The Gallery holds the most extensive collection of portraits in the world. Search over 215,000 works, 150,000 of which are illustrated from the 16th Century to the present day.

Advanced Collection search

Later Victorian Portraits Catalogue

Sir Charles Wyndham (Charles Culverwell) (1837-1919), Actor and theatre manager

Paintings, drawings, sculptures and prints
Undated portraits


Paintings, drawings, sculptures and printsback to top

Miniature by unidentified artist, head-and-shoulders, profile slightly left, wearing cravat; untraced. Wood engr. by ‘PN’ repr. Strand, vol.1, 1891, p.283 (‘Portraits of Celebrities’, captioned ‘Age 18’); and Pemberton 1904, facing p.2.

Coloured print, 316 x 204mm, possibly by Frank Chesworth, whole-length, to front, wearing grey suit, hands in pockets, standing between theatre curtains that are being drawn; V&A, London, S.5061-2009.

Brush and indian ink caricature drawing, 250 x 108mm, by Max Beerbohm (no further details); V&A, London, E.512-1939. Exh. Carfax G., 1901; ref. Hart-Davis 1972, no.1811.

publ. 1904
Ink and wash caricature drawing by Thomas Downey, signed bottom right, whole-length, seen from behind, to left, in suit, left hand in pocket; untraced. Repr. Bystander, 2 Mar. 1904, p.983.

Caricature drawing by Max Beerbohm, inscr. ‘Sir Charles Wyndham defying Time’, whole-length standing, to front, profile to left, in checked suit with arm crossed, facing bearded figure of Father Time, holding an hourglass and scythe; priv. coll., 1972. Ref. Hart-Davis 1972, no.1812; repr. Hall 1997, p.100, no.83.

Caricature drawing by Max Beerbohm, ‘Sir Charles Wyndham bearding Time’, ?whole-length, arms outstretched, plucking the beard of Father Time, who drops his hourglass in horror; priv. coll., 1972. Ref. Hart-Davis 1972, no.1813.

Crayon drawing, 381 x 555mm, by Max Beerbohm, preliminary sketch for above caricature; Max Beerbohm Art Coll., Harry Ransom Center, U. of Texas at Austin, 65.244.14. Ref. Hart-Davis 1972, no.1814.

exh. 1911
Caricature drawing by Max Beerbohm, inscr. ‘In case I am not spared to see them’, featuring portraits of Winston Churchill and three rows of men pictured in imagined old age, Wyndham in back row between Henry Brodribb Irving and F.E. Smith; untraced. Exh. Leicester Galleries 1911; ref. Hart-Davis 1972, no.335.

publ. 1915–16
Pen and ink caricature drawing by Harry Furniss; see NPG 3535.

publ. 1914
Watercolour caricature drawing by Alan Henry Stern (‘ASTN’), whole-length standing, to left, wearing dark suit, with flowing white hair, left arm behind back; untraced. Repr. as chromolithograph Vanity Fair, 7 Jan. 1914 (‘Men of the Day no.2357’, captioned ‘Le Doyen’); print NPG D45748.
See NPG Portrait Set ‘Vanity Fair cartoons: chromolithographs by various artists 1869–1914’.

exh. 1917
Oil on canvas by Hugh Goldwin Riviere, half-length seated in chair, profile slightly to left, legs crossed, left hand in pocket and right resting over wooden arm of chair; untraced. Exh. RA 1917 (341); repr. Studio, June 1917, vol.71, p.20.

Chalk drawing by Richard George Mathews; see NPG 6735.

exh. 1920
Bronze bust by John E. Hyett, life-size, profile slightly left, wearing jacket, tie and stiff collar; untraced; on display in vestibule of New Theatre, London, 1937. Exh. RA 1920 (1324).
Plaster cast of above; untraced; offered to NPG 1937, declined. Ref. NPG SB (Wyndham).

early twentieth century
Lithograph by unidentified artist after sketch by Howard van Dusen, head-and-shoulders vignette, to front, wearing tie and wing collar; NPG D36204, on sheet with sketch of Wyndham as David Garrick (see below, ‘In stage character, David Garrick, early twentieth century’).

Undated portraitsback to top

Watercolour portrait chargé by Frederick Sem, signed, whole-length standing, to left, looking down at paper held in right hand, left hand on hip; Garrick Club, London, SEM80.

Ink and watercolour drawing, 310 x 186mm, by Max Beerbohm, signed ‘Max’, inscr. by artist ‘Sir Charles Wyndham’, three-quarter-length, wearing coat with tails, left hand in pocket; priv. coll.; Sotheby’s, 14 July 2015 (153) (not listed by Hart-Davis).

Caricature drawing by Max Beerbohm, inscr. ‘London’s Leading Ladies. No. 1. Miss Mary Moore’; V&A, London (no further details). Ref. Hart-Davis 1972, no.1815 (‘M.M. as tiny, blue-eyed, yellow-haired, pink-sashed doll, with C[harles] W[yndham] looming large above her’).

Portrait chargé by ‘Kritikos’, standing, to left, wearing dark frock coat and striped trousers, holding cigar; untraced. Ref. NPG SB (Wyndham); repr. Era (no further details). Possibly based on NPG x82573; see below, ‘In private character, Photographs, 1900s’.

Photographsback to top

Photograph by London Stereoscopic & Photographic Co., whole-length standing, slightly to right, in photographic studio, holding top hat in right hand, with beard and moustache. Repr. Pemberton 1904, facing p.42.

Photograph by Purviance, New York, three-quarter-length standing, slightly to left, in photographer’s studio, right hand resting on chairback, wearing American Civil War uniform; wood engr. by ‘PN’ repr. Strand, vol.1, 1891, p.283, (‘Portraits of Celebrities’, captioned ‘Age 22’); Pemberton 1904, facing p.20; and Trewin 1980, p.22, captioned ‘aged twenty-seven’.

Photograph, possibly from the above session, with his father, Major Richard Culverwell, and two sisters. Ref. Trewin 1980, p.12.

Woodburytype by Louis Bertin, head-and-shoulders, profile to right, with long moustache; prints colls NPG x12597, NPG x12598 and NPG Ax7654; Garrick Club, London, Photograph Box B; and V&A, London, S.142:749-2007 (pose reversed) (all cartes-de-visite, 90 x 58mm); another print in sheet issued by unidentified photographer showing 29 portraits of actors; NPG x132955.
See NPG Portrait Sets ‘Terence Pepper gift: photographs, prints and drawings, 1808-2008’.

Photograph, 90 x 55mm (oval format), by Negretti & Zambra, half-length, to front, arms crossed, with moustache, wearing heavy checked suit; V&A, London, S.142:746-2007.

Cabinet card, 142 x 97mm, by Benjamin Joseph Falk, New York, bust-length, profile nearly to left, with long moustache, wearing waistcoat, jacket and tie with stiff collar and circular ?brooch; prints colls Billy Rose Theatre Division, New York PL, image ID TH-63441; and V&A, London, S.142:728-2007 (head-and-shoulders vignette).

publ. 1889
Photographs by Herbert Rose Barraud, two known poses:
(a) three-quarter-length, to left, facing front, hands clasped to front, wearing cravat and stiff white collar, perched on arm of chair; carbon prints, 246 x 178mm, publ. Eglington & Co., NPG x12590 and NPG Ax5459.
See NPG Portrait Set ‘Men and Women of the Day: photographs by Barraud and others, published 1888–1893’.
(b) dressed as in (a), half-length, to left, arms crossed; collotype, 145 x 100mm, by Direct Photo Engraving Co. Ltd,NPG x137779.

Photograph by Vernon Heath, half-length seated, slightly to right, facing front, arms folded, with long moustache; wood engr. by ‘PN’ repr. Strand, vol.1, 1891, p.283 (‘Portraits of Celebrities’, captioned ‘Present Day’); and Pemberton 1904, facing p.112.

publ. c.1894–1907
Photograph by unidentified photographer, half-length seated, to left, wearing patterned cravat, left hand on hip and right resting over chair back; cigarette card, 55 x 38mm, publ. Ogden’s, Guinea Gold series; print NPG x197025.
See NPG Portrait Set ‘Ogden’s “Guinea Gold” cigarette cards, published circa 1894–1907’

Photograph by Langfier Ltd, three-quarter-length standing, to front, against woodland studio backdrop, wearing patterned cravat with arms crossed to front; albumen cabinet card, 142 x 101mm,NPG x12586.
Postcard, 140 x 87mm, publ. Rotary Photographic Co. Ltd; print Garrick Club, London, Dorothy Burr Postcard Album, no.40.
Photogravure publ. E. Wrench, c.1900; copy V&A, London, S.1664-1986.

Photograph by unidentified photographer, half-length standing, to front, behind table, holding glass, at a dinner at the Argonaut Club given to celebrate his knighthood, with 11 other guests. Repr. Trewin 1980, p.166.
See also Moore, Waller.

Half-plate copy negative (1961), by Elliott & Fry, head-andshoulders, profile to left, wearing dark tie and stiff white collar; NPG x82573.

Photograph by Herbert Rose Barraud, half-length seated on chair, to right, right elbow resting on chair back and hand supporting face, holding open book on lap; photogravure by Draycott Galleries repr. Pemberton 1904, frontispiece.

Photograph by unidentified photographer, whole-length standing, to front, leaning on chair back beside seated Mary Moore, taken soon after their marriage; repr. Trewin 1980, p.166.

Photograph by Emery Walker, half-length seated, to front, profile slightly to left, left hand in pocket and right hand to face; quarter-plate glass negative NPG x19632.
Photogravure by Walker & Boutall, 138 x 102mm; prints NPG x27544 and NPG x27545.


Arrah-na-Pogue (as ‘Shaun the Post’)


Photograph by James Russell & Sons, three-quarter-length standing, to front, wearing hat, breeches and long overcoat; repr. Pemberton 1904, facing p.34.

Brighton (as ‘Bob Sackett’)


Photograph, 93 x 58mm, by Fradelle & Marshall, three-quarter-length standing, to front, profile to left, wearing buttoned-up coat and eyeglass, balancing top hat on end of cane held in both hands, at Court Theatre 1874 or Criterion Theatre 1884; V&A, London, S.142:743-2007.

David Garrick (as ‘David Garrick’)

Pencil drawing by Sydney Prior Hall; see NPG 2373.

Drawing by Sydney Prior Hall, signed bottom left, whole-length, to left, on stage at the command performance of the play at Sandringham, 7 Jan. 1887; untraced. Repr. as engr. Graphic, 29 Jan. 1887, p.109, captioned ‘Performance of “David Garrick” by Mr Charles Wyndham’s Company before the Prince and Princess of Wales at Sandringham’.
For Hall’s preparatory sketch of Wyndham in the drawing see NPG 2373.
See also James, Moore.

?Plaster statuette by Charles Bell Birch, whole-length standing, right arm raised and gesturing, feet placed apart; untraced. A version exh. RA 1887 (1827); ref. NPG SB (Wyndham).

exh. 1888
Oil on canvas, 1676 x 1130mm, by John Pettie, three-quarter-length standing, three-quarters to left, profile to left, holding hat in hands; Garrick Club, London, G0860. Exh. RA 1888 (1065); and Victorian Era Exh., 1897, Music & Drama section, no.166; repr. Pemberton 1904, facing p.204; and Ashton 1997 (86).
Mezzotint, 536 x 388mm, by Edward Gilbert Hester after Pettie, publ. 1890 by Thomas Miller McLean; NPG D36203.
See NPG Portrait Set ‘MacDonnell Collection’.

Drawing by Thomas Walter Wilson signed and dated, whole-length standing, to left leaning back against table (after photograph by Herbert Rose Barraud), in composite multi-figure group; untraced. Engr. by Richard Taylor repr. ILN, 28 Jan. 1893, pp.116–17, captioned ‘The Dramatic Profession of To-Day’, Wyndham no. 11 on key (p.118).
See also Brough, Farren, Forbes-Robertson, Hare, Irving, James, Langtry, Moore, Terry, Toole, Tree.

Drawing by unidentified artist, the scene on the opening night at Wyndham’s Theatre, 16 Nov. 1899, showing audience and stage, two whole-length figures representing Wyndham and Mary Moore in centre; untraced. Repr. ?Graphic (as captioned in Pemberton 1904; no further details); and Pemberton 1904, facing p.296, captioned ‘Opening night at Wyndham’s Theatre – “David Garrick”’.

Oil on canvas, 1130 x 1510mm, by (John) Byam Liston Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, whole-length, to left, at foot of staircase, at right hand edge of composition, as David Garrick, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London. Exh. RA 1914 (536); Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Centre for British Art, New Haven, CT, 2013 (55, ill. with key [no.48]). Repr. Sketch, 6 May 1914, p.133.
The full-size act drop was destroyed.
See also Alexander, Alma-Tadema, Anderson, M.E. Bancroft, S. Bancroft, Campbell, Farren, Forbes-Robertson, Hare, Irving, Leighton, Leno, Millais, Terry, Tree, Waller, Watts, Whistler.

early twentieth century
Lithograph by unidentified artist after sketch by John Hassall, three-quarter-length, to left; NPG D36204, on sheet with sketch of Wyndham in private dress (see above, ‘In private character, Paintings, drawings, sculptures and prints, early twentieth century’).


Photographs by Herbert Rose Barraud/Barrauds Ltd, 14 known poses:
(a) whole-length kneeling on stool, to left, beside Mary Moore (seated) as Ada Ingot; carbon print carte-de-visite, 91 x 55mm, prints colls NPG x12589; and V&A, London, S.142:737-2007. Repr. Pemberton 1904, facing p.184 (vignette, reversed).
(b) variant of (a); V&A, London, S.142:750-2007.
(c) another variant of (a), vignetted; V&A, S.142:727-2007.
(d) another variant of (a), Moore looking slightly upwards towards Wyndham. Repr. Trewin 1980, p.151.
(e) whole-length standing, to left, at base of carved staircase, dressed as above, holding sword and cape; prints NPG x12580 (albumen cabinet card, 140 x 100mm) and NPG x12588 (carte-de-visite, three-quarter-length detail). Repr. Pemberton 1904, facing p.168.
(f) three-quarter-length, profile to left, perched on table, leaning backwards, right arm held aloft holding glass, dressed as above; albumen cabinet card, 141 x 104mm, NPG x12587.
(g) variant of (f), whole-length, profile slightly more to left, right foot raised off floor; V&A, London, S.142:730-2007.
(h) another variant of (f), whole-length, right foot pointing down. Repr. Whyte 1898, between pp.168 & 169.
(j) another variant of (f), three-quarter-length, head angled downwards; bromide postcard, 121 x 81mm, prints colls NPG x198071; and Billy Rose Theatre Division, New York PL, image ID TH-63443. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.
Watercolour drawing by Frederick Barnard after above pose, signed; untraced. Repr. as engr. ILN, 19 Mar. 1887, p.313.
Drawing after poses (f)–(j), pose reversed; untraced. Coloured engr. repr. as cigarette card, publ. Player’s; copy Billy Rose Theatre Division, New York PL, image ID 408454.
Impressed brass plate, 170 x 150 x 10mm, after poses (f)–(j); Garrick Club, London, B0177. Ref. Burnim & Wilton 2001, p.118.
(k) half-length seated, to right, dressed as above, holding cape and hat in left hand, sword in right; cabinet cards colls V&A, London, S.142.729-2007; and Billy Rose Theatre Division, New York PL, image ID TH-63442.
Cigarette card, 58 x 38mm, publ. Ogden’s c.1894–1907, Guinea Gold series; prints colls NPG x197020. See NPG Portrait Set ‘Ogden’s “Guinea Gold” cigarette cards, published circa 1894–1907’.
(l) variant of (k), profile slightly less to right; Billy Rose Theatre Division, New York PL, image ID TH-63445 (?photogravure).
(m) three-quarter-length, as in (k) but standing, no chair; V&A, London, S.142:731-2007.
(n) half-length vignette, dressed as above, right hand resting on banister holding sword; cabinet card 167 x 109mm, Garrick Club, London, Photography Box A. Carbon print, 199 x 88mm, publ. The Theatre, 1 Apr. 1896; copy NPG Ax28888.
Postcard, 137 x 86mm, non-vignette, publ. J.B. & Co.; print Garrick Club, London, Dorothy Burr Postcard Album, no.40.
(o) three-quarter-length standing, to front, profile almost to left, dressed as above, holding cape and hat in left hand, sword in right; cabinet card, 167 x 109mm, Garrick Club, London, Photograph Box A.

Photograph by Daily Mirror, scene from revival at Criterion Theatre, whole-length standing, to left, pointing to left, in centre of stage, wearing silk breeches, surrounded by cast members; Gabrielle Enthoven Coll., V&A, London (no further details). Repr. Donohue 1971, between pp.134 & 135.

Dearer than Life


Cabinet card by General Photographic Agency, eight members of cast around a table, Wyndham second from left, whole-length standing, at back, with huge false beard; prints colls V&A, London, S.145:6-2007; and Getty Images 3065359, where photograph credited and dated June 1868. Repr. Picture Post, 15 July 1939, p.35; and Trewin 1980, p.22.
See also Brough, Irving, Toole.

Fourteen Days (as ‘Peregrine Porter’)


publ. 1882
Photographs by Brown, Barnes & Bell, whole-length standing, to left, beside Mary Rorke smoking a cigarette, two known poses:
(a) to right hand side of Rorke; carbon print, 116 x 92mm, publ. The Theatre, vol.6, 1 July 1882, copy NPG Ax35623, with facsimile signatures of both sitters. Repr. Mander & Mitchenson 1957, no.353; and Trewin 1980, p.134. Another print, vignetted, V&A, London, S.139:624-2007.
(b) to left hand side of Rorke; V&A, London, S.142:726-2007.

Photograph, 137 x 104mm, by Brown, Barnes & Bell, whole-length vignette, to front, seated at desk in prison uniform, holding glass, beside George Giddens; V&A, London, S.142:725-2007.

Money (as ‘Captain Dudley’)


Photograph by Foulsham & Banfield, three-quarter-length standing, to left, profile slightly to left, holding open snuffbox; postcard, 139 x 89mm, publ. Rotary Photographic Co. Ltd; print Garrick Club, London, Photograph Box B.

Mrs Dane’s Defence (as ‘Sir Daniel Carteret’)

Pen and ink drawing, 129 x 233mm, by unidentified artist, whole-length standing, at centre in foreground, in group scene with Mary Moore, Lena Ashwell and Alfred Kendrick; V&A, London, S.350-2011. Repr. Penny Illustrated Paper, 9 Oct. 1900.

Rosemary (as ‘Sir Jasper Thorndyke’)

publ. 1899
Watercolour on card, 365 x 273mm, by Samuel Begg, signed bottom right, inscr. ‘Farewell Performance at the Criterion Theatre’, whole-length standing, to left, left hand on chair back, main image in montage of scenes drawn to mark Wyndham’s departure from the Criterion; V&A, London, S.4618-2013. Repr. Illustrated Sporting & Dramatic News, 29 July 1899; and Donohue 1971, between pp. 134 & 135.
See also Moore.

She Stoops to Conquer (as ‘Young Marlow’)


Photographs possibly by Herbert Rose Barraud/Barraud’s Ltd, two known poses:
(a) half-length standing, behind Mary Moore seated on chair, looking down towards her; V&A, London, S.142:740-2007.
(b) variant of (a), standing more to right, facing front, looking down at Moore. Repr. Mander & Mitchenson 1957, no.351; and Trewin 1980, p.166.

Photograph by Herbert Rose Barraud, possibly from same session as above, whole-length seated in chair, to right, facing front, legs crossed, dressed as above; Billy Rose Theatre Division, New York PL, image ID TH-63444.

Still Waters Run Deep (as ‘John Mildmay’)


Photograph, 140 x 102mm, by Herbert Rose Barraud, three-quarter-length standing, to left, behind and to right of Mary Moore, clasping her left arm; V&A, London, S.142:720-2007.

Photographs by Herbert Rose Barraud, two known poses:
(a) whole-length, to front, standing on the bottom step of stepladder, wearing evening dress, left hand in pocket, in studio setting; cabinet cards, 166 x 109mm, colls V&A, London, S.142:744-2007; and Garrick Club, London, Photo Album 1, Barraud Cabinet Card no.4. Repr. Trewin 1980, p.134.
(b) variant of (a), half-length; V&A, London, S.142:718-2007.

publ. 1890
Photograph by Herbert Rose Barraud, half-length standing, to right, beside Mary Moore; carbon print, 115 x 87mm, by Eglington & Co., publ. The Theatre, 1 Nov. 1890, copies colls NPG Ax9379; and Garrick Club, London, Athole Stewart Album, no.57.

Wild Oats (as ‘Jack Rover’)


Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) cabinet card, 167 x 108mm, whole-length, profile to left, in ?18th-century dress, bending forward to kiss the hand of Mary Moore; Garrick Club, London, PH0091.
(b) three-quarter-length standing, to front, profile almost to left, dressed as in (a), right hand in pocket; V&A, London, S.142:719-2007.

Photograph, 89 x 55mm, possibly from the same session as above, three-quarter-length, to right, profile almost to right, wearing long coat, light-coloured breeches and hat; V&A, London, S.142:745-2007.

Unidentified part or play

after 1899
Pen and ink design by E.W. Tarver or ‘B.P.’, half-length, to front, profile to right; untraced. Repr. in souvenir booklet for St James’s Theatre, 1900, p.62, with similar thumbnail drawing of Lionel Brough; see V&A, London, S.5470:13-2009.


late 1800s to early 1900s
Photograph, 95 x 61mm, by unidentified photographer, whole-length standing, to front, in ragged shirt and trousers, holding sword and grasping small boy to front, as unidentified character; V&A, London, S.142:748-2007.

Photograph, 145 x 107mm, by Benjamin Joseph Falk, New York, whole-length standing, to front, in studio setting, wearing gloves and top hat, rolled umbrella tucked under elbow, as unidentified character; V&A, London, S.142:717-2007.

Elizabeth Heath