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Later Victorian Portraits Catalogue

Sir George James Frampton (1860-1928), Sculptor and craftsman

Self-portrait
By other artists
Undated portrait
Photographs

Self-portraitback to top


1894
Pencil drawing; see NPG 3043.


By other artistsback to top


1893–4
Ink drawing by Theodore Blake Wirgman, ‘drawn from life’, head-and-shoulders, profile to left, part-sketch of female head to right; untraced. Repr. Graphic, 20 Jan. 1894, p.61.

publ.1894
Design by Edward Tennyson Reed, for 'Prehistoric Peeps: Opening of the Primeval Royal Academy', signed, head-and-shoulders, profile to right and clean-shaven, bottom left 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, Gilbert, Gregory, Herkomer, Horsley, Leighton, Lucas, Marks, Millais, Moore, Orchardson, Poynter, Stone, Thornycroft.

1896–7
Oil on canvas, 760 x 635mm, by Solomon Joseph Solomon, half-length, full-face, holding statuette; untraced; with Meredith Frampton in 1982. Exh. RA 1897 (90); and RA Winter 1928; repr. Cassell’s RA Pictures 1897, p.34; MA, 1897, p.62; Sotheby’s, 13 Nov. 1985 (215, as ‘George Frampton as a student’); Christie’s, 2 June 1989 (171); Sotheby’s, 13 July 2006 (78, where dimensions given as 800 x 675mm). Described as ‘a somewhat ignoble likeness’, Athenaeum, 12 June 1897, p.785.

exh. 1896
Medium unknown, by Theodore Blake Wirgman, with Arthur Hacker and John MacAllan Swan; untraced. Exh. RSPP 1896 (171). See NPG NoS (G. Frampton).

publ. 1901
Black, white and pink chalk drawing by John Henry Frederick Bacon, signed with initials, half-length to left, profile to left wearing glasses, with hands raised; untraced. Repr. in colour Studio, vol.22, 1901, p.277.

1902–3
Enamel by Alexander Fisher; untraced; formerly in family coll. Exh. RA 1903 (1841).

publ.1902
Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, head and shoulders, facing front, in middle row third 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, Goodall, Herkomer, Orchardson, Poynter, Richmond, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells, Whistler.

1903
Red and white chalk drawing, 305 x 270mm, by John Seymour Lucas, signed and dated 12 July 1903, inscr. ‘To my old Friend George Frampton’; untraced. Exh. RA 1904 (1386); Sotheby’s, 13 Nov. 1985 (211, not ill.).

Oil on canvas, 889 x 749mm, by William Strang, signed and dated, half-length, full-face, seated with hands on knees, wearing top hat, in background his bust of Strang; coll. AWG, London. Exh. William Strang, Graves AG, Sheffield and NPG, London, 1980–81 (11); and Beauty’s Awakening, Brighton M., 1984 (376; in Brighton 1984, p.48 dimensions given as 1210 x 1055mm); repr. Massé 1935, pl.5d.

1907
Drypoint, 395 x 275mm, by William Strang, head, eyes looking left; colls Glasgow M., 55-1201; BM, London, 1949,0411.1821 (signed in pencil lower right). Ref. Strang 1912 (480) and Strang 1962 (590). Exh. RA 1907 (1354); La gravure moderne anglaise, M. des arts décoratifs, Paris, 1927 (11); William Strang, Graves AG, Sheffield and NPG, London, 1980–81 (76).

1908
Pencil caricature by Max Beerbohm, half-length; U. of Texas. Exh. Max Beerbohm solo show, Carfax G., London, 1908; ref. Hart-Davis 1972, no.555.

1908–10
Caricature drawing by Max Beerbohm, half-length; untraced. Exh. Leicester G., London, Apr. 1911; ref. Hart-Davis 1972, no.556.

c.1913–16
Caricature drawing by Harry Furniss, whole-length, profile to right, long hair, hands in pockets, cigarette in mouth; untraced. Repr. Furniss [publ.c.1913–16], pl.45.

1914–15
Bronze bust by Albert Toft, signed and dated 1915; untraced; with Meredith Frampton 1982; offered to NPG 1966 (withdrawn). Exh. RA 1915 (1897). ‘A gross libel’ according to letter from Meredith Frampton to Sarah Wimbush, 12 Apr. 1982, NPG NoS (G. Frampton); image in NPG SB (Frampton).

1915
Pen and pencil drawing 67 x 89mm, by Claude Allin Shepperson, inscr. 'Sir George Frampton, R.A', head-and-shoulders profile to left, wearing spectacles; coll. Thomas Scott Buckle.

1919
Oil on canvas by Meredith Frampton; see NPG 6339.

Intaglio print, 196 x 245mm, after NPG 6339, by Meredith Frampton, half-length, full-face, seated to right, right arm across body; Tate, P11081; another print Sotheby’s, 13 Nov. 1985 (174). Exh. and repr. Meredith Frampton, Tate, London, 1982 (3) when described as an etching after a lost oil portrait (but see NPG 6339).

1925
Oil on canvas, 502 x 400mm, by Meredith Frampton, head-and-shoulders looking left; priv. coll. Exh. Meredith Frampton, Tate, London, 1982 (9).

1926
Oil on canvas by Maurice Greiffenhagen; destroyed WW2; see letter from Meredith Frampton to Sarah Wimbush, 12 Apr. 1982, NPG NoS (G. Frampton). Exh. RA 1926 (389).

1926–7
Pencil and wash drawing by (John) Bernard Partridge; see NPG 3669.


Undated portraitback to top


Oil on canvas, 460 x 355mm, by W.M. Latham, signed and faintly inscr. ‘for upper painting school’; untraced. See Sotheby’s, 13 Nov. 1985 (213, not illus.).


Photographsback to top


1889
Photograph by unidentified photographer, ‘Mr Frampton at work on “The Angel of Death”’, half-length, profile to right, in studio with tall sculpted figure (exh. Salon 1889, RA 1890 (2090)). Repr. AJ, 1897, p.321.

c.1894
Photograph by H. Dixon & Son, head-and-shoulders. Engr. by ‘PN’ repr. ILN, 10 Feb. 1894, p.177 (as ‘Mr George Glanfield Frampton, ARA’).

1895
Photograph by unidentified photographer, three-quarter-length, profile to right, wearing smock over starched shirt, standing in studio with relief sculpture Mother and Child. Repr. ‘E.B.S.’ 1896, p.205.

1896
Photograph by L. Lowe (also attrib. Elliott & Fry), three-quarter-length, standing in studio with relief head (Charles Keene, RA 1897 (2074)) on easel. Repr. The Year’s Art 1897, facing p.24; Rosenblum, Stevens & Dumas 2000, p.385.

1899
Carbon print, 227 x 315mm, by Fradelle & Young, in multi-figure group at a banquet in honour of Lawrence Alma-Tadema at the Whitehall Rooms, London, 4 Nov. 1899 (presence confirmed on sheet of over 100 signatures); NPG x19022. Repr. MA, 1900, p.137 (with signatures insert); and Swanson 1990, p.85.
See also Alma-Tadema, Boughton, Brock, Clausen, J. Collier, Crane, East, E.O. Ford, Gregory, Hacker, Lucas, Parsons, Sant, Solomon, Spielmann, W.H. Thornycroft, J.W. Waterhouse, A. Webb.

exh. 1901
Photograph by James Craig Annan, half-length to front, wearing dark coat and jacket. Exh. The Photographic Salon, London, 1901 (219); repr. in installation Photograms of the Year 1901, p.107. According to Carter (1901, p.98), this is ‘really an exercise in the rendering of surface textures. Details here are massed and rounded in a surprising manner: the eye is never caught by any conspicuous accessory, yet everything is set down. It is possible that for this reason Mr Annan refrained from including the sculptor’s hands. The back of one is indicated in shadow, but the restraint of it conveys the impression that the photographer could easily have pushed his success further.’

1901–2
Photograph by unidentified photographer, three-quarter-length, profile to right, standing at work on clay bust (probably Chaucer, RA 1902 [1629]). Repr. in unidentified periodical, after 1908 (as ‘G. Frampton RA’); see NPG SB (Frampton).

1902
Photograph by Ernest Herbert Mills, half-length, looking to front, wearing loosely knotted tie. Repr. ‘Art in Photography: Some Portrait Studies of Royal Academicians’, Sketch, 21 Jan. 1903, p.26.

Images by George Charles Beresford, wearing wing collar with large loose-knot tie, four known poses:
(a) sepia-toned platinotype, 153 x 107mm, head-and-shoulders, full-face, wearing spectacles, eyes looking to left; NPG x13493.
(b) sepia carbon print on cabinet card, 147 x 100mm, inscr. ‘To my old friend Isidore Spielmann / Geo. Frampton / 1914’, half-length, standing, left hand in overcoat pocket; NPG x13492, attributed to Beresford as it appears to be from the same sitting as (a) and (c).
(c) half-plate glass neg., 157 x 114mm, head, profile to left, hair brushed forward, wearing wing collar; NPG x6502.
(d) quarter-length, full-face, wearing waistcoat, jacket and overcoat; coll. AWG, London, ‘Portraits of Old Brethren’, vol.2, p.38.

1900s
Photograph, oval format, by London News Agency, head, full-face, wearing pale overcoat. Repr. London 1907–9, p.52.

Photograph by unidentified photographer in group of AWG members, half-length, head tilted to left, holding long pipe, at table with eight other members, including William Strang, handling ceramic jugs; coll. AWG, London.

publ. 1912
Photograph by unidentified photographer, three-quarter-length, looking to right, standing before carved memorial. Repr. Bystander, 1 May 1912, p.224.

1920
Four vintage press prints by Reginald Silk showing different views of the unveiling of statue of Edith Cavell in St Martin’s Place; Frampton may be identifiable among the crowd of dignitaries and onlookers; NPG x125689; x125690; x125691; x125692.

1921
Photographs by Bassano, 26 November 1921, two poses:
(b) head-and-shoulders, full-face, wearing overcoat and scarf; whole-plate glass neg. NPG x18117; and vintage print, image slightly cropped from foot; NPG x84204.
(a) head-and-shoulders, turned to left, wearing jacket and tie; whole-plate glass neg. NPG x18118.

1924
Whole-plate glass negs by Walter Stoneman for NPR, three poses:
(a) quarter-length, full-face; bromide print NPG x162430.
(b) quarter-length, profile to right; NPG x31560.
(c) quarter-length, turned to left, nearly full-face; NPG x31561.

Dr Jan Marsh