Later Victorian Portraits Catalogue

William Powell Frith (1819-1909), Painter

Self-portraits
Doubtful self-portrait
By other artists
Photographs

Self-portraitsback to top


It was Frith’s frequent practice to base a figure in a subject painting on himself; such works are here distinguished by their subject titles. In crowd scenes the likeness may be more or less approximate.

1838
Oil on canvas; see NPG 2139.

c.1838
Oil on canvas, half-length, left hand across body, nearly full-face, clean shaven, wearing historical costume; coll. Diana Lady Thomas, 1968. Repr. Wood 2006, p.9 (as c.1840).

Oil on canvas, half-length, nearly full-face, turning towards viewer, holding palette and brushes; untraced; probably that owned by sitter’s niece, 1929.

c.1849
Oil on canvas, oval, half-length, full-face, hands clasped in front; priv. coll.; given by sitter to daughter Mrs Oppenheim in 1908. Ref. woodcut by P. Naumann listed as ‘aged 36 / oval in rectangle’ in O’Donoghue 1908–22, vol.2, p.261. Engr. by F. Babbage repr. MA, 1888, p.189; Strand, vol.3, 1892, p.598 (as ‘from a painting by Augustus Egg’); Wood 2006, p.17 (as self-portrait); and Bills & Knight 2006, p.1 (as self-portrait apparently after Egg).

1853
Oil on canvas, 635 x 714mm, The Sleeping Model, whole-length, standing, back view, profile to left, at work on painting; RA, London, 03/837. Repr. Wood 1976, no.219; Brooke 1994, p.99; Wood 2006 p.35; Bills & Knight 2006, p.134, fig.132.
See also the study for this work, charcoal and pencil, 535 x 711mm; RA, London, 03/4283, where the likeness is not apparent.

1856
Oil on canvas, 815 x 1145mm, Many Happy Returns of the Day, half-length, seated as paterfamilias; coll. Mercer AG, Harrogate, HARAG46. Exh. RA 1856 (131); and Innocence and Experience, Manchester CAG, Ferens AG, Hull, Castle MAG, Nottingham, and Kelvingrove AGM, Glasgow, 1992–3 (11); repr. Holdsworth & Crossley 1992, p.26; Smith & Stewart 1999, p.35; and Wood 2006, col. pl.3.
The same figure in the 1854 oil study for this work (York AG; repr. Bills & Knight 2006, p.137) does not seem drawn from the same model, but could represent a younger version of the artist.

1862
Oil on canvas, 1155 x 2446mm, The Railway Station, half-length, standing with family members; RHUL. Exh. Flatow Gallery and tour, 1862; Int. Exh., London, 1872 (73); Int. Exh., Philadelphia, 1876 (48); Int. Exh., Paris, 1878 (78); RA 1911 (37); British Empire Exh., Wembley, 1924 (W21); RA Winter 1934 (626); British Painting, Moscow and Leningrad, 1960 (79); The Growth of London, V&A, London, 1964 (924); Guildhall AG, London, 1971 (32); Mid-Victorian Art: Draughtsmen and Dreamers, South London AG, 1971 (82); Great Victorian Pictures, Arts Council, 1978 (15); Two Hundred Years of English Painting, Munich, 1978–9 (372); Victorian Painting, Munich and Madrid, 1993 (37); Art Treasures of England, RA, 1998 (151); Spectacular Bodies, Hayward G., London, 2000 (113); Victorian Vision V&A, London, 2001; W.P. Frith, Guildhall AG, London, and Mercer AG, Harrogate, 2006–7 (62); The Age of Steam, Liverpool, 2008 (1), (3). Repr. extensively, including Wood 1976, no.220; Noakes 1978, p.72; Chapel 1982, pl.6; London 1998 (151); Bills & Knight 2006, pp.64–5, pl.63; Wood 2006, p.76 (as detail); and Cowling 2008, pp.60–61.

1864
Pen and ink caricature drawing on envelope to James Temple, Cliff House, St. Margaret’s, Dover, half-length to right, as auctioneer; Dover M., Dovm 2000.188. Repr. Bills & Knight 2006, p.3.

1865
Oil on canvas, 737 x 610mm, The Flower Seller, as background figure; priv. coll. Exh. W.P. Frith, Guildhall AG, London, 2006; repr. Noakes 1978, p.97.

1867
Oil on canvas: see NPG 1738.

1871
Oil on canvas, 1257 x 2603mm, The Salon d’Or Homburg, half-length, standing, looking to right, centrally placed in multi-figure group; RISD, Providence, 52.162. Exh. RA 1871 (158); repr. Noakes 1978, p.114; and Wood 2006, p.150.

1875
Oil on canvas, 618 x 490mm, The Neapolitan Flower-Seller, signed and dated, three-quarter-length, wearing bowler hat, standing with female figure before Bay of Naples; coll. Hospitalfield Trust, Arbroath. Exh. RSA 1877 (316); NGS 1990 (8); ref. Chapel & Gere 1985, p.295.
Replica, 343 x 260mm, signed and dated 1902; priv.coll. Repr. Sotheby’s, 2 Nov. 1966 (55); and Wood 2006, p.165.

1877
Pen and ink caricature drawing, inscr. ‘With W.P.Frith’s sincere apology to Miss Moseley Sep. 1877’, three-quarter-length, seated by easel, turning from woman with autograph album; untraced. Repr. Magg Bros cat.1345 (81).

1883
Oil on canvas, A Private View at the Royal Academy, 1881, head-and-shoulders, almost full-face, centre background under portrait of Gladstone, next to woman with binoculars (no.18 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); 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 principle figures; BM, London, 1920,0420.193 and 1920,0124.4) respectively. An oil sketch for this work, signed and dated ‘W P Frith 1882’ is now in the Mercer AG, Harrogate, HARAG 2490, but the self-portrait of Frith is absent.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Marks, Millais, Tenniel, Terry.

Oil on canvas, 1035 x 814mm, three-quarter-length, standing, holding palette and brushes; RA, London, 03/1341. Engr. by Richard Bentley & Son repr. Frith 1887–8, vol.2, frontispiece (with facsimile signature).

1883
Oil on canvas, 345 x 297mm oval, signed and dated lower right, head-and-shoulders, nearly full-face to right; Aberdeen AG, ABDAG002570. Engr. by J.M. Johnstone repr. MA, 1889, p.101 (ref. as ‘aged 57’ in O’Donoghue 1908–22, vol.2, p.261).

1884
Oil on canvas, 1067 x 813mm, inscr. on back ‘to my friend Arnold Alford March 1908’, three-quarter-length, standing, holding palette and brushes; repr. Christie’s, 25 July 1974 (215).

1888
Oil on canvas, Poverty and Wealth, whole-length, carrying toy ark; coll. Peter Nahum / Leicester G.. Exh. RA 1888 (26); repr. Bills & Knight 2006, p.56 and pl.66.

1894
Oil on canvas, 660 x 508mm, signed and dated, half-length, nearly full-face; untraced. Repr. Christie’s, 4 Nov. 1988 (145).

c.1907–8
Oil on canvas, 596 x 494mm, signed and dated, head-and-shoulders, nearly full-face; untraced. Repr. Christie’s, 25 May 1979 (66); and Sotheby’s, 23 June 1981 (311).

Doubtful self-portraitback to top


Half-length, holding palette and brushes; photo in NPG SB (Frith).


By other artistsback to top



1830–31
Oil on canvas, 290 x 228mm, by Mark Langlois, half-length, seated; untraced. Engr. by P. Naumann repr. as woodcut Strand, vol.3, 1892, p.598 (as ‘aged 12’ and ‘after Langton’); Graphic, 6 Nov. 1901, p.603. Ref. O’Donoghue 1908–22, vol.2, p.261 (as ‘aged 12’); and Christie’s, 22 Oct. 1985 (22, ‘aged 13’).

1838
Oil on canvas, 915 x 710mm, attributed to Douglas Cowper, half-length, left arm on chairback; untraced; formerly with Crosby Cook family. Repr. Sotheby’s, 3 Oct. 2007 (58). Engr. by Boussod & Valadon, Paris, publ. Richard Bentley, London, repr. Frith 1887–8, vol.3, frontispiece.

c.1838
Watercolour, 422 x 327mm, by William White Warren, head-and-shoulders, half-profile to right, clean shaven, wearing cravat; V&A, London, E.658-1916. Ref. Victoria and Albert 1927, p.564.

c.1840
Oil on canvas, 292 x 241mm, by Augustus Leopold Egg, half-length, seated in chair, turning towards viewer, left arm resting on chair arm; Mercer AG, Harrogate, HARAG50. Engr., 175 x115mm, by J. Smyth repr. Art-Union, 1847, p.165; Graphic, 6 Nov. 1901, p.603; loose print Hope Coll., Ashmolean M., Oxford, HP2723.

1849–50
Miniature by A. Stanesby; untraced. Exh. RA 1850 (1039).

1856
Design by John Leech for Scene in a Modern Studio, whole-length seen from back, to left, in his studio at Pembridge Villas with Many happy returns of the Day on the easel, as ‘Jack Armstrong’ who has ‘painted a modern subject from real life, and painted it uncommonly well. Strange to say, he has sold his picture’, with two visiting artists (‘very high art men, who can’t get on without medieval costume and all the rest of it’) whose paintings are unsold; untraced. Engr. repr. Punch, 19 Apr. 1856, p.154; Frith 1891, vol.2, p.19; and Bills & Knight 2006, p.14.

before 1858
Lithograph, 350 x 280mm, by Charles Baugniet, vignette, head-and-shoulders, looking to right. Engr. by Baugniet pub. Ernest Gambart & Co. 1858; colls BM, London (ref. O’Donoghue 1908–22, vol.2, p.261, no.1); and Hope Coll., Ashmolean M., Oxford, HP2727.

1858
Marble bust, 800mm high, by John Thomas; Tate, N02061. Exh. RA 1859 (1295).

c.1862
Pen and ink caricature drawing by an unidentified artist, inscr. ‘HIP. HIP.HURRAH! / The Great Western has finished his work nobly’, almost whole-length, taking a bow with his family; V&A, London, MSL/1922.186 f.115. Repr. Bills & Knight 2006, p.19.

1865
Oil on canvas, 762 x 635mm, by John Ballantyne, signed and dated, whole-length, standing seen from back, profile to left, in studio with Princess Alexandra of Wales and a chaperone, painting Alexandra for The Marriage of the Prince of Wales; priv. coll. Repr. Connoisseur, vol.201, 1979, p.236; Christie’s, 2 Feb. 1979 (196); Apollo, May 1998, p.24; and Bills & Knight 2006, p.21, fig.25.

publ. 1865
Design by C.H. Bennett for A Private View of the Royal Academy., signed in monogram by the artist ‘C H B’, an exaggerated head, with prominent whiskers, on left-hand side of composition; untraced. Repr. Punch, 13 May 1865, p.196; McMaster 2008, p.65, fig.4; and McMaster 2009, p.21, fig.11.
See also Calderon, Faed, Leighton, Millais, Whistler.

c.1869
Oil on board, 482 x 406mm, by Henry Nelson O’Neil, head to front; Castle MAG, Nottingham, 1904-60. Ref. Nottingham Castle MAG Fine Art Handlist 1988, p.73. Presumably a preparatory study for inclusion in the following work.

1869
Oil on canvas, 925 x 1550mm, by Henry Nelson O’Neil, Forty-three Members in the Billiard Room of the Garrick Club, head, full-face, among group of 44 men (no.22 on collection key); Garrick Club, London, GO793, where catalogued as ‘Sir Charles Taylor and Others’. Repr. Adams 1936, no.333; Hudson 1969, p.274; Snow 1975, pp.88–9; Hankinson 1982, between pp.182 and 183, fig.9a; and Ashton 1997, no.793.
See also Leighton, Prinsep.

1873
Pencil and watercolour drawing, 299 x 182mm, by Leslie Ward (‘Spy’), signed and dated and inscr. on mount, whole-length to left, nearly full-face, standing before easel holding palette and brushes; untraced.
Repr. Vanity Fair, 10 May 1873, no.63; Christie’s, 22 May 1990 (190); Christie’s, 20 Feb. 2003 (334); and Wood 2006, p.187.

exh. 1873
Miniature by E. Upton; untraced. Exh. RA 1873 (1360).

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head only, riding on the legacy of Sir Francis Chantrey, right-hand side of composition; untraced. Repr. Punch, 22 May 1875, p.222; Herkomer 1910–11, vol.1, facing p.82; McMaster 2008, p.66, fig.7; and McMaster 2009, p.27, fig.14.
See also Alma-Tadema, Butler, Calderon, Du Maurier, Fildes, Foster, Goodall, Herkomer, Hodgson, Leighton, Marks, Millais.

Design by (Edward) Linley Sambourne for Academicians and Outsiders. – A Battle-piece., head and shoulders, with oversized head, slightly profile to right in top tier of defending Academicians; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Ansdell, Boughton, Butler, Calderon, Cope, Du Maurier, Herkomer, Horsley, Leighton, Marks, Millais, Orchardson, Sant.

publ. 1878
Design by Edward Linley Sambourne, Ars Britannica, head only, profile to left, wearing hat with ‘Hogarth’ written across it; 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, Horsley, Leighton, Marks, Millais, Orchardson, Poynter.

Design by (Edward) Linley Sambourne for An Anxious Moment., among 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, Herkomer, Horsley, Leighton, Millais, Orchardson, Poynter, Sant.

c.1878
Oil on canvas by Nicaise de Keyser, signed and dated, lower right, half-length, full-face, white hair and whiskers, arms crossed to left; untraced. Ref. Millais 1899, vol.2, p.106; photo supplied to NPG in 1946 by artist’s heir. Painted in Paris as study for group image below.

Oil on canvas by Nicaise de Keyser, Les Grands Artistes, Ecole du XIXme siècle, whole-length, standing, arms crossed, in group; M. des Beaux-Arts de Nice. Repr. Connoisseur, vol.190, 1975, pp.82, 85; and Swanson 1977, p.15.
See also Alma-Tadema, Millais.

exh. 1879
Terracotta by John Adams-Acton, head; untraced. Exh. RA 1879 (1541).

late 1870s?
Ink over pencil sketch by unidentified artist, inscr. at top with quotation from sitter: ‘I am told this (Nocturne in Blue & Silver [by Whistler]) represents the moonlight. It does so in the same way that a piece of wallpaper coloured like it would’; also inscr. in pencil up right edge ‘Called for deft Ruskin (Bach)’ and ‘Frith.R.A.’, head-and-shoulders, near-profile to left; BM, London, 1973,0501.2. Repr. London [1974] (200).

publ. 1880
Design by Herbert Johnson for A Savage Club Dinner – A Portrait Group, half-length, profile to right, with side-whiskers, seated at table 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, Gregory, Herkomer, Horsley, P.R. Morris, Orchardson, W.L. Thomas.

Design by (Edward) Linley Sambourne for A May Meeting, head-and-shoulders to front, clutching the tip of a giant dining fork meeting the politicians at the RA Banquet, 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 Horsley, Leighton, Millais, Orchardson.

publ. 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 forwards, eighth from the right on the 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, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

publ. 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, second 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, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, half-length, profile to left, head directed downwards and 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, Goodall, Herkomer, Hodgson, Holl, Horsley, 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., head-and-shoulders, wearing a hat labelled ‘Peep Show’, at bottom left-hand corner; 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, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Watts, Yeames.

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods. half-length, slightly profile to left, as the figure of Cupid about to shoot his bow and arrow; 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, Goodall, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Poynter, Watts.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, head only, slightly profile to left; 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, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter.

1889
Oil on canvas by Henry Jamyn Brooks; Pen and ink drawing by G. Greville Manton see; NPG 1833.

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. Repr. Sotheby’s, 25 Oct. 1977 (25).
See also Armitage, Boehm, Fildes, Marks, Millais, Pickersgill, Sant, W.H. Thornycroft.

1890
Engr. by unidentified artist, Mr W.P Frith in his pupils’ studio, whole-length, standing, near-profile to left with female model and male students, inset with circular detail, half-length, standing, profile to right, with female students. Repr. Cassells Saturday Journal, 1890 (under title ‘Representative Men at Home: Mr. W.P. Frith at Sydenham’); and Bills & Knight 2006, p.26.

publ. 1890
Wood-engr. by E.J(?).W, Artistic Stars, head only, slightly obscured at top right-hand corner, with the word ‘retired’; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Boughton, Calderon, Fildes, Herkomer, Hodgson, Leighton, Millais, Poynter.

1891
Pen and ink drawing by G. Grenville Manton: see NPG 2820.

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 the figure of Art, tenth head down; untraced. Engr. by ‘CH’ repr. ‘Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, cover.
See also Alma-Tadema, Calderon, Leighton, Marks, Millais, Orchardson, Watts.

exh. 1895
Oil on canvas by William Alford (probably son of sitter); untraced. Exh. RA 1895 (644).

1908–9
Bronze, 394mm high, by John Cassidy, signed and dated, whole-length, seated, legs crossed, holding brushes and palette; Manchester AG, 1917.271. Exh. RA 1909 (1644).
Another cast, signed and dated 1910, was recorded with Arcade Gallery, London, 1961.

1909
Chalk drawing by Mabel Dickenson Lapthorn; see NPG 5058.

1910
Bronze figurine, 394mm high, by John Cassidy, signed and dated, whole-length, seated in high-backed chair with arms, canvas and portfolio alongside; untraced; with Arcade Gallery, London, 1961. Image in NPG SB (Frith).


Photographsback to top


c.1850
Photograph, 13 x 6mm, by unidentified photographer, attached top centre to letter from Frith to unidentified woman, dated Feb. 1850, head-and-shoulders, facing front, in dark jacket; The Rob Dickins Coll., Watts G., Compton, COMWG2008.951.

1852–3
Daguerreotype by Claudet, half-length, seated, arms crossed on chest; engr. and repr. ILN, 5 Mar. 1853, p.189 (as ‘newly elected R.A’).

1856–7
Albumen prints by John Watkins, four known poses:
(a) vignette 88 x 55mm, half-length, seated to left, looking to front, hands crossed; colls. NPG Ax14841, The Rob Dickins Coll., Watts G., Compton, COMWG2008.533; and V&A, London, 548-1885.
(b) 204 x 157mm, three-quarter-length, seated full-face looking right, legs crossed, left arm on chairback, glove in right hand, wearing check suit, overcoat and wide loose-knotted tie; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4324. Print, 215 x 170mm, engr. by D.J. Pound ‘from a photograph by J. Watkins’; copy in NPG Subject Box (Artists 1850–1900). Exh. Victorian Art World in Photographs, NPG, London, 1984 (30 where attributed to Maull & Polyblank); repr. Pound 1859–60, vol.2, pl.73; Graphic, 6 Nov. 1909; Maas 1984, no.30, p.30; and Bills & Knight 2006, p.117. Print, 204 x 157mm, ascribed to John Watkins; copy in The Rob Dickins Coll., Watts G., Compton, COMWG2008.953; possibly same image as woodcut by Harral after photograph repr. Illustrated Times, 1858, nearly whole-length, seated (ref. O’Donoghue 1908–22, vol.2, p.261).
(c) vignette from (b), 88 x 55mm, attributed to John & Charles Watkins, head only; engr. by ‘RM’ repr. Illustrated Review, 5 June 1873, p.1; and another engr. repr. Argyll/Lorne 1901, p.357; colls RA, London, 05/2588; NPG x15424; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4375; and Bristol CMAG, Album I, MB7227.
(d) head-and-shoulders, half-profile to left; engr. ‘from photograph by John Watkins’ repr. ILN, 2 May 1857, p.418.

1858–60
Albumen print, 286 x 240mm arched top, by William Frederick Lake Price, three-quarter-length, standing, half-profile to right, right arm on chairback, right knee bent; publ. Lloyd Bros 1860.

1861–2
Cartes-de-visite by Caldesi, Blanford & Co., two known poses:
(a) 102 x 64mm, whole-length, standing, to front, hands clasped; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.78, COMWG2008.79; and V&A, London, 932-1956 (90 x 55mm).
(b) 102 x 64mm, whole-length, standing, half-profile to left, right knee on chair; The Rob Dickins Coll., Watts G., Compton, COMWG2008.86.

1862
Photographs by Lock & Whitfield, three known poses:
(a) seated, left hand to cheek, right hand on thigh.
(b) seated, right hand to head, left hand on thigh.
(c) full-face, seated, hands on book.
All reg. for copyright 1862 Sept. 1: National Archives (COPY 1/1).

early 1860s
Albumen cartes-de-visite by Maull & Polyblank, three known poses:
(a) 83 x 54mm, whole-length, seated, legs crossed, in photographer’s studio, holding mahlstick before easel displaying small canvas; colls RA, London, 04/647; The Rob Dickins Coll., Watts G., Compton, COMWG2008.80, COMWG2008.82; NPG x15426, and another print, 78 x 49mm, NPG Ax38742; and V&A, London, 404-1956.
(b) 102 x 64mm, whole-length, standing before easel holding palette and brushes; The Rob Dickins Coll., Watts G., COMWG2008.83. Exh. Victorian Art World in Photographs, NPG, London, 1984 (36); repr. Maas 1977, p.7; Wood 2006, p.202.
(c) 203 x 146mm, three-quarter-length, standing, nearly full-face, hands clasped, plain background; colls NPG Ax27701; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.952, COMWG2008.3681.
A fourth variant image, possibly from the same sitting, 76 x 51mm, whole-length, seated slightly to right, in light-coloured trousers and dark jacket, with right hand in pocket and left elbow leaning upon table top and left hand to face; The Rob Dickins Coll., Watts G., Compton, COMWG2008.536.

Albumen carte-de-visite, 86 x 62mm, by Frederick Richard Window, London, whole-length, standing to left, leaning against table, hands and legs crossed; colls NPG Ax11919; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1962; and V&A, London, 845-1956 (issued by Window & Grove).

1863
Albumen cartes-de-visite by Ferdinand Jean de la Ferté Joubert, Bayswater, three known poses:
(a) 96 x 61mm, nearly whole-length, half-profile to left, seated to left, legs crossed, holding album; NPG x25263. Repr. Warner 1997, p.244.
(b) half-length, three-quarter-face; reg. for copyright 1863 Feb. 28: National Archives (COPY 1/2).
(c) half-length, nearly profile; reg. for copyright 1863 Feb. 28: National Archives (COPY 1/2).

Photograph by W.T. & R. Gowland, York, vignette, head-and-shoulders, half-profile; reg. for copyright 1863 Apr. 13: National Archives (COPY 1/3).

mid-1860s
Vignettes, 102 x 64mm, on carte-de-visite by Window & Bridge, four poses:
(a) head, full-face;
(b) head, profile to right;
(c) head, half-profile to left;
(d) near-profile to left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.81.

1864
Albumen print by unidentified photographer, three-quarter-length, to right, holding gloves in right hand, left hand in pocket; priv. coll. Exh. W.P. Frith, Guildhall AG, London, 2006 as ‘William Powell Frith aged 45 1864’; repr. Wallis 1971, p.15.

c.1870
Albumen carte-de-visite, 92 x 58mm, by Elliott & Fry, head-and-shoulders, looking right, wearing spotted bowtie; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.77; and NPG x28169; also albumen carte-de-visite, 90 x 58mm, vignette head from same image; NPG Ax28923.

reg. 1876
Albumen print, 222 x 159mm, by Hughes & Edmonds, after untraced composite drawing by unidentified artist (probably executed after a photograph), head-and-shoulders, facing front, standing right at the back, second from right, with five other figures (including J.M.W. Turner, D. Wilkie and W.H. Landseer); reg. for copyright 1876 Aug. 16: National Archives (COPY 1/34); prints colls NPG Ax132902; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1118; and Getty Images, 3069828. Repr. Hughes & Edmonds 1876 (as 'Artists').
See also Hunt, Millais.

late 1870s
Cartes-de-visite by Elliott & Fry, 102 x 64mm, two known poses:
(a) half-length, half-profile to right, seated, fingers clasped to left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.84, COMWG2008.85, COMWG2008.88. Repr. (head-and-shoulders only) MA 1879, p.80.
(b) half-length, further to right; RA, London, 04/1939.

Cabinet print, 165 x108mm oval, by unidentified photographer, head-and-shoulders, looking left, half-profile to left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3678.

1880
Woodburytpe cabinet print, 115 x 92mm oval, by Lock & Whitfield, head-and-shoulders, half-profile to left; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.311, COMWG2008.954; and NPG Ax17605. Publ. Cooper 1876–83, ser. 4, 1880, p.21.

1883
Albumen prints by Frank Dudman for J.P. Mayall, in front of a canvas with palette in studio at Pembridge Villas, two known poses:
(a) whole-length, seated to left; reg. for copyright 1883 Sept. 13: National Archives (COPY 1/365/222).
(b) whole-length, profile to left; repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.6.

1880s
Albumen cartes-de-visite by John Done & Co., two known poses:
(a) head-and-shoulders, profile to left, wearing stiff collar; The Rob Dickins Coll., Watts G., Compton, COMWG2008.87.
(b) head-and-shoulders, half-profile to right; RA, London, 04/1939.

Photograph by Alexander Bassano, three-quarter-length, seated to left, holding pencil and notebook; repr. The Year’s Art 1888, facing p.16.
A very similar image was the basis for a reproduction in the Daily Graphic, 5 May 1891, p.9 (credited ‘from a photo by Fradelle and Young, three-quarter-length, seated, half-profile to left, white whiskers; publ. MWD, vol.3, 1890, pl.18; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.3680; and NPG Ax5493.

c.1891
Carte-de-visite, 90 x 55mm, by Window & Grove, half-length, half-profile to right, wearing coat with satin revers; colls Terry Parker; The Rob Dickins Coll., Watts G., Compton, COMWG2008.89; and V&A, London, 845-1956. Exh. W.P. Frith, Guildhall AG, London, 2006; repr. Strand, 1892, p.598 (as ‘Age 72’), ‘The Painter as Preacher’; Quiver, June 1898, p.718.

1890s?
Platinum print by Frederick Hollyer, head-and-shoulders, nearly full-face, body turned to left; V&A, London, 7757-1938.

Photograph by unidentified photographer, whole-length, standing by lake, with Mary Alford seated on ground; priv. coll. Exh. W.P. Frith, Mercer AG, Harrogate, 2007; ref. Guardian, 26 Mar. 2007, p.20.

Photograph by unidentified photographer, nearly whole-length, wearing top hat, seated in garden with second wife, their daughter and three grandchildren; priv. coll. Exh. Mercer AG, Harrogate, 2007; repr. Guardian, 26 Mar. 2007, p.21.

1896
Albumen print by Window & Grove, three-quarter-length, to left, looking down, with great-grandson Godfrey Vignolles Thomas; priv. coll. Exh. W.P. Frith, Guildhall, London, 2006.

1899
Photographs by Rose Profumo, two known poses:
(a) half-length, half-profile; reg. for copyright 1899 Mar. 2: National Archives (COPY 1/439/449).
(b) head-and-shoulders, half-profile; reg. for copyright 1899 Mar. 2: National Archives (COPY 1/439/450).

1900
Albumen print by unidentified photographer, whole-length, to front, seated on bench in a studio with three great-grandchildren; priv. coll. Exh. W.P. Frith, Guildhall, London, 2006.

1902
Photographs by Ernest Herbert Mills, three known poses:
(a) three-quarter-length, profile to left, seated painting ‘Academy Picture for this Year’s Exhibition’; repr. Black & White, 15 Mar. 1902, p.372.
(b) half-length, nearly profile to left, same scene; repr. as postcard and (detail), Christie’s, 19 Feb. 2003, fig.1 (where credited to Maas Coll.).
(c) half-length, to front, repr. ‘Art in Photography: Some Portrait Studies of Royal Academicians’, Sketch, 31 Jan. 1903, p.25.

1908
Photograph by F.B. Wells, half-length, seated; reg. for copyright 1908 Feb. 6: National Archives (COPY 1/518/84); repr. as vignette with hand to head, London 1907–9, p.49.

Photograph by unidentified photographer, half-length, profile to left, seated holding brush, Derby Day in background; repr. Sphere (date not known); and Wood 2006, p.240.

c.1908
Albumen cabinet card, 142 x 103mm, by Window & Grove, with sitter signature, three-quarter-length, seated in garden; NPG x15425.

1908–9
Photograph by unidentified photographer, three-quarter-length, seated in front of male portrait, holding brushes, etc.; repr. The Mirror, 1909; and Wood 2006, p.245.

Photograph by unidentified photographer, three-quarter-length, seated, full-face, wearing CVO; repr. Graphic, 6 Nov. 1909, p.603; and Bills & Knight 2006, p.27.

1909
Photograph by unidentified photographer, three-quarter-length, seated with Miss Seymour Lucas on her wedding day, 23 June 1909; repr. Graphic, 6 Nov. 1909, p.603.


Undated photograph

Photograph, 38 x 57mm, by unidentified photographer, signed and inscr. ‘The pencil speaks the tongue of every land’, whole-length, facing front, with white hair and bare head, seated in garden, holding walking stick in right hand; The Rob Dickins Coll., Watts G., Compton, COMWG2008.950.

Dr Jan Marsh