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Later Victorian Portraits Catalogue

Sir (Samuel) Luke Fildes (1843-1927), Illustrator and genre and portrait painter

By other artists

Self-portraitsback to top

Oil on canvas, 1219 x 2134mm, Fair, Quiet and Sweet Rest, three-quarter-length, fingering lute, in punt with three other figures; Warrington MAG, 1911.258. Exh. RA 1872 (997); repr. Fildes 1968, facing p.50; smaller version repr. Sotheby’s, 11 June 1986 (202).

Oil on canvas, feigned oval 345 x 297mm, signed and dated lower left, head-and-shoulders, half-profile to left, with dark hair and beard; Aberdeen AG, ABDAG002557. Repr. MA, 1889, p.209.

Oil on canvas, 1664 x 2419mm, The Doctor, whole-length, profile to left, chin resting on right hand; Tate, N01522. Exh. RA 1891 (199); repr. Thomson 1895, frontispiece. ‘The Doctor has considerable personal likeness to the artist himself’: AJ, 1895 Christmas annual, p.30.
A preliminary oil sketch for the painting is repr. Thomson 1895, p.13.

after 1911
Oil on canvas, 918 x 714mm, half-length, full-face, standing, with white hair and beard, wearing spectacles and for
mal dress, holding brush and palette; RA, London, 03/718 (gift of L.V. Fildes 1949) where dated 1911. Repr. Fildes 1968, frontispiece. Janet Davis (2004) assigns this work to 1918, which accords with an otherwise untraced portrait offered to the NPG in 1947 (when dated 1917; see NPG SB (Fildes)), despite a difference in dimensions.

By other artistsback to top

Drypoint, 166 x 177mm, by Georges Labadie Pilotell, head-and-shoulders vignette to left; BM, London, 1877,0609.2.

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head only, three-quarter profile to right, attached to a large clothes peg pinning a canvas to a washing line, with others; untraced. Repr. Punch, 12 May 1875, p.222; Herkomer 1910–11, vol.1, facing p.82; McMaster 2008, p.66, fig.7; McMaster 2009, p.27, fig.14.
See also Alma-Tadema, Butler, Calderon, Du Maurier, Foster, Frith, Goodall, Herkomer, Hodgson, Leighton, Marks, Millais.

Oil or watercolour by Henry Woods, Luke Fildes painting ‘The Return of the Penitent’, whole-length, seated at easel, outdoors with female model, interior of studio in foreground; untraced. Repr. Thomson 1895, p.6.

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; McMaster 2009, p.38, fig.22.
See also Alma-Tadema, Ansdell, Armitage, Boughton, Butler, Calderon, Cope, Du Maurier, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

Design by Theodore Blake Wirgman for Artists of the London ‘Graphic.’, signed and dated 1881, half-length, profile to left, arms crossed, 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.391 (captioned ‘The “Graphic” Artists’).
See also Gregory, Herkomer, Holl.

publ. 1881
Pen and ink drawing, 306 x 444mm, by (Edward) Linley Sambourne for Royal Academy Banquet at Burlington House., a comic take on William Salter’s The Waterloo Banquet, signed and dated Apr. 1881, head only, profile to left with pipe in mouth, sixth from left along bottom row of RAs; Aberdeen AG, ABDAG003898. Repr. Punch, 7 May 1881, p.206; Gould 2004, p.154, fig.122; McMaster 2008, p.70, fig.18; McMaster 2009, p.42, fig.25; Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

Two drawings from life by Charles Paul Renouard:
(a) signed by artist bottom left, whole-length, standing to left with right arm raised to canvas, painting a female model; untraced. Repr. as process print Graphic, 11 Aug. 1888, p.168.
(b) initialled by artist bottom left, whole-length, seen from behind working on canvas; untraced. Repr. as process print Graphic, 11 Aug. 1888, p.169.

Pencil sketch by Lawrence Alma-Tadema, 20 Feb. 1889, head, back view and profile perdu, in margin of report of the Special Committee of the RA; untraced. Repr. Sotheby’s, 25 Oct. 1977 (25).
See also Armitage, Boehm, Frith, Marks, Millais, Pickersgill, Sant, W.H. Thornycroft.

1880s to 1890s
Pen and ink drawing by Harry Furniss: see NPG 3570

Oil on canvas by W.H. Bartlett, A Saturday Night at the Savage Club (also known as A Savage Club Saturday Night), three-quarter-length, profile to left, seated at table; coll. Savage Club, London. Engr. by C.E. Clifford & Co repr. AJ, 1890, p.218; Watson 1907, frontispiece (as ‘A Saturday Night at Lancaster House’, with key); Ward 1923, p.2 (Fildes no.32 in key); and Bradshaw 1958, facing p.32 (as ‘A Savage Saturday Night at Lancaster House’).
See also Furniss, Gilbert, Gregory, Irving, Spielmann, Woodall.

publ. 1890
Wood-engr. by E.?J.W., Artistic Stars, oversized head on small body, profile to left, holding brush and palette, at top right; repr. Punch Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Boughton, Calderon, Frith, Herkomer, Hodgson, Leighton, Millais, Poynter.

Drawing by Leonard Raven Hill, whole-length, profile to right, reaching forwards as if painting The Doctor; untraced. Repr. as lithograph, AJ, 1891, p.153.

Drawing by Reginald Cleaver, whole-length, profile to left, painting The Doctor in studio; untraced. Repr. AJ, 1895, p.12; Thomson 1895, p.12 (where ‘by permission of “The Graphic”’); Temple Magazine, vol.2, 1897-–8, p.227; and Walkley 1994, fig.45.

Caricature drawing by Leslie Ward (‘Spy’), He painted ‘The Doctor’, whole-length, standing, profile to right, with pipe in mouth, palette in left hand, tall mahlstick in right; untraced.
Chromolithograph by Vincent Brooks Day & Son repr. Vanity Fair, 24 Dec. 1892; copy colls. NPG D44626; and MEPL, London, 10010559.

Sculpture by Herbert Hampton, head only; untraced. Exh. RA 1903 (1832).

Oil on board by Philip Alexius de László: see NPG 4960

Sculpture by William Goscombe John, head only; untraced. Plaster exh. RA 1923 (1461); repr. RA Illustrated 1923, p.120; bronze exh. RA 1925 (1342) and RSPP 1926 (18). See Pearson 1979, pp.83–4 (when both versions were in Fildes family collection).

Pencil thumbnail sketch, by Fred Roe, profile with several other sitters; Fred Roe Albums, NPG Archive, vol.II, ff.8-9.
See also S. Bancroft, Clausen

Undated portrait
Pen and pencil drawing 139 x 88mm, by B. Merrett, head-only, profile to left in corner of drawing of sitter's home and studio at 11 Melbury Road, Holland Park; coll. Thomas Scott Buckle.

Photographsback to top

Photograph by unidentified photographer, three-quarter-length, seated, full-face, body to left, holding book. Repr. as ‘Luke Fildes as a student of 20’, Fildes 1968, facing p.18.

Carte-de-visite (oval) by unidentified photographer, inscr. on mount ‘S.L.Fildes’, three-quarter-length, looking to left, hands in pockets; repr. Thomson 1895, p.22.

mid-late 1860s
Albumen carte-de-visite 89 x 57mm, by Samuel Mather Webster, Warrington, head-and-shoulders looking to left, fringe beard, wearing wing collar; NPGx136471.

Photograph by Sam Glen Payne, in group; reg. for copyright 1868 July 2: National Archives (COPY 1/14).

Photograph by unidentified photographer (on Fildes’s election as ARA), head-and-shoulders, profile to right, wearing moustache and beard, and loose-knotted bow-tie. Engr. repr. Graphic, 3 May 1879, on fold-out page and with facsimile signature; MA, 1880, p.50; engr. by ‘ST’ (image reversed) repr. LN, 3 May 1879, p.408; thumbnail engr. repr. Graphic, 6 Dec. 1890, p.634; single-sheet unsigned engr. inscr. ‘26.7.79’, NPG SB (Fildes) from Spielmann Gift, and another copy, NPG Subject Box (Artists 1850–1900).

Photographs by London Stereoscopic & Photographic Company, two known poses:
(a) albumen carte-de-visite, ‘L.Fildes. A.R.A.’, half-length, full-face, with dark hair with curls on forehead, arms crossed; NPG x11851 and x27579.
(b) half-length, profile to left, arms crossed resting on book. Repr. Review of Reviews, 1894, p.461.

c.late 1870s
Photograph by Henry Van der Weyde, head-and-shoulders, profile to right, with dark hair and beard. Repr. The Year’s Art 1888, after p.40.

Platinum print by Frederick Hollyer, half-length, looking left; V&A, London, 7749-1938, Hollyer Album (sitter's signature mounted below). Exh. Charles Dickens, V&A, London, 1970 (L25, ref. Dickens 1970, p.96).

publ. 1892
Platinum prints by Ralph Winwood Robinson, two known poses:
(a) 197 x 153mm, whole-length, profile to left, seated in studio, palette on floor; NPG x7363. Repr. Robinson [1892]; and Windsor Magazine, vol.3, Jan.–June 1896, p.542. Detail (head-and-shoulders) repr. Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.14.
(b) whole-length, looking left, leaning forward holding palette. Repr. Dakers 1999, p.170.

publ. 1894
Carbon print, 139 x 92mm, by W. & D. Downey, half-length, full-face, with dark hair and beard, wearing formal coat, rolled umbrella under left arm; NPG Ax27925; other copies NPG x20435, 139 x 93mm, inscr. by sitter on mount; The Rob Dickins Coll., Watts G., Compton, COMWG2008.944, 140 x 95mm. Repr. Downey & Downey 1890–94, ser.5, 1894, p.86.
A three-quarter-length image, evidently the original of which the above are cropped versions, shows the sitter holding a top hat in his right hand and silver-topped umbrella under his left arm; repr. Thomson 1895, p.29.

Platinum print, 144 x 100mm, by W. & D. Downey, inscr. by sitter to Isidore Spielmann, quarter-length, full-face, wearing tweed suit; NPG x11852. Another image probably from same session but without pocket handkerchief. Another image probably from same session but without pocket handkerchief; untraced

Photograph 108 x 82mm, by Richard William Thomas on postcard (‘RA Series’), whole-length, seated on x-frame folding chair in studio before portraits; colls NPG x136029; The Rob Dickins Coll., Watts G., Compton, COMWG2008.307; and V&A, London, 1359-1923. Repr. ILN, 25 May 1901, p.753.

Photograph by Frederick G. Hodsoll, whole-length, standing, profile to right looking at portrait of Edward VII in coronation robes (exh. RA 1902 (131)); Getty Archive, #3308322. Repr. Tatler, 1 June 1904, p.9.

Photograph by Elliott & Fry, head-and-shoulders, profile to right, wearing patterned tie. Repr. Davies 1907, pl.cccxviii.
Postcard version, 139 x 89mm, inscr. by sitter Oct. 1906; The Rob Dickins Coll., Watts G., Compton, COMWG2008.308 (where attributed to E.H. Mills? for Rotary Ltd.).

Photograph by Russell & Sons, head-and-shoulders, profile to left, wearing stiff collar and large dark tie. Repr. London 1907–9, p.49.

Photograph by unidentified photographer, whole-length, profile to left, standing at open doors of studio. Repr. Fildes 1968, facing p.195.

Glass-plate image by Paul Ferdinand Anton Laib, three-quarter-length, looking to right, standing in front of canvas holding brushes; Witt L, London, Laib Collection, indexed as ‘Luke Fildes at work’.

Photograph by Walter Bennington, three-quarter-length, full-face, seated with legs crossed; The Rob Dickins Coll., Watts G., Compton, COMWG2008.945. Repr. Bookman, Apr. 1927, p.4.

Photograph by unidentified photographer, whole-length, standing in garden, arms crossed, holding hat. Repr. Fildes 1968, facing p.18 (as ‘Luke Fildes on holiday in his 83rd year’).

Dr Jan Marsh