Later Victorian Portraits Catalogue

Self-portraits
By other artists
Photographs

Self-portraitsback to top

1852
Design for semi-caricature, The Epsom Marbles (a spoof on the Elgin Marbles), profile to left at the start of second frieze of riders; woodblock untraced. Ref. Morris 2005, pp.51–2 (ill.); wood-engr. repr. Punch, 29 May 1852, p.224.

1854
Design for semi-caricature, whole-length, profile to right, with sideburns, still no moustache, drawing figure of Punch on wall; woodblock untraced. Ref. Morris 2005, pp.52–3 (ill.); wood-engr. repr. Punch, vol.27, July–Dec. 1854, half-title page.

1882
Oil on canvas, head-and-shoulders to right in oval; Aberdeen AG, ABDAG003664.

1889
Pen and ink drawing; see NPG 2818. Engr. by J. Swain|mp123705.
Probably the most accurate portrait of Tenniel.

By other artistsback to top

1844
Pencil drawing by unidentified artist; see NPG 2002.

1848
Wood-engr. by unidentified engraver, whole-length to right, standing at extreme left, as ‘Henry Moreland’ in scene from play The Heir at Law, in group of nine figures; repr. ILN, 6 May 1848, p.299; and Morris 2005, p.42 (detail).

exh. 1851
Miniature by Mrs H. Moseley (Maria A. Chalon); untraced. Exh. RA 1851 (967).

1869
Pen and ink caricature drawing by George Du Maurier, inscr. 'settling the big cut / Sept.1 1869', head-and-shoulders, profile to left, in group of five Punch staff at left end of table; New York PL, Digital Gallery ID ps_mss_cd21_310.
See also Du Maurier.

1870
Design by George Du Maurier for the Punch dinner invitation card, head, profile to left, with moustache, trailing sideburns and clay pipe, at right; coll. S. Houfe. Exh. Charles Keene: ‘The Artists’ Artist’, 1823–1891’, Christie’s, London, 1991 (122, not ill.); repr. Spielmann 1895a, pp.69, 128; Ormond 1969, fig.59; McMaster 2008, p.67, fig.8; and McMaster 2009, p.29, fig.15.
See also Du Maurier, Keene.

publ. 1877
Design by Charles Keene for half-title page for Punch, inscr. ‘VOL. SEVENTY THREE.’, Mr Punch toasting the cartoonists Keene, Tenniel, Du Maurier and one other (?Linley Sambourne), seen seated in rear view, Tenniel smoking pipe, second from left; untraced. Repr. Punch, vol.73, 1877, p.1.
See also Du Maurier, Keene.

1878
Watercolour drawing by Leslie Ward (‘Spy’), whole-length, profile to left, with copy of Punch; Whitworth AG, Manchester, D.1952.4.
Chromolithograph by Vincent Brooks, Day & Son repr. Vanity Fair, 26 Oct. 1878, pl.185 (captioned ‘Punch’), facing p.214; copies colls NPG D43873; and MEPL, London, 10052351.

1881
Pen and ink caricature drawing by Harry Furniss, sketched on Punch dinner invitation for 3 or 25 Jan. 1881, three-quarter-length to right, head in profile to right, right hand in pocket; untraced. Repr. Furniss 1901, vol.1, p.218.
See also Du Maurier, Keene, Sambourne.

1882
Watercolour by Thomas Walter Wilson, The Members of the Institute [of Painters in Water-colour] Touching Day 1882, half-length to front, with large moustache, right of centre in group of 88 sitters; untraced. Probably exh. IPWC 1883 (342a); repr. Graphic, 28 Apr. 1883, p.422 (with key, Tenniel no.48); and Christie’s, 9 May 1984, p.1.
See also Boughton, Clausen, Crane, Gregory, Hayes, Herkomer, Hine, Lucas, Parsons, W.L. Thomas, J.W. Waterhouse.

c.1882–3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, head three-quarters to right, visible above the head of the woman reading catalogue in left foreground (no.8 on key); [1] coll. C.J.R. Pope, on long-term loan to Leighton House, London, LH/TL,014. Exh. RA 1883 (163); repr. Gazette des Beaux-Arts, July/Aug. 1958, vol.6, p.87, no.4; Gaunt 1972, nos 144–5; Snow 1975, pp.168–9; Wood 1976, no.215; Bills & Knight 2006, p.70 (whole image), p.129 (detail); and Wood 2006, pp.212–13.
Also repr. by Henry Graves & Co 1885 as photogravure, 588 x 983mm, and as lithograph, 226 x 443mm, with key to the principal figures; BM, London, 1920,0420.193 and 1920,0124.4 respectively.
Oil sketch for this work, 600 x 1140mm, signed and dated ‘W P Frith 1882’; Mercer AG, Harrogate, HARAG 2490, but the portrait of Tenniel is absent.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Langtry, Marks, Millais, Tenniel, Terry.

1883
Oil on canvas by Frank Holl; see NPG 1596.
The most important portrait (but not the best likeness) of Tenniel.
A copy or study after Holl made at the NPG by H. Allan, 1921. Ref. Register of applications to copy portraits, NPG 77/5.

Oil on canvas by Frank Holl, full face, dimensions close to NPG 1596, commissioned by William Agnew at same time as NPG 1596; untraced. (ex coll. Thomas Agnew, sold Christie’s, 16 Jun. 1906 [no details] when purchased Leicester Galleries, London (50 gns)); ref. The Times, 18 Jun. 1906, p.15; and Bills 2013, n.111, p.159.

exh. 1889
Oil on canvas by Edwin A. Ward, three-quarter-length, slightly to right, head to front, leaning against table, with sketching pad; untraced; ref. Reform Club, London, inventory, 1944. Exh. New G., London, 1889 (26, ill. in cat. by pen and ink sketch by Ward, p.12); also repr. Ward 1923, facing p.248; and Reform Review, no.19, Summer 2010, p.12.

1880s–1890s
Pen and ink caricatures by Harry Furniss; see NPG 3525, NPG 3526 and NPG 3527.

Pen, ink and wash caricature by Harry Furniss; see NPG 3612.

publ. 1887
Composite engr. by unidentified artist, after photographs of well-known individuals, A Memento of Her Majesty’s Jubilee Year – 1887, head only, facing front, to right of W. Gladstone in centre; repr. Graphic, 17 Dec. 1887, between pp.672–3 (supplement, double-page pullout), with a key to the figures on p.678.
See also Alma-Tadema, Boehm, Leighton, Millais, Morris, Ruskin, Stanley, Watts.

1891
Pen and ink drawing by (Edward) Linley Sambourne for The Mahogany Tree, signed and dated June 1891, whole-length, head in profile to right, with right arm raised, seated at left with 13 other men around dinner table; untraced, formerly coll. Sir William Agnew. Engr. by Swain repr. Punch, 18 July 1891 (jubilee issue), frontispiece; Spielmann 1895a, frontispiece and p.536; and Ormond 2010, pp.230–31, fig.95; exh. Punch 150 Anniversary Exhibition, RFH, London, 1991 (handlist no.30, not ill.).
See also Agnew, Du Maurier, Furniss, Keene, Sambourne.

?1890s
Caricature by Harry Furniss, whole-length to left, on horseback, wearing bowler hat; untraced. Repr. Furniss 1925, facing p.104.

Caricature by Harry Furniss, whole-length, rear view, standing slightly to left, wearing top hat, with six other figures; untraced. Repr. Furniss 1925, facing p.119 (captioned ‘The First Meet of the Two Pins Club’). The dates of the club were 1891–4.

Pencil drawing by (John) Bernard Partridge, head, full-face, smoking pipe, drawn on back of Punch menu; untraced (?Punch Archive). Repr. Lucas 1932, facing p.175.

Black and white drawing by (Edward) Linley Sambourne; coll. Harold T. Hartley. Exh. Victoria Era Exhibition, London, 1897 (313).

1901
Drawing by Francis Carruthers Gould after Tenniel’s cartoon Dropping the Pilot (repr. unidentified publication, 9 Mar. 1890 and Punch 1914, p.13), whole-length to right, in sailor’s clothes, descending gangplank; untraced. Repr. Fun, 19 Jan. 1901 (captioned ‘Dropping the First Mate’); and Morris 2005, p.94. Issued to mark Tenniel’s retirement from Punch in 1901.

Drawing by (John) Bernard Partridge, half-length, profile to right, Arthur Balfour at right proposing a toast to Tenniel’s health at the banquet in his honour, Hotel Metropole, London, 12 June 1901; untraced. Repr. Punch, 12 June 1901 (sic), p.431 (captioned ‘So Say All of Us!’); and Morris 2005, p.10. See also below, ‘Photographs, 1901’. Remarkably, Partridge’s cartoon was drawn in advance of the occasion it commemorated.

1902
Oil painting by Lance Calkin, three-quarter-length, seated to left, with magazine on knee; untraced. Exh. RA 1902 (447); and RSPP 1931 (90); repr. Morris 2005, p.97 n1 (photo Punch Archives). Commissioned or acquired by Punch.

Photographsback to top

1862
Albumen carte-de-visite by John & Charles Watkins, whole-length, head to left, with sideburns, no moustache, standing, holding hat and riding whip in right hand, classical bust in helmet on table at right; The Rob Dickins Coll., Watts G., Compton, COMWG2008.244. Repr. Maas 1984, p.141.[2]

Albumen carte-de-visite by John & Charles Watkins, different sitting but close in date to item above, two known poses:
(a) whole-length, head three-quarters to left, standing, with statuette of Lorenzo de Medici on table; reg. for copyright 1863 Jan. 15: National Archives (COPY 1/2); NPG x45091.
(b) whole-length, full-face, seated to right, bust of Clytie on table; prints colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.245; and Bristol CMAG, Album of Artists I, Mb7227.

mid-1860s
Albumen carte-de-visite by Elliott & Fry, head-and-shoulders, full-face, eyes to right, with sideburns, no moustache; prints colls NPG Ax17278; and V&A, London, 1706:9/A-1956 and PH.432-1978.

1867
Albumen prints by London Stereoscopic & Photographic Company, The Green Room , 11 May 1867, with Punch staff in cast of charity theatricals, two known poses:
(a) half-length, full-face, looking slightly to right, dressed as a cavalier, standing third from right in back row; prints colls NPG x18489; and V&A, London, S.133:137-2007. Repr. Spielmann 1895a, facing p.132.
(b) as in (a); coll. Watts Soc., copy print NPG SB (Ellen Terry).
The earliest known images of Tenniel with a moustache.
See also: Du Maurier, Terry.

publ. 1867
Albumen print by Ernest Edwards, half-length, seated to front with hands resting on thighs, full whiskers; repr. Reeve & Walford 1863–7, vol.6, June 1867, no.48, p.103. [3]

?late 1860s/early 1870s
Albumen cabinet card by Elliott & Fry, three-quarter-length, head slightly to right, seated with legs crossed, with pencil and sketchpad; prints colls NPG x6399; and NPG Ax14949 and V&A, London, PH.434-1978 (bust-length version). Repr. Review of Reviews 1891, p.120.
A closely related image is the basis for the woodcut by ‘S.T.’ repr. Cartoons from Punch by John Tenniel, London, n.d., frontispiece.
The Elliott & Fry photograph is the best photograph of Tenniel.

Albumen cartes-de-visite by London Stereoscopic and Photographic Company, two known poses:
(a) three-quarter-length, seated to left, with rolled-up umbrella; prints colls NPG x76458; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.2004.
(b) three-quarter-length, standing to right, left elbow resting on pedestal, top hat in right hand; V&A, London, 918-1956.

1888
Two photographs by (Edward) Linley Sambourne, ‘Mr Punch’s Day in the Country’, Punch staff outing to Dorking, 11 July 1888:
(a) inscr. by Sambourne ‘No.1 July Weather 18 11/7 88’, whole-length, profile to right, standing at left of group.
(b) inscr. by Sambourne ‘No.2 Making believe it’s a Summer Day’, whole-length, full-face, standing, mopping brow, at left of group.
?Punch Archive. Both repr. Strand, vol.19, 1900, pp.68–69.
See also Agnew, Furniss.

Photograph by Harry Furniss, ‘Mr Punch’s Day in the Country’, Punch staff outing to Dorking, 11 July 1888, inscr. by Linley Sambourne ‘No.3 July again’, whole-length, profile to right, standing at extreme left; ?Punch Archive. Repr. Strand, vol.19, 1900, p.69.
See also Agnew, Sambourne.

1889
Photograph of the owners and members of the Punch staff on visit to Paris Exhibition, May 1889, head-and-shoulders to left, third from right in bowler hat; repr. Millar 1937, facing p.64; and Ormond 1969, pl.17.

c.1890
Photograph by unidentified photographer, on horseback with (Edward) Linley Sambourne; Linley Sambourne House, Royal Borough of Kensington & Chelsea. Repr. Sambourne 2003, fig.35; and Ormond 2010, p.124, fig.49.

Photograph by unidentified photographer, among eight figures on horseback; repr. Furniss 1925, frontispiece (captioned ‘Meet of the Two Pins Club, Wimbledon’).

publ. 1892
Photographs by Bassano, at least two known poses:
(a) three-quarter-length, full-face, standing with left hand on chairback; MEPL, London, 10052387. Repr. Collingwood 1898, p.128; as halftone, The Year’s Art 1892, facing p.118 (nearly half-length detail); and as wood-engr. by ‘PN’, ILN, 10 June 1893, p.689 (head-and-shoulders detail, marking knighthood).
(b) head-and-shoulders, head turned to left; colls BM, London (ref. O’Donoghue 1908–22, vol.4, p.259 [1]); and MEPL, London, 10052386. Repr. Pudney 1976, p.77.

1895
Photograph (‘with flashlight’) by Henry Van der Weyde, with Punch staff around table, seated at top end between (Edward) Linley Sambourne and F.C. (‘Frank’) Burnand; repr. Spielmann 1895a, facing p.570 (captioned ‘The Staff of Punch at Table, 1895’).
See also Du Maurier, Sambourne.

c.1895–6
Photograph by unidentified photographer, with Punch staff around table, seated between (Edward) Linley Sambourne and F.C. (‘Frank’) Burnand; repr. Cuppleditch 1981, p.70.

1901
Photograph by unidentified photographer, at banquet in his honour at the Hotel Metropole, London, 12 June 1901; priv. coll, USA. Repr. Morris 2005, p.8. See also above, ‘By other artists, 1901’.

early 1900s
Albumen cabinet card by Elliott & Fry, three-quarter-length, full-face, standing; NPG x12993.

c.1909
Silver bromide photographs by unidentified photographer for London News Agency (‘L.N.A. Photo’), at least two known poses:
(a) three-quarter-length, head slightly to left, standing against bookcase, hands in pockets; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1014 (signed and dated ‘1909’, repr. Maas 1984, p.141 and Bills & Webb 2007, no.153).
(b) head-and-shoulders, head to front; repr. London 1907–9, p.56.
These prints show Tenniel with a short white beard as well as moustaches.

c.1914
Photograph by unidentified photographer, half-length to right, head to front (with beard and moustache), arms folded; MEPL, London, 10217789.


Footnotes
1) ‘My dear Frith, Awfully proud to be one of the crowd in your picture. I will sit to you with very great pleasure any Wednesday afternoon you will kindly appoint. Next Wednesday, if you like, at, say, about three o’clock. The accompanying portrait sketch is the only one that has been taken of me at all in the position of you sketch; Mem.: I have cut off those ridiculous whiskers!’ Letter from J. Tenniel to W.P. Frith, 19 Feb. 1882; Wallis 1957, p.229. It is unclear what was the ‘portrait sketch’.
2) ‘I saw one of my portraits in a window yesterday and confess to have felt decidedly the reverse of gratified at finding that it was the one I especially dislike – the one sitting, with the chin on the hand and the head turned round.[…] I shall therefore feel much obliged if you will print from it no more, or better still, cancel the image altogether […] The standing figure with the hat and whip is considered the best.’ Letter from J. Tenniel to J. Watkins, 24 July 1862; Maas 1984, p.141.
3) The sitting may have taken place months before publication; see the photograph of George Scharf by Ernest Edwards, 1866, publ. 1867 (NPG Ax19851).

Carol Blackett-Ord