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Later Victorian Portraits Catalogue

Emilie Charlotte ('Lillie') Langtry (née Le Breton) (1853-1929), Actress and professional beauty

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

I. IN PRIVATE CHARACTERback to top


Paintings, drawings, sculpture and printsback to top


1877
Pencil drawing by Frank Miles, head, profile, against faint background of lilies; untraced. Ref. Langtry 1925, p.60, where it is stated that the work was purchased by Prince Leopold.

Another account of Langtry states that ‘Frank Miles was the very first artist to sketch the Jersey Lillie’s extraordinary beauty. He beat Millais to the post, having made some lightning sketches of her one evening in 1877 when Lillie was invited to a Sunday evening at home with Lady Sebright in Lowndes Square. Millais had earlier in the evening asked her to sit for him, wanting to be the first painter to reproduce on canvas what he called the “classical features” of his country woman. However the next day Frank Miles’s sketches of Lillie were put on sale in London shops, spreading the fame of her unusual good looks.’ [1]

Oil on canvas, Effie Deans, by John Everett Millais, whole-length standing, profile to right, left elbow resting on high stone wall, male figure and dog to right; untraced. Exh. King St G., London, May 1877. Ref. Langtry 1925, p.69, with reference to a later dramatic tableau for which Millais chose ‘one of his best known works’ and Langtry posed as the heroine.

Mezzotint by Thomas Oldham Barlow after Millais, dated 1879, publ. by Thomas Agnew & Sons Ltd; BM, London, 1886,1127.70.

1878
Oil painting by Henry Weigall, no further details; untraced. Exh. RA 1878 (2, ‘Mrs Langtry – a Sketch’). Ref. Langtry 1925, p.69: ‘Lord Houghton gave a commission for a portrait of me to be painted by his protégé and friend, Henry Weigall. It was not considered very successful however.’

Oil on canvas, A Jersey Lily, by John Everett Millais, three-quarter-length standing, half-profile to left, left arm across waist holding pink flower, wearing black dress with white lace collar; Jersey Heritage. Exh. RA 1878 (307); Grosvenor G., 1886 (23); and Millais Portraits, NPG, 2004 (307, ill.). Repr. Warner 1979, pl.16; Rose 1981, p.13; and Stevens 2002, p.153.

Engraving or photogravure after Millais publ. 30 Apr. 1881; no further details.

Oil on canvas by Edward John Poynter, half-length, profile to left, leaning back in armchair, wearing padded and slashed evening jacket, left hand holding white rose, right hand holding yellow rose to breast; Jersey Heritage. Exh. RA 1878 (155); and Barbican AG, 2000 (116, ill.). Repr. Beatty 1999, no.14 (monochrome); and Mancoff 2003, p.85.

Engr. by James John Chant after Poynter; untraced. Exh. RA 1878 (1218).
According to the sitter, this image shows her in ‘a gorgeous golden gown’ and was given to her by the artist. [2]

Drypoint by Georges Labadie Pilotell, signed and inscr. ‘First proof / Pilotell / Mrs Langtry’, head-and-shoulders, to front, wearing fur hat with feather and fur collar; BM, London, 1878,0608.119.

Design by Alfred Bryan, head-and-shoulders, seated in Lyceum Theatre audience, Henry Irving on stage; untraced. Repr. The World, Christmas no., 1878, (‘At the Play’, with key); for key see MEPL, London, 11075117.

c.1878
Portrait, medium unknown, by John Everett Millais, ‘full-face kit-kat portrait’; untraced.
According to Langtry 1925, p.55, this was executed at the same time as A Jersey Lily, and was given by the artist to the sitter and by her in turn to ‘an American friend’. It could be the item listed as a pencil drawing exh. SPP 1900 (133).

1879
Oil on canvas by Valentine Cameron Prinsep, three-quarter-length seated, profile to left, right hand to cheek, wearing blue-grey gown with three-quarter sleeves; untraced. Repr. Country Life, 30 Aug. 1979, p.588.

Drawing by Frank Miles, signed, inscr. and dated, three heads, left to right: to front, tilted to sitter’s left; to front; profile to left; Jersey Heritage. Repr. Langtry 1925, frontispiece, photo credited to W.F. Mansell; and Beatty 1999, no.13, captioned ‘Jersey Lilies’.

Sketches by John Everett Millais, ‘in every position’, no further details; untraced.
According to Langtry, she and her husband spent a month ‘one summer’ with the artist and his wife in Scotland when the artist sketched ‘on any scrap of paper that was handy’, which his wife collected and kept. ‘When I last saw the little sketches’, Langtry later recalled, ‘they had been framed and were hanging in a prominent position in Lady Millais’ boudoir’. [3] For photographs taken by Rupert Potter at this time see below, ‘In private character, Photographs, 1879’.

1880
Oil on canvas, The Dean’s Daughter, by George Frederic Watts, head-and-shoulders, profile to left, wearing small black hat and dark green costume; Watts G., COMWG.43. Exh. RA 1880 (4); G.F. Watts, Manchester AG, 1905 (109); and The Wilde Years, Barbican AG, 2000 (191); possibly also exh. SPP 1892(194). Repr. Portfolio, 1894, vol.1, p.16; Apollo, Mar. 1933, p.96.

Photograph of artwork (‘Photograph of painting of Mrs Langtry by Mr G. F. Watts RA head and bust, profile, with bonnet’) by Henry Herschel Hay Cameron reg. for copyright 1885 Oct. 22: National Archives (COPY 1/374/124).

The painting’s title comes from Langtry 1925, pp.57–8, where it is also stated that Watts ‘tore’ off a large ostrich feather to make the hat into ‘a quaint little poke bonnet’.

1881
Chalks by Frank Miles, no further details; untraced. Exh. RA 1881 (1210).
This may form the basis of an otherwise untraced design for a postcard publ. by J.W. Walton: see below, ‘Paintings, drawings, sculptures and prints, undated’.

Caricature design by Alfred Bryan, three-quarter-length, profile to left, entering stage door, wearing fur-trimmed coat and fur muff; untraced. Repr. Entr’Acte, 17 Dec. 1881; see MEPL, London, 11015489.

1882
Cast bronze medal by Edward John Poynter, initialled and dated, inscr. ‘L.L’, head-and-shoulders, profile to right, hair in ‘Langtry knot’, bare shoulders, small dagger in cleavage; BM, London, 1884,1201.2. Exh. Medal: Mirror of History, BM, 1979 (12). Repr. Attwood 1992, p.16.

Design by Alfred Bryan, three-quarter-length standing, in theatrical costume (?as Rosalind), Henrietta Hodson and Henry du Pré Labouchère standing to right; untraced. Repr. Entr’Acte, 9 Sept. 1882, captioned ‘Getting Ready for the American Market’; see MEPL, London, 11015662.

Caricature design by Alfred Bryan, whole-length standing, profile to left, wearing feathered hat and short skirt, holding newspaper, Henry Labouchère and Henrietta Hodson watching on right; untraced. Repr. Entr’Acte, 30 Sept. 1882; see MEPL, London, 11015667.

Caricature design by Alfred Bryan, as a doll hanging from Christmas tree being carried by Henry Labouchère as Father Christmas; untraced. Repr. Entr’Acte, 23 Dec 1882; see MEPL, London, 11015692.

c.1882–3
Oil on canvas by William Powell Frith, A Private View at the Royal Academy, 1881, half-length, profile to right, standing to the right of Oscar Wilde, beside Henry Irving (no.26 on key); coll. C.J.R. Pope, on long-term loan to Leighton House, LH/TL,014. Exh. RA 1883 (163). Repr. Gazette des Beaux-Arts, July/Aug. 1958, vol.6, p.87, no.4; Gaunt 1972, no.144–5; Snow 1975, pp.168–9; Wood 1976, no.215; Bills & Knight 2006, p.70 (whole image), p.129 (detail); and Wood 2006, pp.212–13.

Repr. Henry Graves & Co. 1885 as photogravure, 588 x 983mm, and as lithograph, 226 x 443mm, with key to the principal figures; BM, London, 1920,0420.193 and 1920,0124.4 respectively.
Oil sketch for this work, 600 x 1140mm, signed and dated ‘W P Frith 1882’; Mercer AG, Harrogate, HARAG 2490.

See also Agnew, Boehm, Calderon, Du Maurier, Frith, Irving,Marks, Millais, Tenniel, Terry.

1883
Design by Alfred Bryan, whole-length standing, profile to left, wearing fur cape and winter coat, back-to-back with Henrietta Hodson; untraced. Repr. Entr’Acte, 13 Jan. 1883, captioned ‘The best of friends must part’.

1884
Oil on canvas by Frank Miles, signed and dated, three-quarter-length seated, looking to left, wearing pale grey-blue silk costume; untraced; Christie’s, 15 June 2011 (75) Repr. http://www.leicestergalleries.com/metadot/index.pl?isa=Metadot::SystemApp::AntiqueSearch;op=detail;id=11179.

c.1886–7
Chalk drawing by John Vine, no further details; untraced.

‘Photograph from a crayon drawing entitled Mrs Langtry’ by unidentified photographer; reg. for copyright by A. Marion & Co. 1887 Feb. 24: National Archives (COPY 1/379/181).

Oil painting by Robert Ponsonby Staples and George Hamilton Barrables, An Imaginary Cricket Match (previously titled ‘Australia v. England – An Ideal Cricket Match at Lords’), half-length seated, towards left, wearing day dress and hat, among spectators at Marylebone Cricket Club; coll. Marylebone Cricket Club.
Repr. as photogravure by Siegmund Hildesheimer & Co. Ltd c.1896.

Others in scene include batsmen William Gilbert ‘W.G.’ Grace and Walter William Read, bowler Frederick Robert Spofforth, fielder T.W. Garrett and spectators the Prince and Princess of Wales, Lady de Grey, Lady Colin Campbell, the Duchess of Leinster and Mary Anderson.

1887
Cast bronze medal by Maria Zambaco, signed, dated and inscr. ‘Lydia [sic] Langtry’, head-and-shoulders, profile to right, wearing low-cut gown, hair close to head, no knot; coll. Scott Buckle 2008. See History of Art Research Portal.
Despite the incorrect name, this appears to be a portrait of Lillie Langtry, possibly made with reference to the similar cast medal by Edward Poynter (see above, ‘1882’).

1889
Chalks by Jacques-Emile Blanche, signed and dated, head-and-shoulders seated, to right, head half-turned to viewer, wearing star hat and pink and white striped bodice, beach in background; Blouin, Paris, 9 Dec. 2015 (318). Exh. Hôtel Jean Charpentier, Paris, May 1979 (11).

1892
Drawing by Thomas Walter Wilson, signed and dated, whole-length seated, to left, profile left hands on lap, part of composite multi-figure group; untraced. Engr. by Richard Taylor repr. ILN, 28 Jan. 1893, pp.116–17, captioned ‘The Dramatic Profession of To-Day’, Langtry no.30 on key (p.118).

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

1893
Miniature by ‘C.T.’, initialled and dated, head-and-shoulders; untraced; Christie’s SK, 22 July 1986 (130).

Miniature by Fanny Way, no further details, untraced. Exh. RA 1893 (1225).

publ. 1923
Design by Harry Furniss, head, profile to right, no hat, no jewels; untraced. Repr. Furniss 1923, frontispiece, captioned ‘Mrs Langtry as she first appeared in public’.


Undated portraitsback to top


Oil on canvas by Frank Miles, half-length, profile to left, both arms raised (hands not visible), wearing sleeveless white bodice; untraced; seen on Artnet 2017.

Pen and ink drawing by Arthur Hopkins, initialled, bust-length, facing front, head inclined to left, wearing velvet hat and shawl with flower pattern; Royal Coll., RCIN 926097. Ref. Millar 1995, vol.i, p.472.

Design by Frank Miles, half-length, to front, left hand raised holding rose-stem to hat, left arm across body, wearing straw hat with flowers; untraced.

Postcard, publ. J.W. Walton, Manchester, captioned ‘The Gardener’s Daughter / A Study by Frank Miles’; print V&A, London, S.439-2011. This postcard may be based on an attested chalk drawing by Miles: see above, ‘1881’.

Oil on panel by James Sant, initialled, head-and-shoulders, profile to left, wearing white lace dress and pearl necklace; untraced. Seen on Athenaeum forum website 2017, listed as undated and in priv. coll.

Oil on canvas by James Sant, half-length, to front, wearing white dress with small blue bow; untraced; Christie’s, 9 Nov. 2000 (46), where described as ‘traditionally identified as Lillie Langtry’.

Pencil drawing by Frank Dicksee, signed, head-and-shoulders; untraced. Exh. Society Portraits 1850–1939, Colnaghi’s, London, 1985 (34, ill.).

Oil on canvas by Herbert Schmalz, signed, half-length to front, right hand to hip, wearing mauve gown with anemones; untraced; see Wikimedia Commons. Possibly exh. Schmalz’s solo show A Dream of Fair Women, FAS, 1900.

Oil by Arthur Howes Weigall, no further details but sitter name reputedly on old label; untraced; Christie’s SK, 10 Nov. 1982 (200).

Watercolour by ‘W.J.M.’, oval format, no further details; untraced; Christie’s SK, 28 Sept. 1981 (204).

Watercolour by Catherine Devine, head-and-shoulders; untraced; Christie’s SK, 16 May 1977 (76).

Watercolour by ‘NAP’, no further details, untraced; Abbott & Holder, autumn 1985 (list 231, no.279); Phillips, 21 July 1989 (240).

Miniature on card by unidentified artist, oval format, no further details; untraced; Christie’s SK, 11 Nov. 1985 (360, attributed to ‘Jersey School’).


Doubtful portraitsback to top


c.1878
Oil on canvas by James Abbott McNeill Whistler, wearing ‘yellow robe’, no further details; untraced. Ref. Langtry 1925, p.63: ‘James McNeill Whistler did a portrait of me, and the numerous sittings were, I think, enjoyed by both of us … I wonder what became of that unfinished picture and the yellow robe in which he was painting me? Both are still in existence I fancy.’
Possibly this relates to ‘Arrangement in Yellow and Gray’: Effie Deans; Rijksmuseum, Amsterdam, SK-A-1902. The subtitle ‘Effie Deans’ refers to the heroine of Sir Walter Scott’s novel The Heart of Midlothian.

c.1879
Oil on canvas, The Golden Stairs, by Edward Coley Burne-Jones, two heads, profile and half-profile to left; Tate, N04005. Exh. Grosvenor G., 1880 (120). Repr. Wildman & Christian 1998, no.109.
This disputed identification is based on the sitter’s account: ‘Twice I contributed my face for studies in his well-known picture called “The Golden Stair” [sic] in which I may be detected, both full-face and profile, on two of the lower steps.’ [4]

c.1880
Oil on canvas, An Idyll, by Frederic Leighton, whole-length, profile to left, reclining with second female, male to left playing flute; untraced; Christie’s, 11 Feb. 1949 (64); see Wikimedia Commons. Ref. Langtry 1925, p.68, where likeness is described as that of ‘a shepherdess in his picture “Arcadia”’, and reference is also made to ‘a number of studies’ of Langtry in Leighton’s ‘characteristically finished style’. These are figure studies, not obviously drawn from Langtry; see Lord Leighton Drawings.

1883
Oil on canvas by Edward Burne-Jones, head, profile to right, on figure of Fortuna in The Wheel of Fortune; Musée d’Orsay, RF 1980 3. Exh. Grosvenor G., 1883 (67); Royal Jubilee Exh., Manchester, 1887; Burne-Jones: Victorian Artist–Dreamer, New York and Birmingham, 1998 (52); and elsewhere (for complete list see Musée d’Orsay website).

Second version; NG of Victoria, 381-2.
This identification rests on Langtry’s account: ‘An imposing symbolical painting [Burne-Jones] did of me was named “Dame Fortune” which was bought by Arthur Balfour and placed over the mantelpiece in his dining room in Carlton House Terrace, London. Clad in grey draperies, a tall, very tall figure, I am depicted with resolute and pitiless face, turning a huge wheel on which kings, princes, statesmen, millionaires and others rise … a cruel picture, but horribly true. Fine in conception and execution though it is, I always disliked it’. [5] Later commentaries do not endorse the likeness to Langtry, e.g. Wildman & Christian 1998, no 52; and Trumble 2001, p.82.

1905
Oil on panel by Arthur Hill, no further details; untraced; Christie’s New York, 25 May 1984 (219).


Posthumous portraitsback to top


late 1990s
Marble bust by unidentified sculptor, inscr. on plinth ‘Lillie Langtry’, head-and-shoulders, naked to nipples; St Saviour’s churchyard, Jersey; see Wikipedia.


Photographsback to top


A selection of photographs in and out of costume are held by Jersey Heritage (unillustrated as of July 2017): see Jersey Heritage website.

mid-1860s
Photograph by unidentified photographer, half-length, to front, in group with father, mother and brother; Getty Images 2630199, dated 1 Jan. 1864 (when Langtry was aged ten). Repr. Beatty 1999, no.1.

c.1873
Oval print by Clarence Philip Ouless, head-and-shoulders, near-profile to left, hair in chignon, wearing pale high-necked bodice, single-strand necklace; prints colls Société Jersiaise, St Helier, Jersey, SJPA/012457; and V&A, London, S.143:220-2007, dated to 1879 but inscr. ‘Mrs Langtry / age 16’. Repr. Beatty 1999, no.2, credited to Ouless, cropped from foot and captioned ‘Lillie at 21’.

c.1874
Photograph by unidentified photographer, three-quarter-length standing, to front, wearing hat, Edward Langtry seated to left, wearing bowler. Repr. Porter 1973 (no page no.); and Beatty 1999, no.3, captioned ‘newly married’.

1878
Photograph by unidentified photographer, half-length standing, to left, head turned slightly to camera, hands clasped, wearing dark fitted jacket with ruched sleeves. Repr. Beatty 1999, no.5, captioned ‘The Milliner’s Assistant’.

1879
Photographs by Rupert Potter, taken near Dunkeld in Sept. 1879 when the Langtrys visited the Potters and the Millais in Scotland, four known poses:
(a) ‘profile portrait of Mrs Langtry head uncovered – hand crossed’; reg. for copyright 1880 Jan. 12: National Archives (COPY 1/48/46).
(b) ‘Photograph of Mr John Everett [sic] and Mrs Langtry seated, the head of the latter uncovered; Mr Millais has pipe in his right hand’, in garden, Langtry half-profile to left, hands loosely clasped, Millais to left, profile to right; reg. for copyright 1880 Jan. 12: National Archives (COPY 1/48/48); V&A, London, BP.1530, signed by sitters and inscr. ‘A Jersey pair / Sept 1879’.
(c) ‘head uncovered profile, seated in garden chair holding paper in both hands’; reg. for copyright 1880 Jan. 12: National Archives (COPY 1/48/47).
(d) ‘double photographic print of a woman, Lillie Langtry. The woman faces to the left in the left hand print and is slightly turned to the right in the right hand print. She wears a tweed, buttoned dress and holds a hat’ (V&A’s description); V&A, London, AR.14:2-1983.
For sketches made by John Everett Millais at this time see above, ‘Paintings, drawings, sculptures and prints, 1879’.

1880
Photographs by unidentified photographer, three-quarter-length seated, to front, head turned to left, left hand to lace collar; Getty Images 3267018, attributed to W. & D. Downey. Repr. Beatty 1999, no.20, captioned ‘Lillie in 1880’.

reg. 1880
Photographs by W. & D. Downey, seven poses reg. 1880 Jan. 7:
(a) ‘nearly full face head slightly leaning to right shoulder hat on, both hands holding leaves in front’: National Archives (COPY 1/48/28(1)).
(b) ‘full face hat on, right hand holding flowers and left hand raised to leaves of plant’: National Archives (COPY 1/48/28(2)).
(c) ‘in light flowered dress side face, straw hat on’: National Archives (COPY 1/48/29(1)).
(d) ‘in light coloured dress side face looking down at straw hat in right hand’: National Archives (COPY 1/48/29(2)).
(e) ‘side face holding umbrella in left hand and straw hat in right hand’: National Archives (COPY 1/48/29(3)).
(f) ‘in Ulster and Scotch hat, side face and figure holding stick in both hands’: National Archives (COPY 1/48/30(1)).
(g) ‘in white flowered dress full face holding umbrella in left hand over head right hand holding hat and hanging by side’: National Archives (COPY 1/48/30(2)).

reg. 1881
Photographs by Henry Van der Weyde, two poses reg. for copyright 1881 Mar. 2:
(a) ‘profile, hair plaited’: National Archives (COPY 1/52/368).
(b) ‘leaning against a cabinet, arm bare with a short net sleeve nearly to the elbow, face profile’: National Archives (COPY 1/52/367); albumen cabinet card NPG x45211.

c.1881
Photographs by London Stereoscopic & Photographic Co., two known poses:
(a) bust-length, to front, hair braided round brow, wearing patterned gown with lace or chiffon fichu; woodburytype carte-de-visite NPG x197128. See NPG Portrait Set ‘London Stereoscopic & Photographic Company cartes-de-visite, 1850s–80s’.
(b) half-length, to left, head turned to camera, wearing mob cap with ribbons, patterned dress as in (a), long gloves and muslin shawl; albumen print ‘after London Stereoscopic & Photographic Co.’ NPG x32351.

1882
Cabinet cards by Napoleon Sarony, New York, seven known poses:
(a) ‘standing with arms behind back’.
(b) ‘in profile wearing hat’.
(c) ‘in profile wearing feathered hat’.
(d) ‘wearing feathered hat’.
(e) ‘learning against a wall’.
(f) ‘in profile with back to camera’.
All Harvard Theatre Coll., Houghton L., Harvard U. (no further details).

Cabinet card by Charles Pollock, Boston (Mass.), whole-length standing; Harvard Theatre Coll., Houghton L., Harvard U., MS Thr 827.

publ. 1882
Woodburytype by London Stereoscopic & Photographic Co., half-length seated, to front, left hand to shoulder, right hand on lap, wearing mob cap and eighteenth-century-style gown. Publ. The Theatre, 3rd ser., no.26, 1 Feb. 1882, with printed signature and inscription ‘“Still as a barmaid” / Lillie Langtry’; print NPG Ax35618

reg. 1882
Photographs by Boning & Small, four poses reg. for copyright 1882 Feb. 22:
(a) ‘profile, wearing hat’: National Archives (COPY 1/56/278).
(b) ‘with hat, large head, profile’: National Archives (COPY 1/56/279).
(c) ‘¾ face looking up wearing hat and fur cloak’: National Archives (COPY 1/56/280).
(d) ‘hat and fur cloak, ¾ figure head leaning against pillar, looking up’: National Archives (COPY 1/56/281).

Photograph by W. & D. Downey, ‘standing, left side view, head inclined to left, evening dress, holding flag fan’; reg. for copyright 1882 Jan. 23: National Archives (COPY 1/56/83).

Photograph by W. & D. Downey, ‘standing, arms hanging by side, right hand holding fan, left clasping back of chair’; reg. for copyright 1882 Feb. 8: National Archives (COPY 1/56/183).

Photograph by W. & D. Downey, ‘sitting with album on lap on which both wrists are resting, body to right, but face to lens, head inclined to left’; reg. for copyright 1882 Mar. 6: National Archives (COPY 1/56/459).

c.1882
Photographs by Napoleon Sarony, 11 known poses:
(a) whole-length seated, sideways, profile to left, looking down, left hand touching folio volume on edge, right elbow resting on volume, wearing heavily beaded dress; L. of Congress, LC-USZ62-77482.
(b) nearly whole-length, half-seated, looking down to left, wearing same gown as in (a), tiger rug visible; L. of Congress, LC-USZ62-103107.
(c) head-and-shoulders vignette, profile to left, wearing pale summer hat with ostrich feather; L. of Congress, LC-USZ62-77487.
(d) half-length, half-profile to left, wearing flowered gown with fichu and same hat as in (c); L. of Congress, LC-USZ62-77498.
(e) half-length, profile to left, gown and hat as in (c); L. of Congress, LC-USZ62-77490.
(f) head-and-shoulders, profile to left, head tilted upwards, gown and hat as in (c); L. of Congress, LC-USZ62-62686.
(g) head vignette, profile to left, hair in ‘Langtry knot’; L. of Congress, LC-USZ62-99836.
(h) head-and-shoulders, half-profile to left, hair loose, wearing pale shift; L. of Congress, LC-USZ62-90036.
(j) as (h) but full profile to left, hair long and loose; L. of Congress, LC-USZ62-77491.
(k) half-length, to right, head turned to camera, wearing brocaded fur-trimmed coat and pillbox hat of same fabric; L. of Congress, LC-USZ62-77492.
(l) three-quarter-length standing, to front, hands clasped, wearing coat and hat as in (k) and fox stole; Getty Images 3244317, uncredited and dated 1880.

1882–7
Box of photographs by various photographers; Harvard Theatre Coll., Houghton L., Harvard U., MS Thr 827.

reg. 1883
Photograph by William Downey, ‘back view of figure, side face’; reg. for copyright 1883 Oct. 23: National Archives (COPY 1/366/50).

c.1883
Photograph by James Notman, Boston, whole-length, profile to left, back view, left hand raised to heavy curtain; Historic New England, PC004.01.L.0600.001. Repr. Beatty 1999, no.22. Probably same as undated cabinet card by Notman, Harvard Theatre Coll., Houghton L., Harvard U.

early 1880s
Photograph by Henry Van der Weyde, three-quarter-length seated, profile to left, right hand raised to curtain on left, left hand on lap holding feather boa. Chromolithograph by M. & N. Hanhart repr. on cover of sheet music ‘Nuit d’amour’, publ. by W. Morley & Co.; copy NPG D42798. See NPG Portrait Set ‘John Hall collection of sheet music covers, 1840s–1890s’.

Photograph by unidentified photographer, bust-length, half-profile to left, wearing dark high-necked jacket and dark hat, fictive pillar to right; Getty Images 2630212.

1884
Photographs by Jose Maria Mora, New York, seven known poses:
(a) three-quarter-length standing, to front, head turned to left, left hand to ear, wearing panniered gown; cabinet card NPG x36217.
(b) three-quarter-length, to front, seated in bamboo chair, right hand to head, wearing kimono; cabinet card NPG x197342 Exh. Curators’ Choice: Photographs from the Terence Pepper Gift, NPG, May 2015–June 2016. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.
(c) standing ‘in profile’; cabinet card Harvard Theatre Coll., Houghton L., Harvard U. (no further details).
(d) ‘in profile wearing a hat’; cabinet card Harvard Theatre Coll., Houghton L., Harvard U. (no further details).
(e) ‘in profile’; cabinet card Harvard Theatre Coll., Houghton L., Harvard U. (no further details).
(f) ‘in profile holding an umbrella’; cabinet card Harvard Theatre Coll., Houghton L., Harvard U. (no further details).
(g) ‘standing wearing bonnet’; carte-de-visite Harvard Theatre Coll., Houghton L., Harvard U. (no further details).

c.1884
Photograph by unidentified photographer, three-quarter-length, profile to right, seated on chaise longue, right hand down holding plumed fan, left hand to collar-bone; Getty Images 508683056, dated 1885.

reg. 1885
Photographs by Henry Van der Weyde, six known poses:
(a) ‘¾ face, face partly in shadow, fan in right hand forming background to head. Side view of figure showing back, left arm down at side’; reg. for copyright 1885 Apr. 23: National Archives (COPY 1/372/38).
(b) ‘face profile and in shadow, ¾ length figure sitting position, fan in right hand, left arm down at side, figure nearly full’; reg. for copyright 1885 Apr. 23: National Archives (COPY 1/372/39).
(c) ‘face profile and in shadow, ¾ length figure sitting position, arms down at side, holding fan with both hands, figure nearly full’; reg. for copyright 1885 Apr. 23: National Archives (COPY 1/372/40).
(d) reg. for copyright 1885 Apr. 23: National Archives (COPY 1/372/41); see NPG P863.
(e) ‘showing back of figure and head. Fan in hands across right arm, the whole of figure in shadow’; reg. for copyright 1885 Apr. 23: National Archives (COPY 1/372/42).
(f) head-and-shoulders, head turned back over left shoulder; V&A, London, S.143:375-2007, card stamped ‘Copyright / Van der Weyde’. Possibly a cropped version of (a).

Photographs by William Downey, four poses reg. for copyright 1885 Aug. 29:
(a) ‘side face, full figure’: National Archives (COPY 1/373/211).
(b) ‘full figure, nearly full face’: National Archives (COPY 1/373/212).
(c) ‘full figure, ¾ face, looking to the right, head leaning towards left shoulder’: National Archives (COPY 1/374/213).
(d) ‘side face leaning against screen right arm on pedestal’: National Archives (COPY 1/373/215).

Photographs by James Lafayette, Dublin, two poses reg. for copyright 1885 Dec. 15:
(a) ‘half-length, profile, looking down, right hand up to bust’: National Archives (COPY 1/374/459).
(b) ‘profile, looking down, half-length’: National Archives (COPY 1/374/461).

early to mid-1880s
Cabinet cards by W. & D. Downey, three known poses:
(a) half-length, to front, standing behind balcony, head turned to right, flower bouquet and opera glasses on parapet; NPG x131999.
(b) half-length standing, to front, head profile to left, wearing low-cut sleeveless gown with wasp-waist, hair in ‘Langtry knot’; NPG x20590.
(c) nearly whole-length standing, to left, head turned to camera, wearing tiara, pale gown with train and evening gloves, holding closed fan; NPG x135355.

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

reg. 1886
Photographs by Henry Van der Weyde, two poses reg. for copyright 1886 Mar. 9:
(a) ‘¾ length standing face profile head turned towards her right, arms down at side, holding fan with both hands, evening dress, fancy screen, vase and palm in picture’: National Archives (COPY 1/375/373).
(b) ‘¾ length sitting, figure nearly profile, face profile, head leaning upon right hand, left hand resting on table and holding letters, fancy screen, lamp and table in picture’: National Archives (COPY 1/375/374).

Photographs by Henry Van der Weyde, two poses reg. for copyright 1886 Mar. 16:
(aa) ‘head and shoulders, face nearly profile & partly in shadow, head turned to her right, figure full, in evening dress’: National Archives (COPY 1/375/426).
(bb) ‘head and shoulders, profile face & partly in shadow, figure full, in evening dress’: National Archives (COPY 1/375/427).

Photograph by Henry Van der Weyde, ‘head turned to her right. Face partly in shadow. Showing arms and waist’; reg. for copyright 1886 Oct. 11: National Archives (COPY 1/378/36).

Photograph by James Lafayette, ‘size 22 x 18 profile looking to her left, sitting position, nearly full length head bent down’; reg. for copyright 1886 Apr. 8: National Archives (COPY 1/376/37).

Photographs by Walery, three poses reg. for copyright 1886 June 15:
(a) ‘¾ face looking to left hat trimmed velvet and birds, hair down tied with ribbon, hanging a little over shoulder, vignette background’: National Archives (COPY 1/376/265).
(b) ‘nearly profile, face looking to right, hat velvet with bird & feathers, ribbon hanging on dress, lying hair, vignette background’: National Archives (COPY 1/376/266).
(c) ‘full face, hat trimmed velvet and birds, hair down tied with ribbon, showing a little on left side, vignette background’: National Archives (COPY 1/376/267).

c.1887
Photographs by Sarony & Co., two known poses:
(a) nearly whole-length standing, to front, profile to right, hands clasped, Sarah Bernhardt standing to right; Getty Images 640463127, credited to ‘Sasony’.
(b) three-quarter-length, half-profile to right, left hand to cheek, seated amidst draped fabrics; L. of Congress, LC-USZ62-92567.

1888
Cabinet card by Benjamin Joseph Falk, head-and-shoulders, profile to right, hair in ‘Langtry knot’, wearing low-neck gown with jewelled edging; NPG x197325. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

reg. 1888
Photographs by Hayman Seleg Mendelssohn, six poses reg. for copyright 1888 Oct. 20:
(a) ‘¾ figure, ¾ face, large head looking straight, coat (striped) with large revers, soft felt hat caught up at left side’: National Archives (COPY 1/394/105).
(b) ‘¾ length standing, hands together, front view of figure, ¾ face, hat on looking to the right, gloves on, directoire coat, dark sash under coat’: National Archives (COPY 1/394/106).
(c) ‘taken almost to waist, sitting side figure, profile looking down, directoire coat, feather boa round neck & little felt hat caught up at left side’: National Archives (COPY 1/394/107).
(d) ‘standing ¾ length, side figure, hands together, ¾ face looking straight, with directoire coat, little felt hat turned up at left side’: National Archives (COPY 1/394/108).
(e) ‘¾ length side figure, profile, looking to left of photograph, directoire coat & little felt hat turned up on left side’: National Archives (COPY 1/394/109).
(f) ‘taken just to waist, side figure, rembrandt [sic] profile, looking to left of photograph, directoire coat, little felt hat caught up at left side, beetle brooch at side of throat’: National Archives (COPY 1/394/110).

reg. 1889
Photograph by Henry Van der Weyde, ‘(No.47) ¾ length sitting, profile face in shadow eyes looking down, holding curtain with right hand’; reg. for copyright 1889 Jan. 15: National Archives (COPY 1/395/59).

late 1880s
Photographs by Elliott & Fry, wearing hat with pale flowers and two-tone walking costume with lace jabot, two known poses:
(a) whole-length standing, to front, head inclined to left, holding parasol to right, before painted backdrop of coast with lighthouse. Lantern slide (oval image) by York & Son; NPG x3653. See NPG Portrait Set ‘Celebrities From Life: lantern slides by York and Son, 1890s’.
(b) half-length, to front, standing behind table, hands resting beside flower vase and book; cabinet card NPG x197324. See NPG Portrait Set ‘Elliott & Fry cabinet cards’.

c.1880s
Photographs by W. & D. Downey, two known poses:
(a) three-quarter-length, profile to left, seated at desk, hair in long braid, wearing pale negligee with short cape, holding quill pen; prints colls Royal Borough of Kensington & Chelsea, MSC920LAN; and Getty Images 2629238. Repr. Langtry 1925, facing p.136, captioned ‘At My Writing Table’.
(b) head-and-shoulders, to front, wearing tiara, necklace and pale low-cut gown. Postcard, publ. A.P.P.S. Ltd, Rickmansworth, captioned ‘Mrs Langtry’; print NPG x12166.

publ. 1890
Photograph by W. & D. Downey, bust-length, to front, wearing low-cut gown with lace frill; carbon print, inscr. in ink ‘Mrs Langtry’, NPG x12164. Repr. Downey & Downey 1890–94, 1st ser.

reg. 1890
Photograph by Thomas Dawes Sarony, Scarborough, ‘Mrs Langtry nearly profile’; reg. for copyright 1890 Jan. 22: National Archives (COPY 1/399/46).

Photographs by James Stack Lauder, Dublin, five poses reg. for copyright 1890 Feb. 5:
(a) ‘¾ length – evening dress – head nearly profile looking to her right – cloak over shoulder – held by right hand which is by her side – left hand resting on her shoulder’: National Archives (COPY 1/399/179).
(b) ‘¾ length back to the spectator – head profile – showing left side of face – robe hanging over right shoulder & held up by left hand’: National Archives (COPY 1/399/180).
(c) ‘full length – kneeling in chair – head three quarters face – looking to her left – chin resting upon left hand – elbow on back of chair’: National Archives (COPY 1/399/185).
(d) ‘half length in fancy ball dress – head in profile looking to her right – left hand resting on hip – right hand lifted above head & holding a trophy of grapes’: National Archives (COPY 1/399/190).
(e) ‘full-length in fancy ball dress – head profile looking to her right – left hand hanging by side’: National Archives (COPY 1/399/191).

c.1890
Photograph by unidentified photographer, head-and-shoulders, profile to left, hair in knot, wearing pale chiffon gown. Postcard, publ. Rotary Photographic Co. Ltd; print NPG x139678. See NPG Portrait Set ‘Patrick O’Connor Collection: Music Hall, Theatre and Film Stars 1890s–1940s’.

1891
Carbon print by Walery, ‘head-and-shoulders left profile portrait’; BL, London, 1764.e.5, 3(29), with biographical notice by Percy Notcutt.

reg. 1899
Cabinet size photographs by Alexander Corbett, seven poses reg. for copyright by Alfred Ellis 1899 June 17:
(a) ‘½ length figure, ¾ face looking to the right, wearing hat’: National Archives (COPY 1/440/770(1)).
(b) ‘½ length figure, profile, looking to the right, wearing hat’; National Archives (COPY 1/440/770(2)).
(c) ‘½ length figure, back view profile looking to the right, wearing evening dress’: National Archives (COPY 1/440/770(3)).
(d) ‘head-and-shoulders, back view, profile looking to the right, in evening dress’: National Archives (COPY 1/440/770(4)).
(e) ‘head-and-shoulders, profile looking to the right, wearing hat’: National Archives (COPY 1/440/770(5)).
(f) ‘¾ length sitting figure, ¾ face, sitting on balcony, wearing hat’: National Archives (COPY 1/440/770(6)).
(g) ‘full-length figure, profile looking to the left, sitting on balcony’: National Archives (COPY 1/440/770(7)).

Photographs by Alexander Corbett, six poses reg. for copyright by Alfred Ellis 1899 Sept. 5:
(aa) ‘head-and-shoulders profile’: National Archives (COPY 1/442/252(10)).
(bb) ‘head-and-shoulders vignette full face’: National Archives (COPY 1/442/252(11)).
(cc) ‘head and shoulders ¾ face: National Archives (COPY 1/442/252(12)).
(dd) ‘head-and-shoulders profile’: National Archives (COPY 1/442/252(13)).
(ee) ‘head and bust ¾ face wearing hat’: National Archives (COPY 1/442/252(14)).
(ff) ‘¾ length sitting wearing hat: National Archives (COPY 1/442/252(15)).

c.1899
Photographs by unidentified photographer(s), three known poses:
(a) bust-length, to front, wearing low-cut gown and large dark hat with pale plumes; Getty Images 508683062, dated 1 Jan. 1900.
(b) whole-length standing, looking to right, hands clasped, wearing elaborate tiered gown with large train; Getty Images 508683064, dated 1 Jan. 1900.
(c) three-quarter-length seated, profile to left, wearing low evening gown, holding object on table to left; Getty Images 515356996, from Bettmann coll., dated 1 Jan. 1900.

1890s
Photograph by unidentified photographer, three-quarter-length standing, near-profile to left, hair bunched on nape, wearing long pale satin gown with garniture of lilies on left shoulder. Postcard, publ. Blum & Degan; print NPG x160522.

reg. 1900
Photographs by Alexander Corbett, three poses reg. for copyright by Alfred Ellis 1900 Jan. 4:
(a) ‘full length, sitting, ¾ face, leaning forward’: National Archives (COPY 1/444/29(1)).
(b) ‘head and bust profile, with head against cushion’: National Archives (COPY 1/444/29(2)).
(c) ‘head and bust profile, wearing hat’: National Archives (COPY 1/444/29(3)). Possibly same pose: head-and-shoulders, profile to left, wearing large fur collar and hat with cluster of flowers and foliage under brim; cabinet card NPG x26373.

1901
Photographs by Lafayette, three known poses:
(a) whole-length standing, profile to left, right hand extended to fake window-frame, wearing brocaded gown, hair long and loose; V&A, London, Lafayette Negative Archive, no.2766, dated 3 Aug. 1901. Repr. Langtry 1925, facing p.274, three-quarter-length detail, captioned ‘At the time of my marriage to Sir Hugo de Bathe’.
(b) head-and-shoulders, to front, profile to left, wearing pale embroidered bodice, hair loose; V&A, London, Lafayette Negative Archive, no.2766B, dated 3 Aug. 1901. Repr. as drawing in advertisement for Harlene Hair Restorer, Sketch 4 May 1904 (advertisement section); and Queen, 20 Feb. 1929, p 26.
(c) whole-length standing, profile to left, wearing sun hat, checked apron and clogs, holding pole and fishing net; V&A, London, Lafayette Negative Archive, no.2766A, dated 3 Aug. 1901. Repr. Sketch, 25 Sept. 1901, p.393, captioned ‘Mrs Langtry, the “Jersey Lily”, in the Peasant Costume of her Native Isle’; cutting NPG x136552. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

early 1900s
Photograph by unidentified photographer, nearly whole-length, seated in upright chair, profile turned to left, right hand to mouth, left arm resting on desk, wearing elaborately crocheted dress. Postcard, publ. Giesen Bros & Co.; print NPG x160523.

Photograph by Lafayette, three-quarter-length standing, to front, wearing large chiffon hat and pelisse with flounced cuffs over panniered skirt. Postcard, publ. by Rotary Photographic Co Ltd; print NPG x196989. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

Another postcard, head-and-shoulders detail, unidentified publ.; print NPG x126417.

Photograph by Lafayette; three-quarter-length standing, to left, hands clasped below waist, wearing dark hat with pale feathers, pale gown with quasi-Chinese motifs, dark cloak with fur collar. Postcard, publ. Raphael Tuck & Sons, captioned ‘Mrs Langtry’; print NPG x139677. See NPG Portrait Set ‘Patrick O’Connor Collection: Music Hall, Theatre and Film Stars 1890s–1940s’.

c.1905
Photographs by Lafayette, wearing pale evening gown with flounced train, two known poses:
(a) whole-length, half-profile to right, standing by panelled wall, hands raised to long necklace; V&A, London, Lafayette Negative Archive, no.4579.
(b) whole-length standing, to front, profile to left, wearing same costume with summer hat and long feather boa; V&A, London, Lafayette Negative Archive, no.4579A. Repr. cropped Bystander, 1 Nov. 1905, p.223.

c.1906
Photograph by unidentified photographer, half-length standing, profile to left, wearing dress with fringed neckline and embroidered pagoda sleeves; Getty Images 508683060, dated 1906.

reg. 1907
Photographs by James Tyler, Essex, two poses reg. for copyright by Blake Mackenzie Ltd, Liverpool, 1907 Aug. 10:
(a) ‘Narcissus Barrie Conspicuus and Mrs Langtry’: National Archives (COPY 1/514/107).
(b) ‘Narcissus, Mrs Langtry’: National Archives (COPY 1/514/146).
Narcissus was possibly a horse, though not among the dozens listed in Langtry 1925.

before 1908
Photograph by unidentified photographer, three-quarter-length standing, to left, wearing fringed shawl. Chocolate card (cf. cigarette card), publ. Félix Potin, Celebrités Contemporaines, 2nd ser. (c.1908), captioned ‘Mistress Langtry’; print Watts G., COMWG2008.163.3276.

1908
Photographs by Lafayette, wearing long draped evening gown, five known poses; V&A, London, Lafayette Negative Archive, nos 5652, 5652A, 5653D, 5654E and 5658, all dated 20 Mar. 1908.

1909
Photograph by unidentified photographer, whole-length standing, profile to left, outdoors at Newbury racecourse, wearing dark clothes, hat and large fur wrap, trainer Frederick Darling standing to left; Getty Images 3287429, where dated 1 Nov. 1909.

c.1909
Photograph by unidentified photographer, half-length, turned to front, seated in motor barouche, wearing dark fur wrap and hat with flowers, chauffeur seated to left; Getty Images 508683054.

Photograph by unidentified photographer, three-quarter-length, half-profile to right, standing in studio, wearing empire-line gown, long gloves and dark decorated hat; Getty Images 171103618.

1911
Whole-plate glass negatives by Bassano Ltd, half-length, wearing different hats (apparently for a publicity/advertising project), dated 22 May 1911, six known poses:
(a) NPG x16775.
(b) NPG x16776.
(c) NPG x16777.
(d) NPG x16778.
(e) NPG x16779.
For (a)–(e) see NPG Portrait Set ‘Bassano 1911’.
(f) NPG x127699. See NPG Portrait Set ‘Bassano whole-plate negatives, gift 2004’.

Photograph by Lafayette, whole-length seated, leaning back on bergere chair, right arm raised behind head, legs outstretched under fur-trimmed wrap; V&A, London, Lafayette Negative Archive, no.7163A, dated 27 Oct. 1911.

c.1911
Photograph by unidentified photographer, whole-length standing, profile to left, wearing pale gown and holding parasol, young man wearing boater standing to left, probably at Henley Regatta; Getty Images 3287436.

1912
Photographs by White Studio, New York, wearing dark plumed hat, choker and long beads, two known poses:
(a) three-quarter-length standing, to left, head turned slightly to camera, holding feathered stole and boa; L. of Congress, LC-USZ62-96132, where dated Nov. 1912.
(b) head-and-shoulders, profile to left; L. of Congress, LC-USZ62-77494.

publ. 1927
Photograph by Bettmann, three-quarter-length seated, profile to left, wearing large dark plumed hat, pale fur wrap and other accessories; Getty Images 514699504, with original caption ‘1/29/1927 – Lily [sic] Langtry now Lady de Bathe’.

1928
Bromide prints by Cecil Beaton, two known poses:
(a) half-length, profile to left, hair in ‘Langtry knot’, three large lilies in front of sitter; NPG x40247. Repr. Beaton 1930, pl.IV, facing p.11.
(b) half-length, to front, half-profile to left, looking up, three lilies in front; NPG x14126. Repr. Beaton 1957, p.174.

1920s
Photograph by unidentified photographer, head-and-shoulders, profile to right, bobbed hair, wearing embroidered cloak held at neck with rolled fabric clasp. Repr. Langtry 1925, facing p.310, captioned ‘A Late Photograph’.

Photograph by unidentified photographer, whole-length standing, to front, in front of wall, wearing dark hat, dark fur cape, dark coat, mid-length skirt and buttoned boots, holding large festoon of flowers; MEPL, London, 10667784.

undated
Photograph by W. & D. Downey, head-and-shoulders, to front, wearing dark velvet cap with bird’s feather and dark crocheted cape. Repr. Langtry 1925, facing p.40.

Photograph by unidentified photographer, half-length, leaning to left, looking to camera, both hands clasped beside cheek; Watts G., COMWG2008.163.3497.

Photograph by Nadar, head-and-shoulders, to front, hair curled and fringed, bare shoulders, behind bank of artificial flowers; V&A, London, S.143:385-2007, inscr. ‘Mrs Langtry / Nadar / Paris’. Repr. Gosling 1976, pp.258–9.

Photograph by Lafayette, three-quarter-length standing, profile to left, looking down, hands clasped to breast holding artificial rose, wearing tight-fitting lace garment and a tall, decorated hat. Repr. Langtry 1925, facing p.192, captioned ‘The Lily and the Rose’.

Photograph by unidentified photographer, head-and-shoulders, looking to right, head wrapped in fringed scarf; Watts G., COMWG2008.163.3494.


Doubtful photographsback to top


c.1890
Photograph by Lafayette, bust-length, half-profile to left, wearing boat-shaped hat, large floral corsage. Publ. ‘Types of Irish Beauties’, Lafayette, Dublin, Glasgow and Manchester; hand-tinted cabinet card NPG x197326. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

It is unclear why Langtry would be included in images of ‘Irish beauties’ although the sitter here wears her hair in a ‘Langtry knot’.


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


For studio photographs of Langtry issued in New York by Napoleon Sarony, see Library of Congress, Prints and Photographs Division, Groups of Images, Mrs. Langtry.

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

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

Antony and Cleopatra (as ‘Cleopatra’)

1890
Designs by Frederick Pegram, signed, three known poses:
(a) whole-length, to right, seated on lion.
(b) ‘Act 3’, whole-length, to right, kneeling.
(c) ‘Death of Cleopatra’, whole-length seated, hands on arms of throne.
All untraced. Repr. ILN, 24 Nov. 1890, p.679, whole page captioned ‘Antony and Cleopatra at the Princess Theatre’.

publ. 1891
Design by Lance Calkin, signed, whole-length standing, profile to left, right hand to shoulder; untraced. Repr. Graphic, 21 Feb 1891, p.204, captioned ‘Mrs Langtry as “Cleopatra” / Drawn from life by Lance Calkin’.

Photographs

1890
Photographs by W. & D. Downey, ten known poses:
(a) three-quarter-length, looking to left, left hand raised. Photogravure, publ. Feb. 1891; prints colls NPG x17963; and V&A, London, S.3248-2009.
(b) variant of (a), hand in different position; V&A, London, S.143:372-2007.
(c) head-and-shoulders, looking up to left; V&A, London, S.143:371-2007.
(d) head-and-shoulders, to front; V&A, London, S.143:352-2007.
(e) half-length reclining, to left, right hand to cheek; V&A, London, S.143:358-2007.
(f) whole-length reclining, to left, profile to left, looking up, right hand to chin; prints colls Getty Images 613490474; and V&A, London, S.143:368-2007 (half-length detail).
(g) three-quarter-length standing, to front, Charles Francis Coghlan as Antony standing on right; V&A, London, S.143:357-2007.
(h) three-quarter-length standing, vignette, to front, left hand clasping hand of Coghlan standing on left; V&A, London, S.143:374-2007, attributed to Herbert Rose Barraud.
(j) whole-length standing, to front, right arm raised holding slim dagger; V&A, London, S.143:373-2007.
(k) three-quarter-length seated, to front, on classical-style stool, hands on lap holding jewelled object (?mirror); seen on Pinterest 2017, stamped ‘Mrs Langtry as “Cleopatra”’.

Photographs by Henry Van der Weyde, 17 known poses:
(a) ‘reclining on couch, holding mirror’; reg. for copyright 1890 Dec. 10: National Archives (COPY 1/402/350). Possibly same pose: whole-length reclining, profile to left, holding dagger-shaped object (?hand mirror seen from side) in raised right hand, seascape background; cabinet card NPG x197344. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’. The same pose, with a patterned fabric background, is seen in a print, stamped ‘U.S.Copyright, 1891’; MEPL, London, 10661890.
(b) ‘full length, objects in both hands’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/375).
(c) ‘¾ length, right arm held up’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/376). Possibly same pose: three-quarter-length, right arm raised; cabinet card NPG x197343. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.
(d) ‘¾ length with right hand behind head’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/377).
(e) ‘hand to breast’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/378).
(f) ‘¾ length, profile face’; reg. for copyright 1980 Dec. 23: National Archives (COPY 1/402/379).
(g) ‘full-length reclining with hand up to face’; reg. for copyright 1980 Dec. 23: National Archives (COPY 1/402/380).
(h) ‘reclining full length, hand over end of sofa’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/381).
(j) ‘reclining … with hand on back of sofa’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/382).
(k) ‘¾ length & face’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/383).
(l) ‘full length’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/384).
(m) ‘hand to hip’; reg. for copyright 1890 Dec. 23 Dec: National Archives (COPY 1/402/385).
(n) ‘¾ length, hand to hip’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/386).
(o) ‘with dagger ¾ length’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/387).
(p) ‘full length, wand in hand’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/388).
(q) ‘right hand on hip’; reg. for copyright 1890 Dec. 23: National Archives (COPY 1/402/389).
(r) whole-length, to front, dagger in raised right hand. Repr. Mander & Mitchenson 1957, pl.349.

reg. 1891
Photographs by Henry van der Weyde, 11 poses reg. for copyright 1891 Jan. 8:
(a) ‘one arm and hand showing’: National Archives (COPY 1/ 403/5).
(b) ‘almost side face, ¾ length’: National Archives (COPY 1/ 403/6).
(c) ‘full-length, standing’: National Archives (COPY 1/ 403/7).
(d) ‘hand to breast’: National Archives (COPY 1/ 403/8).
(e) ‘nearly profile face, ½ length’: National Archives (COPY 1/ 403/9).
(f) ‘front face no.1’: National Archives (COPY 1/ 403/10).
(g) ‘front face no.2’: National Archives (COPY 1/ 403/11).
(h) ‘on sofa & with mirror’: National Archives (COPY 1/ 403/12).
(j) ‘right arm showing’: National Archives (COPY 1/ 403/13).
(k) ‘left arm showing’: National Archives (COPY 1/ 432/14).
(l) ‘nearly profile face’: National Archives (COPY 1/ 403/15).
These appear to be a continuation of the sequence registered in Dec. 1890, rather than a separate photo session.

Photograph by Henry Van der Weyde, with two other figures (Iras and Charmian), reg. for copyright 1891 Jan. 29: National Archives (COPY 1/403/61).

Presumed same pose: whole-length standing, holding asp in right hand, Repr. The Complete Works of William Shakespeare, c.1905 (no further details); see MEPL, London, 10235394.

As in a Looking Glass (as ‘Lena Despard’)

Photographs

1887
Cabinet cards by Benjamin Joseph Falk, New York, wearing low-cut flowered gown, five known poses:
(a) three-quarter-length, profile to right, left hand to chin, right hand down holding feather fan. Hand-coloured postcard publ. Rotary Photographic Co. Ltd; print NPG x160521.
(b) as (a) with right hand to chin holding feathered fan; MEPL, London, 10658374.
(c) nearly whole-length seated, leaning back, smoking cigarette; L. of Congress, LC-USZ62-103108.
(d) full-length seated, facing right, holding cigarette lighter shaped like a lizard and smoking cigarette; L. of Congress, LC-USZ62-104483.
(e) whole-length seated, to left, head turned to right; L. of Congress, LC-USZ62-86466.

1887–8
Photograph by Benjamin Joseph Falk, three-quarter-length standing, profile to right, wearing heavily jewelled costume; L. of Congress, LC-USZ62-55568.

As You Like It (as ‘Rosalind’)

undated
Watercolour by William Sharp, head-and-shoulders, profile to left, wearing cap with feather; untraced. Repr. Jopling 1925, p.222 (‘Mrs Langtry as Rosalind / from a watercolour miniature by the late William Sharp’). [6] Probably based on a photograph.

Photographs

1882
Cabinet card by Napoleon Sarony, New York, whole-length standing, profile to left, hands clasped below waist, loose hair, wearing long pale gown with train; NPG x132851.

1882–3
Photographs by W. & D. Downey, in various costumes, eight known poses:
(a)–(d) four similar poses, half-length, wearing belted tunic and hat with feather; V&A, London, S.143:315-2007, S.143:317-2007, S.143:319-2007 andS.143:324-2007. Pose (d) repr. as photogravure, captioned ‘Mrs Langtry as Rosalind’; V&A, London, S.4522-2009.
(o)–(r) four poses, wearing brocade gown with puff sleeves, hair in long braid down back; V&A, London, S.143:311-2007, S.143:312-2007, S.143:313-2007 and S.143:325-2007.

reg. 1885
Photograph by William Downey; ‘Mrs Langtry, boys dress, hat on, arms folded, nearly front face’; reg. 1885 Oct. 28: National Archives (COPY 1/374/183). The pose described does not correspond with any of those dated 1882–3.

reg. 1889–90
Photographs by James Raine, Scarborough, two poses reg, for copyright by Thomas Dawes Sarony, Scarborough:
(a) ‘as Rosalind, profile head with wreath of marguerites’; reg. 1890 Jan. 20: National Archives (COPY 1/399/49).
(b) ‘as Rosalind profile head with velvet cap’; reg. 1889 Dec. 20: National Archives (COPY 1/399/52).

reg. 1890
Photographs by James Stack Lauder, Dublin, six poses reg. for copyright by J. Lafayette 1890 Feb. 5:
(a) ‘head in profile showing left side of face – right hand resting against tree, left hand on hip’: National Archives (COPY 1/399/167).
(b) ‘full length – head full three quarters face – looking at spectator – right hand raised to head – left hand hanging by side’: National Archives (COPY 1/399/169).
(c) ‘full length – head in profile, showing left side of face – right hand raised & resting against pilaster – left arm hanging by side’: National Archives (COPY 1/399/176).
(d) ‘full length, head nearly in profile looking at letter held in her right hand – left hand holding spear’: National Archives (COPY 1/399/187).
(e) ‘full length, head quite profile looking at letter held in her right hand which rests against tree – left hand holding spear’: National Archives (COPY 1/399/188).
(f) ‘full-length – head nearly in profile – looking up – right hand resting against tree – left hand on hip’: National Archives (COPY 1/399/192).

reg. 1897
Photograph by James Stack Lauder, London, ‘taken from life. Sitting position, both hands behind head. Right elbow leaning against tree. Costume of Shakespear’s Rosalind’; reg. for copyright by J. Lafayette 1897 June 8: National Archives (COPY 1/430/503). Repr. Whyte 1898, p.186a; and Langtry 1925, facing p.228, captioned ‘Rosalind’.

The Degenerates (as ‘Mrs Trevelyan’)

1899
Pencil drawings by Ralph Cleaver, two known poses:
(a) signed and inscr. ‘The Sacrifice’, whole-length standing, centre stage, left arm outstretched, with Charles Henry Hawtrey and others; V&A, London, S.394-2012. ?Repr. Sketch (no further details).
(b) signed, whole-length standing, turned to left, left hand extended backwards to hold that of Hawtrey; V&A, London, S.392-2012.

Photographs

1898
Photograph by Lafayette Ltd, three-quarter-length, seated, half-profile to left, hands raised either side of neck holding ?necklace, wearing pale wasp-waist gown and large dark hat; V&A, London, Lafayette Negative Archive, where dated 1898.

1899
Photographs by Lafayette, ten known poses; V&A, London, Lafayette Negative Archive, dated 10 Nov. 1899:
(a)–(f) six poses, whole-length standing, wearing pale silk-satin evening gown; nos 2193A/D, 2194, 2194/A, 2195, 2195B and 2197A/C. No.2195 repr. in reverse Langtry 1925, facing p.156, captioned ‘In “The Degenerates”’.
(g) reclining on chaise-longue; neg. no.2193D. Contact print on gold-toned paper , dated 1899 NPG x88809; exh. The Beautiful and the Damned, NPG, June–Oct. 2001.
(h) similar to (g); no.2197C.
(j) (k) two poses, standing, wearing ermine-trimmed coat and small hat; nos 2196B and 2197B.

reg. 1899
Photographs by Alexander Corbett, four poses reg. for copyright by Alfred Ellis, 1899 Sept. 15:
(a) with Lily Grundy: National Archives (COPY 1/442/336(8)).
(b) ‘full-length standing, profile’: National Archives (COPY 1/442/336(9)).
(c) ‘lying face downwards on couch in “The Degenerates”’, with male: National Archives (COPY 1/442/336(10)).
(d) ‘Mrs Langtry & gentleman … sitting down in “The Degenerates”’: National Archives (COPY 1/442/336(12)).

Enemies (as ‘Margaret Glenn’)

Photographs

reg. 1886
Photographs by Henry Van der Weyde, five known poses:
(a) ‘¾ length figure, sitting, face nearly full but slightly turned to her right, left arm round tree, both hands holding book’; reg. for copyright 1886 Mar. 9: National Archives (COPY 1/375/370).
(b) ‘¾ length, sitting, figure full face nearly full, left arm round tree, holding book in both hands’; reg. for copyright 1886 Mar. 9: National Archives (COPY 1/375/371).
(c) ‘¾ length sitting leaning against tree, holding book with both hands face ¾ turned to her right’; reg. for copyright 1886 Mar. 9: National Archives (COPY 1/375/372).
(d) ‘face profile, head & shoulders, head turned to her right, face partly in shadow’; reg. for copyright 1886 Mar. 27: National Archives (COPY 1/375/486).
(e) ‘¾ length figure nearly full, face profile and in shadow, fan held by both hands, sitting pose, right arm down at side’; reg. for copyright 1886 Mar. 30: National Archives (COPY 1/375/498).

Esther Sandraz (as ‘Esther Sandraz’)

Photographs

reg. 1889–90
Photographs by James Raine, Scarborough, two poses reg. for copyright by Thomas Dawes Sarony, Scarborough:
(a) ‘large head, profile’; reg. 1889 Dec. 20: National Archives (COPY 1/399/48).
(b) ‘¾ figure & head’; reg. 1890 Jan. 20: National Archives (COPY 1/399/51).

reg. 1890
Photograph by James Stack Lauder, Dublin, ‘three quarters length … head almost profile – cloak hanging over her right shoulder’; reg. for copyright by J. Lafayette 1890 Feb. 5: National Archives (COPY 1/399/195).

A Fair Encounter (as ‘Lady Clara’)

1881
Design by ‘R.B.’, initialled, three-quarter-length standing, to front, pot plant to right; untraced. Lithograph by Judd & Co. repr. Whitehall Review, 1 Dec. 1881, no.198 (loose leaf).

Heart of Midlothian (as ‘Effie Deans’)

Photographs

reg. 1881
Photograph by Henry Van der Weyde, ‘full face, open bodice’; reg. for copyright 1881 Mar. 2: National Archives (COPY 1/52/366).

His Neighbor’s Wife (as ‘Mrs Norton’)

Photographs and film

1913
Film by Famous Players Film Co. (USA), directed by Edwin S. Porter, released Oct. 1913; BFI identifier 376412.

Stills from above film, two known poses:
(a) whole-length, head turned to right, arms by sides, wearing evening dress with kick train. Postcard, publ. Kraus Mfg Co., New York, captioned ‘Lillie Langtry / In a Scene from “His Neighbor’s Wife”’; seen on CardCow 2017.
(b) whole-length standing, to left, right arm extended towards embracing couple. Repr. Birkett & Richardson 1979, p.40.

The Honeymoon (unidentified role)

Photographs

reg. 1890
Photographs by James Stack Lauder, Dublin, two poses reg. for copyright by J. Lafayette 1890 Feb. 5:
(a) ‘in costume as she appears in The Honeymoon – full face – looking to her left – both hands holding tray with pitcher & glass’; National Archives (COPY 1/399/186).
(b) ‘three-quarters face, looking to her left – standing on bridge – left hand resting on hip, right hand hanging by side’; National Archives (COPY 1/399/182).

La Princesse Georges (as ‘Princesse Georges’)

Photographs

1886
Photograph by Lafayette, whole-length, reclining on chaise-longue, profile to left, right arm raised and bent behind head, wearing pale close-fitting gown. Repr. Langtry 1925, facing p.56.

The Lady of Lyons (as ‘Pauline’)

Photographs

reg. 1884
Photographs by William Henry Grove, two poses reg. for copyright 1884 Dec. 8:
(a) standing, profile to right, left hand to waist: National Archives (COPY 1/370/274).
(b) seated, to front, wearing hat, arms resting on seat, holding flowers: National Archives (COPY 1/370/275).

c.1884
Photographs by Window & Grove, two known poses:
(a) half-length, to front, leaning to left, wearing dark hat with ostrich feather, pale chiffon gown with cinch waist; carbon print NPG x135853. See NPG Portrait Set ‘Patrick O’Connor Collection: Music Hall, Theatre and Film Stars 1890s–1940s’. Publ. as woodburytype, with quotation from play and facsimile sitter signature, The Theatre, 1 Jan. 1885, n.s.5, p.1; prints NPG x19878 and NPG Ax29196.
(b) head-and-shoulders, to left, profile to left, same hat as (a); cabinet card NPG x197345. See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

1884–5
Photographs by Lafayette, four known poses:
(a) whole-length standing, to front, looking down to right, right hand down holding straw hat, left holding shawl draped below knees, wearing high-waisted gown with ivy motif. Repr. Langtry 1925, facing p.124, captioned ‘As Pauline’.
(b) half-length standing, profile to left, right arm bent holding hat to shoulder, costume as in (a); seen on eBay 2013.
(c) whole-length seated, profile to right, left hand to shoulder, wearing pale high-waisted bejewelled gown. Repr. Langtry 1925, facing p.214, captioned ‘As Pauline (Lady of Lyons)’.
Photogravure by Gebbie & Husson Co. Ltd issued 1887, half-length detail; Brockleman Auctions, online, June 2017 (554).
(d) head, profile to right, without hat; albumen cabinet card, stamped ‘Lafayette / Dublin / Mrs Langtry / as “Pauline”’, NPG x76410.

Macbeth (as ‘Lady Macbeth’)

Photographs

1889
Photographs by Benjamin Joseph Falk, New York, three known poses:
(a) three-quarter-length standing, to front, hands down, wearing dark gown with studs and medieval-style coif; L. of Congress, LC-USZ62-77483.
(b) hands clasped to chin, costume as in (a); prints colls L. of Congress, LC-USZ62-54508; and MEPL, London, 10670134.
(c) nearly whole-length standing, to front, right hand raised in warning, wearing long pale shift with cape and pale medieval-style coif; L. of Congress, LC-USZ62-77480.

reg. 1890
Photographs by James Stack Lauder, Dublin, three poses reg. for copyright by J. Lafayette 1890 Feb. 5:
(a) ‘three quarters length – head in profile looking to her left – right arm hanging by side – left arm raised’: National Archives (COPY 1/399/171).
(b) ‘three quarters length – face nearly front view – right hand extended & pointing downwards – left hand hanging by side holding black robe’: National Archives (COPY 1/399/173).
(c) ‘half length … head in profile looking to her left – right hand to neck of dress left hand against left cheek’: National Archives (COPY 1/399/178).

Mademoiselle Mars (as ‘Mademoiselle Mars’)

1902
Poster design by Charles Buchel, signed and dated, no further details; untraced. Poster Jersey Heritage, SJA/0000/01410.

Pen and ink drawings by Frederick Victor Poole, signed, composite image with actors including Lewis Waller, whole-length, back view, wearing long cloak and feathered hat, also head-and-shoulders vignette, profile to left; V&A, London, S.421-2012, where identified as an illustration probably for Penny Illustrated Press (no further details).

Drawing by G.S. Amato, ‘“Mademoiselle Mars”, at the Imperial Theatre, January 25’, two multi-figure scenes from stage production; untraced. Repr. ILN, 1 Feb. 1902, p.167.

Photographs

1902
Photographs by unidentified photographer, wearing high-waisted empire-line gown with jewelled trim, three poses:
(a) whole-length standing, profile to left, left hand raised to collar, wearing plumed headgear and dark cloak; Getty Images 113488423.
(b) half-length variant of (a), half-profile to left, right hand raised to collar; MEPL, London, 10665843.
(c) three-quarter-length standing, near-profile to right, hands down, wearing different hat and no cloak. Confectionery card, Milton Glosette series; print MEPL, London, 11057947.

Ours (as ‘Blanche Haye’)

Photographs

1881
Photographs by W. & D. Downey, half-length, profile to left, two known poses:
(a) hair in chignon on nape. Repr. Langtry 1925, facing p.40.
(b) looking down at object in hands; V&A, London, S.143:294-2007.

Peril (as ‘Lady Ormonde’)

Photographs

1884–5
Photograph by Sarony & Co., head-and-shoulders, profile to left looking down; Bridgeman Images MOL227374.

1885
Photograph by W. & D. Downey, three-quarter-length standing, back view, head profile to left looking over shoulder, wearing low-backed gown with bustle, flower on left shoulder. Repr. Langtry 1925, facing p.92, captioned ‘As Lady Ormonde in “Peril”’.

The Queen of Manoa (unidentified role)

1892
Drawing by Henry Marriott Paget, whole-length, with Lewis Waller; untraced. Repr. Graphic, 24 Sept. 1892.

A Royal Necklace (as ‘Marie Antoinette’)

Photographs

1901
Photographs by Lafayette Ltd (advance publicity images), five known poses:
(a) whole-length standing, to left, head turned to camera, wearing velvet overgown and large dark hat; prints colls NPG x197327 (cabinet card); and V&A, London, S.143:386-2007.

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

(b) whole-length standing, profile to left, costume as in (a); V&A, London, Lafayette Negative Archive, no.2642.
Postcard, publ. Raphael Tuck & Sons; print Garrick Club, London, Dorothy Burr Album, no.36.
(c) whole-length standing, to left, half-turned to camera, costume as in (a); V&A, London, Lafayette Negative Archive, no.2645/B.
(d) whole-length, profile and leaning left, seated in upholstered chair, wearing brocade gown with train; V&A, London, Lafayette Archive, no.2643A, dated 1 Apr. 1901. Repr. Sketch 17 Apr. 1902, p.495.
(e) half-length standing, to front, hands clasped, wearing pale wig and large dark hat with large dark feather. Repr. Langtry 1925, facing p.172 (credited to V&A).

The School for Scandal (as ‘Lady Teazle’)

Photographs

reg. 1885
Photographs by Henry Van der Weyde, seven poses reg. for copyright 1885 Mar. 3:
(a) three-quarter-length, to front, left hand holding stick: National Archives (COPY 1/371/133).
(b) three-quarter-length, profile to left, right hand holding stick: National Archives (COPY 1/371/134).
(c) three-quarter-length, three-quarters to face, right hand holding stick: National Archives (COPY 1/371/135).
(d) three-quarter-length, head in profile, right hand holding fan: National Archives (COPY 1/371/136).
(e) three-quarter-length, to front, holding fan: National Archives (COPY 1/371/137).
(f) whole-length, to front, right hand holding stick: National Archives (COPY 1/371/139).
(g) half-length, face in profile, ‘partly in shadow’: National Archives (COPY 1/371/140).

Photograph by Henry Van der Weyde, half-length, profile three-quarters to right; reg. for copyright 1885 Mar. 7: National Archives (COPY 1/371/153).

1886
Photograph by Albert Henry Wilson, three-quarter-length standing, to right, back turned to camera, hands in muff, wearing dark hat and ?riding costume; V&A, London, S.143:363-2007, where dated to 1886.

She Stoops to Conquer (as ‘Kate Hardcastle’)

publ. 1897
Watercolour by Adrian Stokes, whole-length standing, to left, half-profile to left, head tilted, left hand on hip, right hand holding cane, wearing dark brown walking costume and small hat; untraced. Chromolithograph by Doctors’ Commons repr. Whitehall Review, 13 Dec. 1879, no.120 (loose leaf); copies NPG D37165 and NPG D37166. See NPG Portrait Set ‘MacDonnell Collection’.

Photographs

reg. 1881
Photographs by London Stereoscopic & Photograph Co., nine poses reg. for copyright 1881 Dec. 30:
(a) ‘full face leaning against table hands crossed in front’: National Archives (COPY 1/55/565(1)).
(b) ‘full face, right hand touching table, left hand in pocket of apron’: National Archives (COPY 1/55/565(2)).
(c) ‘¾ face turned to her left, left hand holding apron up to shoulder’: National Archives (COPY 1/55/565(3)).
(d) ‘full face, right elbow resting on table’: National Archives (COPY 1/55/566(1)).
(e) ‘face nearly in profile showing portion of right eyelash’: National Archives (COPY 1/55/566(2)).
(f) ‘¾ face head turned to her right showing left ear’: National Archives (COPY 1/55/566(3)).
(g) ‘face nearly profile looking over left shoulder, hands crossed behind back’: National Archives (COPY 1/55/567(1)). Repr. as full-page unsigned engr. Graphic, 11 Feb. 1882, p.145, identified on p.134 as from photograph by London Stereoscopic Co.
(h) ‘¾ face looking over right shoulder, hands behind back’: National Archives (COPY 1/55/567(2)).
(j) ‘face in profile hands crossed and resting on table’: National Archives (COPY 1/55/567(3)).

reg. 1882
Photographs by London Stereoscopic & Photograph Co., six poses reg. 1882 Feb. 15:
(a) ‘in brocaded dress holding fan in right hand full face’: National Archives (COPY 1/56/227(1)).
(b) ‘in brocaded dress ¾ face turned to her right’: National Archives (COPY 1/56/227(2)).
(c) ‘in brocaded dress nearly full face showing left ear’: National Archives (COPY 1/56/227(3)).
(d) ‘in brocaded dress with hat ¾ face looking to her right’: National Archives (COPY 1/56/228(1)).
(e) ‘with hat on face in profile’: National Archives (COPY 1/56/228(2)).
(f) ‘in brocaded dress face nearly profile showing left ear’: National Archives (COPY 1/56/228(3)).

Public appearance (as ‘Bacchante’)

1889
Painting by John Lavery, signed and inscr. ‘Mrs Langtry / as a Bacchante / 3.am. Saturday Nov. 30th 89 / Rembrandt’, whole-length seated, profile to right, wearing foliage wreath, long red chiton and cloak, with leopard skin, holding long staff; priv. coll; Christie’s, 21 June 2016 (181). Exh. Jersey Heritage Trust 2006. Ref. Langtry 1925 p.182 (‘I passed a very pleasant and successful week [at the Theatre Royal Glasgow] and was made much of by the coterie of painters and litterateurs established there, among the former being John Lavery, who painted a rapid sketch of me as Bacchante, which I saw on my last visit to the city’); and Lavery 1940, p.171 (‘[Langtry] had come to the [charity event] as a Bacchante and I as Rembrandt. It was thought that it might be an attraction, as well as a profit, if I painted her portrait, put it up for auction, and gave the proceeds to charity, which was done. In addition, a drawing appeared in the Graphic of “Rembrandt painting the Lily” which added to its value’).

Photograph

reg. 1890
Photograph by James Stack Lauder, Dublin, ‘Mrs Langtry in costume as a “Bacchante” – full length – head in profile – looking to her right – both hands holding a staff covered with grapes which leans upon her right shoulder’; reg. for copyright by J. Lafayette 1890 Feb. 5: National Archives (COPY 1/399/166).

Unidentified part or play

reg. 1890
Photograph by James Raine, Scarborough, ‘full face – figure seated’, as Marquise de Pompadour in unidentified play; reg. for copyright by Thomas Dawes Sarony, Scarborough, 1890 Jan. 20: National Archives (COPY 1/399/47).


Footnotes
1) See Archive and Image L., Peter Nahum at the Leicester Galleries website, 2017.
2) Langtry 1925, p.57.
3) Langtry 1925, p.56.
4) Langtry 1925, p.59.
5) Langtry 1925, pp.59–60.
6) In her discussion of Jopling’s experience of ‘high society’, De Montfort (2017, p. 104) states that she produced ‘portraits of celebrities like [Ellen] Terry and Lillie Langtry’. This conforms with the U. of Glasgow Jopling Research Project, where item #325 is listed as a conjectural oil painting by Jopling. It cites Jopling’s reminiscence: ‘Prince Leopold told me that he had told Mrs Langtry that I ought to paint her portrait, so now I think I may venture to ask her to sit. Whistler asked me to come to tea to meet her on Tuesday, but, alas, I cannot!’ (Jopling 1925, p.226). As other mentions of Langtry by Jopling indicate, the occasion never arose, although Jopling did make a preparatory sketch from memory. She recalled a lunch party in February 1886 when the Prince of Wales, Irving, Squire Bancroft, John Toole and Langtry were present: ‘The staircase had panels of a warm yellow and brown marble. I decided that it would make an ideal background for the portrait I had hoped to paint of the beautiful Mrs Langtry. When I got home I composed a sketch for it … But my idea of a portrait is, that it should always be from life, and how can you manage that if the original gives you no sittings? Mrs Langtry’s busy life gave her little spare time, although I am glad to say that she sat to G.F. Watts and Millais’ (Jopling 1925, p.298).
This makes it clear that Jopling produced no finished portrait of Langtry, and used a miniature for the illustration in her memoirs. The puzzle, however, is that ‘the late William Sharp’ was a writer, under both his own name and that of ‘Fiona Macleod’. He lived in London during the 1880s and died in 1905. It is unclear how or when he acquired the skill to produce a portrait miniature of Langtry in costume as Rosalind.


Dr Jan Marsh