Later Victorian Portraits Catalogue

John Callcott Horsley (1817-1903), Painter and Royal Academician

Self-portraits
By other artists
Photographs

In later portraits Horsley might be mistaken for the artist James Sant (1820–1916). Both had prominent noses but Sant’s was beaked. Horsley’s skull was relatively pointed, and he never became as bald as Sant. Horsley wore a collar beard while Sant typically had mutton-chop whiskers.

Self-portraitsback to top


1882
Oil on canvas, half-length to left in feigned oval; Aberdeen AG, ABDAG002800.
The self-portrait (done directly for Alexander Macdonald so not widely known) is a characteristic late image.


By other artistsback to top


c.1845
Pencil sketch by Charles West Cope, inscr. ‘Padua Sept 19 / Horsley sketching’, whole-length in group of three on a hillock; NPG D3337.[1]

c.1862
Pencil sketch by Charles West Cope, see NPG 3182(2).

publ. 1875
Design by (Edward) Linley Sambourne for Academicians and Outsiders. – A Battle-piece., head only, slightly profile to right, on top tier of defending Academicians; untraced. Repr. Punch, 26 June 1875, p.278. Horsley appeared in almost every Sambourne spread on the RA between 1875 and 1888 (see McMaster 2009, p.25).
See also Alma-Tadema, Ansdell, Boughton, Butler, Calderon, Cope, Du Maurier, Frith, Herkomer, Leighton, Marks, Millais, Orchardson, Sant.

1876
Drawing, 300 x 500mm, by Theodore Blake Wirgman for The Volunteers at Wimbledon – the Artists Corps after a skirmish, inscr. lower left, seated, profile to right, directly to the left of W.H. Thornycroft; untraced. Wood-engr. repr. Graphic, 22 July 1876, p.81; loose print Henry Moore Inst., Leeds, Thornycroft Archive, TII-E69.
See also Brock, Leighton, Marks, P.R. Morris, Prinsep, W.H. Thornycroft, Wynfield.

exh. 1876
Oil on canvas, 1452 x 2201mm, by Charles West Cope, The Council of the Royal Academy Selecting Pictures for the Exhibition, 1875, head-and-shoulders (visible above head of Millais), turned three-quarters to right, seated centre left, with other RAs, scrutinizing a picture held up by group at right; RA, London, 03/1288. There is a parody sketch after this picture by Harry Furniss; repr. Furniss 1890b, p.51.
See also Armitage, Calderon, Cope, Faed, Leighton, Millais.
The composition bears a remarkable resemblance to the etching by Henry Woods of the same subject (Graphic, 4 May 1870, p.450–51) and, although details and the figures depicted vary, was perhaps inspired by it.

publ. 1877
Design by (Edward) Linley Sambourne for Welcome, Little Stranger! Or the R.A. Cock of the Walk and the Bond Street Bird of (Art) Paradise, head included with others among the tail feathers of the RA bird; untraced. Repr. Punch, 12 May 1877, p.214; McMaster 2008, p.67, fig.10; and McMaster 2009, p.31, fig.17.
See also Alma-Tadema, Calderon, Goodall, Leighton, Lindsay, Marks, Millais, Orchardson, Sant.

publ. 1878
Design by (Edward) Linley Sambourne, Ars Britannica, head only, facing front, as decoration surrounding 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, Boehm, Calderon, Du Maurier, Frith, Leighton, Marks, Millais, Orchardson, Poynter.

Design by (Edward) Linley Sambourne for An Anxious Moment., featuring the heads of members of the RA attached to the bodies of a gaggle of farmyard geese, based on Briton Riviere’s painting of the same name (1878); untraced. Engr. by Swain repr. Punch, 27 July 1878, p.34; McMaster 2008, p.68, fig.12; McMaster 2009, p.34, fig.19; and Ormond 2010, p.78, fig.27.
See also Calderon, Frith, Herkomer, Leighton, Millais, Orchardson, Poynter, Sant.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, A High (Art) Tide., head attached to body of a duck, facing front, riding the first ‘wave’ of RAs; untraced. Repr. Punch, 12 July 1879, p.6; McMaster 2008, p.69, fig.15; and McMaster 2009, p.38, fig.22.
See also Alma-Tadema, Ansdell, Armitage, Boughton, Butler, Calderon, Cope, Du Maurier, Fildes, Goodall, Herkomer, Holl, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

publ. 1880
Design by Herbert Johnson for A Savage Club Dinner – A Portrait Group, half-length, full-face, balding, standing at centre in middle distance; untraced. Wood-engr. by unidentified engraver repr. Graphic, 6 Mar. 1880, pp.356–7 (double-page ill.); and Watson 1907, facing p.143 (where entitled ‘The Gladstone Night’ and said to have taken place at the Pall Mall restaurant, Regent St).
See also Armitage, Frith, Gregory, Herkomer, P.R. Morris, Orchardson, W.L. Thomas.

publ. 1880
Design by (Edward) Linley Sambourne for A May Meeting, head-and-shoulders, in shadow, at the top of a giant artist’s palette, surrounded by others; untraced. Repr. Punch, 8 May 1880, p.206; McMaster 2008, p.70, fig.17; and McMaster 2009, p.41, fig.24.
See also Frith, Leighton, Millais, Orchardson.

1881
Pen and ink drawing, 306 x 444mm, by (Edward) Linley Sambourne for Royal Academy Banquet at Burlington House., a comic take on William Salter’s The Waterloo Banquet, signed and dated Apr. 1881, head and shoulders, facing front, ninth from the right on the back row of RAs; Aberdeen AG, ABDAG003898. Repr. Punch, 7 May 1881, p.206; 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, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, 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, third from right on second from back 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, Boehm, Boughton, Calderon, Cope, Faed, Frith, Goodall, Herkomer, Hodgson, Holl, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

publ. 1883
Design by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head only, slightly profile to left, 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.56, fig.33.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, 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, slightly profile to left, in Renaissance costume, with voluminous hat; 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, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Watts, Yeames.

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

Drawing by (Edward) Linley Sambourne for The Model ‘British Matron’, whole-length, in woman’s dress, exclaiming in front of a statue of a nude female figure;[2] untraced. Repr. Punch, 24 Oct. 1885, p.195; and McMaster 2008, p.74, fig.30.

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods, whole-length, as Minerva the British Matron, modestly blushing as he turns away from a nude statue; 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, Leighton, Marks, Millais, Orchardson, Pettie, Poynter, Watts.

publ. 1887
Drawing by Thomas Walter Wilson, ‘The Knight of the Hill’s’ Studio Smoke, in group to left; untraced. Repr. as engr. by Werdmuller MA, 1887, p.81; Walkley 1994, p.195.

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

Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, three-quarter-length, with ‘blushing’ face and almost profile to right, wearing a top hat; untraced. Engr. by Swain repr. Punch, 12 May 1888, p.218; McMaster 2008, p.75, fig.32; and McMaster 2009, p.67, fig.40.
See also Alma-Tadema, Barlow, Boehm, Calderon, Frith, Goodall, Hodgson, Holl, Leighton, Marks, Millais, Orchardson, Poynter.

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

publ. 1889
Small sketch by unidentified artist, The distribution of prizes, by Sir Frederic Leighton, to the successful students of the Royal Academy schools, half-length, profile to right, seated at Leighton’s right; untraced. Engr. repr. Graphic, 28 Dec. 1889, p.777.
See also Calderon, Cope, Leighton, Sant, Yeames.

1891
Oil on canvas by Walter Charles Horsley, three-quarter-length, standing to right in studio; RA, London, 03/383. Exh. RA 1891 (1126); repr. as photogravure by Walker & Cockerell in Horsley 1903, frontispiece; half-plate glass copy neg. NPG (Emery Walker 175/6).

Pen and ink drawing by G. Grenville Manton; see NPG 2820.

publ. 1891
Drawing by Herbert Johnson for Prize Day at the Royal Academy of Arts: A Fair Prize Winner, seated, facing forwards, to the right of P.R. Morris; untraced. Repr. unidentified publication, 12 Dec. 1891, copy Kensington & Chelsea L.
See also Calderon, Leighton, P.R. Morris, Stone, Wells.

1892
Black chalk and grey wash drawing, 461 x 305mm, by (William) Walker Hodgson, signed and dated 3 Mar. 1892; untraced. Exh. A Fraternity of Artists, Christopher Wood Gallery, London, 1984 (21). See NPG collection 4041(1–5).

exh. 1892
Bust by John Adams-Acton; untraced. Exh. RA 1892 (1941).

c.1892
Pen and ink drawing by Reginald Cleaver; see NPG 4245.

exh. 1898
Miniature by Dorofield Hardy (pendant to one of Mrs Horsley); untraced. Exh. RA 1898 (1451).

1902
Oil on canvas by Walter Charles Horsley, three-quarter-length, seated to right; RA, London, 06/4374. Exh. RA 1902; repr. Cassell’s RA Pictures 1902, p.21. The only portrait to show Horsley with moustache and full beard.


Photographsback to top


Horsley is best known by photographs of the 1870s–80s.

publ. 1864
Albumen cartes-de-visite by John & Charles Watkins, two known poses:
(a) head-and-shoulders, full-face; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.4357; and RA, London, 05/2465.
(b) wood-engr. by Mason Jackson after John & Charles Watkins, half-length, full-face, with left hand to cheek; repr. ILN, 31 Dec. 1864, vol.45 (supplement), p.677.

1860s?
Albumen print by Maull & Polyblank, whole-length, slightly to left; colls RA, London, 03/3669

Photogravure by unidentified photographer, three-quarter-length to right, in top hat, leaning on railings; repr. Horsley 1903, facing p.310; and Maas 1984, p.39. Half-plate glass copy neg. NPG Emery Walker 242/13.

1870s?
Albumen cartes-de-visite by Elliott & Fry, two known poses:
(a), head-and-shoulders slightly to left, head turned to right; colls NPG Ax14849; Archives of American Art, Smithsonian Inst., Washington, DC, Hiram Powers Papers 1819-1903, series 6, box 10, folder 66, no.35; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.1990.
(b) head-and-shoulders, head turned to left; colls NPG Ax28930; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.120.

mid-1870s
Albumen print by Fradelle & Marshall, half-length, seated to left; RA, London, 04/1577.

1870s–80s
Photograph by unidentified photographer, seated to left at easel in studio, Willesley, Cranbrook (studio built 1869–70); repr. Girouard 1973, p.554.

publ. 1882
Woodburytype by Lock & Whitfield, head-and-shoulders to right; colls NPG Ax17686; The Rob Dickins Coll., Watts G., COMWG2008.970, COMWG2008.2160; Getty Archive, 3246480; and MEPL, London, 10156648.

1887
Photograph by Leonida Caldesi, in medallion format, inscr. with date, head-and-shoulders to right, head turned to viewer; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1895.

publ. 1888
Photograph by John Moffat, half-length, to front, almost profile to right, with waistcoat, cravat and stiff collar; repr. The Year’s Art 1888, p.8.

reg. 1889
Platinum print by Ralph Winwood Robinson, whole-length, seated to right at easel; reg. for copyright 1889 Oct. 23: National Archives (COPY 1/398/126); NPG x7371. Repr. Robinson [1892]; Maas 1984, p.39.

publ. 1892
Photograph by unidentified photographer; repr. as thumbnail sketch ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.14 (‘Portraits of the RAs and ARAs’).

c.1900?
Photographs by unidentified photographer, in the gardens of his houses in Kensington and Cranbrook; repr. Horsley 1903, facing pp.340, 350.

publ. 1903
Photographs by Elliott & Fry, two known poses:
(a) head-and-shoulders to left, almost profile; repr. in halftone, ILN, 24 Oct. 1903, p.608 (obits).
(b) head-and-shoulders to left, head three-quarters to left; repr. in halftone, Graphic, 24 Oct. 1903, p.554 (obits).


Footnotes
1) In 1845 the Royal Fine Arts Commission awarded commissions for frescoes for the Houses of Parliament to C.W. Cope, W. Dyce, J.C. Horsley (amongst others). ‘I ought to mention that at this time [1843, corrected by C.H. Cope to 1849] I thought it advisable to revisit Italy, in order to examine critically the workmanship of Italian frescoes, and to ascertain their “dodges” for concealing the joints between each day’s painting. Horsley accompanied me, and we spent about three months, visiting Florence, Lucca, Padua, etc. […] I met Mr Dyce on the same errand at Florence’; Cope 1891, p.150. Horsley’s Recollections describes a trip to Italy with I.K. Brunel in 1842, but no trip with Cope. Both the Recollections and Cope’s Reminiscences are thin on dates (‘it is interesting to record that Mr Horsley had not a single diary or letter to help him: he was entirely dependent upon his singularly clear and retentive memory’; Horsley 1903, p.x). Dyce, however, was certainly in Florence in 1845 (Pointon 1979, p.90) and the drawing is dated on this evidence. NPG D3337 was given to the Gallery in 1972 and is apparently about twenty years earlier than any other known image of Horsley.
2) After the publication of Horsley’s Art Schools and Art Practice in their Relation to a Moral and Religious Life (a protest against the use of naked female models, 1885) Sambourne always gave Horsley a darkened (blushing) face.

Carol Blackett-Ord