U. of Texas at Austin, 66.51. Ref. Hart-Davis 1972, no.615.

Watercolour caricature by Max Beerbohm, Some Persons of the nineties, with 12 other men; Ashmolean M., Oxford, WA 1945.60. Ref. Hart-Davis 1972, no.1650; repr. Hall 1997, p.77.

Pen and ink caricature by Max Beerbohm, A Recollection, inscr. 'Is this what you would imply, Will?', whole-length, profile to left, slumped back in chair, arms in air, with Oscar Wilde, William Rothenstein and Beerbohm at the Cafe Royal; coll. Barry Humphries. Exh. The Wilde Years, Barbican AG, London, 2000 (33); ref. Hart-Davis 1972, no.1322; repr. Rothenstein 1931–2, vol.1, p.221; and Sato, Lambourne & Holland 2000, p.9, no.33.

Photographsback to top

Cabinet print by unidentified photographer, head-and-shoulders, half-profile to left, clean shaven, wearing high white collar, high-buttoned jacket; State L. of Victoria., LaTrobe Coll., MS 9678. Repr. Galbally 2002, p.11.

Tintype print, 30 x 40mm, by unidentified photographer, head-and-shoulders, profile to right, clean-shaven, dark jacket; State L. of New S Wales, MIN 320 and P1/CONDER.

Albumen print, 110 x 82mm, by unidentified photographer, Algiers, inscr. ‘Alger 1892 / Ger-----’ (illegible), half-length, standing, profile to right, left hand in pocket, short beard and moustache, wearing stiff collar, tie, dark waistcoat and jacket, pinstriped trousers; Mitchell L., State L. of New S Wales, P1/CONDER. Repr. Studio, 1898, p.232. Conder was in Algiers from November 1891 to March 1892.

Photograph by unidentified photographer, three-quarter-length, standing on balcony at The Vale, Chelsea with Charles Ricketts, Llewellyn Hacon, and Charles Shannon; repr. Holmes 1936, facing p.170.
See also Ricketts, Shannon.

Photographs by Henry Walter Barnett, taken at Les Petites Dalles, Normandy:
(a) silver gelatin print, 138 x 245mm, whole-length, profile to right, seated at teatable with sitter’s wife and her aunt Florence Humphrey, wearing grey suit, stiff collar and bowtie; NPG Australia, Canberra, 2001.167. Repr. Galbally 2002, p.237.
Also by Barnett, possibly from the same sitting, certainly around the same period:
(b) half-plate neg., profile to left, wing collar, twill jacket; NPG x81614; platinum print, cropped, State L. of New S Wales, P1/CONDER. Probably same image repr. as vignette, profile to right, ILN, 20 Feb. 1909.
(c) platinum print, head-and-shoulders, half-profile to left, long moustache, wing collar and tie; prints colls V&A, London, 384-1962.

Photograph by unidentified photographer, with Charles Ricketts, Florence Humphrey, Charles Shannon and Llewellyn Hacon; exh. Charles Conder 1868–1909, Graves AG, Sheffield, 1967 (40).
See also Ricketts, Shannon.

Two platinotypes by Frederick Henry Evans:
(a) 154 x 101mm, half-length, almost full-face, chin on left hand with cigarette holder, wearing dark coat, white collar; NPG x1146. Repr. Gibson 1914, frontispiece; and Galbally & Pearce 2003, p.208.
(b) 153 x 102mm, head-and-shoulders, to front, dark coat, white collar, bow tie; NPG x1147.

Photograph by unidentified photographer, head-and-shoulders, profile to left, long moustache, stiff collar, bowtie with check pattern; repr. Graphic, 20 Feb. 1909, p.230.

Gelatine silver print, sepia toned, 280 x 203mm, by Baron Adolf de Meyer, ‘Conder in his studio’, half-length, profile nearly perdu to left, right hand on shelf or sill, wearing dark suit, tie, white shirt; coll. Barry Humphries. Repr. Galbally & Pearce 2003, p.33.

Undated photographback to top

Photograph by unidentified photographer, half-length to left, standing at table with brushes; engr. by Florence Humphrey; ref. O’Donoghue 1908–22, vol.6 (1925), p.102, where said to be illustration to unidentified exh. cat., 1913, presumably An exhibition of the Art of the late Charles Conder, Leicester G., London.

Dr Jan Marsh