Later Victorian Portraits Catalogue

Louise Jane Jopling (née Goode, later Rowe) (1843-1933), Portrait painter

Undated self-portraits
By other artists
Undated photograph

Self-portraitsback to top

Red chalk drawing, head; untraced. Exh. Paris Salon 1869; ref. Jopling 1925, p.7 (not ill.).

Oil on canvas, Bud and Bloom, three-quarters to left; untraced. Exh. RA 1870 (454); ref. Jopling 1925, pp.11, 16 (ill.).

exh. 1874
La Japonaise; untraced. Exh. RA 1874 (147); ref. Jopling 1925, pp.68, 326 (not ill.).

Auto-portrait; untraced; ref. Jopling 1925, p.327 (not ill.).

Oil on panel, head-and-shoulders, full-face; Manchester AG, 1934.2. Ref. Jopling 1925, p.327.

Auto-portrait; untraced; ref. Jopling 1925, p. 328 (not ill.).

Undated self-portraitsback to top

?Watercolour drawing, head-and-shoulders to left, undated (?1870s); untraced. Repr. Jopling 1925, facing p.92 (captioned ‘a study presented to the National Art Gallery, Sydney, by its purchaser’). Apparently a self-portrait. There are no works by Jopling at AG New South Wales, Sydney.

Pastel drawing, half-length, with palette and brushes, undated (?1880s); priv. coll. (Jopling); offered to NPG by Lindsay Millais Jopling and declined, 1935. Repr. Nunn 1986, cover.

By other artistsback to top

Miniature by unidentified artist, head-and-shoulders, aged 7; untraced. Wood-engr. by Paterson repr. Strand, vol.16, 1898, p.196.

Drawing by Joseph Middleton Jopling; untraced; ref. Jopling 1925, pp.63–4, 99 (not ill.).

Oil on canvas by James McNeill Whistler, whole-length to left; Hunterian AG, U. of Glasgow, YMSM 191. Ref. Jopling 1925, p.71.

Oil on canvas by John Everett Millais; see NPG 6612.
This is the prime image for Louise Jopling.

Caricature drawing by George Du Maurier, in Jopling’s studio, with guests (Jopling saying ‘Oh, do sing for me! The ices have given out, and I want the people to go!’); untraced; ref. Jopling 1925, p.90. Repr. Punch (details unknown).
See also Du Maurier, Leighton, Whistler.

exh. 1880
Terracotta bust by John Taylor; untraced. Exh. RA 1880 (1650).

Etching and drypoint on cream laid paper by Walter Sickert; colls BM, London, 1949,0411.466; and Fitzwilliam M., Cambridge, P.138-1955 and P.139-1955; another sold Phillips, 19 Oct. 1999 (273, ill.).[1]

Sketches by unidentified artist, at RA Varnishing and Private View days; untraced. Repr. The Lady, May 1885; Jopling 1925, p.265.

Charcoal drawing by unidentified artist, half-length, head to right, holding rectangular palette and brushes; untraced; coll. Roger Widdas, 1987. Photograph NPG SB (Jopling).

Chalk and wash drawing, 394 x 292mm, by (William) Walker Hodgson, signed and dated 26 Sept. 1891; untraced. Exh. A Fraternity of Artists, Christopher Wood Gallery, 1984 (38). See NPG collection 4041(1–5).

publ. 1923
Pen and ink drawing by Harry Furniss, head-and-shoulders, based on the 1879 Millais portrait above; untraced. Repr. Furniss 1923, facing p.84.

Photographsback to top

Photograph by E. Murray, whole-length to left, aged 20; wood-engr. by Paterson repr. Strand, vol.16, 1898, p.196.

Photograph by unidentified photographer of four Goode sisters, probably including Louise Romer, ?Saundersfoot, Pembrokeshire, ?1874; repr. Jopling 1925, facing p.64.[2]

Photograph by unidentified photographer, with Joseph Middleton and Lindsay Millais Jopling (as baby); repr. Jopling 1925, facing p.88; and Codell 2003, p.149.

Photograph by unidentified photographer, with Lindsay Millais Jopling and Percy Romer; ref. Jopling 1925, p.131, repr. facing p.124.

Photograph by Window & Grove, head-and-shoulders to left, aged 35; wood-engr. by Paterson repr. Strand, vol.16, 1898, p.196.

publ. 1880
Photograph by Albert Adolphe Boucher of Brighton, head-and-shoulders to left; woodcut by Moritz Klinkicht after Boucher repr. MA, 1880, p.305 (copy MEPL, London, 10162026); and Gillett 1990, p.189, fig.29.

Photograph by Coote, head-and-shoulders, profile to right, aged 39; wood-engr. by Paterson repr. Strand, vol.16, 1898, p.196.

Photograph by unidentified photographer, in costume as handmaiden in Helena in Troas; ref. Jopling 1925, pp.289–91 (ill.); and Codell 2003, p.151 (ill.).

Photographs by unidentified photographer, at her art school; ref. Jopling 1925, p.307, repr. facing pp.266, 308.

Photograph by W. Davey of Harrogate, three-quarter-length, facing left; repr. in halftone by Meisenbach (cutting, NPG SB (Jopling)).[3]

Phototype studio portrait, Paris, three-quarter-length, standing to left; MEPL, London, 10162024.[4]

publ. 1890
Carbon print by Herbert Rose Barraud, three-quarter-length, full-face, in evening dress; colls NPG Ax8712 and Ax5495; and MEPL, London, 10070558.
Another Barraud, dated 1890 but apparently from an unconnected sitting, three-quarter-length, head to left, with artist’s smock, palette and brushes; Getty Images, 2634748.

Photograph by unidentified photographer, with nine others, including Oscar Wilde, George Meredith and Lady Palmer; repr. Jopling 1925, facing p.82.[5]
Another pose with arms around Wilde’s neck; untraced; ref. Jopling 1925, p.82 (not ill.).

publ. 1892
Photograph by Walery [Stanislas Julian, Count Ostrorog], three-quarter length, wearing cape across shoulders, with right hand on hip; repr. Walery 1888–96, vol.4, issue no.45 (Mar. 1892).

publ. 1893
Photograph by Henry Van der Weyde, head-and-shoulders to right, wearing hat with pointed brim; repr. as halftone by J.S. Virtue The Year’s Art 1893, facing p.68; and The Quiver or Queen, 18 Feb. 1893 (cutting inscr. ‘Q 18/2/93’, NPG SB (Jopling)).

Photograph by James Russell & Sons, seated to left with pen and sketchbook; repr. Bob Speel website. Wood-engr. by Paterson repr. Strand, vol.16, 1898, p.196.

Platinum print by Frederick Hollyer, three-quarter-length, seated to left, head on hand, right arm resting on windowsill; V&A, London, 7788-1938, Hollyer album vol.II, p.87.

publ. 1902[6]
Photograph by Kalmia, head-and-shoulders to right; repr. in roundel ILN, 22 Mar. 1902, p.416.

Photograph by Haines, three-quarter-length to right, with St Bride (RA 1902 (655)) on easel; repr. Girls’ Own Paper, 1902; copy MEPL, London, 10162023.
Another pose, three-quarter-length, profile to right; cutting, NPG SB (Jopling).

publ. 1906
Photograph by R.W. Thomas, whole-length, standing in studio; repr. Windsor Magazine, vol.24, June–Nov. 1906; Maas 1984, p.62.

Photograph by unidentified photographer, three-quarter-length, head to left, with facsimile signature; repr. Jopling 1925, facing p.8.

Photograph by Lafayette, seated to right, string of pearls in left hand, at home in Chesham Bois; NPG x42979.

Photograph by unidentified photographer, seated to left; coll. Buckinghamshire County Council, phAmersham 160. See also press cuttings, 20 Nov. 1933, NPG NoA (Jopling).

Undated photographback to top

Photograph, unseen; coll. Hope Coll., Ashmolean M., Oxford, HP 43645.

1) Bromberg (2000, no.97) dates the Sickert etching c.1887, on grounds of style. However, Jopling made an etched portrait of Sickert in 1884 (Jopling 1925, pp.226–7, ill.), and it is possible that Sickert’s etching of Jopling might be correspondingly earlier, also c.1884.
2) The group portrait by John Hanson Walker, Sisters: Mrs Sydney Pitt, Mrs Frank Romer and Mrs Robert Mills (RA 1899 (124); untraced) must, by date, refer to another Mrs Romer.
3) In August 1888 Jopling went for a ‘cure’ in Harrogate; Jopling 1925, p.297.
4) Jopling was in Paris in 1881, 1883 and 1887; Jopling 1925, pp.182–5, 229, 300.
5) ‘I once stayed, when Oscar was there, at the country-house of Lady (Walter) Palmer. George Meredith was also a guest’; Jopling 1925, p.80. See Huntley & Palmers factory Visitors Book for page signed by Wilde, Meredith and Jopling 1892; Reading M., 1997.120.267.
6) In 1902 Jopling was elected to the RSBA – the first woman member.

Carol Blackett-Ord