Later Victorian Portraits Catalogue
Harry Furniss (1854-1925), Caricaturist
Self-portraitsback to top
Furniss produced a large number of self-caricatures and sketches, many of which are reproduced in his memoirs and other publications.
‘Caricature of Myself, drawn when I first arrived in London’, whole-length, standing, profile to left, cigarette in mouth, wearing dressing gown; untraced. Repr. Furniss 1901, p.30.
‘I take the chair at the Garrick Club’, whole-length, profile to left, hair and moustache, wielding gavel with ‘You may smoke’ speech bubble; untraced. Repr. Furniss , p.101.
Pen and black ink sketch drawn at the top of a letter to L.A. Fagan, 16 Aug. 1888, whole-length, standing to left, large rotund stomach and balding head, arm stretched out and working by the light of an oversized candle, cigar in mouth with swirls of smoke indicated; BL Manuscript Coll., Millar bequest, Add. 54316 f.589.
Six ink caricature sketches in letters; ref. Christie’s, 19 May 2000 (47).
Pen and ink drawing, signed lower right, profile to left, rear view, wearing peaked cap, seated sketching companions including George Du Maurier in dining car on staff visit to Paris Exposition Universelle, May 1889; untraced, formerly in Punch coll. Repr. Punch, Special Number, 29 June 1889, p.315 (as ‘En Route. Mr. Punch at Lunch’); Furniss 1901, vol.1, p.227 (as ‘Punch staff returning [sic] from Paris’); Ormond 2010, p.189, fig.81.
Pen, brush and ink drawing; see NPG 3039.
Two caricature drawings, ‘Prize distribution at the Nottingham School of Art: Mr Harry Furniss giving the address under difficulties’:
(a) whole-length, near-profile to left rear, leaning forwards over pile of books; untraced.
(b) whole-length, rear view, in front of piled books; untraced.
Both repr. Daily Graphic, 12 Mar. 1891, pp.8–9.
Two caricature drawings:
(a) ‘Sitting upon a table dangling my legs’, whole-length, seated, wearing check suit; untraced.
(b) ‘On the platform’, whole-length, standing, wearing evening dress; untraced.
Both repr. ‘The Interviewer’, ILN, 25 Apr. 1891, p.535.
Pen and ink caricature drawing, 165 x 123mm, in letter dated 17 July 1891, whole-length, as chef holding plate with political heads including Gladstone; NPG D104.
‘Mr Punch’s Dream of his recent American Visit: no.4 Chicago’; untraced. Exh. FAS 1894 (245).
‘Mr Punch’s Parliamentary Artist fails to escape from his models’; untraced. Exh. FAS 1894 (259).
Several caricatures featuring ‘Lika Joko’, Furniss’s cartoon pseudonym, are possible self-images; untraced. Some examples exh. FAS 1894 (126, 203a, 264 [unill.]).
Pen and ink drawing, with Lewis Carroll (Charles Lutwidge Dodgson); see NPG 3567.
Pen and ink drawing, with Frederick Pollock; see NPG 3599.
Drawing, ‘My first meeting with the Editor of Punch’, whole-length, profile to right, hair and moustache, holding top hat; untraced. Repr. Furniss 1901, vol.1, p.217.
Sketch, ‘Fire!’, whole-length, seated before painting, top of easel alight; untraced. Repr. Furniss 1901, vol.2, p.6.
Drawing, ‘A Serious Portrait – from life’, whole-length, seated, profile to left, sketching in studio, with dog; untraced. Repr. Furniss 1901, vol.1, p.135.
Drawing, as model for artist Charles Burton Barber, whole-length, standing on dais, profile to left, trousers rolled up to knees; untraced. Repr. Furniss 1901, vol.1, p.300.
Drawing, ‘Mr Punch at Niagara’, whole-length, standing in rain under umbrella, shaking hands with statue of Mr Punch; untraced. Repr. Furniss 1901, vol.2, p.86.
Drawing, ‘Reception at a Ladies’ Club’ in USA, three-quarter-length, rear view, at lectern, with audience of women; untraced. Repr. Furniss 1901, vol.2, p.112.
Drawing, ‘Giving my “Humours of Parliament” to the Nurses’, whole-length, profile to left, standing on table, audience of nurses seated on floor; untraced. Repr. Furniss 1901, vol.2, p.162.
Ink caricature drawing, 176 x 108mm, in letter dated 25 Sept. 1901, head and hands only, beneath reams of paper probably representing the manuscript of Furniss 1901; Mark Samuels Lasner Coll., on loan to U. of Delaware L. Exh. U. of Delaware, 2002; and Grolier Club, New York, 2008; repr. Stetz 2007, p.51.
Caricature drawing, ‘My Nightmare’, in bed being attacked by triple-decker magic lantern; untraced. Repr. Furniss 1904, p.151.
Pen and ink sketch on sheet containing watercolour drawing by L.J. Binns (see below ‘Portraits by other artists, 1905’), inscr. ‘I cannot sketch or write on this paper – but this is more like – Yours very sincerely Harry Furniss 1905’, whole-length, standing, profile to left, drawing on easel; New York PL, L.J.Binns caricature ID 1628847.
Ink sketch, ‘Finis’, whole-length, buried in armchair, part profile visible, smoking large cigar, title on discarded newspaper; untraced. Repr. Furniss [publ.c.1913–16] postscript; and Opyrchal 1983, back cover.
Ink sketch, ‘A Letter of Introduction’, whole-length, profile to left, cigar in mouth, seated at table writing; untraced. Repr. from a letter in Furniss [c.1923], preface.
Sketch, ‘The author on Rhoda’, whole-length, on horseback; untraced. Repr. Furniss 1925, p.234.
Drawing, half-length, with Chief Inspector W.C. Horsley; untraced. Repr. Furniss 1925 p.214.
Drawing, whole-length; untraced. Repr. Furniss 1925, p.234.
Pen and ink 190 x 148mm ,inscr. by artist 'This is what I tried to draw last night, very Sincerely Yours, Harry Furniss' whole-length seen from behind furiously working at his easel on drawing of a woman's head, profile left; coll. Thomas Scot Buckle.
By other artistsback to top
Ink drawing by George Du Maurier, ‘Souvenir de Fontainebleau’, half-length, seated at table raising glass; untraced. Repr. Punch, 2 Oct. 1886, p.162; Furniss 1901, vol.1, p.225; Ormond 1969, p.364.
Ink sketch by William H. Chandlee in letter to Furniss dated 29 Jan. 1887, whole-length small figure standing on stage alongside projected image of W.E. Gladstone, drawn during lantern-lecture in Washington, DC, also showing Chandlee sitting in lecture theatre applauding; with Julian Browning Ltd 2011.
Pencil drawing by Sydney Prior Hall; see NPG 2386.
Oil on canvas by W.H. Bartlett, A Saturday Night at the Savage Club (also known as A Savage Club Saturday Night), half-length, looking left, cigar in mouth; 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 (Furniss no.8 in key); and Bradshaw 1958, facing p.32 (as ‘A Savage Saturday Night at Lancaster House’).
See also Fildes, Gilbert, Gregory, Irving, Spielmann, Woodall.
Drawing by Sidney Prior Hall, ‘Mr Harry Furniss lecturing on “The Humours of Parliament”’, whole-length, standing, in front of screen on which is projected a large lantern-slide image of a Gladstone caricature; untraced. Probably exh. RSPP 1891 (81). Repr. Graphic, 9 May 1891, p.520.
Pen and ink drawing by (Edward) Linley Sambourne for The Mahogany Tree, signed and dated June 1891, whole-length, from rear, profile to left, raising glass, with 13 other men around dinner table; untraced, formerly coll. Sir William Agnew. Engr. by Swain repr. Punch, 18 July 1891 (jubilee issue), frontispiece; Spielmann 1895a, frontispiece and p.536; and Ormond 2010, pp.230–31, fig.95. Exh. Punch 150 Anniversary Exhibition, RFH, London, 1991 (handlist no.30, not ill.).
See also Agnew, Du Maurier, Keene, Sambourne, Tenniel.
Pen and ink drawing by Edmund Joseph Sullivan; see NPG 2900.
Drawing by Alfred Bryan, half-length, wearing top hat, gesturing with right arm; untraced. Repr. ‘Aliquis’ 1892, p.195.
Caricature drawing by ‘T.W.’ for menu of Lotos Club New York, 23 Apr. 1892, whole-length, profile to left as Mr Punch; untraced. Repr. Furniss 1901, vol.2, p.237.
Composite sketch by W.D. Almond illustrating ‘The Humours of Parliament’ slide lecture, several whole-length poses mimicking caricatures and as figure on platform with long pointer; untraced. Repr. Furniss 1904, p.112.
Sketch by (Edward) Linley Sambourne, whole-length on horseback as member of the Two Pins Club; untraced. Repr. Furniss 1901, vol.1, p.279.
Silhouette sketch by Francis Carruthers Gould, ‘Furious Riding’, for Westminster Gazette, whole-length stick figure mounted on galloping horse; untraced. Repr. Furniss 1901, vol.1, p.282.
Ink and wash caricature drawing by Max Beerbohm, whole-length; Princeton UL. Exh. Leicester G., 1911; repr. Hall 1997, no.104; ref. Hart-Davis 1972, no.563.
Another drawing by same artist; untraced. Publ. Pick-Me-Up, 13 Oct. 1894; ref. Hart-Davis 1972, no.562.
Drawing by Clement Flower, ‘Peace with Humour’, whole-length, standing before screen with projected image, right hand raised; untraced. Repr. Graphic, 10 Nov. 1900, p.718; and Furniss 1901, vol.2, p.182.
Watercolour by L.J. Binns, signed by artist and inscr. by sitter (see ‘Self-portraits, 1905’ above), whole-length, standing, half-profile to left, holding brush and palette, head probably taken from a photograph. Illustrated on the NYPL website, New York PL, L.J.Binns caricature ID 1628847.
Caricature by Dorothy Furniss aged 15, wearing Welsh woman’s costume; untraced. Repr. Furniss 1901, vol.1, p.134.
Photographsback to top
Photograph by unidentified photographer, ‘Harry Furniss, aged 10’, whole-length, standing, wearing knickerbockers, holding cap in right hand. Engr. by R. Taylor repr. Furniss 1901, vol.1, p.6.
Photograph by C. Watkins, ‘Aged 26 when I first worked for Punch’, half-length, full-face, right hand to head, elbow on high upholstered stool, centre parting, large moustache. Engr. by R. Taylor repr. Furniss 1901, vol.1, p.216.
Photograph by W. & D. Downey, half-length, arms crossed resting on chairback, centre parting and moustache. Engr. repr. Furniss 1901, vol.1, p.35.
Photograph by Debenham & Gould, Bournemouth, head-and-shoulders, half-profile to left, receding hair, wide moustache and beard, wearing spotted tie. Engr. ‘from a Photograph by Debenham and Gould’ repr. MA 1893, p.21; and Furniss 1901, vol.2, p.190.
Photograph by unidentified photographer, ‘My Portrait’, whole-length, back view, head fastened to clamp. Repr. Furniss 1887a; and Furniss 1901, vol.2, p.21.
Two photographs by (Edward) Linley Sambourne, ‘Mr Punch’s Day in the Country’, Punch staff outing to Dorking, 11 July 1888, whole-length, standing to far right in each image:
(a) inscr. by Sambourne ‘No.1 July Weather 18 11/7 88’, with knees bent and arms crossed signifying cold, wearing bowler hat.
(b) inscr. by Sambourne ‘No.2 Making believe it’s a Summer Day’, hat off, left hand in trouser pocket.
Both repr. Strand, vol.19, 1900, p.68.
See also Agnew, Sambourne.
Photograph by unidentified photographer, ‘The Owners and Members of the “Punch” Staff’, on a trip to the Paris Exhibition, May 1889, three-quarter-length, to front, standing second from left. Repr. Millar 1937, facing p.65; Ormond 1969, pl.17.
See also Agnew, Du Maurier.
Albumen carte-de-visite, 85 x 50mm, by unidentified photographer, inscr. ‘To my friend O Dalziel’, head-and-shoulders, to front, with pointed beard; NPG x132799.
Bromide matt cabinet card, 145 x 97mm, by Elliott & Fry, signed by sitter, half-length, standing, wearing dark suit and small bow-tie; NPG x15476.
Head-and-shoulders vignette from same image, albumen cabinet card, 148 x 105mm; NPG x15477. Repr. Review of Reviews 1891, p.210.
Four images by Walery [Stanislas Julian, Count Ostrorog], reg. for copyright (following liquidation of Walery Ltd.) 1899 July 2: National Archives (COPY 1/441), four poses:
(a) carbon print, 249 x 182mm, with sitter’s signature, three-quarter-length, standing, half-profile to left, right hand in pocket, left hand holding watch; NPG x9126; other prints NPG Ax9125 and Ax38325. Publ. in Walery 1888–92, vol.2, issue no.22 (Apr. 1890) with biographical sketch by Raymond Blathwayt; and Begbie 1901, no.18.
(b) head-and-shoulders, looking left.
(c) head-and-shoulders, hand to chin.
(d) quarter-length, with left hand.
Photograph by (Edward) Linley Sambourne, as study for The Mahogany Tree (see ‘Portraits by other artists, 1891’ above), seated, profile to left, right arm raising glass; Linley Sambourne House, Royal Borough of Kensington & Chelsea.
Photograph by unidentified photographer, delivering ‘Ballyhooley Pathetic’ from ‘Humours of Parliament’ lecture, whole-length, standing in histrionic pose, profile to left, right hand to brow. Repr. Furniss 1901, vol.2, p.181.
Gelatin print carte-de-visite, 91 x 58mm, by Alexander Bassano, head-and-shoulders, wearing shirtfront and triangular tie; NPG Ax38744. See also NPG 2900.
Photograph by George Bradshaw, head-and-shoulders, chin in both hands; Punch Archive. Repr. Opyrchal 1983, front cover.
Photograph by J.H. Blomfield, Hastings, half-length, right hand to cheek, left hand holding trilby hat, wearing tweed suit. Repr. The Year’s Art 1895, facing p.36.
Photograph by unidentified photographer, whole-length, mounted, with seven other members of the Two Pins Club. Repr. Furniss 1925, frontispiece.
Photograph by unidentified photographer, head-and-shoulders, nearly full-face, completely bald, wearing formal dress. Engr. by ‘C.H.S’ with sitter’s facsimile signature and ‘1897’ repr. Furniss 1897, frontispiece.
Photograph by unidentified photographer, half-length, with left hand, profile to left, reading. Repr. Furniss 1901, vol.1, p.88.
Photograph by unidentified photographer, ‘Writing my Confessions. A Visitor’s Snapshot’, whole-length, seated at desk. Repr. Furniss 1901, vol.2, p.1.
In 35mm movie film by unidentified cameraman, ‘Peace and War: Pencillings by Harry Furniss’, mid-shot and close-ups at work on large-scale caricatures (also 3 stills); BFI National Film and Television Archive, London.
The BFI register has details of 18 films directed by Furniss, most made in the USA.
Photograph by unidentified photographer, half-length, seated, half-profile to right, lighted cigarette in hand; coll. Harry Furniss (grandson), Canada.
In 35mm movie film (10'14") by unidentified cameraman, ‘Winchelsea and Its Surroundings: A Day with Harry Furniss and his Sketchbook’, long shots at local landmarks, plus close-ups of hand with brush at work, including on a portrait of Ellen Terry; BFI National Film and Television Archive, London, prod. Furniss Films; repr. U. of Brighton, Screen Archive South East ID 734.
Dr Jan Marsh