Later Victorian Portraits Catalogue

I. IN PRIVATE CHARACTER
Paintings, drawings, sculptures and prints
Posthumous portraits
Photographs
II. IN STAGE CHARACTER

I. IN PRIVATE CHARACTERback to top

Paintings, drawings, sculptures and printsback to top

c.1890s
Brush and ink caricature by Max Beerbohm, no further details; V&A, London, E.511-1939. Ref. Hart-Davis 1972, p.154, no.1735.

1908
Oil on canvas by Gerald Kelly; see NPG 5795.

1909
Caricature by Frederick Drummond Niblett (‘Nibs’), signed and dated, whole-length standing, to right, hands in pockets; untraced. Repr. as chromolithograph Throne and Country, vol.3, 13 Feb. 1909, facing p.304; see MEPL, London, 10088798.

publ.c.1910
Coloured woodblock print by J. Ross, enlarged head, full-face, riding small horse; NPG D6670. See NPG Portrait Set ‘MacDonnell Collection’.

Posthumous portraitsback to top

publ. 1925
Pen and ink drawing by Harry Furniss, head-and-shoulders, three-quarters to left; untraced. Repr. Furniss 1925, facing p.56.

undated
Silver medal by Percival Hedley, inscr. on reverse: ‘Lewis Waller / by / Percival Hedley / (OP: DCCLVI:)’, head, profile to left; V&A, London, S.110-1981, described as a ‘farewell tour medal’.

Watercolour drawing by L.J. Binns, whole-length standing, to left, hand on hip, smoking cigar; Billy Rose Theatre Division, New York PL, image ID 1628894.

Photographsback to top

c.1862
Photograph by Camille Silvy, whole-length seated, to left. Repr. Strand, vol.38, 1909, p.655, captioned ‘Lewis Waller when 18 months old’.

c.1863
Photograph by Camille Silvy, whole-length seated, to left, in pram. Repr. Strand, vol.38, 1909, p.655, captioned ‘Lewis Waller at 2½ years of age’.

c.1864
Photograph by Camille Silvy, whole-length, standing by chair. Repr. Strand, vol.38, 1909, p.656, captioned ‘Lewis Waller at four’.

c.1864–6
Photograph by Henry Charles Heath, whole-length seated, full-face. Repr. Strand, vol.38, 1909, p.656, captioned ‘And six years of age’.

Wood engr. by Richard Taylor, three-quarter-length detail, repr. Strand, vol.11, 1896, p.442, captioned ‘Age 4’.

c.1874
Photograph by S. Poole, half-length, three-quarters to right, arms folded. Wood engr. by Richard Taylor repr. Strand, vol.11, 1896, p.442, captioned ‘Age 14’.

c.1882
Photograph by William Gillard, three-quarter-length seated, head slightly to left. Wood engr. by Richard Taylor repr. Strand, vol.11, 1896, p.442, captioned ‘Age 22’.

publ. 1894
Photograph by Alfred Ellis, half-length, full-face, standing behind chair, cigarette in right hand. Carbon print publ. The Theatre, series 4, vol.24, 1 Nov. 1894, facing p.248; copies colls NPG Ax28867 and NPG x27234; and Garrick Club, London, Athole Stewart Album, no.290.

publ. 1894–1907
Photograph by unidentified photographer, whole-length, seated in wooden armchair, head on right hand.

Cigarette card, publ. Ogden’s, Guinea Gold series; print NPG x27253. See NPG Portrait Set ‘Ogden’s “Guinea Gold” cigarette cards, published circa 1894–1907.

c.1896
Photograph by Hayman Seleg Mendelssohn, bust, head three-quarters to right. Wood engr. by Richard Taylor repr. Strand, vol.11, 1896, p.442, captioned ‘Present day’.

Pose and appearance resemble Mendelssohn’s 1895 photograph of Waller playing Chiltern in An Ideal Husband; see below, ‘In stage character, An Ideal Husband’.

1890s
Photographs by Alfred Ellis, wearing checked three piece suit, three known poses:
(a) three-quarter-length standing, facing, wearing bowler hat, cigarette in left gloved hand; Russell-Cotes AGM, BORGM:2014. [1]
(b) half-length, profile to left. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.
(c) half-length, looking three-quarters to left; Russell-Cotes AGM, BORGM:2014.

Photograph by John Caswall Smith, bust, to right, left hand to cheek, wearing bow tie. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.

Photographs by Lizzie Caswall Smith, in speckled suit, two known poses:
(a) bust, to right, head turned to face. Postcard, publ. J. Beagles & Co.; prints colls Russell-Cotes AGM, BORGM:2014; Sotheby’s, 29 Oct. 2004 (71); and Billy Rose Theatre Division, New York PL, image ID TH-61370.
(b) three-quarter-length seated, facing. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

Photograph by Window & Grove, head-and-shoulders, three-quarters to right, wearing striped bow tie. Cigarette card, publ. Cohen, Weenen & Co., London; print Billy Rose Theatre Division, New York PL, image ID 1203818.

Photograph by Alfred Ellis & Walery, half-length, full-face, seated at desk, writing with quill pen; Getty Images 144994084.

Postcard, publ. J. Beagles & Co.; prints colls Billy Rose Theatre Division, New York PL, image ID TH-61371; and Russell-Cotes AGM, BORGM:2014.

Photograph by Alfred Ellis & Walery, whole-length, facing, seated on bench, legs crossed, in pale suit. Postcard, publ. J. Beagles & Co.; prints colls NPG x27241; and Russell-Cotes AGM, BORGM:2014.

Photograph by (Alexander) Percy Guttenberg, Manchester, bust, to left, head turned to face. Postcard (no further details); print NPG x27240.

Photographs by London Stereoscopic & Photographic Co., with young daughter Nancy, two known poses:
(a) three-quarter-length to left, child on balustrade. Postcard (no further details); print Russell-Cotes AGM, BORGM:2014.
(b) three-quarter-length seated, three-quarters to left, child on knee. Repr. unidentified publication (no further details); cutting Russell-Cotes AGM, BORGM:2014.

Photographs by Foulsham & Banfield, in garden, wearing summer clothes, three known poses:
(a) half-length, to left, seated in wicker chair, wearing hat. Postcard, publ. Exemplar Engraving Co.; print Billy Rose Theatre Division, New York PL, image ID TH-61372. Another postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.
(b) half-length, to right, turned to face, in wicker chair. Postcard, publ. Rotary Photographic Co. Ltd; prints colls Billy Rose Theatre Division, New York PL, image ID TH-61366; and Russell-Cotes AGM, BORGM:2014.
(c) whole-length, facing, wearing hat, holding croquet mallet. Postcard, publ. Rotary Photographic Co. Ltd; prints colls Billy Rose Theatre Division, New York PL, image ID TH-61367; Tremaine Arkley Croquet Coll., U. of British Columbia L., Croquet_Box1_0050; and Russell-Cotes AGM, BORGM:2014.

‘Waller was fond of a quiet life in comfortable surroundings. Unlike the majority of “star” actors, then and now, he never turned up at big social functions … and preferred a game of golf to Green Room gossip.’ [2]

Photographs by unidentified photographer, possibly Foulsham & Banfield, outdoors with Nancy, three poses:
(a) whole-length, facing, standing on punt, wearing hat, Nancy in foreground; Getty Images 3292252.

Postcard, publ. Rotary Photographic Co. Ltd; prints Billy Rose Theatre Division, New York PL, image ID TH-61368; and Russell-Cotes AGM BORGM:2014.

(b) whole-length, facing, seated on garden bench; Getty Images 3293470.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

(c) three-quarter-length, facing, on bench, book in right hand. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.

Photograph by unidentified photographer, three-quarter-length, facing, seated on garden bench, wearing checked cap, Nancy on his knee. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

Photographs by Bassano Ltd, in check tweed jacket and light tie, two known poses:
(a) bust, almost profile to left. Postcard, publ. W.G. Pollard; prints colls NPG x198068; and Russell-Cotes AGM, BORGM:2014.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

Cigarette card, Prize Crop Cigarettes; coloured prints Billy Rose Theatre Division, New York PL, image IDs 405639 and 405647.

(b) bust, three-quarters to left. Postcard, publ. Rapid Photo Co.; print Billy Rose Theatre Division, New York PL, image ID TH-61358. Another postcard, publ. J. Beagles & Co.; Russell-Cotes AGM, BORGM:2014 (printed in reverse).

late 1890s–early 1900s
Photograph by London Stereoscopic & Photographic Co., three-quarter-length seated, head on right hand, hat on knee; V&A, London, S.143:36-2007.

Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.

reg. 1901
Photograph by Histed & Co., head-and-shoulders, profile to left; reg. for copyright 1901, Sept. 11 (no further details).

Photogravure by Direct Photo Engraving Co.; prints colls NPG x27235; and Harvard Theatre Coll., Houghton L., Harvard U. Ref. Hall 1930–34, vol.4, p.229, no.1.

1902
Photograph by unidentified photographer, half-length, to front, profile left, standing behind table, at a dinner at the Argonaut Club given to celebrate Charles Wyndham’s knighthood, with 11 other guests; untraced. Repr. Trewin 1980, p.166.

See also Moore, Wyndham.

reg. 1905
Photograph by Langfier Ltd, whole-length standing, slightly to right, full face, hands in pockets. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.

This pose is incorporated in a double portrait (in private dress and in part); see also below, ‘In stage character, Henry V, Photographs, reg. 1905’, pose (f).

c.1906–c.1912
Photographs by Dover Street Studios Ltd, in herringbone tweed suit, two known poses:
(a) three-quarter-length seated, facing, left hand in pocket; cabinet card NPG x46690.
(b) bust, to right, head turned to face. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.

Note the use of eye make-up here and in other photographs in private character.

reg. 1909
Photograph by Alfred Ellis & Walery, three-quarter-length standing, to left, facing, holding cigarette and cigarette case; reg. for copyright 1909 May 27 (no further details); cabinet card NPG x46691.

1900s
Photographs by Lafayette, various poses including:
(a) half-length, profile to left, wearing coat with broad fur collar. Postcard, publ. E. Wrench; print NPG x197861. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.
(b) bust, to right, head turned to face, with fur collar. Postcard, publ. Misch & Co. (‘M. & Co.’); print NPG x197862. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.
(c) similar to (b) but head less fully facing. Repr. Waller [1909], front cover.

Postcard, publ. J. Beagles & Co.; prints colls NPG x197863; and Russell-Cotes AGM, BORGM:2014. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

The favoured image, in private dress, for Waller’s ‘biographical sketch’.

(d) three-quarter-length seated, to right, head turned to face, with book but without coat. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.

Photograph by ?Lafayette, head-and-shoulders, three-quarters to right, wearing fur bonnet and fur collar, lighting cigar with gloved hands. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

Photographs by Langfier Ltd, in pale suit and striped shirt, two known poses:
(a) bust to left, head turned to face. Postcard, publ. Rotary Photographic Co. Ltd; prints colls NPG x27239; and Russell-Cotes AGM, BORGM:2014.
(b) half-length to right, arms crossed, holding cigarette. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.

Photographs by Langfier Ltd, in dark jacket, striped tie and checked waistcoat, against leafy background, two known poses:
(a) three-quarter-length standing, full-face, hands in pockets. Postcard, publ. Rotary Photographic Co. Ltd; prints colls Garrick Club, London, David Allen Postcard Album, no.14; and Billy Rose Theatre Division, New York PL, image ID TH-61357.

Photogravure by E. Wrench; V&A, London, S.1661-1986.

(b) half-length, slightly to left, arms folded. Postcard, publ. J. Beagles & Co.; print Billy Rose Theatre Division, New York PL, image ID TH-61369.

1910
Photographs by Bassano Ltd, in dark jacket and tie, three known poses:
(a) three-quarter-length seated, facing, daughter Nancy seated at left. Postcard, publ. Rotary Photographic Co. Ltd; prints colls NPG x198069; and MEPL, London, 10088803.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

(b) bust, three-quarters to right, almost facing; whole-plate glass negative NPG x102013. See NPG Portrait Set ‘Bassano Theatricals’.
(c) bust, three-quarters to right, looking to right; whole-plate glass negative NPG x102014. See NPG Portrait Set ‘Bassano Theatricals’.

reg. 1911
Photograph by Mildred Norris Laker, head-and-shoulders (no further details); reg. for copyright 1911 Mar. 27: National Archives (COPY 1/555/254).

undated
Photograph by unidentified photographer, half-length, facing slightly to left, arms folded. Postcard (no further details); prints colls Garrick Club, London, David Allen Postcard Album, no.157; and Russell-Cotes AGM, BORGM:2014.

Photograph by unidentified photographer, half-length, receding hairline, arms folded; Billy Rose Theatre Division, New York PL, image ID TH-61373.

Photograph by unidentified photographer, nearly whole-length seated, to right, wife Florence West standing at his right; Harvard Theatre Coll., Houghton L., Harvard U. Ref. Hall 1930–34, vol.4, p.229, no.2.

II. IN STAGE CHARACTERback to top

Agatha Tylden, Merchant and Shipowner (as ‘Hugh Ainsworth’)

publ. 1892
Pen and ink drawing by Everard Hopkins (‘E.H.’), whole-length, head in profile to left, with Lillie Langtry and two others, in group scene; untraced. Repr. ILN, 22 Oct. 1892, p.512; see Bridgeman Images LIP1603649.

As You Like It (as ‘Orlando’)

Photographs

1885
Photograph by Alexander McNab, Glasgow, three-quarter-length standing, looking to right, leaning against tree, knife in right hand and stick in left. Repr. Waller [1909]; see Wikipedia.

Bardelys the Magnificent (as ‘Marcel de Pol, Marquis de Bardelys’)

Photographs

1911
Photographs by Lafayette, four known poses:
(a) whole-length standing, three-quarters to left, left hand on hip, wearing hat. Postcard, publ. J. Beagles & Co.; print NPG x197856.
(b) whole-length half-seated, looking to right, left hand on hip, wearing hat. Postcard, publ. J. Beagles & Co.; print NPG x197857.
(c) three-quarter-length standing, to right, full-face, without hat. Postcard, publ. J. Beagles & Co.; print NPG x197858.
(d) whole-length seated, to left, without hat. Postcard, publ. J. Beagles & Co.; NPG x197859.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

Photograph by Foulsham & Banfield, three-quarter-length standing, full-face, left arm leaning on chair, without hat. Postcard, publ. Rotary Photographic Co. Ltd; prints colls NPG x197860; and Russell-Cotes AGM, BORGM:2014.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

Photograph by unidentified photographer, three-quarter-length standing, head to left, wearing hat, left hand on hip. Postcard with date of performance, 21 Feb. (1911), Globe Theatre, London; prints colls MEPL, London, 11108641; and Russell-Cotes AGM (no further details).

Photograph by unidentified photographer, three-quarter-length standing, to right, with Madge Titheradge; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42–3.

Brigadier Gerard (as ‘Captain Gerard’)

1906
Poster design by John Cameron, whole-length standing, to left, on battlefield; untraced. For poster see MEPL, London, 11121353.

Watercolour drawing by William Russell Flint, signed and dated 1906, whole-length standing, to right, profile to left; untraced. Repr. ILN, 10 Mar. 1906, p.341.

Photographs and film

1906
Photographs by Alfred Ellis & Walery, in military uniform, four known poses:
(a) whole-length, legs braced, left arm only visible, head slightly to left, table in background; prints colls Toronto Public L. (no further details); and Getty Images 464001743.

Postcard, publ. J. Beagles & Co.; print Toronto Public L. (no further details).

(b) whole-length, facing, legs braced, right hand on hip, table in background; Toronto Public L. (no further details). Repr. Waller [1909]; see Wikipedia.

Postcard, publ. J. Beagles & Co., three-quarter-length detail; print Toronto Public L. (no further details).

(c) whole-length kneeling, profile to left, with Evelyn Millard; prints colls Toronto Public L. (no further details); and Getty Images 171140765.

Postcard, publ. J. Beagles & Co.; print Toronto Public L. (no further details).

(d) three-quarter-length standing, full-face, hands clasped on sword hilt; print on Alfred Ellis card, Russell-Cotes AGM, BORGM:2014.

Photographs by Alfred Ellis & Walery, in military uniform (except (kk)), ten known poses:
(aa) whole-length, to left, standing behind table, in group of four. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.
(bb) whole-length standing, to left, with drawn sword, second from right in group of four.
(cc) three-quarter-length standing, to left, both hands on heart, with Evelyn Millard and one other. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.
(dd) whole-length standing, facing and smiling, second from left in group of four. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.
(ee) three-quarter-length standing, to left, with Millard. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.
(ff) whole-length standing, to right, with Millard and seated older man.
(gg) bust, turned three-quarters to left.
(hh) three-quarter-length seated, goblet raised in right hand.
(jj) three-quarter-length seated, three-quarters to left, twirling moustache, left hand on sword. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.
(kk) three-quarter-length standing, full face, in civilian dress, stick in right hand. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.

For each of these poses: postcard, publ. J. Beagles & Co.; print Toronto Public L. (no further details).

1915
Film by Barker Motion Photography, 88 minutes, directed by Bert Haldane, released Sept. 1915; BFI identifier 133195.

Production photographs by unidentified photographer; no further details. Repr. film souvenir programme; copy U. of Bristol Theatre Coll., TCW/M/000193.

A Butterfly on the Wheel (as ‘Roger Collingwood’)

Photographs

1911
Photographs by Foulsham & Banfield, two known poses:
(a) half-length, full-face, leaning over desk, with Beryl Faber. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.
(b) whole-length, facing, seated on arm of sofa; Getty Images 3290490.

reg. 1911
Photograph by Charles Summers Baynton, Birmingham, whole-length standing; reg. for copyright 1911 Sept. 8: National Archives (COPY 1/560/65).

The Chief of Staff (as ‘Colonel Stephen Cavendish’)
Max Beerbohm: ‘I had not within the past two or three years been present at one of Mr Lewis Waller’s first nights … so had not realised to the full how very tremendous may be the pressure generated by adoration of an actor who is surpassingly beautiful to the eye and ear … I do not propose to criticise The Chief of Staff. It is a rigmarole which shows off Mr Waller personally. This is all one need say of it.’ [3]

Photographs

1909
Photograph by Foulsham & Banfield, three-quarter-length, head to left, seated in cane chair, wearing hat, left arm in sling; Getty Images 3290484.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, no further details.

Clancarty ( as ‘Lord Clancarty’)

Photographs

1907
Photographs by Ellis & Walery, three known poses:
(a) whole-length, to right, facing, seated on corner of table. Repr. Waller [1909].
(b) half-length, full-face, hands on sword. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.
(c) three-quarter-length, standing profile to right, looking down at Evelyn Millard. For a colour illustration based on this pose, see MEPL, London, 11356925.

Photographs by Foulsham & Banfield, various poses including:
(a) bust, three-quarters to left; MEPL, London, 10088801.
(b) whole-length seated, with Evelyn Millard. Postcard, publ. Rotary Photographic Co. Ltd; prints colls Russell-Cotes AGM, BORGM:2014; and Billy Rose Theatre Division, New York PL, image ID TH-61363.
(c) whole-length, to left, facing, seated on corner of table. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

For further poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

The Crusaders (as ‘Philos Ingarfield’)

publ. 1891
Drawing by unidentified artist, whole-length seated, to left, with Olga Brandon; untraced. Repr. ILN, 7 Nov. 1891, p.595; see Bridgeman Images LIP1592073.

Don Cesar de Bazan (as ‘Don Cesar de Bazan’)
See A Royal Rival below.

The Duke’s Motto (as ‘Henri de Lagardère’)

1908
Watercolour drawing by Charles Buchel, bust, to right, wearing bandanna and gold earring; untraced.

?Poster after Buchel; print MEPL, London, 11673104.

Loosely based on a photograph by Foulsham & Banfield; see below, ‘Photographs, 1908’, pose (b).

Photographs

1908
Photograph by unidentified photographer, half-length, full face, rapier in right hand, clasping Valli Valli with left; Alamy BFB6JC.

Photograph by Ellis & Walery, whole-length standing, facing, cape on right shoulder, left hand on sword hilt. Repr. Waller [1909].

Photographs by Foulsham & Banfield, various poses on stage including:
(a) whole-length, to right, duelling; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42–3.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

(b) bust, full-face, looking to left. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

For further poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

The Explorer (as ‘Alexander Mackenzie’)
Max Beerbohm: ‘The eyes are the eyes of Mars, and the jawbone is exactly the jawbone that Jove had beneath his beard; while the air of grimly concentrated force is Vulcan’s own. As the Explorer Mr Waller has a superb opportunity for the use of these divine assets.’ [4]

Photographs

1908
Photographs by Foulsham & Banfield, various poses including:
(a) three-quarter-length seated, looking to left, holding pistol with both hands; Getty Images 3290487.
(b) whole-length, full-face, seated on edge of table, left hand in pocket. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, no further details.

For further poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

Photograph by Alfred Ellis & Walery, almost three-quarter-length standing, to left, wearing pith helmet. Repr. Waller [1909].

1912
Photographs by White Studio, New York, various poses, some with Constance Collier; contact sheet Billy Rose Theatre Division, New York PL, image ID g99f172_001.

The Fires of Fate (as ‘Colonel Cyril Egerton’)

Photographs

1909
Photographs by Foulsham & Banfield, various poses including:
(a) head-and-shoulders, in oval, looking to right, wearing pale suit and hat. Repr. Strand, vol.38, 1909, p.661.
(b) whole-length, full face, standing by desk, holding top hat. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, no further details.
(c)–(f) four poses (no further details) reg. for copyright 1909 Aug. 10: National Archives (COPY 1/536/64–8).

For further poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

undated
Photograph by unidentified photographer, whole-length seated, to left, in ship scene, with nine other actors; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, facing p.42.

The Garden of Allah (as ‘Boris Androvsky’)

Photographs

1911
Photographs by unidentified photographer, New York, two known poses:
(a) whole-length seated, facing, arm around Mary Mannering as Domini Enfilden. Postcard, no further details; print M. of the City of New York, F2013.41.2562.
(b) whole-length kneeling, to left, clasping Mannering. Postcard, no further details; print M. of the City of New York, F2013.41.2565.

Photographs by White Studio, New York, various poses in performance; two contact sheets Billy Rose Theatre Division, New York PL, image IDs g99f206_001 and g99f206_002.

The Harlequin King (as ‘Harlequin’)

Photographs

1908
Photographs by Dover Street Studios, various poses including:
(a) bust, full-face, looking to right; Getty Images 463953857.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

(b) three-quarter-length seated, to right, looking to left, holding cloak. Repr. Waller [1909].
(c) half-length, full-face, embracing Evelyn Millard. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.
(d) half-length seated, to right, with Millard; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42–3.
(e) whole-length standing, facing, wearing crown, robes and fur cape; Getty Images 463954321.

For further poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

Henry IV, Part 1 (as ‘Hotspur’)

1896
Pen and ink drawing by Frederick Pegram, signed and dated 1896, whole-length standing, to left with Maud Tree, vignette; untraced. Repr. ILN,16 May 1896, p.617; see V&A, London, S.144-2010, where described as ‘depicting various scenes from Henry IV Part One at the Haymarket Theatre’.

See also Brough, Tree.

?1896
Pen and ink drawing by John Jellicoe, whole-length, full face, vignette, with Herbert Beerbohm Tree; Folger Shakespeare L., Washington, DC, digital image 36144.

Photographs

reg. 1896
Photographs by Alfred Ellis, 14 poses registered for copyright 1896 June 9, including:
(a) whole-length standing, facing, in chainmail suit, arms folded: National Archives (COPY 1/425/180); cabinet card Folger Shakespeare L., Washington, DC, digital image 28319.
(b) whole-length advancing, head turned to left, drawn sword in right hand, rocky background: National Archives (COPY 1/425/175). Repr. Waller [1909], attributed to Ellis & Walery.
(c) three-quarter-length standing, to left, left hand on sword. Repr. Strand, vol.38, 1909, p.659.

undated
Photograph by unidentified photographer, no further details; U. of Bristol Theatre Coll., HBT/PH/27.

Henry V (as ‘King Henry V’)

1900
Oil on board by Arthur Hacker, signed and dated, half-length, full-face, in armour, holding paper; Royal Shakespeare Co. Coll., STRPG:A: 1993.54. Repr. souvenir programme, Lyceum Theatre, Dec. 1900 (no further details).

Drawing by Cyrus Cuneo, signed and dated 1900, whole-length, to left, with Sarah Brooke, on Lyceum stage; untraced. Repr. Black & White, 12 Jan. 1901, p.51.

Drawing by Bernard Partridge, whole-length, facing, in armour, surrounded by army, ships in background; Folger Shakespeare L., Washington, DC, digital image 36272. Repr. Sphere, 12 Jan. 1901, p.45.

publ. 1905
Crayon drawing by Francis Ernest Jackson, head-and-shoulders, profile to left, facing sword hilt/raised sword; Folger Shakespeare L., Washington, DC, digital image 36132. Repr. Sketch, 1 Feb. 1905, title page.

publ. 1906
Drawing by Percy Anderson, whole-length, in armour and crown, in landscape; untraced. Repr. as chromolithograph Aria 1906, facing p.250; see Bridgeman Images LLM2780206.

exh. 1909
Sculpture by Basil Gotto, no further details; untraced. Exh. SPP 1909 (176).

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, Waller half-length facing, in armour, on terrace right of temple to Shakespeare, 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.78 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, Tree, Watts, Whistler, Wyndham.

Photographs

?1900
Photographs by Lizzie Caswall Smith, wearing crown and royal robes, two known poses:
(a) bust, head turned to left. Photogravure, publ. Virtue & Co., inscr. ‘J. & L. Caswall Smith’ at left; prints colls NPG x45358; and Folger Shakespeare L., Washington, DC, digital image 29443 (photographer catalogued as Langfier).

Unfinished pencil sketch, dated Sept. 1912, by unidentified artist after this pose; V&A, London, S.522-2014

(b) half-length, facing, gazing at sceptre. Postcard, no further details; print MEPL, London, 10225800.

reg. 1905
Photographs by Langfier Ltd, various poses reg. for copyright 1905 13 Jan., 16 Mar. and 22 Mar., including:
(a) whole-length standing, in full robes, in front of throne: National Archives (COPY 1/481/460).

Photogravure, no further details; prints colls NPG x27237; and Folger Shakespeare L., Washington, DC, digital image 28318.

(b) half-length, in armour and crown, with sword to breast: National Archives (COPY 1/483/334); Getty Images 463988907.

Postcard, publ. Rotary Photographic Co. Ltd; prints colls MEPL, London, 10111981; and Billy Rose Theatre Division, New York PL, image ID TH-61344.

Photogravure with image in oval frame, title on tablet ‘Lewis Waller as Harry the King’; prints colls NPG x27238; Harvard Theatre Coll., Houghton L., Harvard U.; and Folger Shakespeare L., Washington, DC, digital image 29444. Ref. Hall 1930–34, vol.4, p.229, no.3.

(c) whole-length seated, to left, hands resting on chair arms: National Archives (COPY 1/483/434).

Postcard, publ. Rotary Photographic Co. Ltd; print NT, Smallhythe Place, Kent, NT 1122069.

(d) head-and-shoulders, in armour, bare headed: National Archives (COPY 1/483/438).

Postcard, publ. Rotary Photographic Co. Ltd; print Billy Rose Theatre Division, New York PL, image ID TH-61348.

(e) head-and-shoulders, hooded: National Archives (COPY 1/483/435).

Postcard, publ. Rotary Photographic Co. Ltd; print Billy Rose Theatre Division, New York PL, image ID TH-61346.

Whole-length standing version, Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, facing p.43.

(f) whole-length standing, three-quarters to left, in armour: National Archives (COPY 1/483/436).

Postcard, publ. Rotary Photographic Co. Ltd; prints colls Billy Rose Theatre Division, New York PL, image ID TH-61347; and Russell-Cotes AGM (no further details).

This pose is incorporated in a double portrait (in private dress and in part); see also above, ‘In private character, Photographs, reg. 1905’.
(g) half-length, head three-quarters to left, in armour and crown; Getty Images 613473366.
(h) three-quarter-length, facing, left hand on hip, in armour. Postcard, publ. J. Beagles & Co.; prints colls Russell-Cotes AGM, BORGM:2014; and Furness Theatrical Image Coll., U. of Pennsylvania (no further details); see Shakespeare’s Staging.
(j) whole-length standing, to left, in armour, right hand resting on unsheathed sword. Photogravure, no further details; print NPG x27236.
(k) half-length, in armour and crown, facing, sword like a crucifix raised to lips, eyes raised. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.
(l) whole-length standing, to left, clasping Sarah Brooke’s hand; Getty Images 513681325.
(m) whole-length kneeling, profile to right, in front of Brooke; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.136, fig.411.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

(n) whole-length, facing, seated on throne, in full robes; Russell-Cotes AGM, BORGM:2014.

publ. 1909
Photograph by Alfred Ellis & Walery, three-quarter-length standing, facing, wearing crown and suit of armour, left hand on sword; MEPL, London, 10039671. Repr. Waller [1909]; and Penrose’s Pictorial Annual 1909–1910, vol.15, facing p.36.

1912
Photograph by Frank C. Bangs, New York, bust, to right, head turned to face, in armour with helmet; M. of the City of New York, 34.79.416.

Sketch by ‘Zip’ (no further details) after closely similar pose; Alamy BMWXRY.

His Majesty’s Servant (as ‘Geoffrey Mohun’)

Photographs

1904
Photographs by Alfred Ellis & Walery, various poses including:
(a) three-quarter-length standing, full-face, staff in right hand. Repr. Waller [1909].

Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.

(b) whole-length seated, with Evelyn Millard. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.
(c) whole-length standing, facing, left hand on hip, wearing feathered hat. Postcard, publ. Rotary Photographic Co. Ltd; prints colls Billy Rose Theatre Division, New York PL, image ID TH-61356; and Russell-Cotes AGM, BORGM:2014.
(d) bust, looking to left, wearing helmet and armour. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.
(e) bust, to left, head facing. Postcard, publ. Rotary Photographic Co. Ltd; prints colls Russell-Cotes AGM, BORGM:2014; and Garrick Club, London, Dorothy Burr Postcard Album, no.24.

For further poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

Hypatia (as ‘Orestes’)

1893
Pen and ink drawing by Bernard Partridge, signed and dated 21 Jan. 1893, whole-length, seated, head to right, with Herbert Beerbohm Tree as Issachar; 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 Amédée Forestier, whole-length, at left, profile to right, with Tree and Julia Emilie Neilson; untraced. Repr. as engr. ILN, 7 Jan. 1893, p.5.

Photographs

reg. 1893
Photographs by Alfred Ellis, four poses reg. for copyright 1893 Feb. 11, including:
(a) whole-length, profile to right, at centre, stepping to right, pointing to left, with Tree and 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). Repr. Mander & Mitchenson 1957, p.127, fig.378.
(b) whole-length, at left, with folded arms, with Tree and Neilson: National Archives (COPY 1/411/20). Carbon print publ. The Theatre, series 4, vol.21, 1 Mar. 1893, facing p.136; copies NPG Ax28851 and NPG x9396.
(c) three-quarter-length facing, in robes, right hand to breast: National Archives (COPY 1/413/623). Repr. Waller [1909], attributed to Ellis & Walery.

An Ideal Husband (as ‘Sir Robert Chiltern’)
George Bernard Shaw: ‘Mr Waller is handsome and dignified as the ideal husband, a part easily within his means.’ [5]

publ. 1895
Watercolour drawing by Ray Potter, whole-length facing, with wife Florence West and Julia Neilson; untraced. Repr. ILN, 12 Jan. 1895, p.44; see Bridgeman Images LIP1627799.

Photographs

1895
Photograph by Hayman Seleg Mendelssohn, three-quarter length standing, to right, head three-quarters to right, hands behind back. Repr. Waller [1909]; see Wikipedia.

Photograph by unidentified photographer, whole-length standing, facing, in group of three; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.125, fig.367.

reg. 1895
Photographs by Alfred Ellis, five poses reg. for copyright 1895 Feb. 19:
(a) with Sir Charles Henry Hawtrey: National Archives (COPY 1/419/431).
(b)–(d) with Julia Neilson: National Archives (COPY 1/419/444–6).
(e) with Hawtrey and Neilson: National Archives (COPY 1/419/447).

Jack-in-the-Box (as ‘Roy Carlton’)

Photographs

1887
Photograph by Herbert Rose Barraud, three-quarter-length, to right, almost facing, left hand in pocket; prints colls Garrick Club, London, Athole Stewart album, no.288; and V&A, London, S.143:21-2007. Carbon print publ. The Theatre, series 4, vol.9, 1 Apr. 1887, facing p.194; copies colls NPG Ax9292 and NPG x27233; and Getty Images 463956013.

Julius Caesar (as ‘Brutus’)
‘In discussing the characters he had played, Mr Waller is inclined to regard “Brutus” as his favourite.’ [6]

exh. 1900
Bronze bust by (Edward) Onslow Ford, life-size, in classical costume, looking down to right; Shakespeare Memorial Theatre, Stratford-upon-Avon. Exh. RA 1900 (2004); SPP 1903 (143); and SPP 1909 (175). Repr. [Cassell] 1900, p.103.

Photographs

1898
Photograph by Lafayette, half-length, full-face, eyes raised, wearing toga; negative V&A, London, Lafayette Negative Archive, no.1750 (see Wikimedia Commons); print MEPL, London, 10235392 (head-and-shoulders detail).

Photographs by Thomas Charles Turner, wearing toga, two known poses:
(a) three-quarter-length standing, facing, left hand to breast, mantle over toga; V&A, London, S.143:34-2007.
(b) head-and-shoulders, looking slightly to left; V&A, London, S.143:29-2007.

reg. 1898
Photographs by Thomas Charles Turner, in military costume with large torcs on breastplate, various poses including:
(a) three-quarter-length standing, to right, arms folded, helmet at left; reg. for copyright 1898 Feb. 7: National Archives (COPY 1/434/558); V&A, London, S.143:31-2007.
(b) three-quarter-length standing, to left; V&A, London, S.143:32-2007.
(c) head-and-shoulders, looking three-quarters to right; V&A, London, S.143:33-2007.
(d) three-quarter-length standing, head turned to left, arms folded; reg. for copyright 1898 Feb. 7: National Archives (COPY 1/434/554). Repr. as photogravure Waller [1909], described as ‘an Autograph Photogravure Plate of Mr Lewis Waller in his favourite part (as selected by him)’.
(e) three-quarter-length, profile to right, with Evelyn Millard; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42–3.

King John (as ‘Philip Faulconbridge’)

publ. 1899
Watercolour drawing by Hal Hurst, whole-length standing, at left, before Herbert Beerbohm Tree as King John; untraced. Repr. ILN, 30 Sept. 1899, p.460, captioned ‘“King John” at Her Majesty’s Theatre’.

Photographs and film

1899
Photograph by London Stereoscopic & Photographic Co., three-quarter-length, wearing chain mail and cloak, holding helmet in right hand, left hand on sword. Repr. Waller [1909].

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.

Photograph by British Mutoscope and Biograph Co., whole-length standing, to right, right hand on hip, facing Norman McKinnel. Repr. in colour Lawrence [c. 1900], facing p.91; see Getty Images 463966789.

La Tosca (as ‘Count Mario Caravadossi’)

1889
Drawings by Frederick Pegram, signed and dated, whole-length(s) in vignette scenes; untraced. Repr. unidentified magazine; see Getty Images 72372965.

Photographs

1889
Photographs by James Russell & Sons, two known poses:
(a) whole-length, full-face, seated on table, right hand on hip; cabinet card Garrick Club, London, Photo Album 1, no.37.
(b) three-quarter-length standing, facing, left hand on hip. Repr. Waller [1909].

Photograph by London Stereoscopic & Photographic Co., whole-length, head to left, seated on table, right hand on hip; V&A, London, S.143:35-2007. Repr. Pearson’s Photographic Portfolio of Footlight Favourites, 1894–5 (no further details); see Bridgeman Images LLM726392.

Mademoiselle Mars (as ‘Napoleon Bonaparte’)

1902
Drawing by G.S. Amato, whole-length walking, to left, with May Taverner and Lillie Langtry; untraced. Repr. ILN, 1 Feb. 1902.

Pen and ink drawings by Frederick Victor Poole, head-and-shoulders, to left, with actors including Langtry, vignettes; V&A, London, S.421-2012.

Photographs

1902
Photograph by R. Johnson, whole-length standing, to right, hands behind back. Repr. Waller [1909].

Postcard, half-length detail, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

The Manxman (as ‘Philip Christian’)
George Bernard Shaw: ‘He delivered his lines with the automatic gravity of a Brompton Cemetery clergyman repeating the burial service for the thousandth time.’ [7]

Photographs

1895
Photograph by Alfred Ellis & Walery, whole-length standing, to left, pointing with right hand. Repr. Waller [1909].

undated
Photograph by Foulsham & Banfield Ltd, whole-length standing, facing, hands behind back, almost certainly in role of Christian.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

A Marriage of Convenience (as ‘Comte de Candale’)
Images of Waller starring in this play (opened 1904) and in Monsieur Beaucaire (opened 1902) are easily confused.

Photographs

1903 or 1904
Photographs by Lafayette, in pale silk frock coat and tightly curled wig, two known poses:
(a) whole-length seated, to right, head turned three-quarters to face, taking snuff; negative V&A, London, Lafayette Negative Archive, no.4201, dated 19 Jan. 1903, described as playing Beaucaire in Monsieur Beaucaire. Repr. Waller [1909], where the caption states he appears as Candale, and this evidence has been adopted here.

Postcard, publ. Rotary Photographic Co. Ltd; prints colls NPG x197865 and Russell-Cotes AGM, BORGM:2014.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

Another postcard, publ. Ralph Dunn & Co., three-quarter-length detail; print NPG x197864, catalogued as Waller playing Beaucaire. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

Another postcard, inscr. bottom right ‘Lewis Waller / in “A Marriage of Convenience” / W.C. Pollard / London, W.C.’; print Billy Rose Theatre Division, New York PL, image ID TH-61362.

This famous image of Waller in character remains problematic.

(b) three-quarter-length standing, to right, head turned to face; negative V&A, London, Lafayette Negative Archive, no.4200, dated 19 Jan. 1903, described as playing Beaucaire in Monsieur Beaucaire.

Hand-coloured postcard, publ. Philco Publishing Co.; print NPG x197866. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

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

1900
Ink wash drawing by Frederick Pegram, signed and dated 1900, half-length, at left, asleep, in scene from Act II; Folger Shakespeare L., Washington, DC, digital image 36684.

Photographs

Photographs of Waller as Lysander were often mistaken for his Brutus in Julius Caesar, judging by inscriptions on postcards.

1900
Photographs by Lafayette, in classical dress, two known poses:
(a) whole-length, slightly to right, arms folded, looking at camera, leafy background; negative V&A, London, Lafayette Negative Archive, no.2286. Repr. Waller [1909]; and Strand, vol.38, 1909, p.660.

Postcard, publ. Siegmund Hildesheimer & Co. Ltd, three-quarter-length detail; print NPG x197867. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

Another postcard, publ. Charles William Faulkner & Co., half-length detail; print Billy Rose Theatre Division, New York PL, image ID TH-61360.

(b) half-length, three-quarters to right, hands clasped; negative V&A, London, Lafayette Negative Archive, no.2286b.

?1900
Photograph by Biograph Studio, half-length standing, looking to left, left hand on sword hilt. Postcard, no further details; print Garrick Club, London, Dorothy Burr Postcard Album, no.26.

Another postcard, bust detail, photograph reversed to right, no further details; print Billy Rose Theatre Division, New York PL, image ID TH-61361

Miss Elizabeth’s Prisoner (as ‘Captain Harry Peyton’)

Photographs

1904
Photographs by Alfred Ellis & Walery, various poses including:
(a) whole-length standing, facing, in uniform, with muddied boots. Repr. Waller [1909].
(b) whole-length, to left, hands clasped around Grace Lane seated. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.
(c) half-length, looking to right, holding hat. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.
(d) whole-length, with horse, left boot ripped. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.
(e) whole-length, reclining to right, left leg bandaged. Postcard, publ. J. Beagles & Co.; prints colls Billy Rose Theatre Division, New York PL, image IDs TH-61349 and TH-61359; and Russell-Cotes AGM, BORGM:2014.

Photograph by unidentified photographer, three-quarter-length, to left, embracing Grace Lane, both standing; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42–3.

Monsieur Beaucaire (as ‘Monsieur Beaucaire’)
‘Apart from the classical drama, “M. Beaucaire”, which I have played many hundreds of times, is my favourite on account of his many delightful characteristics, his chivalry towards women, his humour, his wit, and his general brilliancy, all of which give the actor great opportunities for the display of his art.’ [8]

On opening night at the Comedy Theatre, 25 Oct. 1902, ‘the audience went mad. They went mad for 430 performances on end … To the sophisticates of to-day it may sound very naïve, but then they cannot see and hear Lewis Waller, in his prime and his best part, acting as only he could.’ [9]

Images of Waller in this play (opened 1902) and in A Marriage of Convenience (opened 1904) are often confused.

1902
Miniature by unidentified artist, head-and-shoulders to left, with pendant portrait of Grace Lane, in silver frame inscr. with date 20 Apr. 1902; Garrick Club, London, B0176. The image is based on a photograph by Alfred Ellis; see below, ‘Photographs, 1902’, pose (c).

1903
Oil on canvas by John Collier, signed and dated 1903, whole-length, to left, standing on staircase, wearing gold frock coat, raising hat; Russell-Cotes AGM, BORGM 00516. Exh. RA 1903 (190); repr. [Cassell] 1903, p.79.

Copy of Collier painting by Henry MacBeth-Raeburn, no further details; untraced. Exh. RA 1904 (1303).

Mezzotint by Henry MacBeth-Raeburn after Collier, publ. Henry Graves & Co. 1903; BM, London, 1921,0727.31 (engraver’s proof).

c.1904
Design for poster by unidentified artist, whole-length, facing, with ‘Lady Mary Carlyle’; untraced. Poster, inscr. ‘New Theatre Cambridge, Ltd.’; MEPL, London, 11357404.

1900s
Watercolour drawing by ‘H.B.S.’, whole-length, left hand on hip; untraced. Print Billy Rose Theatre Division, New York PL, image ID TH-61355.

Photographs

1902
Photographs by Alfred Ellis & Walery, in panelled room, various poses including:
(a) whole-length standing, facing, kissing Grace Lane’s hand. Postcard, no further details; print Billy Rose Theatre Division, New York PL, image ID TH-61352.
(b) whole-length seated, facing, left hand on hip. Repr. Waller [1909].
(c) half-length, looking to left; print on Alfred Ellis card, Russell-Cotes AGM, BORGM:2014. For miniature by unidentified artist after this pose, see above, ‘1902’.
(d) half-length, facing, arms folded; print on Alfred Ellis card, Russell-Cotes AGM, BORGM:2014.

c.1902–3
Photograph by Bassano (no further details), bust, profile to left; Getty Images 463953847.

Postcard, publ. Rotary Photographic Co. Ltd; prints colls Garrick Club, London, Dorothy Burr Postcard Album, no.23; and Russell-Cotes AGM, BORGM:2014.

Photograph by Langfier Ltd, whole-length standing, facing, left hand on hip. Postcard, publ. J. Beagles & Co.; print Garrick Club, London, Dorothy Burr Postcard Album, no.25.

Photograph by unidentified photographer, kneeling, to left, with Grace Lane; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.133, no.393.

Photograph by unidentified photographer, crouching to left, Grace Lane at left. Postcard, publ. Rotary Photographic Co. Ltd; print Garrick Club, London, Dorothy Burr Postcard Album, no.21.

Photograph by unidentified photographer, to left, seated on garden bench with Grace Lane. Postcard, publ. Rotary Photographic Co. Ltd; print Garrick Club, London, Dorothy Burr Postcard Album, no.22.

Photograph by unidentified photographer, whole-length, collapsing in arms of two men; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42–3.

publ. 1903
Photograph by unidentified photographer, half-length, facing, arms folded. Repr. on cover of sheet music for ‘Incidental Music to the Play “Monsieur Beaucaire”’, publ. Hawkes & Son, London; V&A, London, S.1254-2014.

For further images of Waller as Beaucaire, mainly postcards, see Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014. More photographs are held in the U. of Bristol Theatre Coll. (no further details).

A small number of photographs show Waller playing a youngish man in a dark wig and a moustache, dressed in dark silk brocade, possibly in a production of Monsieur Beaucaire; see below, ‘Unidentified part or play’.

The Musketeers (as ‘Duke of Buckingham’)
For Waller’s more famous role as D’Artagnan in The Three Musketeers, a separate play also showing in 1898, see below.

Photographs

1898
Photograph by London Stereoscopic & Photographic Co., head-and-shoulders, facing; cabinet card U. of Bristol Theatre Coll., RS/076/0019.

Postcard, publ. Rotary Photographic Co. Ltd; prints colls MEPL, London, 10088802; and Russell-Cotes AGM, BORGM:2014.

Othello (as ‘Othello’)

Photographs

1906
Photographs by Foulsham & Banfield, at Lyric Theatre, three known poses:
(a) whole-length, facing, arms folded, on set; Getty Images 463954309. Repr. Waller [1909].

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

(b) whole-length, to right, Evelyn Millard kneeling before him; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42 & 43.

Postcard, publ. Rotary Photographic Co. Ltd; prints colls Bridgeman Images LLM2800635; and Russell-Cotes AGM, BORGM:2014.

(c) whole-length, to right, throttling Henry Brodribb Irving; Getty Images 463954315.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

The Perfect Lover (as ‘Joseph Tremblett’)

Photographs

1905
Photographs by Dover Street Studios, wearing dark suit, round collar and distinctive striped tie, various poses including:
(a) whole-length, to left, facing, seated on edge of desk, left hand in pocket; Getty Images 3292262. Repr. Waller [1909].
(b) whole-length standing, to right, with Evelyn Millard. Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.
(c) half-length standing, to left, facing, right arm on mantelpiece, holding pipe; Getty Images 144994092.

Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.

For more poses see postcards, publ. Rotary Photographic Co. Ltd, in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

The Pharisee (as ‘Lord Helmore’)

Photographs

1900
Photograph by Mayall & Co., three-quarter-length seated, with Minnie Terry at right; cabinet card Garrick Club, London, Photograph Box A.

The Profligate (as ‘Hugh Murray’)

1889
Pen and ink sketch by Bernard Partridge, signed and dated, half-length, profile to left, vignette; untraced. Repr. ILN, 18 May 1889, p.508.

The Queen of Manoa (as ‘Armand Sevarro’)

1892
Drawing by Henry Marriott Paget, whole-length, arms raised, toppling backwards, with Lillie Langtry; untraced. Repr. Graphic, 24 Sept. 1892.

The Rivals (as ‘Captain Absolute’)

1887
Oil on ivory miniature by unidentified artist, head-and-shoulders, facing; V&A, London, S.595-1997.

Photographs

1910
Photographs by Foulsham & Banfield, three known poses:
(a) whole-length standing, to left, with Kate Cutler.
(b) whole-length standing, to left, hands behind back.
(c) three-quarter-length, facing, arms folded.

For each pose, postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

Robin Hood (as ‘Robin Hood’)

Photographs

1906
Photographs by Foulsham & Banfield, at Lyric Theatre, various poses including:
(a) head-and-shoulders, profile to left. Postcard, publ. Rotary Photographic Co. Ltd; prints colls NT, Smallhythe Place, Kent, NT 1122068; Bridgeman Images LLE818139; and Getty Images 463954595.
(b) whole-length, to left, drawing bow; Getty Images 463953999.
(c) whole-length, to left, arms folded; Getty Images 3254046.
(d) whole-length, to right, drawing bow; Getty Images 3254633.

For more poses see postcards, publ. Rotary Photographic Co. Ltd, in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

Photographs by Dover Street Studios, various poses including:
(a) whole-length, facing (no cap), holding bow. Repr. Waller [1909].

Postcard, publ. J. Beagles & Co.; print Billy Rose Theatre Division, New York PL, image ID TH-61365.

(b) head-and-shoulders, full-face, no cap, with Evelyn Millard. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, no further details.
(c) whole-length, facing, drawing bow. Postcard, publ. Raphael Tuck & Sons; print Billy Rose Theatre Division, New York PL, image ID TH-61364.
(d) whole-length, bandaging Millard’s ankle. Postcard, no further details; print Russell-Cotes AGM, BORGM:2014.

For more poses see postcards, publ. J. Beagles & Co., in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

Romeo and Juliet (as ‘Romeo’)

1905
Drawing by Samuel Begg, three vignettes, with Evelyn Millard as Juliet: (i) hooded whole-length figure; (ii) whole-length, below balcony; (iii) half-length, at window; Folger Shakespeare L., Washington, DC, digital image 35696. Repr. ILN, 29 Apr. 1905, p.601.

Wash drawing by Charles A. Buchel, signed and dated 1905, three-quarter-length, to left, beneath balcony, with Millard; Folger Shakespeare L., Washington, DC, digital image 35771. Repr. Sphere, 29 Apr. 1905, p.101.

Drawing by Max Cowper, whole-length seated, embracing Millard; Folger Shakespeare L., Washington, DC, digital image 35824. Repr. Black and White, 29 Apr. 1905, p.584.

Photographs

1905
Photographs by Langfier Ltd, various poses including:
(a) whole-length standing, slightly to left, wearing embroidered robe, left hand to breast. Repr. Waller [1909].
(b) whole-length standing, facing, holding Evelyn Millard.
(c) three-quarter-length standing, facing, with slight smile.
(d) half-length, head profile to right, holding Millard; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, facing p.43.

For each pose: postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.

A Royal Rival (as ‘Don Cesar de Bazan’)
In 1910 the play was renamed Don Cesar de Bazan.

1901
Drawing by Allan Stewart, signed and dated, whole-length in group, with sword; untraced. Repr. ILN, 31 Aug. 1901.

Photographs

1901
Photograph by Alfred Ellis & Walery, whole-length seated, to left, head turned to right, right hand on jug. Repr. Waller [1909].

1910
Photographs by Foulsham & Banfield, various poses including:
(a) whole-length, head three-quarters to right, with Madge Titheradge
(b) whole-length standing, three-quarters to left, left hand on hip.

For each pose: postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

The Silver Key (as ‘Chevalier d’Aubigny’)
George Bernard Shaw: ‘[Lewis Waller’s] late-nineteenth-century personality is hopelessly incompatible with the eighteenth-century cut-and-dried ideals of womanhood and chivalry of the hero he represents.’ [10]

Photographs

reg. 1897
Photograph by Alfred Ellis, whole-length standing, to left, with Maud Tree; reg. for copyright 1897 Aug. 17, with eight further poses (not seen): National Archives (COPY 1/431/712); prints colls V&A, London, S.4255-2015; and U. of Bristol Theatre Coll. (two prints; no further details).

Sir Walter Ralegh (as ‘Sir Walter Ralegh’)

publ. 1909
Watercolour drawing by Leslie Ward, head, profile to left, 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.

See also Alexander, Tree.

c.1909
Design for poster by Charles A. Buchel, no further details; untraced.

Lithographic poster for tour; print V&A, London, S.4947-1995.

Photographs

1909
Photographs by Foulsham & Banfield, at Lyric Theatre, various poses including:
(a) whole-length, framed in doorway, left hand on hip. Postcard, publ. Rotary Photographic Co. Ltd; prints colls Bridgeman Images LLM3093244; and Russell-Cotes AGM, no further details.
(b) three-quarter-length seated, to right, holding rapier. Postcard, publ. Rotary Photographic Co. Ltd; print Getty Images 3304897.
(c) three-quarter-length, facing, with model of ship on table at right. Repr. Strand, vol.38, 1909, p.663.

For more poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

The Sorrows of Satan (as ‘Prince Lucio Rimanez’)

Photographs

reg. 1897
Photographs by William Henry Grove, 13 poses reg. for copyright 1897 Feb. 2, including head-and-shoulders, to left, looking to right: National Archives (COPY 1/428/560). Repr. Waller [1909] (attributed to Window & Grove).

The Three Musketeers (as ‘Raoul D’Artagnan’ and ‘Duke of Buckingham’)
‘One of the greatest “Henry the Fifths” of all time, he was certainly the greatest “D’Artagnan”.’ [11]

For many of these images, no role appears in the description. Most of them are likely to show Waller as D’Artagnan but a role is specified only when the attribution is certain.

For Waller as the Duke of Buckingham in The Musketeers, a separate play also showing in 1898, see above.

publ. 1904
Drawing by Julius Mendes Price (‘Imp’), whole-length, facing, holding sword and dagger, in fencing pose; untraced.

Chromolithograph by Vincent Brooks, Day & Son repr. Vanity Fair, 13 Oct. 1904 (‘Men of the Day no.934’, captioned ‘Romantic Drama’); prints colls NPG D4421 and NPG D45244; Russell-Cotes AGM, BORGM:2014; and V&A, London, S.618-2010.

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

undated
Watercolour drawing by L.J. Binns, whole-length, facing, seated on table; Billy Rose Theatre Division, New York PL, image ID 1628995.

Photographs and film

1898
Photographs by London Stereoscopic & Photographic Co., in jerkin with buckled straps, various poses including:
(a) three-quarter-length standing, to right, eyes to camera, drawing sword; Getty Images 3142693. Repr. Strand, vol.38, 1909, p.659.

Postcard, publ. Rotary Photographic Co. Ltd; print Russell-Cotes AGM, BORGM:2014.

(b) three-quarter-length standing, facing, hands on belt; V&A, London, S.143:30-2007.
(c) half-length, full-face, eyes to left; V&A, London, S.143:27-2007.
(d) half-length, head to left; V&A, London, S.143:28-2007.

Photograph by London Stereoscopic & Photographic Co., head-and-shoulders, eyes to left, wearing hat and lace collar; NPG x197341. Exh. Curators’ Choice: Photographs from the Terence Pepper Gift, NPG, May 2015–June 2016.

See NPG Portrait Set ‘London Stereoscopic & Photographic Company cabinet cards, 1870s–1900s’.

Film by British Mutoscope and Biograph Co., fencing scene, as D’Artagnan, 1 minute, directed by William K.L. Dickson, released Sept. 1898; BFI identifier 517116.

c.1898
Photograph by Langfier, bust, facing, looking to left, wearing hat and buckled jerkin.

Postcard, publ. J. Beagles & Co.; print Billy Rose Theatre Division, New York PL, image ID TH-61350.

Photographs by Foulsham & Banfield, as D’Artagnan, various poses including:
(a) half-length, facing, second from left, raising a glass with three others; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, between pp.42–3.
(b) whole-length standing, to left, left hand on sword.

For postcards of these and other poses, publ. Rotary Photographic Co. Ltd, see Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

1900
Photographs by Alfred Ellis & Walery, in dark hat and laced jerkin, as D’Artagnan, two known poses:
(a) whole-length, slightly to right, facing, holding rapier in two gloved hands. Repr. Waller [1909].
(b) half-length, to left, eyes to camera; Getty Images 3142949.

publ. 1903
Photograph by Alfred Ellis & Walery, three-quarter-length, facing, dagger in right hand. Repr. as hand-coloured print [Players] 1903, captioned ‘Mr Lewis Waller in “The Three Musketeers”’; copies colls MEPL, London, 10088797; Getty Images 171078657; V&A, London, S.4888-2009, catalogued as Duke of Buckingham; and Bridgeman Images, LLM2818033, catalogued as Duke of Buckingham.

1909
Photograph by London Stereoscopic & Photographic Co., facing, second from right in group of four; Getty Images 613473476.

With long hair and elegant dress Waller looks more like Buckingham than D’Artagnan; in fact in May 1909 he played both parts. [12]

A White Man (as ‘Captain Wynnegate (Jim Carston)’)

Photographs

1908
Photograph by Alfred Ellis & Walery, whole-length, facing, eyes to right, right hand on gun in holster. Repr. Waller [1909].

Photographs by Foulsham & Banfield, on stage at Lyric Theatre, various poses including:
(a) three-quarter-length standing, to right, wearing jodhpurs, with Dorothy Dix; Mander & Mitchenson Theatre Coll., U. of Bristol (no further details). Repr. Pearson 1950, facing p.42.
(b) whole-length standing, to left, wearing furry chaps. Repr. Play Pictorial, 11 Jan. 1908, front cover; see Getty Images 3281633.
(c) half-length, to left, arms folded. Postcard, publ. Rotary Photographic Co. Ltd; print Garrick Club, London, David Allen postcard album, no.456.
(d) whole-length, full face, seated on barrel, with Dix; Getty Images 171102838.
(e) whole-length, seated on bench, with child on knee. Postcard, publ. Rotary Photographic Co. Ltd; print Garrick Club, London, David Allen postcard album, no.457.
(f) whole-length standing, to right, wearing chaps, man with pistol at right. Postcard, publ. Rotary Photographic Co. Ltd; print Garrick Club, London, David Allen postcard album, no.459.

For more poses see postcards in Lewis Waller scrapbook, Russell-Cotes AGM, BORGM:2014.

The Wife’s Secret (as ‘Lord Arden’)

Photographs

1888
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) whole-length standing, right leg placed on chair, goblet raised in right hand, left hand on hip; V&A, London, S.143:26-2007 (three-quarter-length detail, catalogued as Duke of Buckingham in The Musketeers or The Three Musketeers). Repr. Pearson’s Photographic Portfolio of Footlight Favourites, 1894–5 (no further details); and Waller [1909]; see Bridgeman Images LLM726392.
(b) half-length, looking up to left; V&A, London, S.143:22-2007 (catalogued as Buckingham).

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

Photographs

1893
Photograph by James Russell & Sons, bust, in white tie, head turned to right. Repr. Strand, vol.38, 1909, p.658.

A Woman’s Reason (as ‘Stephen D’Acosta’)
Bernard Shaw: ‘The part of Stephen D’Acosta fitted Mr Lewis Waller so closely that it was not necessary for him to make any great impersonative effort.’ [13]

publ. 1896
Watercolour drawing by Ray Potter, three-quarter-length seated, to left, vignette; untraced. Repr. ILN, 4 Jan. 1896, p.4; see Bridgeman Images LIP1604937.

Photographs

1895
Photograph by Alfred Ellis, whole-length standing, to right, with Maud Tree and Charles Francis Coghlan; cabinet card V&A, London, S.3674-2015.

Unidentified part or play

Photographs

undated
A number of photographs by Alfred Ellis & Walery, Langfier Ltd and London Stereoscopic & Photographic Co. show Waller playing a youngish man in a dark wig and a moustache, dressed in dark silk brocade, possibly as Monsieur Beaucaire. See:

(i) Photographs by Alfred Ellis & Walery, two known poses:
(a) three-quarter-length seated, to right, left hand resting on cane. Postcard, publ. J. Beagles & Co.; prints colls Russell-Cotes AGM, BORGM:2014; and Billy Rose Theatre Division, New York PL, image ID TH-61354.
(b) whole-length seated, to left, right hand resting on cane. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.

(ii) Photographs by Langfier Ltd, two known poses:
(a) whole-length standing, to left, head turned to face. Postcard, publ. J. Beagles & Co.; print Russell-Cotes AGM, BORGM:2014.

Another postcard, half-length detail, no further details; print Billy Rose Theatre Division, New York PL, image ID TH-61351.

(b) half-length seated, facing, holding snuffbox. Postcard, publ. J. Beagles & Co.; print Billy Rose Theatre Division, New York PL, image ID TH-61353.

(iii) Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) whole-length, to right, head facing, seated on table; NT, Snowshill Manor, Glos., NT 1337194.
(b) bust, to left, head turned to face. Postcard, titled ‘Mr Lewis Waller as “Monsieur Beaucaire”’ (no further details); print Russell-Cotes AGM, BORGM:2014.24.1. This postcard is the source of the identification of the figure in dark silk costume with Beaucaire.

Photograph by Window & Grove, whole-length standing, to right, in 18th-century costume, with Lily Hanbury seated on garden bench; V&A, London, S.143:204-2007.


Footnotes

1) The Lewis Waller scrapbook, BORGM:2014, was donated by a descendant to Russell-Cotes AGM, Bournemouth; a list of contents and scans are available. Many thanks are due to the curator Duncan Walker for help in compiling Waller’s iconography.
2) Pearson 1950, p.44.
3) Beerbohm 1909.
4) Beerbohm 1908, cited Beerbohm 1970, p.378.
5) Shaw 1932, vol.1, p.12.
6) R. de Cordova, in Waller [1909].
7) Shaw 1932, vol.1, p.254.
8) Waller [1909].
9) Macqueen-Pope 1947, p.200.
10) Shaw 1932, vol.3, p.191.
11) Macqueen-Pope 1947, p.122.
12) Parker 1912, p.523.
13) Shaw 1932, vol.2, p.5.


Carol Blackett-Ord