Later Victorian Portraits Catalogue

Dante Gabriel Rossetti (1828-1882), Painter and poet

Possible self-portraits
Undated self-portrait
By other artists
Undated portraits
Posthumous portraits

Self-portraitsback to top

Pencil and chalk drawing; see NPG 857.

Pen and ink sketch in letter to Walter Howell Deverell, Aug. 1851, inscr. ‘Down behind the hidden village’, half-length, standing behind table, with six other male figures including T. Buchanan Reid; Huntington L., San Marino, CA. Repr. Fredeman 2002–10, vol.1, letter 51:18, p.180; and Marsh 1999, pl.13.
See also Hunt, Woolner.
A second self-caricature sketch, on another letter of the same year to Deverell, in place of signature, half-length, with bottle and glass; Huntington L., San Marino, CA. Repr. Fredeman 2002–10, vol.1, p.171.

Pen and ink sketch, 178 x 108mm, dated lower left ‘1853’, inscr. in the handwriting of William Michael Rossetti ‘D.G.R by himself’, whole-length, to front; coll. Lady Gibson. Exh. Maas G., 1964 (98); sold from Penkill, Ayrshire, by Sotheby’s, 3 Dec. 1962 (112); ref. Surtees 1971, vol.1, no.435.

Caricature drawing, head-and-shoulders, thumbing nose at landlord figured on inn-sign; untraced. Repr. Scott 1892, vol.1, p.292.

Pen and brown ink drawing, smudged with finger, 108 x 167mm on sheet 129 x 175mm, signed and dated lower right Sept. 1853, whole-length, seated, profile to right with legs horizontal on second chair, facing Elizabeth Siddal with drawing board; Birmingham MAG, 1904P480. Exh. Burlington Fine Arts Club, 1883 (97, loaned by W.B. Scott); Pre-Raphaelite Brotherhood, Birmingham CMAG, 1947 (211); Ruskin and his Circle, Arts Council, London, 1964 (243); Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (46); Dante Gabriel Rossetti, Bunkamura MA, Tokyo, Aichi Prefectural AG, Nagoya and Ishibashi MA, Kurume, 1990–91 (2); The Primacy of Drawing: An Artist’s View, Bristol CAGM, 1991 (120); Dante Gabriel Rossetti, Walker AG, Liverpool and Van Gogh M., Amsterdam, 2003 (22); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (109); ref. Surtees 1971, vol.1, no.440; repr. Surtees 1971, vol.2, pl.412; Rose 1981, p.89; Treuherz et al., 2003, p.151; Cruise 2011, p.107, fig.133; and MacCarthy 2011, p,74. Photogravure, 100 x 165mm, on irregular brown paper (sheet 245 x 310mm) by Walker & Boutell or Walker & Cockerell c.1900; NPG D9348.

Pen and ink drawing, whole-length, standing with legs apart, holding a felt hat in right hand and stick in left, slightly caricatured, with William Michael Rossetti; coll. W.E. Fredeman, 2003. Ref. Marillier 1899, no.323, p.217; and Surtees 1971, vol.1, no.594, p.209; repr. Fredeman 2002–10, vol.1, frontispiece.

Pen and sepia ink drawing, 171 x 101mm, whole-length, wearing cape and holding top hat, standing behind Elizabeth Siddal (seated); coll. Fondazione Horne, Florence, 5969. Ref. Surtees 1971, vol.1, no.441; repr. Collobi 1966, fig.131 (where credited to Selwyn Image); and Surtees 1971, vol.2, pl.413.

Pen, Indian ink and brown ink drawing, 129 x 115mm, dated lower right 20 Sept. 1855, head-and-shoulders, turned to right, small beard and moustache; Fitzwilliam M., Cambridge, 683. Exh. Tate, 1923 (230); British Self-Portraits, Arts Council, 1962 (85); and Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (49); ref. Surtees 1971, vol.1, no.436; repr. Rossetti 1895, vol.1, frontispiece; Marillier 1899, no.70, p.61; Kelvin 1984, vol.1, p.38; and Henderson 1986, p.100–101, pl.9.
A version or replica, in ink, was offered to the NPG by Lockett Thompson in 1935, and declined (NPG Archive); this cannot have been the original, which was presented to the Fitzwilliam M., Cambridge by Charles Fairfax Murray in 1909; it was perhaps a copy made while the original was owned by Charles Augustus Howell; see below, ‘1861’, for the self-portrait with copy by Rosa Corder.

Pencil sketch, head only, three-quarters to right, eyes to front, with moustache and small pointed beard; Ashmolean M., Oxford, WA1896.2. Ref. Ford Madox Brown sale, 29 May 1894 (133); Poole 1912–25, vol.1, no.490; and Surtees 1971, vol.1. no.437.

Pencil drawing, 285 x 231mm (paper), signed with monogram and dated Oct. 1861 to right, head-and-shoulders to front; Birmingham MAG, 1904P479. Exh. Rossetti G., London, 1883 (1); Works by the English Pre-Raphaelite Painters, Tate, London, 1911 (43); Pre-Raphaelite Brotherhood, Birmingham CMAG, 1947 (245); Paintings and Drawings by the Pre-Raphaelites and Their Followers, Bournemouth, 1951 (74); Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (246); West Surrey College of Art and Design, 1981 (P9); Dante Gabriel Rossetti, Walker AG, Liverpool and Van Gogh M., Amsterdam, 2003 (117); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (95); ref. Surtees 1971, vol.1, no.438; repr. Fitzwilliam 1912, p.146; Surtees 1971, vol.2, pl.411; Rose 1981, p.100; Treuherz et al. 2003, p.198; and Cruise 2011, p.99, fig.120.
Copy, 355 x 282mm, by Rosa Corder c.1880s; Fitzwilliam M., Cambridge, 885.

Pen and brown ink caricature drawing with brown wash, 179 x 113mm, dated 6 Nov. 1869 on tomb, inscr. below ‘I never reared a young Wombat / To glad me with his pin-hole eye, / But when he most was sweet & fat / And tail-less, he was sure to die’, whole-length, standing, holding handkerchief to eyes lamenting the death of his wombat, with tomb behind and overhanging tree; BM, London, 1939,0513.6. Exh. Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (271); and Pre-Raphaelite Drawings, BM, London, 1994–5 (29); ref. Surtees 1971, vol.1, no.606; repr. Apollo, Mar. 1965, p.185; Surtees 1971, vol.2, pl.440; Gere 1994, p.51; and Marsh 1999, between pp.242–3.

Pen and brown ink caricature drawing, 179 x 113mm, Rupes Topseia, c.July 1869, inscr. with title at bottom right, in row of thumbnail figures (William Morris’s business partners, including C.J. Faulkner and P.P. Marshall) in ruin above main image of Morris falling into hell from a precipice, preceded by his spectacles; BM, London, 1939,0513.7, from an album of 60 caricature drawings. Exh. Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (274); Pre-Raphaelite Drawings, BM, London, 1994–5 (32); and William Morris, V&A, London, 1996 (D6); repr. Surtees 1971, vol.2, no.611, pl.445; MacCarthy 1994, pl.30; and Marsh 1998b, pp.3–6, where dating is established. This caricature does not relate to the dissolution of the partnership in 1874–5, as previously conjectured.
See also F. Madox Brown, Burne-Jones, W. Morris, P.S. Webb.

Watercolour and ink drawing; see NPG 3033.

Pencil drawing; see NPG 3048.

Possible self-portraitsback to top

?Pen and ink drawing by unidentified artist, head-and-shoulders to front; untraced; known only from photographic neg., Emery Walker negs, box 1045/1, NPG Archive. See NPG 3033 for discussion of this image.

Undated self-portraitback to top

Drawing, showing an artist seated at easel, with a female companion; untraced; ref. Christie’s, 17 Feb. 1922 (22).

By other artistsback to top

Miniature by Filippo Pistrucci, half-length, facing front, wearing a salmon-coloured spencer with loosely tied cravat; priv. coll. Engr. by C. Carter repr. Rossetti 1889a, p.21.

Watercolour drawing by Filippo Pistrucci, head-and-shoulders, facing front, with brother; priv. coll. Ref. Rossetti 1889a, p.23; repr. Thirlwell 2003, pl.2.

Pencil and watercolour drawing, 162 x 124mm, by Filippo Pistrucci, half-length, wearing blue jacket and white waistcoat; untraced. Ref. Rossetti 1889a, p.22; repr. Christie’s, 15 Dec. 2010 (16a). One of four similar portraits of Rossetti and his siblings.

Pencil sketch, 222 x 190mm, by Filippo Maenza, Boulogne, Nov. 1843, inscr. on attached label ‘Peppino was the son of the Maenza who housed Dante G. Rossetti in Boulogne. This portrait was always regarded in The Family as little better than a caricature, yet it is not wholly unlike’, nearly whole-length, seated, half-profile to right, hugging left knee; untraced. Ref. Rossetti 1889a, p.23, where described as ‘a highly ungainly performance’; repr. Christie’s, 15 Dec.. 2010 (16).

Plaster medallion, 200mm diam., by John Hancock, incised left ‘Dante Gabriel Charles Rossetti’ and lower right ‘John Hancock sketched Sept. 1846’, head, profile to left, with long curling hair; NT, Wightwick Manor, WIG/SC/8. Repr. Faxon 1989, p.35, fig.17.
Engr. by Paul Jonnard repr. Rossetti 1889a, p.23 (‘I think the date of month is October, but this is concealed in the framing’). Vintage photograph of the engraving; NPG P1273(56)

Pen and brown ink drawing, 225 x 181mm, by William Holman Hunt, head-and-shoulders, profile to left, looking down; Fitzwilliam M., Cambridge, PD.24-1970. Exh. Leicester G., 1906 (42); Manchester, 1906 (42); William Holman-Hunt, Manchester, Liverpool, and Glasgow, 1906–7; Morris & Company in Cambridge, Fitzwilliam M., Cambridge, 1980 (1); and The Pre-Raphaelites, Tate, 1984 (19); repr. Stephens 1894, p.29; Hunt 1905, vol.2, pp.447–8; Schleinitz 1907, pl.28; Galeries des Beaux-Arts 1977, no.588, p.127; Robinson & Wildman 1980, p.14; Parris 1984, p.51; and Bronkhurst 2006, vol.2, D37.

Medium and dimensions unknown, by William Holman Hunt, listed in the ‘Inventory of Contents of 3 St Edmund’s Terrace [residence of W.M. Rossetti]’ (1919), as ‘sketch of DGR by WHH 1848’; untraced, 2006; ref. Bronkhurst 2006, vol.2, L14.

Black and white chalk drawing on brown paper, 152 x 146mm, by William Holman Hunt, inscr. on mount by William Michael Rossetti ‘Study for “Rienzi” (D.G.R) by W. Holman Hunt’, head only, face raised to sky; priv. coll., 2006. Exh. Pre-Raphaelite Brotherhood, Birmingham CMAG, 1947 (148); on loan to Tate 1948; on loan to Wightwick Manor 1948–c.1965; Arts Council G., 1964 (241); repr. Bronkhurst 2006, vol.2, D36, p.21; . See Stephens 1894, p.24: ‘by much the truest portrait of D.G. Rossetti as he appeared at that time’.

Oil on canvas by William Holman Hunt, Rienzi, head, raised to sky, facing front, left arm lifted; priv. coll., UK. Exh. RA 1849 (324); Liverpool, 1858 (300); FAS, London, 1886; Liverpool, 1907 (230); and other venues including The Pre-Raphaelites, Tate, 1984 (17); repr. Hunt 1905, vol.1, facing p.166; Schleinitz 1907, pl.14; Parris 1984, no.17; Bronkhurst 2006, vol.1, no.61, p.131; and Cruise 2011, p.14, fig.2. See Rossetti 1889a, p.24: ‘an extremely fine head … undoubtedly a strict portrait of my brother’ despite foreshortening.

Drawing, medium and dimensions unknown, by William Holman Hunt, The Pre-Raphaelite Meeting, half-length, standing behind a chair to the far left in group also including James Collinson (seated) and William Michael Rossetti; untraced; known only from a photograph of a drawing made by Arthur Hughes c.1904–5 after a sketch by Hunt. Ref. Bronkhurst 2006, vol.2, L13; repr. (from Hughes’s sketch) Hunt 1905, vol.1, p.140; Hunt 1913, vol.1, p.101; Roberts & Wildman 1997, no.B57.2, p.276; and Fredeman 2002–10, vol.1, p.65.
See also Millais, Stephens, Woolner.

Oil on canvas, 1030 x 1428mm by John Everett Millais, Isabella, head, profile to left, glass raised to lips; NM Liverpool, WAG1637. Exh. RA 1849 (311); Manchester, 1878 (223); Grosvenor G., London, 1886 (120); British Art, RA, London, 1934 (545); Tate, 1948 (14); RA, London, 1968–9 (377); Millais, Tate, 2007 (9); and elsewhere; engr. by J.M. Johnstone repr. Rossetti 1889a, p.25 (detail); Rosenfeld & Smith 2007, p.34; and elsewhere.
Pencil study, showing nascent beard and moustache; untraced. Repr. Millais 1899, vol.1, p.70.

Oil on canvas, 711 x 911mm, by Ford Madox Brown, Lear and Cordelia, half-length, looking downwards, in the background as the Jester; Tate, N03065. Exh. Free Exhibition, 1849 (82); Liverpool Academy, 1849 (243); Triennial Exhibition, Société royale, Antwerp, 1852 (71); Russell Place, London, 1857 (12); and elsewhere, including Ford Madox Brown, Walker AG, Liverpool, 1964 (20); and The Pre-Raphaelites, Tate, 1984 (16); repr. Parris 1984, p.66; Newman & Watkinson 1991, fig.77; Bendiner 1998, fig.52; and Bennett 2010, vol.1, p.111, no.A51. See Rossetti 1889a, p.25: ‘a conspicuously good head; as a likeness of Rossetti it is also good, a genuine reminiscence of him at that period in his life’. According to Bennett (2010, vol.1, p.110), the head was painted in on the canvas from Rossetti on 1 Mar. 1849.
Reduced version (1855–6), 177 x 247mm; priv. coll. Ref. Bennett 2010, vol.1, p.113, no.A51.2. Also two compositional sketches of 1856: Fogg AM, Harvard, 1943.670 (ref. Bennett 2010, vol.1, p.116, no.A51.16) and priv. coll. (ref. Bennett 2010, vol.1, p.116, no.A.51.17).

Etching by Ford Madox Brown, head only; untraced. Ref. Fredeman 1975, pp.57–9; Bennett 2010, vol.2, p.539, no.D3.

Pen and ink on paper, 216 x 292 mm, by Walter Howard Deverell, study for Twelfth Night, whole-length, seated, cross-legged, gesturing with his left arm; Tate N03429. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (23); repr. Cruise 2011, fig.42, p.46.

Oil on canvas, 1020 x 1371mm, by Walter Howard Deverell, Twelfth Night, whole-length, seated, cross-legged, gesturing with his left arm, as Jester in centre of the composition; coll. Forbes Magazine until 2003. Exh. National Institution, 1850; The Pre-Raphaelites, Tate, 1984 (23); and Christie’s, 19 Feb. 2003 (36); repr. Parris 1984, p.74. The Jester’s cleft chin does not accord with other portraits, but see Rossetti 1889a, p.26 describing the image as ‘somewhat harsher in feature, and more saturnine in expression, than was distinctive of [D.G. Rossetti]’ but which ‘may, within limits, be regarded as a likeness’.

Pen and ink drawing , 211 x 180mm, by John Everett Millais, Touching up Morning at the Royal Academy, 1850 (inscr. in error ‘1851’ by W.H. Hunt), whole-length in group, standing at right with Ford Madox Brown; BM, London (ex coll. Virginia Surtees; ref. Sotheby’s, 6 Oct. 1980 (16, ill.)).
See also: Madox Brown, Hunt.

Oil on canvas, 340 x 460mm, by Ford Madox Brown, The Seeds and Fruits of English Poetry, whole-length, standing, looking downwards at book and pointing up with right hand, wearing historical costume and with ginger hair and beard, as Chaucer in multi-figure composition; Ashmolean M., Oxford, WA1920.3. Exh. Liverpool Academy, 1853 (662); Ford Madox Brown, Grafton G., London, 1897 (9); and The Pre-Raphaelites, Tate, London, 1984 (6); repr. Hunt 1905, vol.1, p.126; Parris 1984, p.52; Newman & Watkinson 1991, fig.76; Bennett 2010, vol.1, p.60, no.A40.1; and Cruise 2011, p.38, fig.34.. This painting was worked on from 1845 to 1853; the figure of Chaucer was inserted c.1851 (see Bennett 2010, vol.1, p.65). The same study was used for Chaucer in this painting and Chaucer reading to the court of Edward III, see below.

Oil on board, 190 x 204mm, head only, wearing black hood, eyes downcast, mouth open; William Morris G., Walthamstow, London, 0.95. Exh. Arts & Crafts Exh. Soc., 1896 (417); repr. Bennett 2010, vol.1, p.65, no.A40.7. This is unmistakeably D.G. Rossetti.

Oil on canvas, 3705 x 2955mm, by Ford Madox Brown, Chaucer reading to the court of Edward III, whole-length, standing, looking downwards and pointing with right hand, wearing historical costume and with ginger hair and beard, as Chaucer in multi-figure composition; AG of New South Wales, Sydney, 703. Exh. RA 1851 (380); Exposition Universelle, Paris, 1855; Liverpool Academy, 1858 (40); Work and other paintings by Ford Madox Brown, London, 1865 (1); and Love & Death: Art in the Age of Queen Victoria, AG of South Australia, Adelaide and touring, 2001–2 (no exh. no.); repr. Bendiner 1998, pl.11; Trumble 2001, p.65; and Bennett 2010, vol.1, pp.56, 57 (detail), no.A.40. This painting was worked on from 1847 to 1851. Although W.M. Rossetti (Rossetti 1889a, p.26) states that Chaucer was not drawn from D.G. Rossetti, Bennett 2010, vol.1, p.65 cites the artist: ‘D.G. Rossetti sat for Chaucer himself … I began the head (Rossetti and I both at the top of a high scaffolding), he reading to me, at 11 p.m, and finished it by four the next morning … I never touched it again.’ The most likely date for this event is early in 1851.
Reduced version (1868), 1232 x 990mm; Tate, N02063. Exh. The Pre-Raphaelites, Tate, 1984 (7); and Making History, RA, London, 2007 (188); repr. Parris 1984, p.53; and Bennett 2010, vol.1, p.66, no.A40.8.

Oil on canvas, 1162 x 1327mm, by Ford Madox Brown, Jesus Washing Peter’s Feet, head-and-shoulders, looking left, as background figure of seated disciple; Tate, N01394. Exh. RA 1852 (463); Liverpool Academy, 1856 (88); Art Treasures Exh., Manchester, 1857 (109); Work and other paintings by Ford Madox Brown, London, 1865 (12); and elsewhere, including Ford Madox Brown, Walker AG, Liverpool, 1964 (23); and The Pre-Raphaelites, Tate, 1984 (42); repr. Parris 1984, p.100; Bendiner 1998, fig.24; Upstone 2003, p.54; and Bennett 2010, vol.1, p.127, no.A57. The painting was retouched in 1856.
Two watercolour versions: 1857–8, 398 x 448mm, Tate, N05301 (ref. Bennett 2010, vol.1, p.130, no.A57.1); and 1876, 486 x 548mm, Manchester AG, 1901.11 (ref. Bennett 2010, vol.1, p.131, no.A57.2).

Pen and ink study on paper, 184 x 114mm, by William Holman Hunt, inscr. clockwise from top left by Frederic George Stephens, ‘Drawn by Holman Hunt / F.G. Stephens, D.G. Rossetti., / Aspinall, went to / Australia? / Millais’, head (top right of four), profile to left, with beard and moustache; coll. Lady Juliet Townsend, 2006. Exh. Victorian Paintings, Drawings & Watercolours, Maas G., 1971 (88); ref. Bronkhurst 2006, vol.2, L23; repr. Bronkhurst 1987, vol.1, pl.211.
See also Millais, Stephens.

Coloured chalks drawing on cream paper, 286 x 259mm, by William Holman Hunt, drawn in studio of John Everett Millais, Gower St, inscr. lower right ‘W.Holman Hunt / to his P R Brother / T Woolner / April 12’ and lower left ‘Unfinished’, head and shoulders, to front in green vignette; Manchester AG, 1922.25. Exh. Leighton House, London, 1902 (2); Manchester CAG, 1920 (6); Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (44); The Pre-Raphaelites, Tate, 1984 (184); Christina Rossetti, NPG, London, 1994; and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (88); ref. Bronkhurst 2006, vol.2, D71; repr. Rossetti 1889a, p.26 (as engr.); Muther 1895–6, vol.3, p.570 (after engr. in Rossetti 1889a); Ormond 1967, p.26; English Watercolours and Drawings from the Manchester City Art Gallery, exh. cat., Agnew, London, 1977, pl.8; Treuherz 1980, no.15, p.36; Parris 1984, p.259; Catalogue of British Watercolours, Manchester CAG, 1986, p.88; Prettejohn 2000, fig.11; Bronkhurst 2006, vol.2, D71, p.44; and Cruise 2011, p.121, fig.100.

Oil on panel copy, 302 x 229mm, made by William Holman Hunt early in 1883, signed and dated lower right ‘18 Whh 53’, inscr. verso ‘Portrait of Dante G. Rossetti / W.H.H.’, head-and-shoulders, to front against blue vignette; Birmingham MAG, 1933P61. Exh. Liverpool 1883 (553); Grosvenor G., London, 1884 (265); Birmingham, 1884 (476); and elsewhere including British Portraits, RA, London, 1956–7 (434); Liverpool, 1969 (56); Visions of Love and Life, North American touring exh., 1995–6 (26); and Pre-Raphaelites, Nationalmuseum, Stockholm 2009 (1); ref. Bronkhurst 2006, vol.1, no.138, where it is noted that the date on the work misled reviewers in 1884; repr. E. Rod, ‘Les Préraphaélites anglais’, Gazette des Beaux-Arts, 1887, p.181; Hunt 1905, vol.1, facing p.337; Schleinitz 1907, pl.86; Ormond 1967, p.27; Rose 1981, p.53; Wildman 1995, p.128 (with frame); and Ahlund 2009, p.8, fig.4.

Etching by William Bell Scott, signed with monogram and inscr. ‘D.G.R. Aet.25’, head-and-shoulders, looking down to left, with hands, pencil and block sketched in; colls Dean Castle, East Ayrshire, Scotland, image EABK037g; and BM, London (ref. O’Donoghue 1908–22, vol.3, p.615, no.6). Repr. Century Magazine, 1882 (as woodcut); Rossetti 1889a, p.57 (from etching); and Scott 1892, vol.1, p.288. See Rossetti 1889a, p.58: ‘On the whole I find the likeness really considerable, the shape of the nose in especial being well given.’

Charcoal outline by Ford Madox Brown, head; untraced. Ref. Bennett 2010, vol.2, p.411, no.B88, where it is noted that D.G. Rossetti was staying at the Browns’ house in Nov. and Dec. 1854. See also Rossetti 1889a, p.58 who describes it as ‘slightly but expressively touched off in charcoal outline … somehow it looks more to me like a Frenchman than an Anglo-Italian, and my brother would not, I think, have been taken for a Frenchman.’ Bennett (2010, vol.2, p.411) also notes that a ‘Pencil Sketch’ of Rossetti by Brown was in the artist’s executor’s sale, 29–31 May 1894, (144, bt. Deprez, £11.0s.6d.) If not the charcoal outline it may well have been yet another portrait drawing.

publ. 1857
Zincotype caricature, 446 x 490mm, by (Anthony) Frederick Augustus Sandys, A Nightmare, based on Millais’s painting Sir Isumbras (A Dream of the Past), 1857, whole-length, facing front, riding at the front of an oversized donkey standing for Ruskin; publ. by Smith & Elder, 4 May 1857; colls V&A, London, E.907-1887; BM, London, 1859,0709.848; Athenaeum Club, London, 1009; Walker AG, Liverpool, 5620; and Lady Lever AG, Port Sunlight, LL3453 and LL3452; for location of other impressions, see Elzea 2001, pp.130–33. Exh. South Kensington M., 1898–9 (554); International Society Exhibition, 1905 (160a); and MFA, Boston, 1985; repr. Millais 1899, vol.1, p.321; Graphic, 27 Jan. 1900, p.114; Bookman, Mar. 1900, p.179; Dearden 1999, p.53, no.46; Hewison, Warrell & Wildman 2000, fig.12; Elzea 2001, p.131, no.1B28; and Fredeman 2002–10, vol.2, p.164; see photograph by Emery Walker, neg. no.452/12, NPG Archive. An untraced original drawing for this was recorded in 1892; see Elzea 2001, p.106, no.1.A.94.
See also Hunt, Millais, Ruskin.

Charcoal sketch, 113 x 117mm, by Charles Keene, half-length, wearing soft hat and cape; Ashmolean M., Oxford, WA1950.178.311. Exh. RA 1973 (237); repr. Mancoff 2000, fig.27, p.79. The identification is conjectural, but plausible.

Pen and ink sketch by William Bell Scott, whole-length, from back, lying in cave at Penkill, Ayrshire, writing ‘The Stream’s Secret’, Scott looking on; untraced. Repr. Scott 1892, vol.2, p.115; and Newman & Watkinson 1991, p.161 (misattributed and uncredited). Rossetti was at Penkill in 1868 and 1869; a joke is presumably intended as the recumbent figure is shown wearing a tail-coat, which was not Rossetti’s daytime attire.

Pencil drawing, 180 x 110mm, by Edward Burne-Jones, whole-length, carrying cushions for a startled Jane Morris; Mark Samuels Lasner Coll., U. of Delaware L.. Repr. MacCarthy 1994, fig.19, p.4; and Mancoff 2000, fig.24, p.65.

Oil on linen by George Frederic Watts; see NPG 1011.

Pencil drawing, 178 x 111mm, by William Bell Scott, seated, only left arm and leg visible cradling wombat on his lap; Tate, N04630.

Ink caricature drawing, 112 x 177mm, by Ford Madox Brown, inscr. at lower right ‘D.G.R / as seen / August 18 / 79 / FMB’, rotund and reclining, with legs raised and resting on the back of a couch; Morgan L&M, New York. Exh. Ford Madox Brown, Leicester G., London, 1909 (glass case: 2); Rossetti and His Circle, U. of Kansas, Lawrence, 1958; and Pre-Raphaelite Brotherhood, Indianapolis and New York, 1964 (8); repr. Hueffer 1911, facing p.5; Marsh 1999, between pp.178–9; and Bennett 2010, vol.2, p.411, no.B89 (as ‘Dante Gabriel Rossetti Napping’).

Ink sketch by Frederic James Shields, inscr. lower left ‘DGR / May 22/80’, whole-length, back view, seated at easel painting The Day-Dream; Ashmolean M., Oxford, WA1978.65. Exh. Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (267); repr. Marsh 1999, between pp.242–3.

Undated portraitsback to top

Etching, 146 x 105mm, by François Courboin, head-and-shoulders vignette, full face; BM, London, 1908,0508.146.

Drawing in the style of Simeon Solomon after photograph by Lewis Carroll (see below, ‘Photographs, 1863’); untraced, known from photographic facsimile, see NPG 1510’.

Posthumous portraitsback to top

Chalk drawing, 305 x 256mm, by Frederic James Shields, head, on deathbed (10 Apr. 1882); priv. coll.
Two or three copies were made: one for the Rossetti family, one for Theodore Watts-Dunton, and one (in July 1882) for F.R. Leyland, 251 x 200mm, now in Bancroft Coll., Delaware AM, 1935-88; repr. Faxon 1989, fig.242, p.215; and Wildman 2004b, p.245.
Engr. possibly by ‘F…h’ repr. MA, 1889, p.140; and Thirlwell 2003, pl.50.

Plaster death mask by D. Brucciani & Co.; see NPG 1699.

Watercolour drawing by Henry Treffry Dunn; see NPG 3022.

Sculpted bronze alto-relief, 760mm high, by Ford Madox Brown, half-length; original destroyed, replica from plaster cast installed (1971) memorial fountain, Embankment Gardens, Cheyne Walk, London. In May 1885, Brown made an ink sketch of a bust of Rossetti to be placed on the memorial designed by J.P. Seddon (ref. Bennett 2010, vol.2, p.412, no.B90.1). ‘It is considerably like Gabriel, but not I think a very agreeable version of his face’ (W.M. Rossetti Diary, 18 May 1885; quoted Peattie 1990, no.384 n.2). A year later, a model, probably created in plaster by J. Alberti, Manchester, was on display at South Kensington M. (design repr. as engr. The Builder, 17 April 1886; ref. Bennett 2010, vol.2, p.412, no.B90.2); photographs NPG P1273(19a–d) and NPG P1273(20b). ‘[A]s to likeness … the nose looks rather bumpy or thickened at the tip, which was certainly not the case with Gabriel, though he had very large nostrils’ (W.M. Rossetti Diary, 3 May 1886; quoted Peattie 1990, no.402 n.2). The final bronze, cast by E. Auxenfans, Paris, was unveiled 11 July 1887 by William Holman Hunt. ‘Successful as a whole – the bust forcible and energetic’ (W.M. Rossetti Diary, 11 July 1887; quoted Peattie 1990, no.425 n.1). In 1971 the original bronze was stolen from the site and eventually replaced with a new cast made from the plaster held by Chelsea Public L.; for the full history see Bennett 2010, vol.2, pp.411–13, no.B90.

Two oils on canvas by Henry Treffry Dunn, both head-and-shoulders to front:
(a) 300 x 255mm, based on photograph (see below, ‘1862’); Uffizi, Florence, 3447. Exh. Firenze e l’Inghilterra, Uffizi, Florence, 1971 (78).
(b) 330 x 279mm; untraced. Ref. C.J. Sawyer, London cat. 1939 (70); repr. Listener, 27 Oct. 1960, p.731, pl.412.

Oil mural by Phoebe Traquair, head-and-shoulders, full-face, in frieze; South Wall, Song School, St Mary’s Cathedral, Edinburgh. Repr. Cumming 2005, fig.19.

Pencil drawing by Cecil Schott, signed and dated ‘C Schott / Oct 89’, inscr. with sitter’s name, head slightly to left; untraced. Repr. Barrington 1905, pl.3 (where described as ‘Pencil Copy of Miniature’). The miniature is not identified, but it is possible that Schott’s drawing was based on NPG 3033.

Etching, 161 x 105mm (sheet 225 x 146mm), by Charles William Sherborn, whole-length, standing, after photograph by Lewis Carroll (see below, ‘1863’); colls NPG D16902 (inscr. on mount in pencil ‘Rosetti’s [sic] family considered this to be his best portrait’); BM, London (ref. O’Donoghue 1908–22, vol.6, 1925, p.362, no.13). Repr. The Poetical Works of Dante Gabriel Rossetti, 1891, frontispiece.

Carved relief medallion by unidentified sculptor; decorative frieze, exterior of former School of Science and Art, Stroud, Glos.

Pen, ink and watercolour caricature drawing, 201 x 303mm, by Max Beerbohm, Dante Gabriel Rossetti in his Back Garden, head-and-shoulders, profile to right from behind, seated in his garden painting Fanny Cornforth, with ten others incl. A.C. Swinburne; Birmingham MAG, 1981P2. Exh. Carfax G., London, 1904; Artists and Writers, Parkin G., London, 1976 (36); Piccadilly G., London, 1980 (25); British Watercolours from Birmingham, Tokyo, 1992 (7); Visions of Love and Life, New York and Birmingham, 1995 (118); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (102); ref. Gallatin 1913a, p.46, no.168; Gallatin 1918, p.70, no.254; Hart-Davis 1972, no.1268, p.119 and Denker 1995, pp.157–8; repr. Beerbohm 1904 and Beerbohm 1943 (no number); Beerbohm 1922 (Beerbohm 1987, supplementary pl.3); The Times, 1 Jan. 1972; Dunn 1984, pl.15; Walkley 1994, p.191, fig.154; Denker 1995, p.158; Hall 1997, p.209, fig.198; Dearden 1999, p.202, no.300; and Cruise 2011, p.111, fig.140.
See also Burne-Jones, Hunt, W. Morris, Ruskin, Scott, Whistler.
Like all caricatures of figures in the Pre-Raphaelite circle by Beerbohm, this and those listed below were carefully studied from contemporary photographs, but are described here because they have become memorable and reproduced images in their own right.

Oil study, 654 x 914mm, by Frank Salisbury for The Great Artists of Chelsea, whole-length, to left, facing front, slightly obscured, with likenesses of Holbein, Turner, Wren, and others; untraced; Christie’s 25 Sept. 1985 (46). Repr. Christie’s, 4 Nov. 1994 (74, ill.).
The subsequent mural by Salisbury, The Great Artists of Chelsea (1913); Chelsea Town Hall, London.
See also Hunt, Keene, Lawson, Scott, Whistler.

Caricature drawings by Max Beerbohm, for Rossetti and His Circle (1922). They are listed here in detail (with titles and published numbers) because all are often reproduced in works about Rossetti and the Pre-Raphaelites. Beerbohm took his likenesses from photographs and other portraits, as shown in manuscripts and sketchbooks.

Pencil and watercolour on paper, 273 x 419mm, inscr. ‘D.G. Rossetti Precociously manifesting among the exiled patriots who frequented his father’s house in Charlotte Street, that Queer Indifference to Politics which marked him in his prime and his decline’, whole-length, as a boy lying drawing under the table whilst friends of his father argue overhead; Tate, A01038. Exh. Leicester G., London, 1921 (1); and Tate, 1923 (1); ref. Hart-Davis 1972, no.1269, p.119; repr. Beerbohm 1922 and Beerbohm 1987, frontispiece.

Pencil and watercolour on paper, 298 x 419mm, inscr. ‘British Stock and Alien Inspiration. 1849’, standing to far right, looking right, with Disraeli and others; Tate, A01039. Exh. Leicester G., London, 1921 (2); and Tate, 1923 (2); ref. Hart-Davis 1972, no.776, p.80; repr. Beerbohm 1922 and Beerbohm 1987, pl.1.
See also Hunt, Millais.

Pencil and watercolour on paper, 324 x 210mm, inscr. ‘Rossetti’s Courtship’, whole-length, standing with Elizabeth Siddal; Tate, A01040. Exh. Grosvenor G., London, 1917 (3); Leicester G., London, 1921 (3); and Tate, 1923 (3); ref. Hart-Davis 1972, no.1270, p.119; repr. Beerbohm 1922 and Beerbohm 1987, pl.2; and Hall 1997, fig.199, p.210.
Pencil sketch for above, c.1916, unsigned; coll. William. W. Appleton, 1972. Ref. Hart-Davis 1972, no.1271, p.119.

Pencil and watercolour on paper, 451 x 298mm, inscr.‘The Sole Remark Likely to Have Been Made by Benjamin Jowett about the Mural Paintings at the Oxford Union / “And what were they going to do with the Grail when they found it, Mr Rossetti?”’’, whole-length, standing beside the mural paintings at the Oxford Union, with Jowett; Tate, A01041. Exh. Grosvenor G., London, 1917 (2); Leicester G., London, 1921 (4); Tate, 1923 (4); and British Self-Portraits, Arts Council, 1962 (106); ref. Hart-Davis 1972, no.837; repr. Beerbohm 1922 and Beerbohm 1987, pl.4. Rough sketch listed as in a priv. coll. in Hart-Davis 1972, no.839.

Pencil and watercolour on paper, 324 x 432mm, inscr. ‘Spring Cottage, Hampstead. 1860’, whole-length, standing behind and between Elizabeth Siddal and Coventry Patmore, holding a teapot; Tate, A01045. Exh. Leicester G., London, 1921 (8); and Tate, 1923 (8); ref. Hart-Davis 1972, no.1279, p.119; repr. Beerbohm 1922 and Beerbohm 1987, pl.5; and Hall 1997, fig.200, p.211.

Pencil and watercolour on paper, 330 x 248mm, inscr. ‘An Introduction’, whole-length, standing between John Ruskin on the left and Fanny Cornforth on the right; Tate, A01042. Exh. Grosvenor G., London, 1917 (3); Leicester G., London, 1921 (5); Tate, 1923 (5); and Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (373); ref. Hart-Davis 1972, no.1272, p.119; and Dearden 1999, no.304 (repr. p.203); also repr. Beerbohm 1922 and Beerbohm 1987, pl.7; Wood 1981, p.94; and Hall 1997, fig.202, p.213.

Pencil and watercolour on paper, 225 x 349mm, inscr. ‘The Small Hours in the ’Sixties at 16 Cheyne Walk’, whole-length, reclining on a couch with William Michael Rossetti and A.C. Swinburne seated beside; Tate, A01048. Exh. Grosvenor G., London, 1917 (6); Leicester G., London, 1921 (11); and Tate, 1923 (11); ref. Hart-Davis 1972, no.1275, p.119; repr. Beerbohm 1922 and Beerbohm 1987, pl.11; Apollo, 1973, no.1, p.120; and Hall 1997, fig.203, p.214.

Pencil and watercolour on paper, 343 x 286mm, inscr. ‘Rossetti, having just had a fresh consignment of “stunning” fabrics ... tries hard to prevail on his younger sister to accept … one’, whole-length, standing to the right, with his sister Christina Rossetti; Tate, A01050. Exh. Leicester G., London, 1921 (13); and Tate, 1923 (13); ref. Hart-Davis 1972, no.1278, p.119; repr. Beerbohm 1922 and Beerbohm 1987, pl.12.

Pencil and watercolour on paper, 330 x 419mm, inscr. ‘Rossetti insistently exhorted by George Meredith to come forth into the glorious sun and wind’, whole-length, seated at easel with Jane Morris and George Meredith; Tate, A01052. Exh. Grosvenor G., 1917 (8); Leicester G., London (15); and Tate, 1923 (15); ref. Hart-Davis 1972, no.1274, p.119; repr. Beerbohm 1922 and Beerbohm 1987, pl.13.

Pencil and watercolour on paper, 292 x 394mm, inscr. ‘Mr William Bell Scott Wondering What It is Those Fellows Seem to See in Gabriel’, whole-length in background leaning against tree, with other artists; Tate, A01056. Exh. Grosvenor G., London, 1917 (10); Leicester G., London, 1921 (19); Tate, London, 1923 (19); and Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (377); ref. Hart-Davis 1972, no.1276, p.119; repr. Beerbohm 1922 and Beerbohm 1987, pl.14.
See also F. Madox Brown, Burne-Jones, W. Morris, Scott.

Pencil and watercolour on paper, 286 x 419mm, inscr. ‘Mr Browning brings a lady of rank and fashion to see Mr Rossetti’, whole-length, profile to left, holding brushes, with Robert Browning and two female figures; Tate, A01055. Exh. Grosvenor G., London, 1917 (9); Leicester G., London, 1921 (18); and Tate, 1923 (18); ref. Hart-Davis 1972, no.1273, p.119; repr. Beerbohm 1922 and Beerbohm 1987, pl.15.

Pencil and watercolour on paper, 375 x 257mm, inscr. ‘Rossetti in his worldlier days...’, whole-length, walking beside George Augustus Sala; Tate, A01051. Exh. Grosvenor G., London, 1917 (13); Leicester G., London, 1921 (14); and Tate, 1923 (14); repr. Beerbohm 1922 and Beerbohm 1987, pl.16.

Pencil and watercolour on paper, 406 x 298mm, inscr. ‘Mr Morley of Blackburn...’, whole-length, standing to the left, with John Morley and John Stuart Mill; Tate, A01053. Exh. Leicester G., London, 1921 (16); and Tate, 1923 (16); ref. Hart-Davis 1972, no.1280, pp.119–20; repr. Beerbohm 1922 and Beerbohm 1987, pl.18; and Hall 1997, fig.204, p.215.
Sketch for above, inscr. in artist’s hand ‘spoilt’, only first sentence of speech included; coll. Dr and Mrs James D. Hart, 1972. Exh. Achenbach 1964; ref. Hart-Davis 1972, no.1280A, p.120.

Pencil and watercolour on paper, 438 x 318 mm, inscr. ‘The Man from Hymettus. Mr Frederick Leighton’, slippered feet only on end of divan, with Frederic Leighton; Tate, A01057. Ref. Hart-David 1972, no.919, p.92. Repr. Beerbohm 1922 and Beerbohm 1987, pl.19.

Pencil and watercolour on paper, 349 x 286mm, inscr. ‘Quis Custodiet Ipsum Custodem?’, whole-length, seated on a couch in the background with Theodore Watts-Dunton, Frederic Shields and (Thomas) Hall Caine; Tate, A01058. Exh. Grosvenor G., London, 1917 (14); Leicester G., London, 1921 (21); and Tate, 1923 (21); ref. Hart-Davis 1972, no.1277, p.119; repr. Lynch 1921, facing p.144; Beerbohm 1922 and Beerbohm 1987, pl.20; and Hall 2002, fig.19.

Other caricatures by Max Beerbohm:
(a) lunette fresco, half-length, standing, profile to left, with Elizabeth Siddal and A.C. Swinburne; intact and set into the wall in Beerbohm Room, Merton Coll., Oxford, 1972. Ref. Hart-Davis 1972, no.1281, p.120, pl.55, p.217; repr. Beerbohm 1987, supplementary pl.1.
(b) finished sketch for above, inscr. against the female figure ‘Brow wider ?nose shorter’; coll. Mrs Virginia Surtees, 1972. Ref. Hart-Davis 1972, no.1282, p.120.
(c) rougher sketch; coll. UCLA (Clark), 1972. Exh. Achenbach 1964; ref. Hart-Davis 1972, no.1283, p.120.
(d) drawing, Rossetti walking along the Embankment, whilst S. Hethway keeps pace eagerly beside him; untraced; formerly coll. A.N.L. Munby, 1972. Exh. Leicester G., 1957, where wrongly titled ‘Rossetti and the young Swinburne’; ref. Hart-Davis 1972, no.1284, p.120, pl. 56, p.217; repr. Beerbohm 1987, unnumbered supplementary plate.

Pencil caricature drawing by Max Beerbohm, Shades of Rossetti, Ruskin, Swinburne, Pater and Whistler wondering that so much space has been devoted to this other later Romantic – and whether even he is the ‘Last one’, head-and-shoulders, facing front, slightly profile to right, with five other heads; priv. coll., 1999. Ref. Hart-Davis 1972, p.161, no.1829; repr. Dearden 1999, p.202, no.308. W.B. Yeats is the late Romantic referred to.
See also Ruskin, Whistler.

Watercolour drawing by Blamire Young, Tennyson and his World, head, with nine other figures; untraced. Repr. Sotheby’s, Belgravia, 25 Sept. 1979 (133).

Watercolour drawing by Osbert Lancaster, After Breakfast at Kelmscott, whole-length, seated on earth closet with William Morris and Jane Morris; priv. coll. Exh. Wallace Coll., London, 2008; repr. Knox 2008, p.194.

Drawings by Douglas Percy Bliss, probably drawn for the Sketch in sequence ‘More Mockery of the Old Masters’:
(a) watercolour and bodycolour over pencil, 250 x 290mm, The Morrises, the Rossettis, and the Burne-Joneses at the Red House, Upton, signed and inscr., half-length, half-profile to left, in group with Morris reading poems and other figures; untraced. Repr. Sotheby’s, 14 June 1989 (384); and The Illustrators: The British Art of Illustration 1800–1997, exh. cat., Chris Beetles Ltd, 1997, p.239, no.517.
See also Burne-Jones, W. Morris.
(b) watercolour and bodycolour over pencil, 265 x 315mm, Rossetti Drawing ‘Lovely Guggums’, inscr. with title, half-length, seated at small easel drawing Elizabeth Siddal; priv. coll. Repr. Sotheby’s, 14 June 1989 (385); and Christie’s 17 June 2014 (32).
(b) watercolour and bodycolour over pencil, 265 x 315mm, Rossetti Drawing ‘Lovely Guggums’, inscr. with title, half-length, seated at small easel (rear view, visible in mirror) drawing Elizabeth Siddal; private collection. Repr. Sotheby’s, 14 June 1989 (385),

Caricature drawing by Max Beerbohm, If they were flourishing in this our day, surrounded by 15 other eminent Victorians ‘shorn of eccentricities of hair, beard, whiskers and clothes; instead dressed and coffered in the drab uniformity of 1936’, in a scene with W.E. Gladstone as protagonist; untraced. Ref. Hart-Davis 1972, p.67, no.595; and Dearden 1999, no.309 (repr. p.203); also repr. Manchester Guardian, 13 Mar. 1936.
See also Leighton, Ruskin.

Photographsback to top

Albumen prints by Henry Mark Anthony, two known poses:
(a) see NPG P1273(26h).
(b) half-length, to front, with brother William Michael to right, both wearing wide, flat-knotted ties; print pasted into copy of The Germ (1850), Beinecke L., Yale U. Repr. Maas 1984, p.110, no.210; and Fredeman 2002–10, vol.1, frontispiece.

Print by ‘Hughes of London’, oval, three-quarter-length, standing, looking to right, holding top hat and wearing coat with satin or leather trim and patterned cravat; Bancroft Coll., Delaware AM. Repr. Wildman 2004b, p.52. This is a little-known and seldom reproduced image, possibly associated with Rossetti’s marriage in 1860.

Photographs by W. & D. Downey, Newcastle-upon-Tyne, Dec. 1862, four known poses all taken in the Downeys’ Newcastle studio:
(a) albumen cabinet card, three-quarter-length, turned slightly to right, eyes to right, left arm resting upon an ornamental table edge, in winter clothes with cape fastened; colls Getty Images, 79045974; and NPG x131297; cropped version to half-length V&A, London, 813-1928. Ref. Rossetti 1889a, p.59; repr. Graphic, 29 Apr. 1882, p.416 (as wood-engr., head-and-shoulders); Bookman, June 1911, p.120 (as photograph); and Marsh 1999, between pp.242–3.
(b) albumen print, carte-de-visite, 100 x 600mm, half-length, with left arm bent and raised to chest height, in winter clothes with fastened Inverness cape; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.218; and V&A, London, PH.1781-1939. Exh. Watts G., Compton, 2007 (80); ref. Rossetti 1889a, p.59; repr. Hunt 1905, vol.1, p.267 (as half-length); and Sotheby’s, 1 July 2004, fig.2; and Bills & Webb 2007, no.80 (vignette).
(c) albumen cabinet print, inscr. ‘To Fanny. D.G.R. 1863’, three-quarter-length, standing, looking to left, cape unfastened over coat and waistcoat; colls Bancroft Coll., Delaware AM L.; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.219. Repr. Maas 1984, no.211; Rossetti 1990, p.10; and Christie’s, 16 Nov. 2006, fig.3. Vignetted version The Rob Dickins Coll., Watts G., Compton, COMWG2008.535.
(d) a possible variant pose, very similar to (c) above, 102 x 64mm, head-and-shoulders vignette, slightly to left, in dark winter coat fastened at the top but without Inverness cape; The Rob Dickins Coll., Watts G., Compton, COMWG2008.222.
According to the sitter’s brother, who is presumed to have been referring to image (c) above, ‘The photograph is an excellent likeness, easy in pose, unconstrained and straightforward in expression … the face is thoughtful and rather dreamy, yet with an alert aspect as of a man ready to open or continue a conversation. An external alacrity, an internal contemplation; in both an unembarrassed simplicity and directness; something of an intense or indolent nature, easily capable of imposing its will upon others, but indifferent to ordinary modes of effort. I can read all this in the photograph, partly because I knew it so well in my brother’s character.’ (Rossetti 1889a, p.59) Image (c) was chosen by Rossetti for his carte-de-visite in 1863 and is probably the pose registered by the Downeys on 1 April 1863, perhaps in the head-and-shoulders version (93 x 58mm); NPG x6424 and NPG x45950. Commonly repr., for example, Fredeman 2002–10, vol.3, frontispiece; Stetz 2007, p.98 (from A.C. Swinburne’s album); and elsewhere.
Owing perhaps to the lack of later likenesses of Rossetti, this image formed the basis of several prints and engravings, including the following:
[i] 1880, etching by Mortimer Menpes (from the cropped version), with aspect reversed but cape unfastened; repr. Davids 2000 (128).
[ii] post-1882, etching and aquatint, 130 x 150mm (sheet 260 x 212mm), by unidentified artist, inscr. top left ‘D.G.R / d. 8 Apr / 1882’, on sheet, in blue ink, lower right ‘D.G. Rosetti’ [sic]; NPG D16901.
[iii] unknown date, etching by an unidentified French artist; repr. Bookman, Apr. 1928, p.11.
The cropped version was also used as the basis for commercial engravings, sometimes with reversed aspect; for example ILN, 22 Apr. 1882, p.373; and Graphic, 29 Apr. 1882, p.416.

Photographs by W. & D. Downey, in garden of Rossetti’s house, Cheyne Walk, Chelsea, 29 June 1863, two known poses:
(a) albumen print, 165 x 110mm, whole-length, standing to right, holding hat, with John Ruskin (centre) and William Bell Scott (left, holding chair); Getty Images, 2673380. Ref. Cook & Wedderburn 1903–12, vol.36, no.18; and Dearden 1999, no.65 (repr. p.64); also repr. ‘A Grand Old Photographer: Some Reminiscences of Mr William Downey’, Pall Mall Budget, 15 Jan. 1891; Cook & Wedderburn 1903–12, vol.26, pl.18; and elsewhere.
See also Ruskin, Scott.
From this, cropped versions were also issued:
[i] cabinet card, 93 x 150mm, all figures half-length; colls V&A, London, 800-1928; Ruskin L., Lancaster U., Ruskin Foundation, D65; and NPG x128797.
[ii] cabinet card, 165 x110mm, vertical crop to exclude Scott; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4334 and COMWG2008.364. Repr. Maas 1984, no.212; Lochnan et al. 1993, no.M.1, p.5; Bills & Webb 2007, no.70; and MacCarthy 2001, pl. 9.
[iii] head-and-shoulders vignette of Rossetti alone; The Rob Dickins Coll., Watts G., Compton, COMWG2008.220. Vignette of Rossetti engr. (possibly by ‘F...h’) so as to delete Ruskin’s hand holding his arm; repr. Rossetti 1889a, p.59 (‘From a Group’).
Pencil sketch by Max Beerbohm after Downey, inscr. ‘R's Garden 64’, three-quarter-length to left of Rosssetti, among other portrait sketches after photographs; Robert H. Taylor Coll., Princeton UL, MSS RTC01 (no.186) leaf 46. Repr. Beerbohm 1922 (Beerbohm 1987, unpaginated appendix); and Dearden 1999, p.66, no.66
See also F. Madox Brown, Leighton, Rossetti, Scott.

(b) albumen print, carte-de-visite, 92 x 60mm (image size), whole-length, standing, flanked by William Bell Scott (left, foot on chair) and John Ruskin (right, with cane); colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.4335; and NPG x12959, NPG Ax38133 (inscribed on back ‘Taken just before the great Fall-out, in 1863’). Exh. NPG, London, 1984 (6); ref. Dearden 1999, nos 67, 69 (repr. pp.64–5); also repr. Trevelyan 1978, p.128; Maas 1984, fig.213, p.112; Treuherz et al. 2003, fig.88, p.137; Bills & Webb 2007, no.79; and elsewhere.
See also Ruskin, Scott.
Two virtually identical images of pose (b) were taken. In the first, Scott’s eyes are obscured by a blink; in the second Rossetti’s right hand is in a slightly different position and his head is more directly to camera. See Dearden 1999, nos 67, 69.

Probably dating from another day in the same month, and also taken by the Downey brothers in Rossetti’s garden:
(c) albumen carte-de-visite, whole-length standing behind Fanny Cornforth and between A.C. Swinburne (seated) and William Michael Rossetti; coll. Mrs Virginia Surtees, 1984. Repr. Maas 1984, fig.215, p.113; Marsh 1999, between pp.242–3; Thirlwell 2003, pl.27; Treuherz et al. 2003, fig.87, p.136; and MacCarthy 2011, pl.8.
This whole series was taken in Rossetti’s garden, Cheyne Walk, Chelsea, in June 1863 (‘Some Newcastle photographers, who promised me a visit when in town to do anything I pleased, are coming next week…’, letter from D.G. Rossetti to F. Madox Brown, 10 June 1863, Fredeman 2002–10, vol.3, letter 63:64.1, p.59). From this it would appear that the images were a joint production by William and Daniel Downey, at this date still based in Newcastle. The images have subsequently been credited to William Downey alone, perhaps owing to his active role in distributing reproductions. The photo session has been dated to 29 June 1863 (see Maas 1984, p.112; and Dearden 1999, p.64) but Rossetti’s reference to ‘next week’ and a subsequent one on 2 July to photographs ‘taken here the other day’ (see Fredeman 2002–10, vol.3, letter 63:68, p.61) perhaps indicate a slightly earlier date. See also NPG Ax14797 (90 x 59mm) for the solo portrait of Ruskin taken on this occasion.

Albumen print, 165 x110mm, by Lewis Carroll (Charles Lutwidge Dodgson), 6 Oct. 1863, nearly whole-length, sitting cross-legged, eyes to front, holding hat upside down on lap; copies issued by London Stereoscopic Co. Ltd. from or after glass-plate negative possibly acquired from Christina Rossetti after 1882 (information thanks to Edward Wakeling ); prints Gernsheim Coll., HRHRC, U. of Texas at Austin; The Rob Dickins Coll., Watts G., Compton, COMWG2008.365; and V&A, London, 814-1928. Exh. Watts G., 2007 (84); repr. Doughty 1949, p.616; Rose 1981, fig.1, p.5; Fredeman 2002–10, vol.3, frontispiece (where incorrectly dated ‘December 1862’); and Bills & Webb 2007, no.84.

Albumen prints by Lewis Carroll (Charles Lutwidge Dodgson); see NPG P56, NPG P29, NPG P1273(21b), NPG P1273(25b).
For an etching produced after NPG P56 see above, ‘By other artists, 1890’.

For a drawing produced after NPG P29 see above, ‘By other artists, Undated portraits.’

There are no confirmed photographs of Rossetti later than 1863, but he may feature in the following group portrait.

Print, 104 x 149mm, by T. Gaulton, West Wellow, near Romsey, Hants, pasted on card and captioned ‘Broadlands Front Door’, whole-length, standing, right elbow raised against column, left hand on hip, on far right of group of 14 men, women and children seated and standing under a portico of Broadlands, Hants, other sitters include Hon. William Cowper Temple (see NPG x28755 and NPG Ax8621) and his wife (NPG x21446), later Baron and Lady Mount-Temple; Southampton U. Archives, Broadlands Archive folder BR61/1/5. Rossetti is not among the four sitters named on the mount, but he was at Broadlands during Aug. 1876, a date consistent with other features of the image. If the figure, who is more casually dressed than the other males in the group, is Rossetti, this is a rare portrait of him in later life.

Dr Jan Marsh