Later Victorian Portraits Catalogue

I. IN PRIVATE CHARACTER
Paintings, drawings, sculptures and prints
Posthumous portraits
Photographs
II. IN STAGE CHARACTER (alphabetically by play)

I. IN PRIVATE CHARACTERback to top

Paintings, drawings, sculptures and printsback to top

1867
?Pencil sketch by George Du Maurier, inscr. with six lines of verse referring to Hare’s part as Sam Gerridge in Caste, whole-length, standing at front door, profile to left, pipe in left hand, receiving money from Du Maurier; untraced, coll. John Hare 1908. Repr. Strand, vol.35, 1908, p.524.

publ. 1875
Caricature drawing by F. Kalulu, large head (moustachioed) on animal body, at lower left, in procession of theatre managers that includes Sir Henry Irving; untraced. Repr. Hornet, 28 Apr. 1875, p.3, decorating ode to actor Tommaso Salvini (‘Salve! Salvini!’).

c.1875
Watercolour caricature on board by Frederick Sem, signed, whole-length standing, three-quarters to right, box around neck inscr. ‘Court Theatre’, holding up ?playbills inscr. ‘Short & Sweet’ and ‘Lady Flora’; Garrick Club, London, SEM29.

The Court Theatre opened under Hare’s management with Lady Flora in Mar. 1875; see below, ‘In stage character, Lady Flora, Photographs, 1875’.

?mid-1870s
Pen and ink caricature by Alfred Bryan, whole-length standing, looking to right, hands in pockets; untraced. Repr. unidentified publication, captioned ‘First Old Man’; see MEPL, London, 11015097.

exh. 1879
Oil painting by Val Prinsep, possibly in part, no further details; untraced. Exh. RA 1879 (651).

Prinsep wrote a comedy, Monsieur le Duc, for Hare at St James’s Theatre in 1879. [1]

publ. 1882
Pen and ink caricature by Alfred Bryan, whole-length standing, to left, with Arthur Wing Pinero and William Hunter Kendal raising glasses to Pinero’s new play; untraced. Repr. Entr’Acte, 14 Jan. 1882; see MEPL, London, 11015497.

publ. 1890
Pen and ink and watercolour caricature by Leslie Ward (‘Spy’), signed, whole-length standing, in evening dress, right thumb raised; Garrick Club, London, G0284. Repr. Ashton 1997, p.159.

Chromolithograph by Vincent Brooks, Day & Son, repr. Vanity Fair, 1 Mar. 1890 (‘Men of the Day no. 462, captioned ‘Mr John Hare’); prints colls NPG D44479; V&A, London, S.472:1-2010 and S.207-2008; Harvard Theatre Coll., Houghton L, Harvard U. (no further details); and MEPL, London, 10095690. Ref. Hall 1930–34, vol.2, p.187; repr. Whyte 1898, p.122. See NPG Portrait Set ‘Vanity Fair cartoons: chromolithographs by various artists 1869–1914’.

See also composite chromolithograph by Vincent Brooks, Day & Son by unidentified artist, 22 public figures on a stage, repr. Vanity Fair, 29 Nov. 1890, captioned ‘In Vanity Fair’, which includes Ward’s figure of Hare; BM, London, 1937,0914.2. Repr. Matthews & Mellini 1982, dustjacket.

See also Grossmith, Irving, Tree, Ward.

1891
Drawing by Theodore Blake Wirgman, signed and dated 1891, whole-length seated, to left, by desk, in his room at Garrick Theatre; untraced. Repr. Black & White, 2 July 1892, p.20.

Pen and ink sketch by Reginald Cleaver, half-length seated, profile to left, arms folded, watching the royal baccarat scandal case at Royal Courts of Justice (1–9 June 1891) with Sir Herbert Beerbohm Tree; untraced. Repr. Daily Graphic, June 1891 (no further details); and Beerbohm [1920], facing p.60.

publ. 1891
Pen and ink caricature by Alfred Bryan, whole-length standing, to right, in schoolmaster’s gown and cap, with Sir Henry Irving and Henry Brodribb Irving; untraced. Repr. Entr’Acte, 20 June 1891, captioned ‘Mr Henry Irving places his son … Hare’ (cuttings Garrick Club, London, Fitzgerald Irving scrapbooks, vol.9, p.63; and Russell-Cotes AGM, Bournemouth, BORGM:2004.12.5); and Irving 1951, facing p. 541.

1893
Oil on canvas by John Everett Millais, signed and dated, three-quarter-length standing, facing, open book in left hand, right hand behind back; Garrick Club, London, G0282. Exh. RA 1893 (18); and RA Old Masters Winter Exh., 1898 (37). Repr. [Cassell] 1893, p.175; and Ashton 1997, p.158.

Photogravure, proofs before title; prints colls NPG D35431; and Harvard Theatre Coll., Houghton L., Harvard U. (no further details). Ref. Hall 1930–34, vol.3, p.187.

As with Millais’s portrait of Sir Henry Irving (1883, Garrick Club), the portrait proposal came from the artist; Millais and Hare (and Irving) were Garrick Club regulars.

See NPG Portrait Set ‘MacDonnell Collection’.

1895
Chalk caricature drawing by Edward Austin Abbey, signed and dated, inscr. ‘His Kinsmen wait his genial, loved return’, whole-length, facing, walking down gangplank, in ‘Uncle Sam’ costume; Garrick Club, London, G0281. Ref. and repr. Strand, vol.36, 1908, p.174; also repr. Ashton 1997, p.157.

According to Hare, it was drawn before the American tour. [2]

publ. 1905
Pen and ink and grey wash on drawing board by Bror Kronstrand, whole-length, to left, oversized head turned to right, wearing exaggeratedly high collar; V&A, London, S.208-2008. Repr. Bystander, 22 Mar. 1905 (no page no.).

Hare ‘always [wore] a “boiled” shirt with stiff white cuffs and a stand-up collar verging on the “Gladstonian”’. [3]

1908
Various watercolours by W.R.E. Stott, signed and dated, fanciful illustrations of events in Hare’s life; untraced. Repr. Hare 1908.

Pen and ink and watercolour drawing by George Cooke, signed and dated 4 Nov. 1908, full-face, in roundel; V&A, London, S.395:43-2002.

1915–16
Pen and ink caricature by Harry Furniss; see NPG 4095(5).

undated
Watercolour caricature by L.J. Binns, portrait chargé, whole-length standing, to left, arms behind; Billy Rose Theatre Division, New York PL, image ID 1628852.

Another version, signed by Hare, Billy Rose Theatre Division, New York PL, image ID 1628917.

Caricature sketch by unidentified artist, whole-length standing, profile to right, on sea-front with Squire Bancroft, wearing bowler hat; untraced. Repr. with comic dialogue caption in unidentified journal; loose clipping, Blomfield Coll.

Posthumous portraitsback to top

publ. 1925
Pen and ink caricature by Harry Furniss, whole-length, to left, on horseback, wearing a bowler hat; untraced. Repr. Furniss 1925, facing p.110.

Photographsback to top

c.1863
Photographs by Fradelle & Marshall, wearing cravat with lozenge pattern, two known poses:
(a) half-length, looking to left; V&A, London, S.142:425-2007 (attributed to Somers). Repr. Strand, vol.35, 1908, p.371, captioned ‘age 19’; and Blomfield 2013, p.71.
(b) half-length, three-quarters to right; V&A, London, S.142:424-2007.

c.1867
Photograph by Window & Bridge, whole-length standing against table, looking to right, slight moustache, holding paper. Repr. Strand, vol. 35, 1908, p.514, captioned ‘age 23 yrs’.

mid- to late 1860s
Photographs by Window & Grove, holding gloves, two known poses:
(a) three-quarter-length seated, full-face, right hand to head; V&A, London, S.142:423-2007.
(b) head-and-shoulders, arms crossed; V&A, London, S.142:419-2007.

Photograph by unidentified photographer, head-and-shoulders, three-quarters to left, wearing broad striped tie and turn-down collar; V&A, London, S.142:430-2007.

?late 1860s to early 1870s
Cartes-de-visite by London Stereoscopic & Photographic Co., with slight moustache, tie in ring, three known poses:
(a) bust, three-quarters to right, looking slightly down; NPG x17376. See NPG Portrait Set ‘London Stereoscopic & Photographic Company cartes-de-visite, 1850s–80s’.
(b) bust, three-quarters to right, facing; V&A, London, S.142:420-2007.
(c) head-and-shoulders, facing; V&A, London, S.142:427-2007.

c.1872
Photograph by Elliott & Fry, half-length seated, three-quarters to right. Wood engraving by ‘PN’ repr. Strand, vol.1, 1891, p.158, captioned ‘age 28’.

early 1870s
Photographs by unidentified photographer, wearing spotted tie broadly knotted, two known poses:
(a) head-and-shoulders, three-quarters to right, in oval; V&A, London, S.142:429-2007.
(b) head-and-shoulders, full-face, in oval; V&A, London, S.142:431-2007.

1875
Woodburytype by unidentified photographer, bust, head (with moustache) turned three-quarters to right; NPG Ax45748 (publ. Hardwicke & Bogue, 1879); also in sheet issued by unidentified photographer showing 29 portraits of actors, NPG x132955. Further prints (reversed) colls NPG x17371, NPG x17372 and NPG Ax7687; and V&A, London, S.142:428-2007 (inscr. ‘John Hare / Court Theatre / 1875’). [4]

See NPG Portrait Sets ‘Terence Pepper gift: photographs, prints and drawings, 1808-2008’ and ‘The Dramatic List: woodburytypes by various photographers, published 1879’.

mid-1870s
Photograph by unidentified photographer, whole-length seated, wearing moustache, top hat on lap, looking down to left at dog (probably Smut); V&A, London, S.142:415-2007.

‘In those days [1876] I was always accompanied by a favourite and beautiful old collie called Smut, which I took to rehearsals’; [5] for an 1877 collie-on-stage anecdote see Hare 1908, vol.36, p.11.

1870s
Photographs by Window & Grove, three known poses:
(a) three-quarter-length standing by ornate mantelpiece, looking to right, head on right hand; V&A, London, S.142:422-2007.
(b) three-quarter-length standing, looking to right, arms dropped; V&A, London, S.142:421-2007.
(c) head-and-shoulders, three-quarters to right. Repr. as lithograph by E. Matthews & Sons, vignette in oval border with cupids (part of series of portraits of actors); prints colls NPG SB (Hare); Harvard Theatre Coll., Houghton L., Harvard U. (ref. Hall 1930–34, vol.2, p.187); and V&A, London, S.428-2015.

publ. 1883
Carbon print by St James’s Photographic Co., head-and-shoulders, full-face, ‘taken specially’ for The Theatre, series 4, vol.2, 1 Sept. 1883, facing p.163; copies colls NPG Ax9278; V&A, London, S.142:404-2007; and Getty Images 463957973. See also woodburytype; NPG x17375.

publ. 1890 (but probably 1880s)
Photographs by Herbert Rose Barraud, two known poses:
(a) half-length, full-face; Garrick Club, London, Athole Stewart Album no.49 (head-and-shoulders detail). Carbon print publ. MWD, vol.3, 1890; copies colls NPG Ax5488; and MEPL, London, 10125290. See NPG Portrait Set ‘Men and Women of the Day: photographs by Barraud and others, published 1888–1893’. Wood engr. by ‘PN’ repr. Strand, vol.1, 1891, p.158, captioned ‘age 40’, suggesting a date c.1884 for the photograph.
(b) half-length, profile to right, wearing coat with velvet collar; Garrick Club, London, Athole Stewart Album no.51. Carbon print publ. The Theatre, series 4, vol.15, 1 May 1890, facing p.279; NPG Ax9368. Wood engr. by ‘PN’ repr. Strand, vol.1, 1891, p.158 (original photograph attributed to Elliott & Fry), captioned ‘age 44’, suggesting a date c.1888 for the photograph.

c. early 1890s
Photograph by unidentified photographer, half-length, full-face, spectacles on cord around neck. Photogravure by Walker & Boutall; NPG x17370.

Photograph by Walery, three-quarter-length seated, to right, head to left, resting on right hand; Bancroft family material. Half-length detail V&A, London, S.142:407-2007.

publ. 1894
Photographs by W. & D. Downey, with grey hair, three known poses:
(a) three-quarter-length seated, to right, wearing grey double-breasted coat with flower in buttonhole. Heliochrome by Waterlow & Sons Ltd publ. Lawrence [c.1900], part 9, p.75; copies colls Harvard Theatre Coll., Houghton L., Harvard U. (ref. Hall 1930–34, vol.2, p.187); and Bancroft family material.
(b) bust, to left, head turned to viewer, in same costume as (a); carbon print publ. Downey & Downey 1890–94, 5th series, p.62; copies NPG x17374 and NPG Ax27916. Other prints colls BM, London, 1910,1126.176; V&A, London, S.142:433-2007 (head-and-shoulders detail, attributed to Elliott & Fry); and MEPL, London, 10952247.

See NPG Portrait Set ‘The Cabinet Portrait Gallery: photographs by W. & D. Downey, published 1890–94’.

(c) half-length, to right, thumb in waistcoat pocket, wearing different suit and buttonhole to above. Repr. [Cassell] 1895, p.206.

reg. 1895
Photographs by Alfred Ellis, with son Gilbert, two poses reg. for copyright 1895 Feb. 26:
(a) three-quarter-length standing, full-face: National Archives (COPY 1/419/540).
(b) three-quarter-length standing, holding hat in left hand: National Archives (COPY 1/419/541).

Photographs by Alfred Ellis, four poses reg. for copyright 1895 Nov. 12:
(a) nearly half-length, nearly full-face, eyes slightly raised to right: National Archives (COPY 1/422/389). Carbon print publ. The Theatre, series 4, vol.25, 1 Jan. 1895, facing p.36; copies colls NPG Ax28871; Folger Shakespeare L., Washington, DC, digital image 23819; and MEPL, London, 10087986.
(b) head-and-shoulders, full-face, eyes to left: National Archives (COPY 1/422/351). Postcard; Bancroft family material (no further details).
(c) three-quarter-length standing, with hands behind back: National Archives (COPY 1/422/390).
(d) three-quarter-length standing by the side of chair, with hands behind: National Archives (no further details).

publ. 1897
Photographs by John Caswall Smith, three known poses:
(a) half-length, to left, near-profile, head on left hand. Repr. Sketch, 24 Feb. 1897, p.202.

Postcard, publ. W.G. Pollard; prints colls Billy Rose Theatre Division, New York PL, Image ID TH-18970; and Bancroft family material (Valentine series).

(b) bust, to left, head turned to face. Postcard, photo attributed to Lizzie Caswall Smith; Bancroft family material.
(c) half-length seated, facing. Postcard, publ. Rotophot, photo attributed to Lizzie Caswall Smith; Bancroft family material.

reg. 1899
Photographs by Achille Bosco for Alfred Ellis, three poses reg. for copyright 1899 Sept. 22: National Archives (no further details):
(a) bust, nearly full-face, coat open.
(b) bust, nearly full-face, coat buttoned.
(c) bust, full-face, with hand to face.

1890s
Cabinet card by Alexander Bros, Glasgow, head-and-shoulders, full-face; Billy Rose Theatre Division, New York PL, image ID TH-18974.

Photograph by Benjamin Joseph Falk, New York, bust, to left, looking to front, in oval. Process print reproduction, Harvard Theatre Coll., Houghton L., Harvard U. Ref. Hall 1930–34, vol.2, p.187.

Hare made three American tours in the 1890s.

publ. 1904
Photograph by J.A. Draycott, bust, head turned to left. Repr. Dark 1904, p.517.

c.1904
Photograph by unidentified photographer, three-quarter-length standing, to right, head turned to face, holding gloves and homburg hat (possibly in part). Postcard (no further details); prints colls NPG x17377; Garrick Club, London, David Allen Postcard Album no. 38; and Bancroft family material.

1905
Photograph by Molly Hare, whole-length seated, facing, on garden terrace, with Sir Henry Irving, at Hare’s house, The Grange, Overstrand, Norfolk, Aug. 1905; Bancroft family material. Repr. Tatler, Dec. 1905; Stoker 1906, vol.2, facing p.352 (captioned ‘The last photograph of Henry Irving’); and Blomfield 2013, p.334.

publ. 1908
Photographs by Histed & Co., with thinning hair, two known poses:
(a) head-and-shoulders, full-face. Repr Strand, vol.36, 1908, p.364.
(b) half-length seated, holding granddaughter Diana Bancroft. Repr. Strand, vol.36, 1908, p.318.

c.1909
Albumen print by Window & Grove, three-quarter-length seated, looking to right, head on right hand; NPG x31827, signed and dated Oct. 1909. Repr. Bancroft 1939, facing p.86.

1917
Photograph (or camera still shot) by unidentified photographer, head-and-shoulders, full-face, second from right in group of nine RADA council members discussing production of film version of Masks and Faces, directed by Fred Paul and released by Ideal Films Mar. 1917; BFI. The RADA meeting was a re-enactment of an actual meeting, and the re-enactment was screened as a prologue to the film. Repr. Blomfield 2013, p.316.

See also Alexander, S. Bancroft, Forbes-Robertson.

undated
Photographs by Langfier Ltd, three known poses:
(a) three-quarter-length seated, to left, facing, eyes slightly to right, holding hat in right hand, legs crossed. Postcard, publ. S. Hellier; Bancroft family material.
(b) head-and-shoulders, facing, looking ahead. Postcard, bust detail in roundel, Wrench series; Bancroft family material.
(c) three-quarter-length standing, holding hat in right hand. Postcard, publ. Rotary Photographic Co. Ltd; Bancroft family material.

Photographs by London Stereoscopic & Photographic Co., half-length, wearing coat with velvet collar, two known poses:
(a) looking to right, hat and stick partly visible; V&A, London, S.142:418-2007.
(b) three-quarters to right; V&A, London, S.142:426-2007.

Photograph by unidentified photographer, head-and-shoulders, near-profile to right; V&A, London, S.142:403-2007.

Photograph by unidentified photographer, half-length standing, three-quarters to left, possibly early 1900s. Postcard, publ. Chancellor; Bancroft family material.

Photograph by unidentified photographer, head-and-shoulders, head three-quarters to left; V&A, London, S.142:432-2007.

II. IN STAGE CHARACTER (alphabetically by play)back to top

Caste (as ‘Eccles’/‘Sam Gerridge’) [6]
Opened 6 Apr. 1867 and revived in 1871, 1879, 1883 and 1896.

1867
Pen and ink caricature drawing by (Edward) Linley Sambourne, whole-length, full-face, bearded, wearing top hat, as Sam Gerridge, arm in arm with Squire Bancroft and George Honey; untraced. Repr. Punch, 29 July 1867, captioned ‘The Late Panic. “Caste”’; and Bancroft & Bancroft 1909, facing p.102, captioned ‘Linley Sambourne’s first drawing for Punch’; ref. Bancroft 1925, pp.92–3, ‘a droll little sketch … drawn from memory after visits to the pit’.

?1910
Caricature by unidentified artist, head-and-shoulders, wearing battered hat and holding bottle, left hand to face, as Eccles; untraced.

Chromolithograph by David Allen & Sons, poster for Royal Lyceum Theatre, Edinburgh; NL Scotland, Weir.5(35).

A poster for one of Hare’s farewell tours around Britain, begun 1907.

Photographs

1867
Photographs by London Stereoscopic & Photographic Co., as Sam Gerridge, two known poses:
(a) whole-length seated on table, looking to right; V&A, London, S.142:437-2007.
(b) whole-length standing, looking to left, holding top hat and cane; cartes-de-visite V&A, London, S.142:439-2007; and Bancroft family material.

Photograph by unidentified photographer, half-length, looking to left, as Sam Gerridge, with Marie Bancroft (née Wilton) kneeling beneath table. Repr. Bancroft & Bancroft 1909, facing p.96, captioned ‘Marie Bancroft and John Hare in “Caste” / “Oh, the ghost! – the ghost!”’; Bancroft 1939, facing p.264; and Blomfield 2013, p.112.

Photograph taken in 1867 or 1871.

1871
Photographs by Henry William Ashdown, as Sam Gerridge, three known poses:
(a) inscr. ‘John Hare & / Marie Wilton / Lady Bancroft / in “Caste” / revival 1871 / Henry Ashdown’, three-quarter-length seated, head to right, with Marie Bancroft as Polly Eccles reading letter; V&A, London, S.142:72-2007. Repr. Strand, vol. 35, 1908, p.523.
(b) inscr. ‘Marie Wilton / (Lady Bancroft) / and John Hare / in “Caste” (revival) / Prince of Wales Theatre / September 1871 / Henry Ashdown’, whole-length seated, head to right, holding letter with Bancroft; V&A, London, S.142:75-2007.
(c) whole-length standing to left, hands in pockets, with Bancroft; Mander & Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.112, fig.306.

Caste was most successfully revived in 1871.

publ. 1897
Photographs by Pach Brothers, New York, as Eccles, two known poses:
(a) whole-length seated, facing, right hand pointing upwards, bottle at left. Repr. Sketch, 16 June 1897, front cover.
(b) half-length, three-quarters to left, head turned to face, arms crossed; cabinet card, Billy Rose Theatre Division, New York PL, image ID TH-18975. Repr. Dark 1904, p.519; and Burton 1938, facing p.96.

Diplomacy (as ‘Henry Beauclerc’)
Revived at Garrick Theatre 1893.

publ. 1893
Pen and ink design by Reginald Cleaver, ‘The Revival of “Diplomacy” at the Garrick Theatre’, inscr. ‘The Woes of Lady Henry Fairfax (Mrs Bancroft)’, whole-length, full-face, standing by door, between Johnston Forbes-Robertson and Squire Bancroft, in composite with other actors; untraced. Repr. Graphic, 25 Feb. 1893, p.180.

See also M. Bancroft, S. Bancroft, Forbes-Robertson.

Design by unidentified artist, full-page image of eight cast members, three-quarter-length standing, full-face, right hand in pocket, first from right in second row; untraced. Repr. as wood engr. Graphic, 4 Mar. 1893, p.213, captioned ‘The revival of “Diplomacy” at the Garrick Theatre: a group of the principal actors and actresses’. The portraits are taken from photographic originals (listed on p.211), in this case an otherwise untraced photograph by London Stereoscopic & Photographic Co.

See also M. Bancroft, S. Bancroft, Forbes-Robertson.

Photographs

reg. 1893
Photograph by Window & Grove , depicting cast at Garrick Theatre, Feb. 1893, half-length standing, to face, left hand on hip, with eight others; print, 220 x 280mm, registered for copyright with actors’ names by William Grove 1893 June 6: National Archives (COPY 1/412/518); another print, 143 x 106mm, V&A, London, S.142:215-2007; another print on printed card giving title of play, theatre, date and photographer, David J. Holmes Autographs, 2012; another print with actors’ signatures, Hare family material. Repr. Bancroft 1939, facing p. 88; and Blomfield 2013, p.298.

See also M. Bancroft, S. Bancroft, Forbes-Robertson.

A Fool’s Paradise (as ‘Sir Peter Lund’)

Photographs

1892
Cabinet cards by London Stereoscopic & Photographic Co., two known poses:
(a) three-quarter-length standing, to face, hands on lapels; Garrick Club, London, PH0099.
(b) whole-length standing, to right, hands on lapels, with Gilbert Hare; Garrick Club, London, PH0098.

The Gay Lord Quex (as ‘The Marquis of Quex’)

Photographs

1899
Photograph by unidentified photographer, whole-length standing, looking to left (no moustache), with top hat in left hand. Repr. Burton 1938, facing p.96.

publ. 1901
Photograph by Byron, New York, whole-length standing, to left, head turned to face (with moustache), holding top hat. Repr. Sketch, 9 Jan. 1901, p.461.

A Hundred Thousand Pounds (as ‘Fluker’)

Photographs

1866
Photographs by Walker (no further details), whole-length standing by curtain, full-face, holding hat, two similar poses; V&A, London, S.142:434-2007 and S.142:436-2007.

Lady Bountiful (as ‘Roderick Heron’)

Photographs

1891
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) three-quarter-length standing, to right, eyeglass in right hand; V&A, London, S.142:405-2007.
(b) whole-length standing, to right, with Gilbert Hare; cabinet card, Garrick Club, London, PH0097.

Lady Flora (as ‘The Duc de Chavannes’)

Photographs

1875
Photograph by London Stereoscopic & Photographic Co., three-quarter-length seated, facing; V&A, London, S.142:412-2007.

Little Mary (as ‘The Earl of Carlton’)

Photographs

1903
Photograph by unidentified photographer, bust, to left, head turned to face. Postcard, publ. Rotary Photographic Co. Ltd; two copies, Bancroft family material.

Man and Wife (as ‘Sir Patrick Lundie’)

Photographs

1873
Photograph by unidentified photographer, half-length standing, to left; V&A, London, S.142:414-2007.

Money (as ‘Sir John Vesey’)

Photographs

1911
Photograph by Foulsham & Banfield, three-quarter-length standing, slightly to right, pince-nez on cord around neck, hands clasped. Repr. Macqueen-Pope 1958, facing p.48, where captioned at Royal Command performance at Drury Lane, 17 May 1911.

Postcard, publ. Rotary Photographic Co. Ltd; Bancroft family material. Glass neg. of postcard, Prints and Photographs Division, L. of Congress, LC-B2- 2204-10 [P&P].

The Money Spinner (as ‘Baron Croodle’)

1881
Pen and ink caricature sketch by William Hunter Kendal, signed and dated, whole-length, back view, wearing top hat; priv. coll.

Process print publ. The Theatre, series 3, vol.3, 1 Mar. 1881, facing p.176; Harvard Theatre Coll., Houghton L., Harvard U. Ref. Hall 1930–34, vol.2, p.188; repr. Blomfield 2013, p.334.

Photographs

1881
Photograph by Robert White Thrupp, three-quarter-length standing, full-face, smiling under top hat. Repr. Strand, vol.36, 1908, p.15.

Photograph by J.A. Draycott, three-quarter-length seated, smiling, left hand on hip. Repr. Dark 1904, p.521.

The Notorious Mrs Ebbsmith (as ‘The Duke of St Olpherts’)
Opened at Garrick Theatre 13 Mar. 1895.

1895
Watercolour drawing by Walter Paget, whole-length standing, slightly to left, holding walking stick, with Mrs Patrick Campbell; untraced. Repr. ILN, 6 Apr. 1895, p.408; see MEPL, London, 10503299.

Pen and ink caricature by Bernard Partridge, whole-length standing, profile to left, with Campbell; untraced. Repr. Punch, 30 Mar. 1895, p.148 (‘Mr. Hare’s performance of the Duke of St Olpherts is a real gem, ranking among the very best things he has ever done’).

Ours (as ‘Prince Perovsky’)
Opened at Prince of Wales’s Theatre 15 Sept. 1866.

Photographs

1866
Photographs by Window & Grove, three known poses:
(a) whole-length standing, looking down at ball in right hand; V&A, London, S.142:411-2007. Repr. Whyte 1898, p.160a.
(b) whole-length standing between chair and table, facing, hands clasped; V&A, London, S.142:410-2007 and S.142:440-2007 (attributed to Window & Bridge).
(c) whole-length standing, facing, legs crossed, leaning against chair; V&A, London, S.142:442-2007.

1899
Photograph by Langfier Ltd, three-quarter-length standing, in uniform, holding hat. Repr. Strand, vol.35, 1908, p.521.

Ours was revived in 1899.

A Pair of Spectacles (as ‘Benjamin Goldfinch’)
Opened at Garrick Theatre Feb. 1890. ‘Of all Hare’s creations, Benjamin Goldfinch in A Pair of Spectacles … will be the longest and most affectionately remembered. That was a masterpiece of acting.’ [7]

1892
Drawing by Thomas Walter Wilson, signed and dated, half-length, facing, at right, in composite multi-figure group; untraced. Engr. by Richard Taylor repr. ILN, 28 Jan. 1893, pp.116–17, captioned ‘The Dramatic Profession of To-Day’, Hare no.35 on key (p.118).

See also Brough, Farren, Forbes-Robertson, Irving, James, Langtry, Moore, Terry, Toole, Tree, Wyndham.

publ. 1908
Drawing by Frank Haviland, bust, to left, head turned to right, based on a photograph by Elliott & Fry (see below, ‘In stage character, A Pair of Spectacles, Photographs, 1890’, pose (a)); untraced. Repr. Strand, vol.36, 1908, p.166.

Caricature drawing by unidentified artist, pair of spectacles, left lens showing head, smiling, in 1890 production, right lens showing head, unsmiling, in a later production, probably 1906; untraced. Repr. Strand, vol.36, 1908, p.168. For source images (both by Elliot & Fry) see below, ‘Photographs, 1890’, pose (a) and ‘Photographs, publ. 1904’, pose (c).

undated
Bust by unidentified sculptor, 560mm high; untraced; formerly RADA. Ref. NPG SB (Hare).

Photographs

1890
Photographs by Elliott & Fry, wearing round wire spectacles and light-coloured clothes, three known poses:
(a) head-and-shoulders, facing, head tilted to left, smiling; bromide print NPG x19006, inscr: ‘To Madame de Navarro with affectionate regards from John Hare 1918’; cabinet card, prints colls Garrick Club, London, HBT Photographs Box; and Bancroft family material. Repr. Sketch, 20 Feb. 1895, front cover.

One of the most popular images of Hare.

(b) head-and-shoulders, facing, head tilted to right, broader smile; cabinet card Folger Shakespeare L., Washington, DC, digital image 23820. Repr. Whyte 1898, p.168b.

Cigarette card, publ. Ogden, NPG x17378. See NPG Portrait Set ‘Ogden’s “Guinea Gold” cigarette cards, published circa 1894–1907’.

(c) three-quarter-length standing, to right, hands in pockets, head facing and smiling; cabinet cards colls Billy Rose Theatre Division, New York PL, image ID TH-18972; and Garrick Club, London, Photo Album 1, no.39.

Repr. as wood engr. Black and White, 2 July 1896, p.21 (half-length detail).

publ. 1896
Photograph by Byron, New York, half-length seated at breakfast table, wearing darker-coloured clothes than in 1890 production and dark-framed spectacles, with K. Rorke and P. Cunningham. Repr. Sketch, 11 Mar. 1896, p.283; and Mander & Mitchenson 1957, p.129.

publ. 1904
Photographs by Elliott & Fry, wearing dark jacket and waistcoat and oval-framed spectacles, three known poses:
(a) three-quarter-length standing, head slightly to right, hands in pockets, looking cross; cabinet cards colls Billy Rose Theatre Division, New York PL, image ID TH-18973; and Garrick Club, London, Photo Album 1, no.40.
(b) head-and-shoulders, facing, looking cross; V&A, London, S.142:406-2007.
(c) head-and-shoulders, facing, as in (b) with head cocked; repr. Dark 1904, p.521.

The Profligate (as ‘Lord Dangars’)

1889
Pen and ink sketch by Bernard Partridge, signed and dated, three-quarter-length standing, to right, hat in hand; untraced. Repr. ILN, 1 June 1889, p.508.

The Queen’s Shilling (as ‘Colonel Daunt’)

Photographs

1879–80
Photograph by Samuel Alexander Walker, whole-length seated, to left, legs crossed, wearing pillbox hat; carbon print NPG Ax7704; other prints colls V&A, London, S.142:413-2007; and Garrick Club, London, Athole Stewart Album no.50.

Woodburytype publ. The Theatre, 3rd series, vol.1, 1 Mar. 1880, facing p.129; BM, London, 1920,1012.33.

1885
Photograph by Herbert Rose Barraud, three-quarter-length standing, to right, wearing pillbox hat, with William Hunter Kendal; Garrick Club, London, PH0272.

A Quiet Rubber (as ‘Lord Kilclare’)

publ. 1878
Drawing by Randolph Caldecott, whole-length, head turned to right, right hand tucked into jacket; untraced. Repr. L’Art, vol.13, 1878, p.222.

Probably drawn 1876 when A Quiet Rubber was first produced.

1895
Pen and ink drawing by Alfred Bryan, inscr. ‘Mr Bancroft making the Presentation’, head, looking to right, among portraits of actors at presentation of the Actors’ Testimonial to Sir Henry Irving; untraced. Repr. unidentified publication, captioned ‘Presentation of the Actors’ Testimonial to Sir Henry Irving at the Lyceum Theatre’; cutting Garrick Club London, Fitzgerald Irving scrapbooks, vol. 14, p.39.

See also S. Bancroft, Irving, Terry.

1908
Oil on canvas by Hugh Goldwin Riviere, signed and dated, three-quarter-length seated, to right, looking to left; Garrick Club, London, G0283. Exh. RA 1908 (898). Repr. [Cassell] 1908, p.66; and Ashton 1997, p.158.

1914
Oil on canvas, 1130 x 1510mm, by (John) Byam Liston Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, half-length, three-quarters to left, centre background, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London. Exh. RA 1914 (536); Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Center for British Art, New Haven, CT, 2013 (55, ill. with key [no.28]). Repr. Sketch, 6 May 1914, p.133.

The full-size act drop was destroyed.

See also Alexander; Alma-Tadema, Anderson, M. Bancroft, S. Bancroft, Campbell, Farren, Forbes-Robertson, Irving, Leighton, Leno, Millais, Terry, Tree, Waller, Watts, Whistler, Wyndham.

Photographs

1876
Photographs by Window & Grove, five known poses:
(a) three-quarter-length seated, to left, checking hand of cards, right forefinger to chin; prints colls Mander & Mitchenson Coll., U. of Bristol (no further details); V&A, London, S.142:417-2007; and Bancroft family material (two cartes-de-visite). Repr. Mander & Mitchenson 1957, p.113, fig.311.
(b) whole-length, to left, leaning over card table; cabinet card Billy Rose Theatre Division, New York PL, image ID TH-18971. Repr. Strand, vol.35, 1908, p.623.
(c) whole-length, to right, slumped in chair beside card table; V&A, London, S.142:409-2007.
(d) three-quarter-length standing, full-face; V&A, London, S.142:416-2007.
(e) three-quarter-length seated at card table, to left, right hand tucked into jacket. Repr. Dark 1904, p.521.

Robin Goodfellow (as ‘Valentine Barbrook’)

1893
Drawing by Arthur Jule Goodman, signed and dated, whole-length, head turned to right, with burning letter in right hand; untraced.

Wood engr. by Richard Taylor repr. ILN, 14 Jan. 1893, p.40.

School (as ‘Beau Farintosh’)

Photographs

1869
Photographs by Frederick Richard Window, three known poses:
(a) whole-length standing, facing, smiling, right hand on table; V&A, London, S.142:441-2007.
(b) whole-length seated, to left, by round table, smiling foolishly; V&A, London, S.142:408-2007. Repr. Strand, vol. 35, 1908, p.617; and Blomfield 2013, p.127.
(c) whole-length standing, to left, right hand on table. Repr. Dark 1904, p.519.

The School for Scandal (as ‘Sir Peter Teazle’)
Opened at Prince of Wales’s Theatre 4 Apr. 1874.

Photographs

1874
Carte-de-visite by Window and Grove, whole-length standing, to face; prints colls V&A, London, S.142:435-2007; and Bancroft family material. Repr. Strand, vol.35, 1908, p.621.

Cartes-de-visite by Window & Grove, all inscr. with details of sitters, characters, date and photographer, whole-length standing or seated, with minor variations, with Marie Bancroft as Lady Teazle, 11 known poses:
(a) standing to left of Bancroft; V&A, London, S.142:104-2007.
(b) seated on chair to left of Bancroft; V&A, London, S.142:105-2007.
(c) similar to (b), right hand on Bancroft’s chin; V&A, London, S.142:107-2007. Repr. Bancroft & Bancroft 1909, facing p.136; and Bancroft 1939, facing p.22.
(d) profile to right, standing to left of Bancroft; V&A, London, S.142:110-2007.
(e) standing to right of Bancroft, hands clasped; V&A, London, S.142:118-2007.
(f) inscr. ‘John Hare and / Marie Wilton / (Lady Bancroft) / as Sir Peter & Lady Teazle / in “The School for Scandal” / Window & Grove’, profile to right, standing to left of Bancroft; V&A, London, S.142:119-2007.
(g) standing to left of Bancroft, looking down; V&A, London, S.142:120-2007.
(h) similar to (b); V&A, London, S.142:121-2007.
(j) to right, standing to right of Bancroft; V&A, London, S.142:102-2007.
(k) profile to right, right arm extended, to left of Bancroft; prints colls V&A, London, S.142:108-2007; and Garrick Club, London, Mrs John Laurie’s Album, p.5.
(l) to right, dancing with Bancroft. Repr. Blomfield 2013, p.152, as ‘Sir Peter and Lady Teazle … dance the minuet’.

A Scrap of Paper (as ‘Dr Penguin’)

1883
Pen and ink caricature sketch by William Hunter Kendal, signed and dated, head, profile to left; untraced. Repr. Strand, vol. 36, 1908, p.19.

Society (as ‘Lord Ptarmigant’)
Opened at Prince of Wales’s Theatre 11 Nov. 1865.

Photographs

1865
Photograph by Southwell Brothers, whole-length, facing, in top hat, with Sophie Larkin; V&A, London, S.142:438-2007.

Photograph by Window & Grove, whole-length standing, to right. Repr. Dark 1904, p.518; and Strand, vol. 35, 1908, p.520.

Photograph by unidentified photographer, whole-length seated, facing, legs crossed, with Marie Bancroft and Sophie Larkin; Garrick Club, London, Willoughby Album 2, no.305.

Various roles

1895
Pen and ink caricature by Harry Furniss, signed and dated, showing Hare in his thirteen most famous roles 1865–95, headed by figure of Benjamin Goldfinch arm-in-arm with large hare in tailcoat, embarking on ship with Fame blowing trumpet (ref. to departure for American tour 1895); untraced.

Print in red ink, captioned ‘The Hare and his many friends’; Hare family material. Repr. Strand, vol.36, 1908, p.174.


Footnotes

1) See Pemberton 1895, p.76.
2) See Strand, vol.36, 1908, p.174.
3) Bancroft 1939, p.98.
4) The correct orientation is based on which side the hair is parted.
5) Hare 1908, vol.36, p.11.
6) Hare first appeared as Sam Gerridge in Caste in 1867; in the revivals, from 1896, he took the older role of Eccles.
7) Bancroft 1939, p.93.


Carol Blackett-Ord