Regency Portraits Catalogue

Arthur Wellesley, 1st Duke of Wellington (1769-1852), Field Marshal and Prime Minister

Most of the portraits of the Duke are at Apsley House, Stratfield Saye and Walmer Castle all of which are open to the public. The Iconography of the First Duke of Wellington by Lord Gerald Wellesley & John Steegman was published in 1935 and forms the basis of the following list which does not claim to be comprehensive but brings The Iconography up to date to a certain extent. The Duke's dislike of sitting for his portrait was well-known, at least latterly, and his friend the Earl of Ellesmere said 'I scarcely know a subject of which I should have so much feared to approach him' (Personal Reminiscences of the Duke of Wellington, 1904, p 96). However this obstacle did not stand in the way of an immense output of painting, sculpture, engravings and caricatures, not to mention a flow of snuff-boxes, door-stops, brooches, cuff-links etc for which the public demand seemed to be (and still is) insatiable. 'Of all the Britons who have ever lived,' declares The Iconography, 'Arthur Wellesley first Duke of Wellington, has been the most portrayed.'

c.1780
Silhouette by an unknown artist at Stratfield Saye, head in profile to right as a child, inscribed on back, probably by his mother: 'Arthur, now Duke of Wellington' (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 53 and plate 2).

c.1795
Oil by Hoppner at Stratfield Saye, head and shoulders as Lieut.-Col. of 33rd Regiment (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 22 and plate 3, ‘The Wellingtons at Stratfield Saye’, Apollo, CII, no.161, July 1975, p 22).

1797
Pencil and wash drawing by Edridge at Sotheby's (Francis Wellesley sale) 29 June 1920 (263), whole-length standing in uniform with bay, mountains and fort in background, exhibited RA 1798 (708).

1801
Miniature attributed to Ross - 'called the Duke of Wellington when young - a meanly painted ill drawn miniature', shown to the NPG in 1864 (Scharf's sketch in Sir George Scharf’s Trustees’ Sketchbooks, VIII, 52).

1803-9
Equestrian portrait by Agostino Aglio known from a large coloured mezzotint by J. Quilley 1813 (example in British Museum).

1804-6
Oils by Home, see NPG 1471 and Robert Home’s Register of Sitters in India of 14 portraits.

1806
Oil by Hoppner at Stratfield Saye, whole-length standing with horse and Indian groom, exchanged with Madras in 1947 for relics of Tipu Sahib (mezzotint by Barney 1808 reproduced Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plate 14 and Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 23).

c.1806
Miniature by Cosway in V&A Museum (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 60 and plate 6).

1807
Miniature by Andrew Robertson at Dalchonzie; a copy was in Sotheby's (Wellesley) 1 July 1920 (667).

1808
Medal by Brenet and Mudie, 'The English Army Arrives in the Peninsula MDCCCVIII', profile to right as one of Mudie's National Medals 1820 (Laurence Brown, British Historical Medals, 1980, 635).

1809-10
Drawing by Lieutenant Downman known from an engraving 'Etch'd from a Sketch by Lieut. Downman R.Ay/made at Badajos' (example at Stratfield Saye, Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 56 and plate 8).

1809
Drawing by Ensign Robert Dighton in a private collection, engraved with variations as 'Drawn from the life at Elvas by an officer of the 38th Regiment' published 1814 (example at Stratfield Saye, see Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 58).

Bust by Lawrence Gahagan published 1811 but begun from a sitting from Wellington before his departure for the Peninsula according to a stipple 'Engrav'd by A. Easto ... from the bust executed from Life by Mr Gahagan in April 1809.' It was issued as a small bronze in Roman costume incised: WELLINGTON/L. GAHAGAN/Fecit & Pubd June/12 1811 and was the basis for the Nollekens busts of 1812 and 1813 and many of the subsequent medals (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plates 10-11).

Oil by Domenico Pellegrini in the National Museum, Lisbon, half-length in Portuguese uniform, Ribbon and Star of the Bath, engraved as head and shoulders by Bartolozzi 1810. A whole-length version, standing on a terrace and probably made from Godby's engraving of 1814 was offered to the NPG in 1956 (Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 26).

1810
Wax profile by Catherine Andras exhibited RA 1810 (640); examples are in the V&A Museum, Bate Collection and Sotheby's 30 November 1964 (83).

1811
Gem engraving by William Brown and medal by T. Wyon exhibited RA 1811 (699 and 693).

Drawing by Captain Raria known from a stipple engraving by M. Place published by Schiavonetti 1811, three-quarter-length pointing to a map of Spain and Portugal beneath a wreathed dove.

1812
Oil by Goya in the National Gallery (6322) begun after the Battle of Salamanca and altered in about May 1814. A red chalk drawing is in the British Museum, exhibited 'Portrait Drawings' 1974 (3) and a whole-length equestrian is at Apsley House. See Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 12-14 and plates 12a-b, Allan Braham, El Greco to Goya, National Gallery, 1981, no.74, and C. M. Kauffmann, Catalogue of Paintings in the Wellington Museum, 1982, no.58.

Watercolour by Bauzil (NPG 308).

Miniature by William Haines engraved by H. R. Cook for the Military Panorama, 31 October 1812.

Wax medallion by John Henning exhibited RA 1812 (657) and issued by Wedgwood 1813 (Robin Reilly & George Savage, Wedgwood: the Portrait Medallions, 1973, 335); a study for a gem by Henning was exhibited RA 1813 (406).

Marble busts by Nollekens. The first copy was based on the bust of 1809 by Nollekens's assistant's brother, Lawrence Gahagan. According to Henry Meyer's stipple engraving, published by John Murray, 1 March 1812, it then belonged to J. W. Croker; it was probably the marble bust belonging in 1935 to Philip Guedalla, incised Nollekens fecit 1812 and reproduced Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plate 11. Later versions of a slightly different type, in Roman toga, are at Apsley House, Stratfield Saye, Woburn Abbey and elsewhere; a version belonged to John Julius Angerstein. An enamel copy was made by Grimaldi for Wedgwood for 25 guineas (Rev Alexander Grimaldi, A Catalogue of Paintings, Drawings & Engravings by and after William Grimaldi, p 26). Farington mentions copies by Turnerelli ‘... now sold as his own performance' (Diary, 3 August 1813). A large stipple engraving by E. Bocquet from a drawing by John Taylor was published 'for the Proprietors of the Repository of Ancient paintings, Marylebone 1815'.

Marble busts by Turnerelli. The original, which in spite of Nollekens's complaint mentioned by Farington bears no relation to the Nollekens busts, was published as a plaster bust incised on the collar: P. Turnerelli fecit/Published Novr 25th 1812 (example in Homan Potterton's collection). A marble made for the Marquess Wellesley was exhibited RA 1813 (920) and versions are in the Guildhall, Bank of Ireland, Walmer Castle, Foreign Office, Goodwood, Ombersley Court, etc. It was engraved by Cook 1813, by Burke 1815, and as a fine mezzotint by Charles Turner published 21 June 1815 but with misleading information in the lettering (Alfred Whitman, Charles Turner, 1907, 603). An enamel copy was made by Essex in 1817 (Rev Alexander Grimaldi, A Catalogue of Paintings, Drawings & Engravings by and after William Grimaldi, p 10).

Medal by T. Webb apparently modelled from the Gahagan or Nollekens busts was struck to commemorate the thanks of Parliament for Wellington's services in the Peninsula (Laurence Brown, British Historical Medals, 1980, 746).

c.1812
Wax profiles by Carlo Amatucci at Stratfield Saye and Apsley House, engraved as a medal by Middlemist published Orme 1814, and by Freeman (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 1-2 and plate 14c).

1813
Marble bust by J. E. Carew exhibited RA 1813 (895).

Watercolour drawings by Heaphy (NPG 1914(17-18)).

1814-30
Oils by Lawrence listed in Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 25-30 and Kenneth Garlick, ‘Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’ in Walpole Society Journal, XXXIX, 1964, pp 193-5.

1814
Engraving by the Marques d'Aguilar dated 1814 (example at Apsley House).

Oil by Beechey in the Heckscher Museum, New York, engraved by Skelton 1814, Page 1816 and Meyer 1817 (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 59 and plate 17 and Sir Herbert Maxwell, Life of Wellington, 1900, I, frontispiece).

Drawing by E. F. Burney is known from a small line engraving by James Heath published 12 August 1814, head in profile to left. A different portrait by Burney was engraved by H. Meyer and published 16 October 1815, half-length in uniform and orders.

Oil by J. S. Copley in Museum of Fine Art, Boston, painted for the RA 1814 but unfinished and not exhibited, whole-length equestrian at the Battle of the Pyrenees, with the Prince of Orange as his ADC, reproduced J. D. Prown, Copley, 1966, II, plate 673.

Sepia drawing by W. T. Fry at Apsley House, engraved with variations by Fry and published 1 January 1815, half-length in uniform close to Heaphy's watercolour.

Marble busts by George Garrard at Althorp (1814) and Southill (1816).

Oil by Baron Gerard in HM Embassy Paris (GAC 2180), whole-length standing in uniform, Golden Fleece and Star of KG; a small oil sketch is at Versailles and a full-sized variant with Star of St George and Star and Ribbon of St Andrew in the Hermitage, Leningrad (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 12, 62 and plate 18). Lawrence was told by sitters in Paris that 'the Heads in Gerard's pictures are finely painted, but everything else is much disregarded and left to His Pupils' (Diary of Joseph Farington, 28 October 1815).

Miniatures and enamels by Grimaldi. These seem to have originated in a drawing for which Grimaldi says Wellington gave him 4 sittings though the date is in doubt (Rev Alexander Grimaldi, A Catalogue of Paintings, Drawings & Engravings by and after William Grimaldi, 1873, p 46 no.52 and p 26 no.189; Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 14-15). Numerous copies are listed in Rev Alexander Grimaldi, A Catalogue of Paintings, Drawings & Engravings by and after William Grimaldi, 1873 including enamels after Nollekens, Turnerelli and Lawrence (examples of all at Stratfield Saye).

Oil by Lawrence at Wynyard Park, whole-length in black military great-coat, painted for Lord Charles Stewart; Lawrence himself in letters to William Ottley and Mrs Boucheret says 'for him [Lord Londonderry] I painted my first portrait of the King - for him my first portrait of the Duke of Wellington' (Williams, Life of Lawrence, 1831, II, pp 463, 467).

Oil by Lawrence in Royal Collection (Windsor Castle), whole-length outside St Paul's holding up the Sword of State (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 917 and plate 195); it was commissioned by the Prince Regent, the Duke came to Lawrence's studio in July 1814 and the portrait was exhibited RA 1815 (109).

Watercolour drawing by Henri L'Eveque at Stratfield Saye, whole-length holding telescope, engraved and published by L'Eveque 1814; a slightly different type was engraved by Vendramini 1814.

Oil by Phillips at Stratfield Saye, three-quarter-length listed in Phillips Sitter Book under December 1814 'for Lord Talbot', lately at Ingestre Hall and now at Stratfield Saye; engraved in mezzotint by W. Say 1814 and exhibited 'La Toison d'Or' Bruges 1962 (314). Phillips also lists a copy of 1815.

Miniatures by S.-J. Rochard. Two distinct types are known:
(1) in uniform, Ribbon and Star of KG, Badge of KB, at Stratfield Saye dated 1814 and Sotheby's (Greta Heckett sale) 11 July 1977 (169) illustrated in colour.
(2) in uniform, Golden Fleece, Star of KG, Badge of GCB, dated 1815, at Sotheby's (ex Krüger collection) 30 June 1980 (173), at Stratfield Saye undated, and others are known.
According to an article in Gazette des Beaux Arts, 1891, VI, pp 441-65, Rochard's original drawing was made from an hour's sitting, 13 June 1815, but this statement does not conform with the clear date 1814 in the Stratfield Saye miniature (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 44-5).

Medals with the Duke's head designed by Parkes, Westwood, Webb and others were struck to celebrate the end of the Peninsula War. Mudie's National Medals were issued in 1820 (Laurence Brown, British Historical Medals, 1980, 791, 792, 816, 822, 832).

c.1814
Portrait by Sebastian Coeuré, known from an aquatint by J.-B. Alix published undated in Paris, whole-length standing by a cannon as 'Generalissimo des Armées Anglaises'.

1815
Plaster bust by George Garrard exhibited RA 1815 (897); the marble is at Southill incised: 1816.

Busts by Humphrey Hopper exhibited RA 1815 (904) and again 1817 and 1828, a plaster cast is in Lewes Town Hall (Rupert Gunnis, Dictionary of British Sculptors 1660-1851, p 209).

Oil by Lonsdale in HM Embassy Vienna (GAG 5651), whole-length in uniform and orders holding telescope, signed and dated 1815.

Bronze medal by W. S. Mossop in Museum of Ireland, exhibited 'Irish Portraits', Dublin, 1969-70 (196).

Bust by Joseph St George exhibited 'Scottish Artists' Edinburgh 1815 (Rupert Gunnis, Dictionary of British Sculptors 1660-1851, p 339).

Wellington Shield at Apsley House, designed by Thomas Stothard and made by Benjamin Smith 1822. A silver-gilt circular shield showing high relief equestrian figures of Wellington and his generals (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 13); the original design is at Apsley House on loan from the V&A Museum and a drawing is in the Castle Museum, Nottingham; an engraving was published in 1820.

Oil by Stroehling in National Army Museum, head and shoulders in army cloak over uniform and Golden Fleece; a miniature copy is at Stratfield Saye (226).

Pencil drawing by P. J. de Vlaminck at Sotheby's (Wellesley sale) 29 June 1920 (217), signed and dated 1815 but clearly a variant of the Heaphy watercolour at Colstoun (see NPG 4176).

c.1815
Oil by Lawrence at Apsley House, half-length facing, arms folded, in scarlet uniform with Golden Fleece, Ribbon and Star of the Garter, Badge of GCB, reproduced in colour in Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, frontispiece and C. M. Kauffmann, Catalogue of Paintings in the Wellington Museum, 1982, p 82. Enamel copies by Essex are at Stratfield Saye (in dark cloak), Badminton, in the V&A Museum signed and dated 1852, and Sotheby's 19 October 1970 (30) signed and dated 1841.

Pencil drawing by Adelaide de Montgolfier in a private collection, head and shoulders profile to right.

Drawing by J. A. Vauthier known from an engraving by P. Audouin published in Paris (example at Stratfield Saye, Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 58).

Plaster relief by Del Vecchio, Sotheby's (Tulira Castle sale) 16 June 1982 (33).

Silhouette by unknown artist in Rijksmuseum, Amsterdam, half-length to left in uniform, ascribed to 1815 but probably considerably later (Rjksmuseum Bulletin, 1982, no.4, p 205).

1816
Bronze statuette by Hardenberg at Stratfield Saye, incised: Publd Aug. 28th 1816 by/F. Hardenberg 19 Mount/Street. London.

Miniatures by Louis-Marie Autissier in private collections in London and Paris (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 2 and plate 20). Another, signed and dated 1818, at Sotheby's 24 November 1983 (363).

Miniatures by Isabey in Wallace Collection, Apsley House and private collection Anglesey (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 23-4 and plate 22); a copy of 1817 is at Stratfield Saye and another undated at Christie's 21 July 1970 (28). Isabey's 'Congress of Vienna', showing the Duke being introduced by Prince Metternich, is at Apsley House (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 44).

1817
Miniature by Marie-Victoire Jaquetot in a private collection Dorset, reproduced in colour in Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, frontispiece; a pencil drawing 'd'après nature fait chez Madame Jaquetot a Paris 1817' is in Royal Collection (Windsor Castle).

Drawing by 'OR' (not identified) known from an engraving by G. Maile, head and shoulders profile to left in top-hat (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 57 and plate 21).

Equestrian statue by C. H. Tatham exhibited RA 1817 (924) and intended for Regents Park. Tatham also produced a design for a Waterloo Palace for the Duke (at Stratfield Saye, reproduced Country Life, 26 November 1948 and 25 May 1972).

1818
Oil by George Dawe at Goodwood, whole-length standing holding cocked hat under arm; half-length versions with arms folded are at Stratfield Saye and National Army Museum, and others are known (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 6-8 and plate 23).

Model for an equestrian statue by George Garrard exhibited RA 1818 (1053), see Rupert Gunnis, Dictionary of British Sculptors 1660-1851, 1953, p 163.

Oil by Sir George Hayter in a private collection London, half-length slightly to right arms folded, engraved as head and shoulders by J. H. Robinson. Hayter continued to produce portraits of the Duke until 1839 - British Museum, Goodwood, Stratfield Saye, Windsor Castle and Woburn Abbey (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 17-18 and plate 35).

Oil by Lawrence at Cirencester Park, mounted on Copenhagen (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 27; Kenneth Garlick, ‘Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’ in Walpole Society Journal, XXXIX, 1964, p 194); it was described by Lord Ellesmere as one of the worst portraits ever painted - 'a libel on poor Copenhagen who was not made of wood' (Personal Reminiscences of the Duke, 1904, p 89).

Wax profile by Peter Rouw in V&A Museum, exhibited RA 1818 (1013) and used for a bronze medal by T. Webb (Laurence Brown, British Historical Medals, 1980, 986).

Gem engraving by James Wicksteed exhibited RA 1818 (984).

1819
Watercolour drawing by Richard Dighton in Windsor Castle (A. P. Oppé, English Drawings … at Windsor Castle, 1950, p 120), published as a coloured etching 'The Master General of the Ordinance' August 1819 (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 59).

1820
Miniature by J. C. D. Engleheart at Sotheby's (Engleheart sale) 28 April 1981 inscribed: J C D Engleheart pnxt after Sir Thomas Lawrence, but the head only relates to Lawrence's Sword of State type in Windsor Castle, Waterloo Chamber.

Mudie's Medals, 'A Grand Series of Forty Medals Commemorating British Victories' were published by J. Mudie and manufactured by E. Thomason in 1820 (Laurence Brown, British Historical Medals, 1980, 1057),

'The Trial of Queen Caroline' by Hayter (NPG 999).

1821
Oil by Pieneman in Rijksmuseum, Amsterdam, 'The Battle of Waterloo', signed and dated JWP/Apsly House/London/1821 (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, pp 48-9); a sketch signed and dated 1818 is at Cirencester Park and a copy by J. P. Simon at Stratfield Saye, ex Christie's (Earl of Clancarty sale) 19 November 1976 (40); two oil had and shoulders sketches of the Duke were in the same sale, lots 38, 39, both signed and dated: Apsley House 1821; Lord Clancarty was British Ambassador at The Hague 1813-15.

Watercolour drawing attributed to Stephanoff, as Lord High Constable at the Coronation, whole-length in ducal robes holding baton and coronet, known from an aquatint in Naylor's Coronation of George IV (1824 and 1839) reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 61; the head appears to have been taken from the Lawrence at Apsley House.

1822-4
Marble busts by Chantrey, see NPG 316a(127-130).

1822
Marble bust by Canova, Rome 1822, was offered to the NPG by General Malcolm in 1877.

Marble bust by Hardenberg in Crown Estate Commissioners' collection (formerly Junior United Service Club), head and shoulders in field marshal's uniform, Golden Fleece etc incised: PUBD MAY 8th 1822,/By F. HARDENBERG/LONDON.

Oil by Lawrence painted for Charles Arbuthnot, exhibited RA 1822 (13) and later belonging to Lord Rosebery and Mrs Goodbody; mezzotint by S. Cousins 1828 and later engravings. See enamel copy by H. P. Bone, NPG L152(35).

1824-30
Oils by Jackson, see NPG 1614.

1825
Oil by John Hayter in Victoria Memorial Hall, Calcutta (in 1935); head and shoulders chalk drawing on brown paper is at Stratfield Saye; stipple engraving by W. H. Mote published Ackerman 13 June 1853.

Oil by Lawrence at Wellington College, Berkshire, painted for Sir Robert Peel, exhibited RA 1825 (71) and acquired for the College after the Peel sale 25 November 1909 (190); mezzotint by S. Cousins 1847 and sketch for this formerly at Wrest Park now in Japan. Whole-length copy by S. Gambardella c.1860 is at Apsley House (C. M. Kauffmann, Catalogue of Paintings in the Wellington Museum, 1982, 47); half-length copy in Huntington Library; head and shoulders miniature copy by Gerard van Spaendonck in Metropolitan Museum, New York. Whole-length variant by William Robinson in Crown Estate Commissioners' collection, signed and dated 1831, was exhibited by Robinson as his own RA 1832 (386). It was used by G. G. Adams for the Art-Union medal 1860 (example in NPG Reference Collection).

c.1825
Marble bust by Musgrave Watson in HM Embassy Paris (GAC 12041) with its companion of Napoleon by Chaudet.

1826
Bust by G. B. Hughes exhibited RA 1826 (1049).

Bust by Edward Physick exhibited SBA 1826 (708), perhaps that at Christie's 12 March 1959 (6), head and shoulders in classical drapery incised: E. Physick, Sculptor.

1827
Marble bust by Thomas Campbell at Stratfield Saye, incised: THOS. CAMPBELL FECIT LONDON 1827; copies are at Hopetoun and Sandon (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 5 and plate 27) and Christie's 15 December 1982 (341), formerly at Badminton; a bronze cast was exhibited RA 1831 (1217) and a statue 1828 is at Dalkeith Palace.

Medal by Henning exhibited RA 1827 (492) and published by S. Parker commemorating his appointment as Commander-in-Chief (Laurence Brown, British Historical Medals, 1980, 1313); a pencil drawing was in an album of portrait studies at Sotheby's 15 March 1984 (25).

1828-9
Etching attributed to Adam Buck, half-length seated to left holding 'Catholic Relief Bill', published April 1829 probably as one of Buck's Political Reformer series (cf. Burdett, Cobbett, Cochrane, Hunt).

1828
Intaglio by John Dutton exhibited RA 1828 (1054).

1829
Oil by William (or Richard) Evans at Eton College, half-length in uniform and cloak over his right shoulder based on Lawrence, engraved by H. T. Ryall 'from the original of Sir Thomas Lawrence PRA in the Possession of Mr Joseph Harding - the Figure from a Picture by W. Evans Esq.' The head may be by Lawrence, the uniform and cloak by Richard Evans who was Lawrence's drapery painter. It may be related to the oil painted for Lady Jersey begun in 1829 but never finished (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 29 and plate 28; Kenneth Garlick, ‘Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’ in Walpole Society Journal, XXXIX, 1964, p 194). A copy is in the Huntington Library and a watercolour copy by William Derby, probably preparatory to Ryall's engraving, is in the Wallace Collection (P709).

Statue by Thomas Kirk in Trim, Ireland; a plaster model was exhibited RHA 1829 and a small marble bust is in R. J. B. Walker's collection, London.

Oil by Northcote in Exeter Guildhall, whole-length mounted on a grey horse, listed in James Northcote's list of paintings under 1829 but in fact a variant of his equestrian George III of 1806 in the Royal Marines Museum, Portsmouth; mezzotint by S. W. Reynolds 1837 (Alfred Whitman, S. W. Reynolds, 1903, 292a).

Oil by James Ward at 10 Downing Street (loan from the Duke of Wellington), head and shoulders in oval to left, uniform, Golden Fleece, Ribbon and Star of KG, signed and dated with monogram: JW 1829.

Small bronze bust by Henry Weigall incised: Published by J Blashfield 1829; marble copy exhibited RA 1849 (1306).

Sketch by Wilkie, see 1832-3 below.

Engraved gems by John Wilson exhibited RA 1829 (1076) and 1835 (1016).

1830
Marble busts by John Francis at Woburn Abbey and in Earl of Jersey's collection, one exhibited RA 1830 (1257).

Marble (or bronze) bust by Thomas Grimsley was at Stratfield Saye (see Rupert Gunnis, Dictionary of British Sculptors 1660-1851, 1953, p 181).

Etching by WWD, half-length in cloak and top-hat 'as he appeared immediately after the melancholy occurrence on the Liverpool and Manchester Railway 15 Septber 1830/taken by an eyewitness during the consultation whether to proceed to Manchester or to return to Liverpool'.

Drawing by R. Scanlan known from stipple engraving by H. Cook, half-length in uniform and cloak, Badge of Golden Fleece, Army Gold Cross with five bars for Peninsula campaigns, Ribbons and Stars of Garter etc - one of a series of octagonal prints including Peel, Anglesey (altered from Wellington) and Brougham.

c.1830
Marble bust by E. H. Baily in House of Lords (Norman Porch), incised: E. H. Baily. R.A. Sculpt.

1831
Oil by W. Robinson, see Lawrence 1825 above.

Pencil drawing probably by J. Doyle published as lithograph by McLean 1831, whole-length walking with Mrs Arbuthnot near the Achilles statue as 'A Sketch in the Park'; another, published by McCormick as 'Killing Time'.

1832-3
Oil by Wilkie in Merchant Taylors' Hall, London, whole-length standing beside Copenhagen (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 62); a slight pen and ink sketch is in British Museum (Laurence Binyon, Catalogue of Drawings by British Artists … in the British Museum, IV, p 346); another at Christie's 18 June 1980 (48); an oil sketch is at Stratfield Saye and another, from Wilkie's sale, Christie's 30 June 1842 (600), was with Noortman & Brod 1983 (26); a smaller oil study on panel was with the Fine Art Society London in 1979. A different type, whole-length with both hands on sword, is at Hatfield House, exhibited RA 1835 (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plate 30). Another type in Aberdeen Art Gallery shows him writing the Waterloo despatch with a Hussar in attendance; a pencil sketch for this, dated November 1833, is in Scottish NPG (866) and a watercolour and chalk sketch is at Stratfield Saye; a more finished watercolour and chalk study at Christie's 24 June 1960 (66) was said to be signed and dated 1829.

1832
Marble bust of heroic size by Pistrucci at Stratfield Saye incised: Benedetto Pistrucci/Royal Mint/XVIII JUN. MDCCCXXXII/XVII ANN. P.V. WATERLOO. A marble copy is in the Crown Estate Commissioners' collection and a plaster copy painted as bronze in the War Office, Whitehall. Pistrucci's Waterloo Medal, begun 1816 and finished 1849, contains on obverse the laureated heads of the four allied sovereigns, on reverse Wellington and Blücher guided into battle by a Winged Victory (Laurence Brown, British Historical Medals, 1980, 870).

1833
Statuette by Dantan in Musée Carnavalet, Paris, has the head intentionally omitted (Janet Seligman, Figures of Fun, 1957, p 146).

Cornelian intaglio by J. S. De Veaux in the British Museum is carved on the reverse of a portrait of Peel, both perhaps after Chantrey (Richard Ormond, National Portrait Gallery: Early Victorian Portraits, 1973, p 371).

'The House of Commons 1833' by Hayter (NPG 54, see Richard Ormond, National Portrait Gallery: Early Victorian Portraits, 1973, pp 526-36).

c.1833
Bronze equestrian statuette by J. C. F. Rossi was in his studio sale 1835 (Rupert Gunnis, Dictionary of British Sculptors 1660-1851, 1953, p 327); sketch model exhibited SBA 1833 (872).

1835-7
Oil by John Simpson in Apsley House, head and shoulders probably inspired by Lawrence as the Duke does not appear to have given sittings until 1837 (C. M. Kauffmann, Catalogue of Paintings in the Wellington Museum, 1982, 162). A whole-length formerly in the Junior United Service Club was exhibited RA 1836 (200) and engraved in mezzotint by G. H. Phillips 1852; a variant is in Royal Hospital Chelsea. A half-length was painted for Lord Normanton with sittings in 1837 (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 46-7). A different type, whole-length in Court dress, arms folded, Tower of London in background, is known from a mixed engraving by H. Cousins published T. Boys (example in British Museum).

1835
Oil by Andrew Morton exhibited RA 1835 (273), believed to have been painted for the Royal Naval Club (T. Whitley, Art in England 1800-1837, 1930, p 302). This or another is in Lord Carrington's collection with sittings at Walmer Castle in 1836, three-quarter-length in uniform, gloves in right hand, cocked hat under left arm (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 38); repetitions exist and a whole-length version is at Stratfield Saye, bought Christie's 2 December 1955 (102). Another type by Morton, whole-length with Colonel Gurwood at Apsley House, is now in the Wallace Collection (P632), with a variant at Christie's 18 July 1924 (58), one of which was exhibited RA 1840 (463).

Oil by Pickersgill in the Oriental Club, London, commissioned by the Club in 1834, the Duke being its first president, whole-length in uniform, exhibited RA 1835 (166); mezzotint by C. E. Wagstaff 1841. A variant was painted for Lord Hill, exhibited Manchester 1857 (292). Pickersgill painted a different type, equestrian whole-length exhibited RA 1846 (145), now in the City of London Club with a variant in the Army and Navy Club.

Marble statue by Joseph Towne exhibited RA 1835 (1073); another of 1838 is in Guys Hospital London and a bust executed for the Junior United Service Club was exhibited RA 1838 (1368).

Intaglio by John Wilson exhibited RA 1835 (1016).

1836
Oil by James Hall at Stratfield Saye, half-length profile to left in cloak, hands clasped on walking-stick; two chalk drawings dated: Walmer Castle 1 November 1836 are in Scottish NPG (905) and a variant inscribed: Aetat LXXII is in a private collection Hampshire. A bronze cast of the hands is at Stratfield Saye (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 15-16 and plates 33a-b).

Oil by John Lilley in Town Hall, Dover, whole-length standing wearing cloak, exhibited RA 1837 (268); mezzotints by J. Scott 1837 and 1838 (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 64); chalk drawings are at Stratfield Saye and Shipley Art Gallery, Gateshead. An equestrian whole-length was bought for the Salters' Company in 1845 (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, pp 31-2 and plate 31).

Oil sketches by Salter for Waterloo Banquet, see NPG 3766.

1837-8
Oil by Wilkie in the Royal Collection (Windsor Castle), 'Queen Victoria's First Council'; the Duke in full uniform appears prominently against a pillar, but according to the Queen herself the picture contained very few good likenesses (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 1969, 1188 and plate 279).

1837-40
Oil by H. P. Briggs in Charterhouse, London, three-quarter-length in dark blue uniform, Golden Fleece, Waterloo Medal, arms folded, exhibited RA 1837 (48) and engraved in stipple by H. T. Ryall 1841; several replicas and variants exist in Burghley House, Birmingham City Museum, Cavalry and Guards Club, London, and Foreign and Commonwealth Office etc; a Wedgwood half-length medallion is at Barlaston (Robin Reilly & George Savage, Wedgwood: the Portrait Medallions, 1973, 335). A whole-length variant in military cloak is in Cutlers' Hall, Sheffield, engraved by H. T. Ryall 1842 'from a painting by H. P. Briggs 1840'. A different type, whole-length seated as Chancellor of Oxford University, is at Stratfield Saye, engraved by G. H. Phillips (undated).

1837
Oil by Abraham Cooper at Stratfield Saye, whole-length equestrian exhibited RA 1838 (127).

Bronze equestrian statuette by E. Cotterill published by R. & S. Garrard, Panton St London, 18 June 1837 and exhibited RA 1839 (1311).

1838-56
Oils by John Lucas listed in Arthur Lucas, John Lucas, 1910:
(1) Trinity House, London, 1838. Whole-length standing in uniform as Master of Trinity House, Tower of London in background; mezzotint by H. Cousins published Boys 1841 (example in British Museum reproduced Arthur Lucas, John Lucas, 1910, pp 22-3).
(2) Examination Schools, Oxford, 1839. Whole-length standing in robes as Chancellor of the University (R. L. Poole, Catalogue of Oxford Portraits, I, p 147, no.357 and Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 69); mezzotint by S. Cousins published Moon 1840 (example in British Museum reproduced Arthur Lucas, John Lucas, 1910, p 38).
(3) Town Hall, Winchester, 1839. Whole-length standing as Lord-Lieutenant of Hampshire, Ribbon and Star of KG, Waterloo Medal, exhibited RA 1840 (307).
(4) Chevening, 1839. Three-quarter-length in field marshal's uniform, Golden Fleece, Ribbon and Star of KG, Waterloo Medal (reproduced Arthur Lucas, John Lucas, 1910, p 28).
(5) United Oxford and Cambridge Club, London, 1841. Whole-length as Chancellor of Oxford University.
(6) For Mr Rice Trevor 1840.
(7) For the Earl of Clare 1842.
(8) Plas Newydd, 1842. Whole-length in field marshal's uniform painted as a present for the 1st Marquess of Anglesey (reproduced Arthur Lucas, John Lucas, 1910, p 36); a near replica is in the House of Lords, Norman Porch.
(9) Herrenhausen, 1842 (believed to have been destroyed 1939-45 by enemy action). Whole-length equestrian (reproduced Arthur Lucas, John Lucas, 1910, p 44 and Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plate 37).
(10) Prussian Military School, Berlin, 1848. Half-length in uniform of Prussian field marshal, Order of the Black Eagle.
(11) Prince Metternich, Johannisberg-im-Rheingau, 1849. Half-length in uniform as Austrian field marshal (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plate 42b).
(12) Pamatnik Osvobozeni Museum, Prague, 1849. Half-length in uniform as Austrian field marshal (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plate 42a).
(13) National Gallery of Ireland, 1842. Half-length in field marshal's uniform, Ribbon of KG, possibly that painted for Mr Walker 1842.
(14) House of Lords. Whole-length in field marshal's uniform, painted for the Drapers' Company and acquired for the House of Lords in 1958.
(15) Commissioned by the Goldsmiths' Company in 1856 and destroyed by enemy action in 1941.
(16) Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935 mentions replicas and copies on pp 32-6.

1838
Drawing by R. Cruikshank known from an aquatint by John Grant, whole-length in uniform, Windsor Castle in background.

Bust by Robert Moody exhibited RA 1838 (5323).

1839
Oil by Lady Priscilla Burghersh at Apsley House (? private flat), 'Anne Countess of Mornington surrounded by the Effigies of her Sons', where the Nollekens bust appears on the table beside the Duke's mother. Lady Burghersh also painted 'Wellington writing the Waterloo Despatch', known from T. Hodgett's mezzotint of 1840 (example in British Museum).

Large mezzotint 'in the finest style' by J. Burnet, whole-length writing a despatch in the Peninsula, published Hodgson & Graves 1839 in The Despatch (example in British Museum).

Oils by B. R. Haydon, see NPG L152(3).

Oil by Sir George Hayter at Stratfield Saye, head and shoulders made for 'The House of Commons 1833', NPG 54 (reproduced Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, plate 35); a black and white chalk drawing, also at Stratfield Saye, is inscribed: sketch made at Walmer Castle for C.E.K./GH Sept. 1839.

Oil by J. P. Knight 'The Army and Navy', whole-length with Nelson in the Colonial Office 1805, known only from the mezzotint by S. W. Reynolds 1839 (Oliver Warner, History Today, February 1969, pp 125-8).

Small bust by S. MacCarthy exhibited RA 1839 (1323).

c.1839
Oil by Landseer in private collection London, whole-length equestrian with Queen Victoria reviewing the Life Guards, exhibited 'Romantic Art in Britain', Detroit and Philadelphia 1968 (17) reproduced p 253.

1840-5
Oil by Reinagle in private collection Kent, three-quarter-length seated to left, Christie's 2 August 1968 (265), perhaps the portrait exhibited SBA 1854 by Baron von Reinagle.

1840
Watercolour drawing by Lord Clarence Paget at Plas Newydd, whole-length reminiscing with Lord Anglesey on 25th anniversary of Waterloo, reproduced in Lord Anglesey, One-Leg, 1961, p 321.

Marble statue by J. E. Thomas exhibited RA 1840 (1092).

c.1840
Oil by R. Elliott in Town Hall, Wellington, New Zealand.

Oil by J. P. Knight at Wynyard Park, 'Heroes of Waterloo', showing the Duke receiving his guests to celebrate the 18th June, engraved by C. G. Lewis 1841 and exhibited RA 1842 (556). An unfinished oil half-length of the Duke was at Christie's 5 November 1948 (31) bought Arnold Wiggins.

Oil by Andrew Morton in the Wallace Collection, whole-length at Apsley House with Colonel Gurwood.

1841-4
Busts and statues by Marochetti. Sittings took place at Walmer Castle in 1841 and a marble bust was lent to Bethnal Green Museum by Marochetti's son (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 36 and plate 36); bronze copies were published by Tognozzi & Mariotti, London ? 1848. An equestrian statue was unveiled in Glasgow in 1844; chalk sketch at Stratfield Saye and bronze statuettes were published by Morel & Co (example at Christie's 23 February 1981 lot 329). Marochetti's statues at Leeds and Stratfield Saye were posthumous.

1841
Pencil and white chalk drawings by Sir George Hayter in Royal Collection (Windsor Castle); two copies, one autographed: Wellington and given to Prince Albert, the other inscribed: Stratfieldsaye George Hayter del. 31 May 1841, both head and shoulders on brown paper.

Lithograph by A. Maurin, three-quarter-length seated to left 'from the life at Woburn Abbey' (example in British Museum).

Miniature by Sir William Newton, 'The Homage' exhibited RA 1841 (839).

Oil by J. R. Wildman in private collection Berkshire in 1937, head and shoulders seated to right in scarlet uniform, Golden Fleece and KG, said to be dated 1850 but mezzotint by J. Porter published 1841 (example in British Museum).

1842
Oil by G. H. Laporte at Christie's 21 February 1958 (91), naïve equestrian whole-length.

Medallions by W. Bain and N. Palmer exhibited RA 1842 (1196, 1333).

Bust by J. Pitts exhibited RA 1842 (1176), possibly reduced and published in Parian 1852.

1843-4
Oil by Winterhalter in Royal Collection (Windsor Castle), whole-length standing in Windsor uniform with Sir Robert Peel, reproduced Richard Ormond, National Portrait Gallery: Early Victorian Portraits, 1973, plate 731 and mezzotint by James Faed 1844. An oil in Musée de Versailles is possibly a study for Winterhalter's 'Queen Victoria Receiving Louis Philippe at Windsor Castle 1844'.

1843
Marble bust by E. W. Physick exhibited RA 1843 (1472).

Marble busts by Sir John Steell at Cirencester Park and Colstoun House, both incised: Jn STEELL, Sculpt/Edin 1843; variants are in Scottish NPG dated 1845, Apsley House 1846, Preston Hall 1854, and Eton College. Steell's equestrian statue in Edinburgh 1852 was declared by Lord Ellesmere to be the best sculpture of the Duke (Personal Reminiscences of the Duke of Wellington, 1904, p 89). A large mezzotint of the statue by Edward Burton was made from a drawing by Gourlay Steell.

1844
Bust by Burges mentioned by the Duke in 1844 as 'the best bust of me' (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 60 sculptor unidentified).

Statue by E. H. Baily known from the melodramatic description of the sculptor's encounter with the Duke: 'God damn & blast all Artists for tormenting me ...' (B. R. Haydon's, Diary, 10 June 1844); an intaglio by Charles Bacon was exhibited RA 1846 (1379) 'from a model by E. H. Baily'.

Daguerreotype by Antoine Claudet taken 1 May 1844 at Stratfield Saye, variant Sotheby's 26 October 1984 (21). It was engraved By H. T. Ryall, 1 May 1845 and used as the basis for an enamel by John Haslem exhibited SBA 1847 (667) and another in the Ashmolean Museum dated 1852; miniature copies by Essex 1852 and Clothier are both at Stratfield Saye. It was enlarged by Charles Turner into a whole-length seated in the Commander-in-Chief's office Horse Guards, perhaps for a mezzotint. A chalk drawing by 'GR', attributed to George Richmond, was at Dowell's Edinburgh, 24 April 1969 (46).

Oil by H. de Daubrava at Christie's, 1 March 1963 whole-length riding past the Achilles statue in Hyde Park, engraved by J. Harris 1844, reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 75.

Miniature by John Doyle in Royal Collection (Windsor Castle), riding in Windsor Great Park, 8 June 1844 (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 10).

Pencil and chalk drawing by Sir George Hayter, head and shoulders to right wearing Golden Fleece and Ribbon of KG, known from a facsimile at Stratfield Saye inscribed: Facsimile of a drawing by Sir George Hayter/taken at Walmer in 1844.

Oil by Winterhalter in Royal Collection (Buckingham Palace), 'Queen Victoria Receiving Louis Philippe' (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 52 and plate 40).

1845
Oils and sculpture by Count D'Orsay, see NPG 405.

Equestrian statue by Thomas Milnes exhibited RA 1845 (1424), possibly the model for his statue set up in the Tower of London in 1848 and moved to Woolwich in 1863.

Oil by Pickersgill in City of London Club, whole-length equestrian.

Oil by Henry Barraud at Stratfield Saye, equestrian group with Prince Albert's harriers in Windsor Great Park.

1846-7
Oil by J. P. Knight at Wynyard Park, 'Heroes of the Peninsula', begun 1846, engraved by F. Bromley 1847, exhibited RA 1848 (321).

1846
Watercolour drawing by Sir John Gilbert at Apsley House, sketch for 'Waterloo Banquet 1846'.

Lithograph by M. A. Hayes, 'The British Army: No.15 the Staff', published 1846 (example in Staff College, Camberley).

Ink drawing by Sir George Harvey at Stratfield Saye, half-length seated in the House of Lords, 1 May 1846.

Pencil drawing by F. Witzleben in Royal Collection (Windsor Castle), head and shoulders to left signed and dated: Windsor Castel 25 Sept 1846 (14198) (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 52 and plate 41).

Equestrian statue by M. C. Wyatt at Aldershot (Caesar's Camp), begun in 1838, erected on Constitution Hill, universally derided (except by the Duke himself) and removed by the army in 1882 (H. Colvin, History of the King's Works, VI, 1973, pp 494-5; J. M. Robinson, The Wyatts, 1979, pp 186-7). Bronze statuettes by his son James Wyatt are at Knole and formerly in the United Service Club library; drawing reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 71.

1847
Enamel by John Haslem exhibited SBA 1847 (667) as an original but probably based on Claudet's daguerreotype.

c.1848
Oil by C. R. Leslie at Stratfield Saye, whole-length on the staircase of Buckingham Palace with his daughter-in-law Lady Douro (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 30 and plate 43). A different type, also at Stratfield Saye, shows the Duke contemplating a bust of Napoleon; a drawing for this in the British Museum was exhibited 'Portrait Drawings', British Museum, 1974 (365); it was engraved by P. Gauci and watercolour copies are known; a variant in back view is reproduced in Scott, Lifelines, p 45.

1849
Marble bust by Henry Weigall exhibited RA 1849 (1306) formerly in United Service Club collection.

1850
Bronze bust by George Abbott published by Hetley of Soho Square as a companion to another of Peel (examples at Stratfield Saye); Abbott also made a Parian marble statuette, whole-length seated 1852 but based on Crowquill's oil.

Statue by William Milligan at Southsea (Illustrated London News, 18 May 1850, p 357 and Rupert Gunnis, Dictionary of British Sculptors 1660-1851, 1953, p 260). ? destroyed 1941 with a companion statue of Nelson.

c.1850
Pencil drawings by George Cruikshank at Stratfield Saye, 2 sheets of sketches on horseback and in the House of Lords.

Ink and wash drawings by Constantin Guys at Sotheby's 4 December 1968 (233) bought Marlborough Fine Art, whole-length inscribed: Le Duc de Wellington au bras de Lord.

Oil by 'Alfred Crowquill' (A. H. Forrester) in a private collection Kent, head and shoulders signed and later adapted into a statuette by Abbott. A drawing by Crowquill, whole-length walking in civilian clothes and top-hat, was published by Richard Bentley 1850.

1851
Colossal marble bust by William Behnes made in 1851 for the King of Prussia and exhibited RA 1853 (1364); another, in the County Buildings Winchester, exhibited RA 1855 (1520). See NPG 405 for Behnes's connection with D'Orsay.

Statue by Robert Forrest in Falkirk.

Marble bust by Matthew Noble in Army and Navy Club, London, head and shoulders wearing cloak and Waterloo Medal incised: M Noble Sc London 1851, exhibited RA 1852 (1442); copies in Grocers' Hall 1852, Walker Art Gallery Liverpool, Trinity House (destroyed 1941) and Phillips 27 July 1982 (146); a small bronze copy incised: M. Noble Sc. 1852 was reproduced in Country Life, 25 July 1952, p 267. A marble statue is in Old India Office 1855 and bronze Manchester Piccadilly 1856; bronze statuette incised: M Noble was at Christie's October 1973 (44).

Wax statuette by Henry Ross exhibited in the Great Exhibition 1851. Ross's 'historical bust' exhibited SBA 1854 (73) is possibly that retrieved from a fire in the Pantechnicon and now set above a doorway in the National Gallery (staff entrance), though this bears a close resemblance to the busts by Nollekens.

Oil by Winterhalter in Royal Collection (Windsor Castle), 'The First of May' with his godson Prince Arthur (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 73); mezzotint by S. Cousins published 1852 (Alfred Whitman, Samuel Cousins, 1904, 237 and plate facing p 108).

Oil by Henry Weigall (junior) in private collection, whole-length standing in Court dress, Golden Fleece, Ribbon and Star of KG (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 50 and plate 44); repetitions are at Hatfield House, HM Embassy Madrid and Wellington College; a miniature of the head only is in Royal Collection (reproduced Daphne Foskett, Dictionary of British Miniature Painters, 1972, plate 383) and another was at Christie's 13 December 1977 (11).

Bronze bust by Henry Weigall (senior) in private collection; copies were published 10 October 1852 by Elkington Mason & Co (examples in former United Service Club and War Office); small Parian marble copies were published for A. & R. Daniell (example in Admiralty House).

1852
Drawing and lithograph by Louisa Corbaux, whole-length seated, perhaps from a daguerreotype.

Oil by H. de Daubrava at Apsley House, whole-length walking in a landscape.

Drawing by R. Hamerton known from a lithograph by J. R. Dicksee 1852, whole-length reading The Times (example in British Museum).

Pencil and ink drawing by W. O. Harling at Stratfield Saye, oval head and shoulders inscribed: … on the night of the Royal Academy soirée July 1852 (cf. G. H. White below).

Plaster bust by James Kendall (the Duke's personal servant) published by Mitchell, Royal Library, 33 Old Bond Street. A painted copy at Hatfield House is incised: Walmer Castle/Oct 1852/Jas Kendall and another at Apsley House.

Small marble bust by Robert Physick formerly in Royal United Service Museum (Catalogue 1924, no.1232).

Small white Parian bust by Joseph Pitts dated 1852 in Athenaeum Club.

Oil on panel by W. A. Smith in Cheltenham Art Gallery.

Statue by Sir John Steell in Edinburgh, bronze equestrian unveiled 18 June 1852 and considered by Lord Ellesmere to be the best statue of him (Personal Reminiscences of the Duke of Wellington, 1904, p 89).

Drawing by G. H. White in British Museum, whole-length at RA soirée, reproduced F. K. Smith, George Harlow White, 1975, p 9 and Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 74 as by Harling, see Illustrated London News, 16 October 1852, p 324.

Miniature by Robert Thorburn at Stratfield Saye, whole-length with his grandchildren in the library at Stratfield Saye, painted for the Baroness Burdett-Coutts and the last portrait done in his lifetime (Wellesley and Steegman, Iconography of the 1st Duke of Wellington, 1935, p 47 and plate 45; ‘The Wellingtons at Stratfield Saye’, Apollo, CII, no.161, July 1975, p 22).

Undated
Oil by E. U. Eddis in Clerkenwell Sessions House in 1889, whole-length, probably a copy of Salter's oil at Stratfield Saye c.1837.

Oil by Andrew Geddes at Christie's (Geddes sale) 8 April 1845 (528), small whole-length.

Lithograph portraits by J.-P. Lassouquère, 'INDIA/WATERLOO/HOUSE OF LORDS', three heads from engravings after Hoppner, Lawrence and Haydon, dedicated to the British Nation.

Silhouette by John Miers at Christie's 11 October 1977 (22), bronzed profile to right.

Drawing by William Skelton in British Museum, head and shoulders possibly for an engraving after Beechey (Laurence Binyon, Catalogue of Drawings by British Artists … in the British Museum, IV, p 102).

Drawing by W. D. Taylor in British Museum, half-length squared off for a line engraving perhaps after Lawrence (Laurence Binyon, Catalogue of Drawings by British Artists … in the British Museum, IV, p 174).

Portrait by James Palmer known from a large lithograph by G. B. Black, head and shoulders profile to left as an old man.

Drawing by 'WLW', known from a lithograph by Vincent Brooks, whole-length as an old man standing by a chair.

Posthumous
The Duke died on 14 September 1852.

Drawing of the scene at Walmer Castle made by Sir John Gilbert, known from a whole page cut by Joseph Williams in Illustrated London News (reproduced Victor Percival, The Duke of Wellington: a Pictorial Survey of his Life, 1969, p 77).

Death-mask made three days after his death (see NPG 2155a) and from it numerous marble and bronze busts by G. G. Adams.

Medals struck in his honour by Adams, Bardelle, Allen & Moore, Davis, Ottley, Pinches, E. W. and W. Wyon.

Statues and monuments were set up (or proposed) by Bell for Guildhall 1856, Boehm for Hyde Park Corner 1888, Cockerell a catafalque for Royal Hospital Chelsea 1852, Foley RA 1854 (1396), Lawson in lead for Liverpool 1863, MacCarthy for Merchant Taylors' Hall 1872, Marochetti for Woodhouse Moor Leeds 1855 and Stratfield Saye 1863, Noble for India Office and Manchester 1853-8, Papworth St Paul's 1857, Philip for Brighton 1854, Thomas for Brecon 1854. The monument by Alfred Stevens in St Paul's Cathedral, eventually set up unfinished in 1878, is surmounted by an equestrian statue by John Tweed 1912.



This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: Richard Walker, Regency Portraits, National Portrait Gallery, 1985, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.