Later Victorian Portraits Catalogue
Frederic George Stephens (1828-1907), Pre-Raphaelite painter and art critic
By other artistsback to top
Oil on panel, 203 x 175mm, by William Holman Hunt, signed with monogram, dated and inscr. on label, half-length, looking to front, hands clasped on back of kitchen chair; Tate, N04624. Exh. Tate, 1917–31; Bournemouth, 1951 (35); William Holman Hunt, Walker AG, Liverpool and V&A, London, 1969 (6); The Pre-Raphaelites, Tate, 1984 (3); The Pre-Raphaelite Dream, AG of Western Australia, Perth, 2003, Dunedin AG, 2003–4 and Frist Center for Visual Arts, Nashville, 2004 (1); repr. Manson 1920, pl.14; Bennett 1969, no.6; Rose 1981, p.50; Parris 1984, pp.49–50; Upstone 2003, p.32; and Bronkhurst 2006, vol.1, no.41, p.113. According to the now fragmentary label formerly on the back, inscr. by the sitter on 18 Feb. 1872, the portrait was painted in London during 1846–7, given to the sitter’s mother on 10 Oct. 1855 and bequeathed by her in 1871 to the sitter’s son H.F. Stephens.
Drawing, medium and dimensions unknown, by William Holman Hunt, The Pre-Raphaelite Meeting, full-length, leaning against mantelpiece to right-hand side of composition 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 from 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; Fredeman 2002–10, vol.1, p.65.
See also Millais, Rossetti, Woolner.
Oil on panel, 648 x 508mm, by John Everett Millais, Ferdinand lured by Ariel, signed and dated, whole-length, standing, wearing medieval costume (drawn from illustration), both hands to ears, bending forwards to left as if listening to spirit; Makins Coll., UK. Exh. RA 1850 (504); RA and Liverpool, 1967 (22); The Pre-Raphaelites, Tate, 1984 (24); and Millais, Tate, Van Gogh M., Amsterdam, Kitakyushu M. and Bunkamura M., Japan, 2007 (15); repr. Parris 1984, p.75; Rosenfeld & Smith 2007, p.41; and Cruise 2011, p.52, fig.54..
Pencil drawing, 173 x 129mm, preparatory study for head of Ferdinand, signed and dated 1849, head, tilted, eyes to left; Yale Center for British Art, New Haven, 1980-01-01. Exh. Agnew 1939 (102); RA and Liverpool, 1967 (251); Drawings of John Everett Millais, Arts Council tour, 1979 (43); repr. Warner 1979a, p.26. Described by the sitter as ‘a most exquisite drawing of the highest finish and exact fidelity’ (Millais 1899, vol.1, p.84).
Pen and ink caricature drawing by William Holman Hunt in letter to John Lucas Tupper, ?3 Sept. 1850, head-and-shoulders, profile to left, with Hunt; coll. Huntington L., San Marino, CA, HM 54531, f.2. Repr. Coombs et al. 1986, pl.3; and Bronkhurst 2006, vol.2, App.A3.
Pencil drawing, 175 x 120mm, by William Michael Rossetti, inscr., head-and-shoulders to right, eyes lowered, long-stemmed pipe in mouth; coll. R.W. Peattie. Repr. Victorian Paintings, Drawings etc, sale cat., Jeremy Maas, London, 1971 (104); and Thirlwell 2003, p.113.
Pencil drawing, 292 x 335mm, by Ford Madox Brown, study for Jesus Washing Peter’s Feet, signed and dated and inscr., head only, profile to right, with sidewhiskers but no beard, bent over to horizontal; Tate, T00571. Exh. The Pre Raphaelites, Tate, 1984 (177); The Pre-Raphaelite Dream, AG of Western Australia, Perth, 2003, Dunedin AG, 2003–4 and Frist Center for Visual Arts, Nashville, 2004 (10); repr. Manson 1920, pl.18; Parris 1984, p.255; Upstone 2003, p.52; and Bennett 2010, vol.1, p.133, no.A57.5 recto.
Compositional study, 171 x 200mm; Tate, N04281. Repr. Bennett 2010, vol.1, p.133, no.A57.6.
Oil on canvas, 1162 x 1317mm, Jesus Washing Peter’s Feet (1851–2, retouched 1856); 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); The Pre-Raphaelites, Tate, London, 1984 (42); repr. Parris 1984, p.100; Bendiner 1998, fig.24; Upstone 2003, p.54; and Bennett 2010, vol.1, p.127, no.A57.
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 drawing on paper, 184 x 114mm, by William Holman Hunt, inscr. clockwise from top left by Stephens, ‘Drawn by Holman Hunt / F.G. Stephens, D.G. Rossetti., / Aspinall, went to / Australia? / Millais’, head (top left of four); coll. Lady Juliet Townsend, 2006. Exh. Victorian Paintings, Drawings & Watercolours, Maas G., London, 1971 (88); ref. Bronkhurst 2006, vol.2, L23; repr. Bronkhurst 1987, vol.1, pl.211.
See also Millais, Rossetti.
Pencil drawing by John Everett Millais; see NPG 2363.
Pencil drawing, 222 x 158mm, by William Michael Rossetti, signed and dated ‘27 July / 53 / WMR’ and inscr. with sitter’s name, head only, half-profile to left, looking down, with large moustaches and side-whiskers; untraced. Repr. Christie’s, 15 Dec. 2010 (12).
Oil on canvas, 760 x 585mm, by William Henry Fisk, head-and-shoulders, half-profile to right, with flowing beard, wearing dark cape; priv. coll., Germany, 2009; offered to NPG 2004. Exh. Tate, 1917–1931; and Peter Nahum, 2005 (21); repr. Manson 1920, pl.5; Sotheby’s, 9 Apr. 1971 (7); Macleod 1986, p.403, fig.12; and Peter Nahum at The Leicester Galleries.
Silverpoint, 276 x 206mm, by Alphonse Legros, signed and dated, head, half-turned to left, beard obscuring mouth and chin; untraced; with sitter’s son, 1928. Repr. Manson 1920, fig.6.
Drawing by Alfred Bryan, whole-length, profile to right, wearing hat, hands clasped, standing in exhibition gallery, catalogue under right arm; untraced. Repr. ‘Aliquis’ 1892, p.196; and De Montfort 2008, p.57.
Photographsback to top
Albumen carte-de-visite probably by Cundall & Downes, whole-length, standing, to front, right hand in trouser pocket, top hat on table alongside; repr. Maas 1984, p.119, no.227 (where photograph credited to the collection of the late Mrs Imogen Dennis).
A second pose, probably from the same sitting, head-and-shoulders, half-profile to left, right hand behind right cheek. Letter from W.M. Rossetti to Stephens, 6 Apr. 1859: ‘I want you to come to Cundall’s and be photographed with me as agreed … on Saturday at 2 p.m.… Cundall will do the negatives for 5/- each and each positive therefrom for 2/6, which is cheap enough’ (MSS Coll., U. of British Columbia; quoted Maas 1984, p.119).
Photographs by Frederick Hollyer, two known poses:
(a) carbon print, 140 x 89mm, three-quarter-length, seated beside window, looking to left, hands clasped, with spectacles and long grey beard, wearing overcoat and holding book under left arm; NMM, Bradford, RPS (2003-5001_2_23844). Repr. Maas 1984, p.179, no.334.
(b) platinum print, 168 x 239mm, sitter’s autograph below print, head-and-shoulders, to left, with spectacles and long grey beard, right hand half-visible at bottom edge of image, white handkerchief in breast pocket; V&A, London, PH.7607-1938
Vignette by Elliott & Fry, head, to right, with long beard, wearing spectacles, soft-crowned hat; engr. repr. MA, 1892, p.222.
Silver bromide print on postcard, by Frederick Hollyer, with Christmas greetings from the Stephenses on the reverse, whole-length, seated beside wife at home in Hammersmith, before mantlepiece and framed works; The Rob Dickins Coll., Watts G., Compton, COMWG2008.375. Repr. Maas 1984, p.178, no.335.
Undated photographsback to top
Carte-de-visite, 102 x 64mm, by David Rees, head-and-shoulders, turned slightly to right, facing front, wearing hat and full beard; The Rob Dickins Coll., Watts G., Compton, COMWG2008.239.
Postcard by unidentified photographer, head-and-shoulders, slightly to left, wearing wide-brimmed hat and long grizzled beard; The Rob Dickins Coll., Watts G., Compton, COMWG2008.374, COMWG2008.377, COMWG2008.378.
Photograph, 108 x 83mm, by unidentified photographer, whole-length, leaning against a stone wall in open moorland, right hand in pocket and left hand holding walking cane; The Rob Dickins Coll., Watts G., Compton, COMWG2008.376.
Photograph by unidentified photographer, half-length, seated to right, in chair outside, writing, with grizzled beard and spectacles; in Silverbeck Album, priv. coll.
Dr Jan Marsh