Later Victorian Portraits Catalogue

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

I. IN PRIVATE CHARACTERback to top

Paintings, drawings, sculptures and printsback to top

c.1860s
Lithograph by E. Matthews & Sons after unidentified artist, half-length looking to right, waxed moustache, flat-knot tie, arms folded. Repr. unidentified publication with facsimile signature; print in NPG SB (Bancroft).

publ. 1871
Lithograph caricature possibly by Faustin Betbeder (‘Faustin’), whole-length standing, wearing plaid trousers, left arm extended holding top hat, pug dog under left arm. Repr. Hornet, 7 June 1871, captioned ‘Mr Bancroft / He is the Fortunate Possessor of Marie Wilton and a “Leetle Dawg”’. Print without caption, inscr. on reverse ‘Bancroft 1871’, in NPG SB (Bancroft).

1878
Design by Matt Stretch, signed and dated ‘May 1878’, composite caricature, in a stage coach full of actors including Henry Irving, half-length, profile to left, right hand raising top hat in air; untraced. Repr. unidentified publ., double-page spread entitled ‘A “Derby Day” Dream of the Drama’; cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.3, p.170.

c.1879–80
Oil on canvas by Thomas Jones Barker, no further details; untraced. Exh. Victorian Era Exh., London, 1897; ref. exh. cat., Music & Drama section, p.20, no.161. Owned by Squire in 1897, this is presumed to be a companion to NPG 2122.

1880
Caricature by Alfred Bryan, ‘He has made his mark in the upper circle’, nearly whole-length standing, profile to left, behind footlights, gesturing with right hand, Marie Bancroft half-seen to right; untraced. Repr. Entr’Acte, 7 Feb. 1880; see MEPL, London, 11016420.

Marble sculpture, 755mm high, by Count Gleichen, signed and dated on back ‘G /1880’, inscr. on supporting column ‘S.B. BANCROFT / H.S.H. COUNT GLEICHEN / PRESENTED TO THE GARRICK CLUB BY S.B.BANCROFT’, bust-length, swathed in shawl/toga over jacket and tie, with dangling eyeglass; Garrick Club, London, S0002. Exh. RA 1881 (1458); repr. Downey & Downey 1890–94, vol.2, p.78.

A companion to the bust of Marie Bancroft (see ‘BANCROFT, Marie Effie, All known pictures, In private character, Paintings, drawings, sculptures and prints, 1879’). According to the Garrick Club online catalogue, it is likely that the pair were commissioned to mark the Bancrofts’ first season at the Haymarket Theatre, and to be placed in the foyer.

Oil by Carlo Pellegrini, no further details; untraced. Exh. Grosvenor G., summer 1880 (30); and Victorian Era Exh., 1897; ref. Victorian Era exh. cat., Music & Drama section, p.19, no.123. Possibly the basis for the untraced design or original of the head-and-shoulders etching showing eyeglass in left eye, attributed to Robert Walker Macbeth (see below, ‘In private character, Paintings, drawings, sculptures and prints, Undated portraits’). [1]

In a letter dated 30 May 1883, Pellegrini asked Henry Irving if he would buy three unfinished oil portraits, including one of Bancroft, [2] which may indicate a second oil or a reworking of the one shown at Grosvenor G.

publ. 1881
Caricature design by A[lfred] B[ryan], ‘The idea of summoning a society actor as a juryman at a coroner’s inquest!’, whole-length, standing, profile to left, left hand on hip, pug dog at feet; untraced. Repr. Entr’Acte, 1 Jan. 1881; see MEPL, London, 11015578.

Design by (Edward) Linley Sambourne for Design for an Aesthetic Theatrical Poster, half-length, half-profile to left, standing behind balustrade on steps to classical temple, moonlit scene, in group of 17 figures clustered in admiration around Ellen Terry as an Aesthetic muse with a teapot; untraced. Repr. Punch, 7 May 1881, p.215, captioned ‘Let us live up to it!’.

See also Terry; Irving.

Caricature design by Alfred Bryan, ‘A Sunday Morning Performance’, half-length, profile to left, standing in sea wearing bathing suit, with seven unidentified actors and Henry Irving; untraced. Repr. Entr’Acte, 23 July 1881; see MEPL, London, 11015640.

Caricature design by A[lfred] B[ryan], whole-length standing, from rear, doffing hat and bowing to Queen Victoria, with three theatre managers, including Henry Irving; untraced. Repr. Entr’Acte, 29 Oct. 1881, p.9, captioned ‘Now that a Rumour has gone abroad … theatre managers’.

Design by unidentified artist, composite head sketched in antique coin or medal mode, showing single head with three visages, Bancroft on right; untraced. Repr. Truth, 25 Dec. 1881, p.36; cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.5, p. 132.

See also Irving, Toole.

publ. 1882
Caricature design by Alfred Bryan, whole-length to front, wearing top hat and cape, in group outside Marlborough House; untraced. Repr. Entr’Acte, 18 Feb. 1882, see MEPL, London, 11015509.

See also Irving, Toole.

Caricature design by Alfred Bryan, whole-length, profile to left, wearing top hat and morning dress, standing looking down at Prince of Wales; untraced. Repr. Entr’Acte, 8 July 1882, see MEPL, London, 11015555.

Caricature design by Alfred Bryan, whole-length, standing to right, in theatre bar, in group including Marie Bancroft; untraced. Repr. Entr’Acte, 26 Aug. 1882, captioned ‘Mr Mowbray Morris says that is how favourable theatrical notices are contrived’.

Pen and ink caricature by Harry Furniss, apparently a private view, RA Winter Exh., head only (eyeglass in right eye); untraced. Repr. World, Christmas number 1882, presentation cartoon; copy Garrick Club, London, Fitzgerald Irving scrapbooks, vol.6, p.384.

See also Irving, Leighton, Millais.

1883
Watercolour caricature by Philip William 'Phil' May, whole-length wearing evening dress and top hat, carrying cane, right-hand figure arm-in-arm with Henry Irving and J.L. Toole, three copies made with minor variations; untraced.

A ‘photograph from a sepia drawing by Phil May entitled “After the supper” – Messrs Irving, Tooles [sic] and Baucroft [sic]’ by J. Deane, Savoy St, Strand, was reg. for copyright by George Villiers, 71 Charrington St, London, 1883 Aug. 7: National Archives (COPY 1/365/103).

One version, signed lower right, repr. Bancroft & Bancroft 1909, facing p.330; and Blomfield 2013, p.242.

Another version, signed and dated 21 Apr. 1884, repr. Thorpe 1932, facing p.28, captioned ‘“Auld Lang Syne” (A Certain Farewell to the Stage)’.

According to Bancroft 1925, p.185, the drawing depicted the supposed conclusion to a late-night dinner in July 1883 organized by Bancroft on the eve of Irving’s first tour to the US, and the original versions belonged to Bancroft, Arthur Wing Pinero and Edward VII (at Sandringham). According to Thorpe 1932, p.23, ‘the proprietor of a photograph shop near Charing Cross was so much impressed by the drawing … that he published it as a print, bearing the date April 21 1884’; and the ‘original’ (sic) was purchased by Lionel Brough. Thorpe further describes the work as ‘wash caricature’ (p.199) but it is unclear if the image there reproduced is from a drawing or the published photographic print.

See also Irving, Toole.

publ. 1883
Caricature design by Alfred Bryan, whole-length, profile to right, depicted as Shylock holding contract, knife and scales, advancing on actor-manager Edgar Bruce to right; untraced. Repr. Entr’Acte, 28 Apr. 1883; see MEPL, London, 11015728.

Caricature design by Alfred Bryan, whole-length, profile to right, seen from back, wearing morning dress with top hat and cane, looking down on John Toole, on right; untraced. Repr. Entr’Acte, 9 June 1883, see MEPL, London, 11015741.

1884
Oil on canvas by Walter William Ouless, bust-length, profile to left (eyeglass in right eye); Athenaeum Club (where dated to 1881). Exh. RA 1884 (190); and Corporation of London Loan Coll. 1894 (34); repr. Bancroft & Bancroft 1888, vol.1, frontispiece; and Tait & Walker 2000, p.6; ref. Bancroft & Bancroft 1888, vol.2, p.354, stating when sittings took place.

Repr. as photogravure by Goupil & Co., publ. Richard Bentley.

Pen and ink portrait chargé by Phil May, signed and dated, whole-length seated, in composite design; untraced. Repr. Society, Dec. 1884, p.49, captioned ‘The Seven Ages of Society’, Bancroft no.150 in key; cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.6, p.386.

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

early 1880s
Caricature design by Alfred Bryan, three-quarter-length profile to right, standing with hands behind back; untraced. Repr. in unidentified publication, captioned ‘“Haw!”’, see MEPL, London, 11015106.

1889
Bronze medallion, 87mm diameter, by Edward (Edouard) Lanteri, embossed on border ‘S B BANCROFT MDCCCLXXXVIIII’, head-and-shoulders to right, with eyeglass; Baldwins British Commemorative Medals, 2005 (1793). Exh. RA 1890 (2105).

1890
Ink caricature by Harry Furniss, ‘Doubling the Part’, initialled, whole-length standing, profile to right with eyeglass, wearing Salvation Army uniform and holding fake beard and spectacles in allusion to ‘General’ Booth; untraced. Repr. Punch, 22 Nov. 1890, p.241; ref. Harry Furniss MS Cat. account ledger no.1332, p.45.

c.1890
Gouache over pencil, 400 x 240mm, by Alfred Bryan, initialled lower left, three-quarter-length profile, with eyeglass, holding top hat; Bloomsbury Auctions, 9 Nov. 2006 (881a).

publ. 1891
Ink and watercolour caricature, 355 x 225mm, by Sir Leslie Ward, signed ‘Spy’ lower left, whole-length, near-profile to left, standing wearing top hat and overcoat, arms behind back holding cane; Garrick Club, London, G0029.

Repr. as chromolithograph by Vincent Brooks, Day & Son, Vanity Fair, 13 June 1891 (‘Men of the Day no.510’, captioned ‘“B”’); and Whyte 1898, pl.186B; prints NPG D44546; and NPG SB (Bancroft), with facsimile inscr. lower right ‘Yr sincerely / “B”’.

See NPG Portrait Set ‘Vanity Fair cartoons: chromolithographs by various artists 1869–1914’.

1893
Caricature by unidentified artist, whole-length, standing in shirt-sleeves, left arm on hip, right hand holding palm branch, with playwright Victorien Sardou wearing beret seated on floor, alongside Le Gaulois newspaper and another palm branch; untraced. Repr. Punch, 9 Dec. 1893, captioned ‘“Touché!” Victorious Bancroft and Victorien Sardou’; and Bancroft & Bancroft 1909, facing p.226.

Bancroft and others adapted Sardou’s play Dora as Diplomacy, staged 1878–9 and again in 1893.

Design by H. Johnson, head-and-shoulders profile to left, in group; untraced. Repr. Daily Graphic, 1 Mar. 1893, p.8, captioned ‘The Annual Meeting of the Actors’ Benevolent Fund at the Lyceum Theatre yesterday … congratulations’; cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.12, p. 269.

See also Alexander, Irving, Toole, Tree.

1895
Design by Alfred Bryan, inscr. ‘Mr Bancroft making the Presentation’, three-quarter-length standing, profile to right, left hand pointing right towards Henry Irving, at presentation of the Actors’ Testimonial to 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 Hare, Irving, Terry.

publ. 1895
Ink caricature by Max Beerbohm, half-length profile to right, seated in opera box, left hand scratching chin; V&A, London, E.509-1939. Repr. Pick-Me-Up, 23 Mar. 1895; and Beerbohm 1958, pl.9.

1897–1900
Oil on canvas, 1677 x 2287mm, by Laurits Regner Tuxen, The Garden Party at Buckingham Palace, 28 June 1897, whole-length figure in crowd; Royal Coll., RCIN 405286.Exh. Painting Paradise: The Art of the Garden, Queen’s G., London, 2015.

See also M. Bancroft, Irving.

Study for above work, 1000 x 750mm, depicting Squire and Marie Bancroft; priv. coll., Denmark. Exh. National History M., Copenhagen, 1990 (64, ill.).

before 1899
Ink and gouache caricature by Alfred Bryan, inscr. on mount ‘The Object water-colour drawing of Mr & Mrs Bancroft / by the late (celebrated Caricaturist) Alfred Bryan’, whole-length to front, wearing top hat and long overcoat, carrying cane, standing to left of Marie Bancroft; V&A, London, S.717-1997.

1890s
Ink caricature by Frederick Sem, whole-length standing, profile perdu to right, hands in pockets; priv. coll. Repr. Bancroft & Bancroft 1909, facing p.296, where described as drawn in Monte Carlo at Easter time ‘in recent years’.

Ink caricature by Max Beerbohm, whole-length standing, profile, wearing frock coat; V&A, London, E.509-1939. Ref. Victoria and Albert 1950, p.47; Hart-Davis 1972, no.86.

1900
Oil on canvas by Hugh Goldwin Riviere; see NPG 2121.

Oil on canvas, 1498 x 965mm, by Hugh Goldwin Riviere, signed and inscr. bottom left ‘H Riviere. 1900. Replica’; Garrick Club, London, G0028. Possibly exh. RSPP 1956 (110). An exact replica of NPG 2121.

publ. 1903
Ink caricature by Max Beerbohm, initialled and inscr. ‘Sir Squire Bancroft’, whole-length, profile to right, wearing top hat, left hand on walking cane; Harry Ransom Center, U. of Texas at Austin, 65.225.5. Repr. John Bull, 10 Sept. 1903; and Hall 1997, pl.84.

1905
Ink sketch by Harry Furniss; see NPG 4095(2).

1900s
Brush and ink sketch by John Singer Sargent, inscr. ‘Bancroft by J.S. Sargent’, head-and-shoulders, profile to right, two further heads roughly sketched below; Harvard Art Museums, 1943.1815-20.14.A verso. Ref. McKibbin 1956, p.82.

c.1900s
Ink and watercolour caricature drawings by L.J. Binns, two known poses:
(a) inscr. with sitter’s signature, whole-length standing on stage, wearing evening dress, left hand on lectern; Billy Rose Theatre Division, New York PL, image ID 1628826. Repr. Blomfield 1913, p.309, captioned ‘reading A Christmas Carol’. This depicts Bancroft during his readings from Charles Dickens.
(b) signed and inscr. ‘Squire Bancroft’, whole-length profile to left, wearing top hat, long coat, right hand on cane; Billy Rose Theatre Division, New York PL, image ID 1628825.

Ink caricature by Frederick Sem, whole-length, standing to right, profile perdu; untraced. Ref. Bancroft & Bancroft 1909, vol.1, facing p.200, where described as an ‘admirable caricature’ drawn in Monte Carlo ‘in recent years’.

c.1910
Pencil drawing by Richard George Mathews, head-and-shoulders, looking to left; untraced. Repr. as drypoint (image reversed), untraced.

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, whole-length, to front, in centre foreground wearing morning dress, 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.30]). Repr. Sketch, 6 May 1914, p.133.

The full-size act drop was destroyed.

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

c.1917–18
Lithograph by Howard van Dusen, signed in the plate, head-and-shoulders to right (eyeglass in left eye), on sheet with smaller image by John Hassall, with sitter’s facsimile signature, drawn from the photograph of Bancroft in costume as Triplet (see below, ‘In stage character, Masks and Faces, Photographs, 1875–81’); NPG D7491.

1919
Caricature drawing by Max Beerbohm, inscr. ‘A Solemn Scene in the Garrick Club. 1.30. Nov.28: 1919’, talking to Gerald Du Maurier (with dialogue); untraced. Repr. Sutro 1933; ref. Hart-Davis, 1972, no.84, p.28.

1925
Pen and ink caricature by Gabriel Atkin, ‘Sir Squire Bancroft reminisces to Siegfried Sassoon’, signed, dated and inscribed, whole-length, seated to right, wearing evening dress and holding small coffee-cup, with Sassoon and two other men round table; Abbott & Holder, Oct. 2012 (5).

Pencil thumbnail sketch by Fred Roe, ‘The passing of John Sargent’, preparatory study, profile with 19 other sitters; NPG D43182a.

See NPG Portrait Set ‘Character sketches: drawings by Fred Roe, 1928–45 (volume 2)’.

See also Clausen, Fildes.

publ. 1925
Pen and ink drawings by Harry Furniss, two known poses:
(a) whole-length, profile to left, descending entrance steps, left hand behind back; untraced. Repr. Furniss 1925, frontispiece.
(b) ‘Sir Squire Bancroft feeding his Canary’, half-length, profile to right showing eyeglass, right hand raised to birdcage; untraced. Repr. Furniss 1925, facing p.132.

publ. 1926
Ink design by Bernard Partridge, three-quarter-length to front as shadowy background figure; untraced. Repr. Punch, 3 Mar. 1926, p.249.

Preliminary study for the main figure showing a very faint sketch of Bancroft’s head on the right; NPG D6612b.

See also Forbes-Robertson, Irving.

Undated portraitsback to top

Caricature sketch by unidentified artist, whole-length standing, profile to left, on sea-front with John Hare, wearing striped jacket, with pug dog; untraced. Repr. with comic dialogue caption in unidentified journal; loose clipping, Blomfield Coll.

Etching by Robert Walker Macbeth, possibly after Carlo Pellegrini, inscr. ‘Pellegrini’ upper left, head-and-shoulders to front (eyeglass in left eye); print BM, London, 1949,1207.30, annotated on mount ‘R.W.Macbeth / portrait of Bancroft / unpublished’.

Ink sketch by Carlo Pellegrini, head-and-shoulders, profile to right (eyeglass in left eye), open mouth as if speaking or laughing, wearing top hat; untraced. Exh. Covent Garden G., London, June 1981. Known from photograph (assumed reversed) in NPG SB (Bancroft).

Charcoal drawing by David N. Ingles, 749 x 546mm, signed, head-and-shoulders to front (eyeglass in right eye); formerly in Garrick Club, London (G0026, damaged and disposed of).

Caricature by Max Beerbohm, one of six linked drawings entitled ‘The Six-Club Man’, at Garrick Club speaking to Edward Verrall Lucas; priv. coll., 1972. Repr. Lucas 1932; ref. Hart-Davis 1972, no.982.

Drawing by William Schwenck Gilbert, head-and-shoulders; untraced. Repr. Stedman 1996, pl.5.

Watercolour portrait chargé by Frederick Sem, signed, whole-length, standing to left, holding small dog and wearing eyeglass; Garrick Club, London, SEM03.

Posthumous portraitsback to top

1925–44
Oil on canvas, 1040 x 1630mm, by Fred Roe, The Passing of John Sargent, half-length, profile to right, standing in funeral group, behind clerical procession; Guildhall AG, 1291.

1926
Pencil and watercolour caricature by Max Beerbohm, signed and dated, inscr. ‘Mr Bancroft on a visit to Mr George Bancroft, at Oxford in the Summer Term of 1891’, whole-length, wearing bowler hat, walking with son George Pleydell Bancroft in similar mode; untraced; Sotheby’s, 22 May 1997 (455, ill.). Exh. Leicester G., 1926 and 1957; repr. Bancroft 1939, dust-jacket; and Blomfield 2013, p.277.

Photographsback to top

c.1863
Photographs by unidentified photographer in Dublin, clean-shaven with curly hair, wearing dark jacket with deep velvet cuffs and collar, two known poses:
(a) inscr. ‘Squire (Sidney) Bancroft / 1863 / from W H Thomas / collection / Dublin’, whole-length seated to front with legs apart, right hand to cheek, left hand holding small book; V&A, London, S.142:12-2007.
(b) oval vignette, three-quarter-length seated, left hand to chin holding cigar. Repr. Bancroft & Bancroft 1909, facing p.24, captioned ‘Boyhood’; and Blomfield 2013, p.64, as ‘in his early twenties’.

c.1863–4
Photographs by G. Schroëder, Dublin, two known poses:
(a) carte-de-visite, whole-length, standing to front, wearing tail-coat and pale trousers, right hand and left elbow on plinth, legs crossed; Garrick Club, London, Photographs Box C. Possibly reversed, as hair parting shown on left side of his head.
(b) probably also by Schroeder, three-quarter-length standing, looking right, left elbow resting on plinth, holding top hat, right arm behind back; V&A, London, S.142:57-2007.

Squire Bancroft was in Dublin 1863–5.

Photograph by unidentified photographer, whole-length, looking to right, wearing dark velvet jacket and leather gloves, right hand holding hat, left hand holding walking stick. Repr. Blomfield 2013, p.73, where dated ‘in the early 1860s’.

Albumen cartes-de-visite by London Stereoscopic & Photographic Co., bust-length, wearing double-breasted coat with large buttons, buttonhole and eyeglass dangling, two known poses:
(a) profile to right; NPG x204.
(b) to front, looking to left; NPG x550; another version, in oval vignette form, Blomfield Coll., captioned ‘Mr Sidney Bancroft’, which suggests an early date.

See NPG Portrait Set ‘London Stereoscopic & Photographic Company cartes-de-visite, 1850–80s’.

c.1864
Carte-de-visite by William Keith, Liverpool, head-and-shoulders vignette, near-profile to right, curly hair, moustache. Repr. Strand, vol.1, 1891, p.159, where dated ‘Age 23’.

mid-1860s
Photograph by unidentified photographer, bust-length, to front, short hair, eyeglass tucked into lapel, wearing dark jacket, tall collar, dark tie with pale motifs. Repr. Blomfield 2013, p.101, where dated ‘in the 1860s’.

Carte-de-visite by Sarony & Co., whole-length, standing to left, moustache, arms folded, walking stick on arm, wearing large-crowned bowler hat; Blomfield Coll.

1873
Cartes-de-visite by Window & Grove, clean shaven, wearing double-breasted coat and dark cravat with paler pattern, three known poses:
(a) no eyeglass; V&A, London, S.142:89-2007.
(b) half-length, no eyeglass; V&A, London, S.142:90-2007.
(c) with eyeglass in right eye. Repr. Bancroft & Bancroft 1909, facing p.170, captioned ‘Aged 32’ and paired with a photograph in costume as Dr Speedwell for Man & Wife ‘taken on the same day’ (see below, ‘In stage character, Man and Wife, Photographs, 1873’).

early 1870s
Carte-de-visite by Frederick Richard Window, head-and-shoulders vignette, looking right (eyeglass in right eye), smallish moustache; V&A, London, S.142:79-2007.

Cartes-de-visite by Elliott & Fry, two known poses in separate sessions:
(a) half-length, wearing knotted tie and velvet jacket, arms folded resting on chairback, holding eyeglass; NPG x76632; cropped version, V&A, London, S.142:88-2007.

See NPG Portrait Set ‘Elliott & Fry cartes-de-visite, 1860s–90s.

(b) head-and-shoulders vignette, wearing spotted cravat (eyeglass in left eye); V&A, London, S.142:73-2007.

1870s
Woodburytype by unidentified photographer, half-length, profile to left with moustache, wearing spotted cravat, eyeglass dangling; prints NPG x205 and NPG Ax7663. Repr. Blomfield 2013, p.155, where dated ‘around the time of [his] marriage’; also in sheet issued by unidentified photographer showing 29 portraits of actors, NPG x132955 – see NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808-2008’.

Cartes-de-visite by London Stereoscopic & Photographic Co., wearing light-coloured coat with velvet collar, spotted cravat, three known poses:
(a) half-length, profile to right, seated, holding up pug dog towards camera; V&A, London, S.142:95-2007.
(b) head-and-shoulders, profile to right; V&A, London, S.142:77-2007.
(c) head-and-shoulders, looking right, eyeglass dangling; oval print Dietz Album, Gettysburg College, 15049.

c.1877
Carte-de-visite by Window & Grove, wearing stiff collar and pale cravat, three known poses:
(a) inscr. ‘Squire Bancroft / and Marie Wilton / (Lady Bancroft) / Window & Grove’, half-length, seated to front (eyeglass in right eye), hands between legs, wife Marie standing to right, her hands on his shoulders; V&A, London, S.142:183-2007.
(b) as (a) but turned to left, Marie’s hands clasped on his left shoulder; V&A, London, S.142:185-2007. Repr. Blomfield 2013, p.173, captioned ‘in the 1870s’.
(c) head-and-shoulders vignette, half-profile to right (eyeglass in left eye); prints colls NPG x206; V&A, London, S.142:149-2007; and Folger Shakespeare L., Washington, DC, digital image 20920, autographed by sitter and annotated by William Winter.

1881
Vignette photograph, 145 x 102mm, by Herbert Rose Barraud, head-and-shoulders to right (eyeglass in left eye), wearing stiff collar and spotted cravat; V&A, London, S.142:202-2007, where dated to 1881. This image appears to be repr. Ogden’s Cigarette Cards, no.127.

Postcard, image reversed, publ. Rotary Photographic Co. Ltd; print Blomfield Coll.

1882
Carte-de-visite by Herbert Rose Barraud, half-length, looking to front (eyeglass in right eye), standing with hands in pockets, wearing stiff collar and dark cravat; V&A, London, S.142:189-2007.

1882–3
Carte-de-visite issued by St James’s Studio, inscr. ‘Mr Bancroft’, half-length, to front (eyeglass in right eye), hands in front holding envelope and small sheet of paper; Blomfield Coll. Presumed to be same source as carbon print by St James’s Photographic Co., head-and-shoulders, to front (eyeglass in right eye), publ. The Theatre , vol.1, 1883 (no further details); copy NPG x135390.

c.1885
Photographs by Herbert Rose Barraud, three known poses:
(a) three-quarter-length, seated on arm of chair, left hand at waist, Marie Bancroft seated to left; V&A, London, S.142:203-2007.
(b) three-quarter-length to front, seated on arm of chair, right arm extended behind Marie Bancroft seated to left; vignette, inscr. with sitters’ signatures and dated 20 July 1885, NPG x1525.

Woodburytype, slightly cropped from foot, publ. 1 July by Carson & Comerford, with facsimile signatures, printed border and caption ‘If we do meet again, why, we shall smile / If not, why then, this parting was well made. / Julius Caesar’; prints NPG x203, NPG x6405 and NPG Ax29219; repr. The Theatre, 1 Aug. 1885, p.72 (and said to have been taken expressly for this periodical).

(c) carte-de-visite, 81 x 59mm, inscr. ‘Marie Wilton / (Lady Bancroft) / and Squire Bancroft’, three-quarter-length, standing, hands to waistcoat pockets, Marie standing to left; V&A, London, S.142:187-2007, where attributed to Window & Grove. Repr. Blomfield 2013, p.257, dated ‘around the time of their retirement’ [1885]. Marie wears same clothes as (a) and (b) but this image may belong to a separate occasion.

c.1889
Photographs by Walery, two known poses:
(a) carbon print, 249 x 180mm, three-quarter-length standing, profile to right (eyeglass in right eye), hands folded below waist; prints colls NPG x552, NPG x8452 and NPG Ax38304. Repr Walery 1888–96, vol.2.

Cabinet card, 142 x 95mm, head-and-shoulders detail of above pose; V&A, London, S.142:210-2007. Repr as (wood?)-engr., unsigned and undated; Blomfield Coll.

(b) head-and-shoulders to front. Repr. Goddard 1891, no p. no.; Review of Reviews 1891, p.519.

1880s
Cabinet card by John Jabez Edwin Mayall, head-and-shoulders vignette, half-profile to right, collar, cravat and jacket similar to those in 1885 images by Barraud; Blomfield Coll.

c.1880s
Carte-de-visite by Window & Grove, three-quarter-length vignette, seated to right (eyeglass in right eye), wearing dark velvet jacket and waistcoat, looking down at small object in hands; V&A, London, S.142:173-2007.

c.late 1880s
Cabinet card by Henry Van der Weyde, head-and-shoulders vignette, half-profile to right (eyeglass in right eye), wearing dark silk cravat and checked jacket under overcoat; Blomfield Coll.

1890
Cabinet photograph by W. & D. Downey, half-length to front (eyeglass in left eye), arms folded on chairback; see MEPL, London, 10952161. Repr. Downey & Downey 1890–94 (no further details).

publ. 1891
Carbon print by W. & D. Downey, half-length, seated, arms folded, looking left (eyeglass in left eye), tie-pin in shape of sword; prints colls NPG x202 and NPG Ax15920. Repr. Downey & Downey 1890–94, 2nd ser., pp.78–80.

This is a slightly anomalous image, as it shows the eyeglass in Bancroft’s left eye (as if the image were reversed) but his hair is parted on the right, as customarily seen.

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

reg. 1896
Photographs by Alfred Ellis, reg. for copyright 1896 Dec. 3, five known poses:
(a) three-quarter-length, standing; National Archives (COPY 1/427/863).
(b) head-and-shoulders, three-quarter profile; National Archives (COPY 1/427/865).
(c) ‘head and bust’, full face; National Archives (COPY 1/427/866).
(d) seated, Marie Bancroft standing behind; National Archives (COPY 1/427/867).
(e) half-length seated, facing front, hands clasped on lap, Marie Bancroft standing to right; National Archives (COPY 1/427/868); print V&A, London, S.142:208-2007, inscr. ‘The Bancrofts / 1897’. Repr. Bancroft & Bancroft 1909, facing p.440, captioned ‘“Darby and Joan”’; and Blomfield 2013, p.321, as ‘in retirement’.

1898
Photograph by unidentified photographer in Switzerland, whole-length, half-profile to right, seated on rocks wearing plus-fours and deerstalker hat, holding long staff, mountain landscape behind, with Arthur Wing Pinero. Repr. Bancroft & Bancroft 1909, facing p.288, captioned ‘Pinero and Bancroft in the Engadine’; and Blomfield 2013, p.245, captioned ‘Pinero and Bancroft in the Engadine 1898’.

reg. 1899
Photographs by Walery, reg. for copyright by Alfred Ellis 1899 May 29: National Archives (COPY 1/440/504), two known poses:
(a) ‘Photograph of Mr and Mrs Bancroft, cabinet size No 23446, ¾ length figures, lady [Marie Bancroft] standing looking at gentleman, with right hand on gentleman’s right shoulder.’
(b) ‘Photograph of Mr and Mrs Bancroft, cabinet size No 23447, ¾ length figures, gentleman sitting with pen in right hand.’

These images may date from 1889 (see BANCROFT, Marie Effie, ‘All known portraits, In private character, Photographs, publ. 1889’ and ‘Photographs, reg. 1899’).

1890s
Photographs by Emery Walker, half-length seated (eyeglass in right eye), six known poses:
(a) near-profile to right (but reversed so original must be to left); NPG x19638.
(b) near-profile to left; NPG x19639.
(c) to front; NPG x19640.
(d) half-profile to left; NPG x19641.
(e) to front, right arm across body; prints NPG x19642 and NPG x27454. Repr. as photogravure by Walker & Boutall; prints colls NPG x6404; and V&A, London, S.3458-2009.
(f) looking up to right; prints NPG x19643 and NPG x27455.

1900
Photograph by London Stereoscopic & Photographic Co., half-length, to front (eyeglass in right eye), left hand to cheek, right arm resting on upholstered chair; print MEPL, London, 101220369, where dated and described as original print from ILN.

Postcard, with facsimile signature and caption ‘Sir Squire Bancroft’; NPG x551.

before 1901
Photograph by unidentified photographer, half-length, to right (eyeglass in left eye), white hair, trees behind or on backdrop. Cigarette card, publ. Ogden, General Interest series no.164, 1901, captioned ‘Sir Squire Bancroft / Famous for his Readings of Charles Dickens’; seen on eBay 2017.

1901
Photographs by Lafayette Studio, two known poses:
(a) three-quarter-length, standing to front (eyeglass in right eye), left thumb in fob-pocket. Postcard, publ. Ducal series; Blomfield Coll.
(b) three-quarter-length, standing, looking to right (eyeglass in right eye), arms folded; V&A, Lafayette negative no.2599, dated 19 Feb. 1901.

c.1904
Photograph by Lizzie Caswall Smith, head-and-shoulders, profile to left, right hand to chin (eyeglass in left eye); print coll. Royal Academy of Music, inscr. ‘9/5/04’.

Postcard, publ. Davidson Brothers, Stageland series, no.6077.

publ. 1908
Photograph by Langfier Ltd, three-quarter-length, seated, profile to left (eyeglass in right eye), wearing top hat and morning dress with silver-topped cane visible behind legs. Repr. Art Reproduction Co. Ltd (no further details).

1900s
Photograph by unidentified photographer, three-quarter-length seated, to left, at roll-top desk in office or study. Postcard, publ. Raphael Tuck & Sons, entitled ‘Sir Squire Bancroft’; Blomfield Coll.

Photograph by unidentified photographer, whole-length, standing, profile to right, leaning on bicycle, Arthur Pinero and another bicycle to right. Repr. Blomfield 2013, p.323.

c.1911
Photograph by unidentified photographer, taken at St James’s Palace, whole-length, to front, wearing court dress, overcoat folded over left arm; MEPL, London, 10410687, where described as being ‘at Royal Levee’, c. 1911.

before 1917
Bromide print by Claude Harris, inscr. by sitter ‘Sincerely / Squire Bancroft / 1917’, head-and-shoulders, to front (eyeglass in left eye); NPG x5597.

1917
Photograph (or camera still shot) by unidentified photographer, half-length, from back, seated 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, screened as a prologue to the film. Repr. Blomfield 2013, p.316.

See also Alexander, Forbes-Robertson, Hare.

c.1918–19
Photograph by unidentified photographer, whole-length, to left, standing on step outside front door, both hands on walking stick, with Marie Bancroft to left. Repr. unidentified newspaper; and Blomfield 2013, p.328, as ‘the last picture together’.

1920
Photograph by unidentified photographer, whole-length, standing to front, in apartment, shaking hands with playwright Edward Knoblock, actor Norman Forbes-Robertson standing to left; glass negative TopFoto EU002475, captioned ‘Actor-manager Sir Squire Bancroft celebrates his 79th birthday on 14 May 1920’.

c.1920
Photographs by Lambert Weston & Son, Folkestone, outside house in Westgate, Kent; Blomfield Coll., two known poses:
(a) whole-length seated, holding two dogs and soft-brimmed hat on lap, parrot in cage to right. Repr. Blomfield 2013, p.339, described as ‘with his dogs and his parrot, c.1914’.
(b) whole-length standing on steps, holding hat. Repr. as postcard (no further details).

1922
Photographs by unidentified photographer, with Ellen Terry, at unveiling of memorial to Sarah Siddons in Bath, two known poses:
(a) head in crowd, profile to right, wearing top hat; NT, Smallhythe Place, Kent, 1120283. Repr. Melville 2006, pp.226–7.
(b) half-length to front holding soft hat, with others on platform; repr. in unidentified publ., cutting NT, Smallhythe Place, Kent, NT/SMA/PH/2668.

1924
Photograph by unidentified photographer, whole-length, standing, profile to left, left hand holding top hat, right hand shaking that of King George V at Royal Command Performance. Repr. Bancroft 1939, facing p.272; Blomfield 2013, p.337, as ‘welcoming King George V to Command Performance of The Ware Case 1924’.

c.1925
Snapshot by unidentified photographer, whole-length, to left, seated on garden chair, right hand held by granddaughter, left hand holding hat and stick, second granddaughter standing behind, dog at his feet. Repr. Blomfield 2013, p.341, ‘with his granddaughters Naomi and Diana, c.1925’.

1926
Photograph by unidentified photographer, head-and-shoulders, to left, right hand holding eyeglass to eye, spotted cravat. Repr. Bancroft 1939, facing p.278, captioned ‘My father in 1926’.

Squire died 19 Apr. 1926.

undated
Photograph by unidentified photographer, three-quarter-length to right, looking to camera, seated in armchair by fireplace, legs crossed, hands on lap, painting by Valentine Cameron Prinsep of scene from School for Scandal visible on wall. Repr. Blomfield 2013, p.332, captioned ‘In his study’.

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

Caste (as ‘Captain Hawtree’)
Opened 6 Apr. 1867 and revived in 1871, 1879 and 1883.

1867
Caricature by (Edward) Linley Sambourne, whole-length with eyeglass and long moustaches, wearing evening dress, in centre of group, arms linked with John Hare 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’.

c.1883
Pen and ink with watercolour caricature, 504 x 280mm, by Carlo Pellegrini, signed and dated Aug. 1883; Garrick Club, London, G0027.

Chromolithograph after Pellegrini; NPG 5072. Repr. Ashton 1997, no.27, p.17.

1916
Coloured print after unidentified artist, Sir Squire Bancroft as ‘Captain Hawtree’ in ‘Caste’, whole-length standing, profile to left, wearing top hat, eyeglass in right eye; untraced. Repr. as cigarette card by Player & Sons.

Photographs

1867
Photograph by unidentified photographer, whole-length, standing beside armchair. Repr. Mander & Mitchenson 1957, pl.307.

Diplomacy (as ‘Count Orloff’)
Opened at Prince of Wales’s Theatre 12 Jan. 1878 and revived at Garrick Theatre 1893.

1893
Ink sketch by Aubrey Beardsley, inscr. ‘Mr Bancroft (Count Orloff)’, half-length, profile to left, holding walking stick in left hand, at Garrick Theatre, London, with sketch of Marie Bancroft on same sheet; untraced. Exh. Artists of the Yellow Book, Parkin G., London, 1983 (37 (ill.); repr. Pall Mall Gazette, Mar. 1893, p.261; Beardsley 1912, pl.53; and Zatlin 2016, no.299, vol.1, p.189.

Ink design by Reginald Cleaver, ‘The Revival of “Diplomacy” at the Garrick Theatre’, inscr. ‘The Woes of Lady Henry Fairfax (Mrs Bancroft)’, whole-length seated, to front, in costume, in composite with other actors; untraced. Repr. Graphic, 25 Feb. 1893, p.180.

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

Design by unidentified artist, full-page image of eight cast members, Squire whole-length standing, back row, profile to right; untraced. Repr. 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.

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

Photographs

1878
Cartes-de-visite by Window & Grove, with John Clayton (John Alfred Calthrop) and William Hunter Kendal, three known poses; V&A, London, S.142:127-2007, S.142:128-2007 and S.142:138-2007. Repr. Whyte 1898, after p.160; and Blomfield 2013, p.187.

1893
Photograph by Window & Grove, depicting cast at Garrick Theatre, Feb. 1893, nearly whole-length, seated at table right of centre, with eight others; print, 220 x 280mm, reg. 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, Forbes-Robertson, Hare.

Fedora (as ‘Jean de Siriex’)
Opened at Haymarket Theatre May 1883.

publ. 1883
Designs by Horace Morehen, showing diverse scenes; untraced. Engr. by J. Swain repr. Illustrated Sporting and Dramatic News, 26 May 1883, p.280.

Watercolour by Phil May, signed, whole-length, to front, with vandyke beard, in evening dress with cane; untraced. Repr. with facsimile signature as chromolithograph by Charles Goodall & Sons as supplement to Society, 25 Aug. 1883, captioned ‘No.34 Mr S.B. Bancroft as Jean de Siriex in “Fedora”’ (see MEPL, London, 10086288 and MEPL, London, 101089629; print V&A, London, S.3459-2009.

Man & Wife (as ‘Dr Speedwell’)

Photographs

1873
Photograph probably by Window & Grove, three-quarter-length seated at table, holding book, in wig, whiskers and costume. Repr. Whyte 1898, between pp.132–3; and Bancroft & Bancroft 1909, facing p.170, where paired with portrait carte out of costume ‘taken on the same day’ (see above, ‘In private character, Photographs, 1873’).

Masks and Faces (as ‘Triplet’)
Opened at Prince of Wales’s Theatre 6 Nov. 1875 and revived 5 Feb. 1881. It proved the most successful of all the productions there.

1875
Oil on canvas by H[arry] Allen, whole-length standing, gesturing towards portrait of Peg Woffington; untraced. Repr. Bancroft & Bancroft 1909, facing p.158.

This painting shows Squire in same aspect as photograph (b) by Henry van der Weyde (see below, ‘In stage character, Masks and Faces, Photographs, 1875–81’). [3] Companion to portrait of Marie Bancroft by same artist.

1881
Caricature by Charles Brookfield, whole-length, profile to right, stepping towards Arthur Cecil, on right; untraced. Repr. Bancroft 1909, facing p.102, captioned ‘The Two Triplets’; and Blomfield 2013, p.220; ref. Bancroft & Bancroft 1909, p.157.

Lithograph by M[att] Stretch, signed and dated ‘Feby 1881’, with sitter’s facsimile signature and another indecipherable, whole-length standing, holding tricorne hat in right hand and walking stick in left; loose print Blomfield Coll. Probably publ. in or with The Theatre (cf. similar depiction of Irving, BM, London, 1933,1014.644.17).

Caricature design by Alfred Bryan, three-quarter-length, profile to left, bare-headed, striding forward, holding portfolio under left arm; untraced. Repr. Entr’Acte, 26 Feb. 1881, see MEPL, London, 11015596.

Photographs

1875–81
Cartes-de-visite by Henry van der Weyde, nearly whole-length, three known poses:
(a) seated, holding violin on left knee; V&A, London, S.142:192-2007.
(b) standing, turning from chair on which is propped a female portrait; V&A, London, S.142:194-2007.
(c) variant of (b), standing in front of chair, arms in different attitude. Photogravure by Gebbie & Co., Philadelphia, publ. in folio The Stage and Its Stars: Past & Present, Philadelphia, 1889.

Our American Cousin (as ‘Lord Dundreary’)

Photographs

c.1862
Photograph by unidentified photographer, whole-length, standing in costume and whiskers, hands in pockets of velvet jacket; print Blomfield Coll. Repr. Blomfield 2013, p.67.

Bancroft played this role (or part of it, imitating Edward Southern’s performance) in Plymouth and Devonport at the beginning of his stage career. [4].

Ours (as ‘Angus McAlister’/‘Hugh Chalcot’)
Opened at Prince of Wales’s Theatre 15 Sept. 1866.

publ. 1882
Designs by H.A. (‘Hal’) Ludlow, showing scenes and images from drama, whole-length standing by tree-stump, as Hugh Chalcot; untraced. Engr. by Dalziel repr. ILN, 4 Feb. 1882, p.105.

See also M. Bancroft, Langtry.

Photographs

1866
Cartes-de-visite by Window & Bridge, 15 Sept. 1866, whole-length, in costume as Angus McAlister, in group with John Sleeper Clarke and Frederick Younge, five known poses: V&A, London, S.142:62-2007, S.142:64-2007, S.142:65-2007, S.142:67-2007 and S.142:69-2007.

Peril (as ‘Sir George Ormond’)

1876
Design by Francis S. Walker, ‘Peril at the Prince of Wales’s’, sixth from right in composite group of actors in costume in green room, whole-length standing, profile to left, in evening dress, holding parasol for Madge Kendal to left; untraced. Repr. as wood engr. by Moritz Klinkicht, signed below image ‘Francis S Walker’, inscr. ‘FSW / 1876’, also inscr. other sitters’ names with details of publ.; publ. Belgravia, vol.xxxii, 1877, p.94; print, 149 x 225mm, BM, London, 1915,0913.10.

publ. 1877
Design by ‘HWP’, whole-length, standing wearing evening dress, supporting female actor on left; untraced. Repr. Illustrated Sporting & Dramatic News, 27 Jan. 1877, p.437, captioned ‘Scene from “Peril” at the Prince of Wales Theatre’.

Plot and Passion (as ‘Fouche’)

publ. 1881
Design by Horace Morehen, whole-length, standing, profile to left, wearing clerical soutane, arms outstretched to left; untraced. Engr. by J. Swain repr. Illustrated Sporting and Dramatic News, 3 Dec. 1881, p.265.

Design by H.A. (‘Hal’) Ludlow, whole-length, seated, profile to right, wearing clerical soutane and cap; untraced. Repr. Pictorial World, 10 Dec. 1881, p.232.

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

1874–5
Oil sketch by Valentine Prinsep for The Minuet, whole-length in minuet scene, with Marie Bancroft; presented to the sitters by the artist. Repr. Bancroft 1939, facing p.38, where described as sketch for act-drop at Haymarket Theatre c.1880; [5] and Blomfield 2013, pp.154, 332; ref. Bancroft & Bancroft 1909, pp.135, 431, 432;

Oil by Valentine Prinsep, The Minuet, whole-length in group dancing with Marie Bancroft, depicting stage performance at Prince of Wales’s Theatre; untraced. Exh. RA 1875 (125); ref. Bancroft & Bancroft 1888, vol.1, p.400.

c.1880
Act-drop by Valentine Prinsep; untraced. Ref. Bancroft & Bancroft 1909, p.135: ‘The general effect of this interpolated dance was reproduced on the curtain painted for us when we moved to the Haymarket’. The act-drop was related, but not necessarily closely, to The Minuet; see above.

For a replica of the act-drop, extant in 1909 and now also untraced, see Bancroft & Bancroft 1909, p.135.

Photographs

1874
Photographs by Window & Grove, two known poses:
(a) carte-de-visite, inscr. ‘Marie Wilton / Lady Bancroft / as Lady Teazle / with Squire Bancroft / as Joseph Surface’, whole-length, profile to left, standing, leaning over chair in which Marie Bancroft seated to left; V&A, London, S.142:122-2007. Repr. Whyte 1898, between pp.6 –7; and Blomfield 2013, p.151.
(b) carte-de-visite, bust-length vignette, three-quarters to right; V&A, S.142:113-2007.

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

Photographs

1865
Cartes-de-visite by Southwell Brothers, on opening night, seven known poses:
(a) inscr. ‘Squire Bancroft and / Marie Wilton (Lady Bancroft) / in “Society” / Southwall [sic]’, whole-length, seated, looking right, wearing top hat, with Marie Bancroft seated to right; V&A, London, S.142:59-2007.
(b)–(d) three more poses; V&A, London, S.142:56-2007, S.142:60-2007 and S.142:61-2007. Other actors shown: Fred Dewar, John Clarke, W.H. Montgomery.
(e–g) three more poses; Garrick Club, London, Willoughby Album, WA2(301, 304, 307).

Sweethearts (as ‘Henry Spreadbrow’)

Photographs

1885
Photograph by unidentified photographer, whole-length standing, holding hand of Marie Bancroft. Repr. Gilbert & Sullivan Archive, captioned ‘Squire Bancroft and Marie Wilton (Mrs Bancroft) in the revival at Haymarket Theatre, 1885’.

The Dead Heart (as ‘Abbé Latour’)

1889
Drawings by Bernard Partridge. Repr. souvenir programme (Cassell 1889, 9pp), three known poses:
(a) signed, whole-length kneeling in costume, with Henry Irving; untraced. Repr. Hiatt 1899, facing p.224; Bancroft & Bancroft 1909, facing p.334; and Blomfield 2013, p.291 (image inscr. by Squire Bancroft ‘Irving and Bancroft in “The Dead Heart”’ and dated to 1890).
(b) whole-length, seated to right (Act 1, scene 2), with Ellen Terry; untraced.
(c) probably also by Partridge, whole-length standing, profile to right, lowered sword in right hand; untraced. Loose print, inscr. lower left with semi-legible initials ‘BP’, Blomfield Coll. Repr. with Bancroft facsimile signature Coleman 1890.

Drawings by Horace William Petherick; untraced. Repr. Coleman 1890, four known poses: (a) ‘The Lettre de Cachet’, whole-length seated, profile to right, Ellen Terry seated on right. (b) ‘Robert Landry Lives’, whole-length standing, profile to right, left arm outstretched, with Ellen Terry. (c) ‘In the Cafe Jocrisse’, whole-length, half-kneeling, back view, being stabbed by Henry Irving, other figures include Ellen Terry; captioned ‘Abbe Latour, I pay a Debt …’. (d) ‘The Vengeance of Robert Landry’, whole-length, lying supine on floor, Irving standing to right; see {Victorian Theatre Research]https://msu.edu/~tetenskr/deadheartimages.htm}.

See also Irving, Terry.

Caricature by Alfred Bryan (no further details); untraced. Repr. Illustrated Sporting & Dramatic News (no further details); and Hiatt 1899, p.225.

Designs by unidentified artist, showing six scenes from the production, whole-length from back, duelling with Henry Irving; untraced. Repr. as engr. Graphic, 5 Oct. 1889, p.409.

See also Irving, Terry.

War to the Knife

Photographs

1865
Cartes-de-visite by Samuel Alexander Walker, Prince of Wales’s Theatre, 10 June 1865, four known poses:
(a) 89 x 58mm, inscr. ‘Fanny Josephs / Marie Wilton (Lady Bancroft) / F Dewar / Squire Bancroft / in “War to the Knife” / Prince of Wales’s Theatre / 10th June 1865 / Walker’, far right in group of four actors including Marie Bancroft and Fanny Josephs; V&A, London, S.142:44-2007. Repr. Blomfield 2013, p.92, where sitters captioned as Fanny Josephs, Marie Wilton, Frederick Dewar and ‘Sydney’ Bancroft.
(b) 67 x 66mm, inscr. ‘Left to right / Fanny Josephs / Marie Wilton (Lady Bancroft) / Frederick Dewar / + Squire Bancroft / in “War to the Knife / Walker’, similar to (a); V&A, London, S.142:45-2007.
(c) composite image issued by William Walker & Sons, showing Fred Dewar in centre leaning on half-column, with Squire Bancroft either side, in morning dress, on left wearing top hat, on right holding top hat.
(d) on far right of group, left hand holding letter, right hand to cheek, head bent as if reading. Repr. Blomfield 2013, p.92.

Various roles

1885
Designs by Horace Morchen, depicting Bancroft in 11 different roles, with head-and-shoulders portrait in centre; untraced. Engr. by J. Swain repr. Illustrated Sporting and Dramatic News, 18 June 1885, p.486.

Unidentified part or play

Photographs

c.mid-1860s
Photographs, 70 x 52mm, by Southwell Brothers, whole-length seated, dark hair, large moustache, wearing dressing-gown, apparently in costume for unidentified production, two known poses:
(a) solo, head tilted to right; V&A, London, S.142:1-2007.
(b) profile to right, pipe in mouth, clasped hands on side table with wine glasses, unidentified male actor standing to right; Garrick Club, London, Willoughby Album, WA2(301), where photographer identified.

Carte-de-visite by unidentified photographer, whole-length standing, profile to left, holding Marie Bancroft’s hand; Garrick Club, London, Willoughby Album 2, no.318.

Carte-de-visite by unidentified photographer, whole-length vignette standing, profile to right, wearing bowler hat, smoking cigar, leaning over unidentified actor half-reclining on floor; Garrick Club, London, Willoughby Album 2, no.324.

Carte-de-visite by unidentified photographer, whole-length standing, profile to left, wearing stove-pipe hat, right hand on shoulder of unidentified actor; Garrick Club, London, Willoughby Album 2, no.303.

1918
Photograph by J.J. Lambe, whole-length standing on stage, holding tricorne hat; see Getty Images 3139939, where dated 17 Dec. 1918 and captioned ‘The return to the stage of English actor-manager Sir Squire Bancroft’.

Footnotesback to top

1) Macbeth also sat to Pellegrini, for a portrait exhibited at Grosvenor G. in 1878, when this etching could have been made or acquired.
2) Letter from Pellegrini to Irving, 30 May 1883, Henry Irving Correspondence, Ref. No.2053 (THM/3/7/33), see Henry Irving 1838–1905 Correspondence.
3) A report in The Times, 22 July 1926, stated that this work and that of Marie Bancroft as Peg Woffington in Masks and Faces had been bequeathed to the Garrick Club, but this was apparently incorrect, as these works are not recorded there.
4) Bancroft 1909, p.39.
5) For references to Prinsep painting an act-drop for Hare’s Court Theatre in 1875 see Pemberton 1895, p.52.


Dr Jan Marsh