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Later Victorian Portraits Catalogue

Sir Herbert Beerbohm Tree (1852-1917), Actor and theatre manager

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

I. IN PRIVATE CHARACTERback to top


Paintings, drawings, sculptures and printsback to top


publ. 1881
Engraving by ‘M.S.’, three-quarter-length, head three-quarters to right, right hand slipped in coat; untraced. Publ. The Theatre, series 3, vol.3, 1 Jan. 1881, facing p.52.

c.1882
Watercolour drawing by unidentified artist, head-and-shoulders, three-quarters to right; untraced. Repr. Beerbohm [1920], facing p.20.

c.1887–8
Etching by Walter Sickert, head-and-shoulders, full-face, two states:
First state; priv. coll. Repr. Bromberg 2000, p.92, no.103.

Second state, with scratches over face, inscr. ‘A failure – but I wonder / do you see who it is?’; Fitzwilliam M., P.60-1955.

Both repr. Bromberg 2000, p.92, no.103.

1889
Pencil sketch by Sydney Prior Hall; see NPG 2263.

Pencil sketch by Frederick Pegram, with John Lawrence Toole observing Parnell Commission proceedings, Royal Courts of Justice (no pose details); V&A, London, E.595-1952. Repr. Pictorial World, 21 Feb. 1889, p.205.

publ. 1889
Pen and ink caricature by Alfred Bryan, character sketch showing Tree in ten vignettes, mainly in private dress as theatre manager but also as Falstaff and Hamlet; untraced. Repr. Moonshine, 9 Mar. 1889, captioned ‘Days with Celebrities no.393, Mr Beerbohm Tree’.

publ. 1890
Pen and ink and watercolour caricature by Leslie Ward (‘Spy’), whole-length standing, to left, head in profile, left hand in trouser pocket; untraced.

Chromolithograph by Vincent Brooks, Day & Son repr. Vanity Fair, 12 July 1890, facing p.34 (‘Men of the Day no.477’, captioned ‘Mr Herbert Beerbohm Tree’); prints colls NPG D44498 and NPG SB (Tree); and V&A, London, S.3119-2009. Repr. Beerbohm [1920], facing p.59.

See NPG Portrait Set ‘Vanity Fair cartoons: chromolithographs by various artists 1869–1914’.

See also composite chromolithograph by Vincent Brooks, Day & Son by unidentified artist, 22 public figures on a stage, repr. Vanity Fair, 29 Nov. 1890, captioned ‘In Vanity Fair’, which includes Ward’s figure of Tree; BM, London, 1937,0914.2. Repr. Matthews & Mellini 1982, dustjacket.

See also Grossmith, Hare, Irving, Ward.

c.1890
Pen and ink caricature by Charles Richardson, Drama, whole-length standing, as Virgil, with Sir Henry Irving as Dante; V&A, London, S.915-2012. (Not in character for a play.)

publ. 1891
Pen and ink sketch by Reginald Cleaver, half-length seated, facing left, head on left hand, watching the royal baccarat scandal case at Royal Courts of Justice (1–9 June 1891) with Sir John Hare; untraced. Repr. Daily Graphic, June 1891 (no further details); and Beerbohm [1920], facing p.60.

Pen and ink sketch by Reginald Cleaver, whole-length standing, to left, addressing the Playgoers’ Club; untraced. Repr. Daily Graphic, Dec. 1891 (no further details); and Beerbohm [1920], facing p.72.

Pencil drawing by Violet Manners, Marchioness of Granby, signed in monogram and dated 1891 by artist, signed by sitter, bust, to right, head turned to left; priv. coll., photograph in NPG SB (Tree). This or different portrait drawing(s) of Tree by Granby exh. SPP 1893 (150); and Victorian Era Exh., 1897 (Drama section, no.182). Repr. Tree 1893, frontispiece.

A more schematic pencil drawing, same pose, signed and dated as above; untraced. Repr. Beerbohm [1920], facing p.122.

1893
Caricature by Max Beerbohm, signed and dated Nov. 1893, whole-length, head profile to left, wearing small bowler hat, right hand raised to chin; untraced. Ref. Hart-Davis 1972, p.149, no.1670.

Design by H. Johnson, head, three-quarters to left, 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, Toole.

1896
Pastel drawing on brown paper by William Rothenstein, three-quarter-length, profile to right; untraced. This or another portrait drawing of Tree by Rothenstein exh. SPP 1896 (192). Ref. Rothenstein 1926, p.11, no.86.

publ. 1896
Caricature by Max Beerbohm, whole-length, head profile to left, wearing top hat, holding stick in left hand; untraced. Ref. Hart-Davis 1972, p.149, no.1671; repr. Beerbohm 1896 (no further details).

1898
Caricature by Max Beerbohm, signed and dated 1898, whole-length, right hand scratching head, left hand on hip; untraced. Ref. Hart-Davis 1972, p.149, no.1671A.

publ. 1898
Caricature by Edward Tennyson Reed, initialled, whole-length, facing front, as an imaginary creature with long body, clawed hands and feet, and oversized head; untraced. Repr. Reed 1898, no.45, captioned ‘The Tree’.

publ. 1899
Watercolour drawing by Frank Craig, whole-length, facing, right hand on hip and wearing top hat, in group scene. Repr. Graphic, 1 July 1899, captioned ‘In aid of Charing Cross Hospital: the bazaar at the Albert Hall’; see Bridgeman Images LIP1042767.

publ. 1900
Pen and ink caricature by Edward Tennyson Reed, signed and inscr. ‘Unauthorized Rumours!’, half-length, head on right hand, wearing Boer War uniform and slouch hat, third from left in group of nine figures; in folio of cartoons and caricatures offered at Lawrences, Crewkerne, 15 Apr. 2016 (1545); see Bridgeman Images AAH3057557. Repr. Punch, 10 Jan. 1900, p.21, captioned ‘Unauthorised War Rumours: The Leno Light Horse!: The report that Colonel Sir Daniel Leno is raising a squadron of light horse, drawn entirely from stage circles, is, we regret to learn, entirely without foundation’.

The joke refers both to the Anglo-Boer War and to Dan Leno’s act as a member of the Household Cavalry.

See also Forbes-Robertson, Grain, Irving, Leno.

exh. 1901
Caricature by Max Beerbohm, no further details; untraced. Exh. 1901 (no further details). Ref. Hart-Davis 1972, p.149, no.1672.

publ. 1903
Caricature by Max Beerbohm, whole-length, back view, stick in right hand, letters falling from top hat in left, overcoat stuffed with documents; untraced. Ref. Hart-Davis 1972, p.149, no.1673; repr. John Bull, 25 June 1903.

c.1907
Charcoal drawing by John Singer Sargent, signed and dedicated to Viola Tree, head, three-quarters to right, looking further to right; priv. coll. Exh. John Singer Sargent, NPG, 1979 (64). Repr. Tree 1913, frontispiece; Beerbohm [1920], facing p.178; RA Illustrated 1926, p.114; and Truman 1984, between pp.90–91.

Viola Tree’s recollection of the sitting: ‘When he was going to be drawn by Mr Sargent I went with him to the studio; knowing he was very diffident about his looks and that Mr Sargent was terribly shy and modest about his work … The moment he had stepped on to the daïs, I said to him: “Look towards the window, Daddy.” He did so. Mr Sargent became covered with confusion. “Don’t strain, don’t strain: you will never be able to keep that pose.” My father seemed surprised, and answered: “No, no, it’s quite natural.” This defiant turn of head and illuminated look was normal to him.’ [1]

A facsimile of this drawing, catalogued as an original drawing, was withdrawn before sale at Christie’s, 12 Nov. 1987 (161A).

1908
Two caricatures by Max Beerbohm, whole-length, head three-quarters to left, left hand behind head:
(a) drawing; untraced. Ref. Hart-Davis 1972, p.149, no.1674. Repr. Graphic, 29 Apr. 1911.
(b) possibly sketch for (a); Ashmolean M., Oxford (no further details). Ref. Hart-Davis 1972, p.149, no.1675.

c.1908
Watercolour caricature by Henry Ospovat, whole-length, to right, right hand flung back; priv. coll.; see Bridgeman Images AAH3108936. A cartoon of Tree by Ospovat, possibly the same, exh. Cartoon and Caricature from Hogarth to Hoffnung, Arts Council of Great Britain, multiple venues, 1962 (151).

1909
Self-portrait caricature by Max Beerbohm, with Tree, back views; untraced. Ref. Hart-Davis 1972, p.149, no.1675A.

publ. 1909
Caricature by Frederick Drummond Niblett (‘Nibs’), whole-length standing, facing, left hand on hip, cigarette in right hand; untraced. Repr. as chromolithograph Throne and Country, vol.4, 17 Apr. 1909, facing p.142; see MEPL, London, 10088743.

publ. 1911
Caricature by Frederick Drummond Niblett (‘Nibs’), whole-length standing, facing, left hand on hip; untraced. Chromolithograph by Hentschel-Colourtype repr. Vanity Fair, 5 Apr. 1911, facing p.394 (‘Men of the Day no.1273’, captioned ‘His Majesty’s’); prints colls NPG D45603; V&A, London, S.616-2010; and MEPL, London, 10088744.

See NPG Portrait Set ‘Vanity Fair cartoons: chromolithographs by various artists 1869–1914’.

publ. 1912
Pen and ink caricature by Tom Titt, whole-length standing, to left, dressed as John Bull, wide eyed and hands raised; untraced. Repr. New Age, vol.21, no.1, 7 Nov. 1912, p.24, captioned ‘Modern John Bulls’.

publ. 1913
Pen and ink caricature by Tom Titt, whole-length facing, wide eyed and hands raised; untraced. Repr. Titt 1913, pl.54; see MEPL, London, 10007008.

publ. 1914
Caricature drawing by Mary Williams (‘Kate Carew’), whole-length seated, to left, looking to right, head on right hand; untraced. Repr. Colour, 1914 (no further details); see MEPL, London, 10088745. Possibly in character part.

Pen and ink and brush drawing by Yoshio Markino, head-and-shoulders, profile to left; untraced. Repr. Sladen 1914, facing p.344.

publ. 1915–16
Caricature drawing by Harry Furniss; see NPG 4095(11).


Undated portraitsback to top


Some of these works may have been executed posthumously.

Pencil caricature by Max Beerbohm, whole-length, three-quarter face, small head on massive body, right hand on forehead, left hand holding hat and stick; untraced. Ref. Hart-Davis 1972, p.149, no.1676; repr. Donaldson 1970, between pp.128–9, fig.18.

Caricature by Max Beerbohm, whole-length, in grey frock-coat and blue cravat; untraced. Ref. Hart-Davis 1972, p.149, no.1677.

Brush and ink silhouette by Max Beerbohm, whole-length, back view; V&A, London, E.510-1939. Ref. Hart-Davis 1972, p.149, no.1678.

Two pencil and crayon drawings by Robert Ponsonby Staples:
(a) Ulster M., Belfast (no further details).
(b) Phillips, 23 Feb. 1997 (38) (no further details).

Watercolour drawing by Dion Clayton Calthrop, possibly in character, no further details; priv. coll.

Etching by unidentified artist, no further details; untraced. Photograph of etching, U. of Bristol Theatre Coll., TCP/C/000504.


Posthumous portraitsback to top


1918
Death mask by George James Frampton; see NPG 2392 and NPG 2392a.

publ. 1919
Caricature by Harry Furniss; see NPG 6251(62).

Pen and ink caricature by Harry Furniss, whole-length, full-face, enlarged head and tree-like body; untraced. Repr. Furniss 1919, p.217, captioned ‘A study of Tree in America’.

Pen and ink caricature by Harry Furniss, whole-length, in long coat and small top hat, as theatre manager; untraced. Repr. Furniss 1919, p.219.

Pen and ink caricature by Harry Furniss, whole-length standing, profile to left, hands before him; untraced. Repr. Furniss 1919, p.58.

Pen and ink caricature by Harry Furniss, whole-length, back view, hailing cab, with self-portrait of Furniss; untraced. Repr. Furniss 1919, p.211.

publ. 1920
Self-portrait caricature by Max Beerbohm, Genus Beerbohmiense, with Tree, both standing, profile to left, each with left hand on hip; untraced. Ref. Hart-Davis 1972, p.149, no.1679; repr. Beerbohm [1920], facing p.254; and Pearson 1956, facing p.82.

publ. 1925
Pen and ink and wash caricature by Harry Furniss, whole-length standing, to left, left hand on hip, right hand to head, looking out of window; untraced. Repr. Furniss 1925, facing p.54.


Photographs and filmback to top


c.1857
Photograph by unidentified photographer, three-quarter-length seated, to right. Wood engr. by Richard Taylor repr. Strand, vol.1, 1891, p.281, captioned ‘Age 5’.

c.1869
Photograph by London Stereoscopic & Photographic Co., head-and-shoulders, full-face, in roundel, looking down to left. Wood engr. by Richard Taylor repr. Strand, vol.1, 1891, p.281, captioned ‘Age 17’.

c.1870s
Photograph by unidentified photographer, half-length, head turned three-quarters to left, wearing striped necktie; Alamy E9BR3F.

publ. 1884
Photographs by Alexander Bassano, hair neatly parted at his right, wearing jacket with small collar with trim, five known poses:
(a) head-and-shoulders, almost profile to left. Repr. Beerbohm [1920], facing p.35, dated ‘about 1885’; and Bingham 1978, p.118. Wood engr. by Richard Taylor repr. Strand, vol.1, 1891, p.281, captioned ‘From a photo. by A. Bassano / age 20’.
Copies of this photograph have been variously catalogued: V&A, London, S.145:458-2007, inscr. ‘Walery’ but catalogued as by unidentified photographer; Garrick Club, London, Athole Stewart Album, no.68, as by unidentified photographer; and NPG Ax29398 and NPG x26935, as carbon prints by St James’s Photographic Co., publ. The Theatre, series 4, vol.4, 1 Aug. 1884, facing p.107, captioned with quote from The Private Secretary (but Tree is wearing private not clerical dress).
(b) head-and-shoulders, head three-quarters to left, gaze lowered; NPG x96373.
(c) almost three-quarter-length standing, to right, head facing, holding open book; NPG x96374.
(d) three-quarter-length seated, head on left hand, looking to left; NPG x96375.
(e) half-length standing, full-face, hands in pockets; NPG x85787. Repr. Pearson 1956, facing p.50.

c.1885
Photographs by London Stereoscopic & Photographic Co., hair almost centrally parted, wearing jacket with small collar, two known poses:
(a) bust, head turned and looking to left; prints colls V&A, London, S.145:472-2007; and NPG x27038 (albumen print, head-and-shoulders detail), stuck onto paper inscr. with date ‘1 Oct. / 85’, and a quote from play Dark Days, which opened Sept. 1885. (Tree is posed in private dress.)
(b) bust, head turned and looking further left than in (a); V&A, London, S.145:474-2007.

c.1887
Photographs by unidentified photographer, hair almost centrally parted, two known poses:
(a) head-and-shoulders, full-face. Bromide postcard, publ. Rotary Photographic Co. Ltd; print NPG x197680. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.
(b) head-and-shoulders, head three-quarters to right; colourized print Getty Images 463953107. Repr. Beerbohm [1920], facing p.208.

1889
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) three-quarter-length standing, facing, left hand on chairback. Wood engr. by Richard Taylor repr. Strand, vol.1, 1891, p.281, captioned ‘Age 36’.
(b) three-quarter-length standing, head turned to left, left hand on chairback; reg. for copyright 1889 Mar. 21: National Archives (COPY 1/395/354). Repr. ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand, vol.13, 1897, p.259; and in composite illustration, unidentified magazine, captioned ‘Some modern Hamlets’, cutting Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Bo200.21 ML Large Box.

c.1889
Photograph by Alfred Ellis, half-length standing, to left, head turned to face, in double-breasted frock coat; V&A, London, S.145:455-2007. Repr. ILN, 11 Apr. 1908, p.528, and 17 Apr. 1909, p.564 (both head-and-shoulders in oval); and Beerbohm [1920], facing p.228, captioned ‘about 1889’.

Bromide postcard; print NPG x160602.

Photogravure on Alfred Ellis & Walery mount; NPG x5601.

1880s
Photograph by Herbert Rose Barraud, three-quarter-length seated, full-face, hair brushed back (no parting), left arm over back of chair; prints colls NPG x76183; V&A, London, S.145:468-2007 (albumen cabinet cards); NPG SB (Tree) (half-length detail, publ. Direct Photo Engraving Co. Ltd); and Harvard Theatre Coll., Houghton L., Harvard U. (half-length detail). Ref. Hall 1930–34, vol.4, p.172, no.3.

Photograph by Hills & Saunders, three-quarter-length standing, right hand in pocket, facing slightly right; modern copy print of cabinet card NPG SB (Tree).

reg. 1891
Photograph by Walery, three-quarter-length, hat in right hand, coat and gloves in left hand; reg. for copyright 1891 Dec. 19: National Archives (COPY 1/406/565).

reg. 1893
Photograph by Hayman Seleg Mendelssohn, head-and-shoulders, full-face, right hand to head, reading; reg. for copyright 1893 Sept. 21: National Archives (COPY 1/413/1095), with nine further poses (not seen); cabinet card Billy Rose Theatre Division, New York PL, image ID TH-58902.

Max Beerbohm: ‘I never saw him read a newspaper; yet he appeared always to know just what was going on all the world round. He had read fewer books than any man I have ever known; yet I have known few men of letters who had a keener discernment of good writing’. [2]

publ. c.1894–1907
Photograph by unidentified photographer, half-length seated, to right, at desk, head turned to face. Cigarette card, publ. Ogden’s, Guinea Gold series; print NPG x136562. See NPG Portrait Set ‘Ogden’s “Guinea Gold” cigarette cards, published circa 1894–1907’

reg. 1895
Photograph by Thomas Charles Turner, full-face, no further details; reg. for copyright 1895 Jan. 18: National Archives (COPY 1/419/145).

1896
Photograph by unidentified photographer, whole-length, to right, wearing bowler hat, on horseback. Repr. Beerbohm [1920], facing p.110, captioned ‘1896’.

publ. 1899
Photograph by Langfier Ltd, three-quarter-length seated, to left, head turned to face, wearing patterned bow tie, left hand in pocket of loosely fitting coat; Getty Images 171186732. Repr. Tree 1899; in Max Beerbohm’s copy of that book (untraced; formerly Christie’s, 16 Nov. 2004 (315, ill.)), the photographic plates have added pen and ink graffiti, with Tree given extra hair and a huge moustache.

Postcards, publ. Rotary Photographic Co. Ltd; prints colls Garrick Club, London, David Allen Postcard Album, no.15; and Bridgeman Images LLE818126 (head-and-shoulders detail).

Photogravure by Wrench; prints colls V&A, London, S.1671-1986; and Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/24.

1890s
Photographs by Elliott & Fry, bust, to left, wearing patterned tie and coat with velvet collar, two known poses:
(a) full face, eyes looking to right; copies NPG x82575 (half-plate copy neg.); and Getty Images 171426760.
Colour-tinted postcard, publ. Dover Street Studios Ltd; print Russell-Cotes AGM, BORGM:2000.8.
(b) full-face, eyes lowered; prints colls Getty Images 526928500; and Billy Rose Theatre Division, New York PL, image ID TH-58910.

Photograph by unidentified photographer (?Alfred Ellis), bust, three-quarters to right, head turned to face.

Cigarette card, publ. Nicolas Sarony & Co., ‘Celebrities and Their Autographs’ series; print George Arents Coll., New York PL, image ID 1204198.

Photograph by Walery Ltd, bust, to right, head turned to left; V&A, London, S.145:457-2007.

Photograph by unidentified photographer (?Elliott & Fry), three-quarter-length seated, to right, head turned to face, desk in background. Postcard (no further details); print Garrick Club, London, Dorothy Burr Postcard Album, no.16.

Photograph by London Stereoscopic & Photographic Co., three-quarter-length standing, looking slightly to left, arms folded; prints colls Billy Rose Theatre Division, New York PL, image ID TH-58899 (cabinet card, with cropping marks); and Getty Images 3293475.

Photograph by unidentified photographer (?London Stereoscopic & Photographic Co.), three-quarter-length standing, in front of painted backdrop, right hand on hip; Getty Images 545693709.

Photograph by Rotary Photographic Co. Ltd, no further details. Postcard (no further details); print U. of Bristol Theatre Coll., TCP/C/000503.

Photograph by unidentified photographer, bust, three-quarters to left, no further details. Repr. Pearson 1956, facing p.51.

1901
Photograph by unidentified photographer, with theatre company, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/28/49.

reg. 1901
Photograph by Harold Palmer for Histed & Co., half-length, head turned three-quarters to right, wearing black bow tie, right hand resting on chairback; reg. 1901 July 8 (no further details). Ref. Hall 1930–34, vol.4, p.172, no.2.

Photogravure by Art Photogravure Co. Ltd, publ. Candid Friend, 20 July 1901, supplement; prints colls NPG x27036 and NPG x27037; and Harvard Theatre Coll., Houghton L., Harvard U.

1905
Photograph by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/1/6.

1907
Photograph by unidentified photographer, whole-length seated, in group of his company, Berlin, spring 1907. Repr. Bingham 1978, between pp.150–51, fig.15b.

publ. 1907–9
Photograph by Elliott &Fry, three-quarter-length seated, full face, wearing breeches, left arm around dog; albumen cabinet card NPG x127951. Repr. London 1907–9, p.74 (head-and-shoulders detail in oval).
See NPG Portrait Set ‘Elliott & Fry cabinet cards’.

1908
Photographs by Carl Vandyk, three known poses:
(a) head-and-shoulders, profile to left; prints colls City of Westminster Archive Centre, inscr. ‘1908’ (see Bridgeman Images CWA98172); and MEPL, London, 11075876. Repr. Beerbohm [1920], frontispiece; and Bradshaw 1958, facing p.46.
(b) half-length, to left, head turned to face. Postcard, publ. Rotary Photographic Co. Ltd; print Billy Rose Theatre Division, New York PL, image ID TH-58915.
(c) half-length, to left, head turned to face, wearing top hat, against foliage background. Repr. Beerbohm [1920], facing p.253, dated 1914; and Truman 1984, between pp.58–9.

Postcard, publ. Rotary Photographic Co. Ltd; print MEPL, London, 10923472.

Photograph by Vandyk, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/26.

c.1912
Photograph by unidentified photographer, three-quarter-length seated, to front, head turned to right, right hand on table. Repr. Pearson 1956, frontispiece.

publ. 1913
Photograph by unidentified photographer, three-quarter-length seated, to left, at desk, with Thomas Beecham. Repr. Tatler, 21 May 1913; see MEPL, London, 10271945.

1914
Newsreel film by Pathé Frères Cinema, Stone Age Village: Sir H. Beerbohm Tree Assists in the Hastings Pageant Festivities, 1 minute, released June 1914; BFI identifier 512214.

1915
Photograph by Bain News Service, whole-length standing, facing, on ship’s deck; glass neg. Bain Coll., Prints and Photographs Division, L. of Congress, Washington, DC, LC-B2- 3678-1 [P&P].

?1916
Photograph by Frank William Burford, possibly on American tour of 1916, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/017.

publ. 1917
Press photograph, head-and-shoulders, facing, with Iris Tree. Repr. Daily Sketch, 3 July 1917, cover, titled ‘Sudden Death of Sir Herbert Tree’ and captioned ‘on a recent visit to America’.

undated
Photograph by Moffett Studio, Chicago, half-length seated, to left, head turned three-quarters to face, hands clasped; Prints and Photographs Division, L. of Congress, Washington, DC, BIOG FILE – Tree, Herbert Beerbohm, Sir, 1853-1917 [item] [P&P].

Photographs by unidentified photographers, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/25, HBT/PH/4/2 and HBT/PH/4B/101–18.

Photograph by Daily Mirror, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/32.

Photograph by unidentified photographer, whole-length, back view, arm in arm with Max Beerbohm. Repr. Truman 1984, facing p.90.


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


Antony and Cleopatra (as ‘Mark Antony’)

publ. 1907
Pen and ink drawings by Ralph Cleaver, two whole-length poses, vignettes; untraced. Repr. Graphic, 5 Jan. 1907, p.5, full page illustration titled ‘Mr Beerbohm Tree’s new Shakespearean pageant “Antony and Cleopatra” at His Majesty’s Theatre’.

undated
Design for poster or flyer by unidentified artist, probably after a photograph by Frank William Burford, three-quarter length-standing, to left, helmet in left hand; untraced. For poster/flyer see Getty Images 171181099.

Photographs

c.1906–7
Photographs by Frank William Burford, six known poses:
(a) whole-length standing, slightly to left, wearing helmet, sword in right hand; Getty Images 3364941.
Postcard, publ. Rotary Photographic Co. Ltd; print Bridgeman Images LLE818124.
(b) whole-length standing, in front of throne, looking up to left, right hand on hip. Repr. ILN, 5 Jan. 1907, p.5.
Postcard, publ. Rotary Photographic Co. Ltd; print NPG x160599.
(c) half-length, looking slightly to left; Getty Images 545076459.
(d) whole-length seated, head in profile to right, with Constance Collier as Cleopatra; Getty Images 463954249. Repr. ILN, 19 Jan. 1907, p.98, fig.2.
(e) whole-length seated, to left, with the soothsayer. Repr. ILN, 19 Jan. 1907, p.98, fig.1.
(f) whole-length standing, to left, his arm around Cleopatra. Postcard, publ. Rotary Photographic Co. Ltd; see Shakespeare and the Players, Center for Digital Scholarship, Emory U., Atlanta, GA.

Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/007. Possibly a duplicate of one of poses (a)–(f) above.

Photograph by unidentified photographer (?Burford), whole-length lying, to right, head in profile; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Publ. Mander & Mitchenson 1957, p.136, fig.414.

Photograph by unidentified photographer (?Burford), whole-length, to left, leaning down, in drunken scene; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, facing p.15.

publ. 1907
Photograph by unidentified photographer, no further details. Repr. Play Pictorial, 1 Feb. 1907.

Tree also played Mark Antony in Julius Caesar in 1898 and in revivals; see below. In Julius Caesar he appeared clean shaven.

The Ballad-Monger (as ‘Gringoire’)

exh. 1890
Miniature by Janet Connell; untraced. Exh. RA 1890 (1487).

1894
Watercolour drawing by Raymond Potter, signed and dated, whole-length, on stage, arms extended, looking to left; untraced. Repr. ILN, 6 Oct. 1894, p.436, captioned ‘Theatricals before the Queen and Court in the Ball-Room at Balmoral: Mr Beerbohm Tree in “The Ballad-Monger”’.

exh. 1895
Portrait by Hermann Gustave Herkomer; untraced. Exh. SPP 1895 (136). This or another version also untraced exh. SPP 1909 (136), where described as ‘whole length holding up a drinking cup in right hand extended at length’.

c.1912
Oil on panel by Charles Buchel (Karl August Büchel), whole-length standing, to right, head turned to face, holding cup; U. of Bristol Theatre Coll., MM014.

exh. 1927
Marble statuette by William Kellock Brown; untraced. Exh. RA 1927 (1435). Possibly posthumous.

Photographs

1892 or earlier
Photograph by Herbert Rose Barraud, head-and-shoulders, looking up to left, wearing peaked hat; cabinet card, signed and dated 1892 by Tree, Garrick Club, London, H.B. Tree Photographs Box.

1895
Photographs by Napoleon Sarony, New York, two known poses:
(a) whole-length, head flung back and right arm extended. Repr. Whyte 1898, p.184.
(b) whole-length standing, to right, head to left, hands on belt. Repr. ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand, vol.13, 1897, p.262.

1897
Photographs by unidentified photographer, on American tour, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4A/1–19.

undated
Photograph by unidentified photographer (?Herbert Rose Barraud), three-quarter-length, almost full-face, wearing hat, hands on belt; Garrick Club, London, Athole Stewart Album, no.72.

Photograph by London Stereoscopic & Photographic Co., whole-length seated, to right, legs and arms splayed out. Repr. Beerbohm [1920], facing p.45.

Beethoven (as ‘Beethoven’)
The playwright Louis Napoleon Parker wrote: ‘Many doubted [Tree’s] physical fitness for the part; for Beethoven was a short, stocky, square-set little man, with dark eyes. I shall never forget our gasp of surprise when Tree made his first entrance at the dress-rehearsal: a short, stocky, square-set little man, with dark eyes.’ [3]

publ. 1909
Pen and ink caricature drawing by William Kerridge Haselden, whole-length seated, to right, right arm raised; untraced. Repr. Punch, 1 Dec. 1909, p.384.

publ. 1910
Design for flyer by Charles Buchel, whole-length standing, to right, arms behind back; untraced. For flyer see MEPL, London, 11111292.

undated
Painting by Charles Buchel, no further details; untraced; priv. coll. 1981. Ref. letter from W.A. Darlington to R. Hill, 12 Jan. 1970, NPG NoS (Tree).

Photographs

1909
Photograph by Frank William Burford, bust, almost full-face; priv. coll. Repr. Donaldson 1970, between pp.128–9, fig.24; and unidentified magazine, cutting NPG NoS (Tree).

Photograph by unidentified photographer, head-and-shoulders, three-quarters to left, with grey hair. Repr. ILN, 4 Dec. 1909, p.794; Pearson 1956, facing p.210; and Bingham 1978, between pp.150–51, fig.11d.

1910
Photograph by unidentified photographer, three-quarter-length seated, to left, head facing; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/20. Repr. Pearson 1950, between pp.22–3.

The Beloved Vagabond (as ‘Gaston de Nerac (Paragot)’)

publ. 1907
Chalk drawing by Samuel Begg, standing, three-quarters to right, holding fiddle and bow; untraced. Repr. ILN, 26 Oct. 1907, p.595, captioned ‘Mr. Tree’s conception of a much-discussed hero in fiction’.

undated
Oil painting by Charles Buchel, no further details; RADA. Ref. NPG NoC (RADA).

Photographs

publ. 1908
Photograph by Frank William Burford, half-length, three-quarters to right, in smock, smoking a pipe, against a painted landscape. Repr. ILN, 22 Feb. 1908, p.267, captioned ‘Mr. Tree’s latest romantic part … Vagabond’; and Le Théatre, Mar. 1910 (see Getty Images 89857188.

The best-known photograph of Tree as Paragot.

undated
Photographs by Frank William Burford, two known poses:
(a) three-quarter-length, to right, in smock, playing fiddle. Postcard, publ. Rotary Photographic Co. Ltd; print Billy Rose Theatre Division, New York PL, image ID TH-58909.
(b) half-length, almost full face, in Pierrot costume; Getty Images 3143023. Repr. Pearson 1950, facing p.14; and Bingham 1978, between pp.150–51, fig.11b.

These two Burford photographs may belong to the 1908 sitting also.

A Bunch of Violets (as ‘Sir Philip Marchant’)

publ. 1894
Watercolour drawing by Alexander Stuart Boyd, whole-length standing, to right, with six other figures; untraced. Repr. Graphic, 5 May 1894, p.516.

Photographs

1896
Gelatin silver prints by Byron Co., New York, three known poses, M. of the City of New York:
(a) whole-length standing, in front of desk, facing arms folded; 93.1.1.18666.
(b) whole-length, collapsed in chair at desk; 41.420.58.
(c) full-length, to left, head turned almost to face, in front of bookshelves; 41.420.59.

undated
Photograph by unidentified photographer, three-quarter-length standing, to right, arms folded, with Lily Hanbury; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.22–3.

Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4A/39–42.

Business is Business (as ‘Isidore Izard’)

1905
Pen and ink drawings by Ralph Cleaver, signed and dated, whole-length standing, facing, right arm raised; untraced. Repr. ILN, 20 May 1905, p.711, captioned ‘Mr. Tree’s Return to Modern Drama’.

undated
Drawing by Charles Buchel, whole-length standing, to right, legs wide apart, hands in trouser pockets; untraced. Repr. Beerbohm [1920], facing p.236.

Photographs

1905
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/2/3.

Called Back (as ‘Paolo Macari’)

publ. 1884
Pen and ink caricature by Alfred Bryan, whole length, to right, knife in right hand, cigar in left; untraced. Ref. Hall 1930–34, vol.4, p.172, no.6. Wood engr. by Swain repr. unidentified publication, May 1884; cutting Harvard Theatre Coll., Houghton L., Harvard U.

1890
Drawing by J.H. and J.W. Wilson, half-length, looking over right shoulder, based on photograph (reversed; see below, ‘Photographs, 1890’); untraced. Wood engr. by Paul Hermann Naumann repr. ILN, 27 Dec. 1890, pp.816–17, vignette no.5 in double spread, captioned ‘Christmas at the Theatres’.

Photographs

1890
Photograph by unidentified photographer, half-length, looking over left shoulder; V&A, London, S.145:460-2007. For drawing based on this photograph see item above.

publ. 1897
Photograph by London Stereoscopic & Photographic Co., half-length seated, face turned to left, holding folded note in two hands. Repr. ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand vol.13, 1897, p.260.

Captain Swift (as ‘Mr Wilding/Captain Swift’)

?1888
Pen and ink caricature by Alfred Bryan, whole-length, facing, in riding clothes; untraced. Repr. Illustrated Sporting and Dramatic News (no further details); and Beerbohm [1920], facing p.36.

Photographs

1888
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) whole-length standing, to right, looking to left, hands behind back; Garrick Club, London, Photo Album 1, no.23.
(b) half-length, looking to left, wearing bowler hat; V&A, London, S.145:467-2007.

1898
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4A/43–50.

The Charlatan (as ‘Philip Woodville’)

publ. 1894
Wash drawing by Amedée Forestier, whole-length, profile to right, advancing towards prostrate woman by fireplace; V&A, London, S.374-2011. Repr. ILN, 27 Jan. 1894, p.100.

Colonel Newcome (as ‘Colonel Newcome’)

1906
Design for poster by Charles Buchel, whole-length marching, profile to left, in uniform, holding feathered hat; untraced. Copy of poster V&A, London, S.2200-1995.

undated
Pen and ink caricature sketch by William Kerridge Haselden, whole-length standing, to left; untraced. Repr. Punch (no further details); and Beerbohm [1920], facing p.82.

Photographs

1906
Photographs by Frank William Burford, two known poses:
(a) whole-length standing, holding cigar and raising a glass. Repr. Pearson 1956, facing p.147.
Postcard, publ. Rotary Photographic Co. Ltd; print Billy Rose Theatre Division, New York PL, image ID TH-58912.
(b) whole-length, full face, holding feathered hat; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.22–3; and Bingham 1978, between pp.150–51, fig.10b (half-length detail).

1917
Photograph by unidentified photographer, New York, whole-length standing, to left, in uniform, receiving a kiss. Publ. Pearson 1956, facing p.162.

The Dancing Girl (as ‘Duke of Guisebury’)

publ. 1891
Drawing by Thomas Walter Wilson, whole-length, facing, standing at foot of staircase with two others; untraced. Engr. by Richard Taylor repr. ILN, 24 Jan. 1891, p.97, captioned ‘Scene from “The Dancing Girl” at the Haymarket Theatre’.

Wood engraving after unidentified photographer, whole-length seated, to right on fringed sofa, embracing dog. Repr. Graphic, 28 Feb. 1891, p.229, captioned ‘Scene from “The Dancing Girl” at the Haymarket Theatre – the Duke of Guisebury and his dog, Bully-Boy / From an instantaneous photograph taken by the flash light on the stage’.

Photographs

1891
Photographs by Herbert Rose Barraud, seated on padded bench with dog, two known poses:
(a) whole-length, facing dog, right hand raised; cabinet card Garrick Club, London, Photo Album 1, no.21.
(b) three-quarter-length, full-face, left hand on dog. Repr. Beerbohm [1920], facing p.45.

Photographs by London Stereoscopic & Photographic Co., three known poses:
(a) whole-length seated, to left, on striped sofa with dog facing camera; prints colls Billy Rose Theatre Division, New York PL, image ID TH-58903 (cabinet card); and V&A, London, S.145:471-2007.
(b) half-length, in naval costume, wearing cap, looking to left; V&A, London, S.145:454-2007.
(c) whole-length, to left, seated on rocks, in naval costume, smoking pipe; prints colls Getty Images 608850149; and Garrick Club, London, Photo Album 1, no.22 (cabinet card; here pose reversed, and ascribed to Barraud). Repr. ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand, vol.13, 1897, p.261.

Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4A/20–24.

publ. 1909
Photograph by unidentified photographer, to right, standing on staircase with one other. Repr. ILN, 27 Feb. 1909, p.306.

Dark Days (as ‘Sir Mervyn Ferrand’)

Photographs

1885
Photograph by London Stereoscopic & Photographic Co., three-quarter-length standing, in fur-trimmed coat, holding monocle to left eye; V&A, London, S.145:463-2007.

The Darling of the Gods (as ‘Zakkuri’)

c.1903
Charcoal drawing by Charles Buchel, probably design for poster, no further details; V&A, London, E.125-1948.

Photographs

c.1903
Photograph by Frank William Burford, head-and-shoulders, almost bald, right eye half closed. Repr. Beerbohm [1920], facing p.236.

Photograph by unidentified photographer, whole-length, seated on ground, wearing kimono and holding chopsticks, set scene. Repr. Bingham 1978, between pp.150–51, fig.14a.

undated
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/6–9.

David Copperfield (as ‘Wilkins Micawber’)

Photographs

1914
Photographs by Daily Mirror, two known poses:
(a) whole-length, standing in doorway, doffing hat; Getty Images 3304465.
(b) whole-length, wearing hat and raising ?eyeglass. Repr. Beerbohm [1920], facing p.236.

publ. 1917
Photograph by unidentified photographer, whole-length standing, to left, head to face, left hand on hip. Repr. Daily Sketch, 3 July 1917, front page.

Drake (as ‘Sir Francis Drake’)

publ. 1914
Caricature by Norman Morrow, whole-length standing, profile to left; untraced. Repr. Bystander, 26 Aug. 1914, p.464; see MEPL, London, 10640467.

Photographs

1913
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/25/16–34.

publ. 1917
Photograph by Frank William Burford, head slightly to left. Repr. Daily Sketch, 3 July 1917, front page.

An Enemy of the People (as ‘Dr Thomas Stockmann’)

Photographs

1895
Photograph by Byron Co., New York, whole-length, facing, seated on chair, arms crossed; gelatin silver print M. of the City of New York, 58.77.135.

The Eternal City (as ‘Baron Bonelli’)
Opened at His Majesty’s Theatre Oct. 1902.

publ. 1902
Watercolour drawing by Henry Marriott Paget, whole-length standing, to left, in dress uniform, arms outstretched; untraced. Repr. Graphic, 11 Oct. 1902, p.471, captioned ‘“The Eternal City”: Mr Hall Caine’s new play at the Haymarket’.

Photographs

1902
Photograph by unidentified photographer, three-quarter-length, looking slightly to left; Billy Rose Theatre Division, New York PL, image ID TH-58905.

False Gods (as ‘The High Priest’)

Photographs

c.1909–10
Photograph by unidentified photographer, whole-length, standing in front of Egyptian pillar, arms outstretched; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.14–15.

Faust (as ‘Mephistopheles’)

c.1908
Watercolour drawing by Dion Clayton Calthrop, whole-length standing, looking to left, in hooded cape and feathered cap, right arm pointing to left; priv. coll.

Watercolour drawing by Charles Buchel, whole-length airborne, pointing to left, holding young Faust; untraced; formerly coll. Tree.
Postcard, no further details; print Getty Images 171095521.

Photographs

publ. 1908
Photograph by Frank William Burford, whole-length, advancing to left, dressed in scaly costume with bat-winged helmet. Repr. ILN, 12 Sept. 1908, p.353, captioned ‘A Miltonic Mephistopheles: Mr Tree’s Impersonation of the Evil Principle in the new production of “Faust” at His Majesty’s’.

Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/010.

c.1908
Photograph by unidentified photographer, whole-length standing, facing, arms folded, dressed in scaly costume and helmet; Getty Images 2635700.

1909
Photographs by Dover Street Studios, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/26 and HBT/PH/4/1/29.

The Glass of Fashion (as ‘Prince Borowski’)

publ. 1883
Pen and ink drawing by unidentified artist, whole-length standing, left arm outstretched; untraced. Repr. as wood engr. Graphic, 22 Dec. 1883, p.613, vignette on double-page spread captioned ‘Plays at Some of the London Theatres’.

See also Brough, Forbes-Robertson, Toole.

The Gordian Knot (as ‘Roger Martens’)

publ. 1903
Watercolour drawing by Ralph Cleaver, whole-length seated, profile to right, hands clasped; untraced. Repr. ILN, 30 May 1903, p.833.

Hamlet (as ‘Hamlet’)

publ. 1891
Pen and ink caricature by Alfred Bryan, whole-length, arms folded, shoulder to shoulder with Henry Irving; untraced. Repr. Entr’Acte, 26 Sept. 1891, captioned ‘Two Hamlets in the Field. / Mr Beerbohm Tree: “I don’t see why he should have it all his own way”’.

1892
Drawing by Thomas Walter Wilson, signed and dated, half-length, to left, head turned to right, left hand on skull, part of composite multi-figure group; untraced. Engr. by Richard Taylor repr. ILN, 28 Jan. 1893, pp.116–17, captioned ‘The Dramatic Profession of To-Day’, Tree no.13 on key (p.118).

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

Two drawings by Frederick Henry Townsend:
(a) brush and ink, signed and dated, whole-length, to right, stretched on tiger skin on steps; Folger Shakespeare L., Washington, DC, digital image 36622.
(b) gouache, signed and dated, whole-length standing, to right, with Arthur Dacre as Horatio and George Edward Barrett as gravedigger; Folger Shakespeare L., Washington, DC, digital image 36621.

Pen and ink drawing by John Jellicoe and Herbert Railton, dated 1892 on reverse, whole-length standing, to left, with James Fernandez as the Ghost; Folger Shakespeare L., Washington, DC, digital image 36141.

Pastel drawing by Ethel Webling, signed and dated, half-length, head slightly to left; Garrick Club, London, G0819. Ref. Ashton 1997, p.432, no.819.

A large number of pen, ink and wash sketches by Ethel Webling, of which only six poses known:
(a)–(c) three whole-lengths, with Ophelia; untraced. Repr. Beerbohm [1920], facing p.74.
(d)–(f) three half-lengths, respective poses right hand to throat, right hand raised, hands clasped; all untraced. Repr. Beerbohm [1920], facing p.78.

Maud Tree’s recollection of Webling and Hamlet: ‘There was a girl, Ethel Webling, who came every single night of the more than a hundred nights to draw him while he was acting. She stood in the wings, one side or another, with the result that there grew a wonderful book, the text, as Herbert gave it, annotated by pen-and-ink sketches … We did not possess the original one that Miss Webling made … but one she copied from it for us, with, I think, rather fewer of her marvellous drawings in it.’ [4]

Miniature by Ethel Webling, head-and-shoulders, looking to left, in roundel; Russell-Cotes AGM, 272.31.40. Exh. RA 1892 (1327).

publ. 1892
Drawing by Henry Marriott Paget, whole-length standing, right arm outstretched, with Ophelia; untraced. Repr. as wood engr. Graphic, 30 Jan. 1892, p.140.

Watercolour drawing by Amedée Forestier, whole-length, profile to right, with Polonius, court scene; untraced. Wood engr. by Richard Taylor repr. ILN, 30 Jan. 1892, p.136.

1899
Oil painting by Charles Buchel, signed and dated 1899, whole-length, standing in graveyard, holding skull, pose loosely based on photograph by W. & D. Downey (see below, ‘Photographs, 1892’, pose (b)); RADA.

undated
Watercolour drawing by Augustus Toedteberg, head-and-shoulders, head three-quarters to right; Folger Shakespeare L., Washington, DC, digital image 36617.

Pen and ink caricature by Alfred Bryan, whole-length standing, three-quarters to left; untraced. Repr. Illustrated Sporting and Dramatic News (no further details); and Beerbohm [1920], facing p.36.

Photographs

?1891
Photograph by W. & D. Downey, three-quarter-length standing, to left, full face, looking over shoulder to left, hands clasped on sword hilt; cabinet card, Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Tr150.2 S Small Box. Carbon print publ. Downey & Downey 1890–94, 3rd series, 1892; copies colls NPG Ax15996 and NPG x134588; V&A, London, S.145:470-2007, inscr. and dated 1891; and BM, London, 1910,1126.192.

See NPG Portrait Set ‘The Cabinet Portrait Gallery: photographs by W. & D. Downey, published 1890–94’.

Tree played Hamlet for the first time in Sept. 1891, at the Theatre Royal Manchester.

1892
Photographs by W. & D. Downey, wearing hat and cloak, ?two known poses:
(a) three-quarter-length standing, head to left, looking down to left, arms dropped; cabinet card, inscr. and dated 21 Jan. 1892, Garrick Club, London, PH0104.
(b) three-quarter-length standing, head to left, looking up, holding skull in both hands; albumen cabinet card NPG x12557 (head-and-shoulders detail). Repr. Pall Mall Budget, 28 Jan. 1892; Graphic, 6 Feb. 1892, p.181; Lawrence [c. 1900], pt.3, facing p.22 (colour illustration on landscape background; see MEPL 10088940); and Beerbohm [1920], facing p.154.

See NPG Portrait Set: ‘W. & D. Downey cabinet cards, 1872–1902’.

Photogravure, no further details; prints colls Bridgeman Images UIG526497; and V&A, London, S.69-2009 (processed print).

A small directional variation of the eyes suggests (b) may actually comprise two poses.

One of the best-known images of Tree in character.

reg. 1895
Photograph by Thomas Charles Turner, three-quarter-length, sitting sideways, head resting on hand; reg. for copyright 1895 Jan. 18: National Archives (COPY 1/419/134).

1895 or after
Photographs by Napoleon Sarony, New York, wearing hat and cloak, standing against painted backdrop, four known poses:
(a) whole-length, to right, full face, looking up, with skull in left hand; prints colls M. of the City of New York, 39.240.60 (gelatin silver print); Billy Rose Theatre Division, New York PL, image ID TH-18224 (cabinet card); and Folger Shakespeare L., Washington, DC, digital image 1638 (cabinet card).
Postcard, no further details; print Garrick Club, London, Dorothy Burr Postcard Album, no.15. See also Wikimedia Commons.
(b) whole-length, to right, no hat or cloak, holding book; cabinet card Furness Theatrical Image Coll., U. of Pennsylvania, Furness P/Tr150.1 S Small Box.
(c) three-quarter-length, to left, head to right, right hand to neck. Postcard, no further details; print Billy Rose Theatre Division, New York PL, image ID TH-18223.
(d) three-quarter-length standing, to right, left arm resting on chair back; The History of Theatre According to Dr Jack.

1905
Photographs by unidentified photographers, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/28/1–25 and HBT/PH/4/1/18.

The Happy Island (unidentified role)

Photographs

1913
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/3/2.

Helena in Troas (as ‘Paris’)

publ. 1886
Pen and ink drawing by Bernard Partridge, whole-length standing, to right, left arm outstretched, vignette; untraced. Repr. ILN, 29 May 1886, p.566, captioned ‘Sketches of the Greek play “Helena in Troas” at Hengler’s Cirque, Argyll Street’.

Henry IV, Part 1 (as ‘Falstaff’)
Images of Tree as Falstaff in Henry IV, Part 1 and The Merry Wives of Windsor are sometimes confused in reproduction. The majority are of the buffoonish Falstaff in Merry Wives rather than in Henry IV.

1896
Caricature by C. Harrison, signed and dated, whole-length standing, to left, right arm raised, ‘X-ray’-style figure; untraced. Repr. Punch 20 June 1896, p.289, captioned ‘A Falstaffian Tree in the Haymarket as seen by Röntgen Rays’.

1896
Pen and ink drawing by Frederick Pegram, signed and dated 1896, two whole-lengths in composite image, with shield and sword, vignettes; untraced. Repr. ILN, 16 May 1896, p.617; seeV&A, London, S.144-2010, where described as ‘depicting various scenes from Henry IV Part One at the Haymarket Theatre’.

See Brough, Waller.

?1896
Pen and ink illustrations by unidentified artist of the Borough Theatre, Stratford, London, including image of Tree as Falstaff, whole-length to left; V&A, London, S.1177-2014.

Pen and ink drawing by John Jellicoe, three whole-lengths, full face, vignettes, with Lewis Waller; Folger Shakespeare L., Washington, DC, digital image 36144.

Photographs

reg. 1896
Cabinet card by Alexander Corbett for Alfred Ellis, with Lionel Brough, reg. for copyright 1896 July 6: National Archives (COPY 1/425/615).

publ. 1914
Photograph by unidentified photographer, whole-length standing, to right, eyes to left, right hand resting on stick. Repr. Illustrated Sporting and Dramatic News, 21 Nov. 1914, p.331, headed ‘The Revival of “King Henry IV.” (Part I.) at His Majesty’s Theatre’.

Henry VIII (as ‘Cardinal Wolsey’)

1910
Oil on canvas by Clare Atwood, signed and dated, whole-length, standing on stage, rehearsing; V&A, London, S.100-1986. Repr. Ashton 1992, p.95, no.64.

Oil on canvas by Charles Buchel, whole-length, head turned and looking to left, holding scroll in left hand; U. of Bristol Theatre Coll., MM 327.

publ. 1910
Caricature drawing by Will Dyson (‘Emu’), whole-length, looking over right shoulder, right hand on hip, holding apple in left hand; untraced. Repr. as chromolithograph World, 13 Sept. 1910; see Alamy B3KYFH.

publ. c.1910
Coloured woodblock print by J. Ross, enlarged head, full face, holding scroll; NPG D6660. See NPG Portrait Set ‘MacDonnell Collection’.

1914
Oil on canvas, 1130 x 1510mm, by (John) Byam Liston Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, Tree whole length to left, centre foreground, 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 Center for British Art, New Haven, CT, 2013 (55, ill. with key [no.42 on key]). Repr. Sketch, 6 May 1914, p.133.
The full-size act drop was destroyed.

See also Alexander, Alma-Tadema, Anderson, M. Bancroft, S. Bancroft, Campbell, Farren, Forbes-Robertson, Hare, Irving, Leighton, Leno, Millais, Terry, Waller, Watts, Whistler, Wyndham.

undated
Watercolour by unidentified artist, no further details; Dominic Winter Auctioneers, Cirencester, 5 Apr. 2017 (456); formerly coll. B. Manvell.

Photographs and film

1910
Photograph by Frank William Burford, whole-length, to left, with raised right hand. Repr. Bingham 1978, between pp.150–51, fig.13a.

Postcard, publ. Rotary Photographic Co. Ltd; see Wikipedia.

Photograph by unidentified photographer, half-length, full-face, eyes to right, wearing broad galero hat; Alamy FF9MK7.

Photographs by Daily Mirror; postcards, publ. J. Beagles & Co., four known poses:
(a) half-length seated, full-face, head resting on right hand; print Getty Images 3304770.
(b) whole-length, seated, three-quarters to left, holding apple; prints colls Garrick Club, London, Photograph Box B; and Shakespeare & the Players, Center for Digital Scholarship, Emory U., Atlanta, GA.
(c) three-quarter-length seated, head profile to right, with Arthur Bourchier as Henry VIII and Violet Vanbrugh as Queen Katherine; prints colls Mander & Mitchenson Theatre Coll., U. of Bristol (no further details); and Shakespeare & the Players, Center for Digital Scholarship, Emory U., Atlanta, GA. Repr. Pearson 1950, facing p.15.
(d) whole-length standing, to left, looking to right, hand kissed by courtier; prints colls Mander & Mitchenson Theatre Coll., U. of Bristol (no further details); and NT, Smallhythe Place, Kent, NT 1122238. Repr. Pearson 1950, between pp.22–3.

Photographs by unidentified photographer, five stage set scenes; MEPL, London, 10410732, 10410733, 10410734, 10410735 and 10410737.

1911
Film by Barker Motion Photography, 33 minutes, directed by Louis N. Parker, released 1911; BFI identifier 191275.

publ. 1911
Photograph by Frank William Burford, no further details. Repr. Playgoer & Society Illustrated, issue 12, 1911; cutting Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/35.

1914
Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/015.

Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/14–17.

1916
Photographs by unidentified photographer, New York production, stage set scenes, two known poses:
(a) whole-length standing, to left, at right of stage, at trial of Queen Katharine. Repr. Pearson 1956, facing p.211.
(b) half-length, at centre of stage, raising glass, banquet scene. Repr. Pearson 1956, facing p.226.

Herod (as ‘Herod’)

1901
Charcoal, ink and watercolour sketch by J.B. Booth, no further details; U. of Bristol Theatre Coll., GW/AC/527.

publ. 1901
Watercolour caricature by George Roland Halkett, whole-length, full-face, seated on throne; untraced. Repr. Pall Mall Magazine, vol.23, 1901, p.109.

exh. 1902
Oil painting by Charles Buchel, no further details. Exh. RA 1902 (75).

Photographs

1900
Photographs by Langfier Ltd, two known poses:
(a) three-quarter-length seated, to right, looking to left; cabinet card NPG x36210.
(b) whole-length standing, facing, left foot forward, fists clenched. Repr. ILN, 17 Nov. 1900, p.718; for a reproduction of hand-coloured print of this pose see V&A, London, S.3121-2009 (cutting from unknown publication).

c.1900
Photograph by unidentified photographer, head-and-shoulders, three-quarters to right, staring fiercely. Publ. Bingham 1978, between pp.118–19, fig.7.

1901
Photograph by Langfier, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/34.

Photograph by Daily Mirror, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/31.

Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/11(2)/1–2, HBT/PH/11(2)/5–22.

undated
Photograph by Langfier, no further details; NT, Smallhythe Place, Kent, NT 1119397.1.

Hypatia (as ‘Issachar’)

1893
Pen and ink drawing by Bernard Partridge, signed and dated 21 Jan. 1893, whole-length, to left, motioning to right, with Lewis Waller as Orestes; V&A, London, S.3765-2013. Repr. Punch, 21 Jan. 1893, p.28, captioned ‘The Tip for the Alexandra Park Meeting’.

publ. 1893
Drawing by Amedée Forestier, whole-length, profile to left, with Lewis Waller and Julia Emilie Neilson; untraced. Repr. as engr. ILN, 7 Jan. 1893, p.5.

Photographs

reg. 1893
Photographs by Alfred Ellis, two poses reg. for copyright 1893 Feb. 11:
(a) whole-length, profile to right, stepping to right, pointing to left, with Lewis Waller and Julia Neilson: National Archives (COPY 1/411/207); prints colls Garrick Club, London, PH0137 (cabinet card); and Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Publ. Mander & Mitchenson 1957, p.127, fig.378.
(b) whole-length, facing, pointing with right hand, with Waller and Neilson: National Archives (COPY 1/411/20). Carbon print publ. The Theatre, series 4, vol.21, Mar. 1893, facing p.136; copies NPG Ax28851 and NPG x9396. For detail with Tree and Neilson only, see V&A, London, S.145:469-2007.

Jim the Penman (as ‘Baron Hartfeld’)

Self-portraits

1886
Pen and ink sketch, signed and dated, head-and-shoulders, looking to left, with moustache and forked beard; untraced. Repr. Strand, vol.38, Dec. 1909, p.690.

John-A-Dreams (as ‘Harold Wynn’)
Opened at Haymarket Theatre Nov. 1894.

1894
Watercolour drawing by Ray Potter, whole-length, lying on couch, to left, with Mrs Patrick Campbell standing at left; untraced. Repr. ILN, 17 Nov. 1894, p.612; see Bridgeman Images LIP1107802.

undated
Pen and ink caricature by Alfred Bryan, whole-length standing, to left, grimacing; untraced. Publ. Illustrated Sporting and Dramatic News (no further details); and Beerbohm [1920], facing p.100.

Photographs

reg. 1894
Photographs by Thomas Charles Turner, ten poses reg. for copyright 1894 Nov. 23, many with Mrs Patrick Campbell, including half-length, full-face, arms crossed: National Archives (COPY 1/418/542).

Postcard, publ. Rotary Photo Co.; print Mander and Mitchenson Coll., U. of Bristol (no further details); repr. Peters 1984, between pp.150–51.

Joseph and his Brethren (as ‘Jacob’)

Photographs

1913
Photograph by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/5.

c.1913
Photograph by unidentified photographer, half-length, full-face, long hair and beard. Postcard, publ. Rotary Photographic Co. Ltd; print Getty Images 613490614.


Julius Caesar (as ‘Mark Antony’)
The critic Desmond MacCarthy wrote: ‘His Othello, Antony (in Antony and Cleopatra), Shylock are forgotten, and best forgotten … his Antony in Julius Caesar a performance of the highest excellence.’ [5]

1898
Pen and ink drawing by John Jellicoe and Herbert Railton, whole-length, standing on steps, facing, in toga, in crowd scene; Folger Shakespeare L., Washington, DC, digital image 36142.

1900
Pencil drawing by Balliol Salmon, signed and dated, whole-length, standing over Caesar’s body; untraced. Repr. ILN, 15 Sept. 1900, p.378, captioned ‘The Revival of “Julius Caesar” at Her Majesty’s Theatre’.

1914
Oil on canvas by Charles Buchel, three-quarter-length, standing over Caesar’s body, head turned to left; V&A, London, S.216-1987. Repr. Ashton 1992, p.107, no.72.

undated
Oil painting by unidentified artist, no further details; U. of Bristol Theatre Coll., TCP/C/000508.

Photographs

1898
Photograph by unidentified photographer, whole-length, standing on rostrum, right arm raised; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Publ. Mander & Mitchenson 1957, p.127, fig.380.

Photograph by unidentified photographer, half-length, to left, standing over Caesar’s body, on stage. Repr. Pearson 1956, facing p.114.

1911
Photograph by unidentified photographer, half-length, looking to right, in front of emperor’s body, in forum scene at special Coronation Gala performance at His Majesty’s Theatre; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.74–5.

Tree also played Mark Antony in Antony and Cleopatra, in 1907; see above. In Antony and Cleopatra he appeared bearded.

Katherine and Petruchio (as ‘Petruchio’)

Photographs

1897
Photograph by Langfier, Glasgow, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/1.

Photograph by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/28.

King John (as ‘King John’)

publ. 1899
Watercolour drawing by Hal Hurst, whole-length, seated on throne, profile to left; untraced. Repr. ILN, 30 Sept. 1899, p.460, captioned ‘“King John” at Her Majesty’s Theatre’.

?1899
Watercolour drawing signed ‘O.P.’, whole-length, standing in woodland scene, with Kate Josephine Bateman (Kate Crowe) and two others; Folger Shakespeare L., Washington, DC, digital image 34785.

1900
Oil on canvas by Charles Buchel, signed and dated, whole-length, seated on throne, head resting on his left hand, looking anxiously to left, in regalia; V&A, London, S.332-1989. For reproductive image see Getty Images 3367369. Repr. Ashton 1992, p.82, no.56.

Buchel’s only life-size painting of Tree. For another image in regalia, also posed on a throne, see photograph below by Biograph Studio, ‘Photographs, 1899’.

undated
Watercolour drawing by L.J. Binns, whole-length, seated on throne; Billy Rose Theatre Division, New York PL, image ID 1628889.

Pen and ink caricature by unidentified artist, whole-length, to right, brandishing giant cutlass; untraced. Repr. Pall Mall Budget (no further details); and Beerbohm [1920], facing p.42.

Photographs and film

1899
Film by British Mutoscope and Biograph Co., 5 minutes, directed by William Dickson and Walter Pfeffer Dando, released 1899; BFI identifier 402841; see YouTube (76-second excerpt). Comprising three brief sections from the play, it was the first Shakespeare play to be filmed.

Stills from above film, six known poses:
(a) whole-length, seated on throne, facing; seen on Wikipedia Nov. 2016.
(b) whole-length, arms flung up, being lifted off throne; BFI Special Colls, bfi-00m-yrf.
(c) similar to (a), Dora Senior (Prince Henry) in different pose; seen on Wikipedia Nov. 2016.
(d) similar to (a), feet in different pose.
(e) whole-length, seated on throne, dead, head with head rolled back, Prince Henry being crowned.
(f) whole-length standing to left in woodland scene, with Franklyn McLeay (Hubert de Burgh). Poses (d), (e) and (f) repr. Sketch, 27 Sept. 1899; and see Wikipedia.

Photograph by Biograph Studio, whole-length, seated on throne, full-face, looking to right, in regalia, gripping sceptre. Postcard, no further details; print Billy Rose Theatre Division, New York PL, image ID TH-58914.

Another postcard, half-length detail; print Garrick Club, London, Dorothy Burr Postcard Album, no.3.

Photograph by unidentified photographer, whole-length, seated on throne, facing, the Newstead Abbey scene; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Publ. Mander & Mitchenson 1957, p.127, fig.381.

Photograph by unidentified photographer, whole-length, standing under tree, the Magna Carta scene; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.14–15.

The Last of the Dandies (as ‘Count d’Orsay’)

1895
Pen and ink caricature by Max Beerbohm, whole-length, head in profile facing left, wearing top hat, stick in left hand; priv. coll.; Christie’s, 12 Jan. 1994 (160, ill.); see Bridgeman Images STC135729. Ref. Hart-Davis 1972, p.149, no.1671; repr. Beerbohm 1896 (no further details); and Cecil 1964, facing p.9.

1901
Design for poster by Charles Buchel, signed and dated, whole-length standing, three-quarters to left, left hand on hip, stick in right hand; untraced. For poster see cutting from unidentified publication, NPG SB (Tree); repr. Beerbohm [1920], facing p.212.

publ. 1901
Drawing by Amedée Forestier, whole-length, standing at gaming table, head to right, wearing top hat; untraced. Repr. ILN, 2 Nov. 1901, p.655.

1904
Pen and ink and watercolour drawing by J.H. Pizer, signed and dated 6 Aug. 1904, whole-length standing, three-quarters to left, left hand on hip, stick in right hand (close to 1901 design by Buchel above); V&A, London, S.763-2014.

Macbeth (as ‘Macbeth’)

1904
Oil painting by Charles Buchel, whole-length, head turned to left; V&A, London, S.217-1987. Repr. Ashton 1992, p.109, no.73.

1905
Oil painting by Charles Buchel, dated 1905, head-and-shoulders, facing; untraced; formerly RADA.

publ. 1911
Chalk drawing by S.E. Scott, whole-length, crouched on stairs, to right, with drawn sword; untraced. Repr. ILN, 9 Sept. 1911, p.419, headed ‘I have no words, my voice is my sword’.

Photographs and film

1911
Photograph by Daily Mirror, whole-length standing, to right, wearing winged helmet, left hand on column; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.14–15.
Postcard, publ. Beagles & Co.; prints colls Getty Images 3068774; and MEPL, London, 10088742.

Photograph by unidentified photographer, three-quarter-length seated, head resting on right hand, looking to right, wearing crown; priv. coll.; see Getty Images 3253367. Repr. Donaldson 1970, between pp.128–9, fig.22.

Photograph by unidentified photographer, whole-length, head resting on right hand, seated on stage with Lady Macbeth. Repr. Bingham 1978, between pp.150–151, fig.12a.

1912
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/10–13.

1916
Photograph by Floyd, New York, nearly three-quarter-length, to right, head to left, hand on sword hilt; Alamy FFA7XW. Repr. Beerbohm [1920], facing p.212. Photographed during a performance at the New Amsterdam Theatre, New York, in aid of the British Red Cross Fund, 24 Apr. 1916.

Film by D.W. Griffith, 80 minutes, directed by John Emerson, released 4 June 1916; BFI identifier 223082.

Stills from above film, four known poses:
(a) whole-length standing, with Constance Collier as Lady Macbeth and three pages. Repr. Moving Picture World, 24 June 1916, p.2258; see Wikimedia Commons.
(b) half-length standing, to left, Duncan lying at left. Repr. Moving Picture World, 24 June 1916, p.2258; see Wikimedia Commons.
(c) whole-length seated, head on hand, with Lady Macbeth; see IMDb.
(d) three-quarter-length, standing to left; Alamy FFA0GM.

Further film stills in Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/3/3/1–24.
Tree in 1916: ‘Acting to the lens requires a peculiar temperament, and demands much more “natural” method than that of the stage … I confess I have not outlived my preference for the spoken drama.’ [6]

undated
Photograph by unidentified photographer, half-length standing, wearing crown; loose print NPG SB (Tree). Perhaps from 1911 play or 1916 film.

The Man who Was (as ‘Austin Limmason’)

1906
Design for poster by Charles Buchel, whole-length standing, three-quarters to right, in ragged clothes, arms extended; untraced. Poster, printed by Miles & Co. Ltd; copy V&A, London, S.1196-1995.

Photographs

1903
Photograph by Frank William Burford, whole-length, advancing to right, almost profile; set scene. Repr. Pearson 1956, facing p.131; and Bingham 1978, between pp.150–51, fig.11a (detail of head).

Photographs by Dover Street Studios, 1903, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/16 and HBT/PH/2/9.

?1903
Photographs by Dover Street Studios, three known poses:
(a) whole-length standing, right hand raised. Postcard, no further details; print Billy Rose Theatre Division, New York PL, image ID TH-58916.
(b) whole length standing, full-face, close to pose (a). Repr. ILN, 13 Apr. 1907, p.559.
(c) half-length, full-face, right hand visible. Repr. ILN, 30 Mar. 1907, p.491 (head-and-shoulders detail), in article on performance in Berlin; and Beerbohm [1920], facing p.236.

Poses (b) and (c), used to illustrate an ILN article on Tree performing in Berlin in 1907, were not taken in Berlin but belong to his earliest appearance in the play in 1903.

A Man’s Shadow (as ‘Lucien Laroque’/‘Luversan’)

publ. 1889
Drawing by Henry Gillard Glindoni, as Lucien Laroque, whole-length, seated at table, head on hand; untraced. Repr. as wood engr. Graphic, 5 Oct. 1889, p.408.

undated
Pen and ink caricature silhouette by Alfred Bryan, whole-length, with double profile of Laroque and Luversan; untraced. Drawn for unidentified publication, no further details; repr. Beerbohm [1920], facing p.42.

Photographs

1889
Photographs by Herbert Rose Barraud, as Lucien Laroque, three known poses:
(a) three-quarter-length standing, to left, pointing with left hand; cabinet card Garrick Club, London, Photo Album 1, no.33.
(b) half-length, to right, head turned to face, arms behind back; V&A, London, S.145:465-2007.
(c) whole-length, standing to right, left hand on heart; cabinet cards colls V&A, London, S.4002-2015; and Garrick Club, London, Photo Album 1, no.27.

undated
Photograph by unidentified photographer (?Barraud), as villain Luversan, whole-length standing, to right, in smock and cap, hands in pockets, smoking; prints Garrick Club, London, Photo Album 1, no.32, and Athole Stewart Album, no.71.

Photograph by unidentified photographer, ?as Laroque, three-quarter-length standing, looking to left; Garrick Club, London, Photo Album 1, no.31.

The Merchant of Venice (as ‘Shylock’)

c.1907–8
Ink and gouache drawing on card by Charles Buchel, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/D/000002/11.

1908
Oil painting by Charles Buchel, dated 1908, whole-length, to right, leaning on stick; untraced; formerly RADA.

publ. 1908
Watercolour drawing by Cyrus Cuneo, whole-length, advancing to right, arms raised; untraced. Repr. ILN, 11 Apr. 1908, p.529, captioned ‘Mr Beerbohm Tree’s latest success: “The Merchant of Venice”’.

1914
Oil painting by Charles Buchel, whole-length standing, three-quarters to left; V&A, London, S.219:1987.

Photographs

1905
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/3–4.

c.1907–8
Photographs by Frank William Burford, half-length seated, two known poses:
(a) head three-quarters to left; prints colls Garrick Club, London (framed photo, inscr. with date 1908); and V&A, London, S.3154-2010 (oval print). Repr. Beerbohm [1920], facing p.212; and Pearson 1950, facing p.14.
(b) head three-quarters to left, resting on right hand. Postcard, publ. Rotary Photographic Co. Ltd; print Billy Rose Theatre Division, New York PL, image ID TH-58913.

Photographs by Frank William Burford, no further details; glass plate negs Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/008–009.

Photograph by unidentified photographer (?Burford), whole-length standing, to left, both hands resting on stick; priv. coll.; see Getty Images 171094905. Repr. Donaldson 1970, between pp.128–9, fig.28.

1916
Photograph by White Studio, New York, three-quarter-length standing, to right, head and arm flung back; gelatin silver print M. of the City of New York, 44.367.101.

The Merry Wives of Windsor (as ‘Falstaff’)
Images of Tree as Falstaff in The Merry Wives of Windsor and Henry IV, Part 1 are sometimes confused in reproduction. The majority are of the buffoonish Falstaff in Merry Wives rather than in Henry IV.

Desmond MacCarthy: ‘He had not the animal vigour which is necessary to great excellence in violent tragedy or in robust comedy. He could make himself look like Falstaff; he understood and revelled in the character of Falstaff, but his performance lacked fundamental force.’ [7]

1889
Pen and ink drawings by John Jellicoe, signed and dated 23 Feb. 1889, two whole-lengths, facing, vignettes; Folger Shakespeare L., Washington, DC, digital image 36155.

1902
Watercolour drawing by Charles Buchel, signed and dated, whole-length standing, to left, with Ellen Terry as Mistress Page, Madge Kendal as Mistress Ford; Folger Shakespeare L., Washington, DC, digital image 35762.

?1902
Ink and gouache drawing by Frederick Henry Townsend, whole-length standing, slightly to left, with Ellen Terry as Mistress Page, Madge Kendal as Mistress Ford and Maud Tree as Anne Page; Folger Shakespeare L., Washington, DC, digital image 36624.

1904
Oil painting by John Collier, signed and dated, three-quarter-length, facing, head turned to right, with Ellen Terry as Mistress Page and Madge Kendal as Mistress Ford; Garrick Club, London, G0820. Repr. ILN, 28 May 1904, p.1; and Ashton 1997, p.433, no.820.

Print by unidentified artist after Collier, undated; framed copy NT, Smallhythe Place, Kent, NT 1118258.

1906
Watercolour drawing by William Russell Flint, signed and dated, whole-length standing, to left; untraced. Repr. ILN, 5 May 1906, p.635, headed ‘Miss Ellen Terry’s Jubilee: The Picturesque Interlude at His Majesty’s Theatre’.

undated
Pen and ink caricature, signed ‘Thos Downey’, whole-length seated, facing, face hidden by tankard; untraced. Repr. Illustrated Sporting and Dramatic News (no further details); and Beerbohm [1920], facing p.42.

Photographs

1889
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/13/1–3.

Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/016.

reg. 1889
Photographs by London Stereoscopic & Photographic Co., wearing jacket with frogging, nine poses reg. for copyright 1889 Mar. 21, including:
(a) whole-length standing, to right, looking to left, right hand raised to face: National Archives (COPY 1/395/352); cabinet card Garrick Club, London, Photo Album 1, no.24. Repr. Macqueen-Pope 1948, facing p.288.
(b) whole-length, facing, holding tankard and stick, with ?Pistol at left: National Archives (COPY 1/395/357); prints colls Getty Images 3398353; and Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.121, fig.348, captioned as Falstaff in Henry IV, Part 1.
(c) whole-length standing, to left, head to right, left hand in belt, right hand on stick, chair at right: National Archives (COPY 1/395/351). Repr. Bingham 1978, between pp.118–19, fig.2b.
Photogravure by J. S. Virtue & Co. Ltd; NPG x27041.
(d) whole-length, sprawled to left on chair, holding tankard in right hand: National Archives (COPY 1/395/349). Photogravure by J. S. Virtue & Co. Ltd; V&A, London, S.3120-2009.
(e) whole-length, sprawled to left on chair, holding tankard in both hands: National Archives (COPY 1/395/348); prints colls MEPL, London, 10235019; and Getty Images 613477860. Repr. Whyte 1898, p.184; and Beerbohm [1920] facing p.212.
(f) whole-length standing, facing, holding stick, left hand on hip, eyes to left: National Archives (COPY 1/395/347).
(g) whole-length standing, to left, looking to right, both hands resting on walking stick: National Archives (COPY 1/395/350). Repr. ILN, 13 Apr. 1907, p.559.

publ. 1897
Photographs by Alfred Ellis, seated in wooden armchair, three known poses:
(a) whole-length, sprawled to right, head facing. Copy photo by Floyd, New York, M. of the City of New York, 59.271.209, inscr. ‘copied by Floyd NY’.
(b) head-and-shoulders, looking up to left, smiling; see MEPL, London, 11075875. Repr. ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand, vol.13, 1897, p.263, captioned as Falstaff in Henry IV, Part 1; and ‘Studies in make-up’, King, 1 June 1901 (no further details).
Copy photo by Floyd, New York, M. of the City of New York, 59.271.208, inscr. ‘copied by Floyd NY’.
(c) half-length, looking up to left, expression of alarm; V&A, London, S.145:466-2007.

?1909
Photograph by unidentified photographer, whole-length standing, to right, rehearsing part in private dress, arm in arm with Mistress Page and Mistress Ford. Repr. Bingham 1978, facing p.151, fig.16a.

A Midsummer Night’s Dream (as ‘Bottom’)

1900
Two pen, ink and wash drawings by Frederick Pegram:
(a) whole-length, asleep, woodland scene, Louie Freear as Puck approaching with ass’s head; Folger Shakespeare L., Washington, DC, digital image 917.
(b) signed and dated, whole-length, asleep, wearing ass’s head, with Maud Tree as Titania, woodland scene; Folger Shakespeare L., Washington, DC, digital image 36684.

Ink and gouache drawing by J.B. Booth, signed and dated, no further details; untraced; Sotheby Parke Bernet, New York, 15 Jan. 1976 (39a).

Two pen and ink drawings by unidentified artist:
(a) whole-length, asleep, wearing ass’s head, with Maud Tree as Titania, woodland scene; Folger Shakespeare L., Washington, DC, digital image 36620.
(b) whole-length standing, in classical dress, playing Pyramus; Folger Shakespeare L., Washington, DC, digital image 36619.

undated
Drawing by unidentified artist, whole-length, wearing tunic, right arm flung backwards, left hand to heart, looking to right; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Truman 1984, between pp.58 & 59.

Money (as ‘Mr Graves’)

Photographs

publ. 1911
Photograph by Foulsham & Banfield, whole-length standing, to left, looking to right, holding hat and stick in left hand. Repr. ILN, 20 May 1911, p.724, captioned ‘Bulwer Lytton’s “Money” revived by command: famous actors chosen to appear before the King and the German emperor at Drury Lane’.

Postcard by Rotary Photographic Co. Ltd; print Garrick Club, London, Photograph Box B.

Much Ado about Nothing (as ‘Benedick’)

1905
Gouache drawing by Frederick Henry Townsend, whole-length, masked, walking to left with Winifred Emery as Beatrice; Folger Shakespeare L., Washington, DC, digital image 36626. Repr. Illustrated Sporting and Dramatic News, 4 Feb. 1905.

Two wash drawings by Charles Buchel:
(a) whole-length standing, to right, looking to left, holding stick with both hands; Folger Shakespeare L., Washington, DC, digital image 7878. Repr. Sphere, 28 Jan. 1905, p.103.
(b) signed and dated, half-length, in tree, peering down at three men; Folger Shakespeare L., Washington, DC, digital image 7879. Repr. Sphere, 18 Feb. 1905, p.183.

Gouache drawing by Samuel Begg, whole-length standing, three-quarters to left, vignette; Folger Shakespeare L., Washington, DC, digital image 35694. Repr. ILN, 28 Jan. 1905, p.109.

Gouache drawing by Max Cowper, whole-length, advancing to left, with Winifred Emery as Beatrice; Folger Shakespeare L., Washington, DC, digital image 35821. Repr. Black & White, 28 Jan. 1905, p.129.

Pen and ink drawing by Alexander Stuart Boyd, whole-length, profile to left, with Winifred Emery as Beatrice; Folger Shakespeare L., Washington, DC, digital image 35721.

Oil on panel by (John) Byam Liston Shaw, costume design for Tree as Benedick, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/D/000010/75.

Photographs

1905
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/2/5.

undated
Photograph by unidentified photographer, three-quarter-length standing, right hand on belt, gloves in left hand. Repr. Bingham 1978, between pp.150–51, fig.11c.
Postcard, publ. Rotary Photographic Co. Ltd; prints colls Garrick Club, London, Dorothy Burr Postcard Album, no.14; and Billy Rose Theatre Division, New York PL, image ID TH-58908.

The Musketeers (as ‘D’Artagnan’)

Photographs

1898–9
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) half-length standing, right hand on hip, head turned to face; cabinet card NPG x36209. See NPG Portrait Set ‘London Stereoscopic & Photographic Company cabinet cards, 1870s–1900s’.
(b) head-and-shoulders, full face, holding sword in left hand; Getty Images 3328565.

1899
Photograph by London Stereoscopic & Photographic Co., dated 1899, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/39.

Photographs by unidentified photographers, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/12/8–11 and HBT/PH/4A/125–41.

undated
Photograph by unidentified photographer, half-length, full-face, bandage on forehead, holding sword with two hands; coloured print LCC Theatre Portraits Coll., LMA, SC_PT_03_18; see Collage 292101.

Photographs by unidentified photographer, whole-length, on set, wearing rich costume and feathered hat, two known poses:
(a) standing, to right, head turned to face, left hand on sword hilt; Westminster City Archives, A09A4035.
(b) standing, facing, right hand resting on sword; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.14–15.

The Mystery of Edwin Drood (as ‘John Jasper’)

1908
Chalk drawing by Frank Haviland, signed and dated 6 Jan. 1908, head-and-shoulders, profile to right, in oval; untraced. Repr. ILN, 11 Jan. 1908, p.41, captioned ‘Mr Tree in a dramatisation of Dickens’s unfinished novel’.

Photographs

1908
Photograph by Frank William Burford, whole-length, standing to left, outside ?church. Repr. ILN, 18 Jan. 1908, p.88.

Nero (as ‘Nero’)

1906
Watercolour drawing by unidentified artist, whole-length, advancing to right, playing harp; untraced. Repr. Bingham 1978, between pp.118–19, fig.6a.

Photographs

1905
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/22.

c.1905–6
Photographs by Frank William Burford, no further details; glass plate negs Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/004–005.

1906
Photographs by Frank William Burford, six known poses:
(a) head-and-shoulders, full face, eyes to left; Getty Images 463954069.
(b) three-quarter-length standing, to right, looking to left, with Constance Collier as Poppea; gelatin silver print M. of the City of New York, 55.315.1. Repr. Bingham 1978, between pp.118–19, fig.6b.
(c) whole-length standing, facing, holding eyeglass; Getty Images 463953871.
(d) head, profile to left; Gareth Hughes (Brother David) Coll., U. of Nevada, Reno, image ID UNRS-P1988-60-077.
(e) half-length standing, looking to right, wearing woven body protector; Getty Images 3254752.
(f) bust, looking three-quarters to right; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.22–3.

Photographs by Frank William Burford, perhaps from above session, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/2/6/1–2.

Photograph by unidentified photographer (?Burford), whole-length, playing harp; prints colls Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/19; and Getty Images 171181554.

The O’Flynn (as ‘The O’Flynn’)

Photographs

1910
Photograph by Frank William Burford, whole-length standing, looking to left, with Evelyn D’Alroy; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. ILN, 12 Feb. 1910, p.232; and Pearson 1950, between pp.22–3.

Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/3/4.

Old Folks at Home (as ‘John Coburn’)

Posthumous portrait

1921
Lithographic poster by unidentified artist, half-length standing, profile to right, wearing hat; see Wikimedia Commons. The 1916 film was reissued in 1921.

Photographs and film

1916
Film by Fine Arts Film Co, directed by Chester Withey, released 15 Oct. 1916; BFI identifier 246987.

Oliver Twist (as ‘Fagin’)

undated
Drawing by unidentified artist, whole-length, bent over and looking to right; Getty Images 171266613.

Drawing by Charles Buchel, head-and-shoulders, three-quarters to right, wearing bandanna; untraced. Repr. Beerbohm [1920], facing p.45.

Photographs

1905
Photographs by unidentified photographers, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/2/8 and HBT/PH/21.

?1905
Photographs by Frank William Burford, four known poses:
(a) head-and-shoulders, full face, wearing patched hat. Postcard, publ. Rotary Photographic Co. Ltd; print MEPL, London, 10088740.
(b) whole-length, seated on table, looking sideways to right, right hand on table; prints colls Getty Images 171093809; and Bridgeman FGL2960097 (half-length detail). Repr. Pearson 1950, facing p.14; and Bingham 1978, between pp.118–19, fig.5a (half-length detail).
(c) whole-length standing, to left, with Constance Collier as Nancy; prints colls Getty Images 463954265; and Bridgeman LLE818125 (half-length detail).
(d) three-quarter-length, seated on table, hunched, right hand to face. Repr. Pearson 1956, facing p.146.

Once upon a Time (as ‘The King’)

publ. 1894
Watercolour drawing by Alexander Stuart Boyd, whole-length facing, descending stairs, holding sceptre; untraced. Repr. Graphic, 7 Apr. 1894, p.385.

Photographs

publ. 1894
Photograph by Hills and Saunders, whole-length, seated to left, full face, holding sceptre. Repr. ILN, 14 Apr. 1894, p.448.

Othello (as ‘Othello’)

1912
Gouache drawing by Charles Buchel, standing against wall, wearing white robes, hand on dagger at belt; untraced. Exh. Shakespeare and the Theatre, Guildhall AG, London, 1964 (9, ill.), where dated 1912.

1914
Oil painting by Charles Buchel, signed and dated 1914, whole-length standing, to right, in armour; V&A, London, S.218-1987. Repr. Ashton 1992, p.113 (75).

Photographs

1912
Photographs by unidentified photographers, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/22 and HBT/PH/4/1/38.

Partners (as ‘Heinrich Borgfeldt’)

?1888
Pen and ink caricature by Alfred Bryan, whole-length, three-quarters to left, holding large pipe; untraced. Repr. Illustrated Sporting and Dramatic News (no further details); and Beerbohm [1920], facing p.36.

The Pompadour (as ‘Narcisse Rameau’)

undated
Pen and ink caricature sketch by Alfred Bryan, whole-length standing, to left, arms raised, exclaiming ‘I am the revolution!’; untraced. Repr. Illustrated Sporting and Dramatic News (no further details); and Beerbohm [1920], facing p.82.

Photographs

1888
Photograph by Elliott & Fry, whole-length, to left, left arm raised, with Maud Tree as the Marquise de Pompadour; cabinet card Billy Rose Theatre Division, New York PL, image ID TH-58901.

The Private Secretary (as ‘Rev. Robert Spalding’)

Photographs

c.1883–4
Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/001.

1884
Photograph by unidentified photographer, whole-length standing, to left, head to face, holding flower to nose; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.119, fig.339.

Photograph by unidentified photographer, half-length, full face, looking upwards, hands on chest; V&A Theatre and Performance Colls (no further details). Repr. Bingham 1978, between pp.118–19, fig.2a.

Pygmalion (as ‘Henry Higgins’)
Opened at His Majesty’s Theatre 11 Apr. 1914; in USA at Park Theatre, New York, 12 Oct. 1914.

George Bernard Shaw wrote: ‘What Tree could do was always entertaining in some way or other. But, for better or for worse, it was hardly ever what the author meant him to do.’ [8]

publ. 1914
Design for poster by Charles Buchel, whole-length with outstretched arm, standing under umbrella; untraced; formerly RADA. Lithographic poster, lettered ‘His Majesty’s Theatre / Herbert Tree / Pygmalion’, Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Exh. GBS in Close Up: Bernard Shaw 1856–1950, NPG 1992 (no further details).

Cartoon drawing by unidentified artist, whole-length standing, to left, vignette; untraced. Repr. Bystander, 1914 (no further details); and Holroyd 1979, p.196.

Photographs

1914
Photographs by unidentified photographer(s), three known poses:
(a) whole-length standing, to left, Mrs Patrick Campbell tossing basket of flowers at him; Getty Images 2698634.
(b) whole-length standing, to left, with Edmund Gurney and Campbell; Getty Images 51109123. Repr. Sketch, 22 Apr. 1914 (see MEPL, London, 10923242); and Dent 1961, facing p.256.
(c) whole-length, profile to left, with Campbell and Gurney; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.134, no.402.

c.1914
Photographs by Frank William Burford, whole-length, standing under umbrella, two known poses:
(a) looking to right; V&A Theatre and Performance Colls (no further details). Repr. Beerbohm [1920], facing p.242; and Holroyd 1979, p.162.
(b) looking to left. Repr. Daily Sketch, 3 July 1917, front page.

Photograph by unidentified photographer, half-length, looking slightly to left, in white tie; Bain Coll., L. of Congress, Washington, DC, digital ID ggbain 15897.

Ragged Robin (as ‘Robin’)

1898
Two pencil sketches by Ralph Cleaver, signed and dated 1898, whole-length, vignettes; untraced. Repr. ILN, 2 July 1898, p.25, captioned ‘“Ragged Robin” the new play at Her Majesty’s Theatre’.

The Red Lamp (as ‘Paul Demetrius’)

1897
Oil painting by ‘Dignam’, whole length; untraced; formerly RADA.

Photographs

c.1895
Photographs by Byron Co., New York, whole-length standing, two known poses:
(a) to right, telephoning; M. of the City of New York, 41.420.827.
(b) to left; M. of the City of New York, 41.420.826.

1897
Photographs by Herbert Rose Barraud, three known poses:
(a) three-quarter-length, seated in armchair, reclining to left, arms folded; V&A, London, S.145:464-2007.
(b) three-quarter-length, seated in armchair, facing, hands clasped; Garrick Club, London, Athole Stewart Album, no.70.
(c) whole-length standing, facing, right hand raised to face. Repr. ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand, vol.13, 1897, p.260.

undated
Photograph by Frank William Burford, half-length, facing, head lowered. Publ. Beerbohm [1920], facing p.45.

Photograph by unidentified photographer, three-quarter-length, wearing spectacles and cap, both hands visible. Repr. Bingham 1978, between pp.150–51, fig.10c.

Resurrection (as ‘Prince Dmitri Nehludoff’)
Opened at His Majesty’s Theatre Mar. 1903.

Photographs

1903
Photograph by unidentified photographer, whole-length standing, left arm outstretched, on snowy set; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, facing p.22.

Richard II (as ‘Richard II’)
Desmond MacCarthy: ‘His admirable rendering of intellectual feminineness and exalted self-pity in Richard II’.[9]

1903
Wash drawing by Paul Thiriat, whole-length, seated on bench, facing, with six others; Folger Shakespeare L., Washington, DC, digital image 36544. Repr. Sphere, 12 Sept. 1903, title page.

Wash drawing by Percy Frederick Seaton Spence, signed and dated 1903, whole-length standing, to right, with Lily Brayton as the Queen and two others; Folger Shakespeare L., Washington, DC, digital image 44843. Repr. ILN, 12 Sept. 1903, p.369.

Wash drawing by Ralph Cleaver, signed and dated 1903, three-quarter-length, lying on stomach, vignette; Folger Shakespeare L., Washington, DC, digital image 35805. Repr. Sketch, 16 Sept. 1903.

Wash drawing by Charles Buchel, signed and dated 1903, whole-length standing, embracing the Queen; Folger Shakespeare L., Washington, DC, digital image 35770. Repr. Tatler, 16 Sept. 1903, p.463.

Charcoal drawing by Balliol Salmon, signed and dated 1903, whole-length standing, with the Queen; Folger Shakespeare L., Washington, DC, digital image 36697. Repr. Illustrated Sporting & Dramatic News, 19 Sept. 1903.

Gouache drawing by Frederick Henry Townsend, signed and dated 1903, half-length, on horseback, in crowd scene; Folger Shakespeare L., Washington, DC, digital image 36623.

Pen and ink drawings by Oliver Paque, signed and dated 1903, composite page of seven scenes, Tree whole-length in three; Folger Shakespeare L., Washington, DC, digital image 36269.

1905
Watercolour drawing by unidentified artist, inscr. ‘the revival of King Richard II at His Majesty’s Theatre’, whole-length, seated on bench, with the Queen; Folger Shakespeare L., Washington, DC, digital image 36477.

undated
Oil painting by Charles Buchel, no further details; RADA. Ref. NPG NoC (RADA).

Wash drawing by Hal Hurst, no further details; untraced; Christie’s, 10 Jan. 1990 (109).

Photographs

1903
Photograph by John and Lizzie Caswall Smith, three-quarter-length, seated to right, in full regalia and fur-trimmed cap. Repr. Bingham 1978, between pp.150–51, fig.10d.
Photogravure by J.S. Virtue & Co.; V&A, London, S.219-2010.
Bromide postcard, head-and-shoulders detail, publ. Rotary Photographic Co Ltd.; print NPG x160598, attributed to Lizzie Caswall Smith alone.

Photograph by unidentified photographer (?John and Lizzie Caswall Smith), half-length, almost full face, in regalia as above. Repr. Burton 1938, facing p.160.

Photograph by Frank William Burford, whole-length seated, full-face, with Queen and courtiers. Repr. ILN, 13 Apr. 1907, p.559 (detail).
Postcard, publ. Rotary Photographic Co Ltd.; print Russell-Cotes AGM, BORGM:2014.89.1; see also Shakespeare and the Players, Center for Digital Scholarship, Emory U., Atlanta, GA.

1905
Photograph by Frank William Burford, with Viola Tree as the Queen, no further details.
Postcard, publ. Rotary Photographic Co. Ltd; print Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/2.

c.1909–10
Photographs by Frank William Burford, four known poses, no further details; glass negs Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/011–014.

undated
Photograph by Floyd, New York, whole-length standing, head turned to left, wearing fur-lined cloak, hands outstretched; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Beerbohm [1920], facing p.221; Pearson 1950, between pp.14–15; and Pearson 1956, facing p.115, captioned ‘Deposition scene’.

Rip Van Winkle (as ‘Rip’)

Photographs

1900
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/8.

publ. 1900
Photograph by British Mutoscope and Biograph Co., whole-length standing, to left, holding up hour-glass, with three others. Repr. Graphic, 16 June 1900, p.70.

The School for Scandal (as ‘Sir Peter Teazle’)

Photographs

1909
Photographs by Daily Mirror, postcard prints publ. Beagles & Co., eleven known poses:
(a) whole-length seated, head to right, with Marie Löhr as Lady Teazle; NPG x8729.
(b) half-length standing, to right, kissing Lady Teazle’s hand; NPG x8730.
(c) whole-length, looking to left, dancing with Lady Teazle; prints colls NPG x8731; and Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Original photograph repr. Pearson 1950, between pp.22 & 23.
(d) whole-length, profile to right, kissing Lady Teazle’s hand; NPG x8732.
(e) whole-length seated, to left, back to back with Lady Teazle; NPG x8733.
(f) whole-length standing, at left of Robert Bilcliffe Loraine as Charles Surface; NPG x8734.
(g) whole-length standing, hand on mantelpiece, with Hermann Vezin as Rowley; NPG x8736.
(h) whole-length seated, drinking, with three others; prints colls NPG x8738; and Garrick Club, London, Photograph Box B.
(j) whole-length standing, to left, with five others; prints colls NPG x8740; and Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Original photograph repr. Pearson 1950, facing p.22.
(k) whole-length standing, right hand on hat under left arm; prints colls NPG x27042; MEPL, London, 10225802; and Russell-Cotes AGM, BORGM:2014.134 (half-length version).
(l) half-length, looking to left, hat under arm; NPG x27043.

The Seats of the Mighty (as ‘Tinoir Doltaire’)

Photographs

publ. 1897
Photograph by Byron, New York, whole-length, profile to right, with Kate Rorke as Mlle Duvarney. Repr. ILN, 1 May 1897, p.593.

Photographs by Aimé Dupont, New York, three known poses:
(a) whole-length standing, to left, doffing tricorne hat; V&A, London, S.145:462-2007.
(b) three-quarter-length, head three-quarters to left, hat under left arm; Billy Rose Theatre Division, New York PL, image ID TH-58911.
(c) whole-length seated, to left, on small couch. Repr. ILN, 23 Jan. 1897, p.116, captioned ‘Mr Beerbohm Tree as Doltaire in “The Seats of the Mighty”, in New York’; and ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand vol.13, 1897, p.264.

The Silver Key (as ‘Duc de Richelieu’)

Photographs

1897
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4B/38–50.

publ. 1897
Photograph by Alfred Ellis, whole-length seated, full-face, right hand raised. Repr. Country Life, 6 Nov. 1897, p.502.

The Tempest (as ‘Caliban’)
Produced at His Majesty’s Theatre Sept. 1904.

1904
Drawings by Charles Buchel, two known poses:
(a) chalk drawing, signed and dated 1904, head-and-shoulders, to right, almost full-face; Folger Shakespeare L., Washington, DC, digital image 35772.
(b) wash drawing, signed and dated 1904, whole-length, with Lionel Brough as Trinculo and Louis Calvert as Stephano; Folger Shakespeare L., Washington, DC, digital image 35773. Repr. Sphere, 24 Sept. 1904, p.273.

Oil sketch by Charles Buchel, signed and dated 1904, whole-length, crouched to right; untraced. Repr. [Shakespeare] 1904, facing p.12; see Folger Shakespeare L., Washington, DC, digital image 7545.

Gouache drawing by Frederick Henry Townsend, signed and dated 1904, whole-length, to left, with three others; Folger Shakespeare L., Washington, DC, digital image 36628.

Wash drawing by Clarence Lawson Wood, signed and dated 1904, whole-length, half crouched to right; untraced. Repr. ILN, 24 Sept. 1904, p.421.

Gouache drawing by Ralph Cleaver, signed and dated 1904, whole-length, facing, vignette on page of sketches; Folger Shakespeare L., Washington, DC, digital image 35808. Repr. Sketch, 21 Sept. 1904.

Pen and ink drawings by Arthur C. Michael, signed and dated, two whole-length poses, vignettes on page of sketches; Folger Shakespeare L., Washington, DC, digital image 36239. Repr. Black & White, 24 Sept. 1904, p.425.

publ. 1904
Wash drawing by A.M. Faulkner, whole-length standing, to right, brandishing club, with three others; Folger Shakespeare L., Washington, DC, digital image 35901.

?1904
Pen and ink drawing by Alexander Stuart Boyd, whole-length, crouched to right, vignette on page of sketches; Folger Shakespeare L., Washington, DC, digital image 35722.

Photographs

?1904
Photograph by unidentified photographer, half-length, full-face. Repr. Bingham 1978, between pp.150–51, fig.10a.

The Tempter (as ‘The Devil’)

1893
Watercolour drawing by Edmund Joseph Sullivan, signed and dated 1893, whole-length, playing lute; untraced. Repr. Pall Mall Budget, 21 Sept. 1893, p.1472.

publ. 1893
Pen and ink caricature drawings by William Douglas Almond, two whole-length poses (one playing lute); untraced. Repr. ILN, 23 Sept. 1893, p.376.

Trilby (as ‘Svengali’)

1895
Chalk drawing by Robert Ponsonby Staples, signed and dated Oct. 1895, head, three-quarters to right; untraced. Exh. A Spice of Life, David Messum G., London, 1991 (37, ill.).

publ. 1895
Pen and ink caricature by John Bernard Partridge, signed and inscr. ‘with apologies to du Maurier’, three-quarter-length standing, full-face, left arm extended to right; untraced. Repr. Punch, 16 Nov. 1895, p.232, captioned ‘Mr Tree Svengalivanting’; and Beerbohm [1920], facing p.100.

Watercolour drawing by William Hatherell, whole-length, in studio, standing behind Trilby; untraced. Repr. Graphic, 2 Nov. 1895, p.533.

?1895
Pen and ink drawings by Alexander Stuart Boyd, two poses:
(a) whole-length, to left, seated at piano.
(b) half-length, lying dead.
On sheet of figures from Trilby; V&A, London, S.1086-1983.

Watercolour drawing by unidentified artist, whole-length seated, to left, playing piano in artist’s studio; untraced. Repr. unidentified publication (no further details); see Alamy FF913K.

1897
Painting by ‘Dignam’, dated 1897, whole-length, no further details; untraced; formerly RADA.

1902
Watercolour drawing by J.B. Booth, signed and dated ‘1902–14’(sic), whole-length standing, full face, wearing fur-trimmed overcoat, holding wand in right hand; U. of Bristol Theatre Coll., TCP/C/000109.

publ. 1905
Caricature drawing by Alexander (‘Alick’) Penrose Forbes Ritchie, whole-length, standing in front of car, wearing overcoat, face bright green; untraced.

Chromolithograph after Ritchie by Roberts & Leete, captioned ‘“I vill ride […] all de zommer, too!”’, publ. as supplement to Motorist and Traveller, 26 Apr. 1905; copies NPG D1255, NPG D18065, NPG D18066 and NPG SB (Tree).

publ. 1909
Watercolour drawing by Leslie Ward, whole-length, full face, wand in right hand, in group of eleven figures from theatre world, some in part; untraced. Repr. as chromolithograph The World, supplement, 21 Dec. 1909, titled ‘His Majesty’s Servants’; see Bridgeman Images CWA97289. Tree’s pose based on photograph by Alfred Ellis; see below, ‘Photographs, reg. 1895’.

See also Alexander, Waller.

exh. 1910
Medallion by Leonard Stanford Merrifield, no further details; untraced. Exh. RA 1910 (1830).

undated
Watercolour caricature by Albert George Morrow, head-and-shoulders, leaning to left; Garrick Club, London, G0818. Ref. Ashton 1997, p.432, no.818.

Oil on canvas by unidentified artist, head-and-shoulders, full-face; untraced; Garrick Club, London, 1942–69, attributed to J.S. Sargent. Ref. ‘Supplement’ (undated pamphlet, stamped ‘NPG 1949’), no.639, p.188g, enclosed with Adams 1936 (copy NPG L.); see also NPG NoS (Tree). The pose is apparently based on a head-and-shoulders detail of a photograph by T.C. Turner; see below, ‘Photographs, reg. 1895’, pose (a).

Painting by Charles Buchel, whole-length, no further details; untraced; formerly RADA.

Photographs and film

1895
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/7.

reg. 1895
Photographs by Alfred Ellis, 21 poses reg. for copyright 1895 Sept. 21, including:
(a) three-quarter-length standing, to left, head to right, left hand in pocket: National Archives (COPY 1/421/930). Woodburytype publ. The Theatre, 1895, series 4, vol.26, Dec. 1895, facing p.316; copy NPG x26936. Repr. Bingham 1978, between pp.118–19, fig.3b.
(b) whole-length, to left, seated at piano, head turned to face, left arm raised: National Archives (COPY 1/421/935); prints colls Billy Rose Theatre Division, New York PL, image ID TH-58900 cabinet card; and Getty Images 545028357.
(c) whole-length, to right, seated on piano stool, arms outstretched towards Trilby: National Archives (COPY 1/421/952). Repr. unidentified publication, cutting Westminster City Archives, A09A 3984; and Tanitch 2010, p.323.
(d) whole-length standing, to right, holding lighted candle towards Trilby. Repr. and cutting details as pose (c) above.
(e) whole-length standing, to right, left hand on Trilby’s head: National Archives (COPY 1/421/953). Repr. ILN, 21 Sept. 1895, p.357.
(f) whole-length, to left, seated at piano, both hands raised to cover ears, Trilby at right: National Archives (COPY 1/421/936). Repr. ILN, 21 Sept. 1895, p.357.
(g) whole-length, to left, seated at piano, both hands on keyboard. Repr. Whyte 1898, p.184.
(h) whole-length, stepping to right and looking to left, wand in right hand. Repr. ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand, vol.13, 1897, p.263.
Postcard, no further details; print MEPL, London, 10088739 (photograph attributed to Ellis & Walery).
(j) whole-length, to left, seated at piano, left hand raised to ear; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Donaldson 1970, between pp.128–9, fig.21.

Photographs by Thomas Charles Turner, 20 poses reg. for copyright 1895 Dec. 5 and Dec. 13 (no NA details), including:
(a) three-quarter-length seated, full-face, wand and hat on right knee; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Publ. Mander & Mitchenson 1957, p.127, fig.379.
Photogravure by J.S. Virtue & Co. Ltd; print NPG x27040.
(b) three-quarter-length standing, to right, head turned to left, right hand in trouser pocket; prints colls Mander & Mitchenson Theatre Coll., U. of Bristol (no further details); and Billy Rose Theatre Division, New York PL, image ID TH-58907 (cabinet card). Repr. Macqueen-Pope 1948, facing p.241; and Truman 1984, between pp.90–91.
Photogravure by J.S. Virtue & Co. Ltd; prints colls NPG x27039; and V&A, London, S.1443-2015.
(c) three-quarter-length standing, facing, holding hat and wand. Postcard, publ. Rotary Photographic Co. Ltd., print NPG x160600.
(d) nearly half-length, head turned and looking up to left, grimacing with laughter. Repr. Beerbohm [1920], facing p.200; Macqueen-Pope 1948, facing p.241; and Pearson 1950, facing p.14.
Postcard, publ. Rotary Photographic Co. Ltd.; prints colls NPG x160601; and MEPL, London, 10088741.

1896
Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/002.

publ. 1909
Photograph by unidentified photographer, whole-length standing, to left, arms outstretched and head thrown back, with Trilby. Repr. ILN, 20 Nov. 1909, p.720, captioned ‘The revival of Trilby […] Sir Herbert Beerbohm Tree as Svengali, and Miss Viola Tree as Trilby’.

1910
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4A/104–24.

1914
Film by London Film Co., 20 minutes, directed by Harold Shaw, released July 1914; BFI identifier 306246.

Twelfth Night (as ‘Malvolio’)
Produced at His Majesty’s Theatre Feb. 1901.

1901
Pencil and chalk drawing by Balliol Salmon, signed and dated 1901, whole-length facing, in garden with Maud Jeffries as Olivia; Folger Shakespeare L., Washington, DC, digital image 36702.

publ. 1901
Gouache drawing by Frederick Henry Townsend, whole-length standing, to right, in garden with Maud Jeffries as Olivia; Folger Shakespeare L., Washington, DC, digital image 36630.
Watercolour copy by Samuel Begg after Townsend; untraced. Repr. ILN, 16 Feb. 1901, p.239.

Caricature oil painting by Charles Buchel, whole-length, right arm outstretched with stick, holding eyeglass in left hand; untraced. Publ. Twelfth Night souvenir programme, no further details.

Photogravure by J.S. Virtue & Co.; print Folger Shakespeare L., Washington, DC, digital image 10597.

1902
Ink and gouache drawing by J.B. Booth, signed and dated, no further details; untraced; Sotheby Parke Bernet, New York, 15 Jan. 1976 (39b).

publ. 1909
Watercolour drawing by Frank Haviland, three-quarter-length standing, right hand resting on stick, head to right; untraced. Repr. ILN, 3 July 1909, p.13.

undated
Two drawings by L.J. Binns:
(a) pen and ink caricature, whole-length standing, to right, wearing outsize ruff; Billy Rose Theatre Division, New York PL, image ID 1628888.
(b) pen and ink, whole-length standing, left arm extended and resting on stick; V&A, London, S.1767-2012.

Watercolour drawing by E. Henderson, no further details; untraced; Sotheby’s, Billingshurst, 24 Nov. 1986 (245).

Photographs

1901
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/6.

Photograph by unidentified photographer, bust, three-quarters to left; V&A Theatre and Performance Colls (no further details). Repr. Donaldson 1970, between pp.128–9, fig.19.

c.1903–4
Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/003.

publ. 1907
Photograph by London Stereoscopic & Photographic Co., head-and-shoulders, to left, in roundel. Repr. ILN, 13 Apr. 1907, p.559.

1913
Photograph by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4/1/21.

undated
Photographs by Frank William Burford, two known poses:
(a) half-length, to left, twirling goatee with right hand; framed albumen print, inscr. and dated 1910, Garrick Club, London.
(b) three-quarter-length, facing, head slightly to left, eyeglass held up in right hand. Repr. Pearson 1956, facing p.115.

Ulysses (as ‘Ulysses’)
Desmond MacCarthy: ‘He was not at his best when he put on yellow tights and greaves and hung a skin about him and pretended to be Ulysses’. [10]

Photographs

1901
Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/5.

1902
Photograph by unidentified photographer, whole-length standing, wearing helmet and breastplate, holding spear; Getty Images 613493800.

Photographs by unidentified photographer, with large bow, bare headed, two known poses:
(a) standing, to right, looking to left, drawing on bow; V&A, London, S.145:461-2007.
(b) standing, to right, facing, left hand holding bow; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.14–15.

Photograph by unidentified photographer, whole-length, facing away, drawing on bow, set scene; Picture Post L. (no further information). Publ. Mander & Mitchenson 1957, p.133, fig.395.

Photographs by unidentified photographer, no further details; Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/4A/69–88.

The Van Dyck (as ‘Arthur Blair-Woldingham’)

Photographs

c.1906–7
Photograph by Frank William Burford, no further details; glass plate neg. Herbert Beerbohm Tree Archive, U. of Bristol Theatre Coll., HBT/PH/30/006.

A Village Priest (as ‘Abbé Dubois’)

undated
Pen and ink caricature by Alfred Bryan, whole-length standing, to left, watering garden; untraced. Drawn for unidentified publication; repr. Beerbohm [1920], facing p.42.

Photographs

reg. 1890
Photographs by London Stereoscopic & Photographic Co., five known poses:
(a) half-length standing, smoking long pipe, pointing with right index; reg. for copyright 1890 May 13: National Archives (COPY 1/400/268); cabinet card Garrick Club, London, Photo Album 1, no.48.
(b) whole-length standing, to right, arms flung up, in arched room, set scene; cabinet card Garrick Club, London, Photo Album 1, no.52.
(c) whole-length standing, facing, hands clasped, in garden, set scene; cabinet card Garrick Club, London, Photo Album 1, no.51.
(d) three-quarter-length seated, to left, head on right hand, book on knees; reg. for copyright 1890 May 13: National Archives (COPY 1/400/265).
Chalk drawing by ‘W.C.’ after photograph; untraced. Lithograph publ. Gilmour & Dean, Glasgow; print NPG SB (Tree).
(e) three-quarter-length standing, wearing hat and spectacles, facing, hands clasped. Repr. Whyte 1898, p.184; and ‘Illustrated Interviews no.53, Mr and Mrs Beerbohm Tree’, Strand, vol.13, 1897, p.262.

Where’s the Cat? (as ‘Scott Ramsay’)

publ. 1880
Pen and ink caricature by Horace Morehen, as a droopy aesthete, two poses in composite illustration, whole-length seated to right, and whole-length standing to left holding pot plant; untraced. Repr. Illustrated Sporting and Dramatic News, 4 Dec. 1880; see Bridgeman Images LIP1616215.

Photographs

undated
Photograph by unidentified photographer, whole-length standing, to left, clasping stuffed cat and holding out vase; Getty Images 3379349.

A Woman of No Importance (as ‘Lord Illingworth’)

publ. 1893
Two pen and ink drawings by unidentified artist, whole-length and three-quarter-length respectively; untraced. Repr. Sketch, 26 Apr. 1893, p.744 (two vignettes); see MEPL, London, 10107815.

Watercolour drawing by unidentified artist, whole-length standing, to left, with three others. Repr. unidentified publication, cutting Westminster City Archives, A09A 3863; and Tanitch 2010, p.312.

Photographs

1893
Photograph by Frank William Burford, head-and-shoulders, full-face, wearing panama hat; see Wikimedia Commons.

Postcard, publ. Rotary Photographic Co Ltd; print Getty Images 2669089.

Various roles

Self-portraits

undated
Sketches on mirror, three heads, clockwise from top: as Falstaff in Merry Wives of Windsor, Fagin in Oliver Twist and Svengali in Trilby; V&A, London, S.18-2008.

Desmond MacCarthy wrote of Tree’s ‘extraordinary skill in making-up, in which he was unmatched’, [11] while Viola Tree commented: ‘His genius for make-up was always remarkable, but it was always helped – much more than people thought – by this quality of “getting inside” the character he was playing.’ [12]

Paintings, drawings, sculptures and prints

publ. 1893
Pen and ink caricature by Alfred Bryan, composite sketch showing Tree in ten vignettes, mainly in private dress, but also as Falstaff and as Hamlet; untraced. Repr. Moonshine, 9 Mar. 1889, captioned ‘Days with Celebrities no.393, Mr Beerbohm Tree’.

1897
Pen and ink sketches by Herbert Johnson for Savage Club dinner menu card, Tree sketched in the chair and in eight different theatrical parts; untraced. Repr. Bradshaw 1958, p.48. The dinner, which was held on 10 Apr. 1897, celebrated the club’s 40th anniversary and Queen Victoria’s forthcoming diamond jubilee.

Unidentified part or play

Photographs

undated
Photograph by London Stereoscopic & Photographic Co., three-quarter-length standing, to right, head to left, wearing hat and coat with fur collar, holding stick; V&A, London, S.145:473-2007.

Photograph by unidentified photographer, whole-length standing, wearing ragged coat with hood, holding staff; Billy Rose Theatre Division, New York PL, image ID TH-58917.

Photographs by unidentified photographer, in uniform, handlebar moustaches, wearing fur hat, with revolver on belt, two known poses:
(a) whole-length standing, right hand on hip; Billy Rose Theatre Division, New York PL, image ID TH-58898.
(b) half-length, head to left; Billy Rose Theatre Division, New York PL, image ID TH-58906.

Photograph by London Stereoscopic & Photographic Co., half-length, full face and moustache, wearing military dress uniform; NT, Smallhythe Place, Kent, NT 1122192.


Footnotes

1) V. Tree, ‘My Father’, in Beerbohm [1920], pp.177–8.
2) M. Beerbohm, ‘From a Brother’s Standpoint’, in Beerbohm [1920], p.195.
3) L.N. Parker, ‘A Tribute’, in Beerbohm [1920], p.210.
4) M. Tree, ‘Herbert and I’, in Beerbohm [1920], p.74.
5) D. MacCarthy, ‘From the Stalls’, in Beerbohm [1920], p.224.
6) Tree’s account of the filming of Macbeth at Fine Art Studio, Hollywood, publ. The Times, 8 & 9 Sept. 1916, cited in Beerbohm [1920], p.280.
7) D. MacCarthy, ‘From the Stalls’, Beerbohm [1920], p.221.
8) G.B. Shaw, ‘From the Point of View of a Playwright’, in Beerbohm [1920], p.250.
9) D. MacCarthy, ‘From the Stalls’, in Beerbohm [1920], p.221.
10) D. MacCarthy, ‘From the Stalls’, in Beerbohm [1920], p.225.
11) D. MacCarthy, ‘From the Stalls’, in Beerbohm [1920], p.221.
12) V. Tree, ‘My Father’, in Beerbohm [1920], p.178.


Carol Blackett-Ord