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Later Victorian Portraits Catalogue

Valentine Cameron Prinsep (1838-1904), Artist and writer

By other artists

Self-portraitsback to top

Oil on canvas, 345 x 297mm oval, head-and-shoulders to front, wearing red tie; Aberdeen AG, ABDAG004351. Exh. Prinsep 1977 (19, ill.)

By other artistsback to top

Watercolour drawing, 365 x 365mm, by Dante Gabriel Rossetti, The Wedding of St George and Princess Sabra, whole-length, profile to left, seated embracing princess, as St George; Tate, N03058. Repr. Tickner 2004, p.35 and front cover.

late 1850s
Mural painting by George Frederic Watts, Justice: A Hemicycle of Lawgivers, whole-length in classical robes, seated, lower left corner; Lincoln’s Inn, London. Repr. Gould 2004, pl.V.

Pencil caricatures from an album of eighty drawings, by Edward Burne-Jones:
(a) 135 x 91mm, whole-length to front, holding palette, painting canvas on easel; Fitzwilliam M., Cambridge, PD.58-1998.f.3 Ref. Sims Reed Ltd, cat. 1997–8 (409).
(b) 136 x 91mm, painting the figure of an ample woman; Fitzwilliam M., Cambridge, PD.58-1998.f.8.

Pen and ink caricature by George Du Maurier, in letter to Ellen Du Maurier, inscr. in ink below ‘Val P. 6ft 2 1/2’, July 1862, head, profile to left, evening at Little Holland House; untraced. Repr. Du Maurier 1951, facing p.224.
See also Du Maurier, Hunt, Millais, Sandys, Walker, Watts, 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, half-length to left, looking down, seated at front right-hand side, hands on table holding a pile of coins (no.14 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, 1915,0710.1–27. vol.2, f.61, no.399. Repr. Hacking 2000, p.14, fig.3.
See also Calderon, Du Maurier, Leighton, Millais, Sandys, Walker.

Oil on canvas, 925 x 1550mm, by Henry Nelson O’Neil, Forty-three Members in the Billiard Room of the Garrick Club, whole-length, profile to left, on right-hand side of table, among group of 44 men (no.35 on collection key), where catalogued as ‘Sir Charles Taylor and Others’); Garrick Club, London, G0793. Repr. Adams 1936, no.333; Hudson 1969, p.274; Snow 1975, pp.88–9; Hankinson 1982, between pp.182–183, fig.9a; and Ashton 1997, no.793.
See also Frith, Leighton, Millais.

Oil on canvas by George Frederic Watts, half-length to front, wearing sash of Artists’ Rifles Volunteer Corps; priv. coll. Exh. RA 1872 (57); repr. M.S. Watts, MS ‘Catalogue of the works of G.F. Watts’, compiled c.1910, 2 vols, Watts G. Archive, Compton, vol.ii (Portraits), p.128b, typescript copy NPG.
A photograph of the painting attrib. to Frederic Hollyer is in Watts G., Compton, COMWG2007.713.

Drawing, 300 x 500mm, by Theodore Blake Wirgman for The Volunteers at Wimbledon – the Artists Corps after a skirmish, inscr. lower left, standing, profile to left, to the right of David Wilkie Wynfield; untraced. Wood-engr. repr. Graphic, 22 July 1876, p.81; loose print Henry Moore Inst., Leeds, Thornycroft Archive, TII-E69.
See also Brock, Horsley, Leighton, Marks, P.R. Morris., Thornycroft, Wynfield.

Design by Alfred Thompson for Coming Objects Cast Their Shadows Before, head only, looking down to right, with palette, at upper left of composition; untraced. Repr. London Society, Apr. 1877, p.270; loose copy RA Archive, SP/6/41.
See also Calderon, Leighton, Marks, Millais, Whistler.

Watercolour caricature drawing by Leslie Ward (‘Spy’), whole-length, large figure, body to front, head turned to left to left; untraced.
Chromolithograph by Vincent Brooks, Day & Son repr. Vanity Fair, 13 Jan. 1877 (‘Men of the Day, no.144’); colls NPG D43779; and Getty Images, 3296136.

publ. 1878
Design by Alfred Bryan for At the Play, half-length, facing front, seated to left in the first lower box on the left, 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, V&A S.3730-2009); and Denker 1995, p.79.
See also Burnaby, Holl, Leighton, Millais, Orchardson, Whistler.

publ. 1879
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs; or, A High (Art) Tide., as a sea bird (head attached to bird’s body) attached to foot of Frederic Leighton (also depicted as flying bird); 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, Leighton, Marks, Millais, Orchardson, Poynter, Sant, Watts.

Statuette by Roscoe Mullins; untraced. Exh. RA 1880 (1632). Mentioned in Spielmann 1901, p.48.

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, half-length, eleventh from left on the bottom row of 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, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Sant, W.H. 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, three-quarter-length, slightly profile to right, in Tudor costume, amongst the rows of 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, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Sant, Watts, Woolner.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head-and-shoulders, slightly profile to right, with others at the bottom 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, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Sant, Watts, Yeames.

Drawing by Alphonse Legros, half-length, profile to left, seated, arm resting on chairback; repr as lithograph MA, 1883, p.407.
Etching by Legros after this drawing, pose reversed, less hair; colls U. of Hull (signed in pencil by artist); and BM, London, 1907,0424.90.

Pencil and wash drawing with white heightening, 370 x 305mm, by ‘E.P’ (probably Edward John Poynter), The Hanging Committee of the Royal Academy, whole-length to front, seated; 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 Leighton, Millais.

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design., head only, dressed as Henry VIII; 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, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Watts, Yeames.

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

Black chalk, ink and wash drawing, 470 x 292mm, by (William) Walker Hodgson, signed and dated 17 Dec. 1891, three-quarter-length, profile to left, seated with palette and brushes painting; untraced. Exh. A Fraternity of Artists, Christopher Wood G., London, 1984 (19); ref. Christie’s, 6 Dec. 1957 (part of lot 7); repr. [Wood] 1984, cover. See NPG collection 4041(1–5).

Drawing by Leonard Raven-Hill, whole-length, profile to left, seated in studio painting The Broken Idol; untraced. Repr. as lithograph AJ, 1892, p.216.

Photographsback to top

Albumen print by unidentified photographer, whole-length to front, posed in fancy dress, seated in garden with legs crossed, hand to chin; ‘Signor Album’, priv. coll., UK. Repr. Cox & Ford 2003, p.98.

Albumen print, 212 x 162mm, by David Wilkie Wynfield, half-length, profile to right, bare-headed in brocade v-neck tunic; RA, London, 03/5670. See NPG collection P70–P100.

Albumen print, 206 x 160mm, by David Wilkie Wynfield, half-length, full-face, wearing historical costume (velvet hat and cloak); RPS, Bath, 14598. Repr. Hacking 2000, pl.33 and MacCarthy 2011, pl. 4. See NPG collection P70–P100.

Albumen print by David Wilkie Wynfield; see NPG P83 and NPG P95.

Albumen print by Julia Margaret Cameron, half-length to right; priv. coll. Repr. Cox & Ford 2003, no.741.

Albumen print, 352 x 263mm, by Julia Margaret Cameron, head-and-shoulders, profile to left; Hood MA, Dartmouth College, Ph 967.96.3. Repr. Cox & Ford 2003, no.742.

Albumen print by Julia Margaret Cameron, head-and-shoulders to front, looking downwards; Wilson Centre for Photography, London, 01:6953. Repr. Cox & Ford 2003, no.743.

?albumen prints by Bernieri, Caldesi, & Co, as 'The Robber' in Queen Margaret and the Robber, from a album of tableaux vivants performed at Rutland Gate, London, the home of Lady E. Howard; The Keep, Brighton (SxUniversityRareBooks/818):
a) 70 x 65mm, mounted on card, whole-length, standing to right in studio 'woodland' setting, wearing theatrical costume (doublet, boots, hats, cape), brandishing sword.
b) 70 x 65mm, mounted on card, dressed as above without hat, kneeling to right beside unknown woman and child, as though kissing hand of the latter.

Albumen carte-de-visite by unidentified photographer, whole-length to left, in theatrical costume (doublet and hose, boots, hat, cape), possibly the same as in above photographic session; The Rob Dickins Coll., Watts G., Compton, COMWG2008.212. Repr. Bills & Webb 2007, pl.126.

Albumen carte-de-visite by Robert Faulkner & Co., half-length to right; NPG x13479.

Albumen prints by Julia Margaret Cameron, two known poses:
(a) whole-length to front, seated outdoors in historical costume.
(b) whole-length, to front, standing outdoors in historical costume, foot on a chair.
Both RPS, Bath, 2093 and 2094. Repr. Cox & Ford 2003, nos 744 and 745.

Photograph by Frederick Hollyer, half-length to front; RPS, Bath, Repr. as engr. Graphic, 2 June 1894, p.643.

reg. 1883
Albumen print by Frank Dudman for Joseph Parkin Mayall, whole-length to left, seated in own studio, palette in hand; reg for copyright 1883 Sept. 24: National Archives (COPY 1/365/285); photogravure by Sampson Low, Marston, Searle and Rivington publ. Stephens 1884, part 1, pl.4; colls NPG Ax27817; and The Rob Dickins Coll., Watts G., Compton. Repr. ‘Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.13; Walkley 1994, p.53; and Bills & Webb 2007, pl.114.

reg. 1889
Platinum print by Ralph Winwood Robinson, whole-length to front, seated in studio, palette and brush in hand; reg. for copyright 1889 Aug. 20: National Archives (COPY 1/397/277); NPG x7387. Repr. Robinson [1892].

publ. 1889
Photograph by the London Stereoscopic & Photographic Company, three-quarter-length, profile to left, seated; repr. The Year’s Art 1889, p.85.

Dr Jan Marsh