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Later Victorian Portraits Catalogue

Frederic Leighton, Baron Leighton (1830-1896), Painter; President of the Royal Academy; ex-officio Trustee of the National Portrait Gallery

By other artists
Undated portraits
Posthumous portraits

Self-portraitsback to top

Oil on canvas, 387 x 254mm, head-and-shoulders, head slightly to left, eyes to right, wearing white shirt and dark tie; untraced, 1975. Repr. Ormond & Ormond 1975, pl.5, no.1.

Pencil drawing on paper; see NPG 2141.

Oil on canvas, 571 x 476mm, signed and dated, head-and-shoulders in oval format, facing front, with arms raised, crossed and resting on a platform in foreground, palette resting on left hand; Städelsches Kunstinstitut, Frankfurt, 1257. Exh. Frankfurt 1881 (446); RA 1996 (1); repr. Ormond & Ormond 1975, pl.7, no.16; Jones et al. 1996, p.101.

Pencil drawing, 152 x 103mm, entitled ‘Self-Portrait Caricatures by Leighton and Steinle’, inscr. ‘je ____[?] present E. Steinle / et F. Leighton’, in sketchbook used en route from Frankfurt to Italy in 1852 (RA, London, 06/1776), head-and-shoulders, profile to right, with pronounced nose and weak chin, outline portrait of Edward von Steinle just behind; RA, London, 06/2834. Repr. Ormond & Ormond 1975, pl.9.

Caricature head in fresco, The Arts, Welcomed by the Lord of the Castle, Greet the Spring, painted for the May-Fest at the Castle of Auerbach (now destroyed), profile to right, next to the head of Enrico Gamba, bottom left-hand corner; Städelsches Kunstinstitut, Frankfurt, KK675. See Ormond & Ormond 1975, p.150, no.15a.
Study repr. Ormond & Ormond 1975, pl.14.

Oil on canvas, head-and-shoulders, signed ‘Fred Leighton’ bottom centre and dated, facing front and looking outwards, with delicate white collar and curling locks; untraced; coll. Sir Michael Leighton, Bart, 1975. Exh. Leighton House M., London, 1930 (2); Shrewsbury 1953; RA Winter 1956–7 (413); Nottingham University 1959 (38); Manchester 1960 (17); Arts Council, London, 1964 (86); repr. Hunt 1905, vol.2, p.116; Ormond & Ormond 1975, pl.27, no.19. This work has been titled elsewhere ‘Frederic Leighton, Aged 21, By Himself’, which cannot be accurate as in 1853 Leighton was 23.

Pencil drawing, 235 x 180mm, signed and dated ‘Fred Leighton 1853’, head-and-shoulders lightly sketched, slightly profile to right looking outwards, wearing large bow tie; untraced 2008; coll. Sir Michael Leighton, Bart, 1999. Drawn in the visitor’s book of an inn at Olevano, Italy.

Pen and ink caricature sketch, 139 x 81mm, in a sketchbook, inscr. in brown ink in the artist’s hand, whole-length, hands crossed over waist, in evening dress, dodging away from an exploding object to the left, in a scene including Adelaide and May Sartoris; Leighton House M., London, LHO/D/1139, p.23 verso. Repr. Ormond & Ormond 1975, pl.51.

Sketch on the back of an envelope, 115 x 95mm, basic caricature of head to right, with pronounced hooked nose and bushy beard; Mason Coll., 1996. Repr. Dakers 1996, p.44, fig.3.

Oil on canvas, 765 x 641mm, half-length, seated to front, wearing academic robes reflecting the honorary degrees awarded to him by the universities of Oxford, Cambridge and Edinburgh in 1879, in front of a section of the cast of the Parthenon frieze that he kept in his studio; Uffizi, Florence, 1974. Exh. RA 1881 (119); Firenze e L’Inghilterra, Florence, 1971 (85); RA 1996 (84); repr. Harper’s Monthly Magazine (European ed.), vol.6, Nov. 1883, p.828 (as photograph by Frederick Hollyer); ILN, 4 May 1892, p.535; MA, 1896, p.197 (as engr. by Moritz Klinkicht); Rhys 1898, frontispiece; Fitzgerald 1904, p.230 (as engr.); Ormond 1971, p.171, no.7; ‘Celtic and Classical Dreams’, Apollo, Nov. 1975, p.318, no.5; Ormond & Ormond 1975, pl.147; Newall 1990, p.99; Becker et al. 1996, p.257, fig.147; Jones et al. 1996, p.191; Barringer & Prettejohn 1999, pl.15; Barrow 2001, p.171; Caneva 2002, p.223, no.58.
A professional copyist, probably Paolo Fossi, was employed in Florence to make copies of this oil painting. One version was given by Fossi to the family of Leighton’s cousins in Shropshire, through which it descended; untraced; coll. John Schaeffer until 2004; Christie’s, 5 June 2008 (40).
Another copy by Fossi; Town Hall, Scarborough (where Leighton was born).
A further version by Charles Holroyd; Soc. of Dilettanti, 35, presented June 1922. A further version by an unidentified artist (probably Fossi), 752 x 630mm; Leighton House M., London, LH/P/1072.

Oil on canvas, 345 x 297mm, head-and-shoulders in oval format, facing front, with full beard and red cravat; Aberdeen AG, ABDAG002510. Engr. by Moritz Klinkicht repr. MA, 1889, p.206 and 1896, p.209; and ILN, 14 July 1900, p.65. See Ormond & Ormond 1975, p.166, no.293. Commissioned by Alexander Macdonald of Kepplestone for his series of self-portraits of contemporary artists.

By other artistsback to top

Pencil drawing, 105 x 95mm, by Heinrich Hasselhorst, head-and-shoulders, almost profile to right, wearing wide-brimmed hat; Städelsches Kunstinstitut, Frankfurt, 7358. Repr. Ormond & Ormond 1975, pl.8.

Etching (caricature sketch) by A. Hendscel, ‘Students at the Städelsches Kunstinstitut’, whole-length, bottom right, seated centre, next to Enrico Gamba; three proofs; Städelsches Kunstinstitut, Frankfurt, 44307, SG 1533, SG 1534. Repr. Ormond & Ormond 1975, pl.10; Tronors 1996, p.31, fig.3.

Black chalk, wash and Chinese white drawing, 460 x 641mm, by Edward von Steinle, 6 July 1852, autographed bottom left ‘Fred Leighton Garzon di Bottega di Signor Steinle’, head-and-shoulders, slightly profile to left, looking upwards and wearing a bow tie, next to Enrico Gamba on the right; Sammlung der Zeichnungen Staatliche Museen zu Berlin, SZ B 171 No.27. Repr. Ormond & Ormond 1975, pl.12; Tronors 1996, p.31 (detail).

Pencil drawing, 245 x 200mm, by Heinrich Hasselhorst, 20 Oct. 1852, half-length, looking to right; Städelsches Kunstinstitut, Frankfurt, SG 847.

Pencil drawing, 152 x 103mm, by Edward von Steinle, inscr. ‘Steinle fec.’, in sketchbook used en route from Frankfurt to Italy in 1852 (RA, London, 06/1776), whole-length, seated to left with hands in lap, head bent backwards against the chairback and eyes closed; RA, London, 06/2911.

Black chalk drawing, 365 x 305mm, by Edward von Steinle, head lightly sketched, profile to left looking upwards; BM, London, 1887,1216.10. Possibly a preparatory sketch for the above, given strong similarity of pose and medium.

Oil on canvas, 787 x 990mm, by Rudolf Lehmann, Graziella, whole-length, profile to right, as the poet Lamartine, seated amongst a group of four other figures on a flat roof, with the sea in background; priv. coll.; ref. Christie’s, 25 Oct. 2006 (230). Exh. Exposition Universelle, Paris, 1855 (where awarded a gold medal); RA 1856 (360); repr. as engr. after a drawing by A.W. Bayes, AJ, 1879, p.169.

Design by Henry Stacy Marks for Election of the A.R.A.'s, 1864, whole-length, seated on platform in a god-like manner, next to P.H. Calderon, presiding over candidates; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.1, f.57, no.343. Repr. Marks 1894, vol.1, facing p.152; Jones et al. 1996, fig.1, p.15.
See also Calderon, Hodgson, Marks, Walker, Yeames.

publ. 1865
Design by C.H. Bennett for A Private View of the Royal Academy., signed in monogram by the artist ‘C H B’, whole-length, with minature body and exaggerated head, in lower-left corner, holding up his canvas David; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1 to 27. Repr. Punch, 13 May 1865, p.196; McMaster 2008, p.65, fig.4; and McMaster 2009, p.21, fig.11.
See also Calderon, Faed, Frith, Millais, Whistler.

Design by Frederick Walker, Dear Arthur’s Round Table: An evening at Moray Lodge, Campden Hill, Kensington, the residence of Mr Arthur J. Lewis, profile to right, back view, with arm raised and resting on the shoulder of companion to right, lower left-hand corner (no.6 in key); untraced. Ref. photo Witt L., Courtauld Inst., London; see also E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1 to 27. Repr. Hacking 2000, p.14, fig.3.
See also Calderon, Du Maurier, Millais, Prinsep, Sandys, Walker.

Oil on canvas, 925 x 1550mm, by Henry Nelson O’Neil, Forty-three Members in the Billiard Room of the Garrick Club, head-and-shoulders to left, on the right-hand side, among group of 44 men (no.26 on collection key); Garrick Club, London, G0793, where catalogued as ‘Sir Charles Taylor and Others’. Repr. Adams 1936, no.333; Hudson 1969, p.274; Snow 1975, p.88–9; Hankinson 1982, between pp.182, 183, fig.9a; Ashton 1997, no.793.
See also Frith, Millais, Prinsep.

publ. 1870
Engraving by Henry Woods, The Council of Selection of the Royal Academy, whole-length, seated with legs crossed, to far left of a group of figures deliberating over a canvas, next to Charles Landseer and George Frederic Watts. Repr. Graphic, 7 May 1870, pp.540–41 (double-page spread).

Sketch by Hubert von Herkomer, Smoking Concert by members of the ‘Wandering Minstrels’, inscr. ‘H.H.’, seated, bottom left-hand corner, opposite Charles Keene; untraced. Wood-engr. ref. photo in NPG TB (Artists & Connoisseurs 1850–1900).
See also Calderon, Keene, Marks, Walker.

Oil on canvas, 663 x 534mm, by George Frederic Watts, inscr. and signed on back of frame, half-length, seated, turned to front with head slightly to right, elbow possibly resting on the arm of chair and left hand supporting face; Leighton House M., London (LH2183). Exh. RA 1871 (171); Shrewsbury AG, 1951 (45); Artists at Home, Leighton House M., London, 1999–2000 (21); G.F.Watts: The Hall of Fame, Watts G., Compton, 2012 (14); repr. as engr. with facsimile of sitter’s signature, MA, 1878, p.60; Barrington 1906, vol.2, frontispiece (where incorrectly dated 1863); Ormond & Ormond 1975, pl.93; Gillett 1990, p.57, fig.11; Beresford 2001, p.31; Gould 2004, p.104, fig.91; Bills & Bryant 2008, p.38.

publ. 1872
Design by (Edward) Linley Sambourne for Vision of Burlington House. Sixth of May., whole-length to right, carting off a wheelbarrow full of coins; untraced. Repr. Punch, 11 May 1872, p.198; McMaster 2008, p.66, fig.6; McMaster 2009, p.25, fig.13; and Ormond 2010, p.84, fig.31.
See also Ansdell, Calderon, Faed, Marks, Millais, Ruskin.

Watercolour and body colour caricature drawing on paper, 308 x 188mm, by James Tissot, whole-length to left, casually leaning against a doorway, wearing evening dress with flower in lapel; Museum of London, 2005.177/1. Exh. Barbican AG, London, 1984 (52); and The Cult of Beauty, V&A, London, 2011 (no cat. no).
Chromolithograph repr. Vanity Fair, 29 June 1872, p.207, no.191 (copy coll. NPG D43542); Dakers 1996, p.43; Dakers 1999, pl.26; Barringer & Prettejohn 1999, p.235; and The Times, 28 Mar. 2001, p.17.

publ. 1873
Caricature drawing by George Du Maurier, Scenes of Club Life. Election of an Honorary Member., second from right in top hat, beside Charles Keene; untraced. Repr. Punch 1873 (details unknown); Ormond 1969, p.195.
See also Calderon, Keene, Walker.

Terracotta bust by Aimé-Jules Dalou, head and chest, head turned slightly to left, full beard, wearing a robe over a jacket and loose cravat, with chain and medallion; untraced. Exh. RA 1874 (1543); possible reduced bronze replicas at FAS, London and J.S. Maas & Co. 1977.

Drawing by Leslie Ward (‘Spy’), from a folio of portrait studies of various artists; untraced; ref. Sotheby’s, 16 July 1998 (29).

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head only, profile to right, attached to a large clothes peg pinning a canvas to a washing line, with others; untraced. Repr. Punch, 22 May 1875, p.222; Herkomer 1910–11, vol.1, 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, Herkomer, Hodgson, Marks, Millais.

Design by (Edward) Linley Sambourne for Academicians and Outsiders. – A Battle-piece., whole-length with oversized head, in bottom tier of defending Academicians; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Ansdell, Boughton, Butler, Calderon, Cope, Du Maurier, Frith, Herkomer, Horsley, Marks, Millais, Orchardson, Sant.

Oil on canvas, 1452 x 2201mm, by Charles West Cope, The Council of the Royal Academy Selecting Pictures for the Exhibition, 1875, whole-length, sitting with legs crossed (partly obscured) with other RAs, scrutinizing a picture held up by group at right; RA, London, 03/1288. Exh. RA 1876 (160).
Wood-engr. after Cope, 122 x 192mm, repr. as a book illustration, with key to the principal figures pasted on the verso, c.1876; copy BM, London, 1895,0617.742.
There is a parody sketch after this picture by Harry Furniss; repr. Furniss 1890b, p.51.
See also Armitage, Calderon, Cope, Faed, Horsley, Millais.
The composition bears a remarkable resemblance to the etching by H. Woods of the same subject (see above, ‘publ. 1870’) and, although details and the figures depicted vary, was perhaps inspired by it.

Drawing, 300 x 500mm, by Theodore Blake Wirgman for The Volunteers at Wimbeldon – the Artists Corps after a skirmish, inscr. lower left, whole-length, seated centrally upon a horse, looking downwards to the left; untraced. Wood-engr. repr. Graphic, 22 July 1876, p.81; loose print Henry Moore Inst., Leeds, Thornycroft Archive, TII-E69.
See also Brock, Horsley, Marks, P.R. Morris, Prinsep, W.H. Thornycroft, Wynfield.

publ. 1877
Design by Alfred Thompson for Coming Objects Cast Their Shadows Before, half-length, profile to right, large head on diminutive body, seated holding paint brush in right hand, with pointed beard; untraced. Repr. London Society, Apr. 1877, p.270; loose copy RA Archive, SP/6/41.
See also Calderon, Marks, Millais, Prinsep, Whistler.

Design by (Edward) Linley Sambourne for Welcome. Little Stranger! Or the R.A. Cock of the Walk and the Bond Street Bird of (Art) Paradise, head included with others among the tail feathers of the RA bird; untraced. Repr. Punch, 12 May 1877, p.214; McMaster 2008 p.67, fig.10; and McMaster 2009, p.31, fig.17.
See also Alma-Tadema, Calderon, Goodall, Horsley, Lindsay, Marks, Millais, Orchardson, Sant.

Oil on canvas, 660 x 560mm, by John Hanson Walker, half-length, near profile to left, wearing a brown velvet smoking jacket and tie, against a dark background; untraced; ref. Morse 1987, pp.53 and 138; Sotheby’s, Olympia, 19 Jan. 2005 (120, ill., where mistakenly dated to 1883). Exh. RA 1877 (342); Walker AG, Liverpool, 1880 (608); Glasgow Inst. of Fine Art, 1881 (248); Oldham Loan Exhibition, 1883 (129, lent by the artist); RSPP 1894 (13); Victorian Era Exhibition (Fine Arts Section), London, 1897 (22, p.27 in cat., lent by the artist); ref. Bonhams, London, 21 June 2011 (564, ill.).

Etching, 382 x 255mm, by Alphonse Legros, head-and-shoulders, profile to right, with full beard and wavy hair; colls BM, London, 1879,0412.7; 1931,0306.8; 1879,0308.19; 1879,0308.20; 1931,0306.9 (1st state), 1931,0306.10; 1921,0212.16 (2nd state); Christopher Newall (repr. Newall 1990, fig.2); AG New South Wales, Sydney, 24.2001; priv. coll. (additional version).
A related original drawing by Alphonse Legros, head-and-shoulders, profile to left, with beard; exh. Grosvenor G., 1880 (319); untraced.

Pen and ink thumbnail sketch by E. Herbert, head-and-shoulders, profile to right, looking downwards, with others on jury of 1878 Paris Exhibition; untraced. Publ. L. Peladan, Ernest Herbert: son Oeuvre et son Temps, Paris, 1910, p.249.

publ. 1878
Design by ‘F.W’, whole-length, profile to left, with oversized head, holding palette in left hand and brush in right, wearing tightly fastened waistcoat; untraced. Engr. repr. Hornet, 9 Jan. 1878, p.612.

Design by (Edward) Linley Sambourne, Ars Britannica, full-length, with oversized head crowned with a laurel wreath, perched at top of huge statue with palette and brushes in her left hand and a mirror on her right; untraced. Engr. by Swain repr. Punch, 1 June 1878, p.251; McMaster 2008, p.68, fig.13; and McMaster 2009, p.36, fig.20.
See also Alma-Tadema, Boehm, Calderon, Du Maurier, Frith, Horsley, Marks, Millais, Orchardson, Poynter.

Design by (Edward) Linley Sambourne for An Anxious Moment., featuring the heads of members of the RA attached to the bodies of a gaggle of farmyard geese, based on Briton Riviere’s painting of the same name (1878); untraced; Engr. by Swain repr. Punch, 27 July 1878, p.34; McMaster 2008, p.68, fig.12; McMaster 2009, p.34, fig.19; and Ormond 2010, p.78, fig.27.
See also Calderon, Frith, Herkomer, Horsley, Millais, Orchardson, Poynter, Sant.

Drawing by ‘L.W’, head-and-shoulders, profile to left, with full beard and hair short on top; untraced. Repr. Graphic, vol.17, 1878, frontispiece; Art Annual 1887, facing p.28.

Design by Alfred Bryan for At the Play, half-length, profile to right, seated in a box with three others, first box from the right on the lower level, at a performance by Henry Irving, among 92 prominent figures also including the Prince and Princess of Wales; untraced. Chromolithograph, 317 x 503mm, printed by Maclure, MacDonald & Co., repr. World, Dec. 1878 (with key; print V&A, London, S.3730-2009); and Denker 1995, p.79.
See also Burnaby, Holl, Millais, Prinsep, Orchardson, Whistler.

Sketch in album by George Howard, 9th Earl of Carlisle, head-and-shoulders, almost profile to left, with pointed beard, wearing cravat, head of a small girl lightly indicated next to his left shoulder; formerly with W. Roberts.

Etching by M. Resboutin, half-length, facing front, hands clasped and left elbow hooked over edge of chair, head in detail with body lightly indicated. Repr. Studio, vol.28, no.119, 16 Feb. 1903, p.52.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, A High (Art) Tide, as a large sea bird (head attached to bird’s body) flying over cresting waves containing likenesses of fellow Academicians; 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, Herkomer, Holl, Horsley, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.

Design by (Edward) Linley Sambourne for Italian Hot Water from over the portico of San Marco, whole-length, profile to right with oversized head, holding banner labelled 'Humble Petition' with Benjamin Disraeli, figure possibly representing William Morris, face down beneath; untraced. Repr. Punch, 13 Dec. 1879, p.266.

Caricature drawing by George Du Maurier, in Louise Jopling’s studio, with Jopling and other guests (Jopling saying ‘Oh, do sing for me! The ices have given out, and I want the people to go!’); untraced; ref. Jopling 1925, p.90. Repr. Punch (details unknown).
See also Du Maurier, Jopling, Whistler.

Oil on canvas, 760 x 760mm, by Felix Dupuis, signed and dated bottom left, in circular composition, head-and-shoulders, profile to left, wearing black suit with full beard, warm brown background; Leighton House M., London, LH/P/1051. Exh. RA 1881 (380); Salon, Paris, 1889; repr. as lithograph by unidentified artist after original (reduced size); priv. coll.

Oil on panel by George Howard, 9th Earl of Carlisle, in the woods of Naworth Castle; coll. W. Nicholson (1968). Exh. Carlisle CAG, 1968 (117)

Three pencil studies, each 335 x 140mm, by George Howard, 9th Earl of Carlisle, sketching at Naworth Castle; untraced, with W. Roberts (1968). Exh. Carlisle CAG 1968 (118).
One of these showing Leighton, three-quarter-length seated to right wearing hat and glasses, was exh. Mass Gallery Drawings 2016 (31); repr. Maas Gallery catalogue, summer 2016 (no p. no).

publ. 1880
Design by (Edward) Linley Sambourne for A May Meeting., whole-length, bowing to left, perched upon the top of a giant artist’s palette, surrounded by others; untraced. Repr. Punch, 8 May 1880, p.206; McMaster 2008, p.70, fig.17; and McMaster 2009, p.41, fig.24.
See also Frith, Horsley, Millais, Orchardson.

Bronze bust 533mm (high), by G.B. Amendola, head-and-shoulders to front, slightly profile left with full beard, shoulders loosely draped; untraced. Ref. Artnet.

Watercolour with white heightening, 255 x 178mm, by ‘SEM’, from a series of caricatures, inscr. ‘Art Fred Leighton R A’, whole-length, walking to left, carrying brushes, palette and gavel, his shadow reads ‘R A’; coll. H.M. the Queen, RL28412. See Millar 1995, p.962, no.6156.

Bronze bust by Thomas Brock, life-size, undraped, slightly profile to right; Artists Rifles Association, UK. Exh. RA 1881 (1559); and Artists Rifles, Southampton AG 2014 (no details known). Several reduced-sized bronze casts are in private collections. Ref. Christie’s, 7 June 1996 (567, ill.); Christie’s, 11 June 2004 (71, ill.) and Barnes 1996, p.34 (7).

Oil on canvas by George Frederic Watts; see NPG 1049.

publ. 1881
Pen and ink, 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, half-length, to front, standing in the centre of the composition behind a long table at which are seated other 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; and Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

Oil painting by Henry Tanworth Wells, head-and-shoulders, profile to right, with full beard; untraced. Exh. RA 1889 (287).
Stipple engr., 544 x 386mm, by Joseph Brown with facsimile signature of sitter, publ. as part of the ‘Grillion’s Club’ series; NPG D9833; exh. RA 1881 (1224). A second version, 289 x 221; NPG D20725. A third version; NPG D37286. Additional engr. version; Athenaeum, London, presented by Wells in 1898 (ref. Tait & Walker 2000, p.64, no.522).

publ. 1882
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, whole-length, seated upon a horse and waving his hat in the air, observing 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, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, whole-length, standing to left in centre of room, wearing a brown suit and speaking to a young lady seated beside him (no.19 on key); coll. C.J.R. Pope, on long-term loan to Leighton House, LH/TL,014. Exh. RA 1883 (163); repr. Gazette des Beaux-Arts, July/Aug. 1958, vol.6, p.87, no.4; Gaunt 1972, no.144–5; Snow 1975, pp.168–9; Wood 1976, no.215; Bills & Knight 2006, p.70 (whole image), p.129 (detail); and Wood 2006, pp.212–13.
Also repr. by Henry Graves & Co. 1885 as photogravure, 588 x 983mm, and as lithograph, 226 x 443mm, with key to the principal figures; BM, London, 1920,0420.193 and 1920,0124.4) respectively.
Oil sketch for this work, signed and dated ‘W P Frith 1882’; Mercer AG, Harrogate, HARAG 2490.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Marks, Millais, Tenniel, Terry.

Watercolour caricature, 445 x 562mm, by George Pipeshanks [John Wallace], ‘Cope’s Christmas card’, Dec. 1883, half-length, facing front, lower right among more than 100 figures, in uniform of the Artists’ Rifles, from which he had just retired; 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); Newark, DE, 2002; ref. Denker 1995, pp.79–80 (repr. p.80); repr. Stetz 2007, front cover.
See also Burnaby, Herkomer, Millais, Ruskin, Whistler.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, whole-length, with oversized head, positioned at the top of the maypole flanked by figures; 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, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

Drawing by Harry Furniss for parody of William Powell Frith’s Private View at the Royal Academy (see above, ‘c.1882–3’), whole-length, gesticulating wildly with right hand, joining in with others, variously portrayed as members of the Salvation Army; untraced. Repr. Punch, 12 May 1883, p.220; McMaster 2008, p.65, fig.3; and McMaster 2009, p.17, fig.9.
See also Calderon, Du Maurier, Marks, Millais, Tenniel.

exh. 1883
Miniature of vitrified enamel by Thomas Herbert Maguire; untraced. Exh. RA 1883 (1311).
Miniature, 70 x 58mm, dated c.1880, head-and-shoulders, profile to left, wearing loose cravat; Leighton House M., London, LH/D/0338. It is quite possible that this is the same item as above, as no other image in miniature (excluding NPG 2016) is known.

Pencil and wash drawing with white heightening, 370 x 305mm, by ‘EP’ (probably Edward John Poynter), The Hanging Committee of the Royal Academy, whole-length, standing to right in front of canvas, hands resting on the back of a chair; untraced. Exh. The Artist Delineated, Clarendon G., London, 1984 (101, ill.). Almost certainly a preparatory sketch for one of the illustrated magazines of the period.
See also Millais, Prinsep.

publ. 1884
Engr. by unidentified engraver, Presentation of plate to Sir Frederic Leighton PRA on his retirement from the active command of the Artists’ 20th Middlesex RV, half-length, right elbow resting on arm of chair and right hand supporting face, seated centrally behind a long table, wearing full dress uniform. Repr. Graphic, 1 Feb. 1884, p.108; Bailey 1996, p.24, fig.5.

Drawing by (Edward) Linley Sambourne for Sir Frederick Leighton, P.R.A, Drawing his Sword, as Colonel, for the Last Time., whole-length, to front, in full uniform and helmet of the Artists’ Rifles; untraced. Repr. Punch, 16 Feb. 1884, p.82; McMaster 2008, p.71, fig.21; and McMaster 2009, p.49, fig.28.

Drawing by (Edward) Linley Sambourne for Rabelaisian Situation., whole-length, profile to right, striking dainty pose in shorts and long socks, standing next to Sir Robert Peel; untraced. Repr. Punch, 10 May 1884, p.219; and Jones et al. 1996, p.20, fig.7.

Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design, whole-length, reclining to left at the centre of the composition; untraced. Engr. by Swain repr. Punch, 24 May 1884, p.250; McMaster 2008, p.73, fig.28; and McMaster 2009, p.58, fig.35.
See also Alma-Tadema, Calderon, Faed, Foster, Frith, Goodall, Hodgson, Holl, Horsley, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Watts, Yeames.

Drawing by (Edward) Linley Sambourne for Not Particular to a Shade; or, a Collection in the Grosvenor Gallery., whole-length, almost profile to right, wearing old-fashioned formal attire with tights and sword at his waist, standing next to the figure of Joshua Reynolds (PRA 1769); untraced. Repr. Punch, 12 June 1884, p.15; and Casteras & Denney 1996, p.66, fig.29.

publ. 1885
Drawing by (Edward) Linley Sambourne for The Royal Academy Argonauts., whole-length, reclining upon the bow of a large boat powered by RA oarsmen, working oars fashioned from oversized artist’s palettes; untraced. Engr. by Swain repr. Punch, 9 May 1885, p.219; McMaster 2008, p.71, fig.19; and McMaster 2009, p.45, fig.26.
See also Alma-Tadema, Calderon, Holl, Horsley, Millais, Orchardson, Pettie, Poynter, Watts.

Drawing by (Edward) Linley Sambourne for The Pictures of 1885 and the Men Who Paint Them., signed, head only, slightly profile to right, with body of a butterfly, at centre of composition; untraced. Repr. Pall Mall Gazette ‘Extra’, no.17, 1885, frontispiece.
See also Alma-Tadema, Barlow, Holl, Millais, Orchardson, Pettie

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods., whole-length, seated at centre of composition in robes and sandals; untraced. Repr. Punch, 8 May 1886, p.218; McMaster 2008, p.74, fig.31; and McMaster 2009, p.64, fig.38.
See also Alma-Tadema, Boehm, Calderon, Frith, Goodall, Holl, Horsley, Marks, Millais, Orchardson, Pettie, Poynter, Watts.

Drawing by Harry Furniss for An Affair of Art, signed lower left ‘Harry Furniss’, whole-length, wearing Court dress and PRA medal, leading parade of dancing artists; untraced. Wood-engr. repr. Punch, 7 August 1886, p.71; Judy, 8 Dec. 1886; Denker 1995, p.87 (ref p.86). See Gallatin 1918, p.63, no.208.
See also Coutts Lindsay, Millais, Whistler.

Drawing by William Blake Richmond, April 1887, head, profile to left (loosely sketched with playful lines); untraced. Repr. Stirling 1926, p.268.

Sketch by Lawrence Alma-Tadema, inscr. ‘R.A Council Meeting / 7(1?)-4-87’, head-and-shoulders to far right, profile to left, apparently chairing the meeting and looking towards the council members, who appear to sit around a suggested table amongst numerous lights with shades; Witt L., Courtauld Inst., London.

Drawing by H.M., signed with initials lower left, whole-length, but of comic proportions, holding a palette and brushes in left hand and pointing with a stick in right hand towards a sign reading ‘Royal Academy’, within larger composition illustrating the numerous cultural attractions of London; untraced. Repr. as engr., Moonshine (London), 21 May 1887 (captioned ‘The Shows of the Period’), copy Russell-Cotes AGM, Bournemouth, BORGM:2004.5.3; and Bailey 1996, p.23, fig.3.
See also: Irving, Terry, Whistler.

publ. 1887
Two drawings by Charles-Paul Renouard:
(a) The Opening of the Royal Academy: The Selecting Committee at Work, whole-length, profile to left, seated at table covered with cloth, inspecting a picture with other members of the committee at the RA; untraced. Repr. Graphic, 7 May 1887, pp.476, 477; Sunday Times, 5 May 1968, front page.
See also Alma-Tadema, Marks, Orchardson, Sant, A. Waterhouse, Yeames.
(b) Judging the Watercolours, head only, in the background behind James Sant; untraced. Repr. Graphic, 7 May 1887, pp.489.
See also Marks, Sant, Yeames.

Drawing by (Edward) Linley Sambourne for The Art Hesperides., head only, slightly profile to left, between figures of ‘painting’ and ‘architecture’; untraced. Repr. Punch, 7 May 1887, p.218; McMaster 2008, p.75, fig.32; and McMaster 2009, p.66, fig.39.
See also Barlow, Boehm, Holl, Millais.

Composite engr. by unidentified artist, after photographs of well-known individuals, A Memento of Her Majesty’s Jubilee Year – 1887, head-and-shoulders, profile to left, at bottom right-hand corner of composition; repr. Graphic, 17 Dec. 1887, between pp.672–3 (supplement, double-page pullout), with a key to the figures on p.678.
See also Alma-Tadema, Boehm, Millais, Morris, Ruskin, Stanley, Tenniel, Watts.

Drawing by Thomas Walter Wilson for In Full Swing, signed bottom right hand corner, whole-length, seen from behind profile left wearing top hat, deliberating over the hanging of paintings on RA hanging day; untraced. Engr. by Robert Taylor, repr. MA, 1887, p.196.
See also: Millais, Moore.

Drawing by Thomas Walter Wilson, signed, three-quarter-length to right raising glass in left arms whilst presiding over speeches at the Royal Academy Banquet; untraced. Repr. MA, 1887, p.231.

Oil on canvas, 1150 x 880mm, by George Frederic Watts, three-quarter-length, seated to right, almost profile to right, left arm resting upon arm of chair and right arm across lap, wearing deep red robe; RA, 03/173; Graves 1905–6, repr. 1970, vol.4, frontispiece; Ormond & Ormond 1975, pl.143; Gould 2004, pl.20. Photograph, 343 x 249mm, by Frederick Hollyer (1890); The Rob Dickins Coll., Watts G., Compton, COMWG2007.731. Possible preparatory study in watercolour, 118 x 93mm, executed on the back of an ‘At Home’ invitation from Lady Lindsay of (Balcarres), on cardboard mount, c.1881; Leighton House M., London, LH/D/0198. Although this sketch shows the sitter in an academic gown, it is not certain that it relates to the RA portrait (see '1881' above}.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, whole-length, bent down on one knee to right, wearing large medallion around neck, in Court dress; untraced. Engr. by Swain repr. Punch, 12 May 1888, p.218; McMaster 2008, p.75, fig.32; and McMaster 2009, p.67, fig.40.
See also Alma-Tadema, Barlow, Boehm, Calderon, Frith, Goodall, Hodgson, Holl, Horsley, Marks, Millais, Orchardson, Pettie, Poynter.

Drawing by Harry Furniss for Our Private View of the Royal Academy., signed ‘Hy.F.’, three-quarter-length, standing to right beside Alfred Gilbert’s memorial to Queen Victoria (1887), comically turning a handle to lower a large crown over the queen’s head, suggesting Gilbert as monkey to his organ-grinder; untraced. Repr. Punch, 12 May 1888, p.220; Dorment 1985, fig.40; Edwards 2006, p.115.

Drawing by Thomas Walter Wilson for The 10th of December – Prize Day, signed bottom left-hand corner, half-length, standing to left behind lectern, in multi-figure group; untraced. Engr. by R. Taylor repr. MA, 1888, p.61.
See also Alma-Tadema, Gregory, Hodgson, Horsley, Millais, Prinsep, Sant, Watts.

Drawing by unidentified artist, three-quarter-length, standing, profile to left, arms resting on a lectern, giving a speech at the Liverpool Art Congress for inaugural meeting of The National Association for the Advancement of Art and its Application to Industry, Dec. 1888; untraced. Engr. by Tilby repr. ILN, 15 Dec. 1888, p.707 (on page with similar representations of George Aitchison and others).
See also Alma-Tadema, Crane.

Drawing by unidentified artist, possibly ‘J.H’, for The National Association for the Advancement of Art and its Application to Industry, whole-length, standing to right, arms resting on lectern, delivering a speech (no.1 on key) at the Liverpool Congress, Dec. 1888; untraced. Repr. Graphic, 15 Dec. 1888, cover (central illustration on page depicting numerous speakers); Dorment 1985, p.94, fig.51.
Another drawing by unidentified artist reproduced on the same page, seated with legs crossed, to left, listening to George Aitchison speak (no.4 on key); untraced.
See also Alma-Tadema, Crane, Ford, Gilbert, Hunt, W. Morris.

Drawing from life by Charles-Paul Renouard, signed by artist bottom left, three-quarter-length, facing front, seated in chair, legs crossed and left hand in pocket, right hand supporting the face, right elbow propped on arm
of chair; Louvre, Paris, RF1714.D, Recto. Repr. as process print engr. by C. Roberts jr. Graphic 2 June 1888, p.588.

Oil on canvas by Henry Jamyn Brooks: see NPG 1833.

Drawing, 245 x 315mm, by Frederick Pegram, head-and-shoulders, almost profile to left, at the Parnell Commission, Feb. 1889; on a sheet of sketches also incl. Edward Houston and ‘Geo Smith Inglis. Expert’; V&A, London, E.600-1952. See V&A Accessions 1952, p.72 (ill.).

Pencil drawing, 261 x 198mm, by Rudolf Lehmann, signed and dated 21 Dec. 1889, head-and-shoulders, almost profile to left, with curly hair and beard; BM, London, 1906,0419.25 (O'Donoghue 1908–22, vol.6, p.143, no.2). Repr. Marillier 1896, p.42.

Pencil drawing by Sydney Prior Hall; see NPG 2262.

publ. 1889
Small sketch by unidentified artist for The distribution of prizes, by Sir Frederick Leighton, to the successful students of the Royal Academy schools, three-quarter-length, profile to right, leaning over lectern to shake hands with student; untraced. Engr. repr. Graphic, 18 Dec. 1889, p.227.
See also Calderon, Cope, Horsley, Sant, Yeames.

Drawing by John McLure Hamilton, head-and-shoulders, profile to left, face propped against left hand, head in detail and body sketchily indicated; untraced. Exh. Barbizon House 1931 (17); repr. Hamilton 1921, facing p.108. Resembles sitter around the 1880s.

Pencil caricature 112 x 179mm, by Fred Roe, dated, half-length, profile to left facing the artist’s wife; pasted into album, with inscr. by Roe on album page: ‘Imaginary Incident: Mrs Fred Roe giving Sir Frederick Leighton a piece of her mind’; Fred Roe Albums,vol. I, NPG D43064.

publ. 1890
Drawing by Harry Furniss for Strictly Private View, Royal Academy., whole-length, almost profile to right, raising hat ceremoniously amongst hordes of visitors in a gallery of the RA; untraced. Repr. Punch, 3 May 1890, p.214.

Three drawings by Harry Furniss:
(a) whole-length, profile to right, seated with legs crossed at a table opposite a newly elected member of the RA, who pours praise into his ear; untraced. Repr. Furniss 1890b, frontispiece.
(b) The Present Figure-Head, a parody on position as PRA, head-and-shoulders, profile to left, as a figurehead on bow of ship with chiselled features as if carved from wood; untraced. Repr. Furniss 1890b, p.34;
(c) Selecting, half-length, profile to right, arm raised clutching hammer whilst being comically restrained from behind, top left-hand corner amongst others in a chaotic scene at the Hanging Committee meeting of the RA; untraced. Repr. Furniss 1890b, p.50.

Wood-engr. by E.J(?).W, Artistic Stars, whole-length, with oversized head on small body, almost profile to left, holding palette and brush, positioned centrally; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Calderon, Fildes, Frith, Herkomer, Hodgson, Millais.

Pastel, 148 x 133mm, by Henry Lawrence, head-and-shoulders, to left front, drawn on old age; coll. H.M. the Queen, RL14275. See Millar 1995, p.535, no.3260.

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

publ. 1891
Drawing by (Edward) Linley Sambourne for Fashion’s Floralia: or, the Urban Queen of the May., whole-length, dancing, wearing classical clothes and sandals, playing pipes, at bottom left of composition; untraced. Repr. Punch, 9 May 1891, p.218.

Drawing by Herbert Johnson, Prize Day at the Royal Academy of Arts: A Fair Prize Winner, half-length, standing to right behind lectern, awarding a prize to a young woman; untraced. Repr. unknown publication, 12 Dec. 1891; copy Kensington & Chelsea L.
See also Calderon, Horsley, P.R. Morris, Stone, Wells.

Drawing by Leonard Raven-Hill, three-quarter-length, standing in front of easel, palette and malhstick in left hand, painting Perseus and Andromeda; untraced. Repr. AJ, 1891, p.155.

Pencil and grey wash on paper, 279 x 203mm, by (William) Walker Hodgson, signed and dated 20 May 1892, half-length, almost profile to left, seated to left in round-backed chair, elbows propped on the arms of the chair and hands clasped across lap; untraced. Exh. A Fraternity of Artists, Christopher Wood G., 1984 (9); repr. [Wood] 1984, back cover. See Christie’s, 6 Dec. 1957 (part of lot 7); see also NPG collection 4041(1–5).

Plaster bust by Thomas Brock; see NPG 1957 (plaster); see also bronze cast: NPG 1957a (1923).

publ. 1892
Pen and ink caricature drawing by Harry Furniss, signed, head, slightly profile to left, in a squeeze of paint with others on a palette held by figure of Art, first head at the top of composition; untraced. Engr. by ‘CH’ repr. ‘Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, cover.
See also Alma-Tadema, Calderon, Frith, Marks, Millais, Orchardson, Watts.

Pen and ink drawing by Reginald Cleaver; see NPG 4245.

Design by Thomas Walter Wilson, for The Athenaeum Club: Ballot Day, signed lower left, whole-length, seated to left in foreground armchair, profile left holding newspaper (no.47 on key), in room full of members; untraced. Wood-engr. by Paul Hermann Naumann repr. unidentified publication; repr. with key, Cowell 1975, p.141 (captioned 'Ballot Day, 1892').
See also Alma-Tadema, Burton, Lister,

publ. 1893
Engr. by unidentified artist, The Royal Commission for the Chicago Exhibition, 1893, whole-length, standing to front between Lord Thurlow and Sir D. Galton, amongst a group of 35 male figures. Repr. Graphic, 6 May 1893, p.501.

Sketch by Theodore Blake Wirgman, from the balcony at St James’s Hall during a Monday popular concert, half-length, seated in row to left, next to the Prince and Princess of Wales; untraced. Repr. Graphic, 1 Feb. 1896, p.134 (entitled ‘The Late Lord Leighton, P.R.A’); Barrington 1906, vol.2, facing p.216.

Drawing by A.S. Boyd, ‘The Future of South Africa. Dr Jameson’s Lecture at the Imperial Institute’, seated at a table, to right-hand side, next to Leander Starr Jameson and Cecil Rhodes; Cecil J. Sibbett Coll., U. of Cape Town; ref. Brookner 1956, p.38, no.110.

Pen and ink drawing, 225 x 305mm, by H. Johnson, signed and inscr. ‘Smoking Concert, Imperial Institute’; also including portraits of the Prince of Wales and the Duke of York; untraced; ref. Sotheby’s, Belgravia, 29 Nov. 1977 (1).

Design by Edward Tennyson Reed, for 'Opening of the Primeval Royal Academy', signed, whole-length, standing to front on stone block in prehistoric dress, presiding over gathering of 'cavemen' Royal Academicians amongst wall painting exhibits; untraced. Repr. as an engr. Punch, 12 May 1894, p.226
See also Alma-Tadema, Calderon, Ford, Frampton, Gilbert, Gregory, Herkomer, Horsley, Lucas, Marks, Millais, Moore, Orchardson, Poynter, Stone, Thornycroft.

Design by Frank Craig, for ‘Prize-giving at Royal Academy Schools’, thumbnail sketch, head-and-shoulders profile to left, inscr. with name; repr as an engr. The Graphic, 14 December 1895, p.735.

Carved relief medallion by unidentified sculptor, head-and-shoulders, profile to left; decorative frieze, exterior of former School of Science and Art, Stroud, Glos.

Pen and ink drawing by Harry Furniss; see NPG 3484.

Undated portraitsback to top

Plaster cast of hands, 80 x 265 x 190mm (left), 70 x 235 x 195mm (right); RA, London, 04/290.

Pencil sketch, 178 x 127mm, by George Howard, 9th Earl of Carlisle, head-and-shoulders profile to left; priv. coll. Exh. Laing AG, Newcastle, 1989–90 (48); and Castle Howard, York, 2011 (details not known); ref. Laing 1990, p.79, no.48.

Caricature drawing by M. Blatchford for unidentified publication, a comic montage for ‘April’, whole-length, to right, kicking away a batch of paintings and exclaiming ‘out you go’; untraced.

Possibly Doulton Carrara ware, head only in high relief; coll. Todd Longstaffe Gowan (ref. Conway L., Courtauld Inst., London)

Posthumous portraitsback to top

Miniature by Rosa Carter; see NPG 2016.

Design by Lawrence Alma-Tadema for ‘Lord Leighton’s Memorial’, head-and-shoulders, slightly profile to right, as a bust on a plinth bearing a plaque with a Latin inscription, flanked by three female figures, one holding a wreath above his head and another holding a palette and brushes; untraced; ref. Swanson 1990, p.80.

publ. 1896
Engr. by G.R. Aylmer, His Lordship, three-quarter-length, processing to left in long robe, fanciful depiction in the background including the rear façade of Leighton House. Repr. AJ, Feb. 1896, p.58.
See also Millais, Watts.

Plaster sketch by George Frampton for the ‘Leighton Memorial’, two versions:
(a) 455 x 294mm, relief with head-and-shoulders bust, to right, flanked by decorative border and two standing figures with other figures in a row of niches below; untraced. Repr. AJ, Feb. 1897, p.324; Barnes 1996, p.11, fig.6.
(b) 488 x 320mm, alternative design with head-and-shoulders bust, to right, flanked by two seated female figures with decorative relief below; untraced. Repr. Studio, vol.18, 1899, p.50.
Two commemorative plaster plaques, attributed to Muriel Perrin (active c.1910–20); Leighton House M., London, LH/SC/0323U; LH/SC/0323V. These are so similar to the Frampton sketches that they are almost certainly casts of them, if not the original models themselves.

Bronze and marble sculpture by Thomas Brock, ‘The Leighton Memorial’, whole-length, reclining effigy on an Italianate cenotaph, supported by two figures of ‘Painting’ and ‘Sculpture’; St Paul’s Cathedral, London. Repr. MA, 1901, p.479; Spielmann 1901, p.32; Graphic, 22 Feb. 1902, p.265; Jones et al. 1996, p.81.
Plaster models for the tomb; colls RA, London, 03/1682 (c.1897–1900, exh. RA 1900 (2053): ‘Tomb of Lord Leighton PRA / To be executed in bronze and marble and placed in St Paul’s Cathedral’); Leighton House M., London, LH/SC/3017 (1898).

publ. 1902
Sketch by Harry Furniss, head-and-shoulders, slightly profile to right, with full beard and medal around neck; untraced. Repr. Strand, vol.24, 1902, p.308 (ill. for an article by Furniss entitled ‘Some After-Dinner Speakers’).

Silver plaque by Frederic J. Halnan; untraced. Exh. RA 1906 (1688).

Deep relief sculpture by Sidney Boyes, whole-length, standing, wearing long smock and holding scroll or document, with a palette and brushes at his feet; Cromwell Rd (South) Facade, V&A, London.

Oil on canvas, 1130 x 1510mm, by (John) Byam Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, head-and-shoulders, almost profile to right, half-way up staircase to right-hand side, behind Yvette Guilbert and in front of George Frederic Watts, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London. Exh. RA 1914 (536); and Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Centre for British Art, New Haven, 2013 (55, ill. with key [no.60]). Repr. Sketch, 6 May 1914, p.133.
The full-size act drop was destroyed.
See also Alexander, Alma-Tadema, Anderson, M.E. Bancroft, S. Bancroft, Campbell, Farren, Forbes-Robertson, Hare, Irving, Leno, Millais, Terry, Tree, Waller, Watts, Whistler, C. Wyndham.

Pencil and watercolour caricature on paper, 438 x 318mm (support), by Max Beerbohm, The Man from Hymettus. Mr Frederick Leighton, whole-length, standing to right, leaning backwards against a table with left leg crossed gracefully over right and left hand delicately holding a cane, feet of Dante Gabriel Rossetti visible at right; Tate, A01057. Exh. Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (378); ref. Hart-Davis 1972, p.92, no.919; repr. Beerbohm 1922, pl.19.

Caricature drawing by Max Beerbohm, If they were flourishing in this our day, head-and-shoulders, almost profile to right with chin raised slightly, surrounded by 15 other eminent Victorians ‘shorn of eccentricities of hair, beard, whiskers and clothes; instead dressed and coiffured in the drab uniformity of 1936’, in a scene with W.E. Gladstone as protagonist; untraced. Repr. Manchester Guardian, 13 Mar. 1936; Dearden 1999, p.203, no.309; ref. Hart-Davis 1972, p.67, no.595.
See also Rossetti, Ruskin, Whistler.

Photographsback to top

late 1850s
Photograph by unidentified photographer, three-quarter-length, facing front, seated with legs crossed, right hand supporting face whilst left rests in trouser pocket, wearing a checked waistcoat; coll. The Late Mrs Sowerby, 1975; repr. Ormond & Ormond 1975, pl.49; Christie’s, 14 June 2000 (lot 13); Leighton 2006, p.38;

Photograph, 92 x 57mm, by unidentified photographer, as a young man, seated to left in photographer’s studio, right hand resting on lap and left arm draped over chairback and holding hat, wearing dark velvet suit with short trousers; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4344. Repr. Maas 1984, p.126, no.239; Bills & Web 2007, p.44, no.47.
Another photograph, head-and-shoulders, almost profile to left, wearing same suit (untraced; ref. internal database, Leighton House M., London) may be related.

Photograph by David Wilkie Wynfield; see NPG P77 and NPG P93.

?Carbon print, 190 x 157mm, by David Wilkie Wynfield, head-and-shoulders, three-quarter profile to right, right arm raised and bent to his chest, full beard, wearing light-coloured costume, possibly renaissance in style; reg. for copyright 1863 Dec. 8: National Archives (COPY 1/5) [image not attached]; RA, London, 03/6188. Exh. The Cult of Beauty, V&A, London, 2011 (no cat. no); repr. Hacking 2000, pl. 34; and Calloway & Orr 2011, p.80, fig.51. See also NPG collection P70–P100.

early 1860s
Photographs by Camille Silvy, two known poses:
(a) whole-length, slightly to right, standing in photographer’s studio, with feet and hands crossed in front, holding a top hat; V&A, London, E.945-1992. Repr. Ormond & Ormond 1975, pl.92.
(b) feet uncrossed, left hand resting upon table edge and hat held to the side; repr. Wilkins 1902, p.188 (where incorrectly attributed to A. Bean).

Photographs by John & Charles Watkins, two known poses:
(a) 89 x 57mm, head-and-shoulders vignette, almost profile to right, full dark beard, wearing white shirt; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.1379; and RA, London, 05/2284; carte-de-visite version, 105 x 64mm, The Rob Dickins Coll., Watts G., Compton, COMWG2008.4394. Repr. as wood-engr. by ‘ST’, with likenesses of three other members and associates of the RA, incl. P.H. Calderon, ILN, 13 Aug. 1864, p.173.
(b) 84 x 54mm, head-and-shoulders vignette to left, in identical dress; colls NPG Ax14850; Bristol CMAG, Album I, MB7227.

Cartes-de-visite by the London Stereoscopic Co.:
(a) 88 x 59mm, three-quarter-length, seated with legs crossed, left hand resting across lap, right arm on chairback and hand supporting face, wearing dark jacket with white shirt and tie; NPG x6149.
(b) 102 x 64mm, rectangular format, head-and-shoulders to left, beard, wearing dark jacket with white shirt and tie; The Rob Dickins Coll., Watts G., Compton, COMWG2008.155; smaller version of the same image, 83 x 55mm, in an oval mount; NPG x27582.
(c) 96 x 63mm, head-and-shoulders to left, slightly more profile to left than (b), positioned further down in the picture frame with a plain background; colls NPG Ax17856; and Kensington & Chelsea L., 15204.

Photograph by the London Stereoscopic Co., 146 x 86mm, three-quarter-length to left, seated with legs crossed, left hand resting in lap and right arm on adjacent table, right hand supporting face; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3539, COMWG2008.326. Repr. as engr. Touchstone, 7 Dec. 1878; Bills & Webb 2007, p.44, no.48; carte de visite, 102 x 64mm, pose slightly cropped to include only head-and-shoulders and right arm of the sitter; The Rob Dickins Coll., Watts G., Compton, COMWG2008.157.

Carte-de-visite, 91 x 58mm, by Elliot & Fry, head-and-shoulders vignette, profile to left, with full beard, wearing a white shirt and dark tie; colls NPG Ax28954; and V&A, London, Ph.397.1978.

Photograph by unidentified photographer, 76 x 50mm, three-quarter-length, seated in chair to left, legs crossed and hands clasping a book upon lap, against a plain background; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.549; and RA, London, 05/2603.

Photograph by Lock & Whitfield, 112 x 90mm, head-and-shoulders, profile to left, with full grey beard, wearing dark coat, against plain background; colls NPG Ax17512 and NPG x6150; The Rob Dickins Coll., Watts G., Compton, COMWG2008.2059, COMWG2008.979; and V&A, London, 225-1929. Repr. Cooper 1876–83, ser. 2, 1877, p.1; Downey & Downey 1890–94, vol.1, 1890; as engr. by unidentified artist with monogram ‘ST’, ILN, 3 May 1879, p.409; as engr. by H. Thirat, L’Art, vol.30, 1882, p.27; as the basis of a miniature by James Childs, 20th century; Leighton 2006, p.64.

Photograph by unidentified photographer, whole-length, seated with left leg crossed over right, in the middle of a group of his colleagues in the Artists’ Rifles, wearing uniform with a long sword at the waist and a helmet with prominent chin strap. Repr. Blomfield 1921, facing p.28.
Used for a composite oil painting by Alfred Egerton Cooper, Artists’ Rifles Uniforms, depicting uniforms from 1849–1918; repr. Gregory 2006, pls 12 and 61.

Photograph by Nadar (Gaspard Félix Tournachon), whole-length, standing centrally, with hat in hand, amongst a group of figures comprising the ‘Jury International Des Beaux-Arts’ for the Exposition Universelle of 1878; ref. Sotheby’s Belgravia, 28 June 1978 (323).

publ. 1879
Woodburytype, 115 x 89mm, by unidentified photographer, with facsimile of sitter’s signature in bottom margin, head-and-shoulders, facing left, with smartly trimmed beard, wearing white spotted shirt and dark tie under dark jacket and coat; NPG x128752. Repr. University Magazine, 1879.

Albumen carte-de-visite, 89 x 59mm, by John C. Murdoch, head-and-shoulders to left, seated in a photographer’s studio, with grizzled beard and medium-length curled hair, wearing dark coat; colls NPG x46568; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.158.

Phoographs by Window & Grove, three known poses:
a) albumen cabinet card 165 x 109mm, half-length, seated ro right, almost profile right, with long grizzled beard, wearing jacket with velvet collar, under coat; NPG x4197346.
a) albumen cabinet card 148 x 105mm, head-and-shoulders vignette, profile to right, dressed as in a); coll. Scott Thomas Buckle.
b) carte-de-visite 91 x 59mm, head-and-shoulders to right, dressed as in a); NPG x46990.
Possibly a cropped version of a full-length photograph from the session: there is a whole-length chromolithograph of the sitter (publ. in a supplement to Society, 5 May 1883, after a watercolour by S. Hall), which seems to bear an exact resemblance in position, attitude and dress. Alternatively the watercolour may have been executed after a very similar pose from the same photographic session.

reg. 1882
Photographs by Samuel Alexander Walker, two known poses:
(a) three-quarter-length, three-quarter face and looking to left, standing, arm resting on cabinet, wearing dark coat and tie; reg. for copyright 1882 Oct. 21: National Archives (COPY 1/59) [copy of image not attached]. Repr. Blomfield 1921, facing p.14, signed below by the artist ‘To the Sergeants of the “Artists” - Fred Leighton’ (credited to the coll. of Linley Sambourne).
Chromolithograph produced after this photograph by Maclure & Macdonald, head-and-shoulders only; Leighton House M., London. Repr. The Pictorial World, supplement to the New Series, 5 May 1883, see NPG D37287.
(b) whole-length, standing, face in profile, looking to right, arms folded; reg. for copyright 1882 Oct. 21: National Archives (COPY 1/59) [copy of image not attached].

Photograph by unidentified photographer, ‘Lord Leighton’s last “Inspection” Parade’, whole-length, facing front, astride a horse before a line of troops, wearing uniform for the Artists’ Rifles, at Kensington Barracks. This was the basis of a watercolour by Cosmo Rowe, showing the sitter in uniform, mounted upon a horse, looking to left, with sword pointing upwards. Repr. Young 1960, facing p.16.

Photographs by Elliott & Fry, three known poses:
(a) 278 x 214mm, head-and-shoulders, facing front, with arms crossed across chest, wearing a dark jacket with striking white undergarment/waistcoat and dark tie; NPG x127457.
(b) 133 x 97mm, head turned slightly more to the left; colls NPG x6153, Ax38758 (cropped detail); and V&A, London, 2549-1925.
(c) 290 x 230mm, head-and-shoulders, shoulders slightly to left, face almost profile to left; V&A, London, 205-1923.

Albumen print, 165 x 222mm, by Frank Dudman for J.P. Mayall, whole-length, profile to left, seated in studio; reg. for copyright 1884 Feb. 21: National Archives (COPY 1/369/82); photogravure by Sampson Low, Marston, Searle & Rivington publ. Stephens 1884, part 1, pl.1; colls NPG Ax27814; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3736. Exh. Clarendon G., London, 1984 (24); repr. ‘Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.2; Maas 1984, p.126 (240); Barnes 1996, frontispiece; Barringer & Prettejohn 1999, p.240; Dakers 1999, p.189, fig.90; Bills & Webb 2007, p.72, no.104; and Calloway & Orr 2011, p.244, fig.217.

Photograph by unidentified photographer, whole-length, seated with back to the camera, in front of a large canvas at work on Cymon and Iphigenia; priv. coll.

late 1880s
Photograph, 147 x 106mm, by Albert Eugene Fradelle, head-and-shoulders vignette, profile to left, with white beard, wearing jacket with velvet collar; NPG x27597. Repr. as a thumbnail sketch after the photograph, Pall Mall Budget, 3 Apr. 1890, p.430.

Photograph by James Russell & Sons, three-quarter-length, seated to left, holding large palette in one hand and brush poised in the other, wearing checked trousers and a dark velvet jacket with cravat, in the ‘Silk Room’ at Leighton House with marble column and pictures behind; priv. coll. Repr. as engr. (head-and-shoulders detail), ILN, 11 Jan. 1896, p.39; English Illustrated, 1896; Barringer & Prettejohn 1999, fig.81; Findlater 1996, p.5, fig.2; Leighton 2006, p.98.

Photograph by Kingsbury & Notcutt, three known poses:
(a) albumen cabinet card, 142 x 97mm, with facsimile signature bottom centre, head-and-shoulders vignette, profile to right, wearing loose-fitting dark jacket, white shirt and spotted cravat; NPG x6151. Repr. as engr. by Moritz Klinkicht ILN, 1 May 1886, supplement, and 1 Feb. 1896, p.136; cropped version of the same pose, carte-de-visite, 102 x 64mm; The Rob Dickins Coll., Watts G., Compton, COMWG2008.156.
Pencil sketch by Max Beerbohm after Downey, head-and-shoulders, profile to right (crossed out), among other portrait sketches after photographs; Robert H. Taylor Coll., Princeton UL, MSS RTC01 (no.186) leaf 46. Repr. Beerbohm 1922 (1987, unpaginated appendix); and Dearden 1999, p.66, no.66
See also F. Madox Brown, Rossetti, Ruskin, Scott.

(b) head-and-shoulders, facing front, slightly to the right; repr. as photogravure by Meisenbach Co., after Kingsbury & Notcutt, The Year’s Art 1888, frontispiece.

(c) head-and-shoulders, turned slightly to left, slightly profile to left; ref. internal database, Leighton House M., London.

Photograph by F. Sargent, Queen Victoria’s Jubilee Garden Party; coll. M. Bernard, 1964; ref. NPG Portrait Index.

Photographs by Walery [Stanislas Julian, Count Ostrorog], three known poses:
(a) 255 x 180mm, three-quarter-length, standing, facing left, with glove on left hand and holding hat in right hand, wearing a dark overcoat with loose silk cravat; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3698 (inscr. to T.S. Cooper and signed by the artist bottom right of the mount). Repr. Maas 1984, p.126, no.241; Newall 1989, p.15; Bailey 1996, p.23, fig.4. Engr., 206 x 165mm; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3699.
(b) three-quarter-length, standing by an ornate table/shelf, hands loosely clasped to the front and book resting at left elbow; colls NPG x6148, Ax9143; and Stapleton Coll., UK, STC 64688. Repr. Walery 1888–96, vol.1, issue no.1 (July 1888); ILN, 30 Apr. 1892; Ormond & Ormond 1975, pl.141; Dakers 1996, p.45, fig.5 (detail).
(c) head-and-shoulders, almost profile to right, wearing identical clothes; repr. Bookman, Mar. 1896, p.183; NPG x6147 (photogravure; signed by sitter bottom centre of mount).

publ. 1890
Halftone after a photograph by unidentified photographer, whole-length, facing front, standing in front of a framed canvas, with palette in left hand and brush in right, wearing dark jacket and light-coloured waistcoat and cravat; repr. Jones et al. 1996, p.20, fig.8.
Another image, very similar but clothes differ; publ. as a photogravure, Pall Mall Budget, 3 July 1890, frontispiece.

Photographs by W. & D. Downey:
(a) 139 x 93mm, three-quarter-length, seated to left in photographer’s studio, arms resting upon each arm of the chair, wearing a white spotted cravat; colls NPG x6154; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3598. Repr. Downey & Downey 1890–94, vol.1, 1890, NPG Ax14752; MA, 1896, p.216.
(b) cabinet-size image, 165 x 108mm, identical pose and dress; The Rob Dickins Coll., Watts G., Compton, COMWG2008.327 (signed by artist bottom left of mount), COMWG2008.328. Repr. Bills & Webb 2007, p.51, no.72.
(c) 144 x 101mm, slightly more profile to right, photogravure by Frederick John Jenkins after W. & D. Downey, with facsimile of sitter’s signature; NPG x6401. Cropped version by ‘Swains’ after W. & D. Downey.

Albumen cabinet card by the London Stereoscopic Co., two known poses:
(a) 146 x 101mm, head-and-shoulders, seated to front in photographer’s studio, with white hair and beard, wearing white shirt and coat with dark collar; colls NPG x6152; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.329 (165 x 108mm).
(b) 145 x 102mm, head-and-shoulders, nearly profile to left, eyes directed downwards, wearing identical clothes to above; NPG x29177. Repr. as head-and-shoulders vignette by ‘A.R.C’, Review of Reviews 1890, vol.2, p.191.

reg. 1891
Photograph by Louis Van Fuidge; reg. for copyright 1891 June 11: National Archives (COPY 1/404/400, 404, 405 [3 copies]).

Photograph by Elliott & Fry, standing to right by easel, hand in pocket; repr. Strand, vol.4, July–Dec. 1892, p.126 (as engr.) and p.137 (as photogravure).

Half-plate glass negs by Alexander Bassano, five known poses:
(a) whole-length, standing in photographer’s studio holding hat in right hand, left hand in coat pocket, wearing a stiff white waistcoat and dark tie; NPG x96147.
(b) three-quarter-length, seated to left, with crossed legs and clasped hands resting over chairback; NPG x96146. Repr. as engr. (head-and-shoulders vignette) Black and White Handbook 1893, front cover.
(c) head-and-shoulders, profile to left; NPG x96145. A drawing reproduced as an engr. in the weekly Men and Women (no details known) bears a strong resemblance to this photograph, and was quite possibly copied from it; MEPL, London, 10201180.
(d) head-and-shoulders, profile to left, with head slightly more twisted round towards the front; NPG x96144.
(e) head-and-shoulders, almost profile to right, with chest somewhat puffed out and head slightly raised; NPG x96143.

Photograph, 300 x 225mm, by Elliot & Fry, half-length, seated to left in chair, profile to left with elbow bent and hand supporting chin; V&A, London, 213-1923. This image was most probably used as the basis for the miniature by Rosa Carter, NPG 2016.

publ. 1892
Platinum print, 200 x 154mm, by Ralph Winwood Robinson, whole-length, seated to left, at home in Holland Park Road, Kensington, with the model for The Sluggard on the left and his painting of Mrs Sutherland Orr (Alexandra Leighton) on the right; colls NPG x7373; and RA, London, 05/4982. Exh. Camera Portraits, NPG, London, 1989–90 (55); repr. Robinson [1892]; Windsor Magazine, vol.3, Jan.–June 1896, p.544; Minneapolis IA 1970, p.95, fig.29; Ormond & Ormond 1975, pl.142; Newall 1990, p.121, fig.3; Jones et al. 1996, p.20, fig.9.
An oil painting by G. Grenville Manton appears to have been executed after this photograph, as the pose, attitude and dress of the sitter are almost identical. In this case, the sitter holds a palette and brushes and the canvas with Mrs Sutherland Orr is positioned opposite, whilst the cast of The Sluggard is to the right-hand side, but the similarity is so close that it can be assumed that Manton simply manipulated the background elements for pictorial effect; untraced; ref. Kensington & Chelsea L.

?Albumen print by Fradelle & Young, three-quarter-length to left, holding palette in one hand, brush in other; repr. Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.1.

Opalotype in frame 363 x 310mm, by William Henry Hoather, signed and dated bottom right, head-and-shoulders to right, wearing dark jacket, handkerchief in pocket and loosely tied cravat; NPG x23311. Repr. St James’s Budget, 31 Jan. 1906, frontispiece.

Elizabeth Heath