Later Victorian Portraits Catalogue

I. IN PRIVATE CHARACTER
Paintings, drawings, sculptures and prints
Photographs
II. IN STAGE CHARACTER (alphabetically by play)

I. IN PRIVATE CHARACTERback to top

Paintings, drawings, sculptures and printsback to top

exh. 1867
?Bust by F.S. Potter, no further details; untraced. Exh. RA 1867 (1130, as ‘J.L. Toole. Esq.’).

1870s
Chalk drawing by Alfred Bryan; see NPG 3074.

publ. 1873
Design by unidentified artist, inscr. lower left with indecipherable monogram, head-and-shoulders, looking right, wearing large-knot tie; untraced. Engr. in oval by R. & E. Taylor repr. Illustrated Review, 18 Sept. 1873, p.1, captioned ‘J.L. Toole’.

c.1874
Pen and ink design by unidentified artist, whole-length, looking left, hands on hips, legs apart, standing on boxes labelled ‘America’ and ‘England’; untraced. Exh. Sotheby’s, 18 May 1982 (565, ill.).

publ. 1880
Caricature design by Alfred Bryan, initialled lower right, half-length from back, profile to right, sharing dinner-table with Henry James Byron standing to right, pie in dish inscr. ‘The Upper Crust’; untraced. Repr. Entr’Acte, 3 Apr. 1880; see MEPL, London, 11016436.

publ. 1881
Caricature design by Alfred Bryan, initialled lower left, half-length, profile to left, wearing evening dress, left hand resting on dinner table, right hand touching back of Henry Irving standing to left, with speech bubble ‘Don’t over-do it / Johnny!’; untraced. Repr. Entr’Acte, 6 Aug. 1881, captioned ‘You scratch my back and I’ll scratch yours’; see MEPL, London, 11015646.

Design by unidentified artist, composite head sketched in antique coin or medal mode, showing single head with three visages, Toole in centre; untraced. Repr. Truth, 25 Dec. 1881, p.36; cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.5, p. 132.

See also S. Bancroft, Irving.

publ. 1882
Caricature design by Alfred Bryan, initialled lower left, half-length, profile to left, with top-knot, seated at breakfast table with eggs and toast, male figure to left sipping from oversize teacup; untraced. Repr. Entr’Acte, 15 July 1882; see MEPL, London, 11015557, where second figure identified as William Ewart Gladstone.

1883
Watercolour caricature by Philip William (‘Phil’) May, whole-length, wearing evening dress, on left, arm in arm with Henry Irving and Squire Bancroft, three copies made with minor variations; untraced.
One version, signed lower right, repr. Bancroft & Bancroft 1909, facing p.330; and Blomfield 2013, p.242.
Another version, signed and dated 21 Apr. 1884, repr. Thorpe 1932, captioned ‘“Auld Lang Syne” (A Certain Farewell to the Stage)’.

According to Bancroft 1925, p.185, the drawing depicted the supposed conclusion to a late-night dinner in July 1883 organized by Bancroft on the eve of Irving’s first tour to the US, and the original versions belonged to Bancroft, Arthur Wing Pinero and Edward VII (at Sandringham). According to Thorpe 1932, p.23, ‘the proprietor of a photograph shop near Charing Cross was so much impressed by the drawing … that he published it as a print, bearing the date April 21 1884’; and the ‘original’ (sic) was purchased by Lionel Brough. Thorpe further describes the work as ‘wash caricature’ (p.199) but it is unclear if the image there reproduced is from a drawing or the published photographic print.

A ‘photograph from a sepia drawing by Phil May entitled “After the supper” – Messrs Irving, Tooles [sic] and Baucroft [sic]’ by J. Deane, Savoy St, Strand, was reg. for copyright by George Villiers, 71 Charrington St, London, 1883 Aug. 7: National Archives (COPY 1/365/103).

See also S. Bancroft, Irving.

publ. 1883
Caricature designs by Alfred Bryan, two known poses:
(a) initialled lower right, whole-length standing, profile to right, being measured by tailor; untraced. Repr. Entr’Acte, 9 June 1883, captioned ‘Actors’ pieces may be made up nowadays with every consideration to peculiarity of figure’; see MEPL, London, 11015740.
(b) initialled lower left, whole-length, profile to left, seen from back, wearing morning dress with top hat, looking up at Squire Bancroft on left; untraced. Repr. Entr’Acte, 9 June 1883, see MEPL, London, 11015741, where subject said to be Bancroft’s disapproval of Stage Dora, a satire on his own production of Fedora.

1885
Bronze bust by Richard Claude Belt, signed and dated, head and bare shoulders; Garrick Club, London, S0037. Exh. RA 1885 (2004); repr. Fitzgerald 1904, p.240; and Ashton 1997, p.525.

publ. 1885
Caricature design by Phil May, whole-length, to left, holding top hat in right hand, cane in left, in ‘A Page of Celebrities’; untraced. Repr. Society, Christmas 1885; and Thorpe 1935, p.74.

publ. 1886
Drawing by unidentified artist, head-and-shoulders, looking left, monocle in right eye, holding magazine The Optic in right hand, as ‘Comedy’ in stylized playing card with Henry Irving as ‘Tragedy’ in mirror image; untraced. Exh. Sotheby’s, 27 Apr. 2001 (L01704, Ralph Richardson Coll.); repr. Optic, 1 Apr. 1886, front cover; cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.5, p.309.

Caricature design by unidentified artist, seated, in dressing room; untraced. Repr. Moonshine 10 Apr. 1886, captioned ‘Actors in their Dressing rooms No.2 Mr Toole’.

1887
Oil painting, 1257 x 1003mm, by John Collier, signed and dated lower right, three-quarter-length seated, to left, head turned to face, hands clasped on lap, wearing grey suit, wing collar, red tie; Garrick Club, London, G0810. Exh. SPP 1891 (15); ref. John Collier Sitters Book, p.25.

1889
Sketch by Sydney Prior Hall; see NPG 2264.

Pencil sketch by Frederick Pegram, with Herbert Beerbohm Tree observing Parnell Commission proceedings, Royal Courts of Justice; V&A, London, E.595-1952.
Preparatory sketch for illustration repr. Pictorial World, 21 Feb. 1889, p.205.

exh. 1889
Bust by Conrad Dressler; untraced. Exh. Liverpool 1889 (1530); repr. Spielmann 1901, p.86.

publ. 1889
Four designs by Alfred Bryan, all untraced:
(a) ‘Mr Toole and the Nervous actor’, initialled, head-and-shoulders, leaning to left, wearing top hat and eyeglass, man to right. Repr. Hatton 1889b, p.32.
(b) ‘Mr Toole’s first appearance on the stage’, whole-length, to front, boyish figure holding top hat. Repr. Hatton 1889b, p.88.
(c) ‘Ryder and Toole in Paris’, whole-length seated, profile to left, at café table, John Ryder seated to left. Repr. Hatton 1889b, p.181.
(d) ‘Toole and the Stationmaster’, half-length, profile to left, leaning from window of train, man on platform. Repr. Hatton 1889b, p190.

Two designs by unidentified artist, both untraced:
(a) ‘Mr Toole and the York newsboys’, whole-length standing, profile to left, with three boys and two men. Repr. Hatton 1889b, p.168.
(b) ‘Supper and Stories at Whitby’, half-length, back view, with two men. Repr. Hatton 1889b, p.202.

c.1889–90
Caricature design by Phil May, ‘as Richelieu’, whole-length, to front, wearing classical costume; untraced. Repr. St Stephens Review (no date but shortly before Toole toured Australia), in series ‘Actors in Parts They Never Played’; and Thorpe 1932, p.103.
Not strictly ‘in character’ but not as himself either.

1880s
Caricature design by Alfred Bryan, initialled lower right, whole-length, to front, wearing evening dress, monocle in left eye; untraced. Possibly exh. Victorian Era Exh., 1897 (Music & Drama section, no.560, ‘original caricature of J.L. Toole’). Repr. unidentified periodical, captioned ‘There you are, don’t you know’; see MEPL, London, 11015098.

?1880s
Ink and pencil drawing on card by Phil May, signed lower right, whole-length, as if strutting on stage, right hand holding spectacles, left arm akimbo, wearing wing collar and outsize bow tie; Barber Inst. of Fine Arts, U. of Birmingham, BIRBI-46.5. Repr. Spencer-Longhurst 1993, p.90.

1890
Design by Sydney Prior Hall, signed lower left, half-length standing, to front, wearing evening dress, holding monocle in right hand, paper in left hand, behind dinner table between Sir Edward George Clarke and Lord Randolph Churchill, plus five other men; untraced. Repr. Graphic, 22 Feb. 1890, p.209, captioned ‘Farewell Banquet to Mr J L Toole, at the Hotel Metropole, previous to his Departure for Australia’.

Caricature by Harry Furniss, riding on a kangaroo; untraced. Ref. Harry Furniss MS Catalogue Accounts Ledger, p.37, no.108.
Apparently drawn for the ‘Toole Banquet Book’, commemorating the farewell banquet held on 31 Jan. 1890 (see previous entry), and inspired by knowledge that Toole promised to bring a live kangaroo from Australia as a gift for Henry Irving; see Henry Irving 1838–1905 Correspondence.

Caricature design by unidentified artist, no further details; untraced. Repr. Fun, 5 Feb. 1890, captioned ‘Johnny Toole and his Fond Adieu’.

Design by unidentified artist, at banquet with Henry Irving and others; untraced. Repr. Illustrated Sporting and Dramatic News, 8 Feb. 1890, captioned ‘Les Bons Freres’.

Design by Reginald Cleaver, inscr. ‘Glimpses through the Cigarette Smoke’, half-length, to front, right hand raised, wearing eyeglass; untraced. Repr. Daily Graphic, 14 Feb. 1890, p.9, captioned ‘Farewell Banquet to Mr Toole’.

Caricature design by unidentified artist, no further details; untraced. Repr. Illustrated Sporting and Dramatic News, 22 Feb. 1890, captioned ‘Banquet to Mr J.L. Toole’.

Design by unidentified artist, at dinner table with five other men; untraced. Repr. unidentified periodical, captioned ‘Farewell Dinner given by the Savage Club to Mr. J.L. Toole’; loose print Russell-Cotes AGM, Bournemouth, BORGM.2006.9.5.12.

Caricature design by unidentified artist, no further details; untraced. Repr. Penny Illustrated Paper, date unknown, captioned ‘Celebrities on the Wing – Mr Toole (as Paul Pry) Off to Australia’.

publ. 1890
Caricature design by unidentified artist, no further details; untraced. Repr. Moonshine, 15 Feb. 1890, captioned ‘Days with Celebrities no.441, Mr J L Toole’.

Caricature design by unidentified artist, no further details; untraced. Repr. Entr’Acte, 22 Feb. 1890, captioned ‘The Load-Line ignored’.

publ. 1891
Caricature design by unidentified artist, no further details; untraced. Repr. Funny Folks, 11 Apr. 1891, captioned ‘The Tooleries’.

Design by unidentified artist, whole-length, rear view, right arm behind back, wearing dark coat; untraced. Repr. Moonshine, 11 Apr. 1891, inscr. ‘Monte Carlo March 1891’.

1892
Drawing by Thomas Walter Wilson, signed and dated, half-length, to left, profile almost to left, positioned centrally, part of composite multi-figure group; untraced. Engr. by R. Taylor repr. ILN, 28 Jan. 1893, pp.116–17, captioned ‘The Dramatic Profession of To-Day’, Toole no.15 on key (p.118).

See also Brough, Farren, Forbes-Robertson, Hare, Irving, James, Langtry, Moore, Terry, Tree, Wyndham.

c.1892
Oil on canvas by Sigismund Goetze, signed lower left, three-quarter-length seated, to front, wearing dark suit and wing collar, eyeglass on gilt chain; Guildhall AG, 843. Exh. SPP 1893 (105); and Victorian Era Exh., 1897 (Music & Drama section, no.66), lent by sitter and dated to 1892; repr. Knight 1986, p.118.

1893
Design by H. Johnson, half-length seated, to front, arms folded, in group; untraced. Repr. Daily Graphic, 1 Mar. 1893, p.8, captioned ‘The Annual Meeting of the Actors’ Benevolent Fund at the Lyceum Theatre yesterday … congratulations’; cutting Garrick Club, London, Fitzgerald Irving scrapbooks, vol.12, p. 269.

See also Alexander, S. Bancroft, Irving, Tree.

publ. 1893
Four designs by Louis Gunnis, all untraced:
(a) ‘Mr Toole and his “Raven”’, whole-length, to right, walking down stairs, followed by bird. Repr. Idler, Apr. 1893, p.49.
(b) ‘Mr Toole and his Japanese audience’, whole-length standing, to left, right hand extended towards seated figures. Repr. Idler, Apr. 1893, p.51b.
(c) ‘Mr Toole and Mr Ibsen’, whole-length seated, profile to left, right hand raised holding cigar, in smoke sketchy head of Henrik Ibsen. Repr. Idler, Apr. 1893, p.53.
(d) ‘In his Dressing Room’, whole-length seated, profile to right, make-up table to right. Repr. Idler, Apr. 1893, p.56.

c.1893
?Painting by Julia Bracewell Folkard, no further details; untraced. Ref. Idler, Apr. 1893, p.306, in which author records visiting Toole at home and meeting ‘that clever lady artist Folkard … engaged in giving the finishing touches to an admirable portrait of my genial host himself’.

1898
Ink and wash caricature by Max Beerbohm, signed and dated, inscr. ‘Oscar Wilde and John Toole, Garrick Club ’93’, whole-length, profile to left, holding walking stick, on pavement to left of outsize figure of Wilde striding alongside; J. Harlin O’Connell Coll., Princeton UL, Box 1, Folder 14. Exh. Grolier Club 1944; repr. Hart-Davis 1972, no.178; and Hall 1997, p.21, pl.4.

publ. 1898
Design by G.R. Hallett, whole-length walking, to left, turning to look at Henry Irving on right, both men dressed as Quakers and carrying furled umbrellas; untraced. Repr. Punch, 10 Dec. 1898, p.265, captioned ‘“Friend” Irving and “Friend” Toole in their highly popular entertainment of the Two Convalescents’.

c.1900
Pencil sketch by Mortimer Luddington Menpes, inscr. ‘J. Toole. M.M.’, head-and-shoulders, to front, wearing spectacles, on undated letter to ‘K.J.’; untraced. Exh. Phillips, 29 Jan. 1980 (52.2, ill.).

before 1906
Oil painting by E. Stuart, head-and-shoulders, life-size; untraced. Exh. Sotheby’s, 8 Nov. 1906 (231), in sale of Toole’s property.

publ. 1915–16
Caricatures by Harry Furniss, two known poses:
(a) NPG 3528.
(b) head thumbnail, with eyeglass, grinning towards Henry Irving on right; untraced. Repr. Furniss [1915-16], preface.

Photographsback to top

c.1855
Photograph by unidentified photographer, head-and-shoulders, profile to left. Repr. Strand, vol.1, 1891, p.292, captioned ‘Age 25 / From a Photo’.

c.1856–8
Albumen prints by (George) Herbert Watkins, two known poses:
(a) NPG P301(137).
(b) head-and-shoulders, eyes looking right; NPG Ax36251 (clipped on corners).

c.1864
Photograph by Joseph Parkin Mayall, three-quarter-length seated, to left, turned to camera, wearing formal dress, right hand holding book on right knee.
Engr. by Daniel John Pound, inscr. ‘Engraved by D.J. Pound from a Photograph by Mayall’ and captioned ‘J.L.Toole, Esq. / New Theatre Royal Adelphi’; print NPG SB (Toole).

c.1864–5
Photographs by Horatio Nelson King, Bath, two known poses:
(a) whole-length standing, to front, legs crossed, left elbow on chairback; albumen carte-de-visite NPG x132418.
(b) whole-length standing, profile to left, legs crossed, right elbow on shoulder of Paul John Bedford, seated; 19th Century Actors Carte-de-Visite Coll., U. of Washington Libraries, PH Coll 75.53.

1865
Composite carte-de-visite by William Walker & Sons, two poses either side of Paul John Bedford standing centre: seated at left, profile to right, holding Bedford’s hand, and standing at right, profile to left, wearing top hat, looking at Bedford; NPG x26922.

reg. 1865
Carte-de-visite by Worthly Type, oval vignette, three-quarter-length standing, to right, right hand on arm of Paul John Bedford seated to right, Sarah Jane Mellon (née Woolgar) standing to right; V&A, London, S.139:533-2007. This appears to be the photograph reg. for copyright by United Association of Photography Ltd 1865 July 17: National Archives (COPY 1/9/614(1)), described as ‘Photograph of Mrs Mellon, elbow on shoulder of Mr Bedford seated, hat in left hand, Mr Toole leaning on right shoulder of Mr Bedford’.
These three actors played together in The Dead Heart (1858) but these images do not date from that production and the sitters seem in plain clothes.

Photographs by United Association of Photography Ltd, three or four known poses, reg. for copyright 1865 July 17:
(a) to front, right elbow on table, hand to cheek: National Archives (COPY 1/9/614(3).
(b) seated to front, right hand on Sarah Jane Mellon’s shoulder, Mellon seated on floor, hand to Toole’s foot: National Archives (COPY 1/9/615(1)).
(c) seated, ‘Mrs Mellon leaning on and clasping his head’: National Archives (COPY 1/9/615(2)).
(d) on right of group with Mellon and Paul John Bedford, right hand to Bedford’s right elbow: National Archives (COPY 1/9/615(3)). This may be reversed version of 1/9/614(1) above.

Photographs by William Walker & Sons, four images reg. for copyright 1865 July 22:
(a) whole-length standing, to front, arms bent, thumbs up towards right and left, in centre of composite image showing Toole in three guises: National Archives (COPY 1/9/563(1)); carte-de-visite NPG x26921.
(b) ?whole-length, looking to left at himself in costume as Joe Bright in Through Fire and Water: National Archives (COPY 1/9/563(3)).
(c) ?whole-length, in composite image with Paul John Bedford in centre, standing on right wearing hat, and sitting on left shaking hands with Bedford: National Archives (COPY1/9/565(5)).
(d) similar to (b) but Toole on right shaking hands with Bedford, and on left standing, right hand on Bedford’s shoulder: National Archives (COPY 1/9/565(6)).

c.1865
Albumen cartes-de-visite by William Walker & Sons, two known poses:
(a) three-quarter-length, to right, seated on upright chair, wearing dark jacket, pale waistcoat and pale trousers, right elbow over chairback, right hand in lap holding card; NPG x26915.
(b) three-quarter-length, to left, seated on upright chair, arms crossed; NPG x139998.

reg. 1866
Photographs by Marcus Ward & Co., Belfast, two poses reg. for copyright 1866 Jan. 1:
(a) ‘vignette, full face’: National Archives (COPY 1/10/2).
(b) head-and-shoulders vignette, three-quarter face: National Archives (COPY 1/10/3). Probably corresponds to albumen carte-de-visite by Marcus Ward & Co., head-and-shoulders vignette, looking left; NPG Ax39869.

mid-1860s
Composite carte-de-visite by Adolphe Paul Auguste Beau, four head-and-shoulders vignettes, to front, monocle in right eye; to front, looking right; profile to left, holding book close to face; half-profile to right; V&A, London, S.139:468-2007.

c.1870
Carte-de-visite by Joseph Parkin Mayall, three-quarter-length seated, to left, hands clasped on lap; offered on Past to Present website 2017 (A05022).

Cartes-de-visite by Charles Thomas Newcombe, two known poses:
(a) whole-length standing, to front, right elbow on bookcase, left hand in trouser pocket; print inscr. ‘with J.L. Toole’s best wishes’ seen on eBay 2017, dated 1871.
(b) whole-length seated, wearing stovepipe hat, with John Baldwin Buckstone and Paul John Bedford standing to right; V&A, London, S.139:550-2007. Exh. Victorian Era Exh., 1897 (Music & Drama section, no.282).

reg. 1871
Photographs by W.G. Lewis, Bath, two poses reg. for copyright 1871 June 27:
(a) head-and-shoulders, three-quarters facing, ‘showing waistcoat down to first button’: National Archives (COPY 1/17/480(1)).
(b) as pose (a) but ‘bust extending half the length of necktie’: National Archives (COPY 1/17/480(2)).

1874
Woodburytypes by Fradelle & Marshall, two known poses:
(a) half-length seated, to left, wearing dark suit, wide tie, wing collar; NPG x26916, NPG x132955 (in sheet issued by unidentified photographer showing 29 portraits of actors) and NPG Ax45754 (publ. Hardwicke & Bogue 1879; see NPG Portrait Set ‘The Dramatic List: woodburytypes by various photographers, published 1879’).
Oval vignette lithograph after Fradelle & Marshall by F. Mathews & Sons; copy NPG SB (Toole). Repr. as three-quarter-length with additions including hand in pocket, pattern of circles on tie, facsimile signature Touchstone or New Era, 18 May 1873; cutting NPG SB (Toole).
(b) nearly identical pose, but to right; NPG x26917 and NPG Ax7611.

c.1874
Albumen cartes-de-visite by London Stereoscopic & Photographic Co., two known poses:
(a) half-length, half-profile to left, wearing dark coat and waistcoat over pale shirt; NPG Ax28512. See NPG Portrait Set ‘The Tichborne Claimant Trial Album: cartes-de-visite by various photographers, 1860s–1870s’.
(b) head-and-shoulders vignette, looking to camera; NPG Ax46239. See NPG Portrait Set ‘London Stereoscopic & Photographic Company cartes-de-visite, 1850s–80s’.

c.1875
Photograph by unidentified photographer, half-length, to left, wearing large-knot tie and large overcoat. Repr. Strand, vol.1, 1891, p.292, captioned ‘Age 45 / From a Photo’.

publ. 1879
Photograph by Thomas Cranfield & Co., Dublin, half-length, to left, head to camera, wearing dark coat, monocle dangling. Woodburytype with facsimile inscr. ‘Yours very truly / J.L.Toole’ publ. The Theatre, no.15, 1 Oct. 1879; NPG x26923.

reg. 1883
Photograph by George Pember, ‘Mr Toole & Company. Taken on the roof of his theatre’, at Toole’s Theatre, Charing Cross; reg. for copyright by J. Grenville 1883 June 29: National Archives (COPY 1/364/463).

c.1885
Photograph by unidentified photographer, whole-length seated, holding newspaper; Russell-Cotes AGM, BORGM.2004.7.17b, signed by sitter and inscr. ‘1885’.

publ. 1889
Photograph by Herbert Rose Barraud, bust-length, to front, wearing dark coat, wing collar and wide-knot tie; mounted carbon print by Barraud publ. MWD, vol.2, p.36; prints colls NPG Ax5448; and MEPL, London, 10032302. See NPG Portrait Set ‘Men and Women of the Day: photographs by Barraud and others, published 1888–1893’.

Collotype by Direct Photo Engraving Co. Ltd after Barraud; NPG x26926.

1890–91
Photograph by W. & D. Downey, bust-length, to front, looking right, wearing dark coat, wing collar and large-knot tie. Carbon print publ. Downey & Downey 1890–94, 3rd ser., p.86, captioned ‘Mr J.L. Toole’; prints colls NPG Ax16007; and MEPL, London, 10952176, where dated 1890.
See NPG Portrait Set ‘The Cabinet Portrait Gallery: photographs by W. & D. Downey, published 1890-94’.

c.1890–1
Photograph by unidentified photographer, half-length, ‘up to waist in a hot lake in New Zealand surrounded by a number of Maoris’. Ref. Idler, Apr. 1893, p.57, where mentioned as on display in Toole’s dressing room at Toole’s Theatre.

publ. 1891
Photograph by Burton Bros, Dunedin, New Zealand, head-and-shoulders, looking left, wearing wing collar. Repr. Strand, vol.1, 1891, p.292, captioned ‘The Present Day’.

reg. 1895
Photographs by Alfred Ellis, six poses reg. for copyright 1895 Feb. 19: National Archives (COPY 1/419/371–5, 377), comprising three head-and-shoulders, one standing, one seated with newspaper and one holding umbrella and fishing rod. The numbering by Ellis (17754-9–13, 15) suggests there may have been eight others earlier in the sequence.

Photographs by Alfred Ellis, 13 poses reg. for copyright 1895 Nov. 12: National Archives (COPY 1/422/346–50, 479, 481–7), comprising eight with walking stick held in different positions, five without stick.

Photographs by Warwick Brookes, Manchester, two poses reg. for copyright 1895 Dec. 7:
(a) seated ‘with hat on, full face’: National Archives (COPY 1/422/864).
(b) ‘full face’: National Archives (COPY 1/422/865).

mid-1890s
Photograph by Emery Walker, half-length, slightly to right, looking to camera, wearing dark jacket with satin revers, wing collar and large-knot tie; half-plate glass negative NPG x19633.

Photogravure by Walker & Boutall; prints colls NPG x19634 and NPG x19635; and V&A, London, S.1650-2012.

?1890s
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) whole-length, to front, standing on low step in photographic studio, Henry Irving to right, seated with arms crossed; Getty Images 3421279.
(b) three-quarter-length standing, Irving with hands on seat; Getty Images 3329754.

reg. 1905
Photograph by Alfred William Austin, with Irving (no further details); reg. for copyright 1905 Oct. 24, where described as ‘Photograph of late Sir Henry Irving and J.L. Toole taken on Margate Jetty’ (no further details). See ‘IRVING, All known portraits, In private character, photographs, undated’, where conjecturally dated to summer 1895. Repr. Irving 1951, facing p.609.

publ. 1906
Photograph by Elliott & Fry, head-and-shoulders, looking to right, white hair and spectacles. Repr. as oval vignette ILN, 4 Aug. 1906, p.152, captioned ‘The late Mr J.L. Toole / Our Greatest Comedian of the Old School’.

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

The Area Belle (as ‘Pitcher’)

1864
Design by Alfred Bryan, whole-length, to left, wearing top hat and holding truncheon, with Paul John Bedford; untraced. Repr. Hatton 1889b, p.106.

Photographs

1864
Photograph by Southwell Brothers, whole-length standing, in policeman costume, left hand holding truncheon, right hand raised to collar of Paul John Bedford as guardsman standing on left. Chromolithograph by Henry Calton Maguire, publ. Stannard & Dixon; NPG D46005. Repr. on cover of sheet music for ‘The Paul-y-Toole-y-Technic’; V&A, London, S.436-2009 and S.4237-2013.

See NPG Portrait Set ‘MacDonnell Collection’.

The Artful Cards (as ‘Street Musician’)

publ. 1889
Design by William Henry Margetson, whole-length, to front, wearing battered hat and long coat, carrying trombone in left hand; untraced. Repr. Hatton 1889b, p.141.

publ. 1893
Design by Louis Gunnis, three-quarter-length standing, holding trombone up to left; untraced. Repr. Idler, Apr. 1893, p.50. Possibly copied from Elliott & Fry image, see below.

Photographs

c.1880
Cabinet photograph by Elliott & Fry, whole-length standing, to front, wearing battered hat and long coat, left hand holding trombone vertical; Lovell Coll., where production identified on card and date on website.

Glass lantern slide by York & Son; NPG x3674. See NPG Portrait Set ‘Celebrities from Life: lantern slides by York and Son, 1890s’.

Auberge des Adrets (as ‘Jacques Strop’)

c.1869
Design by ‘HB’ (initials similar to those of Alfred Bryan but distinctly ‘H’), whole-length, to front, standing in landscape, wearing top hat and tailcoat, right hand on umbrella, left hand holding pink bundle; untraced. Chromograph after ‘HB’, signed lower left ‘F’; print, captioned ‘Mr J.L. Toole as Jacques Strop’ and dated in pencil ‘1883’, Russell-Cotes AGM, BORGM.2004.3.105. Repr. Chromograph Supplement to the ‘London Figaro’, publ. Ben George, London, captioned ‘Mr. J.L. Toole as “Jacques Strop”’; cutting NPG SB (Toole).

publ. 1889
Design by William Henry Margetson, whole-length, to front, wearing boots, umbrella in right hand, bundle in left hand; untraced. Repr. Hatton 1889b, p.251.

undated
Pencil and watercolour caricature on card by ‘T.R’, initialled top right, inscr. ‘Two old friends / to wish you a happy New Year’, label on back inscr. ‘A present from Father / Formerly belonging to / John Lawrence Toole … Nov 15 1906’, whole-length, striding by sign ‘Auberge des Adrets’, with Henry Irving as Robert Macaire; Garrick Club, London, B0163. Repr. Burnim & Wilton 2001, pp.108–9.

Auntie (unidentified role)

Photographs

1882
Cabinet card by unidentified photographer, half-length, half-profile to right, thumbs in waistcoat armholes; Garrick Club, Athole Stewart Album, no.54, inscr. ‘J.L. Toole in Auntie’.

Behind Time (unidentified role)

Photographs

c.1864–7
Photograph by Adolphe Naudin, whole-length standing, to front, hands in trouser pockets, looking dishevelled and surly; V&A, London, S.139:415-2007.

Belphegor the Mountebank (as ?‘Fanfaronde’)
Opened at Lyceum Theatre 15 Sept. 1856.

Photographs

c.1856–8
Albumen print by (George) Herbert Watkins; NPG P301(160).

The Birthplace of Podgers (as ‘Tom Cranky’)
Opened at Lyceum Theatre 10 Mar. 1858.

late 1850s–early 1860s
Design by unidentified artist, whole-length standing, to front, looking to right; untraced. Engr. by unidentified artist, captioned ‘Mr J.L.Toole / as “Tom Cranky” in the “Birthplace of Podgers”’; V&A, London, S.463-2011 and S.1649-2012.

publ. 1889
Design by William Henry Margetson, half-length, to front, smoking long-stemmed clay pipe; untraced. Repr. Hatton 1889b, p.256.

Photographs

c.1858
Albumen print by (George) Herbert Watkins; NPG P301(161).

late 1850s–early 1860s
Photographs by Southwell Brothers, whole-length, to front, standing before stage set, three known poses:
(a) holding beer tankard in left hand; offered on Past to Present website 2017 (A05110).
(b) holding clay pipe in right hand; offered on Past to Present website 2017 (A05111).
(c) left hand resting on back of windsor chair; offered on Past to Present website 2017 (A05112).

The Butler (as ‘The Butler’)

1887
Design by Herman Charles Merivale, whole-length standing, to front, wearing top hat, white gloves and morning coat, holding carpet bag with floral pattern; untraced. Coloured playbill for Lyceum Theatre, 10 Oct. 1887, printed by William Spencer Johnson, Nassau Steam Press, London; NL Scotland, STA Xc 2/14.

publ. 1889
Design by William Henry Margetson, whole-length standing, to front, wearing long coat with rosettes, carrying bag; untraced. Repr. Hatton 1889b, p.261.

Photographs

1887
Cabinet card by Elliott & Fry, inscr. ‘“The Butler” with J.L. Toole’s kind regards’, whole-length standing, to front, wearing top hat and tailcoat, left hand holding handkerchief, right hand holding carpet bag; Garrick Club, London, Photograph Box A.

Crying Jenny and Laughing Johnny (as ‘Johnny’)

Photographs

1866
Cartes-de-visite by Adolphe Paul Auguste Beau, whole-length, wearing 18th-century costume, in a sequence of theatrical attitudes with Teresa Elizabeth Furtado, four known poses; V&A, London, S.141:400-2007, S.141:402-2007, S.141:406-2007 and S.141:408-2007.

Dearer than Life (as ‘Michael Garner’)

1868
Oil painting by Robert Clothier, with Lionel Brough, no further details; untraced. Exh. Sotheby’s, 8 Nov. 1906 (15a) in sale of Toole’s property, where offered as pair with oil depicting Toole and Sarah Woolgar. [1] Ref. Anon 1912: ‘an oil painting of Brough and Toole in “Dearer than Life” was sold at the Toole sale in November 1906.’
Possibly related: lithograph, two actors in costume shaking each other by the hand, on cover of sheet music for ‘The Grasp of an Honest Man’, from Henry James Byron’s ‘greatly successful drama “Dearer than Life”, written expressly for Mr J.L. Toole’, publ. by Hopwood & Crew, London; V&A, London, S.332-2012.

publ. 1889
Design by William Henry Margetson, whole-length standing, to front, holding handkerchief in right hand on hip; untraced. Repr. Hatton 1889b, p.133.

Photographs

1868
Cartes-de-visite by London Stereoscopic & Photographic Co., from production at Queen’s Theatre, Long Acre, Jan. 1868, with Lionel Brough, five known poses:
(a) whole-length, half-profile to right, wearing shabby clothes, seated at table with wine bottle opposite Brough; V&A, London, S.139:388-2007.
(b) similar to (a) but Brough and Toole turned to front; V&A, London, S.139:386-2007.
(c) whole-length standing, grasping Brough’s collar; V&A, London, S.139:394-2007.
(d) whole-length standing, to front, with Brough on right; V&A, London, S.139:392-2007.
(e) three-quarter-length seated, profile to right, left elbow on table, Brough standing to right; Garrick Club, London, Willoughby Album 2, no.180.

Cabinet card by General Photographic Agency, eight members of cast around a table, Toole third from left, whole-length seated, legs crossed, left elbow on table, right hand holding long stem pipe; prints colls V&A, London, S.145:6-2007; and Getty Images 3065359, where photograph credited and dated June 1868. Repr. Picture Post, 15 July 1939, p.35; and Trewin 1980, p.22 .

See also Brough, Irving, Wyndham.

The Don (as ‘The Don’)

1881
Ink sketch by Keeley Halswelle, no further details; untraced. Exh. Sotheby’s, 8 Nov. 1906 (22, ‘J.L. Toole as The Don’), in sale of Toole’s property. Possibly used as basis for thumbnail image, bust-length, wearing mortar-board, right hand holding spectacles, repr. Hatton 1889a, vol.1, title page, as this pose is not seen in other images.

Design by William Henry Margetson, half-length, to front, wearing mortar-board and gown, hands in armholes; untraced. Repr. Hatton 1889b, p.264.

publ. 1893
Design by Louis Gunnis, half-length, profile to left, wearing spectacles, mortar-board and gown; untraced. Repr. Idler, Apr. 1893, p.51c.

undated
Ink sketch by Harry Furniss, whole-length standing, to front, right hand waving spectacles, left hand holding mortar-board to chest; M. of London, 56.44/36. Adapted from Elliott & Fry photograph, see below, pose (b).

Chromolithograph by Frederick Dangerfield, captioned ‘Mr J.L. Toole as “The Don”’, whole-length standing, to front, wearing gown and mortar-board, right hand to cheek and spectacles; V&A, London, S.3107-2009. This image derives from whole-length version of Elliott & Fry photograph, see below, pose (c).

Photographs

1881
Photographs by Elliott & Fry, three known poses:
(a) whole-length standing, looking left, wearing academic gown, mortar-board and spectacles, left hand behind back. Sepia lithograph by Maclure, Macdonald & Co., Glasgow, captioned ‘Mr. J.L.Toole as “The Don”’; NPG SB (Toole).
Design after this image by unidentified artist repr. Pen & Pencil, 23 Feb. 1889, p.60; see MEPL, London, 10096814.
(b) whole-length standing, to front, wearing academic gown, holding spectacles and mortar-board. Repr. as engr. ILN, 7 July 1888, front page, captioned ‘Mr J.L.Toole as “The Don” / From a Photograph by Messrs Elliott & Fry’.
For an ink design by Harry Furniss based on this image but with pose and expression exaggerated, see above, ‘In stage character, The Don, undated’.
(c) albumen silver print, head-and-shoulders, wearing mortar-board, right hand holding spectacles to eyes, in photomosaic Groups of Eminent Personages, c.1888, NPG Album 177, pl.C, no.83 (‘as the Don’).
Engr. by unidentified artist, with facsimile inscr. ‘Yours truly “The Don” / J.L. Toole’, publ. Sprague & Co.; V&A, London, S.421-2015.

Cabinet card by unidentified photographer, whole-length standing, to front, hands grasping lapels of gown, two unidentified men wearing top hats on either side; Garrick Club, Athole Stewart Album, no.55, inscr. ‘J.L. Toole in the Don’.

Dot (as ‘Caleb Plummer’)

1880
Design by J. Barnard, signed lower right, whole-length standing, half-profile to left, hands at waist, wearing old-fashioned breeches, overcoat and slippers; untraced. Engr. by R. & E. Taylor repr. ILN, 13 Nov. 1880, p.472, captioned ‘Mr J.L. Toole, as Caleb Plummer’.

publ. 1889
Design by William Henry Margetson, whole-length seated, to right, painting toy horse; untraced. Repr. Hatton 1889b, p.105.

publ. 1893
Design by Louis Gunnis, three-quarter-length, to right, seated at desk, holding pen; untraced. Repr. Idler, Apr. 1893, p.54.

Photographs

reg. 1865
Photographs by Napoleon Sarony, Birmingham, two poses reg. for copyright 1865 Sept. 4:
(a) ‘seated, hand to head’: National Archives (COPY 1/9/364).
(b) ‘seated, brush in right hand on knee’: National Archives (COPY 1/9/365).

reg. 1888
Photographs by John Jabez Edwin Mayall, three poses reg. for copyright 1888 Jan. 24:
(a) ‘profile face, painting toy horse’: National Archives (COPY 1/391/28).
(b) ‘with spectacles, painting toy horse’: National Archives (COPY 1/391/29).
(c) ‘Mr J.L. Toole & Miss [Eliza] Johnson in “Dot”. Miss Johnson seated nursing baby’: National Archives (COPY 1/391/30). Repr. Mander & Mitchenson 1957, pl.340, p.119.

undated
Carte-de-visite by Robert White Thrupp, Birmingham, half-length, leaning to right, left hand to head, wearing wispy white wig and tattered suit; Garrick Club, London, Willoughby Album 2, no.196.

Flowers of the Forest (unidentified role)

Photographs

reg. 1862
Photographs by Southwell Brothers, with Paul John Bedford, four poses reg. for copyright 1862 Oct. 10:
(a) standing with bag of papers in his hand: National Archives (COPY 1/1/153).
(b) standing holding bag of papers: National Archives (COPY 1/1/154).
(c) and (d) with left foot on stool: National Archives (COPY 1/1/155–6).

publ. 1898
Photograph by Adolphe Paul Auguste Beau, whole-length, profile to left, seated in close conversation with Paul Bedford. Repr. Whyte 1898, pl.D, following p.130, captioned ‘Some Comedians of the ’Fifties and ’Sixties / Bedford and Toole’.
Possibly from 1862 production.

A Fool and his Money (as ‘Chawles’)

1878–9
Design by unidentified artist, half-length, seated behind screen or jury-box, head and hands visible; untraced. Lithograph by D. & J. Allen, Belfast; V&A, London, S.879-1997.

publ. 1889
Design by William Henry Margetson, whole-length, to front, left hand on hip; untraced. Repr. Hatton 1889b, p.174.

Photographs

1878–9
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) three-quarter-length standing, to front, chest out, hands in jacket pockets, wearing velvet smoking jacket over waistcoat and pale trousers; V&A, London, S.139:408-2007.
(b) whole-length standing, to front, right hand in jacket pocket, left thumb in waistcoat armhole. Engr. by unidentified artist, captioned ‘Mr J.L. Toole as “Chawles”. / From a Photograph by the London Stereoscopic Company’; NPG SB (Toole).

Going It (unidentified role)

Photographs

c.1885–6
Photograph by Elliott & Fry, half-length, to front, wearing wig and loudly patterned waistcoat, left hand holding card or letter. Repr. Pen & Pencil, 30 July 1887, p.16; see MEPL, London, 10027470.

Chromolithograph by Maclure, Macdonald & Co, Glasgow; NPG SB (Toole).

‘The last play by John Maddison Morton to be produced in his lifetime, a three-act farcical comedy called Going It, played at Toole’s in 1885 and kept the house in a continual roar of laughter.’ [2]

The Green Bushes (as ‘Muster Grunnidge’)

Photographs

1862
Carte-de-visite by Southwell Brothers, whole-length, to front, standing with right foot on stool, wearing dark jacket and pale breeches, Paul Bedford standing to right; Garrick Club, London, Willoughby Album 2, no.7.

Carte-de-visite by unidentified photographer, whole-length, to front wearing comic rustic cape; V&A, London, S.139:499-2007.

Helen, or Taken from the Greek (as ‘Menelaus’)

Photographs

1866
Cartes-de-visite by Adolphe Paul Auguste Beau, wearing classical tunic and crown in a sequence of dramatic attitudes with Teresa Furtado, eight poses; V&A, London, S.141:413-2007, S.141:415-2007, S.141:416-2007, S.141:418-2007, S.141:419-2007, S.141:421-2007, S.141:425-2007 and S.141:427-2007.

Ibsen’s Ghost (as ‘Hendrik Ibsen’)

publ. 1893
Design by Louis Gunnis, head-and-shoulders, flaring white wig and whiskers, dark jacket; untraced. Repr. Idler, Apr. 1893, p.52, captioned ‘As Ibsen’.

Ici on parle français (as ‘Spriggins’)

publ. 1889
Design by Alfred Bryan, initialled, whole-length standing, holding book in left hand; untraced. Repr. Hatton 1889b, p.28.

Photographs

reg. 1865
Carte-de-visite by William Walker & Sons, whole-length standing, to left, wearing white wig and old tailcoat, holding book, at right in composite image showing Toole in three guises; reg. for copyright 1865 July 22: National Archives (COPY 1/9/563(1)); NPG x26921.

John Bull (as ‘Dennis Brulgruddery’)

1873–4
Design by unidentified artist, whole-length; untraced. Repr. ILN, 13 June 1874, p.561.

publ. 1889
Design by unidentified artist, head-and-shoulders, to front, wearing 18th-century wig, with Samuel Phelps and Charles James Mathews; untraced. Repr. Hatton 1889b, p.138.

Photographs

1873
Photograph by Fradelle & Marshall, whole-length, to front, standing behind Charles James Mathews and Samuel Phelps; V&A, London, S.147:730-2007, where dated Dec. 1873. Probably exh. Victorian Era Exh., 1897 (Music & Drama section, no.278, as ‘Portrait Group’).

Martin Chuzzlewit (as ‘Sairy Gamp’)

undated
Oil painting by Keeley Halswelle, fragmentary note on reverse verso ‘J.L… / as… / by Keeley’, whole-length, to front, in female costume wearing bonnet and apron over long skirt; Garrick Club, G0811. Exh. Sotheby’s, 8 Nov. 1906 (16), in sale of Toole’s property, where artist and medium identified.

Mr Guffin’s Elopement (as ‘Guffin’)

c.1883
Design by Frank Feller, signed, whole-length standing, to right, thumbs in waistcoat armholes, wearing blue coat, white waistcoat and pink tie; untraced. Chromolithograph by Charles Goodall & Son publ. Society, 14 July 1883, supplement, (‘Society Bijou Portrait no.28’, captioned ‘“He never could catch the Speaker’s eye”’); print NPG SB (Toole).

Watercolour design by Phil May, signed and inscr. ‘J.L. Toole as Guffin’, whole-length standing, to right, thumbs in waistcoat armholes; untraced. Repr. Cuppleditch 1981, p.15.

Off the Line (as ‘Harry Cook’)

publ. 1889
Design by William Henry Margetson, whole-length, to front, standing; untraced. Repr. Hatton 1889b, p.157.

publ. 1893
Design by Louis Gunnis, three-quarter-length, to front, wearing cap, hands in pockets; untraced. Repr. Idler, Apr. 1893, p.51a.

Photographs

1893
Carte-de-visite by unidentified photographer, inscr. ‘Group in “Off the Line”’, whole-length standing, half-profile to right, right arm raised behind head, left hand holding hand of female actor standing to right, male actor standing far right; Garrick Club, London, Willoughby Album 2, no.343.

Oliver Twist (as ‘The Artful Dodger’)

1854
Watercolour drawing by Keeley Halswelle, no further details; untraced. Exh. Sotheby’s, 8 Nov. 1906 (17), in sale of Toole’s property, where offered with two other images, possibly photographs. Ref. Idler, Apr. 1893, p.51, in which the author records a visit to Toole’s home where ‘on my way through the hall’ he noted Halswelle’s sketch of ‘Mr Toole as The Artful Dodger in 1854’.

Design by P.G. Kitton, whole-length vignette, standing, leaning back, hands in trouser pockets; untraced. Engr. by unidentified artist, captioned ‘Mr J. L. Toole as “The Artful Dodger”; V&A, London, S.1648-2012. Repr. Fitzgerald 1910, facing p.108.

publ. 1889
Design by Alfred Bryan, whole-length standing, hands in pockets; untraced. Repr. Hatton 1889b, p.69.

Design by William Henry Margetson, ‘The Dodger and the Man who could not help crying’, whole-length standing, to right, hands in pockets, elderly man to right; untraced. Repr. Hatton 1889b, p.160.

undated
Pen and ink drawing by Harry Furniss, whole-length standing, to left, hands in trouser pockets, dishevelled appearance; M. of London, 56.44/37.

Photographs

reg. 1865
Photographs by Marcus Ward & Co., Belfast, reg. for copyright 1865 Dec. 30 as ‘J.L. Toole as the Artful Dodger’, two known poses:
(a) whole-length standing, dishevelled appearance, wearing cap, reg. as ‘hat on’: National Archives (COPY 1/10/10); print in oval mount V&A, London, S.139:417-2007.
This is the source of many later images, including lithograph design by Thomas Wales Lee, signed, for advertising poster for Queen’s Theatre, Long Acre; untraced. Poster, captioned ‘Mr J.L. Toole / as “The Artful Dodger” in / “Oliver Twist”’; V&A, London, S.1710-1995.
(b) same pose as (a) but hat lying on floor, reg. as ‘hat on ground’: National Archives (COPY 1/10/9); V&A, London, S.139:419-2007.

?1865
Carte-de-visite by unidentified photographer, whole-length, half-seated on edge of table, wearing hat, hands in trouser pockets; M. of London, image 010041.

Paul Pry (as ‘Paul Pry’)

1872
Caricature design by Frederick Waddy, initialled, captioned ‘I hope I don’t intrude’, whole-length, half-turned to right, holding top hat and umbrella in left hand, spectacles in right hand, standing in front of poster for Gaiety/Toole’s theatre; untraced. Repr. as etching Once a Week, 9 Mar. 1872 (see V&A, London, S.464-2011); and Waddy 1873, p.22.

publ. 1889
Design by William Henry Margetson, whole-length, to left, turned to viewer, knees bent; untraced. Repr. Hatton 1889b, p.94.

publ. 1893
Design by Louis Gunnis, three-quarter-length, to front, holding hat and umbrella; untraced. Repr. Idler, Apr. 1893, p.57b.

undated
Caricature design by Alfred Bryan, initialled, whole-length standing, to left, oversize head turned to front, wearing wig and hat, furled umbrella under left arm; untraced.

Lithograph publ. Maclure & Macdonald, London, captioned ‘No.3 /Mr J.L. Toole /( Paul Pry)’; prints colls BM, London, 1922,0710.654 (tinted); and Russell-Cotes AGM, BORGM. 2006.9.5.18.

Design by F. Sargent, signed, three-quarter-length, to front wearing Regency-era costume and wig, holding spectacles, hat and umbrella; untraced. Coloured greeting card, c.1880s; fotoLibra FOT651429.

Photographs

undated
Cabinet card by Alfred Ellis, whole-length standing, to front, wearing hat and Regency-era costume, holding eyeglass in right hand, fishing rod in left hand, umbrella under left arm; Garrick Club, London, Photograph Box A, inscr. ‘“I hope I don’t intrude” – am sending a few cartes for your At Home on Saturday – yours Truly J.L. Toole / to Mrs Jopling Rowe “Sweets to the sweet”’.

Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) head-and-shoulders vignette, half-profile to left; William Andrews Clark Memorial L., UCLA, MS.1950.006, inscr. on mount ‘“I hope I don’t intrude” / “Paul Pry” / Yours truly / J.L. Toole’.
(b) half-length standing, half-profile to left, right hand holding ?eyeglass, left hand holding top hat, furled umbrella under left arm; carte-de-visite Garrick Club, London, Willoughby Album 2, no.243.

Paw Claudian (as ‘Paw Claudian’)

1884
Design by Alfred Bryan, initialled, whole-length standing, looking up to right, gesturing left; untraced. Repr. Entr’Acte, 9 Feb. 1884, captioned ‘Be careful Mr Toole or the Claudian earthquake will bring the Princess’s about your ears’; see MEPL, London, 11107354.

Design by unidentified artist, whole-length, to front, wearing Roman costume and top hat; untraced. Chromolithograph by Thomas Packer repr. on cover of sheet music for ‘The Evergreen Chappie’, publ. by Joseph Williams, captioned ‘Sung by / Mr J.L. Toole / in the Travestie of “Claudian”’; V&A, London, S.198-2012, inscr. on reverse ‘“Paw Claudian” / Toole’s Theatre / 1884’.

Caricature design by unidentified artist, no further details; untraced. Repr. unidentified periodical, captioned ‘Toole adapts Paw Claudian to the requirements of the streets and poses as the strong man’; cutting Russell-Cotes AGM, BORGM.2004.15.19.2.

Photographs

1884
Photograph by unidentified photographer, whole-length standing, to front, wearing top hat and pseudo-centurion costume; see Wikimedia Commons.

Perdita, or the Royal Milkmaid (as ‘Autolycus’)
Opened at Lyceum Theatre 15 Sept. 1856.

c.1856
Design by unidentified artist, whole-length, standing in landscape, wearing wide-brimmed hat and holding pedlar’s tray; untraced. Engr. by unidentified artist, captioned ‘Mr J.L. Toole at the Theatre Royal, Lyceum’; print NPG SB (Toole).

Pickwick Papers (as ‘Serjeant Buzfuz’)

1871
Design by J. Barnard, signed lower left, half-length, profile to right, standing behind desk, wearing legal gown and wig, holding documents in left hand; untraced. Repr. ILN, 25 Feb. 1871, p.192, captioned ‘Mr Toole as Serjeant Buzfuz at the Gaiety Theatre’.

publ. 1889
Design by William Henry Margetson, half-length, to front, wearing wig and gown, behind legal papers; untraced. Repr. Hatton 1889b, p.77.

Photographs

1871
Photograph by Ovinius Davis, Glasgow, half-length, to front, looking right, wearing wig and gown, left hand resting on parapet; NPG Ax18165, captioned ‘Mr J.L.Toole / as Serjeant Buzfuz’ and inscr. ‘1871’. Exh. Charles Dickens: Life & Legacy, case display, NPG, London, Oct. 2011–Apr. 2012.

The Pretty Horsebreaker (as ‘Upton Spout’)
Opened at Adelphi 15 July 1861.

Photographs

1861
Photograph by Charles Thomas Newcombe, whole-length seated, holding newspaper, wearing straw boater, Paul John Bedford whole-length on right; V&A, London, S.139:414-2007.

The Serious Family (as ‘Mr Sleek’)

publ. 1889
Design by William Henry Margetson, three-quarter-length, to front, left hand stroking chin; untraced. Repr. Hatton 1889b, p.206.

publ. 1893
Design by Louis Gunnis, three-quarter-length, to front, holding hat and cane; untraced. Repr. Idler, Apr. 1893, p.57b (as ‘Rev. Aminadab Sleek’).

Photographs

c.1891
Photograph by Elliott & Fry, whole-length standing, to front, wearing pale stock and dark suit with overcoat, right hand holding top hat, left hand holding furled umbrella.
Engr. by unidentified artist, captioned ‘Mr J.L. Toole as “Mr Sleek” / From a Photograph by Messrs. Elliott & Fry’; print NPG SB (Toole).

A Spelling Bee (as ‘Professor Muddle’)

1876
Design by Leslie Ward (‘Spy’), signed lower right, whole-length standing, leaning to left, arms akimbo; untraced. Chromolithograph by Vincent Brooks, Day & Son repr. Vanity Fair, 29 June 1876, captioned ‘A Spelling Bee’.

Design by Alfred Bryan, signed lower right, whole-length standing, to right, thumbs to armpits; untraced. Chromolithograph by unidentified artist, inscr. ‘Mr J.L. Toole as Professor Muddle in A Spelling Bee Gaiety 1876’; V&A, London, S.488-2011.

The Squire (unidentified role)

c.1882
Lithograph by J. Barnard, signed by sitter and inscr. ‘I have a whip that will not ker-ack!’, whole-length, to front, wearing riding habit and holding whip; print NPG SB (Toole).

Stage Dora (as ‘Loris Ipanoff Atiloff’)

publ. 1883
Design by Phil May, signed, whole-length standing, wearing evening dress, Marie Linden standing to right; untraced. Chromolithograph by Charles Goodall & Son publ. Society, 1 Sept. 1883 (‘Society Bijou Portrait no.35’); prints colls NPG SB (Toole); and MEPL, London, 10189630.

Design by unidentified artist, whole-length, wearing evening dress, half seated on sofa with Marie Linden; untraced. Repr. Graphic, 22 Dec. 1883, p.612, in double-page spread captioned ‘Plays at Some of the London Theatres’.

See also Brough, Forbes-Robertson, Tree.

Design by Frank Feller, whole-length standing, to front, thumbs to armholes, wearing long morning coat over pale waistcoat and trousers, possibly as Loris Ipanoff Atiloff; untraced. Chromolithograph publ. Society, 14 July 1883; MEPL, London, 10189632.

publ. 1889
Design by William Henry Margetson, whole-length standing, to front, wearing evening dress; untraced. Repr. Hatton 1889b, p.260.

The Steeple Chase (as ‘Mr Tittums’)

publ. 1889
Design by William Henry Margetson, whole-length, to front, wearing outsize riding clothes and holding rolled umbrella; untraced. Repr. Hatton 1889b, p.177.

publ. 1893
Design by Louis Gunnis, three-quarter-length, to left, seated astride folding chair, wearing jockey costume; untraced. Repr. Idler, Apr. 1893, p.47. Probably adapted from photograph by unidentified photographer, see below.

Photographs

reg. 1866
Photograph by Marcus Ward & Co., Belfast, standing, no further details; reg. for copyright 1866 Jan. 1: National Archives (COPY 1/10/4).

1860s
Albumen print by unidentified photographer, whole-length, seated astride dining chair, hands resting on back, holding furled umbrella and wearing jockey costume, possibly as Mr Tittums; NPG x26920, inscr. ‘Toole’.

Through Fire and Water (as ‘Joe Bright’)

Photographs

reg. 1865
Photographs by William Walker & Sons, two images reg. for copyright 1865 July 22:
(a) whole-length standing, to right, wearing firefighter uniform, at left in composite image showing Toole in three guises: National Archives (COPY 1/9/563(1)); carte-de-visite NPG x26921.
(b) ?whole-length, kneeling, in composite image with self in plain clothes on left; National Archives (COPY 1/9/563(3)).

Carte-de-visite by William Walker & Sons, whole-length, bending over table to right, wearing firefighter uniform, John Billington and Sarah Woolgar standing on left; seen on Footlight Notes website 2017.

Photographs by Marcus Ward & Co., three poses reg. for copyright 1866 Jan. 1:
(a) standing, wearing helmet: National Archives (COPY 1/10/6).
(b) ‘forcing chest’: National Archives (COPY 1/10/7).
(c) ‘seated on corner of table’: National Archives (COPY 1/10/8).

Photograph by Worthly Type, half-length in oval, seated, to front, wearing firefighter uniform, being embraced by Sarah Woolgar standing to right; V&A, London, S.139:423-2007.

Tuttles (or ‘Futtles’) (unidentified role)

undated
Caricature design by Alfred Bryan, initialled, captioned ‘J.L. Toole’, whole-length standing, looking to left, costumed as waiter, holding cloth on left arm, with wild hair, moustache and beard; untraced. Repr. as ?lithograph in unidentified periodical, cutting NPG SB (Toole), inscr. ‘Toole as / Tuttles [or ‘Futtles’] Byrons Comedy’.

Photographs

undated
Carte-de-visite by unidentified photographer, nearly whole-length standing, in oval vignette, leaning on table to right, wearing white wig and tailcoat, white towel over right arm; Garrick Club, London, Willoughby Album 2, no.259.

The Upper Crust (as ‘Barnaby Doublechick’)

publ. 1880
Woodburytype by London Stereoscopic & Photographic Co., half-length seated, to left, looking down nose at camera, large patterned handkerchief in pocket, holding letters on lap. Publ. The Theatre, 3rd ser., no.6, June 1880; NPG x26924 (inscr. ‘“This is Upper Crust indeed” / Barnaby Doublechick / J.L. Toole’) and NPG Ax7707.

Walker, London (as ‘Jasper Phipps’)

publ. 1889
Design by William Henry Margetson, whole-length, to front, wearing blazer and boater, hands in pockets; untraced. Repr. Hatton 1889b, p.276.

1892–3
Design by Frederick Drummond Niblett (‘Nibs’), signed lower left, half-length, to front, wearing boater, striped tie and blazer, with speech bubble ‘Oh, it’s nothing!’ plus shadow figure to right of barber wielding comb and scissors; untraced. Chromolithograph by Canning & Co.; BL, London, Evan.4003.

publ. 1893
Design by Louis Gunnis, whole-length, seated on ground, wearing boater; untraced. Repr. Idler, Apr. 1893, p.46.

Photographs

1892–3
Photograph by Samuel Alexander Walker, whole-length standing, to front, hands in jacket pockets, wearing cricket cap and large striped tie, in front of backdrop with ?sports pavilion; Garrick Club, London, PH0127, captioned ‘Toole as “Walker, London.” “Oh, it’s nothing!”. Possibly exh. as ‘coloured photo of Mr J.L. Toole in Walker, London’, Victorian Era Exh., 1897 (Music & Drama section, no.615).

Photograph by Elliott & Fry, whole-length, to front, seated in centre of group of eleven, holding boater in right hand; Garrick Club, London, PH0126, inscr. with names of all actors.

Welsh Rabbits (unidentified role)

1881
Design by J.W. Lee, initialled, whole-length standing, to front, hands on hips, wearing boater, pale trousers and dark blazer; untraced. Lithograph by Alfred Concanen repr. on cover of sheet music for ‘Madame Tussaud’s or Waxworks’, publ. by Howard & Co, captioned ‘Sung by / Mr. J.L. Toole / in the Musical Absurdity entitled Welsh Rabbits’; V&A, London, S.362-2012.

Willow Copse (as ‘Augustus de Rosherville’)

1859
Oil painting by Robert Clothier, with Sarah Woolgar, no further details; untraced. Exh. Sotheby’s, 8 Nov. 1906 (15b), in sale of Toole’s property, where offered as a pair with painting of Toole and Lionel Brough in Dearer than Life.

Photographs

1859
Photographs by Victor A. Prout, four known poses, whole-length, attired as a tinker, with Sarah Woolgar as milkmaid; offered on Past to Present website 2017 (A05118–21).

Various roles

c.1888–90
Caricature design by Alfred Bryan, ‘A Day with Mr J L Toole’, various poses, in different roles and as self; untraced. Exh. Victorian Era Exh., 1897 (Historical & Commemorative section, no.348) with other cartoons from Moonshine. Repr. Moonshine 1888–90. [3]

Unidentified part or play

publ. 1882
Caricature design by Alfred Bryan, initialled lower left, whole-length, standing in doorway, to front, hands in belt behind apron, dressed as shopkeeper, anonymous man to left; untraced. Repr. Entr’Acte, 18 Feb. 1882, captioned ‘Now, George, down with the shutters, or the public will begin to think we’ve retired from business’; see MEPL, London, 11015508.
This could show Toole in private character, maybe as theatre proprietor, but he is in shopkeeper costume.

1892
Statuette by J. Alberti, ‘in character’, no further details; untraced. Offered to NPG 1936, declined. Ref. NPG Archive.

publ. 1893
Design by Louis Gunnis, whole-length, seated on chair, right hand scratching head; untraced. Repr. Idler, Apr. 1893, p.48, captioned ‘I can’t lay my hands on ’em’.

Photographs

1860s
Photograph by Adolphe Paul Auguste Beau, half-length, looking to left, hands clasped on cane, wearing 18th-century costume and tricorne hat embellished with clay pipe. Engr. by Lemercier repr. Whyte 1898, after p.162, captioned ‘Mr J.L. Toole in the ’Sixties’.

Carte-de-visite by Baugh & Bensley, whole-length standing, to front, hands on hips, knees slightly bent, wearing frock coat and fez-style hat; V&A, London, S.139:385-2007.

Carte-de-visite by London Stereoscopic Co., whole-length standing in oval vignette, to front, wearing tailcoat, large satin cravat and blond wig; Garrick Club, London, Willoughby Album 2, no.176. Possibly in same role as in Baugh & Bensley image above.

?1860s
Carte-de-visite by unidentified photographer, inscr. ‘“Lost in London” / Mr Toole. Mrs Billington’, whole-length, half-profile to right, perched on ?table, wearing dark buttoned tunic with belt over breeches and knee-boots, female actor seated to right; Garrick Club, London, Willoughby Album 2, no.190.

Carte-de-visite by unidentified photographer, whole-length standing, half-profile to right, holding hand of actor in female costume with large umbrella standing to right; Garrick Club, London, Henry Neville Album 2, no.78.

Carte-de-visite by London Stereoscopic & Photographic Co., whole-length standing, to front, wearing costume as above, plus top hat; NPG x26919, inscr. ‘Toole’. See NPG Portrait Set London Stereoscopic & Photographic Company cartes-de-visite, 1850s–80s’.

before 1880
Photographs by Charles Thomas Newcombe, three known poses:
(a) whole-length, standing on stage set, profile to right, left elbow on mantelpiece, Paul John Bedford seated to left, John Baldwin Buckstone seated to right; V&A, London, S.139:532-2007.
(b) whole-length, seated to right, legs crossed, wearing top hat, Bedford and Buckstone standing on right; V&A, London, S.139:550-2007.
(c) whole-length, standing to left, right elbow on mantelpiece, Bedford seated on left; V&A, London, S.139:535-2007.

Buckstone died 1879.

Doubtful photographs

c.1870
Photograph by unidentified photographer, three-quarter-length standing, to front, looking right, with moustache, wearing 17th-century costume and hat, actor Maud Granger standing to right; L. of Congress, reproduction no.LC-USZ62-134340, where dated ‘c.1870’ and identified as Toole and Granger in As You Like It, apparently on the basis of inscription ‘Granger & Lawrence; Rosalind, “As you like it.”’. But Toole was never known as ‘Lawrence’ and is not known to have acted in As You Like It.


Footnotes
1) Robert Clothier is elsewhere listed as a photographer, but the sale catalogue of Toole’s property clearly lists him as artist of two oil paintings depicting Toole in stage character.
2) Scott 1889, p.xiv.
3) Exact date not found, but by analogy with Brough and Keeley this should be a composite full-page image in the series ‘Days with Celebrities’.


Dr Jan Marsh