Later Victorian Portraits Catalogue
Sir William Blake Richmond (1842-1921), Painter; son of George Richmond
Self-portraitsback to top
Pencil drawing, head-and-shoulders to right; priv. coll., Essex. Repr. Reynolds 1995, p.27.
Watercolour drawing, head-and-shoulders to right; priv. coll., London. Repr. Reynolds 1995, p.27.
Silverpoint drawing; priv. coll., London. Ref. Reynolds 1995, p.27.
Oil on canvas, head-and-shoulders with black hat and red cloak; priv. coll., S. Africa. Ref. Reynolds 1995, p.27.
Chalk pastel on brown paper, signed with monogram and dated May 1862, head and shoulders three-quarters to right, eyes facing front; Sim Fine Art, Chislehust (2015).
Watercolour drawing in oval mount, approx. 228mm high (seen through mount), signed and dated ‘W.B.R. / July 1863’ under mount, inscr. on reverse ‘From W.B. Richmond / with his best respects’, head-and-shoulders to right, wearing yellow necktie; priv. coll. Repr. Reynolds 1995, p.27, where wrongly dated 1861.
Etching, plate approx. 240 x 160mm, signed with monogram, undated but associated with item above (pose in reverse), head-and-shoulders to left; priv. coll.
Oil on panel, head-and-shoulders to right, with dark cap; priv. coll., Essex. Repr. Reynolds 1995, p.86.
Oil on panel, head-and-shoulders to right, with dark cap; priv. coll, Essex. Repr. Reynolds 1995, p.204; and Christie’s, 26 Nov. 2003, fig.1.
Oil on canvas, half-length to right, with dark cap, apparently later than the two above; priv. coll. Exh. Maas Gallery, London 2013 (13); bequeathed by W.B. Richmond to Miss Cooper, his companion in later years; offered to NPG 1936 (76/1936) and declined. One of the finest Richmond self-portraits.
Oil on canvas, half-length to right, wearing painter's smock and holding palette; priv. coll. Exh. Maas Gallery, London 2013 (1).
Pen and ink caricature drawings, two images:
(a) in undated letter to his children, whole-length, full-face, dressed as an artist-soldier; untraced. Repr. Stirling 1926, pp. 300.
(b) head, profile to left; untraced. Repr. Stirling 1926, p.325.
Pencil drawing 153 x 100mm, initialled and dated, head-only, profile to left with long pointed beard; coll. Scott Thomas Buckle.
?Oil on canvas, ‘c.1865–70’, head-and-shoulders, three-quarters to right, wearing cap with fur trim; priv. coll., 1983; photograph in NPG SB (Richmond). Not in Richmond literature.
Pencil drawing, on page of sketchbook, signed and dated Apr. 1874, head, profile to right; untraced. Photograph by Emery Walker in NPG SB (Richmond). The features are too old for Richmond in 1874.
By other artists
Drawing by George Richmond, full-face; priv. coll., Herts. Ref. Reynolds 1995, p.11.
Oil on canvas by George Richmond, head-and-shoulders to right; priv. coll., Essex. Repr. Reynolds 1995, p.11.
Preparatory study; priv. coll., Scotland. Ref. Reynolds 1995, p.11.
Oil on canvas by George Richmond, half-length to right; priv. coll., London. Ref. G. Richmond Account Book, p.61; repr. Stirling 1926, facing p.140; and Reynolds 1995, p.16. 
Oil on canvas by unidentified artist; see NPG 2779a.
Oil on canvas [or etching] by Anna Massey Lea Merritt; untraced. Exh. Grosvenor G., London, 1883 (228).
Portrait by Lisa Stillman, head-and-shoulders to left; untraced; photocopy of a photograph (coll. Lady Berwick, 1967) NPG SB (Richmond). Ref. Reynolds 1995, pp.188–9.
Plaster plaque by unidentified artist; priv. coll., London. Ref. Reynolds 1995, p.264.
Charcoal drawing by George Phoenix; see NPG 2065.
Caricature by Edward Tennyson Reed, whole-length as an imaginary creature with suckers on arms and legs, and oversized head profile left; untraced. Publ. Reed 1898, no.31 (captioned 'The Trimmadome or Willirich').
Pen and ink drawing by (Edward) Linley Sambourne, The Doom of St Paul’s; untraced. Repr. Punch, 12 Apr. 1899; Reynolds 1995, p.277.
Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, half-length, seated to front, in middle row first from left, 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, Stone, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells, Whistler.
Terracotta statuette by Edward (Edouard) Lanteri, whole-length, seated with legs crossed; priv. coll. Photographs in NPG SB (Richmond).
Bronze cast; William Morris G., Walthamstow, London, BrS11. Ref. Reynolds 1995, p.304.
Plaster cast, painted terracotta colour; William Morris G., Walthamstow, London, BrS27.
Plaster statuette; untraced; Christie’s, 15 Oct. 1981 (37).
Bronze cast copy offered to NPG 2001 (77/2001).
Bust by Edward (Edouard) Lanteri; untraced. Exh. RA 1908 (1856).
Watercolour drawing by John Singer Sargent, rear view, seated, sketching under a loggia, Florence; priv. coll., London. Exh. Sargent e l’Italia, Ferrara, 2002–3 (39, ill.). Related drawings by Sargent in the collection of the MFA Boston show indistinct figures or other identified sitters, not W.B. Richmond.
Charcoal drawing by John Singer Sargent, inscr. by artist 'To my friend Richmond, John S. Sargent', half-length to left wearing broad-brimmed black hat; NPG 6980. Exh. RSPP 1916 (30); repr. Stirling 1926, frontispiece; and Reynolds 1995, p.308.
Pencil drawing by James Kerr-Lawson, head to left; untraced; coll. the artist, 1926. Photograph in NPG SB (Richmond); and see correspondence in NPG RP 2115.
Oil on canvas by Frank Salisbury, three-quarter-length, seated to left, in DCL robes; AWG, London. Commissioned by AWG, London, 1913; exh. RA 1914 (655); ref. Salisbury 1953, pp.29–30; McMurray c.2003, pp.62, 219; repr. Barber 1936, facing p.58; and Salisbury 1953, facing p.28.
Replica;  priv. coll., Texas; formerly coll. the artist; Christie’s, 25 Oct. 1985 (37). Ref. Salisbury 1953, p.30; repr. Reynolds 1995, p.319; and McMurray c.2003, p.380.
Salisbury also made preparatory ‘studies of various poses’, not seen; Salisbury 1953, p.29.
This is the main painted portrait of W.B. Richmond..
Miniature bronze bust by Margaret Wrightson; untraced. Exh. RA 1919 (1588).
Chinese white drawing on grey paper by Lady Jane Lindsay, three-quarter-length, profile to left, seated at easel; coll. Covent Garden G. (?same as portrait of Richmond in Lady Jane Lindsay album, Sotheby’s, 24 Nov. 1977 ). Photocopy in NPG SB (Richmond).
Photographsback to top
Photograph by unidentified photographer, whole-length, standing slightly to right, with rolled umbrella; priv. coll., Hants. Repr. Reynolds 1995, p.27.
Albumen cabinet portrait by J. Moffat, Edinburgh, head-and-shoulders to left; prints colls NPG x12809 and NPG x12810; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.358), formerly coll. Holman Hunt.  Repr. The Year’s Art 1889; and as wood-engr. Graphic, 16 June 1894, p.726. This is the earliest known photograph showing the beard and hairstyle W.B. Richmond kept until his death.
Photograph by Ralph Winwood Robinson, whole-length, seated to left in studio; reg. for copyright 1889 Oct. 26: National Archives (COPY 1/398/127); NPG x7388. Repr. Robinson ; ILN, 1895, p.132; and Maas 1984, p.54.
Thumbnail sketch after an unidentified photograph repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892 (‘Portraits of the RAs and ARAs’), p.16.
Photograph by unidentified photographer, whole-length, seated on carved settle, with Clara Richmond and their six children; priv. coll., London. Repr. Reynolds 1995, p.205.
Photograph by Elliott & Fry, head-and-shoulders to left; repr. MA, 1895, p.435.
Half-plate glass negatives by Sarah Angelina Acland, taken at the Acland home in Broad Street, Oxford, whole-length standing to right, with Sir Henry Acland; Bodleian L., Oxford, Minn neg. 202/4. Repr. Hudson 2012, pp.126-27, no.60 (where catalogued ‘June 1896?’) .
Five other poses from the session are at the Bodleian L., Oxford, not seen.
Platinum prints by Frederick Hollyer, three poses from different sittings:
(a) bust to left, head turned to viewer, wearing a light-coloured coat and checked necktie; V&A, London, 7721-1938, Hollyer album vol.II, p.20.
(b) half-length, profile to left, in court dress (relating to knighthood 1897?); V&A, London, 7722-1938, Hollyer album vol.II, p.21.
(c) bust to left, head turned to viewer, wearing fur overcoat; V&A, London, 7723-1938, Hollyer album vol.II, p. 22. This photograph relates to wood-engr. by Richard Taylor (‘RT’) after Hollyer repr. ILN, 5 May 1888, p.478; and to a halftone repr. ILN, 8 June 1895, p.700.
Photograph by unidentified photographer, whole-length, full-face, seated on bench with dog; priv. coll., Hants. Repr. Reynolds 1995, p.95.
Two photographs by unidentified photographer, whole-length, standing and seated, in his Beavor Lodge studio; Hammersmith and Fulham Archives, London. Repr. Reynolds 1995, p.84.
Photograph by unidentified photographer, whole-length, seated to left in front of St Francis receiving the stigmata (Florence, 1901), with large palette and maulstick: halftone cutting in NPG SB (Richmond).
Bromide postcard, publ. Rotary Photo Co., half-length detail of above pose; prints colls NPG x38993; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.359 (signed and dated ‘1907’). Repr. Bills & Webb 2007, no.52.
Photograph by unidentified photographer, three-quarter-length, seated to left, with life mask of William Blake;  repr. Lascelles 1902, p.16.
Photograph by Ernest Herbert Mills, half-length to left; repr. Sketch, 31 Jan. 1903, p.23; and Bystander, 23 Mar. 1904, p.156.
This is the prime photographic image.
Photograph by unidentified photographer, whole-length in studio with ?Phaeton (RA 1903); repr. Stirling 1926, facing p.410.
Platinum print 245 x 193mm, by unidentified photographer, whole-length, seated to left on carved stone seat in courtyard in Capri; NPG x137238.
Photograph by Reinhold Thiele, half-length to left, seated on carved settle; Getty Images, 3363489.
Platinum prints by (John) Benjamin Stone, standing outside Members’ Entrance to Terrace, Houses of Parliament, two poses:
(a) whole-length, full-face, holding hat; NPG x44941.
(b) whole-length, full-face, wearing hat; prints colls NPG x44942; and Birmingham Ref. L.
Platinum print, 156 x 202mm, by (John) Benjamin Stone, inscr. on mount 'July 17th 1908', in large group at luncheon party at the House of Commons, half-length to front, seated in centre, second row back; NPG x135013.
See also East, Petrie, Poynter, A. Webb.
Platinum prints by (John) Benjamin Stone, inscr. on mount 'July 17th 1908', in group of 35 sitters, lunch party at the House of Commons, two known poses;
(a) 156 x 202mm half-length, seated second row back, visible between Arthur James Balfour, 1st Earl of Balfour and Jutaro Komura;NPG x135013.
(b) 155 x 203mm, head and shoulders, seated second row back, behind Jutaro Komura; NPG x135569.
See also East, Petrie, Poynter, A. Webb.
Platinum prints probably by Roland Parker Stone, inscr. on mount 'July 17th 1908’, group of 35 sitters, lunch party at the House of Commons, two known poses:
(a)156 x203mm, head and shoulders, seated centre, second row back; NPG x135567.
See also East, Petrie, Poynter, A. Webb.
(b) 155 x 207mm, head only visible behind Jutaro Komura; NPG x135568.
See also East, Petrie, Poynter.
Platinum print by James Russell & Sons for NPR, head-and-shoulders, profile to left; NPG Ax39107.
Albumen cabinet portrait by Elliott & Fry, head-and-shoulders to left; NPG x12811. One of the last images of W.B. Richmond.
1) In 1873 G. Richmond exhibited a portrait of W.B. Richmond at the RSBA (37). This may have been one of the childhood portraits as there is no evidence of Richmond sitting to his father after 1854. No further details in Johnson 1975; Reynolds 1995; or G. Richmond’s Account Book 1830–93 (photocopy NPG Archive).
2) ‘Before the portrait was delivered I painted a replica for myself, and to my surprise the portrait I had painted in a day took me a week to copy, and was not the same personality. In talking this over with Sir William he said he believed that in a concentrated sitting something psychic happened which defied reproduction.’ Salisbury 1953, p.30. Prime version and replica are confused in Barber 1936, pp.49, 51, which states the replica was commissioned by the AWG. A plate in Barber 1936 (no page or plate number) shows the replica hanging in the ‘Salon’ at Sarum Chase, F. Salisbury’s house.
3) The inscription ‘1890’ on the mount of NPG x12809 is too late for the sitting. The date ‘after 1875’ is based on the ‘blank back’ type of mount (see www.edinphoto.org.uk for Moffat mounts).
4) Richmond received his very first portrait commission from Sir Henry Acland in April 1864.
5) For a copy of the Blake life mask, see NPG 1809.