Later Victorian Portraits Catalogue

Self-portraits
By other artists
Photographs

We are grateful for substantial information provided by Sarah Kellam: www.richardansdell.co.uk.

Self-portraitsback to top

Possible self-portraits
Ansdell is believed to have represented himself in a number of outdoor scenes set in the area of Lytham St Annes, Lancashire, including:

c.1864
Oil on canvas, Lytham Sandhills, whole-length, profile to left, wearing hat, with dog; Harris MAG, Preston, PRSMG: P10.

Oil on canvas, 508 x 1524mm, Rabbiting on Lytham Sandhills, whole-length, profile to right, crouching, wearing hat, with a boy, possibly his son Tom; coll. Fylde Borough Council, 78.

Oil on canvas, Lytham Sandhills, almost whole-length, profile to left, wearing hat, smoking pipe, with a boy, possibly his son, and two dogs; untraced. Repr. Christie’s, 4 Nov. 1994 (88).

1866
Oil on canvas, Lytham Sandhills, almost whole-length, to left, right hand in pocket, with dog; coll. Fylde Borough Council, 76.

1880s
Oil on canvas, Morning, Ready to Start for the Moors, three-quarter-length, full-face, wearing hat and holding rifle, with a boy, possibly his son Tom, and four dogs; untraced. See Sarah Kellam, Known Portraits of Richard Ansdell RA, 2006 (unpublished list, copy in NPG Archive).

By other artistsback to top

1829
Oil on canvas, by ‘Hanks’, three-quarter-length, to left, full-face, holding palette and brushes; family coll. Repr. Todd 1919, p.14.

1841
Oil on canvas by William Powell Frith, three-quarter-length, to left, seated with dog’s head in lap; one of a pair with a portrait of Ansdell’s wife; family coll. Repr. Ansdell 1985, p.7.

exh. 1847
Bust by John A.P. MacBride; untraced. Exh. Liverpool Academy 1847 (749); see Gunnis 1953, p.420; Morris & Roberts 1998, p.401.

c.1870
Drawing by J.E. Hodgson, whole-length, seated to left, on bank of river Spean, Scotland, with Frederick Walker and dog; untraced. Engr. by H. Scheu repr. in Hodgson 1889, at p.389.
This image may be from an original sketch, or from a composite drawing, done after the deaths of both Walker (1875) and Ansdell (1885).

1872
Design by (Edward) Linley Sambourne for Visions of Burlington House. Sixth of May, head-and-shoulders, full face at top of composition, holding out his glass to be filled; untraced. Repr. Punch, 11 May 1872, p.198; McMaster 2008, p.66, fig.6; McMaster 2009, p.25, fig.13; and Ormond 2010, p.84, fig.31.
See also Calderon, Faed, Leighton, Marks, Millais, Ruskin.

Marble bust by Henry Weekes, head-and-shoulders, slightly to left, with full beard; Walker AG, Liverpool, WAG 4183. Exh. RA 1873 (1526).

publ. 1875
Design by (Edward) Linley Sambourne for Academicians and Outsiders. – A Battle-piece., head-and-shoulders, facing front on the top tier of defending Academicians; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Boughton, Butler, Calderon, Cope, Du Maurier, Frith, Herkomer, Horsley, Leighton, Marks, Millais, Orchardson, Sant.

publ. 1876
Wood-engr. by ‘TD’, whole-length, standing, holding palette. Repr. Hornet, 22 Nov. 1876, p.260.

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; McMaster 2009, p.31, fig.17.
See also Alma-Tadema, Calderon, Goodall, Horsley, Leighton, Lindsay, Marks, Millais, Orchardson, Sant.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, a High (Art) Tide., head only, in shadow at the left-hand edge of composition; 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, Armitage, Boughton, Butler, Calderon, Cope, Du Maurier, Fildes, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

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, seated third from the left on the top 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; Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Armitage, Barlow, Boehm, 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
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, facing forwards, far left of 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, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Frith, 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, head only, profile to right, among 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, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

Oil on canvas, 398 x 295mm oval, by Arthur Stockdale Cope, head-and-shoulders, full-face, looking to right; Macdonald Coll., Aberdeen AG, ABDAG003266.

Photographsback to top

1850s
Carte-de-visite, 80 x 61mm, by Horne & Thornthwaite, with attached sitter signature, whole-length, looking to right, seated in carved chair, wearing check trousers and holding wideawake hat; V&A, London, Ph.177-1982.

1857
Albumen print, 293 x 238mm, by William Frederick Lake Price, three-quarter-length, standing to right, holding sketchbook in left hand, pencil in right, beside still-life arrangement of dead bird, fabrics, furs and hunting horn; V&A, London, E.1383-2000. Exh. London Photographic Soc., Feb.–Mar. 1858 (551).

1860–62
Albumen carte-de-visite, 84 x 55mm, by Caldesi, Blanford & Co., whole-length, standing to right, right hand in pocket, left arm on chairback, top hat on seat, clothes rather rumpled; NPG x25259. Repr. Hacking 2000, fig.4.
Duplicate and less faded print, 87 x 56mm; NPG x46562.

Carte-de-visite by Maull & Polyblank, whole-length, standing against blank wall, left hand holding top hat, right hand holding umbrella; sitter’s name in pencil recto and verso; untraced.

1861
Three albumen sepia cartes-de-visite by John & Charles Watkins, London:
(a) 88 x 58mm, whole-length, seated to left, holding pencil, very full beard; NPG Ax11921, duplicate print NPG Ax7554. Repr. (on election as ARA) as wood-engr. by W. Murden, head-and-shoulders vignette with pose tweaked, ‘from photograph by John Watkins’, ILN, 23 Feb. 1861, p.178.
(b) 86 x 57mm, inscr. ‘Ansdell’, head-only vignette, to front; colls RA, London, 04/925; NPG Ax17247; Bristol CMAG, Album I, MB7228; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.1966.
(c) 101 x 64mm, head vignette, profile to right; colls RA, London, 03/3677; and The Rob Dickins Coll., Watts Gallery, Compton, COMWG2008.163.3, COMWG2008.163.1371; and Archives of American Art, Smithsonian Inst., Washington, DC, Hiram Powers Papers 1819-1903, series 6, box 10, folder 66, no.1.

c.1862–3
Albumen carte-de-visite, 89 x 55mm, by C.A. Duval & Co., Manchester, whole-length, standing to left, holding drawings from folio, top hat on sideboard behind; NPG Ax14856.
Possibly the same image, slightly misdescribed on registration as showing his right hand on table, or another pose from the same session; reg. for copyright 1863 Feb. 26: National Archives (COPY 1/2).

1864–5
Albumen prints by David Wilkie Wynfield; see NPG P70 and NPG P89.
This is probably the image by which Ansdell is best known.

1866
Albumen print, 95 x 71mm, by Ernest Edwards, 12 Jan. 1866, whole-length, full-face, standing with right hand on chairback; priv. coll.; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.912, COMWG2008.163.913 and COMWG2008.163.2274. Publ. Reeve & Walford 1863–7, vol.5, Feb. 1866, no.32, p.123; exh. and repr. Maas 1984, no.127.

c.1870
Albumen cartes-de-visite by Elliott & Fry, two known poses:
(a) 89 x 55mm, head-and-shoulders, looking right; NPG Ax14854. Repr. as wood-engr., Graphic, 16 July 1870, p.56.
Vignette of head only; The Rob Dickins Coll., Watts Gallery, Compton, COMWG2008.163.5.
(b) head-and-shoulders, looking forward; Birket Foster cartes album, priv. coll.; vignette, 91 x 59mm; colls NPG Ax28915; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.72.

c.1882
Photograph by unknown photographer, head-and-shoulders vignette, profile to left. Engr. by ?Kenright; repr. MA, 1882, p.451.

1883
Albumen print by unknown photographer, whole-length, seated, profile to left, in Ansdell’s studio, holding palette in front of canvas on easel; family coll.; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.3764. Repr. Todd 1919, frontispiece; as photogravure, 435 x 340mm, Bills & Webb 2007, no.103.

c.1883
Albumen print by Frank Dudman, whole-length, seated to front, in Ansdell’s studio, holding palette in front of large canvas, bookshelves behind; reg. for copyright (by J.P Mayall) 1883 Sept. 13: National Archives (COPY 1/365/223).

Woodburytype, 115 x 91mm, by Lock & Whitfield, head-and-shoulders, to front; NPG Ax17716; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.914 and COMWG2008.163.2190. Publ. Cooper 1876–83, ser. 7, 1883, p.24.

Dr Jan Marsh