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Later Victorian Portraits Catalogue

Edward John Gregory (1850-1909), Painter in oils and watercolour

Undated self-portraits
By other artists
Undated portraits
Doubtful portraits
Undated photograph

Self-portraitsback to top

Oil on canvas, 483 x 368mm; untraced. Exh. RA 1875 (42); Christie’s, 24 June 1905 (84), ex-coll. Galloway.

Watercolour drawing; see NPG 2621.

Oil on canvas, three-quarter-length to left, seated with palette, hands clasped on left knee; Aberdeen AG, ABDAG002393.

Watercolour drawing, A Look at the Model, three-quarter-length to right, seated with palette, hands clasped on right knee; untraced; Christie’s, 24 June 1905 (16), ex-coll. Galloway; Sotheby’s, 9 Mar. 1960 (38). Exh. Loan Collection of Watercolour Drawings, Corporation of London AG, 1896 (105); and International Fine Arts Exh., Rome, 1911 (446); woodcut by Frederick Babbage repr. MA, 1884, p.353.
The watercolour as reproduced by Babbage is probably the primary image for Gregory.

Watercolour drawing, 254 x 178 mm, Portrait of the Artist, in German Costume of 16th Century; untraced; Christie’s, 24 June 1905 (18), ex-coll. Galloway. Exh. Loan Collection of Watercolour Drawings, Corporation of London AG, 1896 (99).

Oil on canvas, 546 x 394mm, in fancy dress; untraced; Christie’s, 24 June 1905 (71), ex-coll. Galloway.

exh. 1897
Oil on canvas, Boulter’s Lock, Sunday Afternoon, whole-length, reclining in boat on right; Lady Lever AG, Port Sunlight, LL3149. Exh. RA 1897 (328); painted between 1882 and 1897. Two preliminary oil studies do not include the figure of the artist.

Undated self-portraitsback to top

Oil on canvas, 470 x 368mm, in a blue coat; untraced; Christie’s, 25 June 1905 (218), ex-coll. Galloway.

Watercolour drawing, Souvenir of the Institute; untraced. A self-portrait according to Meldrum 1912.[1]

By other artistsback to top

publ. 1873
Design by Hopper for An Artist’s Soirée at the Hogarth Club, half-length, facing forwards with pipe, lower right-hand side; untraced. Wood-engr. by ‘E.J.B.’ repr. Graphic, 24 May 1873, p.489.
See also F.W. Burton, Herkomer, Marks, Walker.

late 1870s/1880
Watercolour drawing by John Parker, half-length, slightly to left; untraced; Sotheby’s, 13 May 1980 (79).[2]

publ. 1880
Design by Herbert Johnson for A Savage Club Dinner – A Portrait Group, full-face, smoking pipe, in right middle distance; 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).
See also Armitage, Frith, Herkomer, Horsley, P.R. Morris, Orchardson, W.L. Thomas.

Glazed tile with caricature painted by Frederick Barnard, whole-length profile to left, walking behind Sir Henry Irving who is dressed as Hamlet; Fitzwilliam Museum, Cambridge (C.5C-1949).

Design by Theodore Blake Wirgman for Artists of the London ‘Graphic.’, signed and dated 1881, three-quarters to right, third from left in back row, one of ten figures; untraced.[3] Woodcut by unidentified engr. 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 Fildes, Herkomer, Holl.

Watercolour by Thomas Walter Wilson, The Members of the Institute [of Painters in Water-colour] Touching Day 1882, profile to right, in group of 88 sitters; untraced. Probably exh. IPWC 1883 (342a); repr. Graphic, 28 Apr. 1883, p.422 (with key, Gregory no.80); Christie’s, 9 May 1984, p.1.
See also Boughton, Clausen, Crane, Hayes, Herkomer, Hine, Lucas, Parsons, Tenniel, W.L. Thomas, J.W. Waterhouse.

publ. 1887
Drawing by Thomas Walter Wilson for ‘The Knight of the Hill’s’ Studio Smoke, seated at left in group, with pipe; untraced. Repr. as engr. by Werdmuller MA, 1887, p.81; Walkley 1994, p.195.

publ. 1888
Drawing by Thomas Walter Wilson for The 10th of December – Prize Day, signed bottom left-hand corner, seated, almost profile to right, right-hand side, third from the end in multi-figure group; untraced. Engr. by R. Taylor repr. MA, 1888, p.61.
See also Alma-Tadema, Hodgson, Horsley, Leighton, Millais, Prinsep, Sant, Watts.

publ. 1888
Drawing by Harry Furniss, Old Gregory, head-and-shoulders, full-face; untraced. Repr. Furniss 1887b, pl.77.

Oil on canvas by W.H. Bartlett, A Saturday Night at the Savage Club (also known as A Savage Club Saturday Night), head-and-shoulders, profile to left; 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 (Gregory no.35 in key); and Bradshaw 1958, facing p.32 (as ‘A Savage Saturday Night at Lancaster House’).
See also Fildes, Furniss, Gilbert, Irving, Spielmann, Woodall.

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

Silhouette, profile to right, part of a wall frieze of silhouettes; St John’s Wood Arts Club, to 1964, now destroyed; set of photographs NPG TB (Artists & Connoisseurs 1850–1900). See also NPG 4404.

exh. 1901
?Terracotta bust by Henry Alfred Pegram; untraced. Exh. RA 1901 (1808); repr. Cassell’s RA Pictures 1901, p.109.

exh. 1902
Bronze bust by Henry Alfred Pegram; untraced. Exh. RA 1902 (1696). Probably a cast of the above.

Oil on canvas, 2972 x 6223mm, by Hubert von Herkomer, The Council of the Royal Academy, seated to right-hand side next to Herkomer in multi-figure group; Tate, N02481. 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, Herkomer, Poynter, Solomon.

Oil sketch by Fred Roe, signed and dated 25 Feb. 1909, head-and-shoulders to right; untraced; Christie’s, 9 May 1984 (66), ex-coll. RIPWC. Repr. Connoisseur, vol.87, 1931, p.142.[4]

Undated portraitsback to top

Conte crayon drawing by Robert Ponsonby Staples; untraced; ref. in NPG NoA (R.P. Staples).

Doubtful portraitsback to top

publ. 1872–88
Designs by (Edward) Linley Sambourne for the Royal Academy cartoons may include Gregory, ARA from 1883, among the crowded caricatures. Repr. Punch, 1872–88.

Photographsback to top

Photograph by unidentified photographer, head-and-shoulders to left, age 14 years. Wood-engr. by Paterson repr. Strand, vol.16, 1898, p.60.

Cabinet portrait by Louis Bertin, head-and-shoulders to right, clean-shaven, smoking cigar; The Rob Dickins Coll., Watts G., Compton, COMWG2008.316.

Photographs by Louis Bertin, slightly later sitting than above, two known poses:
(a) carte-de-visite, half-length, seated, head to right, wearing moustache but no beard, broad necktie; The Rob Dickins Coll., Watts G., Compton, COMWG2008.106.
(b) cabinet portrait, vignette of head-and-shoulders to right, broad necktie; The Rob Dickins Coll., Watts G., Compton, COMWG2008.317.[5]

Photograph by Rowland Taylor, half-length to right, wearing fancy costume. Wood-engr. by Paterson repr. Strand, vol.16, 1898, p.60.

reg. 1883
Albumen print by Frank Dudman, two versions:
(a) whole-length to right, seated at easel, palette in left hand; reg. for copyright (by J.P. Mayall) 1883 Sept. 24: National Archives (COPY 1/365/299).
(b) whole-length, profile to right, seated at easel, palette in left hand, more of canvas visible; reg. for copyright (by J.P. Mayall) 1883 Sept. 24: National Archives (COPY 1/365/300).

publ. 1883
Photograph by unidentified photographer. Wood-engr. by ‘?ST’ (vignette of head-and-shoulders to left) repr. ILN, 12 May 1883, Fine Art Supplement, p.469.
A different wood-engr. from same image repr. Graphic, 6 Dec. 1890, p.634.

Photograph by unidentified photographer, three-quarter-length, seated to right with palette, age 33. Wood-engr. by Paterson repr. Strand, vol.16, 1898, p.60.

publ. 1889
Photograph by unidentified photographer, half-length to left. Repr. The Year’s Art 1889.

publ. 1892
Platinum print by Ralph Winwood Robinson, nearly whole-length, seated to left; prints colls NPG x7368; NMM, Bradford, 2003-5001_3_21635_48. Repr. Robinson [1892].

Photograph by unidentified photographer, head, three-quarters to left. Thumbnail sketch repr. Pall Mall Gazette ‘Extra’, no.62, 2 May 1892 (‘Portraits of the RAs and ARAs’), p.16; cutting coll. RA Archive.

mid- to late 1890s
Albumen cabinet portrait by Elliott & Fry, half-length, profile to left; NPG x16899. Wood engr. by Paterson repr. Strand, vol.16, 1898, p.60 (with caption ‘Present Day’).

publ. 1898
Photograph by Lascelles, head-and-shoulders to right in oval. Repr. ILN, 29 Jan. 1898, p.137.

Photograph by H.S. Mendelssohn, head-and-shoulders, profile to left. Repr. MA, 1898, p.281.

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, Frampton, Hacker, Lucas, Parsons, Sant, Solomon, Spielmann, W.H. Thornycroft, J.W. Waterhouse, A. Webb.

Bromide print by London News Agency, three-quarter-length to left, standing at easel; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4332. Repr. Maas 1984, p.33; Bills & Webb 2007, no.121.

Undated photographback to top

Photograph by unidentified photographer, inscr. in pencil on reverse ‘E.J.Gregory R.A / extreme right’, whole-length, standing, three-quarters to left, wearing hat, hand on hip, at right in group of nine, including three women, posed in garden; The Rob Dickins Coll., Watts G., Compton, COMWG2008.960.

1) Not included in the sale of Diploma works of the RIPWC, Christie’s, 9 May 1984.
2) In 1976 it was offered to the NPG as a self-portrait of Gregory.
3) Gregory worked for the Graphic only between 1871 and 1875.
4) Painted to mark Gregory’s presidency of the RIPWC.
5) Louis Bertin ran a studio in Brighton c.1875–85: see Photo Historian, Suppl. no.116, Photographic Studios in Victorian Brighton and Hove, Apr. 1997; and photographer registration details at the National Archives.

Carol Blackett-Ord