Later Victorian Portraits Catalogue

Self-portraits
Doubtful self-portrait
By other artists
Undated portrait

Self-portraitsback to top

1875
Oil on canvas, 2133 x 1574mm, The Last Muster: Sunday in the Royal Hospital Chelsea, as background figure, head-and-shoulders to front, right hand to forehead; Lady Lever AG, Port Sunlight, LL3632. Exh. RA 1875 (898); repr. Edwards 1999, fig.XVII; and Landsberg 1999, p.209.

1877
Watercolour, 190 x 228mm, Immer Wird’s Schlimmer, whole-length, seated in Bavarian costume, playing zither, in group; priv. coll. Repr. Edwards 1999, fig.68.

1877–9
Watercolour, 2133 x 1676mm, Light Life and Melody, whole-length, seated in Bavarian costume, playing zither, in group; priv. coll., Wales. Repr. Edwards 1999, pl.11.

1878
Pen and ink drawing, inscr. ‘Dyreham / Bushey / Herts’, whole-length wearing Bavarian costume and hat, standing by low fence alongside stone, in letter to G.F.Watts dated 13 January 1878, NPG Archive, GFW/1/11/45.

1879
Etching, 353 x 201mm (plate), 592 x 409mm (sheet), signed and dated ‘HH / ’79’, head-and-shoulders, slightly to left, with unkempt hair and forked beard, wearing loose-knotted tie, with vignette portrait of his children Siegfried and Elsa lower left. Publ. 1 Apr. 1880 by British & Foreign Artists’ Assoc.; repr. Herkomer 1910–11, vol.1, facing p.76; Baldry 1901, frontispiece; Watford 1982, pl.10; and various other publications where process sometimes given as etching and drypoint or etching with mezzotint. Numerous prints are extant, one being the artist’s diploma work for Royal Society of Painter Printmakers; other in Russell-Cotes AGM, Bournemouth, 602; Athenaeum Club, London, 397; and Watford M.; another probably in Hope Coll., Ashmolean M., Oxford, HP43581 (where given as lithograph dated 1897); one formerly with Edmund Gosse, now NPG D9797; and NPG D35708 and NPG D35709. The etching was done on portable equipment including a small press (a ‘wretched little contrivance’) taken by the artist on a camping trip to Wales in summer 1879, where ‘in order to get a decent impression we tightened the rollers to their last gasp, and then we dragged the whole machine around the tent in a vain attempt to turn the toy handles. Still, it was under these circumstances that I did – what I consider my best etching – a portrait of (the handy model) myself, with my two children in the lower corner of the plate’; Herkomer 1910–11, vol.1, p.125.

1884–5
Silver bracelet, 68 x 56 x 22mm, date from hallmark, with chased image, head only, profile to right, no beard; Birmingham MAG, 1998M44. Ref. NACF Quarterly, spring 1999, p.23.

c.1888
Watercolour tondo, 230mm diam., half-length, standing, full-face, bearded, right hand in pocket, left hand holding small panel; Bushey M., Herts, BUSMT 1997.121. Repr. Sotheby’s, Sussex, 25 June 1986 (256); and Edwards 1999, fig.2.

1890
Lithograph, dated in plate Feb. 1890, head-and-shoulders, full-face, clean-shaven, with small image of bearded face lower right; repr. Herkomer 1890, facing p.68; and Pietsch 1901, p.58 (small bearded image only).

c.1890–92
Ink sketch, half-length in theatrical costume, full-face, clean-shaven, unkempt hair; untraced. Repr. Courtney 1892, p.2 (captioned ‘as the Hunchback in The Idyll’).

1892
Monotype probably produced with assistance from Trevor Haddon, nearly whole-length, full-face, seated holding palette in left hand; repr. ‘from a monotype by the sitter’, Courtney 1892, frontispiece; and engr. by ‘M’ repr. ILN, 10 Dec. 1892, p.746.

1895
Oil on canvas, 800 x 660mm, signed and dated, half-length, full-face, dark hair, wearing suit; Uffizi, Florence, 1890 n.3130. Repr. Florence 1971, no.80.

1898
Enamel on copper within silver mount, 292 x 198mm, signed and dated, half-length in university robes; untraced. Exh. RA 1899 (2029); and Berlin 1900; ref. Watford 1982, p.11; and Landsberg 1999, p.84; repr. Baldry 1901, p.62; Pietsch 1901, frontispiece; and Bonhams, 29 Mar. 1990 (194).

1900–1
Oil on canvas, 1165 x 1634mm, Zitherabend im Atelier (A Zither Evening with my Students in my Studio, whole-length, back view, playing zither with audience in group; Kunsthalle, Hamburg, 1886. Repr. Baldry 1901, facing p.46 (credited to Berlin Photographic Co.); Walkley 1994, fig.138; and Edwards 1999, fig.107.

publ.1902
Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, full length, seated to front, in front row forth from right, wearing toga; untraced. Repr. Punch, 21 May 1902, p.363; and Trippi 2002, p.167, fig.136.
See also Alma-Tadema, Brock, Crane, East, Frampton, Goodall, Orchardson, Poynter, Richmond, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells, Whistler.

1903
Caricature drawing for Christmas card, signed and dated, whole-length, seated bending forwards, wearing cap, as chauffeur in Father Time’s motorcar; untraced. Repr. Landsberg 1999, p.166.

1905
Oil on canvas, 2500 x 1700mm, Society’s Call, nearly whole-length, standing, half-profile to left, wearing formal dress and several decorations, with wife Margaret in evening attire; Herkomerstiftung, Landsberg-am-Lech, 182. Exh. Hubert von Herkomer, Neues Stadtmuseum, Landsberg-am-Lech and Bushey MAG, Herts., 1988; repr. Landsberg 1988, cover; Pritchard 1988, p.212; and Bucknole 2006, p.23.

1907
Oil on canvas, 1680 x 1250mm, signed and dated and inscr. to ‘my dear wife Margaret’, three-quarter-length, standing, wearing red Oxford U. doctoral gown; Herkomerstiftung, Landsberg-am-Lech, 187. Exh. Hubert von Herkomer, Neues Stadtmuseum, Landsberg-am-Lech and Watford M., 1988, Landsberg-am-Lech (13); repr. Landsberg 1988, p.15; Landsberg 1999, p.28; Bucknole 2006, p.73.

c.1907
Oil on canvas, 598 x 495mm, half-length, full-face, wearing jacket with fur trim; Bushey M., BUSMT 1991.81.9. Exh. A Passion for Work, Watford M., 1982 (A3). Said to be sketch for the following work.

1908
Oil on canvas, 2972 x 6223mm, The Council of the Royal Academy, whole-length, seated, half-profile to right, hands on knees, in multi-figure group; Tate, NO2481. Repr. Herkomer 1910–11, vol.2, facing p.64; and Mills 1923, facing p.298.
Photogravure, 335 x 710mm, signed by artist and sitters, publ. Franz Hanfstangel; ref. Bonhams, 29 Mar. 1990 (171).
See also Brock, Gregory, Poynter, Solomon.

1909
Lithograph, half-length, full-face, with centre parting, left hand to face, right hand in left elbow, wearing dark suit and loose-knotted tie; ref. Mills 1923, p.300; repr. Mills 1923, facing p.314 where identified as a lithograph, though no print is known; it may have been the prototype for the following item.

Lithograph, 370 x 280mm, signed and dated, vignette from preceding item, head-and-shoulders, full-face, with left hand to face; colls Neues Stadtmuseum, Landsberg-am-Lech; and elsewhere. Repr. Landsberg 1999, p.114.
A smaller pencil version, signed and dated 1910, is also recorded (Tait & Walker 2000, see under item 397).

Doubtful self-portraitback to top

1865
Brush drawing in grey and brown inks over pencil, 374 x 300mm, inscr. ‘H.Herkomer / May 26th 1856 / Age 16’, head-and-shoulders, profile to left, dark hair with quiff and left-side parting; Ashmolean M., Oxford, WA1967.16 (where reg. as having been purchased in a thrift shop). Said to have been exh. A Passion for Work, Watford M., 1982 but not listed in catalogue. Although listed as a self-portrait, the appearance does not accord with other likenesses and the inscription may indicate the artist’s rather than the sitter’s identity.

By other artistsback to top

1850
Drawing by Lorenz Herkomer, ‘age one’, head, profile to left; untraced. Repr. Herkomer 1910–11, vol.1, facing p.14.

publ. 1873
Design by Hopper for An Artist’s Soirée at the Hogarth Club, whole-length, seated, looking at song-sheet, holding pipe; untraced. Wood-engr. by ‘E.J.B.’ repr. Graphic, 24 May 1873, p.489.
See also F.W. Burton, Gregory, Marks, Walker.

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head attached to a large clothes peg, with other RAs; untraced. Repr. Punch, 22 May 1875, p.222; Herkomer 1910–11, vol.2, 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, Frith, Goodall, Hodgson, Leighton, Marks, Millais.
Design by (Edward) Linley Sambourne for Academicians and Outsiders. – A Battle-piece., head-and-shoulders, with oversized head in foreground of composition; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Ansdell, Boughton, Butler, Calderon, Cope, Du Maurier, Frith, Horsley, Leighton, Marks, Millais,Orchardson, Sant.

1876
Drypoint by Georges Labadie Pilotell, Paris, signed on plate, head-and-shoulders vignette, looking to right; BM, London, 1877,0609.14, inscr. in ink ‘H.Herkomer artist. Dudley Gallery’s proof no.555 (1876)’.

1877
Two terracotta busts by (Edward) Edward Onslow Ford:
(a) see NPG 6196.
(b) 610mm high incl. ebonized square base, signed and dated on base, head-and-shoulders as in NPG 6196; Bushey M., Herts., BUSMT:2004.26, provenance from sitter, via Lucy Kemp-Welch and descent. Repr. Bonhams, 25 Nov. 2003 (60). This work is seen in illustrations and photographs of the sitter’s studio in the early 1880s, e.g., a woodcut by W. Hatherell, ‘Mr Herkomer’s House: the Studio’, MA, 1883, p.97; and photo 2017 of similar date in Bushey M., Herts.

publ. 1878
Design by (Edward) Linley Sambourne for An Anxious Moment., as dog with medal inscribed ‘Exposition Universelle [Paris] Grande Medaille d’Or’ among heads of members of the RA attached to the bodies of a gaggle of farmyard geese, based on Briton Riviere painting of the same name (1878); untraced. Engr. by Swain repr. Punch, 27 July 1878, p.34; Herkomer 1910–11, vol.1, facing p.112; McMaster 2008, p.68, fig.12; McMaster 2009, p.34, fig.19; and Ormond 2010, p.78, fig.27.
See also Calderon, Frith, Horsley, Leighton, MillaisOrchardson, Poynter, Sant

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, a High (Art) Tide., among the ARA ‘ducklings’ swimming at the shore beside their larger RA peers; 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, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

publ. 1880
Design by Herbert Johnson for A Savage Club Dinner – A Portrait Group, whole-length, to front, seated at small table playing zither; 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). According to Johnson’s explanatory text in the Graphic (p.255), ‘the moment chosen for the drawing is when Mr Herkomer, A.R.A is singing “Annchen von Tharam” and accompanying himself on the zither’.
See also Armitage, Frith, Gregory, Horsley, P.R. Morris, Orchardson, W.L. Thomas.

1881
Design by Theodore Blake Wirgman for Artists of the London ‘Graphic.’, signed and dated 1881, whole-length, seated, half-profile to right, with beard, one of ten men; untraced. Woodcut by unidentified engraver repr. Harper’s Monthly Magazine (European ed.,), vol.3, Jan. 1882, p.236; Graphic, Christmas number, 1882 (unpaginated, captioned ‘Some “Graphic” Artists’); and MA, 1890, p.39 (captioned ‘The “Graphic” Artists’).
See also Fildes, Gregory, Holl.

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, with large beard, at bottom left-hand corner of composition; 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, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep,Sant, 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 only, on the right-hand margin of ‘The Young Guard’ amongst the 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, Boehm, Boughton, Calderon, Cope, Faed, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

Watercolour by Thomas Walter Wilson, The Members of the Institute [of Painters in Water-colour] Touching Day 1882, three-quarter-length, profile to right, with dark hair and beard, standing, in group of 88 sitters; untraced. Probably exh. IPWC 1883 (342a); repr. Graphic, 28 Apr. 1883, p.422 (with key, Herkomer no.64); and Christie’s, 9 May 1984, p.1.
See also Boughton, Clausen, Crane, Gregory, Hayes, Hine, Lucas, Parsons, Tenniel, W.L. Thomas, J.W. Waterhouse.

before 1883
Drawing, circular format, by Herman Gustave Herkomer, half-length, seated to right, facing front, with elbow resting on chair arm and head supported by right hand; untraced. Engr. repr. Harper’s Monthly Magazine (European ed.), vol.6, Nov. 1883, p.848. Herman Gustave Herkomer was Hubert’s cousin. 1883 Watercolour caricature, 445 x 562mm, by George Pipeshanks [John Wallace], ‘Cope’s Christmas Card’, at a country fair among more than 100 figures; Mark Samuels Lasner, Coll., on loan to U. of Delaware L. Exh. Yale Centre for British Art, New Haven (and other venues), 1984–5 (170); and Newark, DE, 2002; ref. Denker 1995, pp.79–80 (repr. p.80); also repr. Stetz 2007, front cover. See also {Burnaby}, Leighton, Millais, Ruskin, Whistler.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head and shoulders, with hands clasped, facing out of the group at the base 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, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

Drawing by (Edward) Linley Sambourne for Punch’s Fancy Portraits no.166, signed, whole-length, standing, with beard and pince-nez, depicted as crossing-sweeper with broom labelled ‘made by myself’, seated men in background labelled ‘The Cloisters’ (location of Herkomer’s art school in Bushey, Herts.); untraced. Repr. Punch, 15 Dec. 1883, p.286, over title ‘Herbert [sic] Herkömer, R.A. / The Artistic Mr Barlow teaching the Young Idea how to Draw’; and Poole 1983, front cover.

1883–4
Watercolour and pencil drawing by Franz Goedecker; see NPG 2720.

1887
Oil on canvas, 1427 x 1127mm, by Herman Gustave Herkomer, three-quarter-length, standing, full-face, big black beard, wearing black academic gown, holding mortar-board, arms crossed, large ring on wedding finger; Fine Arts M. of San Francisco, 1994.66. Exh. RA 1887 (413); and possibly RSPP 1891 (194); repr. as photogravure Les Lettres et les Arts, vol.7, 1888 (print Bushey M., Herts., BUSMT 1992.13.1); repr. AJ, 1887, p.246; and Edwards 1999, fig.144.

1889
Illustrations by ?L. Bogle, as ‘John the Smith’ in drama at Herkomer Theatre:
(a) whole-length, bearded, seated in medieval costume, with actor Dorothy Dene.
(b) whole-length, standing, working at anvil; engr. repr. ILN, 8 June 1889, p.709; also repr. Edwards 1999, fig.129.

Caricatures by ?Harriwell, ‘Days with Celebrities: Herkomer’, various poses as artist, Slade professor, musician, actor, woodcarver; New York PL, Gen. Research Divn. Repr. Moonshine, 1 June 1889, p.253; and Edwards 1999, fig.79.

Caricature, 80 x 60mm, by unidentified artist, ‘Professor Hair-Comber of Bushey’, three-quarter-length, standing, wearing Oxford U. gown and mortar-board, wielding combs as barber and hairdresser; untraced. Repr. Punch, 8 June 1889, p.269.

publ. 1890
Wood-engr. by E.J(?).W, Artistic Stars, inscr. ‘H.H. hys Beard’, oversized head on small body, holding the beard he has just shaved off, positioned top left-hand corner; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Boughton, Calderon, Fildes, Frith, Hodgson, Leighton, Millais, Poynter.

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

Pencil drawing heightened with white, 288 x 221mm, by (Wilhelm Augustus) Rudolf Lehmann, signed and dated by sitter 5 Nov. 1891, head-and-shoulders, looking to right, clean-shaven; BM, London, 1906,0419.20. Engr. by Swan Electric Engraving Co. repr. Marillier 1896, no.31.

1892
Charcoal, black chalk and pencil drawing, 509 x 385mm, by Ernest Borough Johnson, signed lower right ‘Borough Johnson. RA.’ and inscr. (in 1943) ‘A mon Professeur Hubert von Herkomer R.A. 1892. / FIRST Drawing for Oil Portrait in Nottingham Art Gallery. 1943.’ and ‘1892’, three-quarter-length, seated, full-face, right elbow on arm of chair, hand to head, wearing scholar’s gown and medallion on chain; BM, London, 1948,0729.3. Exh. ?London Portrait Society 1939 (129); and Portrait Drawings, BM, London, 1974 (218); The portrait of Herkomer by Johnson at the London Portrait Society 1939 may have been this work, given that the oil listed under 1942 below was not then in existence, according to Johnson, and NPG 3175 would have been in a poor state.

Oil on paper by Ernest Borough Johnson; see NPG 3175.

1893
Etching by unknown artist, whole-length, in character and costume of ‘Gaston Boissier’; untraced. Exh. RE 1893, ref. Graphic, 4 Mar. 1893, p.225 (number unknown).

publ.1894
Design by Edward Tennyson Reed, for 'Prehistoric Peeps: Opening of the Primeval Royal Academy', signed, head only, emerging from a pile of leaves in gathering of 'cavemen' Royal Academicians in prehistoric dress, amongst wall painting exhibits; untraced. Repr. as an engr. Punch, 12 May 1894, p.226
See also Alma-Tadema, Calderon, Ford, Frampton, Gilbert, Gregory, Horsley, Leighton, Lucas, Marks, Millais, Moore, Orchardson, Poynter, Stone, Thornycroft.

1896
Bronze bust by Edward Onslow Ford; see NPG 2461.
Another copy; Bushey Library, Herts., 1965.43.

1898
Drawing by H.M. Paget, Prize Day at the Royal Academy Schools: Sir Edward Poynter PRA presenting the Awards, three-quarter-length, seated in audience; untraced. Repr. Graphic, 17 Dec. 1898, p.767.
See also Alma-Tadema, Poynter, W.H. Thornycroft.

c.1900
Plaster life-cast, 440mm high, by G. Geiler, Formator, Akademi Munchen (blind stamp), whole head; Bushey M., Herts., 2006.124.

c.1905
Oil on canvas, 1270 x 1015mm, by George Harcourt, three-quarter-length, seated, full-face, left hand to head, by table with brushes and colours, wearing apron under jacket; Southampton AG, 233. Exh. RA 1915 (481, as ‘The late Sir Hubert von Herkomer’); repr. Mills 1923, frontispiece. Conjecturally dated by reference to Herkomer’s portrait of Harcourt.

1907
Coloured chalk drawing, 361 x 301mm, by John Seymour Lucas, signed and dated, head-and-shoulders; Southampton AG, 382. Exh. RA 1908 (1460).

1908-11
Oil on canvas, 1473 x 2388mm, by Fred Roe, A City Banquet: Mr Justice Swinfen Eady replies for the Visitors, facing front, arms folded and resting on table, seated fourth from right in group of ten diners; untraced; presented to Clothworkers’ Hall, London, 1921, presumed destroyed during WW2. Exh. RA 1911 (222); halftone by André & Sleigh repr. Cassell’s RA Pictures 1911, p.125.
See also Cohen, Hacker.

1913
Hand-coloured steel engraving, 300 x 224mm, by Clement Flower, signed, whole-length, seated, half-profile to right examining film strip, with son Siegfried and another man; Neues Stadtmuseum, Landsberg-am-Lech. Repr. Sphere, Aug. 1913; Pritchard 1987, fig.6; and Landsberg 1988, p.54.

Drawing by Clement Flower, whole-length, standing to front, in medieval costume, with woman similarly dressed; untraced. Repr. Pritchard 1987, fig.12.

Drawing probably by Clement Flower, whole-length, seated by workbench, while filming The Old Wood-Carver (released autumn 1913); untraced. Repr. Pritchard 1987, fig.10.

Drawing by Clement Flower, signed, half-length as ‘The Old Wood-Carver’, in costume as elderly witch, for film The White Witch (released Dec. 1913); untraced. Repr. Pritchard 1987, fig.7.

Undated portraitback to top

Woodcut by Hill, vignette, head-and-shoulders to right; repr. The Queen, unknown date; ref. O’Donoghue 1908–22, vol.2, p.514, no.3. Based on a photograph by Elliott & Fry [edited: originally ‘Possibly based on a photograph’].