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Later Victorian Portraits Catalogue

Sir Hubert von Herkomer (1849-1914), Painter and illustrator

Doubtful self-portrait
By other artists
Undated portrait
Posthumous portrait

Self-portraitsback to top

Oil on canvas, 2133 x 1574mm, The Last Muster: Sunday in the Royal Hospital Chelsea, as background figure, head-and-shoulders to front, right hand to forehead; Lady Lever AG, Port Sunlight, LL3632. Exh. RA 1875 (898); repr. Edwards 1999, fig.XVII; and Landsberg 1999, p.209.

Watercolour, 190 x 228mm, Immer Wird’s Schlimmer, whole-length, seated in Bavarian costume, playing zither, in group; priv. coll. Repr. Edwards 1999, fig.68.

Watercolour, 2133 x 1676mm, Light Life and Melody, whole-length, seated in Bavarian costume, playing zither, in group; priv. coll., Wales. Repr. Edwards 1999, pl.11.

Pen and ink drawing, inscr. ‘Dyreham / Bushey / Herts’, whole-length wearing Bavarian costume and hat, standing by low fence alongside stone, in letter to G.F.Watts dated 13 January 1878, NPG Archive, GFW/1/11/45.

Etching, 353 x 201mm (plate), 592 x 409mm (sheet), signed and dated ‘HH / ’79’, head-and-shoulders, slightly to left, with unkempt hair and forked beard, wearing loose-knotted tie, with vignette portrait of his children Siegfried and Elsa lower left. Publ. 1 Apr. 1880 by British & Foreign Artists’ Assoc.; repr. Herkomer 1910–11, vol.1, facing p.76; Baldry 1901, frontispiece; Watford 1982, pl.10; and various other publications where process sometimes given as etching and drypoint or etching with mezzotint. Numerous prints are extant, one being the artist’s diploma work for Royal Society of Painter Printmakers; other in Russell-Cotes AGM, Bournemouth, 602; Athenaeum Club, London, 397; and Watford M.; another probably in Hope Coll., Ashmolean M., Oxford, HP43581 (where given as lithograph dated 1897); one formerly with Edmund Gosse, now NPG D9797; and NPG D35708 and NPG D35709. The etching was done on portable equipment including a small press (a ‘wretched little contrivance’) taken by the artist on a camping trip to Wales in summer 1879, where ‘in order to get a decent impression we tightened the rollers to their last gasp, and then we dragged the whole machine around the tent in a vain attempt to turn the toy handles. Still, it was under these circumstances that I did – what I consider my best etching – a portrait of (the handy model) myself, with my two children in the lower corner of the plate’; Herkomer 1910–11, vol.1, p.125.

Silver bracelet, 68 x 56 x 22mm, date from hallmark, with chased image, head only, profile to right, no beard; Birmingham MAG, 1998M44. Ref. NACF Quarterly, spring 1999, p.23.

Watercolour tondo, 230mm diam., half-length, standing, full-face, bearded, right hand in pocket, left hand holding small panel; Bushey M., Herts, BUSMT 1997.121. Repr. Sotheby’s, Sussex, 25 June 1986 (256); and Edwards 1999, fig.2.

Lithograph, dated in plate Feb. 1890, head-and-shoulders, full-face, clean-shaven, with small image of bearded face lower right; repr. Herkomer 1890, facing p.68; and Pietsch 1901, p.58 (small bearded image only).

Ink sketch, half-length in theatrical costume, full-face, clean-shaven, unkempt hair; untraced. Repr. Courtney 1892, p.2 (captioned ‘as the Hunchback in The Idyll’).

Monotype probably produced with assistance from Trevor Haddon, nearly whole-length, full-face, seated holding palette in left hand; repr. ‘from a monotype by the sitter’, Courtney 1892, frontispiece; and engr. by ‘M’ repr. ILN, 10 Dec. 1892, p.746.

Oil on canvas, 800 x 660mm, signed and dated, half-length, full-face, dark hair, wearing suit; Uffizi, Florence, 1890 n.3130. Repr. Florence 1971, no.80.

Enamel on copper within silver mount, 292 x 198mm, signed and dated, half-length in university robes; untraced. Exh. RA 1899 (2029); and Berlin 1900; ref. Watford 1982, p.11; and Landsberg 1999, p.84; repr. Baldry 1901, p.62; Pietsch 1901, frontispiece; and Bonhams, 29 Mar. 1990 (194).

Oil on canvas, 1165 x 1634mm, Zitherabend im Atelier (A Zither Evening with my Students in my Studio, whole-length, back view, playing zither with audience in group; Kunsthalle, Hamburg, 1886. Repr. Baldry 1901, facing p.46 (credited to Berlin Photographic Co.); Walkley 1994, fig.138; and Edwards 1999, fig.107.

Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, full length, seated to front, in front row forth 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, Frampton, Goodall, Orchardson, Poynter, Richmond, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells, Whistler.

Caricature drawing for Christmas card, signed and dated, whole-length, seated bending forwards, wearing cap, as chauffeur in Father Time’s motorcar; untraced. Repr. Landsberg 1999, p.166.

Oil on canvas, 2500 x 1700mm, Society’s Call, nearly whole-length, standing, half-profile to left, wearing formal dress and several decorations, with wife Margaret in evening attire; Herkomerstiftung, Landsberg-am-Lech, 182. Exh. Hubert von Herkomer, Neues Stadtmuseum, Landsberg-am-Lech and Bushey MAG, Herts., 1988; repr. Landsberg 1988, cover; Pritchard 1988, p.212; and Bucknole 2006, p.23.

Oil on canvas, 1680 x 1250mm, signed and dated and inscr. to ‘my dear wife Margaret’, three-quarter-length, standing, wearing red Oxford U. doctoral gown; Herkomerstiftung, Landsberg-am-Lech, 187. Exh. Hubert von Herkomer, Neues Stadtmuseum, Landsberg-am-Lech and Watford M., 1988, Landsberg-am-Lech (13); repr. Landsberg 1988, p.15; Landsberg 1999, p.28; Bucknole 2006, p.73.

Oil on canvas, 598 x 495mm, half-length, full-face, wearing jacket with fur trim; Bushey M., BUSMT 1991.81.9. Exh. A Passion for Work, Watford M., 1982 (A3). Said to be sketch for the following work.

Oil on canvas, 2972 x 6223mm, The Council of the Royal Academy, whole-length, seated, half-profile to right, hands on knees, in multi-figure group; Tate, NO2481. 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, Gregory, Poynter, Solomon.

Lithograph, half-length, full-face, with centre parting, left hand to face, right hand in left elbow, wearing dark suit and loose-knotted tie; ref. Mills 1923, p.300; repr. Mills 1923, facing p.314 where identified as a lithograph, though no print is known; it may have been the prototype for the following item.

Lithograph, 370 x 280mm, signed and dated, vignette from preceding item, head-and-shoulders, full-face, with left hand to face; colls Neues Stadtmuseum, Landsberg-am-Lech; and elsewhere. Repr. Landsberg 1999, p.114.
A smaller pencil version, signed and dated 1910, is also recorded (Tait & Walker 2000, see under item 397).

Doubtful self-portraitback to top

Brush drawing in grey and brown inks over pencil, 374 x 300mm, inscr. ‘H.Herkomer / May 26th 1856 / Age 16’, head-and-shoulders, profile to left, dark hair with quiff and left-side parting; Ashmolean M., Oxford, WA1967.16 (where reg. as having been purchased in a thrift shop). Said to have been exh. A Passion for Work, Watford M., 1982 but not listed in catalogue. Although listed as a self-portrait, the appearance does not accord with other likenesses and the inscription may indicate the artist’s rather than the sitter’s identity.

By other artistsback to top

Drawing by Lorenz Herkomer, ‘age one’, head, profile to left; untraced. Repr. Herkomer 1910–11, vol.1, facing p.14.

publ. 1873
Design by Hopper for An Artist’s Soirée at the Hogarth Club, whole-length, seated, looking at song-sheet, holding pipe; untraced. Wood-engr. by ‘E.J.B.’ repr. Graphic, 24 May 1873, p.489.
See also F.W. Burton, Gregory, Marks, Walker.

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head attached to a large clothes peg, with other RAs; untraced. Repr. Punch, 22 May 1875, p.222; Herkomer 1910–11, vol.2, facing p.82; McMaster 2008, p.66, fig.7; and McMaster 2009, p.27, fig.14.
See also Alma-Tadema, Butler, Calderon, Du Maurier, Fildes, Foster, Frith, Goodall, Hodgson, Leighton, Marks, Millais.
Design by (Edward) Linley Sambourne for Academicians and Outsiders. – A Battle-piece., head-and-shoulders, with oversized head in foreground of composition; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Ansdell, Boughton, Butler, Calderon, Cope, Du Maurier, Frith, Horsley, Leighton, Marks, Millais,Orchardson, Sant.

Drypoint by Georges Labadie Pilotell, Paris, signed on plate, head-and-shoulders vignette, looking to right; BM, London, 1877,0609.14, inscr. in ink ‘H.Herkomer artist. Dudley Gallery’s proof no.555 (1876)’.

Two terracotta busts by (Edward) Edward Onslow Ford:
(a) see NPG 6196.
(b) 610mm high incl. ebonized square base, signed and dated on base, head-and-shoulders as in NPG 6196; Bushey M., Herts., BUSMT:2004.26, provenance from sitter, via Lucy Kemp-Welch and descent. Repr. Bonhams, 25 Nov. 2003 (60). This work is seen in illustrations and photographs of the sitter’s studio in the early 1880s, e.g., a woodcut by W. Hatherell, ‘Mr Herkomer’s House: the Studio’, MA, 1883, p.97; and photo 2017 of similar date in Bushey M., Herts.

publ. 1878
Design by (Edward) Linley Sambourne for An Anxious Moment., as dog with medal inscribed ‘Exposition Universelle [Paris] Grande Medaille d’Or’ among heads of members of the RA attached to the bodies of a gaggle of farmyard geese, based on Briton Riviere painting of the same name (1878); untraced. Engr. by Swain repr. Punch, 27 July 1878, p.34; Herkomer 1910–11, vol.1, facing p.112; McMaster 2008, p.68, fig.12; McMaster 2009, p.34, fig.19; and Ormond 2010, p.78, fig.27.
See also Calderon, Frith, Horsley, Leighton, MillaisOrchardson, Poynter, Sant

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

publ. 1880
Design by Herbert Johnson for A Savage Club Dinner – A Portrait Group, whole-length, to front, seated at small table playing zither; 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). According to Johnson’s explanatory text in the Graphic (p.255), ‘the moment chosen for the drawing is when Mr Herkomer, A.R.A is singing “Annchen von Tharam” and accompanying himself on the zither’.
See also Armitage, Frith, Gregory, Horsley, P.R. Morris, Orchardson, W.L. Thomas.

Design by Theodore Blake Wirgman for Artists of the London ‘Graphic.’, signed and dated 1881, whole-length, seated, half-profile to right, with beard, 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.39 (captioned ‘The “Graphic” Artists’).
See also Fildes, Gregory, Holl.

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-and-shoulders, with large beard, at bottom left-hand corner of composition; 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; and Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep,Sant, Thornycroft, Watts, Woolner, Yeames.

Pen and ink drawing, 317 x 419mm, by (Edward) Linley Sambourne for Saturday Review of the Royal Academy.- The March Past., signed and dated Apr. 1882, head only, on the right-hand margin of ‘The Young Guard’ amongst the Academy ‘troops’; coll. Juliet McMaster. Engr. by Swain repr. Punch, 6 May 1882, p.206; McMaster 2008, p.71, fig.20; and McMaster 2009, p.46, fig.27.
See also Alma-Tadema, Ansdell, Boehm, Boughton, Calderon, Cope, Faed, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

Watercolour by Thomas Walter Wilson, The Members of the Institute [of Painters in Water-colour] Touching Day 1882, three-quarter-length, profile to right, with dark hair and beard, standing, in group of 88 sitters; untraced. Probably exh. IPWC 1883 (342a); repr. Graphic, 28 Apr. 1883, p.422 (with key, Herkomer no.64); and Christie’s, 9 May 1984, p.1.
See also Boughton, Clausen, Crane, Gregory, Hayes, Hine, Lucas, Parsons, Tenniel, W.L. Thomas, J.W. Waterhouse.

before 1883
Drawing, circular format, by Herman Gustave Herkomer, half-length, seated to right, facing front, with elbow resting on chair arm and head supported by right hand; untraced. Engr. repr. Harper’s Monthly Magazine (European ed.), vol.6, Nov. 1883, p.848. Herman Gustave Herkomer was Hubert’s cousin. 1883 Watercolour caricature, 445 x 562mm, by George Pipeshanks [John Wallace], ‘Cope’s Christmas Card’, at a country fair among more than 100 figures; Mark Samuels Lasner, Coll., on loan to U. of Delaware L. Exh. Yale Centre for British Art, New Haven (and other venues), 1984–5 (170); and Newark, DE, 2002; ref. Denker 1995, pp.79–80 (repr. p.80); also repr. Stetz 2007, front cover. See also {Burnaby}, Leighton, Millais, Ruskin, Whistler.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head and shoulders, with hands clasped, facing out of the group at the base of the maypole; untraced. Engr. by Swain repr. Punch, 12 May 1883, p.218; McMaster 2008, p.72, fig.26; and McMaster 2009, p.56, fig.33.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

Drawing by (Edward) Linley Sambourne for Punch’s Fancy Portraits no.166, signed, whole-length, standing, with beard and pince-nez, depicted as crossing-sweeper with broom labelled ‘made by myself’, seated men in background labelled ‘The Cloisters’ (location of Herkomer’s art school in Bushey, Herts.); untraced. Repr. Punch, 15 Dec. 1883, p.286, over title ‘Herbert [sic] Herkömer, R.A. / The Artistic Mr Barlow teaching the Young Idea how to Draw’; and Poole 1983, front cover.

Watercolour and pencil drawing by Franz Goedecker; see NPG 2720.

Oil on canvas, 1427 x 1127mm, by Herman Gustave Herkomer, three-quarter-length, standing, full-face, big black beard, wearing black academic gown, holding mortar-board, arms crossed, large ring on wedding finger; Fine Arts M. of San Francisco, 1994.66. Exh. RA 1887 (413); and possibly RSPP 1891 (194); repr. as photogravure Les Lettres et les Arts, vol.7, 1888 (print Bushey M., Herts., BUSMT 1992.13.1); repr. AJ, 1887, p.246; and Edwards 1999, fig.144.

Illustrations by ?L. Bogle, as ‘John the Smith’ in drama at Herkomer Theatre:
(a) whole-length, bearded, seated in medieval costume, with actor Dorothy Dene.
(b) whole-length, standing, working at anvil; engr. repr. ILN, 8 June 1889, p.709; also repr. Edwards 1999, fig.129.

Caricatures by ?Harriwell, ‘Days with Celebrities: Herkomer’, various poses as artist, Slade professor, musician, actor, woodcarver; New York PL, Gen. Research Divn. Repr. Moonshine, 1 June 1889, p.253; and Edwards 1999, fig.79.

Caricature, 80 x 60mm, by unidentified artist, ‘Professor Hair-Comber of Bushey’, three-quarter-length, standing, wearing Oxford U. gown and mortar-board, wielding combs as barber and hairdresser; untraced. Repr. Punch, 8 June 1889, p.269.

publ. 1890
Wood-engr. by E.J(?).W, Artistic Stars, inscr. ‘H.H. hys Beard’, oversized head on small body, holding the beard he has just shaved off, positioned top left-hand corner; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Boughton, Calderon, Fildes, Frith, Hodgson, Leighton, Millais, Poynter.

Pen and ink drawing by G. Grenville Manton: NPG 2820.

Pencil drawing heightened with white, 288 x 221mm, by (Wilhelm Augustus) Rudolf Lehmann, signed and dated by sitter 5 Nov. 1891, head-and-shoulders, looking to right, clean-shaven; BM, London, 1906,0419.20. Engr. by Swan Electric Engraving Co. repr. Marillier 1896, no.31.

Charcoal, black chalk and pencil drawing, 509 x 385mm, by Ernest Borough Johnson, signed lower right ‘Borough Johnson. RA.’ and inscr. (in 1943) ‘A mon Professeur Hubert von Herkomer R.A. 1892. / FIRST Drawing for Oil Portrait in Nottingham Art Gallery. 1943.’ and ‘1892’, three-quarter-length, seated, full-face, right elbow on arm of chair, hand to head, wearing scholar’s gown and medallion on chain; BM, London, 1948,0729.3. Exh. ?London Portrait Society 1939 (129); and Portrait Drawings, BM, London, 1974 (218); The portrait of Herkomer by Johnson at the London Portrait Society 1939 may have been this work, given that the oil listed under 1942 below was not then in existence, according to Johnson, and NPG 3175 would have been in a poor state.

Oil on paper by Ernest Borough Johnson; see NPG 3175.

Etching by unknown artist, whole-length, in character and costume of ‘Gaston Boissier’; untraced. Exh. RE 1893, ref. Graphic, 4 Mar. 1893, p.225 (number unknown).

Design by Edward Tennyson Reed, for 'Prehistoric Peeps: Opening of the Primeval Royal Academy', signed, head only, emerging from a pile of leaves 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, Frampton, Gilbert, Gregory, Horsley, Leighton, Lucas, Marks, Millais, Moore, Orchardson, Poynter, Stone, Thornycroft.

Bronze bust by Edward Onslow Ford; see NPG 2461.
Another copy; Bushey Library, Herts., 1965.43.

Drawing by H.M. Paget, Prize Day at the Royal Academy Schools: Sir Edward Poynter PRA presenting the Awards, three-quarter-length, seated in audience; untraced. Repr. Graphic, 17 Dec. 1898, p.767.
See also Alma-Tadema, Poynter, W.H. Thornycroft.

Plaster life-cast, 440mm high, by G. Geiler, Formator, Akademi Munchen (blind stamp), whole head; Bushey M., Herts., 2006.124.

Oil on canvas, 1270 x 1015mm, by George Harcourt, three-quarter-length, seated, full-face, left hand to head, by table with brushes and colours, wearing apron under jacket; Southampton AG, 233. Exh. RA 1915 (481, as ‘The late Sir Hubert von Herkomer’); repr. Mills 1923, frontispiece. Conjecturally dated by reference to Herkomer’s portrait of Harcourt.

Coloured chalk drawing, 361 x 301mm, by John Seymour Lucas, signed and dated, head-and-shoulders; Southampton AG, 382. Exh. RA 1908 (1460).

Oil on canvas, 1473 x 2388mm, by Fred Roe, A City Banquet: Mr Justice Swinfen Eady replies for the Visitors, facing front, arms folded and resting on table, seated fourth from right in group of ten diners; untraced; presented to Clothworkers’ Hall, London, 1921, presumed destroyed during WW2. Exh. RA 1911 (222); halftone by André & Sleigh repr. Cassell’s RA Pictures 1911, p.125.
See also Cohen, Hacker.

Hand-coloured steel engraving, 300 x 224mm, by Clement Flower, signed, whole-length, seated, half-profile to right examining film strip, with son Siegfried and another man; Neues Stadtmuseum, Landsberg-am-Lech. Repr. Sphere, Aug. 1913; Pritchard 1987, fig.6; and Landsberg 1988, p.54.

Drawing by Clement Flower, whole-length, standing to front, in medieval costume, with woman similarly dressed; untraced. Repr. Pritchard 1987, fig.12.

Drawing probably by Clement Flower, whole-length, seated by workbench, while filming The Old Wood-Carver (released autumn 1913); untraced. Repr. Pritchard 1987, fig.10.

Drawing by Clement Flower, signed, half-length as ‘The Old Wood-Carver’, in costume as elderly witch, for film The White Witch (released Dec. 1913); untraced. Repr. Pritchard 1987, fig.7.

Undated portraitback to top

Woodcut by Hill, vignette, head-and-shoulders to right; repr. The Queen, unknown date; ref. O’Donoghue 1908–22, vol.2, p.514, no.3. Possibly based on a photograph.

Posthumous portraitback to top

Oil on canvas, 508 x 610mm, by Ernest Borough Johnson, inscr. ‘the late Sir Hubert von Herkomer R.A., painted as I knew him 1892’, three-quarter-length, seated, right hand to cheek, wearing academic gown and medal, sketch of Lululaund house upper right; Castle MAG, Nottingham, 1942-33. Exh. RSPP 1942 (78); repr. Nottingham Guardian, 16 Nov. 1942. This is the portrait for which NPG 3175 and BM, London, 1948, 0729.3 are described as studies (see above, ‘1892’). In 1943 the artist wrote to insist that ‘the portrait was not quite posthumous as it was painted in 1942 from close observations and drawings made from life in 1892, and not from any photographs (which I abominate)’: letter from E.B. Johnson to Castle MAG, Nottingham, 27 Mar. 1943, Nottingham Castle Archive.

Photographsback to top

Daguerreotype by unidentified photographer, half-length, full-face in oval, ‘aged three and a half years’; repr. Pietsch 1901, p.5; and Herkomer 1910–11, vol.1, facing p.18.

Photograph by unidentified photographer, three-quarter-length, standing, right arm resting on table, ‘at 11 years old’; Bushey M., Herts. Repr. Edwards 1999, fig.8.

various dates
Album of family photographs, various images; priv. coll.; Bonhams, 29 Mar. 1990.

Carte-de-visite by Elliott & Fry, head-and-shoulders, looking right, with beard, spreading hair and wide collar; Herkomerstiftung, Landsberg-am-Lech. Repr. Landsberg 1988, on unnumbered prelim. pages (where titled ‘Hubert Herkomer in Alter von 35 Jahren’ and dated 1884); and Bucknole 2006, p.72. Here Herkomer has the same hair and clothing as in the large photograph signed by Beaufort and dated 1878 (see below, ‘1878’).

Albumen cartes-de-visite by Elliott & Fry, two known poses;
(a) head-and-shoulders, to right, with beard, large bow tie and tweed jacket; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3685. Repr. Maas 1984, no.46. Probably the basis for the vignette engr. by Maclure, Macdonald & Co. after Elliott & Fry; The Rob Dickins Coll., Watts G., COMWG2008.3686.
(b) head-and-shoulders, full-face, with forked beard, large bow tie; repr. with sitter’s signature, MA, 1892, p.260.

Photograph by unidentified photographer, whole-length, seated, profile to right, holding newborn daughter Elsa; Bushey M., Herts. Repr. Edwards 1999, fig.16.

Photograph by unidentified photographer, oval 250mm diam., whole-length, half-profile to right, seated on penny-farthing tricycle outside studio with son Siegfried on pillion; Bushey M., Herts. Repr. Edwards 1999, fig.15.

Photograph, 295 x 240, by J.M. Beaufort, inscr. along top of mount ‘Portrait from Life XXVIII’, below image ‘Prof: H Herkomer. RA / 1878’ and signed by Beaufort lower right, quarter-length, slightly profile to right, with beard, spreading hair and wide collar, arms folded and resting upon chairback; V&A, London, 195-1923. Clothing and appearance are very similar to that in the carte-de-visite by Elliott & Fry (see above, ‘c.1874’).

Platinum print, 117 x 142mm, by Frederick Hollyer, half-length, seated, full-face, with beard and centre parting, right arm on chairback, left thumb in watchpocket, wearing check tweed jacket and waistcoat; colls V&A, London, 7733-1938 (detached signature of sitter mounted below, date in ink on album page); and Getty Images, J128350101.

before 1890
Photograph by unidentified photographer, whole-length, seated, full-face, with beard, wearing hat, at drawing board in studio at Dyreham, Bushey; Bushey M., Herts.

Photograph by unidentified photographer, whole-length, standing, hands on hips, third from left in group outside Muttertürm, Landsberg-am-Lech; repr. Landsberg 1988, p.42.

Nineteen photographs presumably by Frederick Downer, various poses in costume for drama Filippo at Herkomer Theatre, Bushey; reg. for copyright (by Herkomer and Frederick Downer) 1890 Apr. 12 and 15: National Archives (COPY 1/400/55–73); see COPY 1/400/57; and Copy 1/400/67.

Photograph by unidentified photographer, head-and-shoulders, full-face, clean-shaven; repr. as thumbnail sketch Graphic, 6 Dec. 1890, p.635; and ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.15. The image does not accord with other listed photographs but must come from one taken to mark Herkomer’s election as RA.

?early 1890s
Photograph by unidentified photographer, three-quarter-length, full-face, standing carrying garlanded son on right shoulder; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.3394; and Bushey M., Herts.

Photograph by unidentified photographer, whole-length, full-face, clean-shaven, seated with back to viewer, turning in chair, before easel with painting Nomads and phonograph; repr. Watford 1982, fig.16; and Bonhams, 29 Mar. 1990, p.58

Photograph by unidentified photographer, whole-length, standing, left arm outstretched, full-face, wearing theatrical costume and wig as ‘Gaston Boissier’ in play at Herkomer Theatre; Bushey M., Herts. Repr. Baldry 1901, facing p.38; and Edwards 1999, fig.130.

Sepia-toned carbon print, 250 x 185mm, by Herbert Rose Barraud, three-quarter-length, seated, full-face looking right, legs to right, hands clasped; publ. MWD, 1893, pl.15; colls Getty Images, J128350102; and NPG Ax27644.

Photograph by unidentified photographer, whole-length, standing, resting on axe with a woodcutter; Bushey M., Herts.

Three images by unidentified photographer, whole-length, wearing plus-fours and gaiters, three known poses:
(a) with new bicycle; Bushey M., Herts.
(b) standing; Bushey M., Herts.
(c) amid pine trees; Bushey M., Herts.

Photography by Harold Baker, Birmingham, two known poses:
a) cabinet card 138 x 97mm, sitter signature attached, vignette, head-and-shoulders, full-face, clean-shaven, wearing coat with velvet collar; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.4316; and NPG x17950. Repr. Warner 1997, p.224; and Maas 1984, p.37 (where described as bromide print, 140 x 96mm).
b) cabinet card 144 x 101mm, dressed as in a), head-and-shoulders vignette, shoulders to right, almost profile right with right hand tucked into waistcoat; coll. Scott Thomas Buckle.

Cabinet print, 290 x 185mm, by E. Beiber, Berlin and Hamburg, signed and inscr. by sitter, three-quarter-length, seated, wearing tail-coat, full-face, clean-shaven, left hand to cheek; Bushey M., Herts. Exh. Watford 1982 (ex-cat.); repr. Pritchard 1988, p.212 (where dated to 1902).

A number of prints by unidentified photographers, Herkomer with members of his family and other individuals, seated in motorcars or attending a motor rally in Germany; Bushey M., Herts.

Photographs by unidentified photographer, taken in Muttertürm Landsberg-am-Lech:
(a) solo, three-quarter-length, profile to right, clean-shaven, wearing eyeglasses, standing in Muttertürm Landsberg beside sculpted trophy for music event; Bushey M., Herts.
(b) and (c) groups incl. Herkomer outside Muttertürm; Bushey M., Herts.

Photograph by unidentified photographer, whole-length, profile to right, right hand to face, seated on chair on table with students from art school working in Landsberg townhall on Kumulativsitzung [Burgermeister of Landsberg, with Town Council]; ref. Landsberg 1999, pp.34 and 53 (ill. p.51).

Photograph by unidentified photographer, whole-length, standing outside Lululaund, Bushey, Herts, cane and motoring cap in hand; Bushey M., Herts.

Photograph by unidentified photographer, signed and dated by sitter, whole-length, wearing motoring attire over wing collar and suit, holding cap with goggles; coll. M.W. Bucknole. Repr. Bucknole 2006, p.78.

before 1907
Photograph by Ernest Herbert Mills, vignette, head-and-shoulders, full-face, wearing wing collar and loose-knotted tie; repr. London 1907–9, p.49.

Photograph by unidentified photographer, whole-length, full-face, standing, wearing Court dress and decorations; Bushey M., Herts.

Photograph by unidentified photographer, half-length, leaning from window of motorcar with driver; repr. Pritchard 1988, p.211.

Fifty-two stills by unidentified cameraman from the film The Old Wood-Carver, directed by Herkomer, taken during filming and featuring him in costume in the title role; repr. Mills 1914; of these, six are also repr. Pritchard 1987, figs 9, 11, 13 (fig.13 a multiple image taken from Mills 1914); one other, showing Herkomer in medieval costume, standing on film set with a second actor, repr. Pritchard 1988, p.213.

Photograph by unidentified photographer, whole-length, seated with family and chauffeur in motorcar; repr. Landsberg 1988, p.60.

Still by unidentified cameraman from the film A Highwayman’s Honour by Herkomer Film Co. (released June–July 1914, by which time Herkomer was dead), whole-length, seated, in 18th-century costume and wig, with two other actors; Bushey M., Herts. Repr. Edwards 1999, fig.132; and Pritchard 1987, fig.4.
Photograph by unidentified photographer, overpainted in watercolour, whole-length, to front, leaning on cane in costume for A Highwayman’s Honour; Watford M. Repr. Pritchard 1987, fig.1.

Two photographs by unidentified photographer, taken during filming of A Highwayman’s Honour:
(a) whole-length, seated, back to camera, with son Siegfried and group of actors.
(b) whole-length, standing in large group with camera.
Presumably Watford M. Repr. Pritchard 1987, figs 15(a) and 16 (b).

Photograph by unidentified photographer, half-length, full-face, bearded, seated in invalid carriage, with two women and groom; Bushey M., Herts.

Dr Jan Marsh