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Later Victorian Portraits Catalogue

Dame Ellen Alice Terry (1847-1928), Actress

I. IN PRIVATE CHARACTER
Self portraits
Paintings, drawings, sculptures and prints
Undated portraits
Possible portraits
Doubtful portraits
Posthumous portraits
Photographs
II. IN STAGE CHARACTER (alphabetically by play)

To make sense of so much material, portraits have been divided into two blocks: ‘I. ‘In private character’, listed by medium and in chronological order; and ‘II. In stage character’, listed under title of play, then by medium and in chronological order.

Selected items in the University of Bristol Theatre Collection are included below; the Mander & Mitchenson Collection held at the university, in the process of being catalogued, may yield further likenesses.

There is a fully catalogued collection of Ellen Terry photographs, searchable online, in the Harvard Theatre Collection, Houghton Library, Harvard University. An additional 500 portrait photographs of Terry remain uncatalogued, and have not been consulted.

Partly catalogued (items have not been individually listed) material relating to Terry, including caricatures, postcards, clippings and theatre programmes, can be searched online in the Theatre Biography Collection, Harry Ransom Center, University of Texas at Austin. Several other collections containing Terry material can also be searched using the Center’s Finding Aids.

The Mark Samuels Lasner Collection, on loan to the University of Delaware Library, Newark, DE, has a collection of uncatalogued photographs of Terry, which has not been consulted for this project.


I. IN PRIVATE CHARACTERback to top


Self portraitsback to top


1867
Pen and ink caricature sketches of head in letter to Kate Terry; V&A, London. Repr. Cheshire 1989, p.32; and Holroyd 2008, p.49.

1868
Pen and ink drawing, signed with initials ‘E.W.’ and with attached inscr. ‘Believe me Dear Mr Gillard / Sincerely yours (and gratefully!) / Ellen Terry – (Watts.) / August 21st 1868’, head only, profile to left; Special Colls, Toronto PL.

1886
Pen and ink sketch, signed and dated, head in profile to left beside Henry Irving; Folger Shakespeare L., Washington, DC, Y.d.458 (5). Repr. Auerbach 1987, p.219.


Paintings, drawings, sculptures and printsback to top


1862-3
Oil on canvas, 685 x 890mm, by George Frederic Watts, The Sisters, three-quarter length, profile to left, head resting against shoulder of Kate Terry; Eastnor Castle, Herefordshire. Exh. ?Little Holland House G., London;[1] Theatrical Exh., Dudley House, Park Lane, London, 1933 (221); G.F. Watts: Portraits, NPG, London, 2004 (43); and Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Terry 1908, facing p.54; Loshak 1963, p.478, pl.9; Bryant 2004a, p.131; Gould 2004, p.64, fig.54; and Gould & Gawade 2014, p.18, fig.8.

c.1863-4
Pencil drawing by George Frederic Watts, whole-length to left, bowing, wearing long dress; Watts G., Compton, COMWG2007.213 (unnumbered page in sketchbook). Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.20, fig.10.

1864
Pencil drawing, 165 x 184mm, by George Frederic Watts, half-length, reclining having fallen asleep, head tilted backwards, almost profile to right; priv. coll. Exh. Tate G., London, 1954 (136); G.F. Watts: Portraits, NPG, London, 2004 (45); and Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Bryant 2004a, p.137; Gould 2004, p.66, fig.56, captioned Nellie Asleep; and Gould & Gawade 2014, p.22, fig.12.

Oil on canvas by George Frederic Watts; see NPG 5048.

c.1864
Pencil drawing, 310 x 220mm, by George Frederic Watts, whole-length to left, seated at piano, hands poised above keys; priv. coll. Exh. English Romantic Art, Shepherd G., New York, 2005 (10); and Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Christie’s, 28 Feb. 2007 (26); and Gould & Gawade 2014, p.24, fig.14.

Oil on panel, 660 x 397mm, by George Frederic Watts, Watchman, what of the night?, half-length, almost profile to left, with long flowing hair, wearing armour as figure of the Watchman; NT, Smallhythe Place, Kent, 1117002. Exh. Grosvenor G., London, 1882–3 (57); Royal Jubilee Exh., Manchester, 1887; and Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Loshak 1963, p.481, pl.13; Sotheby’s, 16 Apr. 1986 (15); Auerbach 1987, p.102; Gould 2004, p.65, fig.55 (detail); and Gould & Gawade 2014, p.21, fig.11.
Etching, 265 x 205mm, by Paul Adolphe Rajon after Watts, publ. by Thomas Agnew & Sons 1881; BM, London, 1928,0710.1.

Pencil drawing, 262 x 261mm, by George Frederic Watts, half-length, profile to left, with hands raised to face and long loose hair; Watts G., Compton, COMWG2007.284. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.11, fig.1.

Pencil drawing by George Frederic Watts, head only, almost profile to left, with long flowing hair; untraced, known only by a photograph, 367 x 217mm, taken by Frederick Hollyer, 1860–65); Watts G., Compton, COMWG2007.966. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014.

c.1864-5
Oil on canvas by George Frederic Watts; see NPG 2274.
Preparatory pencil drawing, 110mm diameter, head only, profile to left, chin tilted upwards; priv. coll. Repr. Bryant 2004a, p.138, fig.40.
Oil copy, 610 x 610mm, by Clare Atwood after Watts, dated 1920; RSC Coll., Stratford-upon-Avon, STRPG:A:1993.115
Oil copy, 602 x 600mm, by Clare Atwood after Watts, dated 1928; NT, Smallhythe Place, Kent, 1118215.

1865-89
Oil on canvas, 667 x 540mm, by George Frederic Watts, The Wife of Plutus, nude half-length with head thrown back; NM Liverpool, WAG 2135. Repr. Holroyd 2008, section two, pl.3.

1866
Oil on canvas, 385 x 290mm, by Mary Anne Hall, half-length to right, profile to right surrounded by flowers; U. of Bristol Theatre Coll., TCP/P/000117. Repr. Cheshire 1989, p.25.

c.1866
Watercolour and pencil drawing by Laura Wilson Taylor (née Barker), The Night after the Benefit, half-length, reclining in draped bed with her sister Kate, arm raised over head, fair hair visible; NT, Smallhythe Place, Kent, 1117132.

1870–1900
Pastel drawing by Simeon Solomon, head-and-shoulders, rear view, head twisted almost three-quarters profile to right; NT Smallhythe Place, Kent, 1117229. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.12, fig.3.

c.1870
Pencil sketch by Edward Godwin, inscr. ‘Before’, head-and-shoulders, profile to right, wearing stiff lace collar and curling papers in her hair; coll. David Cheshire, 1989. Repr. Craig 1931, facing p.28; and Cheshire 1989, p.36.

1876
Oil on canvas by Johnston Forbes-Robertson; see NPG 3789.

1879
Pencil drawing, 240 x 165mm, by (Marion Margaret) Violet Manners (née Lindsay), Duchess of Rutland, signed with monogram ‘V.L’ and dated, head-and-shoulders, almost profile to left; Watts G., Compton, COMWG2007.912. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. NACF Review, 1987, p.148; and Gould & Gawade 2014, p.37, fig.25.

Marble bust, 457mm high, by William Brodie, inscr. with artist signature on reverse, head-and-shouders, slightly profile to left; RSC Coll., Stratford-Upon-Avon, STRPG:A:1993.195. Exh. RA 1880 (1571).
Painted plaster version; priv. coll. Ref. NPG SB (Ellen Terry), b/w photo.

c.1870s
Pen and ink sketch, 163 x 94mm, by Jules Bastien-Lepage, signed, head-and-shoulders to left, facing front, framed together with two portraits of Henry Irving; NT, Smallhythe Place, Kent, 1117182.2.

1880
Etching, 470 x 295mm, by Mortimer Menpes, signed and dated in pencil, whole-length, profile to left, standing at podium, wearing long dress; impressions colls BM, London, 1880,0313.24; and Garrick Club, London, P0529; further impressions sold Bonhams, 21 June 2000 (226); and Sotheby’s, 13 Feb. 2002 (212).

1880s-90s
Drypoint, 1202 x 148mm, by Mortimer Menpes, signed and dated in pencil, head-and-shoulders to front, profile to right, wearing hat; priv. coll. Ref. Campbell Fine Art, Tunbridge Wells, Spring 2000 (8, ill.).

Sketches by Mary Miles:
(a) inscr. ‘Yes, I know that I am charming’, head-and-shoulders, profile to left, being interviewed by journalist; coll. David Cheshire, 1989. Repr. Cheshire 1989, p.11.
(b) inscr. ‘Playfully I tossed it out the window’, half-length to right, holding small child before window; coll. David Cheshire, 1989. Repr. Cheshire 1989, p.11.

1881
Oil on canvas, 600 x 498mm, by Edward Matthew Hale, head-and-shoulders facing front, with hair tied back; Russell-Cotes AGM, Bournemouth, BORGM:00966.

Ceramic plate by Jessie Scott-Smith, signed and dated on reverse, decorated with portrait of Terry, head-and-shouders, profile to left, wearing purple dress with lace collar; NT, Smallhythe Place, Kent, 1117121.

Design by ‘B.L’, whole-length to right, seated in foreground, wearing hat, with other personalities in Hyde Park; untraced. Repr. Society, summer number, 1881, captioned ‘Rotten Row June 1881’ (cutting, Garrick Club, London, Fitzgerald Irving scrapbooks, vol.4, p.383).

c.1881
Lithograph after ?drawing by Robert Ponsonby Staples, half-length, profile to left, holding plumed ?fan against face, seated to left-hand edge of composition, visiting Sarah Bernhardt in her dressing room at the Royal English Opera House; priv. coll. Ref. Bridgeman AL, XJF465731.

Design for caricature by unidentified artist (possibly Alfred Bryan), whole-length to left, facing front, standing next to a calf wearing garland round its neck; untraced. Repr. as engr. in unidentified publ. captioned ‘Ellen Terry’s Favourite Calf’ and ‘Never met a Calf I liked so well’ (copy Russell-Cotes AGM, Bournemouth, BORGM:2004.3.36.1, dated in pencil 1881).

publ. 1881
Design by Edward Linley Sambourne for Design for an Aesthetic Theatrical Poster, whole-length as an Aesthetic muse with a teapot, standing to front on steps to classical temple, moonlit scene, group of seventeen figures clustered around in admiration; untraced. Repr. Punch, 7 May 1881, p.215, captioned '“Let us live up to it!”'.
See also S. Bancroft, Irving.

c.1882-3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, half-length, profile to right, standing to the right of Oscar Wilde, beside Henry Irving (no.26 on key); coll. C.J.R. Pope, on long-term loan to Leighton House, LH/TL,014. Exh. RA 1883 (163); repr. Gazette des Beaux-Arts, July/Aug. 1958, vol.6, p.87, no.4; Gaunt 1972, no.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.
See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving, Langtry, Marks, Millais, Tenniel.

publ. 1882
Design for caricature by Alfred Bryan, signed with initials, head only, profile to right, with other theatrical figures; untraced. Publ. Moonshine, 21 Oct. 1882, p.207, captioned ‘Some Persons who do not think themselves like some other persons’ and below image ‘Ellen Terry decidedly will not be taken for Modjeska’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.5, p. 295).

1883
Design by Horace Morehem, Terry appearing 10 times in different roles from her first five seasons at the Lyceum; untraced. Repr. as engr. in unidentified publication (copy Russell-Cotes AGM, Bournemouth, BORGM:2006.20.2.10); and Cheshire 1989, frontispiece

publ. 1883
Design for caricature by unidentified artist, half-length, profile to right, flying to America with Henry Irving while Mary Anderson (Mrs de Navarro) passes them on the way to England, John Bull and Uncle Sam representing the two countries; untraced. Repr. World, 25 Dec. 1883; and Cheshire 1898, p.66.

Design by Alfred Bryan, signed and dated, inscr. under image ‘A sketch in the balcony’, half-length, seated on balcony under palm, on page with montage of other figures including Lawrence Alma-Tadema; untraced. Repr. Illustrated Sporting and Dramatic News, 14 July 1883, captioned ‘July the fourth in St James’s Hall’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.6, p.7).

publ. 1884
Design for portrait chargé by Phil May, signed and dated 1884, whole-length to front, standing, hands clasped together, in foreground next to Henry Irving, at centre of panorama of contemporaries topped by Queen Victoria seated on globe; untraced. Repr. as ‘ink-photo’ process by Sprague & Co. Ltd, London, Society, winter number supplement, 1884, captioned ‘The Seven Ages of Society’ (cutting with key to the 178 sitters attached [Terry no.145] Garrick Club, London, Fitzgerald Irving scrapbooks, vol.6, p.386).

Design for caricature by Alfred Bryan, signed with initials, whole-length, seated on ground in centre, watching scenes at fair with Henry Irving; untraced. Repr. as photolithograph by ‘Dir. Pho. Eng. Co.’, Topical Times, 24 May 1884, supplement, captioned ‘Epsom Downs’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.7, p.16).

Design for caricature by Francis Carruthers Gould, whole-length to left, dressed as a queen (but apparently not in character), with Henry Irving, in procession led by Alfred, Lord Tennyson holding copy of Idylls of the King; untraced. Repr. as photolithograph by ‘Dir. Pho. Eng. Co.’, Truth, 25 Dec. 1884, captioned ‘A Royal Procession’ (copy Garrick Club, London, Fitzgerald Irving scrapbooks, vol.7, p.35).

exh. 1885
Terracotta medallion by George M. Curtice; untraced. Exh. RA 1885 (2117).

c.1885
Bronze medallion by unidentified medallist, lettered ‘MISS ELLEN TERRY’, bust to right (on reverse; obverse, Henry Irving); untraced. Ref. Eimer 1987, no.1721, p.200, where dated c.1885.

c.1885-90
Watercolour drawing, 320 x 274mm, by ‘Hytho’, signed, whole-length, kneeling on the deck of a ship, at the feet of its captain, with Henry Irving; V&A, London, S.924-2012.

publ. 1886
Design for caricature by Alfred Bryan, signed with initials, whole-length to left, profile to left, standing beside Elizabeth (née Rigby), Lady Eastlake; untraced. Repr. as engr. Entr’acte, 13 Mar. 1886, p.9.

Design by unidentified artist, head-and-shoulders, seated on deck, crossing Atlantic, with dog and passengers including Henry Irving; untraced. Repr. The Broken Shaft: Tales in Mid-Ocean (Unwin’s Annual 1886), cover image (copy Garrick Club, London, Fitzgerald Irving scrapbooks, vol.6, p.42).

Design for caricature by unidentified artist, Terry appearing multiple times with other actors (including Henry Irving) aboard a ship; untraced. Repr. Moonshine, 31 June 1888, captioned ‘Off to America’ (copy Russell-Cotes AGM, Bournemouth, BORGM:2004.14.12.24).

1887
Oil on canvas, 335 x 240mm, by William Ewart Lockhart, study for Queen Victoria’s Golden Jubilee Service, Westminster Abbey, 21 June 1887, head-and-shoulders, profile to left, wearing bonnet tied under chin with ribbon; Russell-Cotes AGM, Bournemouth, BORGM:01329.
The subsequent large group portrait by Lockhart, Queen Victoria’s Golden Jubilee Service, Westminster Abbey, 21 June 1887, three-quarter-length, standing to the right of Henry Irving on the balcony; Royal Coll., RCIN 404702.

exh. 1890
Miniature by Janet Connell; untraced. Exh. RA 1892 (1419).

publ. 1890
Design by ‘H J’ [?Herbert Johnson], signed with monogram, whole-length to front, standing behind lectern, wearing plain dress, on stage next to Henry Irving, audience members in foreground; untraced. Repr. Daily Graphic, 5 June 1890, p.9, captioned ‘Mr Henry Irving and Miss Ellen Terry reading “Macbeth” at the Philharmonic Hall, Liverpool’.

1891
Oil on canvas by Walford Graham Robertson, three-quarter-length to right, profile to right, seated in ornately carved chair, with fur wrap draped loosely over shoulders, holding flowers in right hand; untraced. Repr. as an engr. Robertson 1931, p.54.

Oil on canvas, 600 x 495mm, by Walford Graham Robertson, signed, head-and-shoulders, profile to right, holding hands to chest, stem of lilies to right-hand side; U. of Bristol Theatre Coll., TCP/P/000118. Repr. Cheshire 1989, front cover.
A preparatory drawing for the oil; NT, Smallhythe Place, Kent, 1118213. Repr. Auerbach 1987, p.340.
A related pastel drawing, signed with monogram by the artist and by the sitter; untraced. Repr. MA, vol.24, 1900, p.75; Terry 1908, p.349; and Robertson 1931, p.144.

?Oil on board, 325 x 235mm, by Walford Graham Robertson, half-length, profile to right, lips slightly parted, related to the above composition; untraced. Ref. Sotheby’s, 20 Apr. 1968 (109, ill.).

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

publ. 1891
Design by unidentified artist, whole-length, dancing on stage with Henry Irving and other actors; untraced. Repr. Funny Folks, 21 Feb. 1891, captioned ‘She Dances Featly’ (copy Russell-Cotes AGM, Bournemouth, BORGM:2006.14.2.68).

1892
Watercolour sketch, 207 x 266mm, by Alexander Joseph Finberg, signed with initials, inscr. ‘Supper party at the Lyceum / some of the guests’ and labelled with sitters’ names, head-and-shoulders; V&A, London, S.371-2011. Intended for repr. in unidentified publication. Drawing by Thomas Walter Wilson for The Dramatic Profession of Today, signed and dated, whole-length, seated centrally to front, profile right, dressed as Queen Katherine in ‘Henry VIII’ (after photograph by Window & Grove), part of composite multi-figure group; untraced. Engr. By R. Taylor; repr. double-page spread, ILN, 28 Jan. 1893, pp. 166-177 (no. 19 in key, p.188). See also: {Brough?mp00582}, Farren, Forbes Robertson, Hare, Irving, James, Langtry, Toole, Tree, Charles Wyndham, Mary Wyndham.

publ. 1893
Design by W.H. Overend, signed, whole-length, bowing to right, being presented to Queen Victoria, with Henry Irving; untraced. Repr. as wood-engr. by ‘P.N.’, ILN, 25 Mar. 1893, p.353, front cover, captioned ‘“Becket” at Windsor Castle’.

1894
Design for caricature by C. Harrison, signed and dated, half-length to left, wearing dress with voluminous sleeves, with Henry Irving at a fashionable party; untraced. Repr. as engr. by C. Hentschel in unidentified publication, captioned ‘An Evening party’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.11, p.39).

publ. 1894
Design by Herbert Johnson, signed, half-length to right in bottom left-hand corner, amongst numerous sketches depicting theatre actors including Henry Irving and Sarah Bernhardt; untraced. Repr. as engr. Daily Graphic, 19 July 1894, p.8, captioned ‘In aid of the French Hospital: Sketched at the reception by Madame Sarah Bernhardt and Madame Réjan at the Grafton Galleries’.

Design for caricature by Alfred Bryan, signed with initials, three-quarter-length to right, standing, wearing ruffled cap and holding spectacles; untraced. Repr. Entr’acte, 21 Apr. 1894, captioned ‘Miss Ellen Terry: – now I’m a Granny!: – And a Very Charming Granny, too’ (copy Russell-Cotes AGM, Bournemouth, BORGM:2006.10.3.6).

publ. 1896
Design for caricature by ‘RAB’, signed with initials, head-and-shoulders, profile to right, in large social gathering in Hyde Park, saluting Edward, Prince of Wales, with Henry Irving; untraced. Repr. Truth, Christmas Number, 25 Dec. 1896, colour supplement, captioned ‘Motormania!’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.17, p.17).

Design by ‘S.A.H.R’, signed with initials, whole-length to left, standing, wearing dress with large sleeves and hat, presenting a young woman with a prize; untraced. Repr. Daily Graphic, 21 Nov. 1896, p.17, captioned ‘The Theatrical Ladies’ Guild: Miss Ellen Terry distributing the badges at the Annual Meeting’.

1897
Caricature by Horace Morchen, inscr. ‘A Lesson in Deportment’, whole-length, profile to left with arms raised, learning to dance for Madame Sans-Gêne, her dancing partner Norman Forbes to left-hand side; coll. David Cheshire, 1989. Repr. Cheshire 1989, p.8.

Lithograph, 316 x 254mm, by William Rothenstein, half-length, seated, profile to right with left hand supporting face; impressions colls V&A, London, S.396-1980 (signed and inscr. by sitter), S.6038-2009 and S.262-1978; and HRHRC, U. of Texas at Austin, 65.520.4759. Repr. Auerbach 1987, p.228; and Cheshire 1989, p.44.

1898
Wood-engr. with brown wash, 182 x 118mm, by (Edward Henry) Gordon Craig, half-length, fully profile to left, wearing beaded necklace; V&A, London, E.961-1959. Exh. U. of York, 1982; and Space and Light: Edward Gordon Craig, V&A, London 2010–11; repr. The Dome, Dec. 1898; Craig 1899, n.p.; and Cheshire 1989, p.9. This portrait is possibly based on an early photograph reproduced in Craig 1931, p.38.

publ.1898
Caricature by Edward Tennyson Reed, whole-length, curled on the ground as an imaginary creature with long spotted body, oversized head profile right; untraced. Publ. Reed 1898, no.47 (captioned 'The Ellen').

1899
Wood-engr. with hand colouring by Edward Gordon Craig, signed with monogram and dated in plate, and in ink by artist lower right, head only, profile to left, with flower clasps in hair; NT, Smallhythe Place, Kent 1118342.

Wood-engr., 211 x 161mm, by Edward Gordon Craig, signed with initials and inscr. ‘Miss Ellen Terry 1899’, head-and-shoulders, profile to left, wearing hat; repr. Craig 1899, n.p.

publ. 1899
Wood-engr., 214 x 195mm, by Edward Gordon Craig, whole-length to right, profile to left, standing, wearing dress and holding parasol; repr. Craig 1899, n.p., captioned ‘Miss Terry in “London Assurance”, 1865’.

Wood-engr. by Edward Gordon Craig, whole-length to front (only head in detail), slightly profile to right, standing in front of an arched window; repr. Craig 1899, n.p. Ref. Bloomsbury Auctions, 29 Oct. 2009 (553).

?1890s
Pen and ink drawing, 113 x 148mm, by Harry Furniss, inscr. ‘Miss Ellen Terry & her dogs’, whole-length, rear view, bending forwards, profile to right, with two small dogs; M. of London, 56.44/42.

1900
?Pen and ink cartoon by Pamela Colman Smith, multiple sketches in silhouette, illustrating the Lyceum company on tour in Yorkshire; untraced. Repr. in unidentified publication, captioned ‘Sir Henry Irving and Miss Ellen Terry on one of their last provincial tours’; and Cheshire 1989, p.85.

Lithograph by Pamela Colman Smith, signed with monogram, titled 'Portia hurrying to the Railway Station. 1900', whole-length, rear view, wearing hat with feather; impressions Folger Shakespeare L., Washington, DC, ART File T329 no.65 (size XS); and NT, Smallhythe Place, Kent 1118403.3 (partially coloured) and five other copies including 1118261 (mounted with six other head-and-shoulders portraits by Colman of Terry in a variety of roles). Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.77, fig.66 (NT, Smallhythe Place print).

Watercolour with ink and graphite drawing, 240 x 290mm, by Pamela Colman Smith, Kate Pragnell, signed with monogram and inscr. 'She Katie did 'em', Terry appearing in three photographic portraits pinned to the wall behind; NT, Smallhythe Place, 1122457.1. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.73, fig.54.

c.1900
Pencil, watercolour and gouache drawing by Pamela Colman Smith, signed with monogram, three-quarter-length to left, wearing coat with large white collar, muff and hat with buckle, walking beside daughter Edith Craig; NT, Smallhythe Place, Kent 1117185.

Pen and watercolour drawing by Walford Graham Robertson, signed with monogram and inscr. ‘Every Happiness / in / This New Year / To Ellen / Terry / with / love / and Best Wishes / from / Graham’, whole-length, standing to front in long gown surrounded by fairies offering flowers; NT, Smallhythe Place, Kent 1117227.

Pen and ink caricature drawing, 431 x 281mm, by ‘H.M’, signed with initials bottom right, whole-length to left, standing on stage beside Henry Irving, both with oversized heads; V&A, London, S.408-2010.

publ. 1901
Design for portrait chargé by unidentified artist, whole-length, sitting behind desk with figures of Shakespeare and Irving; untraced. Repr. Entr’acte, 26 Feb. 1901, p.8, captioned ‘Shakespeare to Sir Henry Irving … in your hands’.

publ. 1902
Drawing by J.H. Bacon, three-quarter-length to front, standing on left-hand side of composition, with Henry Irving centre, as they greet guests at the Lyceum first night reception and stage supper; coll. David Cheshire, 1989. Repr. Living London, 1902; and Cheshire 1989, p.56.

publ. 1903
Portrait by A.I. Keller, with Clara Morris; untraced. Repr. McClure’s Magazine, vol.22, 1903, p.209.

c.1904
Watercolour drawing by Maud Sturm, head-and-shoulders vignette to front, wearing evening dress and flower garland in hair; Theater Biography Coll., HRHRC, U. of Texas at Austin, ox 854, Bio File Code T4779.52.

?c.1906
Pen and watercolour drawing by Walford Graham Robertson, signed with monogram and inscr. ‘To E.T. from Graham’ and ‘A Happy New Year’, inscr. on reverse ‘A Valentine’, three-quarter-length, seated on neoclassical throne with daffodil fairies in attendance, accompanied with verse from A Winter’s Tale bottom right; NT, Smallhythe Place, Kent, 1117226.

1900s
Pen, ink and watercolour drawing, 222 x 140mm, by L.J. Binns, signed, whole-length to right, standing, profile to right, wearing dress with high neck, holding monocle on chain pinned to breast; Billy Rose Theatre Division, New York PL, 182386.

1910
Engraved caricature by S. Daynes, signed and dated on mount, whole-length to front, standing beside Henry Irving in group of famous actors and actresses; NT, Smallhythe Place, Kent, 111837.

1913
Plaster medallion relief by Margaret Winser, dated on obverse ‘Ellen Terry September MCMXIII’, head-and-shoulders, profile to left; NT, Smallhythe Place, Kent, 1118530.

Pencil drawing by C.J. Becker; RSC Coll., Stratford-upon-Avon. Ref. Booth 2004.

1914
Oil on canvas, 1130 x 1510mm, by (John) Byam Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, whole-length to front, standing in costume, centre foreground, next to Henry Irving, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London. Exh. RA 1914 (536); Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Centre for British Art, New Haven, 2013 (55, ill. with key [no.40]); repr. Sketch, 6 May 1914, p.133.
The full-size act drop was destroyed.
See also Alexander, Alma-Tadema, Anderson, M.E. Bancroft, S. Bancroft, Campbell, Farren, Forbes-Robertson, Hare, Irving, Leighton, Leno, Millais, Tree, Waller, Watts, Whistler, C. Wyndham.

1919
Oil on canvas, 594 x 493mm, by Clare Atwood, The Terrace Outside the Priest’s House, signed and dated bottom left, whole-length to left, seated at bottom-right corner, wearing wide-brimmed hat and grey gown, with four other figures; NT, Smallhythe Place, Kent, 1118216.

1920
Oil on canvas, 1524 x 1828, by Clare Atwood, Christmas Day in London Bridge Young Men’s Christian Association Canteen, half-length, almost profile to right, wearing cap, at centre of group composition, helping to serve the Christmas meal; IWM, London, IWMART3062.
A black-and-white chalk study for Terry’s portrait by Atwood; NT, Smallhythe Place, Kent 1117163.

?Watercolour sketch by Marguerite Steen, signed and inscr. ‘E.T & her Bag!’, three-quarter-length to front, standing, clutching handbag and leaning on walking stick, during an appearance at the Everyman Theatre, Hampstead, Dec. 1920 to speak the prologue to a nativity play; U. of Bristol Theatre Coll., TCP/P/000091. Repr. Cheshire 1989, p.107.

?c.1920
Coloured woodcut by Pamela Colman Smith, inscr. in Terry’s hand ‘Sunday. The Farm, Smallhythe / Tenterden, Kent / Dear Mrs Robertson. I am hoping that / Graham is coming round nicely, for then I / know you will all have a Merry / Xmas. With affectionate greeting / Ellen Terry’, three-quarter-length to left, seated, wearing red checked dress and wide-brimmed hat, with figures parading before her; NT, Smallhythe Place, Kent, 1118372.

1923
Oil on canvas by Walford Graham Robertson; see NPG 3132.

Watercolour drawing, 261 x 183mm, by Marguerite Steen, whole-length to left, standing on roof of Burleigh Mansions (cityscape in background), wearing long grey cloak, hair fastened in knot at side of head; V&A, London, S.383-1985.

Chalk drawing by Cyril Roberts; see NPG 3662.
A smaller version, 286 x 216mm; Garrick Club, London, G0954.

1926
Oil on canvas, 597 x 496mm, by Clare Atwood, half-length to front, arms folded, wearing scarf over head and shoulders, aged 79; NT, Smallhythe Place, Kent, 1118212.


Undated portraitsback to top


Pencil and watercolour drawing, 257 x 177mm, by Hercules Brabazon Brabazon, signed with initials, whole-length, profile to left, standing, in costume; untraced. Ref. Sotheby’s, 29 Oct. 1981 (18, ill.).

Design by Alfred Bryan, signed with initials, head only, profile to left, inside an open locket; untraced. Repr. in unidentified publication, captioned ‘The Call Boy’s Girls. No.1 – Miss Ellen Terry’ (copy Russell-Cotes AGM, Bournemouth, BORGM:2004.11.70.1).

Oil on canvas, 610 x 483mm, by Lowes Cato Dickinson, head-and-shoulders to front, facing front, wearing scarlet cape and black hat; untraced. Ref. Sotheby’s, 21 Feb. 1969 (73, ill.).

Design for caricature by Phil May, whole-length to front, standing, wearing evening clothes, taking a bow on stage with Henry Irving; untraced. Repr. as cabinet card by Hegger; copies colls Billy Rose Theatre Coll., New York PL, 555510; and Getty Images 3329498.

Pen and ink drawing by Walford Graham Robertson, inscr. ‘The Audley Arms sounds rather hilarious. Will your party be anything like … but no, I suppose not’, whole-length to front, seated at bar, facing Robertson, with barman in attendance; NT, Smallhythe Place, Kent, 1117233.

Oil on ?canvas, 546 x 368mm, by ‘M.M’, signed with initials bottom right, head-and-shoulders, almost profile to right, with hair loosely tied back; untraced. Ref. NPG SB (Ellen Terry).

Watercolour miniature by unidentified artist, head-and-shoulders to front, with 10 mica discs depicting different costumes which can be superimposed over the portrait, all in green damask-covered circular box; NT, Smallhythe Place, Kent, 1118100.

Design by unidentified artist, head-and-shoulders, profile to right, sitting opposite Henry Irving, seen through window of a train carriage marked ‘Sandringham’ above the window; untraced. Repr. Entr’acte, details not known, captioned ‘On their way to Norfolk’ (copy Russell-Cotes AGM, Bournemouth, T8.5.2008.12.2).

Transfer print on miniature porcelain ewer, 76 x 50mm, printed under base ‘ANGLO-HERALDIC CO. / ROTARY PHOTO’, head-and-shoulders in oval cartouche, almost profile to left against red background; Garrick Club, London, B0175. Possibly exh. Victorian Era Exhibition (Music & Drama Section), London, 1897 (575).


Possible portraitsback to top


c.1864
Oil on panel, 510 x 285mm, by George Frederic Watts, Knight and Maiden, whole-length to left, profile to left, standing with hand on breastplate of male figure; priv. coll. Ref. Sotheby’s, 10 May 2012 (13). Repr. Loshak 1963, p.482, fig.18.

?Oil on canvas, 450 x 350mm, by George Frederic Watts, Paolo and Francesca, three-quarter-length, profile to right with long flowing hair, as Francesca da Rimini embracing Paolo; coll. David Loshak, 1963. Repr. Loshak 1963, p.482, fig.19.[2] This is an early version of the subject, of which Watts painted four.

Sanguine and chalk drawing, 320 x 289mm, by George Frederic Watts, head only, profile to right, glancing upwards; Watts G., Compton, COMWG2007.697. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.28, fig.18.

Five pencil figure studies, 220 x 310mm, by George Frederic Watts, believed to be portraits of Ellen Terry, whole-length, draped, in a variety of poses; untraced. Exh. Tate G., London, 1954 (137); and Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; ref. Sotheby’s, 3 June 1998 (195, ill.); repr. Gould & Gawade 2014, p.36, fig.24.

c.1870–74
Oil on canvas laid on board by Arthur Hughes, 400 x 251mm, The Enchantress, signed, three-quarter-length, rear view, head twisted to front; priv.coll. Ref. Sotheby’s, London, 9 Dec. 1977 (49) and Christie's, London, 12 Jun. 2001 (1).[3]

1876
Watercolour drawing, 215 x 165mm, by George Frederic Watts, signed with initials ‘G.F.W’ and dated, head-and-shoulders, profile to right, wearing stiff lace collar with hair up; priv. coll. Ref. Sotheby’s, 5 Apr. 2001 (224, ill.).

1880
Etching, 225 x 173mm, by Anna Lea Merritt, Ophelia, signed and dated in plate, head-and-shoulders, almost profile to left, with flowing hair, holding a bunch of flowers; impressions BM, London, 1912,0612.508 and 2006,U.743.

1893
Watercolour drawing, 220 x 150mm, by Lex de Renault, signed and dated, head only, profile to left; V&A, London, S.326-1997.

late 19th century
Stained-glass roundel in the manner of William Morris & Co., head-and-shoulders, rear view, profile to left; untraced. Repr. Country Life, 8 Dec. 1983, p.1717.


Doubtful portraitsback to top


1860
Oil on panel, 368 x 292mm, by George Frederick Watts, signed with initials and dated, head-and-shoulders, profile to right, with right hand clutching hanging curtain; untraced. Ref. Sotheby’s, 22 Nov. 1967 (108, ill.).[4]

c.1863
Chalk and pencil drawing, attributed to George Frederic Watts, head-and-shoulders vignette, almost profile to right (supposedly showing Terry aged 16); untraced. Ref. Criterion Auctioneers, London, 2 Apr. 2016 (128).

unknown date
Pastel drawing by unidentified artist, three-quarter-length, profile to right, standing wearing blue dress with fur-trimmed cloak over shoulders; priv. coll. Ref. NPG NoS (Ellen Terry). The sitter does not particularly resemble Terry and the style of dress looks early 20th century, when Terry would have been older than the apparent age of the sitter.


Posthumous portraitsback to top


1928
Pencil sketches by Clare Atwood, showing Terry on her deathbed:
(a) signed and dated ‘E.T / 10a.m / 21st July / 1928 / Clare Atwood’, half-length, reclining, face in profile, hands folded across chest; NT, Smallhythe Place, Kent, 1117164.1.
(b) as above, head only; NT, Smallhythe Place, Kent, 1117164.2.

Plaster mould (death mask) by Margaret Winser, taken 22 July 1928 (the day after Terry’s death); NT, Smallhythe Place, Kent, 1118529.
Three plaster casts taken from mould above by Winser:
(a) (hollow); see NPG 3657.
(b) (hollow); NT, Smallhythe Place, Kent, 1118505.
(c) (hollow); RSC Coll., Stratford-upon-Avon, STRPG:M:2010.1.
Two further casts:
(d) (solid); NT, Smallhythe Place, Kent, 1118536.1.
(e) (solid); NT, Smallhythe Place, Kent, 1118536.2.

Plaster casts of Terry’s hands probably taken from mould made by Margaret Winser at the same time as the death mask above, three known copies:
(a) NT, Smallhythe Place, Kent, 1118535.1.
(b) NT, Smallhythe Place, Kent, 1118535.2.
(c) RSC Coll., Stratford-upon-Avon, STRPG:M:2010.2. Ref. The Times, 10 May 1933: ‘The death-mask and the cast of the hands of Ellen Terry will be presented to the Shakespeare Memorial Theatre at Stratford-on-Avon [sic] on Monday afternoon’.

exh. 1929
Plaster bust by Margaret Winser, executed from memory, half-length, profile to right looking down, hands clasped to front, wearing patterned shawl, in old age; NT, Smallhythe Place, Kent, 1118512. Exh. RA 1929 (1578).

1933
Pencil sketch by Mortimer Menpes, on headed note paper from his home Iris Court in Pangbourne, with a letter from the artist to ‘Sir John’, dated 15 Dec. 1933, half-length to left, profile to left, wearing long-sleeved dress with high collar, as c.1880s; NT, Smallhythe Place, Kent, 1117232.

1936
Tinted plaster medallion, 180mm, by Albert Toft, dated, head-and-shoulders, profile to left, wearing earring with drop-jewel; Leeds AG, LEEAG.2003.0024.


Photographsback to top


c.1856
Photograph, 87 x 55mm, by Miss Bond, Southsea, half-length to front, seated, profile to right, aged 7; V&A, London, S.133:147-2007. Repr. Strand, vol.1, 1891, p.44, as ‘aged 8’; and Cheshire 1989, p.14.

c.late 1850s
Wet calotype, 223 x 65mm, by Martin Larouche, whole-length to front, in medieval costume, standing on stage beside Kate Terry, with two others; Garrick Club, London, Larouche album, no.18.
An important early photograph of Terry.

c.1861
Photographs by Horatio Nelson King, three known poses:
(a) carte-de-visite, 92 x 57mm, half-length vignette, shoulders to right, facing front, hand to chest; V&A, London, S.133:150-2007.
(b) full-length to right, facing front, seated, hands clasped on small table; V&A, London, S.133:180-2007.
(c) as in pose (b), three-quarter-length, hands posed as though arranging flowers in vase; V&A, London, S.133:182-2007. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Whyte 1898, between pp.118-119; Graphic, 21 Apr. 1906, p.500; and Gould & Gawade 2014, p.49, fig.53 (NT, Smallhythe Place print).
bromide postcard print 86 x 138mm, 'A Souvenir of England's Greatest Actress', publ. Rapid Photo Co 1906, uses the above as central image of Terry (surrounded by three photographs from other stages of her life); NPG x196911.

1863
Photographs by Horatio Nelson King, two known poses:
(a) carte-de-visite, 94 x 58mm, whole-length to right, facing front, standing wearing full-skirted dress and hat with feather; V&A, London, S.133:167-2007.
(b) whole-length to left, facing front, standing, dressed as in pose (a) but with hat in hands; V&A, London, S.133:169-2007.

c.1863
Photographs by Adolphe Beau, two known poses:
(a) carte-de-visite, 72 x 50mm, half-length to right, head turned almost profile to left, wearing dark dress with wide sleeves, holding hand to collar; V&A, London, S.133:154-2007.
(b) half-length vignette, hands not visible; V&A, London, S.133:156-2007.
(c) as in pose (a), hands holding string of pearls; V&A, London, S.133:159-2007.

Photographs by the Southwell Brothers, two known poses:
(a) carte-de-visite, 88 x 57mm, whole-length to front, standing, left hand on hip, wearing same dress as above; V&A, London, S.133:155-2007.
(b) whole-length to left, almost profile to left, right hand at chest; V&A, London, S.133:157-2007.

1864
Albumen silver print, 254 x 216mm, by Julia Margaret Cameron, The South West Wind, head-and-shoulders, slightly profile to left, looking to front, with flowing hair; Met., New York, 41.21.19. Repr. Auerbach 1987, p.98; Bryant 2004a, p.138, fig.41; and Gould & Gawade 2014, p.55, fig.39.

Cabinet card, 137 x 96mm, by Julia Margaret Cameron, Sadness, half-length, almost profile to left, leaning against wall with patterned wallpaper, playing with string of beads around neck; V&A, London, S.133:183-2007. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014 (NT, Smallhythe Place print); repr. Terry 1908, p.60; Gould 2004, p.72, fig.61; West 2009, p.200, fig.10.7 (NT, Smallhythe Place print); and Gould & Gawade 2014, p.50, fig.36 and front cover.
Watercolour and pencil drawing on ?paper, 229mm diameter, by Duncan Grant after item above; untraced. Ref. Christie’s, London, 7 Dec. 2006 (6).

Photographs by Elliot & Fry, head-and-shoulders vignettes, five known poses:
(a) carte-de-visite, 88 x 58mm, profile to right, wearing fur coat and hat with feather; V&A, London, S.133:192-2007.
(b) head turned to front; V&A, London, S.133:196-2007.
(c) as in pose (a); V&A, London, S.133:198-2007. Repr. Cheshire 1989, p.29, captioned ‘Ellen in her going-away outfit’.
(d) profile to left, without fur collar and bareheaded; V&A, London, S.133:194-2007.
(e) head turned to front, dressed as in pose (d); V&A, London, S.133:200-2007.

Photograph by Charles Lutwidge Dodgson (Lewis Carroll), three-quarter-length to front, seated, with Florence Terry; priv coll. Repr. Cheshire 1989, p.31.

c.1864
Albumen print, 242 x 190mm, by Julia Margaret Cameron, half-length to front, hand clutching long beads strung around neck; ref. Sotheby’s, London, 1 Aug. 1972 (322, ill. as ‘?Medora’).

Albumen print, 235 x 190mm, by Julia Margaret Cameron, half-length to left, profile to left, hands clasped and held to front; ref. Sotheby’s, London, 17 May 2005 (65, ill.). Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.16, fig.16 (priv. coll.).

Carte-de-visite, 92 x 57mm, by Horatio Nelson King, whole-length to left, facing front, standing behind chair, wearing dress with full skirt; V&A, London, S.133:152-2007.

Carte-de-visite, oval format, 91 x 56mm, by unidentified photographer, head-and-shoulders to right, profile to right, wearing dark dress with hair in bun; V&A, London, S.133:174-2007.

Carte-de-visite, 90 x 58mm, by Henry Rigge, whole-length to left, seated wearing dress with voluminous skirt and sleeves, clutching string of beads at neck; V&A, London, S.133:153-2007.

Carte-de-visite, 78 x 58mm, by Adolphe Beau, head-and-shoulders vignette, slightly profile to right with hair let down, hand held to neck; prints V&A, London, S.133:160-2007 and S.133:184-2007 (not vignetted).

reg. 1864
Two photographs by Julia Margaret Cameron, Opera Box, reg. for copyright 1864 June 30: National Archives [images not attached]:
(a) one hand to necklace and one across waist, with Mr Neil; priv. coll. Repr. Gould & Gawade 2014, p.32, fig.21.
(b) with youth with hand to chin.

1865
Photograph, oval format, by Charles Lutwidge Dodgson (Lewis Carroll), half-length to left, standing, facing front, hand on hip, in wedding dress designed by William Holman Hunt; Gernsheim Coll., HRHRC, U. of Texas at Austin. Repr. Cheshire 1989, p.31; Gould 2004, p.76; and Gould & Gawade 2014, p.51, fig.37.

Photograph by Charles Lutwidge Dodgson (Lewis Carroll), three-quarter-length to right, standing against open door leading to garden in Kentish Town home, looking down and clasping hands to front; untraced.

Photograph by Charles Lutwidge Dodgson (Lewis Carroll), three-quarter-length to right, standing with her family on the verandah of their house in Kentish Town, 14 July 1865; repr. Cheshire 1989, p.118.

c.1865
Photograph by Charles Lutwidge Dodgson (Lewis Carroll), three-quarter-length to left, standing with her mother; untraced.

1867
Albumen prints by the London Stereoscopic & Photographic Co, The Green Room, 11 May 1867, with Punch staff in cast of charity theatricals, two known poses:
(a) whole-length to right, seated on chair in front row, to left of cross-legged George Du Maurier; prints colls NPG x18489; and V&A, London, S.133:137-2007. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014 (NPG print); repr. Spielmann 1895a, p.132; Ormond 1969, pl.7 (see pp.196–8 for details of performances); and Gould & Gawade 2014, p.52, fig.38.
(b) as (a), head angled slightly further downwards, chin resting on hand; coll. Watts Society, copy print NPG SB (Ellen Terry).
See also Du Maurier, Tenniel.

1868
Photographs by Bertall & Co (Albert d’Arnoux), Paris, three known poses:
(a) carte-de-visite, 86 x 54mm, three-quarter-length to right, profile to right, standing with elbows resting on high desk, wearing striped shirt; V&A, London, S.133:193-2007.
(b) head turned to front, arms flat on desk; V&A, London, S.133:199-2007.
(c) whole-length to right, facing front, wearing jacket over dress, standing with Marie Casella; V&A, London, S.133:195-2007.

1872
Photographs by (George) Herbert Watkins and (Octavius) Charles Watkins, five known poses:
(a) carte-de-visite, 93 x 58mm, half-length to right, profile to right, seated with arms leaning on desk, smiling, with hair in high bun and wearing a number of beaded necklaces; V&A, London, S.133:187-2007. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014 (NT, Smallhythe Place print); repr. Gould & Gawade 2014, p.56, fig.40.
(b) facing front, profile to right, arms folded; V&A, London, S.133:188-2007.
(c) facing front, looking to front; V&A, London, S,133:189-2007. Repr. Cheshire 1989, p.35.
(d) as in pose (a), elbows resting on desk, head resting on hands; V&A, London, S.133:190-2007.
(e) facing front, looking to right; V&A, London, S.133:191-2007.

Carte-de-visite, 92 x 58mm, by London Stereoscopic & Photographic Company, whole-length to left, almost profile to left, kneeling on upholstered chair, holding string of pearls at neck, wearing spotted gown with dark trim; V&A, London, S.133:197-2007.

Photograph by unidentified photographer, possibly from same session as above, dressed as above but whole-length to left, standing outside in garden, holding hat in hand; NT, Smallhythe Place, Kent, Repr. Melville 2006, p.56.

c. early 1870s
Carte-de-visite, 92 x 59mm, by Adolphe Beau, head-and-shoulders to right, profile to right, seen in mirror reflection in double portrait with Kate Terry; V&A, London S.133:19-2007. Repr. Whyte 1898, between pp.118-119.

Carte-de-visite, 90 x 57mm, by London Stereoscopic & Photographic Company, half-length to left, profile to left, leaning forwards on upholstered chair, wearing fur coat; V&A, London, S.133:202-2007.

Cabinet card by Fradelle & Marshall, half-length to left, almost profile to left, leaning forwards on upholstered chair, holding open fan and wearing dress with bustle; NT, Smallhythe Place, Kent, NT/SMA/PH/2282.

c. mid-1870s
Photographs by London Stereoscopic & Photographic Company, three known poses:
(a) carte-de-visite, 89 x 58mm, three-quarter-length to front, seated in front of studio background of coastal scene, keel of boat and fishing net to left, wearing summer dress; V&A, London, S.133:201-2007.
(b) head only vignette, profile to right; V&A, London, S.133:211-2007.
(c) as in pose (a), whole-length, profile to left; V&A, London, S.133:212-2007.

Cabinet card, 139 x 103mm, probably by Samuel Alexander Walker, three-quarter-length to left, profile to right, seated in domestic interior, wearing summer dress and hat with feather; V&A, London, S.133:237-2007.

Cabinet card, 140 x 104mm, probably by Samuel Alexander Walker, three-quarter-length to front, almost profile to right, standing with left hand on hip, wearing dark dress with lace collar; V&A, London, S.133:353-2007.

Carte-de-visite, 84 x 54mm, by unidentified photographer, head-and-shoulders to right, facing front, resting head in hand; V&A, London, S.133:358-2007.

c.1875
Carte-de-visite by unidentified photographer, half-length to front, slightly profile to right, wearing dress with lace collar, frowning; NT, Smallhythe Place, Kent, NT/SMA/B/21.

Carte-de-visite, 81 x 52mm, by Lock & Whitfield, half-length to left, facing front, with elbow bent and hand at chin; V&A, London, S.133:221-2007.
Composite woodburytype, 202 x 236mm, using the above image, Ladies of the London Stage, sixth from left, second row; publ. 1875; NPG x135885; repr. Gould & Gawade 2014, p.58, fig.42.
See also M.E. Bancroft, Farren.

1876
Woodburytypes by Window & Grove, five known poses:
(a) 90 x 58mm, half-length to right, facing front, leaning on back of upholstered chair, shawl wrapped around shoulders and lace tied at neck; NPG Ax7600, NPG Ax45744 (publ. Hardwick & Bogue, 1879), x26812 and x26813; and V&A, London, S.133:219-2007.
(b) half-length to front, looking left, elbows on chairback, dressed as in pose (a) without shawl or lace; V&A, London, S.133:203-2007.
(c) whole-length to right, facing front, leaning on plinth, one hand holding posy; V&A, London, S.133:209-2007. Repr. Strand, vol.1, 1891, p.44, captioned ‘aged 28’.
(d) as in pose (b); V&A, London, S:133:213-2007.
(e) half-length to left, looking left, leaning on ?high desk, basket of flowers in hands; V&A, London, S:133:215-2007.

c.1878
Photographs by Samuel Alexander Walker, five known poses:
(a) cabinet card, 147 x 103mm, three-quarter-length to left, profile to left, seated sideways on upright chair; V&A, London, S.133:322-2007.
(b) albumen cabinet card, reclining on sofa, reading; V&A, London, S.133:323-2007; and NT, Smallhythe Place. Repr. Calloway & Orr 2011, p.207, fig.180.
(c) three-quarter-length to front, right arm leaning on table, book in right hand, left hand on knee; NT, Smallhythe Place, 1119894. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.16, fig.44.
(d) albumen cabinet card, three-quarter-length to right, profile to right looking upwards, standing, both hands resting on mantlepiece; NT, Smallhythe Place, 1119895. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.16, fig.43
(e)–(f) two further poses, reg. for copyright 1879 Dec. 12: National Archives [images not attached].

Photograph, possibly by Samuel Alexander Walker from session above, head-and-shoulders to front, almost profile to right, with short hair, shawl wrapped around shoulders; repr. as engr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.5, p.260).

1879
Photographs by London Stereoscopic & Photographic Company, two known poses:
(a) cabinet card, 147 x 100mm, half-length to left, seated, wearing heavy coat, gloves, muff and hat; V&A, London, S.133:302-2007; and NPG x197168 (albumen carte-de-visite, cropped).
(b) profile to left; V&A, London S.133:303-2007.

Cabinet card, oval format, 144 x 103mm, by London Stereoscopic & Photographic Company, head-and-shoulders vignette, profile to right; V&A, London, S.133:324-2007.

c. late 1870s
Photographs by John Edwards three known poses:
(a) cabinet card, 143 x 103mm, three-quarter-length to front, seated with hands clasped, wearing dark dress with brooch at neck; V&A, London, S.133:262-2007.
(b) three-quarter-length to right, wearing hat and scarf at neck; V&A, London S.133:261-2007.
(c) head-and-shoulders vignette, profile to right, dressed as in pose (b); V&A, London, S.133:291-2007.

Cabinet card, 146 x 99mm, by London Stereoscopic & Photographic Company, half-length to front, seated, wearing dress with brooch at neck, shawl and hat; V&A, London, S.133:259-2007.

Photograph by Robert White Thrupp, Birmingham, half-length to front, slightly profile to left, wearing high collar; Billy Rose Theatre Coll., New York PL, 555482.

Photographs by Samuel Alexander Walker, three known poses:
(a) cabinet card, 141 x 104mm, three-quarter-length to front, standing with hands on hips, wearing Japanese-style dress; V&A, London, S.133:418-2007. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.65, fig.48 (NT, Smallhythe Place print).
(b) half-length to front, almost profile to right, dressed as in pose (a), open fan held to head with right hand; Garrick Club, London, Ellen Terry album 1, no.74.
(c) three-quarter-length to front, standing, open fan in right hand, left hand on hip; Garrick Club, London, Photograph Box A.

1870s
Cabinet card by London Stereoscopic & Photographic Company, half-length to left, facing front, seated, wearing light-coloured patterned dress and shawl and hat with ribbon; Billy Rose Theatre Coll., New York PL, 555507.

1880
Photographs by Alexander Bassano, eleven known poses:
(a) vintage print, 150 x 107mm, half-length to right, three-quarter profile to right, seated, wearing long coat, gloves and hat with pom-poms, with scarf tied at neck and decorated with flowers; NPG x85758.
(b) vintage print, 150 x 107mm, as in pose (a), fully profile to right; NPG x85759.
(c) half-plate glass negative (not printed), head-and-shoulders, almost profile to right; NPG x96390.
(d) woodburytype, 114 x 91mm, same image as pose (c) but cropped to head and top of shoulders only; NPG x26806 and NPG Ax9277 (carbon print, publ. St James’s Photographic Co). Repr. as engr. for the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906 (copy U. of Bristol Theatre Coll., TCW/M/000037); and Cheshire 1989, p.100.
(e) vintage print, 150 x 107mm, three-quarter-length to right, almost profile to right, seated, without hat; NPG x85760.
(f) half-plate glass negative (not printed), three-quarter-length to right, rear view, profile to right, standing; NPG x96389.
(g) half-plate glass negative (not printed), whole-length to right, almost profile to right, seated in large wicker chair reading book; NPG x96391.
(h) head-and-shoulders to front; V&A, London, S.133:360-2007.
(i) head-and-shoulders to right, facing front; V&A, London, S.133:391-2007.
(j) whole-length to front, standing behind foot of curved banister, hat in right hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2315.
(k) whole-length to front, standing, right hand on hip, left holding long cane; repr. Terry 1908, p.173.

reg. 1880
Photograph by Lock & Whitfield, head-and-shoulders only, three-quarter face, eyes raised, wearing hat and cloak, showing dress on one side; reg. for copyright 1880 Jan. 23: National Archives.

c.1880
Photographs by Window & Grove, two known poses:
(a) cabinet card, 143 x 101mm, half-length vignette to front, seated, wearing enveloping shawl and hat with feather; V&A, London, S.133:420-2007.
(b) turning to right; V&A, London, S.133:421-2007; and NT, Smallhythe Place, Kent. Repr. Manvell 1968, fig.17a; and Melville 2006, p.108.

1881
Carte-de-visite, 90 x 59mm, by Robert White Thrupp, Birmingham, half-length to front, leaning against furniture, right hand supporting head, with short hair and wearing casual woollen sweater; V&A, London, S.133:207-2007. Repr. Cheshire 1989, p.13.

1883
Albumen cabinet card, 142 x 102mm, by Hayman Seleg Mendelssohn, head-and-shoulders, slightly profile to right, left hand raised to face, wearing large beaded necklace and string of pearls, and rings on fingers; NPG Ax5571 and V&A, London, S.133:354-2007.
Red chalk and pencil drawing after item above, 559 x 381mm, by Albert Edward Sterner, signed, with sitter name in decorative border beneath; ref. Phillips, New York, 11 Oct. 1979 (198, ill.).

reg. 1883
Photographs by Window & Grove, two known poses:
(a) cabinet card, 146 x 103mm, half-length vignette to right, facing front, seated on chair, holding ?canvas at angle on lap; reg. for copyright 1883 Aug. 20: National Archives (COPY 1/365/141); V&A, London, S.133:415-2007.
(b) half-length vignette, facing front, eyes looking right, seated at desk leaning forwards on elbows; Garrick Club, Ellen Terry album 1, no.82.

1884
Photographs by Elliott & Fry, three known poses:
(a) chlorobromide print, 278 x 211mm, half-length to front, standing against patterned wallpaper, hands clasped to front, wearing high-necked dress and coat; NPG x127489, NPG x26802 (bromide print, 148 x 108mm), and NPG x82219 (glass negative); and V&A, London, S.133:419-2007.
(b) half-length to front, almost profile to right, hand crossed and held to chest; Garrick Club, London, Ellen Terry album 2, no.23.
(c) three-quarter-length to right, seated looking down at small open notebook in lap, pen/pencil in right hand; Garrick Club, London, Ellen Terry album 1, no.81.

Photographs by Elliott & Fry, three known poses:
(a) albumen cabinet card, 148 x 105mm, three-quarter-length to front, standing against wall with arms outstretched, in dark dress with ribbon tied at waist, wearing gloves and holding fan; NPG x26375.
(b) glass plate negative, three-quarter-length to front, profile to left, seated with hands resting upon arms of chair; NPG x82220.
(c) head-and-shoulders vignette to left, wearing hat; V&A, London, S.133:449-2007.

Photograph by Miss K. Dunham, head-and-shoulders to front, seated at desk in her study at 33 Longridge Road, Earl’s Court, London; NT, Smallhythe Place, Kent, 1119945. Repr. Terry 1908, p.369; and Melville 2006, p.125.

Photograph probably by K. Dunham from the session above, dressed as above, head-and-shoulders to front, slightly profile to right; HRHRC, U. of Texas at Austin. Repr. Auerbach 1987, p.68.

c.1884
Photographs by Benjamin J. Falk, New York, two known poses:
(a) three-quarter-length to front, standing, wearing dress and hat as in 1884 albumen cabinet card by Elliott & Fry above; The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL, 99386.
(b) head-and-shoulders vignette to front, profile to right; Billy Rose Theatre Coll., New York PL, 555478.

1885
Photograph by unidentified photographer, half-length, seated on deck of SS Arizona, with Henry Irving and Edward Gordon Craig in group, returning from America; repr. Holroyd 2008, section one, pl.27.

?early 1880s
Photographs by Herbert Rose Barraud, two known poses:
(a) half-length to front, seated with left elbow propped on ledge, wearing dark dress with lace collar and cuffs; V&A, London, S.133:285-2007.
(b) half-length to left, facing front; Garrick Club, London, Ellen Terry album 1, no.58.
Composite photographic image (albumen print), 140 x 100mm, based on (a), and including photograph of Henry Irving and theatrical scenes; Garrick Club, London, Lyceum vol.I, p.29.

Photographs by Henry Van der Weyde, two known poses:
(a) cabinet card, 142 x 10mm, head-and-shoulders vignette, almost profile to right with chin tilted upwards, wearing spotted dress with lace at neck; V&A, London, S.133:408-2007.
(b) facing front; V&A, London, S.133:409-2007.

Photographs by James Notman, three known poses:
(a) cabinet card, 140 x 100mm, whole-length to left, almost profile to left, seated in domestic interior, wearing lace dress, left arm outstretched over pot of flowers on table; V&A, London, S.133:450-2007.
(b) as in pose (a), facing front, right arm resting on chairback; prints Garrick Club, London, Ellen Terry album 1, no.119; and Harvard Theatre Coll., TCS 2, Box 427.
(c) albumen cabinet card, 166 x 190mm, as in pose (a), three-quarter-length, standing to front, facing front with left hand resting on table; NPG x197395.

Photographs by Window & Grove, five known poses:
(a) cabinet card, 144 x 106mm, head-and-shoulders vignette, profile to left, wearing necklace with cross pendant; V&A, London, S.133:421-2007.
(b) profile to right, dressed as in pose (a) but cross not visible; V&A, London, S.133:351-2007.
(c) as in pose (a), cross not visible; Garrick Club, London, Ellen Terry album 1, no.90.
(d) as in pose (a), cross not visible; Garrick Club, London, Ellen Terry album 1, nos.93.
(e) facing front, looking to right, dressed as in pose (a) but cross not visible; Billy Rose Theatre Coll., New York PL, 55546. Repr. Bancroft 1939, p.75.

1886
Photograph by Henry Herschel Hay Cameron, head-and-shoulders to front, slightly profile to right, wearing hat with plume of feathers and scarf at neck; repr. Terry 1908, p.260.

Photographs by Frederick Hollyer, four known poses:
(a) platinotype cabinet card, 103 x 150mm, quarter-length to right, almost profile to right, leaning forwards and reading from book, wearing dress with lace collar; NPG x16968; and V&A, London, 7861-1938.
(b) as in pose (a), sharing the book with unidentified young woman; V&A, London, 7863-1938.
(c) half-length to right, profile to right, standing, resting hands on picture frame; V&A, London, 7864-1938.
(d) half-length to right, almost profile to right, looking down, left hand on shoulder of seatd young woman; V&A, London, S.133:527-2007.

1888
Photographs by Frederick Hollyer, with her children Edith and Edward Gordon Craig, four known poses:
(a) platinum print, 154 x 103mm, three-quarter-length to front, seated; V&A, London, 7862-1938.
(b) three-quarter-length, standing, looking downwards at object in right hand; V&A, London, 7865-1938.
(c) half-length, profile to right, seated, arms crossed; repr. Cheshire 1989, p.73.
(d) half-length, profile to right, seated, clasping hands to chest; NT, Smallhythe Place, Kent, 1121196. Repr. Holroyd 2008, section one, pl.8.

publ. 1888
Photographs by Herbert Rose Barraud, four known poses:
(a) carbon print, 247 x 178mm, half-length to front, almost profile to right, seated against decorative oriental screen, wearing dark dress; NPG x26815, NPG x26801 (cropped version, albumen cabinet card, 140 x 103mm) and NPG Ax5411. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. MWD, vol.1, 1888, p.29; and Gould & Gawade 2014, p.15, fig.5 (NT, Smallhythe Place print).
(b) carte-de-visite, 91 x 55mm, half-length, with hands on hips, standing in front of grandfather clock; NPG x26814.
(c) as in pose (b), three-quarter-length, looking to right, hands behind; V&A, London, S.133:488-2007.
(d) half-length, almost profile to left; V&A, London, S.133:489-2007.

1889
Vintage bromide postcard print, 132 x 87mm, by Window & Grove, whole-length to front, wearing dark dress, seated on set of steps flanked by two attentive Jack Russell dogs; NPG x17049. Repr. Bancroft 1939, p.73; and Gould & Gawade 2014, p.62, fig.45.

publ. 1889
Photographs by Walery [Stanislas Julian, Count Ostrorog], two known poses:
(a) carbon print mounted on card, 245 x 181mm, three-quarter-length to left, profile to left, seated in high-backed chair, reading from book, outer garment loose at waist; publ. Sampson Low & Co; NPG x9172 (signed on mount by sitter), NPG x26816 (woodburytype, 248 x 177mm) and NPG Ax9171; and V&A, London, S.133:508-2007 (cropped version).
(b) half-length to front, slightly profile to left, standing, dressed as in pose (a) but with outer garment tucked in at waist; Garrick Club, London, Ellen Terry album 2, no.120.

reg. 1889
Cabinet card, 144 x 102mm, by Hayman Seleg Mendelssohn, head-and-shoulders, profile to right, looking upwards, wearing blouse gathered in ruff at neck; reg. for copyright 1889 Apr. 9: NPG Archives; V&A, London, S.133:451-2007.

Cabinet card, 163 x 109mm, by Hayman Seleg Mendelssohn, possibly from session above, dressed as above, half-length to left, slightly profile to left, standing; Garrick Club, London, Ellen Terry album 1, no.121 and ET Photographs Box.

Three further poses by Mendelssohn from the session above, reg. for copyright 1889 Apr. 9: National Archives (COPY 1/396/80; COPY 1/396/81; COPY 1/396/83).

Cabinet card, 163 x 109mm, by Hayman Seleg Mendelssohn, three-quarter-length to front, standing with left hand on hip, wearing dark dress with beaded bodice and sleeves; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.14 S Small Box; and Garrick Club, London, Ellen Terry album 1, no.122.

Five further poses by Mendelssohn from the session above, reg. for copyright 1889 Apr. 9: National Archives (COPY 1/396/75; COPY 1/396/76; COPY 1/396/78; COPY 1/396/77; COPY 1/396/74).

c.1889
Cabinet card, 163 x 109mm, by Walery [Stanislas Julian, Count Ostrorog], head-and-shoulders to front, profile to left, wearing dress with ruched bodice; Garrick Club, London, Ellen Terry album 1, no.123.

Photographs by London Stereoscopic & Photographic Company, two known poses:
(a) whole-length to front, facing front, standing in studio setting, wearing dark evening dress with elbow-length gloves; NT, Smallhythe Place, Kent, NT/SMA/PH/2343.
(b) three-quarter-length to right, profile to left, standing behind chair; NT, Smallhythe Place, Kent, NT/SMA/PH/2344.

Photograph by unidentified photographer, half-length to right, seated in the drawing room at Barkston Gardens, Earl’s Court, with her son Edward and three others (one possibly daughter Edith?); NT, Smallhythe Place, Kent, NT/SMA/PH/2328.

Photograph by unidentified photographer, probably from the session above; untraced, known from a photocopy of ‘4 photographs of 22 Barkston Gardens’, NT, Smallhythe Place, Kent, 1119419 (images 1 and 2).

1880s
Photographs by Oliver François Xavier Sarony, New York, seven known poses:
(a) whole-length to left, facing front, seated in leather-backed chair, wearing light-coloured dress and hat; Billy Rose Theatre Coll., New York PL, 555515. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.57, fig.41 (NT, Smallhythe Place print).
(b) albumen cabinet card 164 x 107mm, half-length, seated to front, hands crossed on lap; NPG x197396
(c) three-quarter-length to front, looking up to right, standing, right hand on chairback, left hand on hip; Billy Rose Theatre Coll., New York PL, 555509.
(d) three-quarter-length to front, facing front, leaning back on chair, left hand holding open fan; Billy Rose Theatre Coll., New York PL, 555517.
(e) half-length, rear view, head turned to look left, seated on chair; Billy Rose Theatre Coll., New York PL, 555474.
(f) as in pose (d), body turned to front, left hand on hip; Billy Rose Theatre Coll., New York PL, 555472.
(g) whole-length to left, facing front, standing, arms crossed at waist; repr. Kellogg 1913, p.284.
Pencil drawing, 216 x 165mm, by G. Bentham probably after pose (c) above (or after unidentified pose from same session), signed by arist and sitter, head-and-shoulders facing front, wearing hat; Folger Shakespeare L., Washington, DC, ART Box B476 no.1 (size L).

Photographs by Oliver François Xavier Sarony, New York, six known poses:
(a) albumen cabinet card, 164 x 107mm, half-length to right, seated, wearing lace shawl and long gloves, with beads at neck and holding closed fan on lap; NPG x197412; and Billy Rose Theatre Coll., New York PL, 1038091 (cabinet card).
(b) as in pose (a), further to right, fan resting in right hand; Billy Rose Theatre Coll., New York PL, 1038094.
(c) head-and-shoulders vignette to front, profile to right, dressed as in pose (a) with fur-collared overgarment; Billy Rose Theatre Coll., New York PL, 555473.
(d) half-length to right, dressed as in pose (a); V&A, London, S.133:333-2007.
(e) head only to front, dressed as in pose (c); V&A, London, S.133:334-2007.
(f) three-quarter-length to right, almost profile to right, smiling, seated, both hands in lap holding fan; Garrick Club, London, Ellen Terry album 1, no.75.
Design by Frank Russell Green after pose (f) or another unidentified, head-and-shoulders; untraced. Repr. in the souvenir programme for The Merchant of Venice, Haverly Theatre, Chicago, Jan. 1885, front cover (copies Henneke L. of Performing Arts, U. of Tulsa; and Garrick Club London, Fitzgerald Irving scrapbooks, vol.6, p.201); and Auerbach 1987, p.192.

Albumen cabinet card, 147 x 100m, by London Stereoscopic & Photographic Company, three-quarter-length to left, profile to left, standing in studio, wearing dark dress and holding skirt with right hand; NPG x26803; and V&A, London S.133:220-2007 (cropped version).

Photographs by Benjamin J. Falk, 949 Broadway, New York, two known poses:
(a) cabinet card, 125 x 95mm, head-and-shoulders vignette, facing front, wearing patterned scarf around neck and also wrapped around head; V&A, London S.133:463-2007.
(b) head-and-shoulders to right; Billy Rose Theatre Coll., New York PL, 555485.

Photographs by Bartlett F. Kenney, Boston, two known poses:
(a) carte-de-visite, 90 x 56mm, half-length to left, profile to left, seated in high-backed chair, wearing dress with lace collar; V&A, London, S.133:432-2007.
(b) three-quarter-length, head bowed, both hands holding flower; repr. Cassell’s Magazine, 1903, p.133.

Photographs by Maclure, Macdonald & Co, three known poses:
(a) cabinet card, 153 x 99mm, half-length to left, seated, upper body twisted to front, facing front with hand held to chin; V&A, London, S.133:425-2007.
(b) half-length to front, head resting on left hand; V&A, London, S.133:509-2007.
(c) half-length to left, profile to left, hands raised to chest; Billy Rose Theatre Coll., New York PL, 555508.

Photographs by W. & D. Downey, three known poses:
(a) cabinet card, 141 x 101mm, head-and-shoulders, rear view, fully profile to right, wearing fur-trimmed coat; V&A, London, S.133:510-2007.
(b) head-and-shoulders vignette to front; Billy Rose Theatre Coll., New York PL, 555460 (misidentified on photograph as Helena Modjeska).
(c) half-length to front, facing front; Garrick Club, London, ET Photographs Box.

Photographs by Window & Grove, two known poses:
(a) head-and-shoulders vignette, facing front, wearing fur-trimmed coat and hat with veil; Garrick Club, London, Lyceum vol. I, p.1.
(b) as (a), slightly profile to right, looking to right; repr. ‘Illustrated Interviews’, Strand, vol.4, 1892, p.491.

Photographs by unidentified photographer, three known poses:
(a) cabinet card, 142 x 105mm, half-length to front, seated, leaning against chairback on which rests open book, wearing two thin chains at neck; V&A, London, S.133:517-2007.
(b) almost profile to right, right elbow resting on chairback, right hand supporting head; Garrick Club, London, Ellen Terry album 2, no.22.
(c) slightly profile to right, closed fan in right hand and resting against shoulder; NT, Smallhythe Place, Kent, NT/SMA/PH/2308.

Photographs by London Stereoscopic & Photographic Company, four known poses:
(a) carte-de-visite, 90 x 58mm, half-length to front, slightly profile to left, seated with arm resting on the back of upholstered couch and hand under chin; V&A, London, S.133:430-2007.
(b) head only, almost profile to right; V&A, London, S.133:431-2007.
(c) half-length to front, looking left, resting on arms; V&A, London, S.133:433-2007.
(d) half-length to left, profile to left, hand held to hair; V&A, London, S.133:434-2007.
Drawing by unidentified artist after (a) above, showing more of couch and closed fan in right hand; lithograph by Vincent Brooks, Day & Son repr. Piccadilly Portraits; ref. MEPL, London, 10088605.

Cabinet card, by W. & D. Downey, half-length to front, almost profile to right, hands clasped to front, wearing necklace with pendant on single chain; Garrick Club, London, Ellen Terry album 1, no.17.

Photographs by London Stereoscopic & Photographic Company, three known poses:
(a) carte-de-visite, 89 x 59mm, half-length to front, looking to right, left hand raised to chest, wearing pince-nez; V&A, London, S.133:356-2007.
(b) half-length to right, leaning over open book on desk; V&A, London, S.133:436-2007.
(c) three-quarter-length to front, slightly profile to right, leaning on chairback, holding chain of pince-nez in right hand; postcard publ. H.J. Smith, Brighton; NT, Smallhythe Place, Kent, NT/SMA/PH/2303.

c.1880s-90s
Photograph by Audrey Campbell, whole-length to front, seated against large tree trunk, with Henry Irving, Mr and Mrs Alfred Austin and two others; repr. St John n.d., p.54.

Photographs by Elliott & Fry, two known poses:
(a) cabinet card, 167 x 109mm, half-length to right, wearing coat, hat and gloves, beside Edith Craig; Garrick Club, London, ET Photographs Box.
(b) head-and-shoulders vignette, profile to left; NT, Smallhythe Place, Kent, NT/SMA/PH/2351.

Carte-de-visite, 89 x 56mm, by unidentified photographer, three-quarter-length to left, wearing hat, standing beside Henry Irving in America; V&A, London, S.145:98-2007.

1890
Photograph by unidentified photographer, whole-length to front, standing outside terraced cottages with a small child and two woman wearing aprons; NT, Smallhythe Place, Kent, NT/SMA/PH/2339 (dated 1890 on print).

publ. 1892
Photograph by Elliot & Fry, at ‘Tower Cottage’, her home in Winchelsea, Sussex, head-and-shoulders to front, seated at open window; repr. as engr. ‘Illustrated Interviews’, Strand, vol.4, 1892, p.488.

publ. 1893
Photograph by unidentified photographer, head only, wearing hat with feather, sticking her head through ?porthole; repr. as engr. Graphic, 14 Oct. 1893, p.468, captioned ‘The Lyceum Company’s trip to America: a snap-shot photograph of Miss Ellen Terry on board the “Nemudian”’.

publ. 1895
Photograph by John Chancellor, Dublin, head-and-shoulders, slightly profile to left, looking up, wearing striped cape; repr. as photogravure by André & Sleigh, Sketch, 16 Jan. 1895, front cover (specially taken for publication); also (with white neck tie added) as engr. by Swain in unidentified publication, ref. MEPL, London, 10090639.
Advertisement based on photograph, ‘I use Koko for the Hair’ (cutting, U. of Bristol Theatre Coll.); repr. Cheshire 1989, p.81.

Photographs by Window & Grove, three known poses:
(a) carbon print, 120 x 89mm, head-and-shoulders, facing front, wearing large embroidered lace collar; NPG Ax28875. Repr. The Theatre, vol.25, Jan.–June 1895.
(b) matt hand-coloured bromide postcard print, 137 x 87mm, publ. The Rotophot Postcard, head-and-shoulders vignette slightly to right, slightly profile to right; NPG x160594.
(c) three-quarter-length to front, seated, holding posy in lap; Billy Rose Theatre Coll., New York PL, 555476.

1895-6
Cabinet card, 137 x 96mm, by The Notman Photographic Company, Boston, three-quarter-length, standing to front beside Edith Craig wearing fur coat and hat; V&A, London, S.133:511-2007.

c.1895-6
Cabinet card by James Notman, Boston, half-length to front, hands clasped at waist, wearing fur-trimmed coat and gloves with hat; Billy Rose Theatre Coll., New York PL, 555518.

Cabinet card, 163 x 109mm, by James Notman, Boston, probably from session above, half-length to front, hands clasped at waist, wearing same hat and gloves and light-coloured cape with woolly trim; Garrick Club, London, Ellen Terry album 1, no.118.

reg. 1897
Photograph by Alfred Ellis, half-length to front, seated, wearing striped dress with lace collar, with two strings of pearls around neck; NPG x197952 (postcard print, 140 x 89mm, publ. Charles William Faulkner & Co); and V&A, London, S.133:525-2007 (cabinet card, 146 x 103mm).

Eight photographs by Alfred Ellis, probably from session above, reg. for copyright 1897 June 25: National Archives (COPY 1/430/673; COPY 1/430/674; COPY 1/430/668; COPY 1/430/676; COPY 1/430/671; COPY 1/430/670; COPY 1/430/669; and COPY 1/430/675).

Photographs by Herbert E. Freeman, Wendover, three known poses:
(a) three-quarter-length to left, profile to left, seated in high-backed chair, wearing hat with veil and holding book; Garrick Club, London, Ellen Terry album 1, no.21; reg. for copyright 1897 Sept. 14: National Archives (COPY 1/432/53).
(b) head-and-shoulders vignette, profile to left; NT, Smallhythe Place, Kent, NT/SMA/PH/2361.
(c) three-quarter-length vignette to right, facing front, right elbow resting on chairback, right hand held to cheek; NT, Smallhythe Place, Kent, NT/SMA/PH/2363.

Two photographs by Herbert E. Freeman, probably from session above, with ‘Morris Esqr’, reg. for copyright 1897 Sept. 14: National Archives (COPY 1/432/57 and COPY 1/432/55).

1898
Photograph by Alfred Ellis & Walery, in the green room at the St James’s Theatre, three-quarter-length to right, seated; repr. E. Terry, ‘The Green-Room’, in Windsor Magazine, 1905, p.75, captioned ‘Matinee tea in the green-room at the St James’s, during the run of Mr. George Alexander’s production of “Much Ado About Nothing”’.

Photographs by T. & R. Annan & Sons, Glasgow, four known poses:
(a) postcard print, 71 x 81mm, publ. Rotary Photographic Company Ltd, head-and-shoulders to front, seated, smiling, holding up flower; coll. Caroline Blomfield.
(b) postcard print, 135 x 43mm, half-length to right, facing front; coll. Caroline Blomfield. Repr. Terry 1908, p.368.
(c) inscr. by sitter ‘?Merely Mary Ann – “The missus” – 1899’, three-quarter-length to front, standing next to unidentified woman, both holding large book open to front; NT, Smallhythe Place, Kent, 1119169.
(d) half-length to left, profile to left, seated in chair, holding flowers in right hand; repr. Terry 1908 (US ed., New York).

1899
Photographs by T. & R. Annan & Sons, Glasgow, two known poses:
(a) cabinet card, 145 x 101mm, publ. Rotary Photographic Company Ltd, three-quarter-length to left, facing front, standing behind chair of Lady A. Egerton; V&A, London, S.133:526-2007.
(b) seated to left, facing front; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.12 S Small Box.

c.1899
Photographs by unidentified photographer, two known poses:
(a) whole-length to front, standing before painted studio backdrop, behind Aimee Lowther (perched on tall stool); NT, Smallhythe Place, Kent, NT/SMA/PH/2337.
(b) head-and-shoulders vignette to front; NT, Smallhythe Place, Kent, NT/SMA/PH/2338.
Watercolour drawing, 111 x 14mm oval, by ‘M.M’ after pose (b), signed in monogram bottom right (in frame engr. ‘1899’), head-and-shoulders to front beside Lowther; V&A, London, S.397-1980.

1890s
Photograph by Langfier Ltd., head-and-shoulders vignette, profile to right, wearing pendant on single chain, and lace garment draped round shoulders; {NPG x197926mw253872} (bromide postcard print, publ. by Rotary Photographic Company Ltd, early 1900s); and x197927 (photogravure postcard print, publ. by E. Wrench early 1900s)
Cabinet card, vignetted version; Garrick Club, London, Ellen Terry album 1, no.20.

Photograph (circular format mounted on card) by Herbert Rose Barraud, half-length vignette, almost profile to left, seated behind desk leaning forwards, holding flowers in both hands; NT, Smallhythe Place, Kent, NT/SMA/PH/2381.

Photographs by ?Audrey Campbell, at Tower Cottage, Winchelsea, two known poses:
(a) whole-length, rear view, standing outside open window, looking in; repr. St John n.d., p.18.
(b) whole-length to front, profile to left, standing next to ‘Joe Evans’; NT, Smallhythe Place, Kent, NT/SMA/PH/2352.

Photograph by unidentified photographer, possibly from session above, half-length vignette to left, holding baby, ivied wall in background; NT, Smallhythe Place, Kent, NT/SMA/PH/2355.

Photographs by E. Williams, Highgate and Hawkhurst, at her house in Hawkhurst, Sussex, two known poses:
(a) whole-length to left, seated in horse and trap with unidentified woman and dogs, outside front entrance (two children in upstairs window); NT, Smallhythe Place, Kent, Repr. Melville 2006, p.145.
(b) head-and-shoulders profile to right, leaning on sill of open upstairs window of house beside unidentified woman; NT Smallhythe Place, Kent, 1119972.

Photographs by unidentified photographer, two known poses:
(a) bromide postcard print, publ. Rotary Photographic Company Ltd, half-length to left, seated, wearing dress with large sleeves and frilly trim; NPG x197951 (140 x 89mm); and Caroline Blomfield (140 x 86mm).
(b) three-quarter-length to left, slightly profile to left, seated; repr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.15, p.65).
Pen and ink drawing, 235 x 132mm, by ‘P.M.’ after one of the poses above, signed with initials bottom left, half-length, seated to right in chair holding bouquet of flowers in left hand; NPG D6649.

Cabinet card, 145 x 106mm, by unidentified photographer, head-and-shoulders, facing front, wearing fur hat with large scarf tied in bow around neck; V&A, London, S.133:471-2007.

Cabinet card, 144 x 99mm, by Henry Van der Weyde, head-and-shoulders vignette to front, almost profile to right, looking down, head covered by scarf, clutching hand to chest; V&A, London, S.133:455-2007.

Cabinet card, 144 x 97mm, by G.W. Bradshaw, head-and-shoulders vignette, rear view, head twisted, profile to right; V&A, London, S.133:504-2007.

1900
Photographs by Walter Lee Ablett, on board SS Menominee, May 1900, two known poses:
(a) with Henry Irving and W.L. Ablett, almost profile; reg. for copyright 1900 May 31: National Archives (COPY 1/446/329 [image not attached]).
(b) reg. for copyright 1900 May 31: National Archives (COPY 1/446/330 [image not attached]).

1901
Photographs by (Walter William) Guy Hughes for Histed & Co., two known poses:
(a) half-length to left, facing front, seated with arms resting on chairback, hair gathered up, wearing lace over garment; repr. as photogravure, 185 x 128mm, by Art Photogravure Co. Ltd; NPG x26819.
(b) bromide postcard print 135 x 88mm, dressed as above, half-length, seated to left, profile left, arms straight out to rest on lap; NPG x197934.

Photograph by unidentified photographer, whole-length to front, walking away from carriage on street, wrapped up against the cold; NT, Smallhythe Place, Kent, 1120009. Repr. Melville 1987, p.183, captioned ‘Ellen hurrying to rehearsal in Philadelphia, during her tour of America in 1901’.

Photograph by Audrey Campbell, after returning from her last USA tour in 1901, whole-length to left, facing front, standing at gate of Vine Cottage, her country home in Kingston Vale, with another unidentified woman standing halfway up garden path; NT, Smallhythe Place, Kent, 1119420 (and 1119421-23). Repr. Pemberton 1902, p.112.

Photographs by unidentified photographer, inside Vine Cottage, two known poses:
(a) whole-length to left, face turned away from camera, seated in wicker armchair, unidentified woman seated to left; NT, Smallhythe Place, Kent 1120015.
(b) as in pose (a) but facing front, alone; NT, Smallhythe Place, Kent, 1120014.

c.1901
Photographs by Window & Grove, five known poses:
(a) postcard print, 136 x 85mm, half-length facing front, wearing fur hat and coat with fur trim, holding dog; NT, Smallhythe Place, Kent, NT/SMA/PH/2434.
(b) three-quarter-length to right, seated, dog on lap; NT, Smallhythe Place, Kent, NT/SMA/PH/2435.
(c) three-quarter-length to left, profile to left, dog seated to her left; NT, Smallhythe Place, Kent, NT/SMA/PH/2440.
(d) half-length to left, profile to left, seated, no dog; NT, Smallhythe Place, Kent, NT/SMA/PH/2439.
(e) half-length to front, profile to right, seated with hands loosely folded on lap, no dog; NT, Smallhythe Place, Kent, NT/SMA/PH/2438.

Photographs, probably by Window & Grove from session above, three known poses:
(a) carte de visite, 95 x 67mm, half-length to left, facing front, seated, with hair in bun, holding same dog; V&A, London, S.133:438-2007.
For bust-length reverse pose, see NPG x197935 (hand coloured bromide postcard print, 136 x 88mm, publ. Rotary Photographic Company Ltd)
(b) whole-length to left, profile to left, seated, dog on lap; NT, Smallhythe Place, Kent, ET/K631.
(c) as in pose (b) but three-quarter-length and in slightly different position; NT, Smallhythe Place, Kent, ET/K633.

Photographs by Window & Grove, two known poses:
(a) postcard print, 138 x 87mm, publ. D.F. & Co., York, half-length to right, seated, wearing hat with elaborate black trim; coll. Caroline Blomfield.
(b) half-length, shoulders to front, slightly profile to right; NT, Smallhythe Place, Kent, NT/SMA/PH/2539.

1902
Photograph by unidentified photographer, on board the SS Minneapolis, 22 Mar. 1902, whole-length to front, standing, with ‘E.G.S.’; NT, Smallhythe Place, Kent, 1120017.

Photographs by unidentified photographer, at Niagara, USA, two known poses:
(a) three-quarter-length, facing front, seated in sleigh with Miss Richardson, Miss Ivan and Miss Davis; NT, Smallhythe Place, Kent, 1120011.
(b) three-quarter-length to left, facing front, seated in sleigh with one of the women; NT, Smallhythe Place, Kent, 1120012.

Photograph by unidentified photographer, at Stratford-upon-Avon, whole-length facing front, seated to left in carriage with Edith Craig; NT, Smallhythe Place, Kent, 1120016.

Photographs by unidentified photographer, outside Anne Hathaway’s Cottage, Stratford-upon-Avon, two known poses:
(a) 58 x 89mm, whole-length to right, profile to right, seated in doorway, with three other women; Folger Shakespeare L., Washington, DC, ART File T329 no.71 PHOTO (size XS).
(b) 58 x 89mm, whole-length to front, standing in doorway, with another woman; Folger Shakespeare L., Washington, DC, ART File T329 no.72 PHOTO (size XS).

publ. 1902
Photograph by T. & R. Annan & Sons, Glasgow, three-quarter-length to left, facing front, seated in chair, wearing embroidered oriental robe, open book resting on lap; repr. Sketch, 26 Nov. 1902, captioned ‘An excellent street lady’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.6, p.97).

c.1902
Photographs by Lafayette (Lafayette Ltd), publ. Rapid Photo Co, three known poses:
(a) postcard print, 121 x 82mm, signed by sitter, half-length to front, almost profile to left, seated, wearing high-necked lace bodice and coat with decorative trim; NPG Ax45815.
(b) 269 x 176mm, three-quarter-length to front, standing, dressed as in pose (a) but wearing hat; repr. Sketch, 23 Apr. 1902, p.19 (copy NPG x136551).
half-length crop of above pose publ. as bromide postcard print, 138 x 87mm, by Ralph Dunn & Co; NPG x197937.
(c) vintage postcard print, 123 x 109mm, half-length slightly to right, facing front, dressed as in pose (b); NPG x17042 and NPG x160595 (matt bromide postcard print, 137 x 84mm, signed by sitter).

Postcard print by unidentified photographer, publ. Rotary Photographic Company Ltd, head-and-shoulders, profile to right, hair gathered up under large-brimmed dark hat; NT, Smallhythe Place, Kent, NT/SMA/PH/2376.

1903
Photographs by Window & Grove, two known poses:
(a) postcard print, 139 x 88mm, half-length to right, almost profile to right, hair loosely gathered at back of head, holding quill pen, wearing dress with embroidered bodice and two pearl necklaces; coll. Caroline Blomfield.
(b) as in pose (a) but seated with both hands on table, slightly more profile to right; NT, Smallhythe Place, Kent, Repr. Melville 2006, p.179.

Photograph by unidentified photographer, probably from session above, half-length to right, standing, dressed as above plus wide-brimmed hat, holding bunch of flowers; NT, Smallhythe Place, Kent, Repr. Melville 2006, p.182.

Photographs by Lizzie Caswall Smith, two known poses:
(a) platinotype cabinet card 165 x 109mm, half-length to front, seated, hand bent to support chin, wearing same hat as in item above; NPG x197413.
(b) platinotype cabinet card 165 x 109mm, half-length to right, profile to right, seated, looking down at open book held in left hand; NPG x197414.

c.1904
Matt bromide postcard photomontage, 136 x 86mm, publ. Rotary Photographic Company Ltd, head-and-shoulders only (twice), among seven likenesses of actresses with surnames beginning with ‘T’ within the outline of this letter, also including Marie Tempest; NPG Ax160168.

Photograph by unidentified photographer, possibly at Robertsbridge, Kent, half-length to front, standing beside unidentified female next to carriage, man in bowler hat standing in foreground; NT, Smallhythe Place, Kent,NT/SMA/PH/2424.

early 1900s
Photograph by unidentified photographer, at Smallhythe, whole-length to right, seated in rowing boat, reading from open book; NT, Smallhythe Place, Kent, 1121605.

Half-plate glass negative by Emery Walker, half-length, profile to right, seated against plain background, wearing high-necked dress with short-sleeved lace-covered coat; NPG x19636. Repr. as photogravure, 139 x 102mm, by Walker & Boutall after Emery Walker; NPG x19637.

Photographs by Window & Grove, two known poses:
(a) cabinet card, 141 x 105mm, three-quarter-length to front, slightly profile to left, seated on stone bench in studio, wearing dark dress with voluminous sleeves and fabric bow in hair; V&A, London, S.133:513-2007.
(b) half-length to front; Garrick Club, London, Ellen Terry album 2, no.18.

Cabinet card, 165 x 109mm, by Window & Grove, head-and-shoulders vignette to front, wearing light-coloured dress and fabric bow in hair; Garrick Club, London, ET Photographs Box.

Photographs probably by Alex Ridley, Tenterden, in garden at Smallhythe, two known poses:
(a) three-quarter-length to left, seated beside Marion Bessie Terry, with two spaniels; Billy Rose Theatre Coll., New York PL, 555459.
(b) whole-length, standing beside Marion holding parasol; NT, Smallhythe Place, Kent, NT/SMA/PH/2530.

Photograph probably by Alex Ridley, Tenterden, from session above, whole-length, standing to front in byre at Smallhythe; NT, Smallhythe Place, Kent, NT/SMA/PH/2552.

Photographs by Herbert Rose Barraud, two known poses:
(a) three-quarter-length to front, standing, wearing skirt and blouse with crocheted collar, hair loosely gathered with bow, holding bunch of flowers; NT, Smallhythe Place, Kent, NT/SMA/PH/2454. Repr. as photogravure Terry 1908, p.356.
(b) three-quarter-length to front, standing, dressed as in pose (a) but with lace shawl around shoulders and wearing hat; NT, Smallhythe Place, Kent, NT/SMA/PH/2456.

Photograph by unidentified photographer, half-length to front, slightly profile to right, left hand on hip, wearing string of large beads; NT, Smallhythe Place, Kent, NT/SMA/PH/2476. Repr. Terry 1908 (US ed., New York), captioned ‘taken during her last tour of America’; and St John 1932, frontispiece.

Photograph by unidentified photographer, possibly at Robertsbridge, Kent, three-quarter-length to left, standing, wearing hat with veil, about to get into a carriage; NT, Smallhythe Place, Kent, NT/SMA/PH/248.1.

Photograph by unidentified photographer, three-quarter-length to left, facing front, seated in round-backed chair, wearing hat and gloves; NT, Smallhythe Place, Kent, NT/SMA/PH/2550.

1905
Photographs by unidentified photographer, with her friend Pauline Chase and two dogs, two known poses:
(a) half-length to front, seated in the rear of Chase’s motor car; NT, Smallhythe Place, Kent, 1120061. Repr. Melville 2006, p.189.
(b) whole-length, standing in front of car, chauffeur and dog nearby; NT, Smallhythe Place, Kent, 1120059.

Photographs by Pauline Chase, at the Roman Baths, Bath, Sept. 1905, two known poses:
(a) whole-length to left, standing; NT, Smallhythe Place, Kent, 1120063.
(b) whole-length to front, standing with Chase; NT, Smallhythe Place, Kent, 1120062.

Photograph by unidentified photographer, Bristol, Sept. 1905, wearing same outfit as in item above, whole-length to left, stepping into a closed carriage; NT, Smallhythe Place, Kent, 1120064.

c.1905
Photograph by unidentified photographer, wearing same outfit as in item above, half-length to right, standing against bush gesturing with hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2453.

Photographs by probably by Window & Grove, hotel garden, Bournemouth, ten known poses:
(a) matte bromide postcard print, 138 x 87mm, publ. Rotary Photographic Company Ltd, whole-length to left, standing in garden beside Audrey Campbell (seated); NPG Ax160170.
(b) vintage bromide postcard print 138 x 86mm, three-quarter-length to front, looking to her left, standing, Campbell seated on chair in front; NPG x197656.
(c) whole-length to left, seated at table covered in papers, pen in left hand; V&A, London, S.133:531-2007. Repr. as advertisement for Ogden’s cigarettes; NPG x137471 (cigarette card).
(d) postcard print, publ. Rotary Photographic Company Ltd, whole-length to left, standing in greenhouse; NT, Smallhythe Place, Kent, NT/SMA/PH/2408.
(e) postcard print, publ. Rotary Photographic Company Ltd, whole-length to front, standing, holding long string of beads round neck; NT, Smallhythe Place, Kent, NT/SMA/PH/2409.
(f) postcard print, publ. Rotary Photographic Company Ltd, similar to pose (b) but head slightly more to front, pen held up in left hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2411; and NPG x197936 (139 x 86mm).
(g) postcard print, publ. Rotary Photographic Company Ltd, whole-length to right, profile to right, standing; NT, Smallhythe Place, Kent, NT/SMA/PH/2417 (signed by sitter).
(h) postcard print, 90 x 135mm, publ. Rotary Photographic Company Ltd, three poses, including half-length to right, seated at desk, right hand resting on stack of papers, left hand held out; coll. Caroline Blomfield.
(i) as in pose (h) but with elbows on desk, chin supported on hands; ref. MEPL, London, 10088664.

Photograph by unidentified photographer, three-quarter-length to left, standing with Audrey Campbell and unidentified man; NT, Smallhythe Place, Kent, NT/SMA/PH/2423.

Photograph by unidentified photographer, whole-length to right, seated in wicker chair in garden, with English sheepdog at feet; NT, Smallhythe Place, Kent, NT/SMA/PH/2406.

Photograph by unidentified photographer, whole-length to front, standing, leaning against trunk of tree in garden; NT, Smallhythe Place, Kent, 1120053.

1906
Photographs by unidentified photographer, in garden at Smallhythe with Edward Gordon Craig, Elena Meo and grandchildren, two known poses:
(a) whole-length to front, seated; NT, Smallhythe Place, Kent, 1120164. Repr. Cheshire 1989, p.101.
(b) whole-length to left, seated, in cow byre; NT, Smallhythe Place, Kent, 1120162.

Photograph by Daily Mirror Studios, whole-length to front, standing on deck of ship wearing checked coat, with Edith Craig and large dog; NT, Smallhythe Place, Kent, 1120078. Repr. Melville 1987, p.202, captioned ‘Ellen and Edy departing in style for America, 1906’.

Photographs by C.M. Hayes & Co., Detroit, two known poses:
(a) 142 x 98mm, three-quarter-length to left, profile to left, standing beside Portia Knight, gesturing with hands; V&A, London, S.133:538-2007.
(b) three-quarter-length to front, gesturing with hands; NT, Smallhythe Place, Kent, NT/SMA/PH2473.

Postcard print by Window & Grove, publ. Rotary Photographic Company Ltd, whole-length slightly to left, facing front, seated, wearing dress with embroidered bodice and skirt, pearl necklaces and large bow in hair; NT, Smallhythe Place, Kent, ET/K1
Half-length cropped version, NPG x197930 (bromide postcard print, 139 x 87mm).

Photographs by R. Johnson, four known poses:
(a) postcard print, publ. Rotary Photographic Company Ltd, head-and-shoulders vignette to front, facing front, wearing embroidered blouse and hair up with large bow; NT, Smallhythe Place, Kent, ET/K1
(b) bromide postcard print 139 x 88mm, publ. Raphael Tuck & Sons, as in pose (a), but profile right; NPG x197933.
(c) postcard print publ. Rotary Photographic Company Ltd, as in pose (a) but shoulders turned to left and wearing additional light overgarment; NT, Smallhythe Place, Kent,NT/SMA/PH2471; and NPG x197931 (137 x 84mm).
(d) bromide postcard print 88x 136mm, publ. Rotary Photographic Company Ltd, dressed as in pose (a), beside James Carew; NPG x197932.

c.1906
Photograph by Ernest Herbert Mills, at 215 King’s Road, Chelsea, whole-length to left, seated, wearing light-coloured dress with bow in hair and book open on lap; repr. in unidentified newspaper (cutting, NT, Smallhythe Place, Kent, ET/K1).

Photograph by Ernest Herbert Mills, possibly from session above, in interior of 215 King’s Road, Chelsea, with housemaid; NT, Smallhythe Place, Kent, 1119428.

Photograph by unidentified photographer, whole-length to front, standing next to cow byre at Smallhythe, with Edith (seated with child), Christopher St John (née Christabel Marshall) and unidentified woman (possibly granddaughter Rosie Craig); NT, Smallhythe Place, Kent, NT/SMA/PH/2410.

Photographs by Lallie Charles (née Charlotte Elizabeth Martin), three known poses:
(a) bromide postcard print, 138 x 86mm, head-and-shoulders to front, facing front, wearing lacy blouse and string of pearls; NPG x160596 (publ. Raphael Tuck & Sons, signed by sitter); and x193119 (publ. Rotary Photographic Company Ltd).
(b) as in pose (a) but wearing lace shawl around shoulders and over head, the edge held with left hand; NPG x123121 (137 x 85mm, bromide postcard print, publ. Raphael Tuck & Sons); and NT, Smallhythe Place, Kent, NT/SMA/PH/2457.
(c) head-and-shoulders to left, profile to left, dressed as in pose (b) but shawl not over head; NPG x193120 (139 x 88mm, bromide postcard print publ. Raphael Tuck & Sons); and NT, Smallhythe Place, Kent, NT/SMA/PH/2466.

1907
Photograph by unidentified photographer, at Niagara Falls, 15 Mar. 1907, whole-length, profile to left, standing peering over railing, husband James Carew standing behind; Folger Shakespeare L., Washington, DC, ART File T329 no.90 PHOTO (size XS).

Cabinet card, 146 x 105mm, by Window & Grove, half-length to left, almost profile to left and looking upwards, standing, wearing dress embroidered with lace, hair gathered in bun; V&A, London S.133:523-2007 (oval format). Repr. Auerbach 1897, p.341.

c.1907
Photographs probably by Alex Ridley, Tenterden, at Smallhythe with James Carew, five known poses:
(a) whole-length to front, standing at the front entrance next to Carew, wearing long smock and holding parasol; NT Smallhythe Place, Kent, NT/SMA/PH/2486. Repr. Melville 1997, p.11.
(b) whole-length to front, seated in hammock, in cow byre with Carew; NT, Smallhythe Place, Kent, ET/K10.
(c) whole-length to front, standing leaning on pose, looking down at paper held in both hands, in cow byre with Carew; NT, Smallhythe Place, Kent, 1120126. Repr. Melville 2006, p.196.
(d) three-quarter length to right, standing, leaning forwards, in cow byre with Carew to left; NT, Smallhythe Place, Kent, 1120128.
(e) whole-length to left, kneeling on sofa/bed, looking towards open window and smelling flower, beside Carew; NT, Smallhythe Place, Kent, 1120129.

Photographs by Alex Ridley, Tenterden, probably from session above, dressed as in item above, two known poses:
(a) whole-length to left, profile to left, standing in garden amongst rockery; NT, Smallhythe Place, Kent, NT/SMA/PH/2515.
(b) as in pose (b) but facing front; NT, Smallhythe Place, Kent, ET/K10.

Photographs by Alex Ridley,Tenterden, in the garden at Smallhythe with James Carew, Phyllis Neilson-Terry and Florence Turner, two known poses:
(a) three-quarter-length to left, seated; NT, Smallhythe Place, Kent, 1120105. Repr. Daily Sketch, 4 Sept. 1911.
(b) whole-length to front, looking down to left, dog on lap, seated with others on garden steps; NT, Smallhythe Place, Kent, 1120114.

Photograph, 381 x 279mm, probably by May Sandheim, half-length to front, hand to face, with hair in loose bun, dressed very similarly to item above but with variations to bodice of dress; V&A, London, S.6039-2009 (with Art Nouveau border).

Postcard print, 137 x 83mm, half-length to front, standing behind iron-grated window of historic building, Winchester; V&A, London, S.133:530-2007. Repr. Holroyd 2008, section three, pl.14.

Photograph by unidentified photographer, whole-length to left wearing kimono, kneeling on chair, looking out of window; NT, Smallhythe Place, Kent, NT/SMA/PH/2521.

1907-8
Photograph by unidentified photographer, in America, half-length to left, seated, holding newspaper, with James Carew; NT, Smallhythe Place, Kent, NT/SMA/PH/2481.

1908
Photographs by John Mills: (a) half-length to left, profile to left, seated, leaning forwards slightly, wearing large hat and lace collar; NT, Smallhythe Place, Kent, NT/SMA/PH/2442. (b) bromide postcard print 139 x 87mm, as in a), lead-and-shoulders to left, seen from behind, profile to left; {NPG x197950mw253922}.

Photographs by unidentified photographer, seven known poses:
(a) half-length, seated against church wall wearing checked coat and hat fastened under chin with scarf; NT, Smallhythe Place, Kent, NT/SMA/PH/2523. Repr. Shearer 1998, n.p.
(b) as in pose (a) with left hand raised to shade eyes; NT, Smallhythe Place, Kent, NT/SMA/PH/2522.
(c) three-quarter-length to left, standing next to horse harnessed to carriage in street, hands raised to bridle; NT, Smallhythe Place, Kent, NT/SMA/PH/2525.
(d) as in pose (c) but turned to front; NT, Smallhythe Place, Kent, NT/SMA/PH/2526.
(e) as in pose (a) but profile to left; NT, Smallhythe Place, Kent, NT/SMA/PH/2527.
(f) whole-length to front, profile to right, standing behing wrought-iron gate; NT, Smallhythe Place, Kent, NT/SMA/PH/2528.
(g) as in pose (c) but whole-length, facing front; NT, Smallhythe Place, Kent, NT/SMA/PH/2529.

c.1908
Photograph by (Alexander) Percy Guttenberg, Hull, publ. as postcard Rotary Photographic Company Ltd, head-and-shoulders to right, slightly profile to right, dressed very similarly to item above in checked coat with hat tied under chin; NT, Smallhythe Place, Kent, NT/SMA/PH/2451. Repr. Melville 2006, frontispiece (cropped detail only).

Photograph by (Alexander) Percy Guttenberg, Hull, possibly from session above, publ. as postcard Rotary Photographic Company Ltd, head-and-shoulders, profile to left, wearing checked coat with high collar, hair pinned up with comb; NT, Smallhythe Place, Kent, NT/SMA/PH/2450.

Photograph by unidentified photographer, whole-length to left, facing front, seated in chair with flowers draped over lap, wearing hat tied with scarf under chin; NT, Smallhythe Place, Kent, NT/SMA/PH/2458.

1909
Photographs by Foulsham & Banfield, with James Carew at Smallhythe, four known poses:
(a) postcard print, 140 x 89mm, publ. Rotary Photographic CompanynLtd, whole-length to front, standing next to Carew, wearing wide-brimmed hat tied with scarf under chin; coll. Caroline Blomfield.
(b) postcard print, 85 x 60mm (oval format), publ. Rotary Photographic Company Ltd, head-and-shoulders facing front, dressed as in pose (a) without hat, next to Carew; prints colls NT, Smallhythe Place, Kent, NT/SMA/PH/2480 (signed by Terry); Caroline Blomfield; and Garrick Club, London, David Niven Postcard Album, no.346 (cropped to oval showing Terry alone).
(c) half-length to front, seated with Carew at table, looking at open book; NT, Smallhythe Place, Kent, 1120129 (inscr. by Terry ‘With love to ?Morrison Matthew’ and ‘Jim & Nell = 1909’). Repr. Shearer 1998, n.p.
(d) three-quarter-length to left, facing front, standing against patterned curtain, alone; NT, Smallhythe Place, Kent, ET/K10.

Photograph by unidentified photographer, half-length, seated beside James Carew at Arthur Symons’ house in Wittersham, Kent; NT, Smallhythe Place, Kent, 1120152.

Photograph by unidentified photographer, at Smallhythe, possibly from session above, half-length to front, seated on low brick wall, leaning forwards slightly; NT, Smallhythe Place, Kent, NT/SMA/PH/2524.

reg. 1909
Postcard print by Alex Ridley, three-quarter-length, seated in horse-drawn coster cart with Portia Knight; reg. for copyright 1901 Nov. 4: National Archives; NT, Smallhythe Place, Kent, 1119171.

c.1909
Photograph by unidentified photographer, whole-length, bending forwards over table to autograph a volume by Charles Dickens at the opening of an exhibition about the author at Caxton Hall; repr. in unidentified publication (cutting NT, Smallhythe Place, Kent, NT/SMA/PH/2537).

reg. 1910
Photograph by Foulsham & Banfield, seated at a table eating soup; reg. for copyright 1920 July 12: National Archives.

c.1910
Photographs by Lena Connell (later Beatrice Cundy):
a) three-quarter-length, standing to front in studio setting, wearing wide-brimmed hat with flowers, a dust coat and satchel, spectacles in left hand; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.
b) half-length to left, facing front, seated, dressed as in a), holding open book; NT, Smallhythe Place, Kent, NT/SMA/PH/2402.

Photographs by Lena Connell (later Beatrice Cundy):
a) seated profile to left, wearing loose light-coloured gown without hat in studio setting, leaning on table and looking at object held in hands; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.
b) dressed as in a), seated at table holding large album, facing front; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.
c) dressed as in a). three-quarter profile, holding picture in her hands; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.
d) dressed as in a), facing front leaning on table, elbow resting on open book, a number of photographs in her hands; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.
e) dressed as in a), to left, seen from behind; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.
f) dressed as in a), resting her face ion her hands, her elbows resting on open book; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.
g) dressed as in a), looking downwards at album; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.71.

Photographs by Lena Connell (later Beatrice Cundy), wearing her 'Nance Oldfield' dress:
a) three-quarter-length, rear view, seated before a mirror with her image reflected towards viewer; prints colls NT, Smallhythe Place, Kent, 1120624; and MEPL, London, 10810227.
b) slighty varient pose to a), reflected centred in mirror; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.70.
c) dressed as in a), profile to left holding object in raised left hand; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.70.
d) dressed as in a) half-length to left, profile to left, seated holding book which rests against a casket; M. of London, 53.140/18 (publ. by the Suffrage Shop). Repr. Manvell 1968, fig.41.
e) dressed as in a), three-quarter length, holding lid of casket open with right hand, object in left; wearing her Nance Oldfield dress; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.70.
f) dressed as in a), in profile seated in front of closed casket; Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.70.

Photographs by Lena Connell (later Beatrice Cundy):
a) half-length to left, profile to left with knees drawn up, seated at window with bunch of daffodils to left-hand side; repr. Professional Photographer, Feb. 1913, p.53.
b) dressed as in a) seated to left at window as in a); Elizabeth Crawford 2015; ref. ‘Woman and her Sphere’ Catalogue 190, no.70.
1912
Photograph, 123 x 80mm, by Alex Ridley, Tenterden, whole-length to left, profile to left, standing pointing to open volume held in hand, wearing toga-like garment; V&A, London S.133:533-2007. Taken for programme of lecture tour.

Photograph probably by Alex Ridley from session above, dressed as in item above but seen from different angle; NT, Smallhythe Place, Kent, ET/K1.

c.1913
Photographs by Foulsham & Banfield, five known poses:
(a) three-quarter-length to left, seated at table with her handbag, open notebook and papers in front of her; NT, Smallhythe Place, Kent, 1119221.
(b) as in pose (a) but with left arm resting on table, reading book held in left hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2455.
(c) three-quarter-length to front, looking to right, seated in high-backed carved wooden chair, dressed as in pose (a) but wearing hat; NT, Smallhythe Place, Kent, NT/SMA/PH/2556.
(d) head-and-shoulders to front, right hand raised to chest, dressed as in pose (c); NT, Smallhythe Place, Kent,NT/SMA/PH/2557.
(e) as in pose (d) but looking to right, right hand not visible; NT, Smallhythe Place, Kent, NT/SMA/PH/2559.

Photographs by unidentified photographer, in the patio garden at 215 King’s Road, Chelsea, four known poses:
(a) whole-length to front, seated, wearing hat; NT, Smallhythe Place, Kent, 1120148.
(b) half-length, rear view, profile to right, seated; NT, Smallhythe Place, Kent, NT/SMA/PH/2532.
(c) three-quarter-length to left, profile to left, standing; NT, Smallhythe Place, Kent, NT/SMA/PH/2534.
(d) as in pose (c) but facing front; NT, Smallhythe Place, Kent, NT/SMA/PH/2535.

Photograph by unidentified photographer, half-length to left, facing front, seated with arms raised to ?stole over shoulder, wearing hat and dark coat; NT, Smallhythe Place, Kent, NT/SMA/PH/2551.

Photograph by unidentified photographer, head-and-shoulders to left, facing front, wearing dress with high-necked crocheted collar, dark beads and fur stole; Billy Rose Theatre Coll., New York PL, 555487.

Photograph by the Sport & General Press Agency Ltd, London, possibly from session above, dressed as above (without fur stole), whole-length to left, seated in interior of 215 King’s Road, Chelsea, looking at globe; NT, Smallhythe Place, Kent, 1119432 and 1119434. Repr. Melville 2006, pp.210–11.

Photograph by unidentified photographer, half-length to front, almost profile to left, seated, wearing shirt with lace collar and wide-brimmed dark hat; NT, Smallhythe Place, Kent, NT/SMA/PH/2554.

1914
Photographs by unidentified photographer, leaving for lecture tour in Australia, two known poses:
(a) whole-length slightly to left, facing front, standing wearing hat and coat, on deck of ship; NT, Smallhythe Place, Kent,1120197. Repr. Melville 2006, p.208.
(b) whole-length to left, facing front, standing next to unidentified woman; NT, Smallhythe Place, Kent, NT/SMA/PH/2582.


Photographs

1901
Platinum print, 136 x 99mm, by Window & Grove, publ. 1906, half-length to right, profile to right, standing, wearing long cloak and wreath in hair; NPG Ax131326.

Photographs by Window & Grove, six known poses:
(a) carte-de-visite, 88 x 58mm, head-and-shoulders, very slightly profile to left, with loosely gathered hair, wearing elaborate necklace including two strings of pearls; V&A, London, S.133:437-2007.
(b) half-length to front, looking right, wearing draped garment; V&A, London, S.133:506-2007.
(c) whole-length, left arm resting on marble column; V&A, London, S.133:507-2007.
(d) half-length to left, almost profile to left looking upwards; Garrick Club, London, Ellen Terry album 2, no.26.
(e) postcard print, publ. Rotary Photographic Company Ltd, central image of three, very similar to pose (a) but slightly more to front, with two other images of Terry (see above, ‘I. In private character, Photographs, c.1905, pose [f]’ and ‘II. In stage character, Alice Sit-by-the-Fire, Photographs, 1905, pose [e]’); coll. Caroline Bromfield.
(f) Furness Theatrical Image Coll., U. of Pennsylvania (not online). Repr. Auerbach 1987, p.323.

Five further poses by Window & Grove from the sessions above, reg. for copyright 1901 June 7: National Archives (COPY 1/451/38; COPY 1/451/43; COPY 1/451/37; COPY 1/451/40; COPY 1/451/42).

Coriolanus (as ‘Volumnia’)

1901
Pencil, charcoal and wash drawing, 326 x 469mm, by Balliol Salmon, signed and dated and inscr. ‘Coriolanus at the Lyceum’, whole-length, profile to right, kneeling, wearing cloak and hood, at the feet of Henry Irving as ‘Coriolanus’; Folger Shakespeare L., Washington, DC, ART Box S172 no.5 (size XL).

c.1901
Gouache and wash drawing, 331 x 253mm, by Samuel Begg, whole-length to right, kneeling, imploring Henry Irving to right-hand side; Folger Shakespeare L., Washington, DC, ART Box B416 no.1 (size L). Repr. in unidentified publication, no details known (copy V&A, London, S.151-2010.

Watercolour and gouache caricature drawing by Mary Miles, signed and inscr. ‘Suggestion for a poster for Coriolanus’ and ‘I pray thee now sweet son … perform a part thou hast not done before’, whole-length to left, wearing Roman costume, pulling along by the hand a diminutive Henry Irving (trailing a toy horse); NT, Smallhythe Place, Kent,1117220.

Watercolour drawing by John Jellicoe, signed, whole-length to right, standing with hands outstretched, wearing cloak with hood; Folger Shakespeare L., Washington, DC, ART Box J48 no.22 (size L).

Photograph by unidentified photographer, whole-length holding bunch of flowers, beside Edith Craig on board the SS Omrah, sailing for Australia and New Zealand; repr. in unidentified publication (cutting NT, Smallhythe Place, Kent, ET/K1, dated in pen ‘March 14th 1914’).

Photograph by unidentified photographer, on arrival at the Oriental Hotel, Melbourne, 4 May 1914, whole-length to front, standing beside motorcar, with manager Joseph Blasheck; repr. in unidentified publication (cutting NT, Smallhythe Place, Kent, 1120203).

Photographs by unidentified photographer, roof of the Oriental Hotel, Melbourne, eight known poses:
(a) 130 x 74mm, three-quarter-length to left, facing front, seated in wicker armchair with vegetation behind, wearing wide-brimmed hat tied under chin, rug over legs; V&A, London, S.133:535-2007.
(b) as in pose (a) but profile to left; NT, Smallhythe Place, Kent, NT/SMA/PH/2574 (inscr. by sitter ‘Edt – from Mother = [indecipherable] 1914’). The basis for NPG 3132.
(c) as in pose (a) but whole-length to front; NT, Smallhythe Place, Kent, NT/SMA/PH/2575.
(d) as in pose (a) but half-length, seated beside ‘Nancy’ just visible at left-hand margin; NT, Smallhythe Place, Kent, NT/SMA/PH/2576.
(e) bust-length, head turned to look over left shoulder; NT, Smallhythe Place, Kent, NT/SMA/PH/2596.
(f) as in pose (a) but half-length to front, leaning slightly to her left; NT, Smallhythe Place, Kent, NT/SMA/PH/2597.
(g) as in pose (d) with ‘Nancy’ positioned more centrally; NT, Smallhythe Place, Kent, NT/SMA/PH/2599.
(h) as in pose (d) but to front, beside ‘Nancy’ also to front; NT, Smallhythe Place, Kent, NT/SMA/PH/2600.

Photographs by unidentified photographer, at hotel, Australia, three known poses:
(a) three-quarter-length slightly to left, facing front, hand on hip, standing inside hotel; NT, Smallhythe Place, Kent, NT/SMA/PH/2578.
(b) three-quarter-length to left, standing beside window, holding sheet of paper in left hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2579
(c) as in pose (a); NT, Smallhythe Place, Kent, NT/SMA/PH/2550 (inscr. on verso records it was taken by a young girl at the hotel).

Photograph by unidentified photographer, Australia or New Zealand, 25 July 1914, two known poses:
(a) whole-length to front, standing in garden with two small children; NT, Smallhythe Place, Kent, NT/SMA/PH/2586.
(b) very similar to pose (a); NT, Smallhythe Place, Kent, NT/SMA/PH/2585.

Photographs by unidentified photographer, in Auckland, New Zealand, three known poses:
(a) half-length to front, seated with Mr and Mrs Black and Nina Forbes; NT, Smallhythe Place, Kent, 1120199.
(b) half-length, seated on bench with Mrs Black standing in front; NT, Smallhythe Place, Kent, NT/SMA/PH/2589.
(c) half-length to right, looking left and upwards, seated with those in pose (a) and two others; NT, Smallhythe Place, Kent, NT/SMA/PH/2591.

Photograph by unidentified photographer, whole-length to front, standing, wearing coat and hat, next to small child, ‘Lady Grey’, wrapped in cloak; NT, Smallhythe Place, Kent, NT/SMA/PH/2601.

1914-18
Film still by unidentified camera operator, from World War 1 propaganda film ‘Invasion of Britain’ (not released), half-length to front, seated holding sheet of paper, beside José Collins; BFI National Film and Television Archive (footage lost). Repr. Manvell 1968, fig.37 (with two other stills); and Cheshire 1989, p.103.

1915
Photograph by Sport & General Press Agency Ltd., London, whole-length to right, seated on balcony holding child’s toy, with Kennedy Rumford and Clara Ellen Butt waiting for concert in aid of The Three Arts Women’s Employment Fund held at Harley Road, South Hampstead, London; NT, Smallhythe Place, Kent, NT/SMA/PH/2602.

Photographs by unidentified photographer, New York, 18 Jan. 1915, two known poses:
(a) whole-length to left, seated in wicker armchair at fireplace, opposite Mrs Powell (wife of President of Hobart and Smith Colleges, Geneva, New York); NT, Smallhythe Place, Kent, 1120226 and 1120227.
(b) as in pose (a) (Terry only); V&A, London, S.133:532-2007.

Photograph by White, New York, whole-length to front, seated on stone bench in studio with grand-niece June Morris on lap; NT, Smallhythe Place, Kent, NT/SMA/PH/2606.

Photograph by White, New York, probably from session above but wearing different hat, whole-length against studio backdrop with June Morris; NT, Smallhythe Place, Kent, NT/SMA/PH/2609.

publ. 1915
Photographs by unidentified photographer, publ. Bain News Service, on deck of liner New York, four known poses:
(a) whole-length to front, standing, leaning against rail, wearing hat; glass neg., Bain Coll., Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-B2-3463-6. Repr. New York Tribune, 2 May 1915.
(b) with three other women; Bain Collection, Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-B2-3463-9.
(c) with F.A. Parker; NPG x197889; and Bain Coll., Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-B2-3463-8.
(d) supporting June Morris; Bain Coll., Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-B2-3463-7.

Photographs by Arnold Genthe, five known poses:
(a) three-quarter-length to front, standing beside Anna Duncan (seated); Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-G432-1009
(glass neg.).
(b) as in pose (a) but both standing; Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-G432-1009-A.
(c) as in pose (b) but profile to left, left hand on Duncan’s shoulder; Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-G432-1009-B.
(d) alone, half-length, profile to left seated; Prints and Photographs Division, Lib. of Congress, Washington, DC, LC-G4085-0412.
(e) head-and-shoulders to front beside Duncan (wearing hat); NT, Smallhythe Place, Kent, NT/SMA/PH/2667.

1916
Photograph by Walford Graham Robertson, whole-length to front, seated centrally, rehearsing with J.M. Barrie and the cast of The Admirable Crichton on the roof of Wyndham’s Theatre, for a performance at the London Coliseum, 9 June 1916; NT, Smallhythe Place, Kent, 1120636. Repr. Cheshire 1989, p.104 (no.28 on key).
See also Alexander, Forbes-Robertson, M. Wyndham.

c.1917
Photographs by Alex Ridley, Tenterden, in the garden at Smallhythe, wearing her Nance Oldfield dress, six known poses:
(a) whole-length to front, standing, looking back towards her granddaughter Nellie Craig, who holds her skirts; NT, Smallhythe Place, Kent, 1120249. Repr. Melville, 2006, pp.230–31.
(b) whole-length slightly to left, profile to left, standing, holding flower in right hand; NT, Smallhythe Place, Kent, 1120252. Repr. Melville 2006, p.232.
(c) as in pose (b) with unidentified man (standing); NT, Smallhythe Place,Kent, 1120248.
(d) half-length to left, facing front, seated, hands on lap; NT, Smallhythe Place, Kent, NT/SMA/PH/2637.
(e) whole-length to left, facing front, seated, holding flower in both hands; NT, Smallhythe Place, Kent, NT/SMA/PH/3631.
(f) half-length to left, seated, with Nellie; NT, Smallhythe Place, Kent, NT/SMA/PH/3638.

1918
Bromide print, 200 x 153mm, by John Copperfield, signed by sitter on mount, half-length to front, facing front, seated wearing lace blouse and dark shawl; NPG x19013.

Photograph by unidentified photographer, half-length to right, seated at piano; NT, Smallhythe Place, Kent, 1120235 (signed by sitter ‘On my 70th birthday = 27 Feb. 1918’). Repr. Melville 2006, p.213.

Photographs by unidentified photographer, Winchelsea, two known poses:
(a) whole-length, facing front, standing at entrance to house, with Lady Ethel Maud Warrender (née Ashley-Cooper) and three other women; NT, Smallhythe Place, Kent, 1120240.
(b) as in pose (a), with Warrender and only one of the other three women; NT, Smallhythe Place, Kent, 1120239.

1910s
Photographs by Alex Ridley, Tenterden, five known poses:
(a) bromide print, 146 x 102mm, whole-length, almost profile to left, wearing hat, standing outside between an unidentified woman and Rosie Craig; NPG x46545.
(b) whole-length to left, seated on stool at table, legs crossed, reading book, in cow byre; V&A, London S.133:529-2007.
(c) postcard print, 138 x 87mm, whole-length to left, seated in cow byre, reading from open book, with dog on lap; coll. Caroline Blomfield.
(d) whole-length, seated, in cow byre with unidentified woman and Rosie Craig; NT, Smallhythe Place, Kent,NT/SMA/PH/2549.
(e) postcard print, very similar to pose (b) but book in right hand only; NT, Smallhythe Place, Kent, NT/SMA/PH/2561.

Photograph by Daily Mirror Studios, three-quarter-length, standing in centre of room with bouquet of flowers, visiting female patients at a nursing home; NT, Smallhythe Place, Kent, NT/SMA/PH/2533.

Photograph by unidentified photographer, whole-length to right, standing, wearing hat, palm trees in background; NT, Smallhythe Place, Kent, NT/SMA/PH/2452.

c.1910s
Photograph by unidentified photographer, half-length to left, facing front, seated, with hair in bun and wearing lace collar; NT, Smallhythe Place, Kent, Repr. Melville 2006, p.205.

Photograph by Alice Boughton, three-quarter-length vignette to left, facing front, standing against window with arm raised; NT, Smallhythe Place, Kent, NT/SMA/PH/2540.

Photograph by unidentified photographer, whole-length to front, standing outside a house, holding an open parasol above head, with Marion Terry and two unidentified men; NT, Smallhythe Place, Kent, NT/SMA/PH/2543.

1920
Photographs by unidentified photographer, three known poses:
(a) three-quarter-length to front, standing, left hand on hip, right hand holding hat, wearing loose-fitting housecoat, trees in background; NT, Smallhythe Place, Kent, NT/SMA/PH/2642.
(b) as in pose (a) but arms by sides; NT, Smallhythe Place, Kent, NT/SMA/PH/2644.
(c) as in pose (a) but left arm bent at elbow with finger pointing; NT, Smallhythe Place, Kent, NT/SMA/PH/2645.

Photograph by unidentified photographer, probably from session above, dressed as in item above but wearing hat, half-length to front, seated outside unidentified house with Alice Carr; NT, Smallhythe Place, Kent, 1120270.

Photograph by unidentified photographer, three-quarter-length to front, standing in garden at Ditchling with Monica Meynell; NT, Smallhythe Place, Kent, 1120268.

Photograph by unidentified photographer, probably from session above, dressed as in item above, three-quarter-length to front, standing in garden at Ditchling with unidentified woman; NT, Smallhythe Place, Kent, NT/SMA/PH/2656.

Photograph by unidentified photographer, whole-length to left, on stage with Vesta Tilley to whom she presents a signed volume; ref. MEPL, London, 10796396.

Photographs by unidentified photographer, in the garden at Mill House, Hurley, near Marlow, September 1920, wearing glasses and holding a cat, three known poses:
(a) whole-length to front, standing with Dundas and Eileen Erroll; NT, Smallhythe Place, Kent, NT/SMA/PH/2648.
(b) three-quarter-length to front, standing behind stone bird bath; NT, Smallhythe Place, Kent, NT/SMA/PH/2649
(c) half-length, rear view, cat on shoulder; NT, Smallhythe Place, Kent, NT/SMA/PH/2650.

Photograph by unidentified photographer, whole-length to left, standing reading from open book, with head covered, narrating a nativity play for Edith Craig’s Pioneer Players at the Everyman Theatre, Hampstead, 24 Dec. 1920; NT, Smallhythe Place, Kent, 1120652 (print signed by Terry). Repr. Auerbach 1987, p.417.

c.1920
Photograph by unidentified photographer, half-length to front, seated holding grandchild on lap, Edith and ?Rosie Craig to left-hand side; HRHRC, U. of Texas at Austin. Repr. Auerbach 1987, p.361.

Photograph by unidentified photographer, whole-length to front, seated on the doorstep at the front entrance to Smallhythe Place, with granddaughter Nellie Craig and daughter-in-law Elena Meo; NT, Smallhythe Place, Kent, 1120274. Repr. Melville 2006, p.229.

Photograph by unidentified photographer, whole-length to front, standing in garden with unidentified woman, wearing skirt and loose-fitting tunic; NT, Smallhythe Place, Kent, NT/SMA/PH/2787.

Photographs by unidentified photographer, two known poses:
(a) whole-length to left, facing front, standing leaning against back of tall chair, elbow bent and head resting on hand; repr. in unidentified publication (cutting NT, Smallhythe Place, Kent, NT/SMA/PH/2613).
(b) three-quarter-length to left, facing front, seated in same chair as in pose (a) with book open on lap; repr. in unidentified publication, captioned ‘A Photograph Taken at her Residence’ (cutting NT, Smallhythe Place, Kent, NT/SMA/PH/2614).

Photographs by Window & Grove, two known poses:
(a) whole-length to left, standing on stage in front of theatre backdrop, left arm raised and bent across chest; NT, Smallhythe Place, Kent, NT/SMA/PH/2652. Repr. Melville 2006, p.225.
(b) whole-length to front, almost profile to left, dressed as in pose (a) but wearing hat; NT, Smallhythe Place, Kent, NT/SMA/PH/2651.

Photograph by unidentified photographer, whole-length to left, standing in her garden (at ?215 King’s Road, Chelsea); repr. in unidentified publication, captioned ‘Miss Terry in her Garden’ (cutting NT, Smallhythe Place, Kent,NT/SMA/PH/2674).

Photographs by H. Walter Barnett, Hyde Park Corner, London, two known poses:
(a) head-and-shoulders to front, holding her cat Boo Boo next to face; NT, Smallhythe Place, Kent,1117752.
(b) half-length to front, seated, dressed as in pose (a) but wearing hat, cat on lap; NT, Smallhythe Place, Kent, 1119284 (inscr. by sitter).

1921
Photographs by unidentified photographer, two known poses:
(a) whole-length to front, standing on street with unidentified woman; NT, Smallhythe Place, Kent, NT/SMA/PH/2660.
(b) as in pose (a), standing on same street with three unidentified men in background; NT, Smallhythe Place, Kent, NT/SMA/PH/2662.

Photograph by unidentified photographer, possibly at Sissinghurst, whole-length to front, walking with unidentified woman; NT, Smallhythe Place, Kent, 1120281.

1922
Photographs by unidentified photographer, at the Sarah Siddons house, Bath, three known poses:
(a) half-length to front, standing in front of crowd after unveiling plaque to Siddons; NT, Smallhythe Place, Kent, 1120283. Repr. Melville 2006, pp.226–7.
(b) half-length to left, standing, pulling string to unveil plaque; repr. in unidentified publication (cutting NT, Smallhythe Place, NT/SMA/PH/2668).
(c) three-quarter-length to front, standing beside Mayor of Bath, Frederic Harrison and Squire Bancroft; repr. in unidentified publication (cutting NT, Smallhythe Place, Kent, NT/SMA/PH/2668).

Photograph by unidentified photographer, at U. of St Andrews receiving an honorary LL D, half-length to front, seated with J.M. Barrie, both in academic robes; repr. Country Life, 13 May 1922, front cover (loose cutting from different publication, V&A, London, S.60902-2009).

Photograph by unidentified photographer, whole-length to right, standing at Burnham Beeches, with granddaughter Ann Drummond; NT, Smallhythe Place, Kent, 1120280.

1923
Photographs by unidentified photographer, in her home at 34 Burleigh Mansions, Charing Cross Road on her 76th birthday, two known poses:
(a) three-quarter-length to right, facing front, seated, surrounded by flowers and reading birthday messages; NT, Smallhythe Place, Kent, 1120318.
(b) as in pose (a) but profile to left, with Christopher St John; NT, Smallhythe Place, Kent, 1120322. Repr. in unidentified publication (cutting NT, Smallhythe Place, Kent, 1120320).

Photograph by unidentified photographer, whole-length to front, standing, being presented with a huge basket of flowers on a visit to the Tivoli to mark her 76th birthday; repr. Daily Sketch, no details known (cutting NT, Smallhythe Place, Kent, 1120324).

Photographs by unidentified photographer, at ‘Armondale’, Cliftonville, Margate, Sept. 1923, six known poses:
(a) half-length to front, leaning over bench to stroke her dog Wong; NT, Smallhythe Place, NT/SMA/PH/2683 (inscr. by sitter ‘To the Darlings. In remembrance of such a lovely time at Margate – 1923’ and ‘Nell & Wong’).
(b) whole-length, standing behind bench with four unidentified women and dog; NT, Smallhythe Place, Kent, NT/SMA/PH/2782.
(c) whole-length slightly to right, seated at left end of bench, with the same four women, no dog; NT, Smallhythe Place, Kent, NT/SMA/PH/2688.
(d) as in pose (c), with three of the four women; NT, Smallhythe Place, Kent, NT/SMA/PH/2689.
(e) whole-length to front, seated at left end of bench with the four women and dog; NT, Smallhythe Place, Kent, NT/SMA/PH/2781.
(f) very similar to pose (b); NT, Smallhythe Place, Kent, NT/SMA/PH/2787.

Photographs by unidentified photographer, probably from session above, at ‘Armondale’, Margate, surrounded by four unidentified women and dog, three known poses:
(a) half-length to right, seated in bath-chair; NT, Smallhythe Place, Kent, NT/SMA/PH/2780.
(b) as in pose (a) but leaning forwards slightly; NT, Smallhythe Place, Kent, NT/SMA/PH/2778.
(c) as in pose (a) but facing front; NT, Smallhythe Place, Kent, NT/SMA/PH/2779.

Photographs by unidentified photographer, at memorial service for Sarah Bernhardt, three known poses:
(a) whole-length to front, wearing glasses and hat, with two unidentified figures, leaving service; NT, Smallhythe Place, Kent, 1120308.
(b) three-quarter-length to right, standing, holding flowers in left hand, motor car in background; NT, Smallhythe Place, Kent, 1120309.
(c) half-length to right, dressed as in pose (a); repr. Sunday Graphic, no details known (cutting NPG, Album 285 [Henry Irving and Ellen Terry cuttings album]).

Photographs by unidentified photographer, at Smallhythe, two known poses:
(a) whole-length to right, standing with rush basket; NT, Smallhythe Place, Kent, 1120310.
(b) whole-length to left, seated beside basket; NT, Smallhythe Place, Kent, 1120311.

1924
Photograph by unidentified photographer, half-length, profile to left, seated with Edith Craig, receiving cake from small boy; repr. in unidentified publication, captioned ‘Dame Ellen Terry with her daughter, Miss Edith Craig, receriving a cake on her 77th birthday at Letchworth yesterday from Michael de Norman Ensor. It was subscribed for by the children of St. Christopher’s School’(cutting NPG, Album 258 [Henry Irving and Ellen Terry cuttings album]).

1925
Photographs by Ridley’s Studios, Tenterden, at Smallhythe, six known poses:
(a) postcard print, 138 x 87mm, whole-length to front, seated in garden with dog, wearing wide-brimmed hat; NPG x17046.
(b) postcard print, 136 x 77mm, dressed as in pose (a), whole-length to right, facing front, seated in garden with cat on lap; NPG x17047.
(c) whole-length to front, almost profile to right, standing leaning against wooden support in cow byre; NT, Smallhythe Place, Kent, NT/SMA/PH/2716.
(d) as in pose (c) but to left, facing front, with open book in hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2719.
(e) whole-length, seated on table in cow byre, reading from book in left hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2724.
(f) whole-length to left, seated, with dog as in pose (a) and unidentified woman to right; NT, Smallhythe Place, Kent,NT/SMA/PH/2736.

Photographs by Ridley’s Studios, Tenterden, at Smallhythe, four known poses:
(a) three-quarter-length to left, facing front, seated in chair in garden, wearing patterned cardigan; NT, Smallhythe Place, Kent, NT/SMA/PH/2728.
(b) whole-length to left, facing front, standing beside hedge in garden, dressed as in pose (a) but with coat draped over shoulders; NT, Smallhythe Place, Kent, NT/SMA/PH/2730.
(c) half-length to left, seated in chair in garden, holding flower, dressed as in pose (b); NT, Smallhythe Place, Kent, NT/SMA/PH/2732.
(d) whole-length to right, facing front, in great brick fireplace, dressed as in pose (a); NT, Smallhythe Place, Kent,NT/SMA/PH/2772.

Cabinet card, 132 x 81mm, by unidentified photographer, on the day she was made a Dame, half-length, slightly profile to right, seated beside Edith Craig, wearing fur coat and lace head covering; V&A, London, S.133:534-2007.

Photographs by unidentified photographer, leaving 34 Burleigh Mansions for Buckingham Palace for investiture ceremony, two known poses:
(a) whole-length to front, facing front, standing between car and chauffeur, members of the public in background; NT, Smallhythe Place, Kent, 1120363.
(b) almost identical to pose (a) but from different angle, excluding crowd; repr. Daily Mail, details not known (cutting NPG, Album 258 [Henry Irving and Ellen Terry cuttings album]).

Photograph by unidentified photographer, possibly at Buckingham Palace during investiture ceremony, whole-length to left, seated in room with large group; NT, Smallhythe Place, Kent, NT/SMA/PH/2745.

Selection of photographs by unidentified photographer from the day of Terry’s investiture; V&A, London, 1299-1939.

Photograph by unidentified photographer, on the occasion of laying the foundation stone of the Playhouse, Walton-on-Thames, head-and-shoulders to front, wearing hat; repr. Cheshire 1989, p.106.

Photograph by unidentified photographer, seated beside gramophone given to her by Edith Craig on her 77th birthday; NT, Smallhythe Place, Kent, 1120371.

Photograph by unidentified photographer, in Westgate, Kent, Mar. 1925, three-quarter-length to left, seated in bathchair, next to Mary Cheatle; NT, Smallhythe Place, Kent, 1120350.

Photographs by unidentified photographer, at ‘Oscarana’, Walton-on-Thames, 17 Sept. 1925, two known poses:
(a) whole-length to front, seated in deckchair, with Jack, Martha and June Morris and dog Patsey; NT, Smallhythe Place, Kent, 1120358.
(b) half-length to left, facing front, seated in deckchair, with June; NT, Smallhythe Place, Kent, 1120359.

Photograph by unidentified photographer, half-length to front, standing in front of motorcar with Edith Craig and the Lord Mayor of York; repr. Daily Mail, no details known (cutting NT, Smallhythe Place, Kent, NT/SMA/PH/2761).

c.1925
Photographs by unidentified photographer, two known poses:
(a) whole-length to front, standing at entrance to a house decorated with garland, holding flowers in left hand, Edith Craig standing to side; NT, Smallhythe Place, Kent, NT/SMA/PH/2749.
(b) whole-length, receiving basket of flowers from young girl, dressed as in pose (a) but wearing glasses, Edith and others in background; NT, Smallhythe Place, Kent, NT/SMA/PH/2750.

Photographs by unidentified photographer, in rural setting, six known poses:
(a) whole-length to front, standing outside wearing dark hat and glasses, holding small child (possibly grandchild); NT, Smallhythe Place, Kent, NT/SMA/PH/2793.
(b) as in pose (a), with unidentified woman; NT, Smallhythe Place, Kent, NT/SMA/PH/2794
(c) whole-length to front, seated in bathchair, child in lap; NT, Smallhythe Place, Kent, NT/SMA/PH/2795.
(d) as in pose (c) but pointing to camera; NT, Smallhythe Place, Kent, NT/SMA/PH/2796.
(e) whole-length to right, seated in bathchair, looking down at child in lap; NT, Smallhythe Place, Kent, NT/SMA/PH/2797.
(f) whole-length to front, seated in bathchair, bending forwards to hold child standing in front; NT, Smallhythe Place, Kent, NT/SMA/PH/2798.

Photograph by unidentified photographer, three-quarter-length, profile to left, seated on window seat looking out; NT, Smallhythe Place, Kent, NT/SMA/PH/2741.

Photograph by unidentified photographer, whole-length, seated on arm of armchair at table with lamp on it, reading from book; NT, Smallhythe Place, Kent, NT/SMA/PH/2690.

1926
Photographs by unidentified photographer, four known poses:
(a) half-length to front, seated in bathchair outside, holding pet rabbit up to face; NT, Smallhythe Place, Kent,NT/SMA/PH/2621.
(b) three-quarter-length to left, profile to left, seated outside, holding rabbit to face; NT, Smallhythe Place, Kent,NT/SMA/PH/2622.
(c) whole-length to right, facing front, seated in bath chair, holding rabbit, surrounded by four unidentified children; NT, Smallhythe Place, Kent, NT/SMA/PH/2623.
(d) whole-length to front, standing in doorway, left hand on hip; NT, Smallhythe Place, Kent, NT/SMA/PH/2768.

c.1926
Photographs by unidentified photographer, at Smallhythe, three known poses:
(a) whole-length to front, standing at main entrance, wearing dark skirt and blouse, holding posy of flowers; NT, Smallhythe Place, Kent, NT/SMA/PH/2769.
(b) whole-length to left, facing front, bending down in garden; NT, Smallhythe Place, Kent, NT/SMA/PH/2784.
(c) as in pose (a), with Edith and unidentified woman; NT, Smallhythe Place, Kent, NT/SMA/PH/2785.

Photograph by unidentified photographer, whole-length to right, seated in bathchair, with three unidentified women; NT, Smallhythe Place, Kent, 1120392.

Photograph by unidentified photographer, probably in 34 Burleigh Mansions, two known poses:
(a) whole-length to front, seated, with Christopher St John reading a letter to her; NT, Smallhythe Place, Kent,NT/SMA/PH/2752.
(b) almost identical to pose (a) but from different angle, showing Terry only; repr. Daily Chronicle, details not known.

1927
Photographs by unidentified photographer, at Smallhythe, two known poses:
(a) whole-length to front, seated with dog in garden, Edith Craig standing behind and two female friends in front; NT, Smallhythe Place, Kent, 1121200. Repr. Melville 1987, p.242, captioned ‘Ellen at eighty, by now nearly blind’.
(b) half-length to front, seated with same three women, holding Edith’s arm; NT, Smallhythe Place, Kent, NT/SMA/PH/2775.

c.1927
Photograph by unidentified photographer, at Smallhythe, whole-length to left, standing next to unidentified man and woman, taking an object from the woman’s hand; NT, Smallhythe Place, Kent, NT/SMA/PH/2790.

1928
Photographs by unidentified photographer, at Smallhythe, five known poses:
(a) three-quarter-length to right, facing front, seated at desk; NT, Smallhythe Place. Kent, Repr. Melville 1987, p.245, captioned ‘last photograph of Ellen, taken at the age of eighty one, down at her farm in Smallhythe’.
(b) half-length to right, facing front, seated at desk, with Marion Terry; repr. Steen 1962, p.272.
(c) whole-length to front, standing at main entrance with Marion, wearing hat; NT, Smallhythe Place, Kent, NT/SMA/PH/2770.
(d) as in pose (c), with Marion and another unidentified woman; NT, Smallhythe Place, Kent, NT/SMA/PH/2771.
(e) three-quarter-length to front, seated at desk; NT, Smallhythe Place, Kent, ET/K10.

publ. 1928
Photographs by Hay Wrightson, two known poses:
(a) half-length to left, almost profile to left, seated, left hand supporting chin, wearing lace headscarf; NT, Smallhythe Place, Kent, 1119170 (signed by photographer). Repr. Country Life, 3 Mar. 1928, front cover, captioned ‘Ellen Terry: “Heaven send her many years of sunshine days”’.
(b) as in pose (a) but facing front, looking to right; repr. in unidentified publication (cutting NT, Smallhythe Place, Kent,NT/SMA/PH/2764.
Relief portrait on brass and enamel badge by unidentified artist after pose (a), c.1928, lettered ‘The Ellen Terry National Homes Unity Club’; NT, Smallhythe Place, Kent, 1117852.

Photographs by unidentified photographer, two known poses:
(a) head-and-shoulders to front, wearing lace headscarf and dress with crocheted collar held with oval brooch; repr. Graphic, 3 Mar. 1928, front page.
(b) as in pose (a) but slightly profile to left; repr. in unidentified publication (cutting NPG, Album 285 [Henry Irving and Ellen Terry cuttings album]).

late 1920s
Photograph, 82 x 58mm, by unidentified photographer, half-length, reclining on grass; V&A, London, S.133:536-2007.

Photograph, 82 x 58mm, by unidentified photographer, half-length to front, bending slightly over desk next to Marion Terry; V&A, London, S.133:637-2007.

Photographs by unidentified photographer, in the garden at Smallhythe, with Edith Craig and Christopher St John, two known poses:
(a) whole-length to front, seated; NT, Smallhythe Place, Kent, 1120391. Repr. Melville 1987, p.190.
(b) as in pose (a) but looking to left and upwards; NT, Smallhythe Place, Kent, NT/SMA/PH/2775.

Photographs by unidentified photographer, at Smallhythe two known poses:
(a) whole-length to left, facing front, seated on chair in doorway, holding cat on lap, wearing hat; NT, Smallhythe Place, Kent, NT/SMA/PH/2809.
(b) as in pose (a) but almost profile to left; NT, Smallhythe Place, Kent, NT/SMA/PH/2810.

Photographs by unidentified photographer, at Smallhythe, two known poses:
(a) whole-length to left, facing front, seated holding cat on lap, wearing sun hat, with two young men standing behind; NT Smallhythe Place, Kent, NT/SMA/PH/2813.
(b) as in pose (a) but almost profile to left, no men; NT, Smallhythe Place, Kent, NT/SMA/PH/2811.

Photograph by unidentified photographer, three-quarter length to front, seated in garden at Smallhythe, wearing sun hat and shawl across shoulders, young man standing behind; NT, Smallhythe Place, Kent, NT/SMA/PH/2814.

Photograph by unidentified photographer, at Walmer Fete, whole-length to right, seated in bath chair with bouquet of flowers in lap, wearing glasses and cap; repr. in unidentified publication (cutting NPG, Album 258 [Henry Irving and Ellen Terry cuttings album]).

c.1920s
Photograph by unidentified photographer, whole-length to left, wearing headscarf, seated on stage during amateur nativity play at Rye, with five other actors; Billy Rose Theatre Coll., New York PL, 555506.

Photograph by unidentified photographer, whole-length to front, seated on stage with Edith Craig and cast of unidentified play; NT, Smallhythe Place, Kent, NT/SMA/PH/2741.


II. IN STAGE CHARACTER (alphabetically by play)back to top


Abelard and Heloise (as ‘Heloise’)

1913
Oil on canvas, 1850 x 1320mm, by Henrietta Rae, signed, next to Henry Irving as ‘Abelard’, whole-length to front, seated, wearing long gown and lace headdress; priv. coll. Ref. Sotheby’s, 15 July 2008 (41, ill.)
Oil sketch, 728 x 519mm, by Rae for the finished painting sold Sotheby’s, New York, 11 Dec. 2003 (74).


The Admirable Crichton (as the ‘Nurse’)

Photograph

c.1916
Photograph, 86 x 57mm, by unidentified photographer, three-quarter-length to front, standing with stage curtain behind, wearing apron and bonnet; V&A, London, S.133:537-2007.


Alice Sit-by-the-Fire (as ‘Alice Grey’)

1905
Watercolour and ink drawing, 278 x 259mm, by Pamela Colman Smith, signed with monogram and inscr. ‘Ellen Alice-sit-by-the-Fire Terry April 1905’, whole-length to right, seated, wearing dress with full skirt; V&A, London, S.903-2012. Repr. as hand-tinted lithograph; impression NT, Smallhythe Place, Kent, 1118445.

Oil on canvas by Douglas F. Robinson, half-length to front, slightly profile to right, seated, wearing dress and hair in loose bun; NT, Smallhythe Place, Kent, 1118207. Repr. Country Life, 30 Aug. 1990, p.79.

Photographs

1905
Photographs by Window & Grove, three known poses:
(a) platinum print, 135 x 100mm, publ. Window & Grove 1906, whole-length to right, standing, wearing long dress, looking at reflection in hand mirror, with hair gathered loosely at top of head; prints colls NPG Ax131328; and V&A, London, S.133:518-2007 (cropped). Repr. Graphic, 21 Apr. 1906, p.501.
(b) postcard print, 90 x 135mm, right-hand image of three, three-quarter-length to left, facing front, standing, in same setting and dressed as in pose (a) but with lace shawl around head and holding flowers, with two other images of Terry (see above, ‘I. In private character, Photographs, c.1905, pose [f]’ and below, ‘II. In stage character, Coriolanus, Photographs, 1901, second session, pose [e]’); coll. Caroline Blomfield.
(c) bromide postcard print 140 x 89mm, as in (b), three-quarter-length, standing to right with right hand on hip and holding flowers in left; NPG x197940.

Bromide postcard print 139 x 87mm, by Window & Grove possibly from session above, publ. J. Beagles & Co, three-quarter-length, dressed as above, seated to left and profile right with hand bag open in front of her; NPG x197941.
Head-and-shoulders crop, publ. Rotary Photographic Company Ltd; NPG x17043 (vintage postcard print, 124 x 80mm).

Photographs by Alfred Ellis & Walery, two known poses:
(a) postcard print, 137 x 89mm, publ. J. Beagles & Co, whole-length to right, seated, embracing A.E. Matthews as ‘Cosmo Grey’; Garrick Club, London, Henry Irving Album, p.34. Repr. Cheshire 1989, p.97.
(b) whole-length to left, profile to left, standing, gesturing towards Matthews (seated); NT, Smallhythe Place, Kent, 1120532. Repr. Melville 2006, p.186.

Photograph by unidentified photographer, possibly from session above, whole-length to left, standing, wearing hat, in scene with Dora Hole as the ‘Nurse’ and C. Aubrey Smith as ‘Colonel Grey’; repr. Cheshire 1989, p.97.

Two further poses by Alfred Ellis, reg. for copyright 1905 July 28: National Archives.


The Amber Heart (as ‘Ellaline’)

c.1887
Drawing by Pamela Colman Smith, whole-length to front, standing amongst rushes, wearing long robe; HRHRC, University of Texas at Austin. Repr. Auerbach 1987, p.245.

Design for caricature by Alfred Bryan, signed with initials, whole-length to right, standing, clutching hands to chest and craning head forwards; untraced. Repr. Cheshire 1989, p.68.

Design by ‘F.H.T’, signed with initials bottom right and inscr. ‘Miss Ellen Terry in Act I’, whole-length to right, standing at balcony, both arms extended to front; untraced. Repr. in unidentified publication (cutting Garrick Club, London, Lyceum vol.2, p.11).

publ. 1888
Design by J. Houghton, signed, whole-length to right, reclining on couch with shadowy figure behind; untraced. Repr. Fun, 6 June 1888 (copy Russell-Cotes AGM, Bournemouth, BORGM:2006.17.3.11.2).

Photographs

1888
Photographs by Window & Grove, nine known poses:
(a) albumen cabinet card, 145 x 102mm, three-quarter-length to right, profile to right, standing, wearing long white robe; NPG x16973 and NPG Ax131312 (platinum print, 137 x 98mm, publ. Window & Grove 1906).
(b) whole-length to right, profile to right, leaning over lily flowers; V&A, London, S.133:407-2007.
(c) half-length to right, profile to right, head garlanded with leaves; V&A, London, S.133:410-2007.
(d) as in pose (c) but facing front; V&A, London, S.133:411-2007.
(e) three-quarter-length to front, standing behind parapet; V&A, London, S.133:412-2007.
(f) as in pose (e) but looking down and to left; V&A, London, S.133:413-2007.
(g) as in pose (e) but smiling; Billy Rose Theatre Coll., New York PL, 144732.
(h) whole-length to front, right arm extended holding foliage, looking down at object in left hand; Garrick Club, London, Ellen Terry album 1, no.96.
(i) three-quarter-length to right, profile to right, standing bent forwards, dressed as in pose (c); Garrick Club, London, Ellen Terry album 1, no.98. Repr. Terry 1908 (US ed., New York).

Four further poses by Window & Grove, from session above, reg. copyright 1888 May 18: National Archives (COPY 1/392/157; COPY 1/392/160; COPY 1/392/156; COPY 1/392/153).


Becket (as ‘Fair Rosamund’)

1893
Design by Carl Wilhelm, signed, dated and inscr. ‘Rosamund’, whole-length to front, standing in woodland setting; untraced. Repr. as engr. Sketch, 29 Mar. 1893; and Cheshire 1989, p.80.

Watercolour montage, 220 x 290mm, by S. Ruth Canton, signed with monogram, dated and inscr. ‘Becket’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.1, p.27.

Design by Arthur Jule Goodman, signed and dated, whole-length to right, kneeling against Henry Irving as ‘Becket’, also with (Lucy) Genevieve Teresa Ward, Countess de Guerbel as ‘Eleanor of Aquitaine’, in woodland setting; untraced. Repr. as engr. by André & Sleigh, Black & White, 11 Feb. 1892, p.157 (front cover), captioned ‘Scene from Lord Tennyson’s drama “Becket” at the Lyceum Theatre’.

publ. 1893
Designs by A. Forestier, three poses with Henry Irving; untraced. Repr. ILN, 11 Feb. 1893, p.172 (whole page plate); copy V&A, London, S.6034-2009.

Design by unidentified artist, whole-length to front, kneeling on steps in cathedral, above prostrate body of Henry Irving; untraced. Repr. Graphic, 11 Feb. 1893, p.121 (front cover), captioned ‘The performance of Lord Tennyson’s “Becket” at the Lyceum Theatre’.

Design by Reginald Cleaver, whole-length, kneeling on stage next to Henry Irving at a command performance at Windsor Castle, Queen Victoria and the Prince of Wales in the audience; untraced. Repr. as engr., Graphic, 25 Mar. 1893, p.279 (front cover); and Cheshire 1989, p.78.

Design by Thomas Walter Wilson, whole-length to right, kneeling, in death scene with Henry Irving, royal family in front row of the audience; untraced. Repr. as wood-engr. by T. Taylor, ILN, 25 Mar. 1893, supplement, pp.368–9, captioned ‘Becket at Windsor Castle: The Scene in Canterbury Cathedral’.

Design by unidentified artist, whole-length to front, with Henry Irving, on stage at Windsor Castle; untraced. Repr. Graphic, 25 Mar. 1893, cover image.

c.1893
Design by Hawes Craven, scene of ‘Rosamund’s Bower’, whole-length to right, kneeling beside Henry Irving in woodland setting; untraced. Repr. as engr. by André & Sleigh (coll. David Cheshire, 1989); repr. Cheshire 1989, p.78.

publ. 1899
Design, 240 x 110mm, by Aubrey Vincent Beardsley, signed and inscr. ‘Miss Terry’, whole-length to right, standing, wrapped in hooded cloak; NT, Smallhythe Place, 1118403.1. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Critic, 1899, p.441; Beardsley 1899b (1912 ed., pl.47); and Gould & Gawade 2014, p.76 (fig.55).

1900
Watercolour drawings by Pamela Colman Smith:
(a) signed in monogram, whole-length, profile to left, seated, dressed in nun’s habit; NT, Smallhythe Place, Kent, 1117240.
hand-tinted woodcut by Colman Smith after (a), dated ‘28 April 1900’; impressions NT, Smallhythe Place, Kent, 1118405.9, 1118257 (framed together with portrait of Terry as ‘Kniertje’ in The Good Hope) and 10 others; and V&A, London, S:906-2012 (227 x 250mm).
(b) signed in monogram, whole-length, to front, standing, leaning slightly to left with hand extended; NT, Smallhythe Place, Kent, 1117255.

Photographs

1893
Photographs by Window & Grove, four known poses:
(a) bromide postcard print, 123 x 82mm, publ. J. Beagles & Co. 1900s, half-length to right, facing front, standing, hands on head, wearing sheer gown with decorative trim; NPG x26804 (signed by the sitter).
(b) as in pose (a) but leaning to right against tree, hands clasped to chest; V&A, London, S.133:482-2007.
(c) head-and-shoulders to right, holding strand of ivy; V&A, London, S.133:484-2007.
(d) whole-length to front, facing front, standing, hands held at chest; Garrick Club, London, ET Photographs Box.

Photographs by Window & Grove, four known poses:
(a) platinum print, 136 x 97mm, publ. Window & Grove 1906, half-length to front, standing with right hand behind head, wearing nun’s habit and large crucifix around neck; NPG Ax131319.
(b) as in pose (a) but with hands tucked in sleeves to front; V&A, London S.133:483-2007.
(c) head-and-shoulders, almost profile to right; Garrick Club, London, Ellen Terry album 2, no.12.
(d) head-and-shoulders, facing front; Garrick Club, London, ET Photographs Box.

c.1893
Photographs by Window & Grove, two known poses:
(a) cabinet card, 144 x 104mm, head-and-shoulders vignette, shoulders to left, facing front, wearing embroidered cloak, hand to throat; V&A, London S.133:485-2007.
(b) head-and-shoulders to left, profile to left looking upwards; Garrick Club, London, Lyceum vol.1, p.31.

Fourteen further poses by Window & Grove, from sessions above, reg. for copyright 1893 Mar. 15: National Archives (COPY 1/411/386; COPY 1/411/373; COPY 1/411/379; COPY 1/411/384; COPY 1/411/382; COPY 1/411/381; COPY 1/411/377; COPY 1/411/391; COPY 1/411/376; COPY 1/411/369; COPY 1/411/385; COPY 1/411/374; COPY 1/411/380; COPY 1/411/371).


The Belle’s Stratagem (as ‘Letitia Hardy’)

1881
Pencil drawing by Frederick Barnard, signed with monogram, whole-length to right, standing beside Henry Irving as ‘Doricourt’, wearing gown with long train and holding fan at side; NT, Smallhythe Place, Kent, 1117168.

publ. 1881
Design for caricature by Alfred Bryan, signed with initials, whole-length to right, holding fan, dancing beside Henry Irving; untraced. Repr. as woodcut, 235 x 165mm, Entr’acte, 16 Apr. 1881, p.9, captioned ‘Now that Mr Henry Irving has taken to dancing, Mr Fred Vokes must look to his laurels’ (copy BM, London, 1933,1014.644.20).

Design for caricature by Harry Furniss, signed with initials bottom left, whole-length, rear view, dancing; untraced. Repr. Punch, details not known (cutting, Garrick Club London, Chronicles of the Lyceum 1879–83, p.15).

c.1881
Design by Henry Stephen (‘Hal’) Ludlow, signed, whole-length to front, dancing with Henry Irving; untraced. Repr. as engr. in unidentified periodical (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.4, p.189).

Design by Chrissie Green, three-quarter-length to front, standing with Henry Irving; untraced. Repr. in unidentified publication (cutting Garrick Club, London, Chronicles of the Lyceum 1879–83, p.17).

Photographs

1881
Photographs by Window & Grove, twelve known poses:
(a) albumen cabinet card, 166 x 84mm (oval format), half-length, facing front, seated backwards on chair, wearing dress with lace sleeves and collar, and fingerless lace gloves; NPG x16975.
(b) matt bromide postcard print, 132 x 84mm, three-quarter-length, facing front, standing with arms crossed at waist; NPG Ax160171.
(c) platinum print, 137 x 98mm, whole-length to right, facing front, standing, dressed as in pose (a) but with hooded cape; NPG Ax131305 and NPG Ax160173 (matt bromide postcard print, 136 x 86mm). Repr. Graphic, 21 Apr. 1906 p.500 (cropped to half-length).
(d) half-length to right, seated; V&A, London, S.133:293-2007.
(e) half-length to front, hands holding posy to face; V&A, London, S.133:301-2007.
(f) head-and-shoulders to right, looking up; V&A, London, S.133:304-2007.
(g) half-length to front, looking right, standing, right hand on hip, chewing corner of handkerchief; V&A, London, S.133:305-2007.
Engr. by John McGoffin after (h) repr. Graphic, details not known (copy Folger Shakespeare L., Washington, DC, ART File T329 no.50 (size XS).
(h) as in pose (a) but looking to right; V&A, London, S.133:299-2007.
(i) half-length, rear view, profile to right; V&A, London, S.133:300-2007.
(j) half-length to left, looking to right, seated, hands adjusting clothing at neck; V&A, London, S.133:298-2007.
(k) three-quarter-length to right, facing front, seated, hands in lap; Billy Rose Theatre Coll., New York PL, 555467.
(l) head-and-shoulders vignette, looking to right, dressed as in pose (c); prints colls NT, Smallhythe Place, Kent, ET/K10; and Garrick Club, London, Ellen Terry album 1, no.35.

Two further poses by Window & Grove from session above, reg. copyright 1883 May 28: National Archives (COPY 1/364/284; COPY 1/364/289).


The Bohemian Girl (as ‘Buda, the Nurse’)

Photographs

1922
Film stills by unidentified camera operator, from silent film ‘The Bohemian Girl’, five known poses:
(a) half-length to left, standing, arms crossed, wearing head scarf, next to Gladys Cooper as ‘Arlene Arnheim’; BFI National Film and Television Archive. Repr. Cheshire 1989, p.105.
(b) half-length slightly to left, almost profile to left, standing, hands clasped to chest;
(c) half-length to front, right raised to front;
(d) half-length, head tilted upwards looking up, both hands clasping another unidentified woman (only arms in frame);
all BFI National Film and Television Archive. Repr. Manvell 1968, fig.38.
(e) head-and-shoulders, almost profile to left; repr. in unidentified publication (cutting NPG, Album 285 [Henry Irving and Ellen Terry cuttings album]).


Captain Brassbound’s Conversion (as ‘Lady Cecily Waynflete’)

1906
Design by Pamela Colman Smith, signed with monogram by the artist and signed and dated by the sitter, whole-length to right, standing with arms held out in front of her, wearing hat tied under chin with scarf; untraced. Repr. Melville 1987, p.204.

c.1906
Design by Pamela Colman Smith, signed with monogram, head-and-shoulders to left, wearing wide-brimmed hat tied under chin; untraced. Repr. as illustration on poster for McClure’s Magazine (advertising the serialisation of Terry’s autobiography), date unknown; copy The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL, 1020552.

Watercolour montage, 245 x 335mm, by S. Ruth Canton, signed, dated and inscr. ‘Captain Brassbound’s Conversion 1906’, in multiple scenes from the play; Garrick Club, London, Henry Irving Album, p.42.

c.1907
Design by H. Cawthorn, whole-length, seated, sewing, to right of James Carew as ‘Brassbound’; untraced. Repr. as illustration on poster advertising the play; copy NT, Smallhythe Place, Kent, 1117317

Photographs

1906
Photographs by Window & Grove, three known poses:
(a) platinum print, 137 x 98mm, publ. Window & Grove 1906, whole-length slightly to right, standing in studio with ‘garden’ backdrop, wearing long summer dress with parasol and sun hat tied under chin; NPG Ax131329; NPGx197657 (bromide print, 128 x 87mm); and V&A, London, S.133:520-2007 (half-length crop).
(b) three-quarter-length to front, facing front, seated, holding Jack Russell dog under left arm; NT, Smallhythe Place, Kent, 1120559.
(c) whole-length to front, facing front, holding open parasol over right shoulder; repr. Manvell 1968, fig.35.

Two further poses by Window & Grove, probably from session above, reg. for copyright 1906 May 8: National Archives.

Photographs by Window & Grove, possibly from the above session, two known poses:
(a) bromide postcard print, 136 x 86mm, publ. Window & Grove 1906, half-length, seated to right, right elbow resting on side table, dressed as above but with short-sleeved tunic over dress, no hat but wearing large dark fabric bow on top of head; NPG x197928.
(b) bromide postcard print, 136 x 87mm, publ. Window & Grove 1906, dressed as in a), seated to right, holding hands together before face; NPG x197929.

Photographs by unidentified photographer, dressed as in items above, two known poses:
(a) whole-length to left with other cast members including James Carew as ‘Kearney’, Frederick Kerr as ‘Brassbound’ and J.H. Barnes as ‘Hallam’; NT, Smallhythe Place, Kent, 1120547. Repr. Melville 2006, pp.190–1.
(b) with Kerr and Barnes; NT, Smallhythe Place, Kent, 1120544.

Vintage postcard print, 122 x 79mm, by Foulsham & Banfield, publ. Rotary Photographic Company Ltd., whole-length to left, facing front, standing against patterned wallpaper, with right hand on chairback and left hand to mouth; NPG x17044. Repr. Graphic, 28 Apr. 1906, p.527.

Photographs by Window & Grove, three known poses:
(a) cabinet card, 142 x 103mm, half-length to front, seated, with large bow in hair and string of beads at neck; V&A, London, S.133:521-2007.
(b) three-quarter-length to left, standing behind James Carew (seated); V&A, London, S.133:522-2007.
(c) whole-length to left, standing beside Frederick Kerr; repr. in unidentified publication, early 20th century (cutting Garrick Club, London, Henry Irving Album, p.40).

Two further poses by Window & Grove from session above, dressed as in item above, reg. for copyright 1906 May 8: National Archives.

Photograph by unidentified photographer, possibly from session above, three-quarter-length to right, facing front, seated, wearing large bow in hair and dark cloak, parrot perched on left hand; repr. Graphic, 21 Apr. 1906, p.501 (cutting Garrick Club, London, Henry Irving Album, p.46).

b>Charles I (as ‘Henrietta Maria’)

c.1892
?Oil on canvas by William Henry Margetson, Charles I, half-length to left, seated in boat; untraced.
Steel engraving after item above publ. Fine Art Soc., 15 Nov. 1892; impression NT, Smallhythe Place, Kent, 1118351. Repr. Cheshire 1989, p.51.

Design by unidentified artist, whole-length to left, head raised, looking upwards, standing in front of Henry Irving as ‘Charles I’, who clasps her hands; repr. as ?engr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.1, p.275).

unknown date
Designs for caricatures by Faustin Betbeder (‘Faustin’), whole-length to left, kneeling with arms outstretched; untraced. Repr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.3, p.271).

Photographs

c.1879
Photographs by Window & Grove, six known poses:
(a) platinum print, 137 x 98mm, publ. Window & Grove 1906, half-length to front, profile to right, seated, wearing dress with large lace cuffs, collar and headdress; NPG Ax131316.
(b) half-length to left, looking right, hands clasped in front; V&A, London, S.133:310-2007.
(c) three-quarter-length to front, looking right, standing, wrists crossed; V&A, London, S.133:308-2007.
(d) half-length to front, seated, right arm resting on chairback; V&A, London, S.133:307-2007.
(e) half-length vignette, standing to right, facing front, hands clasped; Billy Rose Theatre Coll., New York PL, 555503.
(f) head-and-shoulders vignette, shoulders slightly to left, looking to right; Garrick Club, London, Ellen Terry album 1, no.32.

Two further poses by Window & Grove from session above, reg. for copyright 1883 Aug. 20: National Archives (COPY 1/365/144; COPY 1/365/147).

Photographs by Window & Grove, five known poses:
(a) albumen cabinet card, 165 x 108mm, half-length vignette, standing to front, wearing dress with lace collar and wide-brimmed hat; NPG x197416; and V&A, London, S.133:309-2007.
(b) half-length to front, looking upwards to left, seated; V&A, London, S.133:306-2007.
(c) head-and-shoulders, profile to left looking upwards; Garrick Club, London, Ellen Terry album 1, no.27.
(d) head-and-shoulders, almost profile to right looking upwards; Garrick Club, London, Ellen Terry album 1, no.31
(e) head-and-shoulders to front, slightly profile to left; Garrick Club, London, ET Photographs Box (bottom oval only).

Three further poses by Window & Grove from session above, reg. for copyright 1883 Aug. 20: National Archives (COPY 1/365/151; COPY 1/365/152; COPY 1/365/148).

The Cup (as ‘Camma’)

1881
Design by Henry Stephen (‘Hal’) Ludlow, signed, whole-length to front, standing to left of Henry Irving as ‘Synorix’; untraced. Repr. as wood-engr. by ?William Leighton Leitch, Pictorial World, 15 Jan. 1881, captioned ‘Theatrical Sketches: “The Cup,” at the Lyceum’ (copy BM, London, 1933,1014.642.96).

publ. 1881
Design by (John) Bernard Partridge, signed with monogram, whole-length to front, with Henry Irving; untraced. Repr. as photolithograph by W. Griggs, Society, 22 Jan. 1881 (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.4, p.129).

c.1881
Design by ‘H.M’, whole-length to right, seated, holding paper, with Henry Irving; untraced. Repr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.4, p.151.

Design by unidentified artist, whole-length to front, standing with arm held to chest, with Henry Irving, in montage of scenes from play; untraced. Repr. in unidentified publication, captioned ‘“The Cup” at the Lyceum Theatre’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.4, p.179).

Design by (Marion Margaret) Violet Manners (née Lindsay), Duchess of Rutland, whole-length to right, seated playing harp; untraced. Ref. photographic reproduction Garrick Club, London, Chronicles of the Lyceum 1879–83, p.13.

Design for caricature by Harry Furniss, signed with initials bottom left, whole-length to right, seated playing harp; untraced. Repr. Punch, no details known (cutting Garrick Club, London, Chronicles of the Lyceum 1879–83, p.11).

1907
Pen and ink drawing, 632 x 292mm, by Eric Papey, three-quarter-length to front, slightly profile to right, standing with hands raised to throat; untraced. Ref. Christie’s, 20 Feb. 1985 (187, ill.)

1917
Plaster bust, 260 x 160mm, by Doris Lindner, signed and dated; copies NT, Smallhythe Place, Kent, 1118523 (where described as ‘Portia’); and V&A, London, S.1058-1996.

Photographs

1881
Photographs by Window & Grove, nine known poses:
(a) platinum print, 135 x 99mm, publ. Window & Grove 1906, three-quarter-length to front, almost profile to right, standing with left hand shading eyes, wearing headscarf and holding long staff; NPG Ax131304.
(b) whole-length to right, facing front; V&A, London, S.133:316-2007.
(c) half-length to front, looking right, seated, hands clasped at right shoulder; V&A, London, S.133:321-2007.
(d) whole-length to front, seated on platform, clasping hand of Miss Harwood as the ‘Maid’ (standing); V&A, London, S.133:311-2007.
(e) whole-length to front, stepping off platform, arms raised above head; V&A, London, S.133:317-2007.
(f) three-quarter-length vignette to front, standing, both hands clutching staff; V&A, London, S.133:315-2007.
(g) three-quarter-length, looking right, staff in right hand, left hand holding drapery at neck; V&A, London, S.133:312-2007.Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.63, fig.46 (three-quarter-length vignette; NT, Smallhythe Place).
(h) three-quarter-length, slightly profile to right, both hands clasped on top of head; repr. Graphic, 21 Apr. 1906, p.501.
(i) albumen cabinet card 135 x 99mm, head-only vignette, profile to right, wearing headscarf; NPG x199039.

Photographs by Window & Grove, six known poses:
(a) cabinet card, 143 x 103mm, three-quarter-length vignette to right, slightly profile to right, seated playing harp; V&A, London S.133:318-2007.
(b) three-quarter-length to front, looking right, standing beside and holding curtain; V&A, London S.133:313-2007.
(c) three-quarter-length vignette to front, seated with harp; V&A, London, S.133:319-2007.
(d) whole-length to right, profile to right, semi-reclining; V&A, London, S.133:320-2007.
(e) half-length to right, profile to right, seated, right arm resting on chairback; Garrick Club, London, Ellen Terry album 1, no.99.
(f) whole-length to right, almost profile to right, standing holding object (the ‘cup’?) in both hands; Garrick Club, London, Ellen Terry album 1, no.101.


Cymbeline (as ‘Imogen’)

1896
Pen and ink drawings, by Frederick Pegram, at the Lyceum Theatre:
(a) 210 x 305mm, signed and dated, appearing twice, reclining and whole-length to front, standing, dressed as a page; Folger Shakespeare L., Washington, DC, ART Box P376 no.10 (size S).
(b) 210 x 305mm, signed and dated, whole-length to left, kneeling, wearing long cloak and gown; Folger Shakespeare L., Washington, DC, ART Box P376 no.9 (size S).

Pen and wash drawing, 311 x 222mm, by Ralph Cleaver, signed and dated, montage of scenes intended for unidentified publication, appearing twice, whole-length, reclining (top left) and whole-length to left, standing (bottom left) dressed as a page; Folger Shakespeare L., Washington, DC, ART Box C623 no.1 (size L).

publ. 1896
Gouache and wash drawing, 290 x 396mm, by Samuel Begg, whole-length, reclining on bed, with Henry Irving as ‘Iachimo’ to left-hand side; Folger Shakespeare L., Washington, DC, ART Box B416 no.2 (size L).

c.1896
Pen and crayon sketch, 311 x 191mm, by Aubrey Vincent Beardsley, head-and-shoulders, profile to left, with decorative border and motif; Folger Shakespeare L., Washington, DC, ART Box B368 no.1 (size L).

Pencil and wash drawing by Lawrence Alma-Tadema, signed on reverse by sitter, whole-length to right, standing holding sword, showing the costume design for her character (annotated in pencil); NT, Smallhythe Place, Kent, 1117184.2. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.43, fig.32.

Pen, ink and pencil drawings by John Jellicoe:
(a) whole-length, seated on step at feet of Cymbeline, head resting on hand, dressed as a page; Folger Shakespeare L., Washington, DC, ART Box J48 no.5 (size L).
(b) appearing twice, whole-length to left, standing, hands clasped (top) and half-length, reclining (bottom); Folger Shakespeare L., Washington, DC, ART Box J48 no.6 (size L).
(c) appearing twice, whole-length to left, standing, in vignette (top left) and whole-length, held in arms of Arviragus, dressed as a page (bottom); Folger Shakespeare L., Washington, DC, ART Box J48 no.7 (size L).

Design by ‘J.B.P’, signed with initials bottom left, whole-length to left, standing dressed as a page; untraced. Repr. in unidentified publication (cutting Garrick Club, London, Lyceum vol.I, p.113).

publ. 1897
Design for caricature by Alfred Bryan, whole-length to front, standing with Henry Irving, whose bandaged leg rests on stool; untraced. Repr. Entr’acte, 16 Jan. 1897, p.9, captioned ‘The situation at the Lyceum’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.17, p.15).

exh. 1898
?Painting by Margaret Murray Cookesley; untraced. Exh, RA 1898 (847).

publ. 1899
Coloured wood-engraving, 169 x134mm, by Edward Gordon Craig, whole-length to front, with left arm outstretched; untraced. Repr. Craig 1899, n.p., captioned ‘Miss Terry as “Imogen”’.

Photographs

1895
Photographs by Window & Grove, three known poses:
(a) platinum print, 136 x 98mm, publ. Window & Grove 1906, whole-length to front, almost profile to right, standing, left hand raised to face, wearing flower garland; NPG Ax131321 (as repr. Whyte 1898, frontispiece); V&A, London, S.133:497-2007 (half-length crop, as repr. Graphic, 21 Apr. 1906, p.500); and Estate of Edward Gordon Craig, 2008 (coloured photo, repr. Holroyd 2008, section two, pl.9). Another hand-coloured photograph exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.65, fig.47 (NT, Smallhythe Place), may be the same item.
?Oil miniature, 64mm oval, by unidentified English artist after pose (a), c.1900, head-and-shoulders; untraced. Ref. Sotheby’s, 5 Apr. 2001 (506, ill.).
?Watercolour miniature, oval format, by unidentified artist after pose (a), half-length; V&A, London, S.610-1997.
(b) half-length to front, looking left, seated; V&A, London, S.133:498-2007.
(c) half-length to left, profile to left, seated; NT, Smallhythe Place, Kent, ET/K10.
Drawing by Lawrence Alma-Tadema after pose (c) or unidentified pose from the session, c.1906, right hand raised to right shoulder, left hand on hip; untraced. Repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, fig.7 (copy U. of Bristol Theatre Coll., TCW/M/000037).

1896
Photographs by Window & Grove, four known poses:
(a) platinum print, 136 x 99mm, publ. Window & Grove 1906, three-quarter-length to front, standing, holding sheathed sword with both hands, wearing dark costume as a page; NPG Ax131322.
(b) half-length to front, looking right, holding sword to side; V&A, London, S.133:496-2007.
(c) whole-length to left, standing, hands clasped to chest; Folger Shakespeare L., Washington, DC, ART File T329 no.39 PHOTO (size XS).
(d) half-length, head supported on left hand; repr. Sketch, 18 Nov. 1896, front cover; ref. MEPL, London, 10493341.

Sixteen further poses by Window & Grove from sessions above, reg. for copyright 1896 Oct. 27: National Archives (COPY 1/427/434; COPY 1/427/423; COPY 1/427/432; COPY 1/427/425; COPY 1/427/427; COPY 1/427/430; COPY 1/427/369; COPY 1/427/428; COPY 1/427/435; COPY 1/427/367; COPY 1/427/371; COPY 1/427/370; COPY 1/427/436; COPY 1/427/426; COPY 1/427/437; COPY 1/427/429).


The Dead Heart (as ‘Catherine Duval / Countess de St Valery’)

publ. 1889
Gouache drawings by (John) Bernard Partridge:
(a) 248 x 173mm, signed, whole-length to right, standing; NPG D6650.
(b) 248 x 173mm, signed, whole-length to right, standing, holding open fan in left hand; NPG D6651. Exh. Bernard Partridge Character Sketches, NPG, London, 2014.
(c) 248 x 173mm, signed, whole-length to left, profile to left, standing, left-hand bent to shoulder, wearing cloak; NPG D6652.
Repr. in souvenir programme for The Dead Heart (copy Garrick Club, London).

Designs by unidentified artist, showing six scenes from the Lyceum production, Terry appearing most clearly in vignette 3, whole-length to right, seated at writing table; untraced. Repr. as engr. Graphic, 5 Oct. 1889, p.409.
See also S. Bancroft, Irving.

1890
Watercolour and pen and ink montage, 240 x 360mm, by S. Ruth Canton, signed with monogram, dated and inscr. ‘The Dead Heart’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.II, p.93.

Photographs

1889
Photographs by Window & Grove, seven known poses:
(a) platinum print, 136 x 98mm, publ. Window & Grove 1906, three-quarter-length to left, facing front, standing, wearing sacque with pleated trim; NPG Ax131313.
(b) head-and-shoulders to front, looking right; V&A, London, S.133:393-2007.
(c) three-quarter-length to left, profile to left, looking at reflection in mirror; V&A, London, S.133:444-2007.
(d) three-quarter-length, rear view, holding up patterned cloth; V&A, London, S.133:443-2007.
(e) half-length to front, standing; V&A, London, S.133:446-2007.
(f) half-length to left, profile to left, seated, leaning forwards, chin supported on right hand; V&A, London, S.133:448-2007.
(g) head-and-shoulders to left, profile to left, holding necklace; Garrick Club, London, Ellen Terry album 1, no.110.

Photographs by Window & Grove, five known poses:
(a) carte-de-visite, 86 x 58mm, half-length to right, standing, embracing Edward Gordon Craig as ‘Arthur de St Valery’, wearing dark dress and head scarf; V&A, London, S.133:397-2007.
(b) head-and-shoulders vignette to right, almost profile to right; Garrick Club, London, Ellen Terry album 1, no.129.
(c) half-length to front, looking upwards and to right; standing, holding hands of Edward Gordon Craig (standing behind and to right) which are on her shoulders; Garrick Club, London, ET Photographs Box.
(d) half-length, almost profile to left, embracing Edward Gordon Craig; Garrick Club, London, Lyceum vol.II, p.97. Repr. Whyte 1898, between pp.200-201.
(e) very similar to pose (a) but looking right, right hand held aloft; NT, Smallhythe Place, Kent, 1119738. Repr. Melville 1987, p.136.

Photographs by Window & Grove, two known poses:
(a) cabinet card, 144 x 105mm, half-length to front, profile to right, seated, wearing dark shawl and headscarf, holding open fan; V&A, London, S.133:445-2007.
(b) head-and-shoulders slightly to left, slightly profile to right looking to right; Garrick Club, London, Ellen Terry album 1, no.116.

Photographs by Window & Grove, two known poses:
(a) carte-de-visite, 102 x 63mm, half-length slightly to right, slightly profile to right, standing, holding fan, wearing wig with feather as decoration; Garrick Club, London, Ellen Terry album 1, no.109.
(b) half-length to right, profile to right, standing; Garrick Club, London, Photograph Box A.

Photographs by Window & Grove, two known poses:
(a) cabinet card, 145 x 106mm, whole-length to front, standing, wearing dress and bonnet, right foot forwards; V&A, London, S.133:447-2007.
(b) head-and-shoulders, facing front; Garrick Club, London, Photograph Box A.

Twenty-one further poses by Window & Grove from sessions above, reg. for copyright 1880 Nov. 13: National Archives (COPY 1/398/303; COPY 1/398/307; COPY 1/398/316; COPY 1/398/320; COPY 1/398/323; COPY 1/398/294; COPY 1/398/311; COPY 1/398/305; COPY 1/398/310; COPY 1/398/312; COPY 1/398/314; COPY 1/398/302; COPY 1/398/318; COPY 1/398/313; COPY 1/398/301; COPY 1/398/297; COPY 1/398/308; COPY 1/398/298; COPY 1/398/330; COPY 1/398/327; COPY 1/398/326).


Distant Relations (in multiple roles)

c.1859
Photograph by Walter G. Lacy, Ryde, whole-length to right, seated upon drum, wearing smock and hat, holding drumsticks, Kate Terry dressed in suit to right; NT, Smallhythe Place, 1119172. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Terry 1908, p.33; and Gould & Gawade 2014, p.53, fig.57.


Dora (as ‘Dora’)

Photographs

1878
Photographs by Charles Watkins (Octavius) Charles Watkins and (George) Herbert Watkins, three known poses:
(a) carte-de-visite, 90 x 60mm, three-quarter-length to right, profile to right, standing, wearing apron and cap; V&A, London S.133:171-2007.
(b) whole-length to right, holding ?posy; V&A, London, S.133:173-2007.
(c) whole-length to front, hands behind back; V&A, London, S.133:175-2007 (attrib. to Clarkington & Co.).


Endymion (as ‘Cupid’)

Photographs

1862
Photographs by Horatio Nelson King, four known poses:
(a) carte-de-visite, 93 x 59mm, whole-length, standing on left next to Henrietta Hodson (Mrs Henry Labouchere) and Kate Terry; V&A, London, S.133:165-2007. Repr. Cheshire 1989, p.20.
(b) alone, holding bow and arrow; V&A, London, S.133:164-2007. Repr. Whyte 1898, between pp.118-119.
(c) whole-length to left, facing front, legs crossed, right hand to chin; V&A, London, S.133:166-2007.
(d) whole-length to front, turning left, holding arrow; Folger Shakespeare L., Washington, DC, ART File T329 no.68 PHOTO (size XS) (coloured print).


Eugene Aram (as ‘Ruth Meadows’)

1873
Design by ?‘D.H.F’, signed with monogram, whole-length to right, kneeling at base of tree in graveyard, clutching Henry Irving as ‘Eugene Aram’; untraced. Repr. as ?engr. in unidentified publication, captioned ‘Scene from “The fate of Eugene Aram,” at the Lyceum Theatre’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.136, inscr. in ink below image ‘May 24.1873).

c.1873
Design by unidentified artist, whole-length to left, kneeling at base of tree, clutching Henry Irving; untraced. Repr. as ?engr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.128).


Faust (as ‘Margaret’)

c.1885
Engraving by Charles Oliver Murray, whole-length to front, in scene with Henry Irving as ‘Mephistopheles’; NT, Smallhythe Place, Kent, 1118352.

1886
Watercolour over graphite montage, 240 x 300mm, by S. Ruth Canton, signed and inscr. ‘Memories of ‘Faust’ / at the Lyceum / 1886’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.II, p.41.

exh. 1886
Drawing by Helen Howard Hatton, whole-length to right, profile to right, seated at spinning-wheel; untraced. Exh. Grosvenor G., London, Summer Exh., 1886 (240). Repr. AJ, 1886, p.28, captioned ‘Ellen Terry as Margaret. From a drawing by Helen H. Hatton’.

publ. 1886
Mezzotint, 342 x 210mm, by Henry William Batley, signed on mount, three-quarter-length to front, wearing medieval gown and lace cap, head of Henry Irving appearing top left; BM, London, 2010,7081.5819 (signed and dated in pen by sitter); and V&A, London, S.3720-2009.

Drawing by ‘H.M.’, signed with initials lower left, whole-length to right, next to Henry Irving under a banner marked ‘Lyceum’, within larger composition illustrating the numerous cultural attractions of London; untraced. Repr. as engr. Moonshine, 21 May 1887, captioned ‘The Shows of the Period’ (copy Russell-Cotes AGM, Bournemouth, BORGM:2004.5.3); and Bailey 1996, p.23, fig.3.
See also Irving, Leighton, Whistler.

unknown date
Drawing by unidentified artist, half-length to front, seated in high-backed chair, Henry Irving to right; untraced. Repr. as engr.; NT, Smallhythe Place, Kent, 1118384 (inscr. below image ‘The Garden Scene from Faust’).

Photographs

1885
Photographs by Window & Grove, six known poses:
(a) platinum print, 136 x 98mm, publ. Window & Grove 1906, half-length to right, profile to right, seated, wearing embroidered gown with cap and long plait, holding book; NPG Ax131309; and V&A, London, S.133:404-2007 (sepia print).
(b) three-quarter-length vignette to right, standing; V&A, London, S.133:402-2007. Repr. Graphic, 21 Apr. 1906, p.500.
(c) three-quarter-length to front, almost profile to right, standing, arms straight, holding book in both hands; Garrick Club, London, Ellen Terry album 1, no.83.
(d) half-length, rear view, reading from book; Garrick Club, London, Ellen Terry album 1, no.89.
(e) bromide postcard print 139 x 87mm, three-quarter-length to front, almost profile to right, holding book at waist with both hands; NPG x197942; and Garrick Club, London, Photograph Box A (postcard print, unknown publ.).
(f) as in (a), hands holding closed book; Folger Shakespeare L., Washington, DC, ART File T329 no.16 PHOTO (size XS).

Photographs by Window & Grove, three known poses:
(a) albumen print, 145 x 100mm, three-quarter-length to front, slightly profile to right, seated next to spinning wheel, wearing gown with tight-fitting sleeves; NPG x26809.
(b) three-quarter-length to right, spinning; V&A, London, S.133:396-2007.
(c) whole-length to right, turning left, arms outstretched to spinning wheel; V&A, London, S.133:405-2007.

Photographs by Window & Grove, possibly from session above, ten known poses:
(a) carte-de-visite, 86 x 57mm, three-quarter-length to right, almost profile to right, seated and leaning back slightly, wearing dress with brocade trim, rosary hanging from waist; V&A, London, S.133:398-2007.
(b) three-quarter-length to front, looking right, standing; V&A, London, S.133:400-2007.
(c) three-quarter-length, turning right, standing, leaning with arms on pole; V&A, London, S.133:401-2007.
(d) three-quarter-length to left, looking right, bending over well, right arm holding pulley rope, left touching flower pot; V&A, London, S.133:403-2007.
(e) three-quarter-length to left, looking right in apparent alarm, skirt caught up on base of column; V&A, London, S.133:406-2007.
(f) half-length to right, almost profile to right, by well; Garrick Club, London, Ellen Terry album 1, no.85.
(g) half-length to left, rear view, leaning against column, head resting on hand; Garrick Club, London, Ellen Terry album 1, no.87.
(h) half-length to left, facing front, seated on bench, holding flowers in right hand; Garrick Club, London, Ellen Terry album 1, no.88. Repr. as lithograph by A.S. Mallet & Co., publ. Tribune, 9 Apr. 1887, supplement.
(i) whole-length to front, standing by well, looking down and to left at rosary beads in right hand; Garrick Club, London, Photograph Box A.
(j) three-quarter-length to right, profile to right, seated at base of column, looking down at rosary held in both hands; NT, Smallhythe Place, Kent, Repr. Melville 2006, p.132.

Photographs by Window & Grove, five known poses:
(a) carte-de-visite, 91 x 59mm, half-length to right, almost profile to right, seated with hair let down, wearing plain flowing gown; V&A, London S.133:355-2007.
(b) three-quarter-length to front, slightly profile to right looking upwards, standing, both hands bound and holding chains; Garrick Club, London, Ellen Terry album 1, no.84.
(c) cabinet card, half-length, reclining on straw bed, chains round wrists resting across waist; Garrick Club, London, Ellen Terry album 1, no.86.
(d) half-length to front, profile to right looking down, standing with right hand to neck, left hand on hip; Garrick Club, London, ET Photographs Box.
(e) half-length to front, profile to right, both hands raised to neck; HRHRC, U. of Texas at Austin. Repr. Auerbach 1987, p.246.

Twenty-three further poses by Window & Grove from the sessions above, reg. for copyright 1886 Mar. 24: National Archives (COPY 1/375/20; COPY 1/375/21; COPY 1/375/23; COPY 1/375/24; COPY 1/375/457; COPY 1/375/475; COPY 1/375/476; COPY 1/375/481; COPY 1/375/471; COPY 1/375/467; COPY 1/375/482; COPY 1/375/472; COPY 1/375/463; COPY 1/375/469; COPY 1/375/466; COPY 1/375/26; COPY 1/375/480; COPY 1/375/459; COPY 1/375/462; COPY 1/375/465; COPY 1/375/461; COPY 1/375/473; COPY 1/375/456).

Photograph by unidentified photographer, whole-length, standing to left-hand side, with Henry Irving to left; untraced. Repr. Cheshire 1989, p.67. An almost unique action photograph taken on stage during 1885 visit to the United States.


The Good Hope (as ‘Kniertje’)

1904
Coloured woodcut, 277 x 230mm, by Pamela Colman Smith, signed with monogram and dated, whole-length to front, standing, wearing apron and clogs; impressions V&A, London, S.904-2012; and NT, Smallhythe Place, Kent, 111844 (signed, dated and inscr. by sitter), 1118438 (monochrome) and 1118257 (framed together with portrait of Terry as ‘Fair Rosamund’ in Becket).

Photographs

1904
Photographs by Leonard Craske, two known poses:
(a) vintage bromide postcard print, 137 x 85mm, whole-length to right, profile to right, standing on beach looking out to sea, hands on hips, wearing long gown, apron, clogs and cap; NPG x17050; and V&A, London, S.133:528-2007 (sepia print).
(b) looking out to sea, with unidentified woman; NT, Smallhythe Place, Kent, ET/K10.

Two further poses by Craske reg. for copyright 1906, Mar. 27: National Archives.


Hamlet (as ‘Ophelia’)

1875–80 (begun 1863-4)
Oil on canvas, 726 x 635mm, by George Frederic Watts, Ophelia, half-length to right, profile to right, leaning forwards over brook; Watts G., Compton, COMWG.89. Exh. Grosvenor G., London, 1878 (59); and Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Loshak 1963, p.486, pl.21; Auerbach 1987, p.112; Bills & Bryant 2008, p.154 (30); and Gould & Gawade 2014, p.16, fig.6.
Colour photograph of painting by Frederick Hollyer, c.1908; Folger Shakespeare L., Washington, DC, ART File T329 no.46 (size M).

c.1878
Drawing by Georges Labadie Pilotell, signed, whole-length to left, standing on river bank, wearing long gown; untraced. Repr. as engr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.1, p.191).

1878-86
Oil on canvas, 813 x 406mm, by Charles William Campbell, Ellen Terry as Ophelia, whole-length, looking up to left, standing in garden with right hand raised, wearing long gown edged with ermine and holding wreath in left hand; untraced; ex-coll. Folger Shakespeare L., Washington, DC (deaccessioned c.1960s). Ref. Pressly 1992 (D12, where titled as above); repr. Pemberton 1902, p.224.
Mezzotints by unidentified artist after Campbell, 385 x 208mm, in progressive states (with pose details differing); impressions BM, London, 1910,0716.36, 37, 38 and 39; V&A, London, S.6035-2009 (publ. R. Dunthorne, 1886); NT, Smallhythe Place, Kent, 1118361.1 and 1118361.2.

1879
Engraving after ?drawing by Edward H. Bell, whole-length, standing to right in long gown clutching Henry Irving as ‘Hamlet’ to right, signed by both sitters in the mount; copy NT, Smallhythe Place, Kent, 1118413. Repr. Cheshire 1989, p.46

1880
Etching, 235 x 164mm, by Anna Lea Merritt, half-length to front, holding bunch of flowers to her breast; impressions NPG D4091; BM, London, 1907,0418.2; and Folger Shakespeare L., Washington, DC, ART File T329 no.44 (size S). Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; epr. Etcher, 1879, vol.1, front cover; and Gould & Gawade 2014, p.39, fig.72 (NPG impression).

c.1880
Oil on canvas, 210 x185mm (fragment), by George Frederic Watts, The Madness of Ophelia, face only, cupped in hands; BM, London, 1954,0508.27. Repr. Loshak 1963, p.486, pl.22.

c.1880s
Designs by (John) Bernard Partridge:
(a) signed and inscr. ‘Miss Ellen Terry as Ophelia’, whole-length to front, standing, clutching hands to chest, wearing long robe; untraced. Repr., no details known; impression Folger Shakespeare L., Washington, DC, ART File T329 no.45 part 1 (size XS).
(b) three-quarter-length to right, seated, Henry Irving lying at her feet; untraced. Repr., no details known, captioned ‘Hamlet. Act III’; cutting Folger Shakespeare L., Washington, DC, ART File T329 no.45 part 2 (size XS) (also Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.153).

1898
Woodcut, 382 x 251, by Edward Gordon Craig, signed with initials, three-quarter-length to left, profile to left, holding bunch of flowers by side, staring into distance out of window; impressions BM, London 1941,1213.599 and 1933,1014.642.34; NT, Smallhythe Place, Kent, 1118404, 1118263 and 1118403.17; and V&A, London, E.962-1959. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Craig 1899, n.p.; Auerbach 1987, p.239; and Gould & Gawade 2014, frontispiece.

Photographs

1878
Photographs by Window & Grove, six known poses:
(a) platinum print, 137 x 98mm, publ. Window & Grove 1906, half-length slightly to left, almost profile to right looking to right, standing, wearing long gown edged with ermine, holding swathe of foliage at chest; NPG Ax131301; and V&A, London, S.6044-2009 and S.133:258-2007 (vignette, as repr. Graphic, 21 Apr. 1906, p.500).
(b) head-and-shoulders vignette to right, facing front, hands clasped at chest; V&A, London, S.133:246-2007.
(c) as in pose (b), right hand held to face; V&A, London, S.133:249-2007.
(d) half-length to front, hands clasped at chest; V&A, London, S.133:250-2007.
(e) head-and-shoulders vignette to right, slightly profile to right, looking upwards; V&A, London, S.133:253-2007.
Pencil drawing, 351 x 250mm, by George Frederic Watts after (e), 1878–9; Garrick Club, London, G0801.
(f) head-and-shoulders (oval format), almost profile to left; Garrick Club, London, Ellen Terry album 2, no.9 (on page with three other photographs of Terry).

c.1878
Photographs by Window & Grove, nine known poses:
(a) albumen cabinet card, 147 x 102mm, three-quarter-length vignette, standing, prayer book in left hand, wearing dress with elaborately beaded collar and sleeves; NPG x16971; and V&A, London, S.133:255-2007 (half-length crop).
(b) albumen cabinet card, 96 x 64mm, dressed as in (a), head-and-shoulders vignette to front; NPG x16976; and V&A, London, S.133:252-2007. Repr. Loshak 1963, p.476, pl.10.
Pencil drawing, 240 x 185mm, by George Frederic Watts after pose (b), c.1878–9; untraced; offered to NPG (offer no.5/[19]86), declined. Repr. Loshak 1963, p.476, pl.8; and Auerbach 1987, p.112.
Pencil drawing, 292 x 232mm, by Charles Campbell after pose (b), c.1878; V&A, London, S.395-1980.
Ceramic charger, 382mm diameter, by Henry Ryland based on posed (b), head-and-shoulders to front, against decorative orange tree background; untraced. Ref. Christie’s, 6 Nov. 1995 (no cat. no, ill.).
(c) head-and-shoulders vignett, as in (b), but profile to right; Garrick Club, London, PH0336.
(d) matte bromide postcard print, 134 x 84mm, half-length to right, profile to right, standing, both hands clutched to chest; NPG Ax160172; and V&A, London, S.133:245-2007.
(e) head-and-shoulders vignette, almost profile to right; V&A, London, S.133:251-2007.
Drawing by ‘E.G’ after pose (d), signed with initals and dated Oct. 1884; untraced. Ref. NPG NoS (Ellen Terry, ill.).
(f) three-quarter-length vignette to front, left arm held out sideways holding prayer book; V&A, London, S.133:257-2007.
(g) half-length to right, profile to right, seated, head resting on right hand; V&A, London, S.133:248-2007.
(h) half-length to right, head turning to front, seated; V&A, London, S.133:254-2007.
(i) half-length to front, seated, leaning forwards on fur throw, chin resting on clasped hands; V&A, London, S.133:256-2007.


Henry VIII (as ‘Queen Katherine’)

1892
Gouache drawing by (John) Bernard Partridge, signed, dated and inscr. ‘Miss Ellen Terry / as Queen Katherine’ and accompanied by poetic tribute by Theodore Watts-Dunton, whole-length to left, standing, wearing Tudor gown; untraced. Repr. Cheshire 1989, p.76.

Watercolour montage, 266 x 323mm, by S. Ruth Canton, signed with monogram, dated and inscr. ‘Scenes from Henry VIII’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.I, p.5.

publ. 1892
Pen and ink drawings by Alfred Bryan:
(a) signed with initials, three-quarter-length to left, standing on stage in Tudor dress, receiving bunches of flowers, figure of man in the wings (Henry Irving?); verso, pencil sketch, three-quarter-length to right; NT, Smallhythe Place, Kent,1117257.
(b) signed with initials, head-and-shoulders, profile to right; untraced. Repr. Judy, 27 Jan. 1892 (cutting Russell-Cotes AGM, Bournemouth, BORGM:2006.13.2.39.1).

Design for caricature by Alfred Bryan, whole-length, profile to left, seated; untraced. Repr. Illustrated Sporting and Dramatic News, 23 Jan. 1892, p.644 (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.10, p. 68).

Designs by Reginald Cleaver, signed, montage of four scenes from the play, Terry appearing twice, half-length, rear view, kneeling, arms outstretched (bottom left) and three-quarter-length to left, profile to left, standing with right hand extended (top right); untraced. Repr. as engr. Daily Graphic, 30 Dec. 1892, supplement, p.14, captioned ‘Sketches at the production of “King Lear” at the Lyceum Theatre, January 5th’.

Design by unidentified artist, whole-length to left, standing with Henry Irving as ‘Cardinal Wolsey’ (seated); untraced. Repr. as engr. Graphic, 9 Jan. 1892, supplement, n.p. (copy V&A, London, S.3718-2009).

c.1892
Gouache and wash drawing, 343 x 248mm, by C. Hollings, signed, whole-length to front, standing, wearing crown and cloak; Folger Shakespeare L., Washington, DC, ART Box H741 no.1 (size L).

Caricature by ‘E.J.W’, signed with initials bottom right, whole-length to right, standing with arm extended, wearing dress; untraced. Repr. Punch, no details known (cutting Garrick Club, London, Chronicles of the Lyceum 1879–83, p.7).

1893-6
Parian ware figure, 325 x 155mm, by Charles J. Noke for Doulton, Burslem, incised signature, whole-length to front, head cocked to left, standing on stepped plinth draped with carpet, pale colours; copies Garrick Club, London, B0093; NT, Smallhythe Place, Kent, 1117085 and 1117115; V&A, London, S.1064-1996 and S.921-1981 (dark colours, made 1920–49); and Sotheby’s, 4 Mar. 1982 (305) and 5 Apr. 2001 (307).

1902
Coloured print, 330 x 229mm, by Pamela Colman Smith, signed with monogram, dated and inscr. ‘Lord Cardinal to you I speak’, whole-length, profile to left, gesturing with right arm, wearing long green gown; Folger Shakespeare L., Washington, DC, ART Box S656 no.2 (size S); and NT, Smallhythe Place, Kent, 1118440.1 (and two others).
Photographs

1892
Photographs by Window & Grove, two known poses:
(a) half-length to front, slightly profile to right, seated, wearing Tudor costume; repr. as photogravure, 218 x 143mm, by Swan Electric Engraving Co, NPG x26817 and NPG x26818.
(b) platinum print, 135 x 198mm, publ. Window & Grove 1906, head-and-shoulders to front, holding flower in right hand; NPG Ax131318.

Photographs by Window & Grove, nine known poses:
(a) hand-coloured bromide postcard print, 137 x 88mm, publ. Window & Grove, dressed as in item above, whole-length to front, slightly profile to right, seated; NPG Ax160169.
Coloured engraving, 228 x 2906mm, after pose (a), late 19th century, with further background details added; impression V&A, London, S.207-2010.
(b) whole-length to front, standing, left arm raised; V&A, London, S.133:476-2007.
(c) whole-length to front, profile to left, standing with right hand on chairback; V&A, London, S.133:477-2007.
(d) half-length to right, profile to right, holding flower in left hand, framed; V&A, London, S.133:478-2007.
(e) half-length to front, hands held to body, framed; V&A, London, S.133:479-2007.
(f) whole-length to right, profile to right, kneeling on cushion, hands clasped; V&A, London, S.133:480-2007.
(g) head-and-shoulders to front, slightly profile to right; Garrick Club, London, ET Photographs Box.
(h) three-quarter-length to front, seated leaning forwards, left hand supporting chin; Folger Shakespeare L., Washington, DC, ART File T329 no.7 PHOTO (size XS) (cropped). Repr. Windsor Magazine, 1905, p.69; and Graphic, 21 Apr. 1906, p.501.
(i) three-quarter-length to front, seated, left hand held across body, right hand on arm of chair; Folger Shakespeare L., Washington, DC, ART File T329 no.7 PHOTO (size XS).

Photograph, 106 x 96mm, label on reverse of frame ‘taken on stage at the Lyceum by Audrey Campbell’, dressed as in items above, whole-length to right, seated; Garrick Club, London, M0153 [5].

c.1892
Photographs by Window & Grove, five known poses:
(a) cabinet card, 144 x 104mm, half-length, shoulders to left, head twisted slightly profile to right, wearing Tudor dress with bonnet and fur shawl; V&A, London, S.133:481-2007.
(b) half-length to right, almost profile to right, seated in studio (reconstructed set) with Edith Craig to right as lady-in-waiting; Garrick Club, London, Ellen Terry album 2, no.5.
(c) whole-length to front, facing front, with Craig to right; repr. ILN, 26 Apr. 1902, p.610; and Melville 1987, p.141.
(d) whole-length to front, profile to left, standing; Folger Shakespeare L., Washington, DC, ART File T329 no.2 PHOTO (size XS).
(e) head-and-shoulders, slightly profile to right with hand to chin; untraced.
Miniature, 85mm high, by Eleanor H. D’Aeth after pose (e); ref. Phillips, London, 7 Nov. 2001 (490).

Photographs by Window & Grove, two known poses:
(a) cabinet card, 145 x 105mm, three-quarter-length to right, almost profile to right, reclining, dressed in flowing robes against backdrop painted with attending angels; V&A, London S.133:475-2007.
(b) three-quarter-length to right, seated, right hand supporting head, left arm held out; Garrick Club, London, Ellen Terry album 2, no.2.

Cabinet card, 145 x 105mm, by Window & Grove, half-length slightly to right, standing, wearing dress with shawl and wide-brimmed hat with feather; Garrick Club, London, Ellen Terry album 2, no.4.

Twenty-three further poses by Window & Grove from the sessions above, reg. for copyright 1892 Feb. 29 and 1892 July 4: National Archives (COPY 1/407/152; COPY 1/407/154; COPY 1/409/79; COPY 1/409/84; COPY 1/409/93; COPY 1/409/103; COPY 1/409/86; COPY 1/409/98; COPY 1/409/98; COPY 1/409/97; COPY 1/409/82; COPY 1/409/88; COPY 1/409/87; COPY 1/409/80; COPY 1/409/102; COPY 1/409/88; COPY 1/409/90; COPY 1/409/101; COPY 1/409/94; COPY 1/409/89; COPY 1/409/95; COPY 1/409/100; COPY 1/409/96).


Henry of Lancaster (as ‘Elizabeth of York’)

Photographs

1908
Photographs by Alfred Ellis, two known poses:
(a) cabinet card, 147 x 102mm, half-length to font, seated with left arm outstretched, wearing fur-trimmed gown and medieval horned headdress; V&A, London, S.133:524-2007.
(b) head-and-shoulders vignette to front, James Carew as ‘Henry’ to left; NT, Smallhythe Place, Kent, 1120618. Repr. Cheshire 1989, p.98.

Photographs by unidentified photographer, with James Carew, three known poses:
(a) half-length, wearing long gown and headdress, stage set in background; NT, Smallhythe Place, Kent, ET/K1. Repr. Melville 1987, p.206.
(b) whole-length to left, standing with arm raised above head, Carew kneeling to front; NT, Smallhythe Place, Kent, ET/K1.
(c) whole-length to front, seated, Carew standing to left; NT, Smallhythe Place, Kent, ET/K1.


Her Greatest Performance (as ‘Julia Lovelace’)

Photographs

1916
Film stills by unidentified camera operator, from silent crime film ‘Her Greatest Performance’, 39 images compiled in souvenir album by the Ideal Film Renting Co.; NT, Smallhythe Place, Kent, 3129590.


Home for the Holidays (as ‘Hector Melrose’)

Photographs

1859
Photograph by Walter G. Lacy, Ryde, whole-length to left, seated beside Kate Terry, with hair cut very short; untraced. repr. Cheshire 1989, p.19

Photograph by Walter G. Lacy, Ryde, probably from session above, whole-length to left, seated, looking back and upwards towards Kate Terry (standing); repr. Terry 1908, p.33.


The Hunchback (as ‘Helen’)

c.1866
Oil on paper, 206 x 167mm, by Laura Wilson Taylor (née Barker), whole-length to front, wearing blue dress, looking down to right at Kate Terry seated on garden bench; NT, Smallhythe Place, Kent, 1118209.

Photographs

1866
Carte-de-visite, 90 x 59mm, by Window & Grove, whole-length to right, standing in studio beside chair, wearing dress with patterned trim; V&A, London, S.133:177-2007.

Photographs by Window & Grove, probably from session above, six known poses:
(a) carte-de-visite, 90 x 60mm, wearing same dress as in items above but with short jacket, whole-length to right, seated at desk in front of studio backdrop; V&A, London, S.133:179-2007.
(b) whole-length to right, facing front, standing, taking necklaces from jewel box; V&A, London, S.133:181-2007.
(c) half-length, seated to left with hands on lap, slightly profile left but looking to front; untraced. Repr. as collotype Whyte 1898, between pp.166-167.
(d) half-length vignette, seated to left, looking left; V&A, London, S.133:186-2007. Repr. Strand, vol.1, 1891, p.44, as ‘aged 18’.
(e) whole-length to left, facing right, leaning with both arms on elaborate high table; V&A, London, S.133:210-2007.
(f) head-and-shoulders vignette to left, facing three-quarters to left, looking to front, seated, hands on lap; repr. Terry 1908, p.76.


Iolanthe (as ‘Iolanthe’)

1880
Decorative painted plate by Ellen Graham Stow, signed and dated on reverse, head-and-shoulders, with hair down over left shoulder, wearing tiara, white high-collared gown and green ermine-trimmed cloak over right shoulder, head surrounded by leaves; Russell-Cotes AGM, Bournemouth, BORGM:2009.24.

publ. 1880
Design by Henry Stephen (‘Hal’) Ludlow, signed, whole-length, profile to right, wearing long gown, to left of Henry Irving in wooded setting; untraced. Repr. as wood-engr. by ?William Leighton Leitch, Pictorial World, 19 June 1880, captioned ‘Theatrical Sketches – “Iolanthe” at the Lyceum’) (cutting BM, London, 1933,1014.642.77).

Design by S. Berkley, signed and dated, whole-length to front, seated, wearing fur-trimmed gown, embracing Irving in woodland setting; untraced. Repr. as engr. in unidentified publication, captioned ‘“Iolanthe” at the Lyceum’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.64).

1881
Engraving by unidentified artist after James Abbott McNeill Whistler, whole-length to front, standing, gesturing with left hand; untraced. Ref. NPG SB (Ellen Terry).

Photographs

1880
Photographs by Window & Grove, twelve known poses:
(a) platinum print, 136 x 97mm, publ. Window & Grove 1906, whole-length to front, facing front, standing and bending to left to pick flower, against studio backdrop, wearing long gown edged with fur; NPG Ax131303.
(b) half-length to right, seated among foliage; V&A, London, S.133:281-2007.
(c) as in pose (b), half-length to front, left arm raised; V&A, London, S.133:282-2007.
(d) half-length to front, looking upwards to right, left hand held to face; V&A, London, S.133:292-2007.
(e) three-quarter-length to left, almost profile to right, left hand raised and holding flower; V&A, London, S.133:283-2007.
Design by Georges Labadie Pilotell after pose (e), reversed; untraced. Repr. as engr. of various scenes from plays in 1880, unidentified publication, Christmas 1880 (cutting Garrick Club, London, Fitzgerald Irving scrapbook, vol.2, p.274).
(f) three-quarter-length to front, looking upwards, left arm held across body; V&A, London, S.133:284-2007.
(g) three-quarter-length to right, profile to right looking upwards, hands clasped; V&A, London, S.133:286-2007.
(h) whole-length to front, looking right, holding jug in right hand; V&A, London, S.133:296-2007.
(i) whole-length to left, looking left, arms raised as if listening; V&A, London, S.133:297-2007.
(j) whole-length to right, looking upwards, arms raised; V&A, London, S.133:294-2007.
(k) three-quarter-length slightly to right, almost profile to right, standing, holding flowers in both hands; Garrick Club, London, Ellen Terry album 1, no.100.
(l) three-quarter-length to right, facing front, standing, left hand raised to pick fruit from bush; Garrick Club, London, Ellen Terry album 1, no.103.


King Arthur (as ‘Guinevere’)

1895
Watercolour montage, 263 x 336mm, by S. Ruth Canton, signed, dated and inscr. ‘King Arthur’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.I, p.99.

Design by Frederick Pegram, signed and dated, whole-length, kneeling before Henry Irving as ‘King Arthur’, with Johnston Forbes-Robertson as ‘Sir Lancelot’; untraced. Repr. as engr. by C. Hentschel in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.11, p.133).
publ. 1895
Designs by Arthur Rackham, two whole-length poses, with Henry Irving; untraced. Repr. Westminster Budget, 18 Jan. 1895, p.8 (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.11, p.111).

Design by Samuel Begg, signed, whole-length to right, kneeling with head bowed, with Henry Irving and Johnston Forbes-Robertson; untraced. Repr. Black & White, 19 Jan. 1895, cover (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.11, p.145).

Gouache drawings by (John) Bernard Partridge:
(a) 417 x 255mm, signed with monogram, whole-length to front, seated, looking down to right; NT, Smallhythe, Kent, Place, 1117136.
(b) 370 x 269mm, signed with monogram, whole-length to left, facing front, with right arm extended; NT, Smallhythe Place, Kent, 1117165.
(c) signed, whole-length to front, profile to right, standing in woodland setting, wearing long gown with blossom garland; coll. David Cheshire, 1989. Repr. Cheshire 1989, p.83.
All repr. in souvenir programme for King Arthur (copy Garrick Club, London).

Designs by T. de Thulstrup, scenes from performance at Abbey’s Theatre, New York, 1895:
(a) whole-length to right, standing embracing Johnston Forbes-Robertson;
(b) whole-length to left, facing front, with right arm extended (after Partridge, pose [b] above);
(c) whole-length to front, seated, looking down to right (after Partridge, pose [a] above);
all untraced. Repr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.14, p.28).

Design by Cecil Charles Windsor Aldin, signed with monogram and dated, whole-length to front, standing at bottom left of composition (Henry Irving at top right), wearing long gown and veil, hands clasped to front; untraced. Repr. as engr. by Meisenbach, ILN, 10 Jan. 1895, p.72, captioned ‘“King Arthur” at the Lyceum: The Queen’s Maying in the Whitethorn Wood’.

Design by Henry Marriott Paget, signed with initials, whole-length to right, head bowed, kneeling beside Henry Irving wielding sword, Johnston Forbes-Robertson kneeling with outstretched arms and Lena Ashwell (née Pocock, later Lady Simson) as ‘Elaine’ lying on bier; untraced. Repr. Graphic, 19 Jan. 1895, p.53, captioned ‘“King Arthur” at the Lyceum’.
See also Forbes-Robertson, Irving.

c.1895
Lithograph by Pamela Colman Smith, signed with monogram, whole-length, profile to left, wearing long flowing stylised gown and flower garland, with the initials ‘E’ and ‘T’; coll. David Cheshire, 1989. Repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, endpiece (copy U. of Bristol Theatre Coll., TCW/M/000037); and Cheshire 1989, p.83.

?1895
Caricature sketch by Edward Burne-Jones in undated letter from Margaret Mackail (née Burne-Jones) to Henry Irving, rear view, standing arm-in-arm with Irving; Henry Irving Correspondence, THM/37/1/34.

?c.1895
Watercolour over graphite drawings by Edward Burne-Jones, designs for costume:
(a) 337 x 236mm, three-quarter-length to right, head turned over right shoulder, wearing pleated gown, laurel at waist and in hair; NT, Smallhythe Place, Kent, 1117135.1. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.41, fig.29.
(b) three-quarter-length, profile to left, standing, with flowers in her hair, holding up her skirt; NT, Smallhythe Place, Kent, 1117135.2. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.41, fig.30.

publ. 1923
Design by Harry Furniss, whole-length; untraced. Repr. Furniss 1923, p.70.

Possible portrait

1895
Oil on canvas by Abbey (Abraham) Altson, whole-length, slightly profile to left, standing in woodland setting, wearing fur-trimmed gown; priv. coll. Ref. NoS (Ellen Terry).[6]

Photographs

1895
Photographs by Window & Grove, eight known poses:
(a) platinum print, 136 x 98mm, publ. Window & Grove 1906, whole-length to front, slightly profile to right, standing in studio with woodland backdrop, wearing blossom garland and holding branch of blossom in right hand; NPG Ax131320; and NPG x3814 (albumen cabinet card, 141 x 105mm, half-length crop). Repr. Gould & Gawade 2014, p.67, fig.50 (NPG x3814).
(b) bromide postcard print, 139 x 88mm, publ. J. Beagles & Co, as in (a), but holding shawl to front; NPG x197947.
(c) half-length to right, profile to right, seated, left arm raised, right arm across lap; V&A, London, S.133:494-2007.
(d) half-length to left, almost profile to left, holding branch to front; Garrick Club, London, ET Photographs Box.
(e) three-quarter-length to front, profile to right, seated, leaning over to right; Garrick Club, London, ET Photographs Box.
(f) whole-length to front, looking to right, standing holding branch to front with both hands; Garrick Club, London, ET Photographs Box.
(g) whole-length to front, slightly profile to right looking upwards, left arm outstretched, holding branch in right; repr. in Graphic, 21 Apr. 1906, p.500 (cutting Garrick Club, London, Henry Irving Album, p.46).
(h) whole-length to right, almost profile to right, standing, holding branch in right hand; repr. as engr. by P. Naumann, ILN, 16 Mar. 1895, p.313 (front cover); and Pemberton 1902, p.282 (half-length crop).

Photographs by Window & Grove, six known poses:
(a) albumen cabinet card, 143 x 103mm, head-and-shoulders slightly to right, profile to right, seated, wearing embroidered gown and cloak and beaded headband; NPG x16972.
(b) three-quarter-length to front, looking right, left hand held to chest; V&A, London, S.133:495-2007.
(c) half-length to right, profile to right looking upwards, right hand to chest; Garrick Club, London, Ellen Terry album 2, no.13.
(d) half-length, rear view, profile to left; Garrick Club, London, ET Photographs Box.
(e) half-length to front, standing, left arm raised and pointing upwards; Garrick Club, London, Lyceum vol.I, p.107.
(f) whole-length to front, almost profile to right, standing, left hand to mouth; repr. Black & White, 23 Mar. 1895, supplement (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.14, pp.103–4).

Nine further poses by Window & Grove from sessions above, reg. for copyright 1895 Feb. 26: National Archives (COPY 1/419/518; COPY 1/419/522; COPY 1/419/503; COPY 1/419/502; COPY 1/419/509; COPY 1/419/523; COPY 1/419/512; COPY 1/419/515; COPY 1/419/511)


King Lear (as ‘Cordelia’)

1892
Designs by Hawes Craven, in three illustrations of scenes from play, with Henry Irving as ‘Lear’; untraced. Repr. in souvenir programme for King Lear (copy Garrick Club, London, Fitzgerald Irving scrapbook, vol.10, pp.91–6).

Design by Arthur Jule Goodman, signed and dated, head-and-shoulders, almost profile to right, with hair loose down back, looking upwards, tears on cheek; untraced. Repr. as engr. by André & Sleigh, Black & White, 26 Nov. 1892, p.597 (front cover), captioned ‘Miss Ellen Terry as Cordelia’.
publ. 1892
Wash drawing, 284 x 226mm, by Amedée Forestier, signed with monogram bottom left, whole-length to front, standing in front of stone steps with right hand outstretched, left hand raised to ear, wearing long flowing dress; V&A, London, S.370-2011. Repr. ILN, 19 Nov. 1892, p.637.

Design by Amedée Forestier, signed, whole-length, rear view, kneeling with arms outstretched to Henry Irving (standing on dais); untraced. Repr. ILN, 19 Nov. 1892, p.367, captioned ‘Cordelia – I yet beseech your Majesty. – (Act 1., scene 1.)’

Design by John Gülich, three-quarter-length to left, bending over Irving who lies on couch; untraced. Repr. as wood-engr., Black & White, 19 Nov. 1892, p.573.

Design by Henry Marriott Paget, whole-length to front, looking down, standing, cradling Henry Irving in her arms; untraced. Repr. Graphic, 19 Nov. 1892, p.601 (front cover), captioned ‘The Revival of Shakespeare’s “King Lear” at the Lyceum Theatre’.

Design by Amedée Forestier, whole-length to right, arms outstretched towards Henry Irving, in bedroom scene; untraced. Repr. as engr. by Robert Taylor & Co., ILN, 3 Dec. 1892, pp.716–17.

Drawing by Reginald Cleaver, signed, whole-length to right, standing in long robe, clutching hand to chest; untraced. Repr. Daily Graphic, 30 Dec. 1892, captioned ‘Miss Ellen Terry as “Cordelia”’.
c.1892
Watercolour montage, 234 x 290mm, by S. Ruth Canton, inscr. ‘Scenes from King Lear’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.I, p.17.

Pen and ink drawing, 220 x 316mm, by unidentified artist for unidentified publication, inscr. ‘Was this a face to be opposed against the warring winds?’, three-quarter-length to left, wearing cloak, leaning over Henry Irving lying asleep on bed, manservant in background; V&A, London, S.398-2011.

Pen and ink drawings by Herbert Railton:
(a) inscr. ‘Lear and Cordelia’, whole-length to front, standing beside Henry Irving; Folger Shakespeare L., Washington, DC, ART Box R152 no.5 (size S)
(b) inscr. ‘Death of Cordelia’, whole-length to right, lying on ground, surrounded by Irving and others; Folger Shakespeare L., Washington, DC, ART Box R152 no.6 (size S).

Gouache and wash on board by Wilfred Francis Lawson, whole-length, lying on ground with arm outstretched, beside Henry Irving; RSC Coll., Stratford-Upon-Avon, STRPG:A:1993.221.

Watercolour on ivory by Caroline Grosvenor (née Stuart-Wortley), half-length to front, slightly profile to right, gesturing with arms, wearing cloak; RSC Coll., Stratford-Upon-Avon, STRPG:A:1993.192.

Pen and ink drawing by Charles Fairfax Murray, signed with monogram, whole-length to front, standing in gothic interior; NT, Smallhythe Place, Kent, 1117169.

publ. c.1892
Design by (John) Bernard Partridge, whole-length to right, standing beside Henry Irving, imploring with arms outstretched; untraced. Repr. as engr., 244 x 322mm, by André & Sleigh, captioned ‘Miss Ellen Terry as Cordelia … Mr Irving as King Lear / (As played at the Lyceum Theatre)’; copy V&A, London, S.160-2010.

Possible portrait

Oil on canvas by John Bates Bedford, whole-length to right, standing, wearing long robes and headdress, holding letter in right hand; untraced. Ref. Sotheby’s, London, 19 June 1979 (172, ill.).

Photographs

1892
Photographs by Window & Grove, six known poses:
(a) platinum print, 136 x 98mm, publ. Window & Grove 1906, whole-length to front, standing in studio, with left arm crossed over chest and hand held to right shoulder, wearing long gown and cape; NPG Ax131317.
(b) three-quarter-length to front, leaning against pillar, hands together at right-hand side; V&A, London, S.133:487-2007.
(c) three-quarter-length to right, profile to right, seated, leaning on left hand; V&A, London, S.161-2010.
(d) three-quarter-length to front, profile to right, looking downwards; Garrick Club, London, Ellen Terry album 2, no.10.
(e) repr. Graphic, 21 Apr. 1906, p.500 (cutting Garrick Club, London, Henry Irving Album, p.46).
(f) three-quarter-length slightly to right, looking down, standing, hands clasped to chest; Folger Shakespeare L., Washington, DC, ART File T329 no.26 PHOTO (size XS).

c.1892
Photographs by Window & Grove, four known poses:
(a) cabinet card, 147 x 105mm, head-and-shoulders vignette, slightly profile to right, wearing robe with embroidered decoration and bead necklace; V&A, London, S.133:486-2007.
(b) head-and-shoulders vignette to right, profile to right, wearing wreath; Garrick Club, London, Ellen Terry album 2, no.11.
(c) whole-length to front, both hands raised clasping back of neck; Garrick Club, London, Photographs Box A.
(d) half-length, profile to right, looking downwards; NT, Smallhythe Place Kent, Repr. Melville 2006, p.148.

Ten further poses by Window & Grove from the sessions above, reg. for copyright 1893 Jan. 24: National Archives (COPY 1/411/71; COPY 1/411/83; COPY 1/411/81; COPY 1/411/69; COPY 1/411/80; COPY 1/411/82; COPY 1/411/74; COPY 1/411/76; COPY 1/411/72; COPY 1/411/84).


Lady of Lyons (as ‘Pauline’)

?c.1878
Design by ‘F.D’, signed with initials, whole-length to left, seated, leaning against chairback holding hand to face, with Henry Irving as ‘Claude Melnotte’; untraced. Repr. as engr. in unidentified publication, captioned ‘Scene from “The Lady of Lyons,” at the Lyceum’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.54).

Drawing by unidentified artist, whole-length to left, standing as puppet-master, pulling strings of Henry Irving as puppet; untraced. Repr. as engr. in unidentified publication, captioned ‘The Lady of Lyons and the Lion of Ladies’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.56).

publ. 1879
Design by ?Alfred Bryan, head only, as painted image on canvas executed by Henry Irving; untraced. Repr. as engr. Entr’acte, 12 Apr. 1879, p.8, captioned ‘Mr. Henry Irving, as Claude Melnotte’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.1, p.222).

Photographs

c.1878
Photographs by Elliot & Fry, five known poses:
(a) carte-de-visite, 94 x 62mm, head-and-shoulders vignette, facing front, with hair let down, wearing coat and bonnet; V&A, London, S.133:204-2007.
(b) three-quarter-length slightly to left, standing; V&A, London, S.133:206-2007.
(c) as in pose (b), right hand resting on pillar; V&A, London, S.133:208-2007.
(d) whole-length to left, profile to left, wrists crossed over chest; New York PL, 1038095.
(e) half-length to left, profile to left, seated looking down at necklace held in hands; NT, Smallhythe Place, Kent, 1119586.17.


A Lesson for Life (as ‘Mabel Valecrusis’)

Photograph

c.1860
Carte-de-visite, 89 x 69mm, by Camille Silvy, whole-length to right, seated on floor beside Kate Terry (seated on chair); V&A, London, S.133:8-2007.


The Little Treasure (as ‘Gertrude Howard’)

Photograph

c.1862
Carte-de-visite, 87 x 45mm, by (George) Herbert Watkins, whole-length to front, standing behind chair, wearing dress with crinoline; V&A, London, S.133:148-2007. Repr. Cheshire 1989, p.20.


Macbeth (as ‘Lady Macbeth’)

1888
?Gouache drawing by (John) Bernard Partridge, signed, whole-length, next to Henry Irving as ‘Macbeth’; coll. David Cheshire, 1989. Repr. in souvenir programme for Macbeth; Cheshire 1989, p.71; and West 2009, p.195, fig.10.3.

Design by (John) Bernard Partridge, probably executed for the souvenir programme but not used, inscr. ‘Lady Macbeth, act II’, whole-length slightly to left, standing, wearing gown with long sleeves and headdress; untraced. Repr. as half-tone by Meisenbach, ILN, 12 Jan. 1889 (with other scenes from the play).

c.1888
Drawing by Frederick Pegram, signed and inscr. ‘Brace your courage to the sticking place’, whole-length to front, standing with left arm strectched out and right hand on hip, wearing long gown; untraced. Repr. in unidentified publication, captioned ‘Miss Ellen Terry as Lady Macbeth’ (cutting, Garrick Club London, Fitzgerald Irving scrapbooks, vol.5, p.302).

Caricature by Harry Furniss, signed with initials bottom left, whole-length to left, standing with arms reaching up to Henry Irving’s shoulders; untraced. Repr. Punch, no details known (cutting Garrick Club, London, Chronicles of the Lyceum 1879–83, p.85).

1889
Oil on canvas, 548 x 414mm, by John Singer Sargent, inscr. and signed ‘to my friend Ellen Terry, John S. Sargent’, whole-length to front, arms holding down cloak to sides, attendants in background; NT, Smallhythe Place, Kent, 1118214. A preliminary idea for the item below.
Grisaille replica by Sargent; see NPG 2273.

Oil on canvas, 2210 x 1143mm, by John Singer Sargent, signed, whole-length slightly to right, standing in elaborate dress holding crown in both hands above head; Tate, London, N02053. Exh. New G., London, 1889 (110); Société Nationale des Beaux-Arts, Paris, 1890 (810); World’s Columbian Exh., Chicago, 1893 (United States Section); 26th Autumn Exh., Liverpool, 1896 (891); Dramatic and Musical Art, International Soc., 1897 (124); repr. AJ, 1889, p.80; as engr. by C. Carter, MA 1894, p.320; Auerbach 1987, p.262; and West 2009, p.194, fig.10.2; also repr. as coloured lithograph by Copperfield, signed in the mount by Sargent (impression NT, Smallhythe Place, Kent, 1118262); and as print by Virtue & Co, 368 x 243mm (impression V&A, London, S.6042-2009).
Oil on canvas copy, 2210 x 1150mm, by Reginald Grenville Eves after Sargent; Herbert AGM, Coventry, VA.1955.0098.
Oil on canvas copy by unidentified artist; NT, Smallhythe Place, Kent, 1118236.

publ. 1889
Etching, 405 x 225mm, by Henry William Batley, publ. Leggatt Bros 1889, three-quarter-length to front, slightly profile to right, standing, wearing gown, sword to right-hand side; BM, London, 1910,1126.34 and 1905,1025.23 (signed on mount in pencil by artist and signed and dated in pen by sitter); and NT, Smallhythe Place, Kent, 1118373.1 and 1118373.2. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.70, fig.53 (NT, Smallhythe Place print).
An etching by Henry William Batley exh. RA 1884 (1458) may be the same print.

Designs forming montage of scenes from the play:
(a) by Godefroy Durand, signed with initials, whole-length to right, kneeling beside Henry Irving (seated);
(b) by Godefroy Durand, signed with initials, whole-length to front, standing beside pillar with hand outstretched to Henry Irving;
(c) by John Nash, whole-length to left, standing beside throne, right arm held aloft (Henry Irving to her left-hand side);
(d) by Godefroy Durand, signed with initials, whole-length, facing front, descending steps with arm raised, wearing long robes and holding lamp;
all untraced. Repr. Graphic, 12 Jan. 1889, pp.36–7, captioned ‘“Macbeth” at the Lyceum Theatre’.

c.1889
Pen and ink drawings by Herbert Railton and John Jellicoe, signed:
(a) whole-length, rear view, standing to left of Henry Irving outside castle; Folger Shakespeare L., Washington, DC, ART Box J48 no.15 (size L). Repr. as engr. by Joseph Swain (impression Folger Shakespeare L., Washington, DC, ART File S528m1 no.99 (size M)).
(b) whole-length to front, in foreground, falling backwards, being supported by serving woman; Folger Shakespeare L., Washington, DC, ART Box J48 no.16 (size L).
(c) whole-length to front, arms outstretched, and small figure centre left; Folger Shakespeare L., Washington, DC, ART Box J48 no.19.5 (size L).
(d) small figure, whole-length, bowing to right with calming gesture; Folger Shakespeare L., Washington, DC, ART Box J48 no.18.

Watercolour montage, 255 x 280mm, by S. Ruth Canton, signed with monogram and inscr. ‘Macbeth 1889’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.II, p.79.

Photographs

1888
Photographs by Window & Grove, two known poses:
(a) albumen cabinet card, 146 x 105mm, half-length to front, profile to right with eyes closed, wearing ornamented headress; NPG x16980 and V&A, London, S.133:395-2007.
(b) as in (a), facing front, standing, hands folded across chest; V&A, London S.133:428-2007.

Photographs by Window & Grove, seven known poses:
(a) albumen cabinet card, 146 x 100mm, half-length to front, slightly profile to right, wearing simple robes with hair loose; NPG x24820.
(b) bromide postcard print, 124 x 80mm, published by J. Beagles & Co., 1900s, dressed as in (a), three-quarter-length to left, slightly profile to right, standing, right arm reaching out, left hand clutching robe; NPG x16991 and V&A, London, S.133:439-2007 (sepia print).
(c) whole-length to front, standing, both hands held out to right; V&A, London, S.133:440-2007.
(d) three-quarter-length to left, looking right, lighting lamp?; V&A, London, S.133:442-2007.
(e) half-length to left, profile to left, standing; Garrick Club, London, Ellen Terry album 1, no.127.
(f) three-quarter-length to right, slightly profile to right, rubbing hands together; Folger Shakespeare L., Washington, DC, ART File T329 no.22 PHOTO (inscr. by sitter).
(g) whole-length to left, facing front, standing on steps, right arm raised holding lamp; Folger Shakespeare L., Washington, DC, ART File T329 no.21 PHOTO (size XS). Repr. Whyte 1898, between pp.118-119.

Photographs by Window & Grove, eleven known poses:
(a) platinum print, 137 x 99mm, publ. Window & Grove 1906, whole-length to left, facing front, standing in ‘beetle-wing’ dress with hands gesturing to left-hand side; NPG Ax131311. Repr. Graphic, 21 Apr. 1906, p.500; and West 2009, p.200, fig.10.4 (NPG print).
(b) almost identical to pose (a) but holding dagger in right hand; NT, Smallhythe Place. Repr. Gould & Gawade 2014, p.71, fig.52.
(c) half-length, shoulders to front, profile to right, holding dagger in right hand; Garrick Club, London, Ellen Terry album 2, no.124.
(d) three-quarter-length to front, seated in throne, holding paper in both hands; Garrick Club, London, ET Photographs Box.
(e) whole-length slightly to left, looking right, left hand raised towards face; V&A, London, S.133:426-2007.
(f) three-quarter-length to left, seated by fireplace, looking down reading paper held in both hands; V&A, London, S.133:441-2007.
(g) half-length slightly to left, looking right in alarm, raising clenched hands; V&A, London, S.133:399-2007.
Lithograph, 342 x 225mm, by ‘Octopus’ after pose (g), 1890, printed by Carter & Pratt, Glasgow, whole-length in background, leaning dramatically away from Henry Irving, who is caricatured in foreground, captioned below image ‘Henry Irving and Ellen Terry Recitals’; BM, London, 1933,1014.644.40.
(h) half-length to front, slightly profile to right; Garrick Club, London, Ellen Terry album 1, no.66.
(i) half-length to front, almost profile to right; Garrick Club, London, Ellen Terry album 1, no.68.
(j) three-quarter-length to front, looking right, left arm raised, right arm resting on throne; V&A, London, S.133:427-2007.
(k) repr. Celebrities of the Stage, 1899; ref. NPG SB (Ellen Terry).
Painting, 178 x 121mm, by unidentified artist after pose (k), c.1889; untraced. Ref. Sotheby’s, 10 Dec. 1868 (162) (see NPG SB [Ellen Terry]).

Photographs by Window & Grove, eight known poses:
(a) photograph, 144 x 98mm, whole-length to left, facing front wearing crown, seated on throne, wearing light-coloured dress, with attendant (kneeling); V&A, London, S.133:422-2007.
(b) half-length to front, seated, leaning forwards; V&A, London, S.133:429-2007.
(c) head only, profile to left, wearing crown; V&A, London, S.133:423-2007.
?Wash drawing, 184 x 114mm, by R. Archer after pose (c), signed and dated 1897, head-and-shoulders; Folger Shakespeare L., Washington, DC, ART Box A672 no.1 (size S).
(e) half-length to front, facing front, seated sideways on throne, left arm raised supporting head; Garrick Club, London, Ellen Terry album 1, no.70.
(f) half-length to left, facing front, both hands on hips; Garrick Club, London, ET Photographs Box.
(g) whole-length to left, slightly profile to left, standing in front of throne, right arm outstretched; Garrick Club, London, Photographs Box A.
(h) whole-length to front, standing in front of throne, left hand resting on throne back; The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, New York PL, 135489.

Seventeen further poses by Window & Grove from sessions above, reg. for copyright 1889 Feb. 28: National Archives (COPY 1/395/234; COPY 1/395/197; COPY 1/395/204; COPY 1/395/206; COPY 1/395/231; COPY 1/395/203; COPY 1/395/198; COPY 1/395/227; COPY 1/395/205; COPY 1/396/215; COPY 1/395/222; COPY 1/395/210; COPY 1/395/195; COPY 1/395/193; COPY 1/395/211; COPY 1/395/233; COPY 1/395/201).


Madame Sans-Gêne (as ‘Madame Sans-Gêne’)

1897
Watercolour drawing by William Charles John Pitcher, signed and dated, whole-length, rear view, profile to right, wearing long pink evening gown; NT, Smallhythe Place, Kent, 1117225.

Designs by Albert E. Sterner, signed and dated 1897:
(a) whole-length to right, standing reading letter, with Henry Irving as ‘Napoleon’ seated at desk; untraced. Repr. in souvenir programme for Madame Sans-Gêne (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.18, p.27); and Hiatt 1898, p.253.
(b) whole-length to right, standing wearing embroidered gown and long cloak; untraced. Repr. in souvenir programme (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.18, p.80).
(c) whole-length to front, standing wearing riding habit; untraced. Repr. in souvenir programme (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.18, p.82).
(d) whole-length to front, standing with hands on hips, wearing apron and cap; untraced. Repr. souvenir programme (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.18, p.84).

Design, possibly by Albert E. Sterner, double profile with Henry Irving; untraced. Repr. in souvenir programme for Madame Sans-Gêne (roundel on title page); and Holroyd 2009, p.118.

publ. 1897
Design by (John) Bernard Partridge, whole-length to front, standing wearing gown and long cloak, with Henry Irving; untraced. Repr. as multi-sheet lithographic poster printed by David Allen & Sons Ltd, Harrow, London; copy Garrick Club, London, Fitzgerald Irving scrapbooks, vols 18 (section with Irving), 21 (section with Terry) and 22, p.20 (smaller version of whole poster).

Design for caricature by Alfred Bryan, signed, half-length to right, standing in laundry, Henry Irving framed in window; untraced. Repr. as wood-engr. Entr’acte, 3 Apr. 1897, p.8, captioned ‘Madame Sans-Gêne’.

Design by unidentified artist, signed (but indecipherable), whole-length to right, standing behind ironing table, William Mackintosh as ‘Fouché’ reclining in chair in foreground; untraced. Repr. Westminster Budget, 16 Apr. 1897, front page.

Design by Henry Marriott Paget, whole-length, facing front, standing, leaning to right with hand on hip, next to Henry Irving; untraced. Repr. Graphic, 17 Apr. 1897, p.465, captioned ‘The Emperor pulling Madame Sans-Gene’s ear and restoring her favour’.

Pen and ink drawing, 483 x 361mm, by Alfred Bryan, signed with initials and inscr. ‘Vaudeville Theatre, Paris’, with Henry Irving, a row of figures positioned above, glaring downwards; V&A, London, S.734-2012. Repr. Sketch, vol.XVII, 1897, p.528.

c.1897
Watercolour montage, 250 x 340mm, by S. Ruth Canton, signed and inscr. ‘Madame Sans-Gene’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.I, p.121.

c.1898-9
?Oil miniature, 70mm high (oval), by Ethel A. Lloyd, head-and-shoulders, facing front, wearing shawl and lace cap; untraced. Ref. Bonhams, 21 Feb. 2006 (246, ill.)

?1900
Chromolithograph by Pamela Colman Smith, signed in monogram, titled ‘Sans Gêne’ and inscr. ‘Dip! Dwell!! Swanlike! — So!!!’ and signed in plate by sitter, whole-length, almost profile to right, with arms stretched to left, wearing yellow dress, short green jacket and top hat; impressions Folger Shakespeare L., Washington, DC, ART File T329 no.66 (size XS); and NT, Smallhythe Place, Kent, 1118358 (and two other copies).

1902
?Pastel drawing by Edward J. Wheeler (oval format), head-and-shoulders, slightly profile to right, wearing shawl and white cap, holding bunch of roses to front; NT, Smallhythe Place, Kent, 1117262.

Photographs

1897
Photographs by Window & Grove, six known poses:
(a) albumen cabinet card, 136 x 98mm, publ. Window & Grove 1906, whole-length to front, standing wearing apron, shawl and lace cap, holding mixing bowl and spoon; NPG Ax131323.
(b) bromide postcard print 139 x 85mm, publ. J. Beagles & Co, whole-length to front, standing behind laundry clotheshorse, looking to right with right hand supporting chin; NPG x197946.
half-length crop; NPG x26805 (woodburytype, 120 x 90mm, publ. Simpkin, Marshall, Hamilton, Kent & Co 1897) and NPG Ax28894 (carbon print).
(c) half-length vignette to left, looking right; V&A, London, S.133:491-2007.
(d) three-quarter-length to front, standing, head resting on right hand, left hand on ironing table; Billy Rose Theatre Coll., New York PL, 555491.
(e) whole-length to front, standing behind ironing board, right holding iron; Garrick Club, London, ET Photographs Box.
(f) half-length to left, facing front, leaning on ironing board, right hand supporting face; repr. Graphic, 21 Apr. 1906, p.501 (cutting Garrick Club, London, Henry Irving Album, p.46).

c.1897
Photographs by Window & Grove, six known poses:
(a) albumen cabinet card, 144 x 105mm, half-length, almost profile to right, wearing jewelled gown, long gloves and holding open fan, within oval gilt frame; NPG x129589.
(b) half-length, rear view, profile to right; V&A, London, S.133:490-2007.
(c) whole-length to front, standing, wearing fur-lined cloak; V&A, London, S.133:493-2007.
Coloured engraving by unidentified artist after pose (c), ?c.1900, three-quarter-length; impressions NT, Smallhythe Place, Kent, 1118402 and 1118416 (with printed frame).
(d) whole-length to front, holding paper to front in both hands; Garrick Club, London, Ellen Terry album 2, no.25.
(e) three-quarter-length to front, almost profile to right holding open fan at side in right hand; NT, Smallhythe Place, Kent, ET/K1.
(f) three-quarter-length to front, both hands on hips; NT, Smallhythe Place, Kent, ET/K1.

Cabinet card, 142 x 101mm, by Window & Grove, head-and-shoulders to right, almost profile to right, ringlets in hair, wearing lace collar decorated with flowers; V&A, London S.133:492-2007.

Ten further poses by Window & Grove from sessions above, reg. for copyright 1889 May 10 and 25: National Archives (COPY 1/430/239; COPY 1/430/330; COPY 1/430/329; COPY 1/430/327; COPY 1/430/244; COPY 1/430/245; COPY 1/430/240; COPY 1/430/325; COPY 1/430/324; COPY 1/430/238 (used as basis for poster advertising ‘Nixey’s Blue’; copy MEPL, London, 10092462).


The Medicine Man (as ‘Hon. Sylvia Wynford’)

Photographs

1898
Photographs by Window & Grove, two known poses:
(a) platinum print, 137 x 100mm, publ. Window & Grove 1906, whole-length to front, head tilted upwards and slightly to right, left arm raised, standing in studio beside tree trunk, wearing embroidered gown; NPG Ax131324; and V&A, London, S.133:501-2007.
(b) Garrick Club, London, Lyceum vol.I, p.133.

Photographs by Window & Grove, probably from session above but with details of dress differing slightly, two known poses:
(a) cabinet card, 145 x 105mm, half-length to front, standing, wearing embroidered gown; V&A, London, S.133:499-2007.
(b) head-and-shoulders, holding rose; V&A, London, S.133:500-2007.


The Merchant of Venice (as ‘Portia’)

1879
Pencil and gouache drawing by Frederick Barnard, whole-length to front, standing, giving a key to a page, wearing long gown (costume design for play, also including other slight sketches of Terry and Henry Irving); NT, Smallhythe Place, Kent, 1117167. Repr. as engr. by Swain, ILN, 3 Jan. 1880, p.8 (copy Folger Shakespeare L., Washington, DC, ART File T329 no.61 (size XS) [signed by the sitter]).

Design by Matt Stretch, signed and dated, whole-length to left, standing next to Henry Irving, holding document, wearing robes of a doctor of law; untraced. Repr. as engr. in unidentified publication, captioned ‘Mr. Henry Irving as Shylock, and Miss Ellen Terry as Portia, in “The Merchant of Venice”’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.204).

publ. 1879
Design by ?‘W.M’, whole-length to front, profile to left, standing, wearing doctor’s robes; untraced. Repr. as engr. by C. Robinson Graphic, 15 Nov. 1879, p.481, captioned ‘“The Merchant of Venice” at the Lyceum Theatre – The Trial Scene’ (cutting Folger Shakespeare L., Washington, DC, Art File 172 no.44 (size M).

c.1879
Watercolour montage, 263 x 336mm, by S. Ruth Canton, signed with initials and inscr. ‘Scenes from the Merchant of Venice’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.I, p.33.

Design by Alfred Bryan, signed, whole-length to left, standing with hand on document, wearing doctor’s robes; untraced. Repr. as engr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.250).

Design by unidentified artist, whole-length, profile left, standing, wearing doctor’s robes, and twice more, with Henry Irving in various scenes from the play; untraced. Repr. as engr. in unidentified publication, captioned ‘“The Merchant of Venice” at the Lyceum (See Article for “Pen and Pencil”) (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.208).

1880
Pencil drawing, 324 x 245mm, by (Marion Margaret) Violet Manners (née Lindsay), Duchess of Rutland, signed with monogram and dated, half-length, slightly profile to left, right hand raised and index finger pointing, wearing doctor’s robes; Garrick Club, London, G1142 (ref. Sotheby’s, 5 Apr. 2001 (225, ill.).
A smaller version of this drawing by the artist is also in the Garrick Club's collection: see G10801. Both drawings are after an unidentified photograph.

Marble busts by Aristide Fontana, head-and-shoulders, slightly profile to right, wearing doctor’s robes and cap; NT, Smallhythe Place, Kent, 1118519 and 1118524 (painted bronze). Exh. Ellen Terry: The Painter's Actress, Watts G., Compton; repr. as engr. MA, 1882, p.475; and Gould & Gawade 2014, p.13, fig.4.
Smaller, less-defined version; NT, Smallhythe Place, Kent, 1118532.

Red chalk drawing by Ethel Webling, signed and dated, whole-length, profile to right, standing, gesturing with left hand; NT, Smallhythe Place, Kent, 111842.

publ. 1880
Design for caricature by Georges Labadie Pilotelle, whole-length to left, following behind Henry Irving as ‘Shylock’; untraced. Repr. Sketch, 3 Jan. 1880, captioned ‘Tarry, Jew: / The Law hath yet another hold on you’ (cutting NT, Smallhythe Place, Kent, 1118354).

1881-1904
Painting by Harold Copping, signed, three-quarter-length to front, standing with right hand raised, wearing doctor’s robes; untraced. Repr. as photogravure; impression Folger Shakespeare L., Washington, DC, ART File T329 no.62 (size S).

1883
Oil on canvas, 920 x 615mm, by G(race?) W. Baldry, three-quarter-length to front, profile to right, standing, wearing cap, long gown with wide sleeves and high collar, and a long robe with a broad sash; Garrick Club, London, G0800. Repr. Cheshire 1989, p.55.

exh. 1883
Oil on canvas by Louise Jane Jopling (née Goode, later Rowe), three-quarter-length, dressed as in item above, standing to front clutching document; untraced. Exh. Grosvenor G., London, Summer 1883 (39, as ‘Portrait of Miss Ellen Terry as “Portia”’); repr. as lithograph (impressions Stapleton Coll., London and Folger Shakespeare L., Washington, DC, ART File T329 no.60 (size M)).

c.1885
Oil on canvas, 292 x 232mm, by Albert Joseph Moore, head-and-shoulders, facing front, slightly profile to left, looking down; priv. coll. Exh. Albert Moore and his Contemporaries, Laing AG, Newcastle, 1972 (137, as ‘A Girl’s Head’); ref. Christie’s, 13 Nov. 1992 (117, ill.)

c.1890
Design by unidentified artist, half-length, almost profile to left, wearing red doctor’s robes, with cap, against dark background; untraced. Repr. as poster for McClure’s Magazine advertising an appearance by Terry in the next issue; copy NT, Smallhythe Place, Kent, 1117319.

Pen and ink drawing, 285 x 185mm, by Charles Richardson, signed and inscr. ‘Drama’, among other figures surrounding the actor-managers Henry Irving and Herbert Beerbohm Tree; V&A, London, S.915-2012.

1892
Oil on canvas, 1880 x 1219mm, by Henry Emmerson, signed and dated, three-quarter-length, almost profile to left, standing, right hand pointing to a document on table, wearing doctor’s robes; untraced. Ref. Sotheby’s, 1 Oct. 1969 (163, ill).

publ. 1892
Design by unidentified artist, whole-length to front, standing holding document, Henry Irving kneeling on floor to front; untraced. Repr. as coloured engr. Great Thoughts, 2 Jul. 1892 (cutting Russell-Cotes AGM, Bournemouth, BORGM:2004.2.16).

1899
Design by Howard Chandler Christy, signed and dated, whole-length to front, wearing doctor’s robes, holding document; untraced. Repr. as chromolithograph by Charles Scribner’s Sons, New York (impression Folger Shakespeare L., Washington, DC, ART File T329 no.64 (size M); and as engr., 530 x 353mm, by Kegan Paul, Trench, Trubner & Co., Ltd, 1900 (impression Garrick Club, London, P0527).

c.1900
Design by Pamela Colman Smith, signed with monogram, head-and-shoulders, profile to right, wearing red robe and cap; repr. as postcard (copy NT, Smallhythe Place, Kent, 1118403.18).

c.1902
Pen and ink drawing, 114 x 89mm, by Jim Dodgson (‘Kester’), inscr. ‘Best wishes for Xmas from Jim Dodgson’ and ‘Ellen Terry as Portia’, three-quarter-length to left, profile to left, with hand extended; Leeds MAG, LEEDM.E.2001.0012.0005.

publ. 1903
Design for caricature by ‘Limelight’, whole-length to right, standing beside Henry Irving, wearing doctor’s robes; untraced. Repr. Entr’acte, 18 July 1903, p.9, captioned ‘Sir Henry Irving (Shylock) to Miss Ellen Terry (Portia):– “A very enjoyable incident, this!” Miss Terry: – “Yes. It reminds one of old times.”’ (cutting NT, Smallhythe Place, Kent, 1117313).

c.1903
Watercolour drawing, 270 x 182mm, by Pamela Colman Smith, signed with monogram and inscr. by sitter ‘It must not be. There is no power in Venice / Can alter a decree established. / “Portia” Ellen Terry’, whole-length to front, profile to right, standing in front of patterned curtain, left hand at side holding scroll, right hand raised, wearing red robes and hat; V&A, London, S.211-2008.

1905
Pen drawing, 343 x 445mm, by Henry Matthew Brock, inscr. ‘Sketches at the “Shakespeare” Ball in Aid of the Actors’ Benevolent Fund’ [May 13 1905], Terry at top left, half-length to front, slight profile to right; Folger Shakespeare L., Washington, DC, ART Box B864 no.1 (size L).

unknown date
Brush and wash sketch, 305 x 228mm, by Pamela Colman Smith, signed with monogram, half-length, profile to right, standing, wearing doctor’s robes; Garrick Club, London, G0803.

Woodblock print by Pamela Colman Smith, signed with monogram, head-and-shoulders to left in silhouette; NT, Smallhythe Place, Kent, details not online. Ref. Bridgeman AL, USB 131812; see also NT, Smallhythe Place, Kent, 1118261 (uncoloured).

Doubtful portraits

1881
Oil on panel, 280 x 305mm, by Van der Syp, signed and dated, head-and-shoulders to left, profile to left, wearing ornamented cape and soft cap with braids down back; untraced. Ref. Sotheby’s, 24 Apr. 1974 (106).[7]

unknown date
Oil on canvas, 2133 x 1066mm, by unidentified 19th-century artist, whole-length to front, standing, wearing long robes; priv. coll. Ref. NPG NoS (Ellen Terry) and NPG SB (Ellen Terry).

Photographs

1875
Photographs by (George) Herbert and (Octavius) Charles Watkins, six known poses:
(a) carte-de-visite, 102 x 59mm, half-length to front, slightly profile to right, seated in chair holding book open in right hand, with strings of pearls around neck; V&A, London, S.133:214-2007 (inscr. ‘Ellen Terry as Portia 1875’).
(b) three-quarter-length to left, standing, left hand on hip; V&A, London, S.133:223-2007.
(c) as in pose (a), both hands on chairback; V&A, London, S.133:225-2007.
(d) whole-length to left, standing, left hand on hip, holding book under right arm; V&A, London, S.133:226-2007.
(e) half-length to left, facing front, right arm resting on chairback and supporting head; V&A, London, S.133:227-2007.
(f) half-length vignette to left, profile to left; right arm supporting head; V&A, London, S.133:218-2007.

Photographs by Fradelle & Young, two known poses:
(a) carte-de-visite, 90 x 61mm, half-length vignette to front, almost profile to right, seated, dressed as in item above; V&A, London, S.133:216-2007.
(b) head-and-shoulders vignette to front, looking up to right, hands clasped; V&A, London, S.133:217-2007.

Photographs by Fradelle & Young, five known poses:
(a) carte-de-visite, 90 x 58mm, half-length to front, slightly profile to right, seated at desk wearing doctor’s robes and cap; V&A, London, S.133:222-2007.
(b) three-quarter-length to left, facing front, standing; V&A, London, S.133:224-2007.
(c) three-quarter-length to front, almost profile to right, standing, right hand on book on desk; V&A, London, S.133:228-2007.
(d) as in pose (c), slightly profile to right; V&A, London, S.133:230-2007.
(e) three-quarter-length to front, almost profile to right, left arm by side, right hand tucked into gown; repr. as engr. in unidentified publication (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.2, p.260).

1879
Photographs by Window & Grove, twenty-one known poses:
(a) albumen cabinet card, 141 x 102mm, half-length vignette to front, slightly profile to right, standing, wearing doctor’s robes and cap; NPG x16988; and V&A, London, S.133:287-2007 (sepia photograph).
(b) platinum print, 136 x 98mm, publ. Window & Grove 1906, three-quarter-length to front, seated, holding book; NPG Ax131302 (half-length crop; Garrick Club, London, Ph0334).
Pencil drawing by unidentified artist after pose (b), 140 x 152mm, head-and-shoulders vignette, signed by the artist (indecipherable) and dated 1906; Folger Shakespeare L., Washington, DC, ART Box T315 no.3 (size S).
Watercolour and bodycolour drawing by an unidentified artist after pose (b), dated 27 Feb. 1900, inscr. ‘Many Happy Returns of the Day’ and signed by many friends; NT, Smallhythe Place, Kent, 1117221.
(c) three-quarter-length to front, profile to right, seated with right hand on chairback; publ. Rotary Photographic Company Ltd 1900s; NPG x16989 (signed by the sitter).
(d) woodburytype, 146 x 97mm, half-length to front, seated, left arm resting on adjacent table and gesturing with left hand; NPG Ax7705; and V&A, London, S.133:279-2007.
(e) three-quarter-length to front, slight profile to right, standing, holding document; V&A, London, S.133:271-2007. Repr. as photogravure V&A, London, S.6045-2009. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.166, fig.49 (NT, Smallhythe Place print).
Pen and ink drawing, 292 x 133mm, by unidentified artist after pose (e), signed by Terry; Folger Shakespeare L., Washington, DC, ART Box T315 no.2 (size L).
(f) three-quarter-length to front, looking left, holding document as if to tear it; V&A, London, S.133:277-2007. Repr. Graphic, 21 Apr. 1906, p.500.
(g) bromide postcard print 138 x 85mm, three-quarter-length to front, pub;. J. Beagles & Co, right hand gesturing, left hand holding document by side; NPG x195943.
half-length crop; V&A, London, S.133:276-2007.
(h) very close to pose (e); V&A, London, S.133:289-2007.
(i) three-quarter-length to front, left hand to chin, right hand on hip; V&A, London, S.133:280-2007.
(j) head-and-shoulders to front, profile to right, chin resting on left hand; V&A, London, S.133:264-2007.
(k) three-quarter-length to right, profile to right, standing, gesturing with left hand; V&A, London, S.133:278-2007.
(l) three-quarter-length to front, holding book on desk with left hand; V&A, London, S.133:269-2007. Repr. as coloured engr. (oval format) by unidentified artist; NT, Smallhythe Place, Kent, 1118386.
(m) half-length to front, profile to right, raising hands to left; V&A, London, S.133:270-2007.
(n) half-length to right, profile to right, holding book; V&A, London, S.133:272-2007.
(o) three-quarter-length to right, profile to right, seated, holding ?open book; V&A, London, S.133:273-2007.
(p) three-quarter-length to front, profile to right, standing, right hand raised, left hand on hip; V&A, London, S.133:275-2007.
(q) head-and-shoulders profile to left, with three other photographs of Terry; Garrick Club, London, Ellen Terry album 2, no.9.
(r) three-quarter-length to front, almost profile to right, standing, both hands raised and gesturing; Garrick Club, London, Photographs Box A.
(s) three-quarter-length to front, profile to right, left hand raised, right resting on open book on table; Garrick Club, London, Photographs Box A.
(t) three-quarter-length to front, profile to right looking right, both hands on hips; repr. as lithograph by Maclure, Macdonald & Co., Glasgow (cutting Garrick Club, London, Fitzgerald Irving scrapbook, vol.9, p.47.
(u) three-quarter-length to right, looking right, right hand holding robe, left hand on money bags; repr. as coloured photolithograph; NT, Smallhythe Place, Kent, 1118338.
Engr. after one of the poses above or another unidentified, head only, profile to right; repr. ILN, 9 Feb. 1895, p.187 (in advert for Carmelline).
Painted porcelain plaque in oak frame, 535mm diam., by ‘B.L.H.’, probably after one of the poses above, head-and-shoulders to left, wearing doctor’s robes and cap; V&A, London, S.222-1987.

Photographs by Window & Grove, seven known poses:
(a) cabinet card, 140 x 101mm, three-quarter-length to front, profile to right, standing, right hand on hip, left hand gesturing, wearing dress with high stiff collar; V&A, London, S.133:268-2007.
(b) three-quarter-length to right, profile to right, seated, feather fan in left hand; V&A, London, S.133:267-2007.
(c) head-and-shoulders to front, against patterned wall-covering; V&A, London, S.133:290-2007.
(d) as in pose (c), three-quarter-length; V&A, London, S.133:266-2007.
(e) three-quarter-length to right, left arm raised behind head; V&A, London, S.133:265-2007. Repr. as engr. by Sidney L. Smith, dated in plate 1888; NT, Smallhythe Place, Kent,1118265.
(f) head-and-shoulders to front, profile to right, holding book; V&A, London, S.133:288-2007.
(g) head-and-shoulders to front (oval format); V&A, London, S.133:263-2007.
(h) head-and-shoulders vignette to front, slightly profile right; Garrick Club, London, PH0328.
Design by unidentified artist after pose (g); untraced. Repr. as chromolithograph by Maclure, Macdonald & Co., Glasgow, Pen and Pencil, no details known (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.7, p.274).

Seven photographs by Lock & Whitfield, Terry in costume as Portia, reg. for copyright 1880 Jan. 23 and 1880 Mar. 8: National Archives.


The Merry Wives of Windsor (as ‘Mistress Page’)

1902
Gouache and wash drawing, 559 x 387mm, by Charles Buchel (Karl August Büchel), signed and dated, whole-length, profile to right, standing on left beside Herbert Beerbohm Tree as ‘Falstaff’; Folger Shakespeare L., Washington, DC, ART Box B919 no.6 (size L).

Watercolour and wash drawing, 276 x 176mm, by Pamela Colman Smith, signed with monogram and inscr. by sitter ‘“You are merry. so am I. Ha Ha” / Ellen Terry / 1902 / Mistress Page’, whole-length to left, standing in garden setting with Windsor Castle in background, wearing red robes and headdress; V&A, London, S.212-2008. Repr. as coloured engr.; impression NT, Smallhythe Place, Kent, 1118414.

Watercolour montage, 260 x 335mm, by S. Ruth Canton, signed with initials, dated and inscr. ‘Merry-Wives of Windsor’, in multiple scenes from the play; Garrick Club, London, Henry Irving Album, p.33.

c.1902
Pen, wash and gouache drawing, 368 x 267mm, by Frederick Henry Townsend, whole-length, profile to right, standing with hands on hips; Folger Shakespeare L., Washington, DC, ART Box T747 no.6 (size L).

Watercolour drawing by John Jellicoe, signed, whole-length to front, seated at base of tree in woodland setting, with Herbert Beerbohm Tree and another; Folger Shakespeare Library, Washington ART Box J48 no.22 (size L).

1903
Hand-coloured print, 251 x 201mm, by Pamela Colman Smith, signed with monogram and inscr. ‘Meg[? Page / Merry Wives of Windsor, Ellen Terry / 1903]’, whole-length, profile, wearing sleeveless red tunic and close-fitting cap, carrying letter in left hand; V&A, London, S.905-2012.

1904
Oil on canvas 1562 x 2210mm, by John Collier, The Merry Wives of Windsor, whole-length to right, profile to right, standing next to Herbert Beerbohm Tree and Madge Kendal; Garrick Club, London, GO820. Exh. RA 1904 (470); repr. as engr. Cassell’s RA Pictures 1904, p.9; ILN, 24 May 1904, suppl., p.4; and AJ, 1904, p.180; and by ‘Printsellers Association USC’ (impression NT, Smallhythe Place, Kent, 1118258 [signed in pencil on mount by artist and sitters]).

unknown date
Design by J. Simpson (oval format), head-and-shoulders to front, wearing winged headdress; untraced. Repr. London Opinion, no details known; and St John n.d., p.78.

Photographs

1902
Photographs by Window & Grove, six known poses:
(a) platinum print, 136 x 99mm, publ. Window & Grove 1906, whole-length to front, leaning against gate in studio setting, reading letter; NPG Ax131327 and V&A, London, S.6043-2009. Repr. Graphic, 21 Apr. 1906, p.501.
(b) half-length to front, dressed as in pose (a) with transparent overdress; V&A, London, S.133:519-2007.
(c) as in pose (b), with left hand on hip.
(d) half-length to front, slightly profile to right, dressed as in pose (b); Folger Shakespeare Library, Washington ART File T329 no.33 PHOTO (size XS).
(e) bromide postcard print 137 x 85mm, publ. Rotary Photographic Company Ltd, half-length to front, dressed as in pose (c), holding letter to front, right arm resting on gate; NPG x197948.
(f) whole-length to left, facing front, both arms raised and extended to left, dressed as in pose (b); repr. unidentified press cutting, NPG, Album 258 (Henry Irving and Ellen Terry cuttings album).

Seven further poses by Window & Grove from session above, reg. for copyright 1902 June 30: National Archives (COPY 1/455/616; COPY 1/455/618; COPY 1/455/624; COPY 1/455/620; COPY 1/455/621; COPY 1/455/622; COPY 1/455/615).


A Midsummer Night’s Dream (as ‘Titania’ unless otherwise stated)

Photographs

1856
Photograph by Adolphe Beau, whole-length to front, seated on cushioned stool with legs crossed, as ‘Puck’; coll. David Cheshire, 1989. Repr. Cheshire 1989, p.17.

c.1863
Photographs by the Southwell Brothers, two known poses:
(a) carte-de-visite, 90 x 58mm, whole-length to right, almost profile to left, right arm bent, seated in woodland setting, wearing full skirt and blouse; V&A, London, S.133:162-2007.
(b) whole-length to right, slightly profile to left, right arm straight; known from painted photograph by unidentified artist; NT, Smallhythe Place, Kent, 1118252.


Money (as ‘Clara Douglas’)

c.1906
?Oil on canvas, by William Orpen, whole-length to left, profile to left, seated upright on chair, wearing dress with full skirt, a string of beads round neck and handkerchief in right hand (as in the 1875 production of the play); untraced. Repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, fig.3 (copy U. of Bristol Theatre Coll., TCW/M/000037).


Much Ado About Nothing (as ‘Beatrice’ unless otherwise stated)

c.1860
Oil over pencil on paper by Laura Wilson Taylor (née Barker), whole-length to front, wearing wedding gown and veil, as ‘Hero’ during the Church Scene (Act 4, scene 1), being comforted by ‘Beatrice’ played by Kate Terry; NT, Smallhythe Place, Kent, 1117131. Repr. Cheshire 1989, p.21.

1882
Design by Cyril Hallward, whole-length, profile to right, standing next to Henry Irving; untraced. Repr. as woodcut, 340 x 240mm, captioned ‘Mr Irving and Miss Terry as Benedick and Beatrice’; impression BM, London, 1933,1014.642.118 (inscr. in pencil ‘See Sp & Dra 4/11/82’).

Design by A.L. Becher, signed and dated, whole-length to front, profile to right, standing with left arm raised, on stage beside Henry Irving; untraced. Repr. Society, 21 Oct. 1882 (cutting Russell-Cotes AGM, Bournemouth, BORGM:2006.21.3.17).

publ. 1882
Design by (John) Bernard Partridge, whole-length to right, standing on terrace steps, with Henry Irving; untraced. Repr. in unidentified publication (cutting M. of London, 57.85/1, inscr. in pencil ‘11 Oct. 82’ [?date of publication]).

c.1882
Designs by ‘E.J.W’:
(a) whole-length, falling back in a swoon, from church scene in play; untraced.
(b) signed with initials bottom left, whole-length to front, profile to right, dancing with Henry Irving; untraced.
Repr. Punch, no details known (cuttings Garrick Club, London, Chronicles of the Lyceum 1879–83, p.58.

1882-3
Oil on canvas by Johnston Forbes-Robertson, whole-length to front, standing with right arm outstretched, in the interior of a church; Player’s Club, New York? Repr. in unidentified publication, captioned ‘Mr J. Forbes-Robertson’s picture, “The Church Scene in ‘Much Ado about Nothing’” sold at the Irving sale for 55 guineas’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.21, p. 48). Publ. as photogravure by Dowdeswell and Dowdeswell, dated in plate 1883; impression NT, Smallhythe Place, Kent, 1118264. Repr. Forbes-Robertson 1925, facing p.116; and Cheshire 1989, p.65.
See also Forbes-Robertson, Irving.

1883
Gilded bronze roundel with relief portrait by ?Arnold Moreten, head only, signed by the artist and dated, slightly profile to right, surrounded by birds, flowers, mask, lute and banner lettered ‘Ellen Terry’; NT, Smallhythe Place, Kent, 1118030.

1884
Pen-and-ink sketch, 353 x 292mm, by ‘Alma’, signed and inscr. ‘Miss Ellen Terry as Beatrice, sketched at the Lyceum, Saturday May 31 1884’, head-and-shoulders to front, slight profile to right, holding rectangular fan; Folger Shakespeare L., Washington, DC, ART Box A444 no.4 (size L).

1887
Design by ‘Jack’, signed and dated, whole-length to front, standing, with Henry Irving in Elizabethan dress; untraced. Repr. as chromolithograph by R.K. Burt & Co., 337 x 199mm, in unidentified publication (possibly supplement to Society), captioned ‘Miss Ellen Terry and Mr Henry Irving as “Beatrice” and “Benedick” in Much Ado About Nothing’ (copies Folger Shakespeare L., Washington, DC, ART File T329 no.51a (size XS); and V&A, London, S.6041-2009, S.4494-2009 and S.4129-2009.

c.1890
Chromolithograph scraps printed by Siegmund Hildesheimer & Co, whole-length to front, with Henry Irving; V&A, London, S.59-2008 and S.2:2-2008.

1903
Gouache and wash drawing, 559 x 387mm, by Charles Buchel (Karl August Büchel), signed and dated, whole-length, profile to right, seated, Oscar Ashe as ‘Benedick’ to right; Folger Shakespeare L., Washington, DC, ART Box B919 no.12.

Pen and wash drawing, 235 x 254mm, by Ralph Cleaver, signed and dated, whole-length to front, standing, in montage of scenes intended for unidentified publication; Folger Shakespeare L., Washington, DC, ART Box C623 no.7 (size S).

c.1906
Design by (John) Byam Shaw, signed with monogram, whole-length to front, standing in long flowing dress; untraced. Repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, fig.4, captioned ‘“Much Ado about Nothing” Dance’ (copy U. of Bristol Theatre Coll., TCW/M/000037).

Design by (John) Bernard Partridge, signed with initials, half-length to left, almost facing front, standing, wearing full-skirted dress, holding string of beads round neck in right hand; untraced. Repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, fig. 9 (copy U. of Bristol Theatre Coll., TCW/M/000037).

publ. 1906
Design by (John) Bernard Partridge, signed and inscr. ‘Fifty Years a Queen’, whole-length in costume, on stage, holding her hand out to the figure of Shakespeare who bows to kiss her hand, Punch in background; untraced. Repr. Punch, 28 Mar. 1906, captioned ‘A scheme is on foot for presenting a National Tribute to Miss Ellen Terry on April 28, the fiftieth anniversary of her first appearance on stage’.

unknown date
Design by unidentified artist, 331 x 241mm, whole-length to front, standing on steps in garden setting, Henry Irving in foreground; untraced. Repr. in unidentified publication (copy V&A, London, S.4497-2009).

Design by Pamela Colman Smith, signed with monogram and inscr. ‘E.T.’, whole-length to left, standing, holding full skirt of gown; untraced. Repr. Melville 1987, p.204.

Photographs

c.1862
Photographs by Adolphe Beau, three known poses:
(a) carte-de-visite, 95 x 61mm, head-and-shoulders vignette to right, facing front, wearing wedding gown and veil, possibly as ‘Hero’ during the Church Scene; V&A, London, S.133:158-2007.
(b) whole-length to left, facing front; V&A, London, S.133:161-2007.
(c) whole-length to left, looking down to front; V&A, London, S.133:168-2007.

1882
Photographs by Window & Grove, eighteen known poses:
(a) albumen cabinet card, 147x x 105mm, head-and-shoulders vignette, profile to right with hair up, wearing dress with stiff lace collar and necklace; NPG x16979, NPG x26808 (131 x 99mm) and NPG x26811 (92 x 57mm); and V&A, London, S.133:380-2007 (sepia photograph). Repr. Strand, vol. 1, 1891, p.44.
Plaster bust relief painted gold (in ebonised frame), by Benjamin Wilson after pose (a); NT, Smallhythe Place, Kent, 1118513.1; and 1118531 (less finished version).
(b) platinum print, 136 x 98mm, three-quarter-length to front, almost profile to right, standing beside table, right hand on hip; NPG Ax131307 and V&A, London, S.133:361-2007 (cropped).
Watercolour drawing, 203 x 140mm, by unidentified artist after pose (b), wearing green gown; Folger Shakespeare L., Washington, DC, ART Box T315 no.1 (size S).
(c) albumen cabinet card, 140 x 99mm, half-length vignette to right, profile to right, standing, left hand on hip; NPG x16981 and V&A, London, S.133:382-2007.
(d) albumen cabinet card, 141 x 101mm, half-length vignette to front, looking right, standing, bending forwards, finger of right hand to lips; NPG x16982 and V&A, London, S.133:368-2007 (sepia photograph). Repr. Graphic, 21 Apr. 1906, p.501.
(e) as in pose (d), looking left;V&A, London, S.133:370-2007.
(f) head-and-shoulders vignette to front, slight profile to right; V&A, London, S.133:362-2007.
(g) half-length to front, slight profile to right, peacock fan visible in right hand (cropped off); V&A, London, S.133:363-2007.
(h) whole-length to front, arms folded across body, holding fan; V&A, London, S.133:365-2007.
(i) almost identical to pose (h); V&A, London, S.133:366-2007.
(j) head-and-shoulders to front; V&A, London, S.133:372-2007.
(k) three-quarter-length to front, profile to right, left hand on hip, right hand holding fan behind; V&A, London, S.133:369-2007.
(l) three-quarter-length to front, left hand raised, right hand holding skirt, as if dancing; V&A, London, S.133:371-2007.
(m) three-quarter-length to front, slight profile to right, holding shawl over head; V&A, London, S.133:376-2007.
(n) three-quarter-length to left, both hands holding skirt, as if dancing;V&A, London, S.133:378-2007. Repr. as photogravure Pen & Pencil, 1889, p.164.
(o) almost identical to pose (n); V&A, London, S.133:377-2007.
(p) three-quarter-length to front, looking right, hands pressed together as if praying; V&A, London, S.133:379-2007.
(q) half-length to front, looking right, both arms held out to left; Garrick Club, London, Ellen Terry album 1, no.20.
(r) three-quarter-length to front, profile to right, holding peacock fan; Folger Shakespeare L., Washington, DC, ART File T329 no.14 PHOTO (size XS).

Photographs by Window & Grove, ten known poses:
(a) three-quarter-length to front, slightly profile to right, standing, holding rectangular fan; NPG x26810 (albumen print, cropped to head-and-shoulders), V&A, London, S.6040-2009 (photogravure) and V&A, London, S.133:373-2007 (cropped to head-and-shoulders). Repr. as engr. by Meisenbach, ILN, 1 Aug. 1891, p.145.
(b) half-length to front, slightly profile to right; V&A, London, S.133:357-2007.
(c) three-quarter-length to front, left hand on hip; V&A, London, S.133:359-2007.
(d) whole-length to right, profile to right, arms raised, hands clasped; V&A, London, S.133:364-2007.
(e) whole-length to front, looking right, hands together; V&A, London, S.133:367-2007.
(f) three-quarter-length vignette to right, profile to right, counting on fingers; V&A, London, S.133:374-2007.
(g) half-length to front, slight profile to right, seated sideways on chair, left hand to face, right hand on chairback; V&A, London, S.133:375-2007.
(h) three-quarter-length to front, slight profile to right, standing, right hand holding skirt, left hand holding fan; V&A, London, S.133:381-2007.
(i) three-quarter-length to front slight profile to right, with fan; V&A, London, S.133:383-2007.
(j) three-quarter-length vignette to right, almost profile to right, standing, hands held up in front, counting on fingers; Garrick Club, London, Photographs Box A.

Three further poses by Window & Grove from session above, reg. for copyright 1884 Mar. 21: National Archives (COPY 1/367/174; COPY 1/367/167; COPY 1/367/159).

c.1891
Photographs by Window & Grove, eight known poses:
(a) albumen cabinet card, 143 x 105mm, whole-length to right, profile to right, seated in studio, wearing dress with bold floral pattern; NPG x16969. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Rideal 1991, p.40; Gould & Gawade 2014, p.69, fig.51 (three-quarter-length vignette, NT, Smallhythe Place).
(b) albumen cabinet card, 194 x 190mm, half-length standing to right, almost profile right, with right hand at hip and left outstretched; NPG x197417
(c) half-length to front, slight profile to right, left hand raised holding rolled document; V&A, London, S.133:452-2007.
(d) three-quarter-length to front, profile to right, standing, both hands raised holding unrolled document; V&A, London, S.133:453-2007.
(e) three-quarter-length to left, looking right, holding document; V&A, London, S.133:454-2007.
(f) half-length to front, profile to right; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.22 M Medium Box.
(g) half-length to front, almost profile to right, smiling, holding document near face with both hands; repr. Pemberton 1902, p.250.
(h) three-quarter-length, standing to front holding lace shawl over head; NPG x197949
(i) three-quarter-length to front, leaning forwards, right hand bent to face; known from coloured engr. by Hans Schleger (‘Zero’) repr. St Paul’s Magazine, no.11 in ‘The “St Paul’s” dramatic portrait gallery’ (loose copy NT, Smallhythe Place, Kent, 1118420).

Twelve further poses by Window & Grove from session above, reg. for copyright 1891 Feb. 6: National Archives (COPY 1/403/82; COPY 1/403/84; COPY 1/403/76; COPY 1/403/88; COPY 1/403/77; COPY 1/403/83; COPY 1/403/91; COPY 1/403/92; COPY 1/403/79; COPY 1/403/85; COPY 1/403/81; COPY 1/403/75).

1906
Photographs by Dover Street Studios Ltd, two known poses:
(a) whole-length to front, standing, holding spray of blossom above head, with sisters Kate and Marion during benefit performance to celebrate jubilee of fifty years as professional actress at Drury Lane Theatre, 12 June 1906; repr. Sketch, 20 June 1906; and Cheshire 1989, p.100.
(b) repr. Sketch, 20 June 1906 (cutting Garrick Club, London, Henry Irving Album, p.44).

Photograph by Dover Street Studios Ltd, probably from session above, whole-length to front, seated, holding spray of blossom in right hand; repr. St John n.d., p.86, captioned ‘Miss Ellen Terry as Beatrice, as she appeared on the occasion of the Jubilee Celebration at Drury Lane in 1905 [sic]’.


Nance Oldfield (as ‘Nance Oldfield’)

1894
Oil on canvas, 514 x 362mm, by James Ferrier Pryde, signed and dated, whole-length to front, standing in interior (?artist’s studio) with arms outstretched, wearing long embroidered coat; priv. coll. Exh. Arts Council, London, 1949 (12); and SNGMA, Edinburgh, 1992 (5, ill.). Repr. Hudson 1949b, between pp.48 and 49.

publ. 1894
Design by unidentified artist, whole-length to front, seated on back of couch, hands on hips; untraced. Repr. as engr. Black & White, 23 May 1894, captioned ‘Miss Ellen Terry in her New Character, Nance Oldfield at the Lyceum Theatre’ (cutting Russell-Cotes AGM, Bournemouth, BORGM:2006.14.2.27).

c.1894
Oil and varnish on card by James Ferrier Pryde; see NPG 6568.
Pen, ink and wash drawing, heightened with white bodycolour, 270 x 200mm, by Pryde after item above, c.1906; priv. coll. Ref. Bonhams 2001 (29). Repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, fig.6 (copy U. of Bristol Theatre Coll., TCW/M/000037).

Design by Edward Gordon Craig, whole-length (only head-and-shoulders in detail) to front, before a window; untraced. Repr as wood-engr. Craig 1899, n.p., captioned ‘Miss Terry as “Nance Oldfield”’; ref. Bloomsbury Auctions, 29 Oct. 2009 (553, ill.).

1900
Watercolour, ink, graphite and gouache drawing, 240 x 325mm, by Pamela Colman Smith, Ellen Terry as Nance Oldfield, three-quarter-length to right, standing on stage wearing striped dress and headscarf, both arms bent at elbow and raised; NT, Smallhythe Place, 1122457.2. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.11 (fig.1).

c.1900
Hand-tinted lithograph, 313 x 260mm, by Pamela Colman Smith, signed with monogram and inscr. by sitter, whole-length slightly to right, standing, wearing dress and long coat; V&A, London, S.908-2012 and NT, Smallhythe Place, Kent, 1118357 (uncoloured).

Hand-tinted lithograph, 313 x 251mm, by Pamela Colman Smith, signed with monogram, inscr. ‘Is that / your son?’ and signed by sitter bottom left, whole-length to left, standing, wearing eighteenth-century style striped open robe with lace-trimmed sleeves, before a window; V&A, London, S.907-2012; and NT, Smallhythe Place, Kent, 1118359.

1903
Watercolour and gouache by Dorothy Carleton Smyth, signed by artist and signed and dated by sitter, head-and-shoulders, profile to right, wearing shawl over head; NT, Smallhythe Place, Kent, 1117170.

Photographs

1891 or before
Photographs by Window & Grove, four known poses:
(a) albumen cabinet card, 145 x 105mm, three-quarter-length to front, standing, hands clasped to chest, wearing long cape and crown; NPG x16978 (signed and dated by sitter); and V&A, London, S.133:473-2007 (sepia photograph).
(b) half-length to front, slight profile to right, right hand holding staff or sceptre, left hand on hip; V&A, London, S.133:472-2007.
(c) whole-length to left, almost profile to right, standing, both hands clasped to chest, Edward Gordon Craig standing to right; Garrick Club, London, ET Photographs Box.
(d) three-quarter-length to front, standing, right arm raised above head, hand pointing; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.8 S Small Box.

1891
Photographs by Window & Grove, ten known poses:
(a) platinum print, 136 x 98mm, publ. Window & Grove 1906, three-quarter-length slightly to left, slightly profile to right, seated in chair, leaning forwards holding book in both hands, wearing sacque with pleated trim; NPG Ax131315.
(b) bromide postcard print, 140 x 89mm, publ. J. Beagles & Co. 1891, half-length to left, facing front, seated in chair, both hands raised to head; NPG x160593.
(c) three-quarter-length to left, looking right, leaning back in chair, right hand holding paper, left hand to face; V&A, London, S.133:474-2007.
(d) three-quarter-length to front, seated in chair, holding book in right hand, pouring tea with left hand; Garrick Club, London, Photographs Box A.
(e) bromide postcard print 140 x 85mm, publ. J. Beagles & Co, as in (d), holding cup at waist with both hands, profile to right; NPG x197944.
(f) three-quarter-length to right, standing, hands clasped to chest, looking down to right at paper held by Edward Gordon Craig; Garrick Club, London, Photographs Box A.
(g) three-quarter-length to front, seated in chair, reading from book held in right hand, left hand holding cup and spoon; repr. in Graphic, 21 Apr. 1906, p.501 (cutting Garrick Club, London, Henry Irving Album, p.46).
(h) whole-length to front, profile to right, standing, writing on paper; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.9 S Small Box.
(i) three-quarter-length to left, almost profile to right, standing, holding ?book with both hands, reading from it with Craig to left; coll. Caroline Bromfield.
(j) three-quarter-length to front, slightly profile to right, standing, hands clasped to chest, looking down to right at book held by Craig; repr. Auerbach 1987, p.278.

Photograph by Audrey Campbell, dressed as in item above and in same setting, whole-length to left, seated, holding book before her; repr. as photogravure Terry 1908, p.348.

Photographs by Window & Grove, two known poses:
(a) cabinet card, 144 x 105mm, whole-length to left, seated on arm of upholstered chair, wearing patterned robe, beside Edward Gordon Craig; V&A, London, S.133:550-2007.
(b) three-quarter-length to front, profile to left, seated on arm of chair, leaning towards Craig; Garrick Club, London, ET Photographs Box. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.23 (fig.13; NT, Smallhythe Place print).

Ten further poses by Window & Grove, reg. for copyright 1891 Sept. 29: National Archives (COPY 1/405/381; COPY 1/405/382; COPY 1/405/389; COPY 1/405/390; COPY 1/405/391; COPY 1/405/394; COPY 1/405/396; COPY 1/405/402; COPY 1/405/403; COPY 1/405/404).


Olivia (as ‘Olivia’)

1878
Pencil drawing, 235 x 178mm, by (Marion Margaret) Violet Manners (née Lindsay), Duchess of Rutland, signed with monogram, half-length, leaning over desk with right arm supporting head; Mark Samuels Lasner Coll., on loan to U. of Delaware L. Exh. Yale Centre for British Art, New Haven, 1994; ref. Christie’s, 28 Apr. 1987 (234, ill.); repr. Stetz 2007, p.117.

1885
Etching, 290 x 199mm, by Henry William Batley, half-length, profile to right, with Henry Irving as the ‘Vicar of Wakefield’ bottom right; publ. by The Belgravia Fine Art Co., London, 1 Mar. 1886; impressions BM, London, 1933,1014.643.9; NT, Smallhythe Place, Kent, 1118355 and 1118461; and V&A, London, S.329-2011.

publ. 1885
Design for caricature by Alfred Bryan, signed with initials, three-quarter-length, arms thrown around Henry Irving; untraced. Repr. Illustrated Sporting and Dramatic News, 13 June 1885, p.330.

c.1885
Watercolour montage, 176 x 260mm, by S. Ruth Canton, signed and inscr. ‘Recollections / of / Olivia’, in multiple scenes from the play; Garrick Club, London, Lyceum vol.II, p.31.

Design by ‘Alma’, whole-length to front, standing in doorway, wearing red gown with lace collar; untraced. Repr. as coloured engr.; impression NT, Smallhythe Place, Kent, 1118403.13.

publ. 1893
Watercolour by F.I. Sullivan, signed, whole-length to front, with Henry Irving; untraced. Repr. Pall Mall Budget, 20 July 1893, p.1124.

1906
Charcoal drawing, 508 x 318mm by Edwin Austin Abbey, whole-length to right, profile to right looking down, seated in chair, hands clasped at chest; untraced. Ref. Christie’s, 17 Dec. 1928 (Terry’s sale, 4); repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, fig.1 (copy U. of Bristol Theatre Coll., TCW/M/000037); and Terry 1908 (US ed., New York).

1920
Watercolour by G.J. Baynes; RSC Coll., Stratford-upon-Avon, STRPG:A:1994.321).

Photographs

1878
Photographs by Window & Grove, six known poses:
(a) albumen cabinet card, 145 x 102mm, whole-length to front, standing against painted woodland scene, arms folded together at waist, wearing lace cap with bow; NPG x16987 and V&A, London, S.133:239-2007 and S.133:241-2007 (both cropped).
(b) platinum print, 136 x 97mm, publ. Window & Grove 1906, whole-length to front, standing with left arm raised and finger pointing; NPG Ax131300 and V&A, London, S.133:233-2007.
(c) albumen cabinet card, 145 x 102mm, head-and-shoulders vignette to front; NPG x16986; V&A, London, S.133:243-2007 and S.133:244-2007 (both sepia photographs); and Folger Shakespeare L., Washington, DC, ART File T329 no.35 PHOTO (size XS).
Pencil drawing, 222 x 171mm, by (Marion Margaret) Violet Manners (née Lindsay), Duchess of Rutland after pose (c), signed with monogram; untraced. Ref. Christie’s, 28 Apr. 1987 (27, ill.).
(d) whole-length to front, profile to right, standing, both hands resting on balustrade behind; V&A, London, S.133:238-2007.
(e) head-and-shoulders vignette to front; V&A, London, S.133:242-2007.
(f) half-length to front, slightly profile to right, leaning forwards over right arm resting on balustrade; V&A, London, S.133:247-2007.

Photographs by Window & Grove, two known poses:
(a) cabinet card, 145 x 105mm, three-quarter-length vignette to front, slightly profile to right, standing wearing cloak and thick shawl; V&A, London, S.133:235-2007.
(b) half-length to front, seated, hands under shawl; V&A, London, S.133:236-2007.

Photographs by Window & Grove, four known poses:
(a) albumen cabinet card, 144 x 102mm, whole-length to front, seated in chair, right hand supporting head, book open on lap; NPG x16985 and V&A, London, S.133:231-2007 (sepia photograph).
(b) sitting upright in chair, book closed in right hand, left hand on arm of chair; V&A, London, S.133:232-2007.
(c) whole-length to front, profile to left, standing beside chair, arms raised; V&A, London, S.133:234-2007.
(d) three-quarter-length to left, slight profile to left, seated in chair, leaning on table, left hand supporting head; V&A, London, S.133:240-2007.

publ. 1878
Woodburytype, 113 x 88mm, by Lock & Whitfield, half-length to front, almost profile to right, seated, wearing shawl around shoulders and lace cap; NPG Ax28262 (publ. Wyman & Sons 1 Aug. 1878, 131 x 90mm) and NPG x26807.

1885
Photographs by Window & Grove, eight known poses:
(a) 145 x 105mm, half-length to front, standing next to Henry Irving (seated in chair), leaning forwards with right arm around his shoulders, wearing dark dress with lace collar; V&A, London, S.133:464-2007; and NPG x197945 (bromide postcard print 139 x 88m, publ. J. Beagles & Co).
(b) head-and-shoulders to left, facing front; V&A, London, S.133:435-2007.
(c) whole-length to right, profile to right looking downwards, to left of Henry Irving; V&A, London, S.145:89-2007.
(d) whole-length, rear view, kneeling and leaning against Henry Irving (standing); V&A, London, S.145:90-2007.
(e) half-length to front, profile to left, seated, painted tree behind; V&A, London, S.133:465-2007.
(f) albumen cabinet card 151 x 109mm, whole-length to front, standing, right hand holding tree branch, left hand holding letter; NPG x197415; and V&A, London, S.133:466-2007.
(g) whole-length to right/rear view, to left of Henry Irving; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Ir500.5 S Small Box.
(h) whole-length to right, kneeling and leaning against Henry Irving (standing); Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Ir500.6 S Small Box.

Photographs by Window & Grove, probably from session above but wearing light-coloured dress, five known poses:
(a) 143 x 103mm, whole-length to left, profile to left, seated beside Henry Irving, left hand on hip; V&A, London, S.133:467-2007.
(b) whole-length to front, profile to right, seated, right hand touching arm of Henry Irving beside her; V&A, London, S.133:468-2007. Repr. Whyte 1898, between pp.168-169.
(c) whole-length to front, standing to right of Henry Irving; V&A, London, S.133:469-2007.
(d) very close to pose (c) but hands in different position; V&A, London, S.145:86-2007.
(e) whole-length to front, seated, leaning against Henry Irving; V&A, London, S.133:470-2007. Repr. as photogravure, 325 x 247mm, by Maclure, Macdonald & Co.; V&A, London, S.4126-2009.

c.1885
Cabinet card by Samuel Alexander Walker, half-length to right, profile to right, seated, wearing lace cap with ribbon and shawl; Billy Rose Theatre Coll., New York PL, 555464.


Othello (as ‘Desdemona’)

publ. 1881
Design by Harry Furniss, half-length, praying underneath bed canopy; untraced. Repr. Punch, 14 May 1881, p.225, captioned ‘Desdemona irritating her husband by posing as a model for “The Infant Samuel”’.

c.1881
Design by ‘F.S.W’, signed, appearing twice in montage of scenes; untraced. Repr. as engr. by W.S. Plamer in unidentified publication, captioned ‘Sketches from “Othello” at the Lyceum Theatre’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.4, p.255).

Design by Henry Stephen (‘Hal’) Ludlow, signed, whole-length to left, standing, at top right corner in montage of scenes; untraced. Repr. as engr. in unidentified publication, captioned ‘Theatrical sketches: “Othello” at the Lyceum Theatre’ (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol4, p.299).

publ. 1898
Design by Samuel Begg, whole-length to right, kneeling next to bed, hands raised and clasped towards Edwin Booth as ‘Othello’; untraced. Repr. as engr. ILN, 27 Aug. 1898, p.289 (front cover); ref. MEPL, London, 10119040.

unknown date
Design by unidentified artist, half-length to right, profile to right, standing holding hand out to Henry Irving as ‘Othello’, slightly caricatured; untraced. Repr. as lithograph; impression priv. coll. Ref. Bridgeman AL, London, XJF 483331.

Photographs

1863
Photographs by the Southwell Brothers, three known poses:
(a) albumen carte-de-visite, 88 x 56mm, whole-length to front, standing against painted backdrop of harbour scene, wearing white gown and veil; NPG x16990; and V&A, London, S.133:176-2007 (sepia photograph).
(b) as in pose (a), without veil; V&A, London, S.133:170-2007.
(c) whole-length to left, facing front, dressed as in pose (a); V&A, London, S.133:172-2007.

1881
Carte-de-visite, 93 x 65m, by Window & Grove, half-length to left, facing front, seated, with hair loose, wearing simple flowing robes; V&A, London, S.133:394-2007 (signed by the sitter).


Perseus and Andromeda (as ‘Dyctes’)

Photographs

c.1861
Photographs by Horatio Nelson King, two known poses:
(a) carte-de-visite, 94 x 56mm, whole-length to right, facing front, standing with legs crossed at ankle, holding long spear; V&A, London, S.133:149-2007.
(b) whole-length to front, slightly profile to right, pointing right foot; V&A, London, S.133:151-2007.


Peter the Great (as ‘Empress Catherine’)

1898
Design by John Jellicoe and Herbert Railton, signed and dated, whole-length to front, standing on chair wearing coat, boots and hat; untraced. Repr. Illustrated Sporting and Dramatic News, supplement, 8 Jan.1898 (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.22, p.61); and Hiatt 1899, facing p.256.

publ. 1898
Design by John Gülich, whole-length to right, standing on chair, wearing long coat and hat, looking at Henry Irving; untraced. Repr. Graphic, 8 Jan. 1898, p.33 (front page), captioned ‘Peter (Sir Henry Irving) explains how Catherine (Miss Ellen Terry) saved his life’.

Design by Frederick Pegram, signed, whole-length to front, seated on table, wearing long boots, with Henry Irving; untraced. Repr. Black & White, 8 Jan. 1898, p.33 (front cover), captioned ‘“Peter the Great” at the Lyceum’.

Design by ‘GRH’, whole-length to left, wearing hat, coat and boots; untraced. Repr. John Bull, 1898 (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.22, p.48).

c.1898
Watercolour montage, 250 x 340mm, by S. Ruth Canton, signed and inscr. ‘Recollections of Peter the Great’, whole-length to left, among multiple scenes from the play; Garrick Club, London (Lyceum vol.I, p.129).


Raising the Wind (as ‘Peggy’)

Photographs

1886
Photographs by Window & Grove, seven known poses:
(a) albumen cabinet card, 145 x 105mm, whole-length to left, facing front, seated in chair, legs crossed, bending to tie shoe; NPG Ax131310 (platinum print, 136 x 97mm, publ. Window & Grove 1906) and NPG x16974.
(b) three-quarter-length to front, right arm across chest; V&A, London, S.133:414-2007.
(c) half-length to right, profile to right; V&A, London, S.133:416-2007.
(d) half-length to right, facing front, left hand holding flower; V&A, London, S.133:417-2007.
(e) half-length to front, elbows leaning on arm of chair, hands supporting chin; Billy Rose Theatre Coll., New York PL, 1036998.
(f) albumen cabinet card, 165 x 109mm, half-length to front, slight profile to right, seated on arm of chair; NPGx197418; and Billy Rose Theatre Coll., New York PL, 1036999.
(g) half-length to front, standing, holding flowers; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.10 S Small Box.


Ravenswood (as ‘Lucy Ashton’)

publ. 1890
Two drawings by (John) Bernard Partridge:
(a) gouache drawing, 392 x 294mm, signed, whole-length to right, profile to left, standing, wearing three-cornered hat; NT, Smallhythe, Kent, 1117174.
(b) ?gouache drawing, signed, whole-length to right, seated, wearing long gown, bending towards Sir William Ashton; untraced.
Both repr. in souvenir programme for Ravenswood, Lyceum Theatre, 20 Sept. 1890 (copy Garrick Club, London, Fitzgerald Irving scrapbooks, vol.17, n.p.)

Design by unidentified artist (?J. Harker or Hawes Craven), inscr. ‘The Mermaid’s Well’, whole-length to front, standing in woodland setting, holding Henry Irving’s hand; untraced. Repr. in souvenir programme for Ravenswood, Lyceum Theatre, 20 Sept. 1890 (copy Garrick Club, London, Fitzgerald Irving scrapbooks, vol.17, n.p.)

Design by unidentified artist, whole-length to front, standing in woodland setting, leaning into Henry Irving as ‘Edgar’; untraced. Repr. Graphic, 27 Sept. 1890, p.341 (front cover), captioned ‘The “Betrothal” scene in “Ravenswood”, the new play at the Lyceum Theatre’.

Design by Arthur Hopkins, whole-length to front, slightly profile to right, standing against table, with arms folded across waist, wearing long coat and hat; untraced. Repr. Daily Graphic, 22 Sept. 1890, p.8.

c.1890
Oil on canvas, 1525 x 1018mm, attributed to John Collier, three-quarter-length, profile to left, standing, with a merlin perched on her right arm; untraced. Ref. Christie’s, London, 14 Mar. 1997 (62, ill.).

Photographs

1890
Photographs by Window & Grove, five known poses:
(a) albumen cabinet card, 145 x 106mm, half-length to front, almost profile to left, wearing three-cornered hat and buttoned velvet jacket, seen within gilt picture frame; NPG x129588.
(b) three-quarter-length to front, slight profile to right, standing, dressed as in pose (a) with mask in right hand and gloves in left hand; V&A, London, S.133:456-2007.
(c) as in pose (b), without mask or gloves; V&A, London, S.133:457-2007>.
(d) half-length vignette to right, profile to right; Billy Rose Theatre Coll., New York PL, 1034781.
(e) cabinet card, half-length vignette to front, slightly profile to right; Garrick Club, London, ET Photographs Box.

Photographs by Window & Grove, seven known poses:
(a) platinum print, 135 x 97mm, publ. Window & Grove 1906, three-quarter-length to front, facing front, standing beside table with quill poised in right hand, wearing long embroidered gown; NPG Ax131314.
(b) similar to pose (a); V&A, London, S.133:459-2007.
(c) slight profile to right, left arm across body; V&A, London, S.133:460-2007.
(d) half-length to right, seated, leaning back; V&A, London, S.133:461-2007.
(e) head-and-shoulders to front, looking right, eyes wide open; V&A, London, S.133:462-2007.
(f) three-quarter-length to front, profile to right, standing beside table, right hand chest; Billy Rose Theatre Coll., New York PL, 1034780.
(g) three-quarter-length to front, seated, right elbow resting on book on table, hand to mouth; Billy Rose Theatre Coll., New York PL, 1034779.

Photographs by Window & Grove, five known poses:
(a) vintage bromide postcard print, 134 x 83mm, half-length to front, profile to right, seated holding lute; NPG x17048.
(b) three-quarter-length to front, slight profile to left; V&A, London, S.133:458-2007.
(c) three-quarter-length to front, facing front; Billy Rose Theatre Coll., New York PL, 1034783.
(d) whole-length to front, profile to right looking down; Billy Rose Theatre Coll., New York PL, 1034782. (e) half-length, profile to right, hands together in lap; Garrick Club, London, Lyceum vol.II, p.105. Twenty-seven further poses by Window & Grove from sessions above, reg. for copyright 1890 Nov. 17: National Archives (COPY 1/402/276; COPY 1/402/241; COPY 1/402/245; COPY 1/402/252; COPY 1/402/253; COPY 1/402/260; COPY 1/402/280; COPY 1/402/243; COPY 1/402/262; COPY 1/402/282; COPY 1/402/277; COPY 1/402/275; COPY 1/402/251; COPY 1/402/265; COPY 1/402/257; COPY 1/402/242; COPY 1/402/283; COPY 1/402/266; COPY 1/402/269; COPY 1/402/254; COPY 1/402/259; COPY 1/402/278; COPY 1/402/270; COPY 1/402/264; COPY 1/402/246; COPY 1/402/256; COPY 1/402/267}.


Robespierre (as ‘Clarisse De Mauluçon’)

publ. 1899
Design by Alfred Bryan, whole-length to left, profile to left, standing; untraced. Repr. Illustrated Sporting and Dramatic News, 6 May 1899, p.393.

c.1899
Watercolour and pencil montage, 227 x 313mm, by S. Ruth Canton, signed and inscr. ‘Robespierre, Lyceum, 1899’, in multiple scenes from the play; Garrick Club, London, Henry Irving Album, p.16.

Photographs

1899
Photographs by Window & Grove, five known poses:
(a) platinum print, 137 x 98mm, publ. Window & Grove 1906, three-quarter-length to front, profile to right, standing looking out of window with slatted blinds, wearing wig; NPG Ax131325; and V&A, London, S.133:502-2007 (cropped).
(b) vintage print, 143mm x 105mm, half-length to right, rear view, profile to right, seated on chair with right arm on chairback, looking through slatted blinds; NPG x137397.
(c) whole-length to left, profile to left, standing reading document; V&A, London, S.133:505-2007.
(d) half-length to right, facing front, seated, hands in lap; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.7 S Small Box. Repr. as coloured engr. Le Theatre, Dec. 1900; ref. MEPL, London, 10088607.
(e) half-length to left, almost profile to left beside unidentified woman (standing, holding basket); NT, Smallhythe Place,Kent, ET/K10.

Photographs by Window & Grove, possibly from session above but wearing different shawl, two known poses:
(a) albumen print, 330 x 270mm, whole-length to left, facing front, standing in studio, wearing wig; V&A, London, S.47-2008 (signed, dated and inscr. by sitter to wigmaker W. Clarkson).
(b) half-length to left, slight profile to left; V&A, London, S.133:503-2007.

Three further poses by Window & Grove from sessions above, reg. for copyright 1899 May 9: National Archives (COPY 1/440/339; COPY 1/440/338; COPY 1/440/335).

c.1899
Vintage bromide postcard print, 121 x 81mm, publ. Rotary Photographic Company Ltd, head-and-shoulders to front, wearing curled wig, lace shawl fastened with circular pin and overcoat; NPG x17045.

Platinum print, 139 x 98mm, by unidentified photographer, dressed as in item above and probably from session above, half-length to left, profile to left, looking to front, standing behind chair; NPG x16977.


Romeo and Juliet (as ‘Juliet’ unless otherwise stated)

c.1866
Oil on paper, 221 x 135mm, by Laura Wilson Taylor (née Barker), half-length, leaning forwards over balcony, hands clasped; NT, Smallhythe Place, Kent, 1118210.

c.1881
Design by unidentified artist, inscr. ‘Romeo & Juliet’ and accompanied by section of verse, whole-length to front, standing beside Henry Irving as ‘Romeo’; untraced. Repr. as engr.; impression NT, Smallhythe Place, Kent,1118403.11.

1882
Design for caricature by Alfred Bryan, signed with initials, half-length, profile to right, standing on balcony with hands clasped to chest; untraced. Repr. as woodcut, 242 x 168mm, Entr’acte 1882, no details known, captioned ‘Miss Ellen Terry. The coming Juliet’; impression BM, London, 1933,1014.644.12).

Design by A. Forestier, whole-length to left, standing with arms around Henry Irving, in a garden summerhouse with decorative lattice; untraced. Repr. as steel engr. by R. & E. Taylor, The Theatre, 1882 (copy Mander & Mitchenson Coll., U. of Bristol); repr. Cheshire 1989, p.63

Watercolour and gouache drawing by ‘Jack’, signed and dated, whole-length to front, standing, clasping hands to front, wearing long yellow dress; NT, Smallhythe Place, Kent, 1117238.[8]

Design by D.H. Friston, 280 x 183mm, whole-length, profile to left, leaning down over balcony towards Henry Irving; untraced. Repr. Penny Illustrated, 18 Mar. 1882, p.163, captioned ‘Henry Irving and Ellen Terry in “Romeo and Juliet”’.

Pen and ink caricature drawing by (Edward) Linley Sambourne, head-and-shoulders to left, leaning towards Henry Irving in balcony scene; untraced. Repr. Punch, 18 Mar. 1882, p.130 (cutting Garrick Club, London, Chronicles of the Lyceum 1879–83, p.45).

c.1882
Designs for caricatures by ‘E.J.W’:
(a) signed with initials bottom right, whole-length, reclining to right, sitting up to greet Henry Irving (in silhouette); untraced.
(b) signed with initials bottom right, whole-length, seated on floor surrounded by Capulet family members; untraced.
Repr. Punch, no details known (cuttings Garrick Club, London, Chronicles of the Lyceum 1879–83, p.54.

1883
Oil on canvas, 889 x 1257mm, by Anna Lea Merritt, signed and dated, whole-length, profile to left, sitting on low stool beside high-backed chair in which the ‘Nurse’ sits; Garrick Club, London, G0804

Photographs

1882
Photographs by Window & Grove, nine known poses:
(a) platinum print, 136 x 98mm, publ. Window & Grove 1906, three-quarter-length to front, seated, clutching bottle of poison in right hand, left hand clasped to neck, wearing long white robe; NPG Ax131306.
(b) head-and-shoulders vignette to front, profile to right; V&A, London, S.133:338-2007.
(c) half-length vignette, reclining to right, facing front, eyes closed; V&A, London, S.133:347-2007.
(d) as in pose (c), in profile; V&A, London, S.133:348-2007.
(e) three-quarter-length to front, seated, left arm resting on couch, right arm across body; V&A, London, S.133:349-2007.
(f) three-quarter-length to front, seated, leaning forwards, left hand extended to front; V&A, London, S.133:350-2007.
(g) whole-length to front, looking upwards to left, standing, gesturing with left arm; V&A, London, S.133:352-2007.
(h) whole-length vignette to front, similar to pose (g); Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.3 S Small Box.
(i) very similar to pose (a) but left hand resting on lap; repr. as engr. by A.L. Becher, Society, 2 Oct. 1882 (cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.5, p.278).

Publ. c.1906
bromide postcard print 139 x 87mm, publ. Rotary Photographic Company Ltd, wearing similar costume to above, but from different photgraphic session; NPG x197938.

Photographs by Window & Grove, eight known poses:
(a) cabinet card, 138 x 104mm, whole-length to front, standing before foliage and painted backdrop, holding ?knife, wearing long patterned gown and hooded cloak; V&A, London, S.133:326-2007.
(b) whole-length to right, profile to right, both elbows leaning on pillar at right dressed as in pose (a) without cloak; V&A, London, S.133:339-2007.
(c) whole-length to front, standing, left hand on hip, right hand tucking ?knife into girdle, dressed as in pose (a); V&A, London, S.133:341-2007.
(d) three-quarter-length to right, profile to right, right hand on shoulder of Fanny Stirling as the ‘Nurse’ (seated); V&A, London, S.133:343-2007.
(e) three-quarter-length to front, kneeling beside and holding hands with Fanny Stirling; V&A, London, S.133:344-2007.
(f) whole-length to right, facing front, standing bending over Fanny Stirling; V&A, London, S.133:345-2007.
(g) similar to pose (e); V&A, London, S.133:346-2007.
(h) half-length to front, slightly profile to right, standing; Garrick Club, London, Ellen Terry album 1, no.13.

c.1882
Photographs by Window & Grove, eight known poses:
(a) albumen print, 138 x 97mm, half-length to front, profile to right, seated wearing gown with beaded trim and floral headband, foliage in background; NPG x197890; The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.387 (albumen cabinet card); and V&A, London, S.133:330-2007 (head-and-shoulders crop). Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, p.38, fig.26 (Rob Dickins print).
(b) half-length vignette to front, slight profile to right, standing leaning on balustrade, framed by foliage; V&A, London, S.133:327-2007.
(c) as in pose (b), standing upright, right arm reaching out; V&A, London, S.133:329-2007.
(d) head-and-shoulders vignette to right, head turned away to show off headband; V&A, London, S.133:331-2007.
(e) half-length to right, profile to right, seated; V&A, London, S.133:336-2007.
(f) three-quarter-length to front, looking upwards to right, standing behind balustrade, hands clasped; V&A, London, S.133:337-2007.
(g) half-length to front, profile to right, leaning over balustrade; V&A, London, S.133:340-2007.
(h) head-and-shoulders vignette, almost profile to right, looking right; Garrick Club, London, Ellen Terry album 1, no.12.

Photographs by Window & Grove, three known poses:
(a) cabinet card, 143 x 105mm, half-length to right, facing front, seated, leaning back with arm around Fanny Stirling, wearing striped dress with patterned sleeves; V&A, London, S.133:328-2007.
(b) half-length to front, profile to right; V&A, London, S.133:332-2007.
(c) whole-length to front, looking right, hands raised to head; V&A, London, S.133:342-2007.

1919
Platinum print, 139 x 89mm, by Emil Otto (‘E.O.’) Hoppé, publ. J. Beagles & Co., three-quarter-length to left, facing front, standing, leaning on walking stick, as the ‘Nurse’; NPG x134436.

c.1919
Photograph by unidentified photographer, whole-length to front, standing, walking stick in right hand, holding left hand up, wearing long robes, as the ‘Nurse’; repr. in unidentified publication (cutting NPG, Album 258 [Henry Irving and Ellen Terry cuttings album]).


Twelfth Night (as ‘Viola’)

1884
Pen and ink sketch by ‘Alma’, 353 x 292mm, signed, dated and inscr. ‘Sketches from Twelfth Night at the the Lyceum’, in montage of scenes; Folger Shakespeare L., Washington, DC, ART Box A444 no.6 (size L).

c.1884
Pen and ink sketch, 400 x 300mm, by ‘Alma’, signed and inscr. ‘Miss Ellen Terry as Viola in Twelfth Night’, whole-length to front, standing, with left arm raised and finger pointed; Folger Shakespeare L., Washington, DC, ART Box A444, no.5 (size L).

Design by Henry Stephen (‘Hal’) Ludlow, signed and inscr. ‘Twelfth Night at the Lyceum’, whole-length to front, standing beside Henry Irving, and in montage of scenes from the play; untraced. Repr. in unidentified publication (cutting, Garrick Club, London, Fitzgerald Irving scrapbooks, vol.5, p.77).

Photographs

1884
Photographs by Window & Grove, seven known poses:
(a) albumen cabinet card, 145 x 105mm, half-length to front, slight profile to right, seated, wearing embroidered robe with matching cap; NPG x16983 and V&A, London, S.133:389-2007 (sepia photograph).
(b) albumen cabinet card, 144 x 105mm, three-quarter-length to front, standing against studio backdrop, right hand on hip and left hand to head; NPG x16984 (repr. Graphic, 21 Apr. 1906, p.501) and NPG Ax131308 (platinum print, 137 x 99mm, publ. Window & Grove 1906, slightly different crop); and V&A, London, S.133:385-2007 (slightly different crop).
(c) whole-length to front, standing, left hand raised to head, right hand on hip; V&A, London, S.133:384-2007.
(d) three-quarter-length to front, standing, right hand on hip, leaning with left arm on pedestal; V&A, London, S.133:388-2007.
(e) three-quarter-length to left, profile to right, seated; V&A, London, S.4536-2009.
(f) half-length to front, slightly profile to right looking upwards, seated; ref. Sotheby’s, London, 15 Dec. 2005 (26, ill.).
(g) three-quarter-length to right, seated, left knee raised, left elbow resting on knee and left hand supporting head; NT, Smallhythe Place, Kent, Repr. Melville 1987, p.111.

Photographs by Window & Grove, six known poses:
(a) cabinet card, 133 x 96mm, whole-length to right, profile to right, standing, hand to brow and looking into distance, wearing dark cloak; V&A, London, S.133:386-2007.
(b) whole-length to right, facing front, right hand on hip, left hand at neck; V&A, London, S.133:387-2007.
(c) head only to front, looking left; V&A, London, S.133:390-2007.
(d) half-length to front, slightly profile to left, right hand raised to chest; Garrick Club, London, Ellen Terry album 1, no.95
(e) three-quarter-length to front, right hand raised above head; Garrick Club, London, Ellen Terry album 1, no.98.
(f) whole-length to front, standing in coastal setting, right hand on head, left hand on rock outcrop; Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Te225.6 S Small Box. Repr. Auerbach 1987, p.229.

Eight further poses by Window & Grove, from sessions above, reg. for copyright 1884 Sept. 24: National Archives (COPY 1/369/295; COPY 1/369/292; COPY 1/369/287; COPY 1/369/301; COPY 1/369/297; COPY 1/369/289; COPY 1/369/298; COPY 1/369/300).


The Vikings of Helgeland (as ‘Hiördis’)

1903
Coloured lithograph by Pamela Colman Smith, signed and dated, signed by the sitter and inscr. ‘Hiördis’, whole-length to right, standing holding long pike, wearing headdress; V&A, London, S.1414-2010. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Holroyd 2008, section two, pl.9; and Gould & Gawade 2014, p.44, fig.33.

c.1903
Design by A. Forestier, whole-length, profile to right, in court scene; untraced. Repr. in unidentified publication (repr. Cheshire 1898, p.9).


The Wandering Heir (as ‘Philippa Chester’)

Photographs

1874
Photographs by the London Stereoscopic & Photographic Company, four known poses:
(a) albumen carte-de-visite, 87 x 57mm, quarter-length slightly to left, almost profile to left, wearing feathered hat and dark cloak, with theatrical ruff; NPG Ax18156.
(b) albumen carte-de-visite, 87 x 57mm, quarter-length to left, facing front; NPG Ax18157; and V&A, London, S.133:205-2007 (sepia photograph).
(c) head-and-shoulders to front, profile to left; repr. Terry 1908, p.99.
(d) albumen carte-de-visite, 105 x 63mm, as in pose (c), face angled downwards; NPG x197559


Werner (as ‘Josephine’)

c.1887
Design by A.J. Wall, whole-length, bending down to left beside Henry Irving as ‘Werner’ (reclining on ground), in scene from Act IV; untraced. Repr. in unidentified publication (cutting Russell-Cotes AGM, Bournemouth, BORGM: 2004.12.13.10).


The Winter’s Tale (as ‘Hermione’ unless otherwise stated)

1906
Charcoal drawing, 290 x 435mm, by Balliol Salmon, signed, dated and inscr. ‘The Winter’s Tale at His Majesty’s’, whole-length to front, standing, wearing long gown; Folger Shakespeare L., Washington, DC, ART Box S172 no.4 (size XL).

Gouache and wash drawing, 432 x 679mm, by Charles Mills Sheldon, signed, whole-length to front, looking upwards to left, gesturing with arms; Folger Shakespeare L., Washington, DC, ART Box S544 no.2 (size XL). Repr. as engr. Black & White, 8 Sept. 1906, pp.300–301, captioned ‘A Notable Performance’.

c.1906
Watercolour montage, 255 x 325mm, by S. Ruth Canton, signed and inscr. ‘Impressions from a Winter’s Tale, October 1906’, in multiple scenes from the play; Garrick Club, London, Henry Irving Album, p.42.
Photographs

1856
Salt print, 233 x 176mm, by Martin Laroche (William Henry Silvester), whole-length to left, facing front, standing, holding wheeled toy on long stick, wearing embroidered tunic, as ‘Mamilius’, Charles John Kean standing to left; NPG x7954; and V&A, London, S.133:146-2007 (sepia photograph). Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Cheshire 1989, p.16; and Gould & Gawade 2014, p.16, fig.6 (NPG print).
Terry’s first stage role.
Watercolour drawing, 229 x 214mm, by William Nicholson after photograph, c.1906, only Terry shown, standing against large stage curtain; NT, Smallhythe Place, Kent, 1117130. Repr. in the programme of the Drury Lane Ellen Terry Jubilee performance, 12 June 1906, fig.2 (copy U. of Bristol Theatre Coll., TCW/M/000037).
Wood-engraving, 221 x 85mm, by Edward Gordon Craig probably after photograph above; repr. Craig 1899, n.p., captioned ‘Miss Terry as “Mamillius” in “Winter's Tale”’.

1906
Photographs by Window & Grove, two known poses:
(a) cabinet card, 145 x 101mm, half-length to front, standing, pointing upwards with right index finger, swathe of material over left shoulder; V&A, London, S.133:515-2007.
(b) whole-length to front, standing, looking down at Philip Tonge as ‘Mamilius’; V&A, London, S.133:516-2007. Repr. Cheshire 1989, p.16.

Photographs by Window & Grove, three known poses:
(a) cabinet card, 143 x 93mm, whole-length to front, slightly profile to right, standing with arms outstretched, wearing long draperies; V&A, London, S.133:514-2007.
(b) whole-length to front, facing front, left arm raised to front, right hand resting on pedestal; Furness Theatrical Image Coll., U. of Pennsylvania. Repr. Auerbach 1987, p.283.
(c) whole-length to front, almost profile to right, left hand resting on pedestal; repr. as photogravure Terry 1908, p.328.

Photograph by unidentified photographer, possibly from session above, half-length to front, with hair in loose bun, wound with ribbon; Billy Rose Theatre Coll., New York PL, 555505.


Unidentified part or play

1906
Coloured lithograph, 169 x 1495mm, by William Nicholson, whole-length represented multiple times in roles played between 1856 and 1906; impressions NT, Smallhythe Place, Kent, 1118260; V&A, London, S.991-1982; Mark Samuels Lasner Coll., on loan to U. of Delaware L.; and Bryn Mawr College L., Pennsylvania. Exh. Ellen Terry: The Painter's Actress, Watts G., Compton, 2014; repr. Gould & Gawade 2014, endpapers (NT, Smallhythe Place impression).[9]

1922
Enamel and gold lustre-painted china plate by William Egerton Smith, head-and-shoulders, slightly profile to right; V&A, London, S.1410-1986.

unknown date
Watercolour drawing by ‘P. A’, signed with monogram and inscr. ‘Miss Terry’, whole-length to left, standing, wearing black dress with red and white medieval headdress; verso, pen studies for Terry’s head; NT, Smallhythe Place, Kent, 1117254.


Footnotes
1) According to the artist William Rothenstein, this picture was on view at the gallery; Rothenstein 1931–2, vol.1, p.33.
2) In his 1963 article, David Loshak suggests that Terry was the model for this early version and for Knight and Maiden.
3) The figure in the picture does not closely resemble Terry.
4) In 1860 Terry was 13, younger than the appearance of the girl in this portrait. As far as we know, Watts did not meet Terry until 1862.
5) This is one of two known occasions where the photographer is recorded as Campbell, but the costume and props are almost identical to those seen in a related Window & Grove photographic session. See also photographs for Nance Oldfield.
6) This may be an idealised depiction of Terry, but the likeness is not very close.
7) This is not a convincing likeness.
8) The National Trust lists this portrait as showing Terry as ‘Imogen’ in Cymbeline, but she did not play this part until 1896.
9) Probably executed to mark a Jubilee dinner held 17 June 1906.


Elizabeth Heath