Later Victorian Portraits Catalogue

Self-portrait
By other artists
Undated portraits
Posthumous portrait
Photographs

Self-portraitback to top

1883
Oil on canvas, head-and-shoulders in oval, slightly to right, head to front, wearing red tie; Aberdeen AG, ABDAG003707.

By other artistsback to top

publ. 1877
Design by Theodore Blake Wirgman for The Three New Associates of the Royal Academy, three-quarter-length to right, head in profile, seated at left examining a drawing; untraced. Repr. as wood-engr., Graphic, 10 Feb. 1877, p.128.

1889
Oil on canvas by Henry Jamyn Brooks; see NPG 1833.

1891
Pen and ink drawing by G. Grenville Manton; see NPG 2820.

Drawing by Leonard Raven-Hill, signed and dated 1891, whole-length, profile to left, seated painting Love at First Sight (exh. RA 1891); untraced. Repr. AJ, 1891, p.154.

publ. 1891
Drawing by Herbert Johnson for Prize Day at the Royal Academy of Arts: A Fair Prize Winner, half-length, head slightly to right, at far left, Philip Richard Morris to his left; untraced. Repr. unknown publication, 12 Dec. 1891; copy Kensington & Chelsea L.
See also Calderon, Horsley, Leighton, P.R. Morris, Wells.

publ.1894
Design by Edward Tennyson Reed, for 'Prehistoric Peeps: Opening of the Primeval Royal Academy', signed, head-and-shoulders facing front in prehistoric dress, at botton right-hand margin of gathering of 'cavemen' Royal Academicians, amongst wall painting exhibits; untraced. Repr. as an engr. Punch, 12 May 1894, p.226
See also Alma-Tadema, Calderon, Ford, Frampton, Gilbert, Gregory, Herkomer, Horsley, Leighton, Lucas, Marks, Millais, Moore, Orchardson, Poynter, Thornycroft.

1911
Pencil sketch 164 x 113mm, by Fred Roe, inscr. ‘Mr Marcus Stone R.A, Whitebait Dinner, May 1 1911, Birthday 4 July’, head-and-shoulders, profile to left; pasted into album next to Royal Academy Club invitation; Fred Roe Albums,vol. I, NPG D43097.

Undated portraitsback to top

Chalks drawing by William H. Cobely, signed lower left ‘W.H. Cobely’, half-length to left, head to front, white hair and moustache, holding palette and three brushes in left hand; untraced; offered to NPG by Royal Borough of Kensington & Chelsea. Photograph NPG SB (Stone).

Pen and ink caricature drawing by Harry Furniss, three-quarter length to left, seated, dressed in evening clothes with a sprig of holly in buttonhole, sketching on a pad; untraced, two modern photoprints coll. Dickens House M., London, 0657 and 0503.

publ.1902
Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, half-length, seated to front, in middle row second 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, Richmond, J.H. Thomas, Thornycroft, J.W. Waterhouse, Watts, Wells, Whistler.

Posthumous portraitback to top

publ. 1923
Pen and ink caricature drawing by Harry Furniss, three-quarter length, profile to left, seated holding a palette and brushes; untraced. Repr. Furniss 1923, facing p.172.

Photographsback to top

c.1855
Photograph by unidentified photographer, oval, half-length, full face, central parting; repr. Baldry 1896a, p.9 (captioned ‘at the age of sixteen’).

1857
Photograph by unidentified photographer, full face, fourth from right in back row of group of 24 figures (the amateur cast of Wilkie Collins’s The Frozen Deep [1856]) in Albert Smith’s garden, North End Lodge, Walham Green, London; prints colls NPG x45067; Dickens House M., London; and Getty Images, 50515739. Repr. Windsor Magazine, Christmas 1934; and Dickens 1970, p.117, no.P29.

c.1857
Photograph by unidentified photographer, three-quarter-length to right, head to front, seated, hands clasped, wispy moustache and beard; formerly Suzannet Charles Dickens Coll. Repr. M. Slater, ed., The Catalogue of the Suzannet Charles Dickens Collection, London, 1975, p.157, no.J.61.
Half-length version; modern photoprint Dickens House M., London, 0502.

c.1861
Photograph by Disdéri, Paris, three-quarter-length, full face, standing, wearing velvet jacket; repr. as a wood-engr., Strand, 1892, p.496 (captioned ‘Age 21’).

1863–5
Albumen cartes-de-visite by Lucas Brothers (Arthur and John Templeton Lucas), in photographers’ studio, two known poses:
(a) 102 x 64mm, whole-length to right, head to front, standing by easel, wearing dark velvet jacket, fob watch and chain, and holding palette and brushes; The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.241.
(b) 93 x 57mm, three-quarter-length, head to left, watch clearly visible; NPG Ax14898.

c.1864
Albumen carte-de-visite, 102 x 64mm, by Maull & Polyblank, whole-length to front, head slightly to left, standing in photographer’s studio, wearing fitted coat, right hand resting on chairback, top hat and walking stick on chair; The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.240; slightly smaller version of the same image (89 x 57mm), NPG Ax14900. Part of a series of cartes-de-visite of British artists, issued by Maull & Polyblank in Apr. 1864; see the announcement in AJ, Apr. 1864, p.123.

c.1865–6
Albumen prints by John & Charles Watkins, two known poses:
(a) head-and-shoulders, almost profile to right, short curly hair, moustache and goatee, wearing a horseshoe tiepin; colls RA, London, 0316/18 and RA, London 03/3702; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.242 and COMWG2008.163.4365. Repr. as wood-engr., Strand, 1892, p.496 (captioned ‘Age 26’); modern photoprint of engr., Dickens House M., London, 0504.
(b) head-and-shoulders, three-quarters to right; Roger Vaughan Coll., album one, repr. Rootsweb

1860s
Albumen carte-de-visite by London Stereoscopic & Photographic Company, head-and-shoulders, full face, right hand raised to face, wearing wide knotted tie; NPG Ax17277. Repr. as wood-engr., MA, 1880, p.85.

c.1871
Photographs by Fratelli Vianelli (Giuseppe & Luigi Vianelli), Venice, two known poses:
(a) half-length to right, head to left, looking to left, seated, right arm placed on richly upholstered armrest; repr. as wood-engr., Strand, 1892, p.496 (captioned ‘Age 31’).
(b) three-quarter-length to right, head to left, eyes lowered, seated, hands clasped on armrest; repr. Ward [1924], facing p.280; and as wood-engr. by ‘TS’ (Thomas Dewell Scott), head-and-shoulders vignette, ILN, 17 Feb. 1877, p.157 (on election ARA).

1870s
Albumen cartes-de-visite by Elliott & Fry, handlebar moustache, wide knotted tie, two known poses:
(a) head-and-shoulders, three quarters to left; RA, London, 04/1944.
(b) head-and-shoulders, slightly to right; modern photoprint of wood-engr., Dickens House M., London, 0505.

publ. 1882
Woodburytype by Lock & Whitfield, head-and-shoulders in oval, head to right; repr. Cooper 1876–83, ser.6, 1882; copies NPG Ax17689; The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.1011 and COMWG2008.163.2163; and V&A, London, X.551.VI.p.33. Repr. as halftone, The Year’s Art 1888, facing p.56; and Dickens 1970, p.94, no.L17.

1883
Photographs by Frank Dudman, in Stone’s studio, 8 Grove End Road, St John’s Wood, London, two known poses:
(a) whole-length to left, head in profile, seated in front of easel, holding palette and brushes; registered for copyright by J.P.Mayall, 1883 Sept. 14: National Archives (COPY 1/365/263); photogravure colls NPG Ax27821; The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.3742; Getty Images, 2642471; and RA, London, 05/466. Repr. Dakers 1999, p.166.
(b) whole-length to left, head three-quarters to front, seated in front of easel, holding palette and brushes; registered for copyright by J.P.Mayall, 1883 Sept. 14: National Archives (COPY 1/365/264).

c.1883
Cabinet card by Alexander Bassano, signed and dated ‘Marcus Stone 1883’, head-and-shoulders to right, almost profile, wearing a striped overcoat; RA, London, 04/1692.
Drawing by unidentified artist after Bassano, vignetted head; untraced. Repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.15 (‘Portraits of the RAs and ARAs’).

publ. 1892
Platinum print by Ralph Winwood Robinson, whole-length three-quarters to left, standing in front of easel in studio, 8 Melbury Road, Kensington, holding palette and brushes; prints colls NPG x7393; and RA, London, 06/1056. Repr. Robinson [1892]; and Maas 1984, p.53.
This is the prime portrait for Marcus Stone.

early 1890s
Photograph by Brown, Barnes & Bell, head-and-shoulders slightly to right, head to front; repr. as wood-engr., Strand, 1892, p.496 (captioned ‘Present Day’).

c.1895
Photograph by Russell & Sons, whole-length to left, head to front, seated in studio, A Sailor’s Sweetheart (exh. RA 1895) on easel, holding palette and brushes; repr. Baldry 1896a, p.27.

publ. 1897
Photograph by London Stereoscopic & Photographic Company; repr. Notables of Britain: portraits of the most eminent subjects of Her Majesty in the 60th year of her Reign (no author, published by Review of Reviews), London 1897, p.184.

publ. 1899
Photograph by James Hyatt, almost whole-length, three-quarters to right, head to front, seated in front of easel, wearing homburg hat, holding palette, maulstick, brushes and rag in left hand; repr. F.G. Kitton, Dickens and his Illustrators, London, 1899, facing p.192; and (head-and-shoulders detail) The Dickensian, 2, 1906, p.263.

c.1899
Cabinet card by Elliott and Fry, signed and dated ‘Marcus Stone 1899’, head-and-shoulders, head to right, wearing bowtie and checked jacket and waistcoat; RA, London, 04/1609.

Publ. 1899
Photograph by George Newnes Ltd, three-quarter-length to left, head to right, seated in studio, holding maulstick and palette in left hand, canvas on easel at left; repr. Strand, Aug. 1899, p.123.

Postcard, 89 x 140mm, by Ernest Herbert Mills for Rotary Photographic Company, half-length to left, head to front, holding palette and brushes in left hand (possible variant of item above); The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.380.

1902
Photographs by Ernest Herbert Mills, two known poses:
(a) Cabinet card 147 x 101mm, by Ernest Herbert Mills, half-length, profile to right, seated in studio, right arm raised with brush, canvas just outside the photograph frame, wearing a checked suit with stiff white collar; prints colls NPG x15586 (signed on card); and V&A, London, 1448-1928.
Commissioned by and publ. Black & White, 22 Mar. 1902, p.409 ( as ‘Pictures for Coronation Year: Famous Painters at Work for the Academy’ and captioned ‘Mr Marcus Stone, R.A., working on his Academy picture’).
(b) half- length, profile to right, seated in studio, right arm raised with brush, wearing a checked suit with stiff white collar;Getty Images, 2630705. Repr. as halftone in NPG SB (Stone).

Postcard, 89 x 140mm, by Ernest Herbert Mills for Rotary Photographic Company, half-length to left, head to front, holding palette and brushes in left hand (possible variant pose of above sitting); The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.380.

c.1904
Postcard by C.W. Faulkner & Co., whole-length to right, seated in studio in front of easel, maulstick in right hand; prints colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.381 (signed and dated ‘1904’ by the sitter) and COMWG2008.163.382 (signed and dated ‘1905’ by the sitter).

Carol Blackett-Ord