Later Victorian Portraits Catalogue

Self-portraits
Possible self-portraits
By other artists
Undated portrait
Posthumous portrait
Photographs
Undated photographs

Self-portraitsback to top

1889–93
High-relief figure in stone frieze, on Building panel, whole-length, standing, half-profile to right, as sculptor, wearing smock; Inst. of Chartered Acountants, London EC2. Repr. Manning 1982, p.115 and dustwrapper; Friedman et al. 1993, fig.22; and Mason 2003, figs 1 and 3. See also http://www.artandarchitecture.org.uk/images/conway/efd17e85.html.
Sketches and drawings for the whole frieze are repr. in Friedman et al. 1993, where a plaster cast of the three-figure panel including Thornycroft as sculptor is fig.66.

1922–3
Bronze head; priv. coll. See also http://www.artandarchitecture.org.uk/search/results.html?qs=B80%2F2702.
Plaster cast for above item, 200 x 130mm; Leeds AG, 24.11/87. Ref. Manning 1982, no.211. Repr. Curtis & Friedman 1996, p.22.

Possible self-portraitsback to top

unknown date
Pen and ink sketches on grey paper, 188 x 125mm, inscr. ‘Hamo Thornycroft Carving’:
(a) whole-length, profile to right, kneeling on trestle at work on huge head;
(b) whole-length, profile to left, kneeling at work on small head;
Henry Moore Inst., Leeds, Thornycroft Archive,TII-D MISC 36. Repr. Friedman at al. 1993, fig.112.

By other artistsback to top

1867–8
Sculpture by Thomas Thornycroft, in group Commerce, whole-length, standing, wearing historical costume as medieval merchant; on Albert Memorial, London. Scale model exh. RA 1868 (1096); sculpture repr. Manning 1982, fig.29; and Friedman et al. 1993, fig.16.

begun 1870
Oil on canvas by Sacheverell Coke, as Orpheus; untraced. Probably exh. RA 1882 (712). Ref. Manning 1982, p.47.

1873–4
Sculpture by Mary Thornycroft, head; untraced. Exh. RA 1874 (1560). Ref. Friedman et al. 1993, p.28, n.8.

1876
Drawing, 300 x 500mm, by Theodore Blake Wirgman for The Volunteers at Wimbledon – the Artists Corps after a skirmish, inscr. lower left, whole-length, profile to left, seated on ground, hands clasped round right knee; untraced. Wood-engr. repr. Graphic, 22 July 1876, p.81; loose print Henry Moore Inst., Leeds, Thornycroft Archive TII-E69.
See also Brock, Horsley, Leighton, Marks, P.R. Morris, Prinsep, Wynfield.

1880
Pen and ink drawing by Theodore Blake Wirgman: see NPG 2218.

1881
Pen and ink drawing, 306 x 444mm, by (Edward) Linley Sambourne for Royal Academy Banquet at Burlington House., a comic take on William Salter’s The Waterloo Banquet, signed and dated Apr. 1881, whole-length, sprawled on the floor and almost under the table; Aberdeen AG, ABDAG003898. Repr. Punch, 7 May 1881, p.206; Gould 2004, p.154, fig.122; McMaster 2008, p.70, fig.18; McMaster 2009, p.42, fig.25; Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner, Yeames.

publ. 1881
Pen and ink drawing by Theodore Blake Wirgman, head-and-shoulders, profile to right; untraced. Engr. repr. Graphic, 2 May 1881, p.456.

c.1881
?Drawing by Theodore Blake Wirgman commissioned by Edmund Gosse, showing Thornycroft at work on marble sculpture of Artemis; untraced, possibly unexecuted. Ref. letter from Gosse to Thornycroft, 13 June 1881, quoted Getsy 2004, p.68.

Pen and ink drawing by Theodore Blake Wirgman, signed and dated, profile to right, seated on stool in studio with figure of man wearing frock coat; untraced. Engr. by ‘JH’ repr. Century Magazine, NS IV (1883), p.179.

1883
Pen and ink drawing by Theodore Blake Wirgman, signed, dated and inscr. ‘’Hamo Thornycroft A R A’, head-and-shoulders, profile to left, with moustache; untraced; Repr. as engr. Strand Magazine, September 1893, p.266 (captioned ‘Age 33’).

exh. 1883
Oil by Theodore Blake Wirgman; untraced. Exh. RA 1883 (14).

1884
Oil on panel, 325 x 290mm false oval, by Theodore Blake Wirgman, signed and dated, head-and-shoulders, profile to left; Aberdeen AG, ABDAG003516.

1885
Pen and ink and wash on sheet 228 x 293mm, by Theodore Blake Wirgman, signed and inscr. lower left ‘Walberswick / 1885’, half-length, profile to left, reading at table by candlelight, with wife Agatha to right; Henry Moore Inst., Leeds, Thornycroft Archive, TII / DP10.

Oil on canvas, 610 x 508mm, by Theodore Blake Wirgman, signed and dated, head-and-shoulders, half-profile to left, fair hair and moustache; untraced; offered to NPG by Mrs H. Farjeon 1958; this or similar for sale Phillips, Bath, 31 Oct. 1994 (319). Possibly exh. RSPP 1892 (88).

1889
Pencil sketch by Lawrence Alma-Tadema, 20 Feb. 1889, head-and-shoulders, profile to right, in margin of Report of the Special Committee of the RA; untraced. Ref. Sotheby’s, 25 Oct. 1977 (25, in parcel of sketches of various Academicians, not ill.).
See also Armitage, Boehm, Frith, Fildes, Marks, Millais, Pickersgill, Sant.

1891
Chalk and grey wash drawing, 445 x 286mm, by (William) Walker Hodgson, signed and dated 1 Oct. 1891, three-quarter-length, profile to right, standing beside statuette of John Elliott Burns; untraced. Exh. A Fraternity of Artists, Christopher Wood Gallery, London, 1984 (10); and see NPG collection 4041(1–5) . Repr. [Wood] 1984, back cover.

publ. 1892
Watercolour by Leslie Ward (‘Spy’); see NPG 3933.
A portrait of Thornycroft by Ward was exh. RSPP 1894 (200) and is otherwise untraced; it was perhaps NPG 3933.
Chromolithograph by Vincent Brooks, Day & Son repr. Vanity Fair, 20 Feb. 1892, p.134.

c.1892
Pen and ink drawing by Reginald Cleaver; see NPG 4245.

publ.1894
Design by Edward Tennyson Reed, for 'Prehistoric Peeps: Opening of the Primeval Royal Academy', signed, half-length, profile to right in prehistoric dress, fist clenched and left arm extended towards Edward Onslow Ford during gathering of 'cavemen' Royal Academicians, amongst wall painting exhibits; untraced. Repr. as an engr. Punch, 12 May 1894, p.226
See also Alma-Tadema, Calderon, Ford, Frampton, Gilbert, Gregory, Herkomer, Horsley, Leighton, Lucas, Marks, Millais, Moore, Orchardson, Poynter, Stone.

1898
Drawing by H.M. Paget for Prize Day at the Royal Academy Schools: Sir Edward Poynter PRA presenting the awards, three-quarter-length, seated with legs crossed in front row, facing front; untraced. Repr. Graphic, 17 Dec. 1898, p.767.
See also Alma Tadema, Herkomer, Poynter.

publ.1902
Pen and ink caricature drawing by (John) Bernard Partridge, A Council at the Royal Academy, full length, seated to front, in front row forth from right, wearing toga; untraced. Repr. Punch, 21 May 1902, p.363; and Trippi 2002, p.167, fig.136.
See also Alma-Tadema, Brock, Crane, East, Frampton, Goodall, Herkomer, Orchardson, Poynter, Richmond, Stone, J.H. Thomas, J.W. Waterhouse, Watts, Wells, Whistler.


exh. 1904
Sculpture by Herbert Hampton, bust; untraced. Exh. RA 1904 (1787).

1912
Oil on canvas, 1055 x 855mm, by Mary Donaldson, half-length, profile to left, wearing smock, at work on clay figure; Leeds AG, PA 1987. 0024. 0016. Exh. RA 1912 (284); repr. PCF (Leeds) 2004, p.72 (artist mistakenly named Margaret Donaldson).

1922
Sculpture by Isobel Donaldson, bust; untraced. Exh. RA 1922 (1326).

Undated portraitback to top

Watercolour, 400 x 29mm, by Helen Thornycroft; untraced. Ref. Phillips, 13 May 1997 (46).

Posthumous portraitback to top

1932
Stone relief carving, 457 x 356mm, by Charles Hartwell, head, profile to right; on Thornycroft memorial in St Paul’s Cathedral, London. Exh. RA 1932 (1514); repr. RA Illustrated 1932, p.117.

Photographsback to top

c.1857
Photograph by unidentified photographer, half-length to front, left arm resting on table; repr. as engr. Strand Magazine, September 1893, p.266 (oval format).

c.1863
Photograph by unidentified photographer, whole-length, holding toy boat, standing with sister Helen; Henry Moore Inst., Leeds, Thornycroft Archive, Album TII-PP(a)-1, f.13.

c.1866
Carte-de-visite by unidentified photographer, half-length, looking left, hands across body; Henry Moore Inst., Leeds, Thornycroft Archive, album TII-PP(a)-1, f.8.

Carte-de-visite by unidentified photographer, clean-shaven, wearing loose-knot bow tie; repr. as engr. Strand Magazine, September 1893, p.266 (vignette).

1873–5
Photograph by unidentified photographer, in conservatory wearing theatrical costume, as Proteus in amateur production of Two Gentlemen of Verona, two poses:
(a) whole-length, seated; Henry Moore Inst., Leeds, Thornycroft Archive, album TII-PP(a)-1, f.17.
(b) whole-length, standing; Henry Moore Inst., Leeds, Thornycroft Archive, album TII-PP(a)-1, f.18.
Dated 1875 in album but a programme for the performance also in Henry Moore Inst. is dated June 1873.

1875
Photograph, 267 x 218mm, by unidentified photographer, nearly whole-length, standing, with Thomas Thornycroft, beside newly finished equestrian statue of Lord Mayo (unveiled 1 Jan. 1876) at Cox & Sons foundry, Surrey; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P139/4. Repr. Manning 1982, fig.41.

1870s?
Cartes-de-visite by unidentified photographer, three known poses:
(a) head-and-shoulders, profile to left; Henry Moore Inst., Leeds, Thornycroft Archive, album TII-PP(a)-1 f.4.
(b) oval format, head-and-shoulders, profile to right; Henry Moore Inst., Leeds, Thornycroft Archive, album TII-PP(a)-1 f.5.
(c) head-and-shoulders, full-face, left hand to cheek; Henry Moore Inst., Leeds, Thornycroft Archive, album TII-PP(a)-1 f.7.

1881
Photograph by Charles Watkins, on election ARA, head-and-shoulders, looking right, moustache and flat-knotted pale tie. Woodcut by ‘TS’ repr. ILN, 30 Apr. 1881, p.429 (Getty Images, 80833331); woodcut by unidentified engraver repr. The Pictorial Year Book of Celebrities 1882, p.37; MA, 1881, p.332; and thumbnail sketch after the photograph repr. Pall Mall Budget, 19 Apr. 1890, p.455.

1883
Photograph, 151 x 105mm, by F.W. Edwards, Peckham, half-length, leaning from window, with Thomas Thornycroft, Helen Thornycroft and Alfred Sassoon; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP82.

Albumen prints by Frank Dudman for J.P. Mayall, three known poses:
(a) sepia print, whole-length, turned to right, facing camera, wearing dark velvet jacket, perched on stool at sculpture stand in studio (Moreton House, Melbury Road, Kensington); Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP7. Photogravure by Sampson Low, Marston, Searle & Rivington, 217 x 166mm, publ. Stephens 1884, part 4, pl.2; colls NPG Ax27826; RA, London, 05/4677; Getty Images, 3324130; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3748. Exh. The Artist Delineated, Clarendon G., London, 1984 (24); repr. Maas 1984, no.404; and Rosenblum, Stevens & Dumas 2000, p.428.
(b) albumen print, whole-length, profile to left, wearing dark velvet jacket, seated at work on bust in studio; reg. for copyright 1883 Sept. 13: National Archives (COPY 1/365/253). Repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.7.
(c) albumen print, whole-length to front, wearing dark velvet jacket, standing at work on bust in studio; reg. for copyright 1883 Sept. 13: National Archives (COPY 1/365/254).

1884
Photograph by unidentified photographer, May 1884, half-length, looking right, standing wearing dark suit in wedding group; repr. Roy Davids Ltd., Manuscripts etc, June 1996 (58).

Sepia print, 215 x 157mm, by unidentified photographer, whole-length, profile to right, wearing plus fours and cap, seated on garden bench with wife Agatha; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP80. Repr. Manning 1982 fig. 69 (cropped).

Albumen cabinet card, 145 x 101mm, by Maull & Fox, vignette, head-and-shoulders, looking to right, wearing pale tie and dark jacket; colls NPG x12595 (inscr. on mount with sitter’s name); and RA, London, 04/1693 (printed with facsimile signature and date ‘Hamo Thornycroft 1884’ and mounted on card 147 x 98mm). Repr. The Year’s Art 1889, facing p.68.

1887
Albumen cabinet cards by F.W. Edwards, 15 Oct. 1887, two known poses:
(a) 154 x 100mm, whole-length, seated in studio beside large plaster model of Gen. Gordon, wearing smock over trousers, holding sculpting tool; colls Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP84; and NPG x12593. Repr. White 1991, front cover.
(b) 152 x 102mm, head-and-shoulders, standing beside plaster model of Gen. Gordon on turntable in garden of sitter’s studio; repr. White 1991, fig.24; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P/94; and NPG x12594.

1880s?
Photograph by unidentified photographer, three-quarter-length, standing, nearly full-face, hands resting on chair behind him; coll. AWG, London, ‘Portraits of Old Brethren’, vol.2, p.45.

reg. 1889
Platinum print, 198 x 154mm, by Ralph Winwood Robinson, whole-length, half-profile to left, wearing smock, seated in studio holding statuette of Gordon, with relief of Gordon and figure of The Mower in background; reg. for copyright 1889 Aug. 23: National Archives (COPY 1/398/118); NPG x7395 . Repr. Robinson [1892]; RA and New Gallery Pictures 1892; and White 1991, fig.58.

c.1890?
Photograph by unidentified photographer, half-length, full-face, left arm to ear, right arm across body; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP-8e. Repr. Friedman et al. 1993, title page.

early 1890s
Albumen cabinet card, 140 x 100mm, by Done & Ball, head-and-shoulders, half-profile to left; NPG x12596.

Photograph by Maull & Fox, head-and-shoulders to front, eyes looking right; repr. as emgr. Strand Magazine, September 1893, p.266 (captioned ‘The Present Day’).

Photographs by unidentified photographer, nearly whole-length, seated in ebonized armchair, two known poses:
(a) profile to left, arm touching nude female figurine on table; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP04.
(b) looking to right and holding figurine; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP05.
c.1892-3

Photographs by Elliott & Fry:
(a) three-quarter-length, standing profile to right, at work on clay model on turntable; repr. as engr. Strand Magazine, September 1893, p.267.
(b) whole-length seated on stepladder, profile to right, touching life-size clay figure of Lord Granville; repr. as engr. Strand Magazine, September 1893, p.272.

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

c.1900
Photograph, 196 x 155mm, by R.W. Thomas, Cheapside, for ‘The “R.A.” Series’, whole-length, profile to left, seated beside fireplace, legs crossed, wearing tweed suit, holding The Mower figurine in right hand; colls AWG, London, ‘Portraits of Old Brethren’, vol.2, p.45; Henry Moore Inst., Leeds, Thornycroft Archive, TII; and (on postcard 140 x 89mm) The Rob Dickins Coll., Watts G., Compton, COMWG2008.388. Repr. Manning 1982, fig.139.

1901
Eight prints by unidentified photographer, showing Thornycroft participating in installation of plinth and King Alfred statue, Winchester; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P2/10–15, 36–8. Two images repr. Curtis 1997, p.51.

c.1902
Photographs by Ernest Herbert Mills two known poses:
(a) 185 x 150mm, three-quarter-length, standing turned to left, face to camera, wearing smock, with maquette for memorial to Mandell Creighton; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP13.
(b) 208 x 157mm, whole-length, full-face, standing with right arm on mantelpiece; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP13.

1900s?
Photograph, 168 x 105mm, by unidentified photographer, head-and-shoulders, profile to left, wearing smock; NPG x1104.

Photograph by unidentified photographer, oval format, head-and-shoulders to front, wearing smock, part of relief panel showing lion and nude male figure visible to right; repr. London 1907–9, p.52.

1905
Photograph, 217 x 157mm, by Daily Mirror photographer, whole-length, standing with John Morley and others at unveiling of statue to W.E. Gladstone in London; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P90/1.
See also another image, 147 x 137mm, by William Edward Gray, undated, in group by memorial to Gladstone, possibly in Manchester; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P90/1.

1906
Studio photographs by Lafayette, 22 June 1906, two known poses:
(a) half-length, looking left, seated, left hand on leg; V&A, London, neg.no.L3569.
(b) half-length, looking to camera, seated, left hand to chin; V&A, London, neg.no.L3569.

c.1907
Print, 350 x 270mm, by William Edward Gray, whole-length, near-profile to left, standing beneath colossal equestrian statue of Cecil Rhodes; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P174. Repr. Curtis 1997, p.24.

1908
Vintage print, 150 x 200mm, by Photographic Press Agency, half-length, nearly full-face, torso turned to right, with clay bust of future George V; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP10. Repr. Feeke et al. 2001, p.39.

1909
Photograph, 290 x 236mm, by unidentified photographer, three-quarter-length, standing, looking to camera, wearing smock, beside statue of Lord Tennyson; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P195 (where dated to 1900). Repr. Manning 1982, frontispiece.

1910
Photograph, 355 x 210mm, by William Edward Gray, three-quarter-length, standing beside colossal model of King Alfred statue; Henry Moore Inst., Leeds, Thornycroft Archive, TII-P2.

c.1910
Vintage prints, 200 x 147mm, by R.W. Thomas, two known poses:
(a) whole-length, near-profile to right, wearing tweed suit, in studio at Melbury Road, Kensington with neo-gothic sculpture on turntable; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP17. Repr. Leeds 2001 p.56.
(b) whole-length, half-profile to left, standing in studio, left elbow on mantelpiece, right hand holding figurine; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP18. Repr. Leeds 2001, p.57.

Undated photographsback to top

Three prints, probably by same unidentified photographer, showing Thornycroft with white hair in studio, wearing smock over stiff-collar:
(a) half-length, profile to right, with statuette of Gen. Gordon; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP unclassified. Repr. White 1991, fig.60.
(b) three-quarter-length, profile to left, standing, with model of The Kiss; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP12.
(c) three-quarter-length, standing with relief panel, Shipping; Henry Moore Inst., Leeds, Thornycroft Archive, TII-PP09.

1914
Monotone photographs by Grove and Boulton, of the RA Selection Committee, Apr. 1914, three known poses:
(a) 99 x 204mm, whole-length, seated third from right, with 10 other artists; RA, London, 08/2671.
See also Lucas, Poynter, Solomon.
(b) 99 x 204, whole-length, seated third from right, committee photographed from opposite angle, 11 others visible with the addition of W. Lamb (Sec); RA, London, 08/2669.
(c) 99 x 204mm, slightly variant pose to above image, taken moments apart; ref. Conway L., Courtauld Inst., London.

1917
Photographs by Walter Stoneman for NPR, three known poses:
(a) bromide print, 159 x 116mm, head-and-shoulders, full-face; NPG x166747.
(b) half-plate glass neg., head-and-shoulders, half-profile to right; NPG x20703.
(c) whole-plate glass neg.; NPG x43681.

1921
Photograph by unidentified photographer, whole-length, profile to left, wearing soft hat, seated sketching in Lord Cowdray’s garden, Worth, Sussex. Repr. Manning 1982, fig.131.

Dr Jan Marsh