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Later Victorian Portraits Catalogue

Marion Harry Spielmann (1858-1948), Art historian

By other artists

By other artistsback to top

Chalk drawing on paper on canvas by Emile Wauters, bust-length to right, head to viewer; coll. Athenaeum Club, London. Exh. RA 1890 (1195); repr. Cassell’s RA Pictures 1890, p.94. See Tait & Walker 2000, no.801 (ill.)

Oil on canvas by W.H. Bartlett, A Saturday Night at the Savage Club (also known as A Savage Club Saturday Night), facing the viewer, to the right, next to Edward John Gregory; coll. Savage Club, London. Engr. by C.E. Clifford & Co. repr. AJ, 1890, p.218; Watson 1907, frontispiece (as ‘A Saturday Night at Lancaster House’, with key); Ward 1923, p.2 (Spielmann no.34 in key); and Bradshaw1958, facing p.32 (as ‘A Savage Saturday Night at Lancaster House’).
See also Fildes, Furniss, Gilbert, Gregory, Irving, Woodall.

Pen and ink drawing by G. Grenville Manton; see NPG 2820.

exh. 1891
Miniature by Hubert Vos; untraced. Exh. RSPP, First Annual Exh., 1891 (117).

Drawing by Alfred Bryan for Press Day at the Royal Academy, three-quarter-length, standing to left, making notes on catalogue, at right of group of art critics; untraced. Repr. AJ, July 1892, p.195.

exh. 1898
Portrait by Hubert von Herkomer; untraced. Exh. RSPP, 8th Annual Exh., 1898 (24).

publ. 1899
Portraits by Mortimer Menpes:
(a) pastel drawing, head-and-shoulders, full-face, eyes to left; untraced.
(b) two preparatory sketches, head-and-shoulders, transfer paper lithographs; untraced.
All repr. MA, 1899, p.101.

Pencil drawing by A.S. Boyd, enclosed with letter from Boyd to Spielmann dated 9 May 1902, head-and-shoulders, profile to left; John Rylands UL, U. of Manchester, Spielmann Papers, Misc. Letters, GB 133 Eng MS 1302, 70.

Oil on canvas by John Henry Frederick Bacon; see NPG 4352.
The best image of Spielmann.

Medallion by Ethel Bower (later Lady Harris); Folkestone M.

Oil on canvas by Arthur Hacker, three quarter length standing to left, head turned to face, holding print in right hand, cigar in left; British Library, London, Add MS 88937/15/210, Art UK. Exh. RA 1905 (85); and RSPP, 20th Annual Exh., 1910 (10).

Pen and ink drawing by John Henry Amschewitz; see NPG 3047.

Metal plaquette by Frank Bowcher, arched top, obverse inscr. ‘MARION. H . SPIELMANN / AUTHOR ART-CRITIC / AETATIS SUAE LXIV’, reverse signed and inscr. ‘TO / M.H. SPIELMANN / F.S.A., F.R.S.L., / IN / GRATEFUL / RECOGNITION OF / HIS JUDGEMENT IN / THE / FINE-ARTS / EMINENTLY IN THE / MEDALLIC ART / FROM / FRANK BOWCHER / R.B.S. / LONDON / 1922’, head three-quarters to right in oval; copies colls NPG D7050 (bronzed metal plaquette, given by Spielmann c.1939); V&A, London, A.79-1923 (bronzed plaquette); and Athenaeum Club, London (silvered metal plaquette given by Spielmann; see Tait & Walker 2000, no.802). A plaquette was exh. RA 1923 (1439). [1]

Pen and ink caricature drawing by Harry Furniss; see NPG 3516.

Photographsback to top

publ. 1894
Photograph by Elliott & Fry, head-and-shoulders, head slightly to left; repr. The Year’s Art 1894, facing p.10 (copy NPG SB [Spielmann]).

Platinum print by Frederick Hollyer, half-length, slightly to right, looking at the viewer; V&A, London, 7886-1938.

Carbon print, 227 x 315mm, by Fradelle & Young, in multi-figure group at a banquet in honour of Lawrence Alma-Tadema at the Whitehall Rooms, London, 4 Nov. 1899 (presence confirmed on sheet of over 100 signatures); NPG x19022. Repr. MA, 1900, p.137 (with signatures insert); Swanson 1990, p.85.
See also Alma-Tadema, Boughton, Brock, Clausen, J. Collier, Crane, East, E.O. Ford, Frampton, Gregory, Hacker, Lucas, Parsons, Sant, Solomon, W.H. Thornycroft, J.W. Waterhouse, A. Webb.

Photograph by Hayman Seleg Mendelssohn, bust to left, head turned to viewer, resting on right hand; repr. MA, 1899, p.230; and Bookman, Sept. 1901, p.197.

Photographs by Lafayette, two known poses:
(a) three-quarter-length, profile to right, seated at desk, reading; NPG x41964.
(b) half-length, full-face, writing at desk; NPG x41965.

1) ‘One of the most graceful tributes that have been paid to art-criticism in modern times is found in the portrait medallion by Mr Frank Bowcher […] the obverse is mainly occupied with a well-modelled and sympathetic likeness of Mr. Marion H. Spielmann’: Connoisseur, vol.66, Aug. 1923, p.245 (ill.)

Carol Blackett-Ord