Later Victorian Portraits Catalogue

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

I. IN PRIVATE CHARACTERback to top

Paintings, drawings, sculptures and printsback to top

publ. 1897
Drawing by unidentified artist, whole-length, to front, wearing long evening dress; untraced. Repr. Sketch, 13 Oct. 1897, p.512, captioned ‘Miss Mary Moore’s dress of pink and silver tissue’; see Billy Rose Theatre Division, New York PL, image ID 3958463.

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

Photographsback to top

publ. 1886
Photographs by Herbert Rose Barraud, two known poses:
(a) half-length, profile almost to right, leaning against Japanese-style screen, wearing dark dress, with ostrich feather fan on lap, head pointing down slightly; carbon print, 114 x 92mm, publ. The Theatre, 1 Dec. 1886, copies NPG x21403 and NPG Ax29799; another print, 91 x 58mm, V&A, London, S.142:735-2007.
(b) similar to (a), head tilted upwards; carbon prints, publ.Eglington & Co., NPG x21404 and NPG Ax5449.
See NPG Portrait Set ‘Men and Women of the Day: photographs by Barraud and others, published 1888–1893’.

Photograph by Herbert Rose Barraud, 141 x 104mm, half-length to right, wearing fur-lined coat with hat and scarf tied under chin, snow effect; V&A, London, S.142:721-2007. Repr. Trewin 1980, p.150, where it is suggested the photograph may have been taken in Russia.

publ. 1895
Photograph by Alfred Ellis, head-and-shoulders, seen from behind, profile to right, silk bow tied around neck; woodburytype, 120 x 91mm, publ. The Theatre, 1 July 1895; print NPG x21401.

1897
Albumen cabinet card, 147 x 101mm, by Alexander Corbett for Alfred Ellis & Walery, head-and-shoulders, to right, wearing string of pearls wrapped three times round neck; NPG x21402.

late nineteenth century
Photograph, 146 x 104mm, by Nadar, Paris, whole-length, standing, slightly to left, in front of upright piano, right arm resting along raised lid, fan in left hand; V&A, London, S.142:722-2007.

Photograph, 130 x 99mm, by London Stereoscopic & Photographic Co., half-length, to right, facing front, wearing wide-brimmed hat, dress with fur-lined collar, fur stole and muff; V&A, London, S.142:723-2007.

1902
Photograph by unidentified photographer, head-and-shoulders, profile slightly to right, seated at table, at a dinner at the Argonaut Club given to celebrate Charles Wyndham’s knighthood, with 11 other guests. Repr. Trewin 1980, p.166.
See also Waller, Wyndham.

1900s
Photograph by Bassano Ltd., three-quarter-length seated on chair, to right, profile almost to right, right arm resting on chair, left on lap; bromide postcard, 123 x 83mm, publ. Rotary Photographic Co. Ltd, prints colls NPG x193962; and Billy Rose Theatre Division, New York PL, image ID TH-37804.
See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’

1916
Photograph by Walford Graham Robertson, head-and-shoulders, to front, behind Ellen Terry, with J.M. Barrie and the cast of The Admirable Crichton on the roof of Wyndham’s Theatre, apparently rehearsing for a performance at the London Coliseum on 9 June 1916; NT, Smallhythe Place, Kent, 1120636. Repr. Cheshire 1989, p.104 (no.28 on key).
See also Alexander, Forbes-Robertson, Terry.

c.1916
Photograph by unidentified photographer, three-quarter-length seated, to front, profile to right, beside Charles Wyndham (standing), taken soon after their marriage. Repr. Trewin 1980, p.166.

undated
Photograph, 135 x 103mm, by Alfred Ellis, three-quarter-length, seated to front in high-necked dress with long skirt, beside desk on which seated a Japanese Chin; V&A, London, S.142:724-2007. Repr. Whyte 1898, between pp.170 & 171.

Photograph by unidentified photographer, three-quarter-length, to right, hands clasped to front, wearing long-sleeved gown with high neck; cigarette card, Phillips’ Guinea Gold series, print Billy Rose Theatre Division, New York PL, image ID 1625926.

Photograph by Alfred Ellis & Walery, half-length, to right, profile almost to right, wearing fur stole and wide-brimmed hat. Repr. Pemberton 1904, facing p.160.

Photograph by Alfred Ellis & Walery, three-quarter-length standing, to front, hands clasped to front, wearing beaded evening dress with sheer sleeves, and pearl choker with rope of pearls hanging at front; postcard, 139 x 87mm, publ. J.B. & Co., print Garrick Club, London, Dorothy Barr Postcard Album, no.38.

II. IN STAGE CHARACTERback to top

David Garrick (as ‘Ada Ingot’)

publ. 1887
Drawing by Sydney Prior Hall, signed bottom left, whole-length seated, to left, on stage at the command performance of the play at Sandringham, 7 Jan. 1887; untraced. Repr. as engr. Graphic, 29 Jan. 1887, p.109, captioned ‘Performance of “David Garrick” by Mr Charles Wyndham’s Company before the Prince and Princess of Wales at Sandringham’.
For Hall’s preparatory sketches of Moore see NPG 2370, NPG 2371 and NPG 2372.
See also James, Wyndham.

1888
?Oil on canvas, by Helen Howard Hatton, signed and dated, three-quarter-length standing, to right, against ?theatre curtain, cape draped over shoulders and clutched in right hand at side; untraced.
Photogravure, 536 x 385mm, by unidentified artist after Hatton; print NPG D38951.
See NPG Portrait Set ‘MacDonnell Collection’.

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

Photographs

c.1886
Photographs by Herbert Rose Barraud/Barrauds Ltd, seven known poses:
(a) three-quarter-length seated on chair, to right, beside Charles Wyndham kneeling on stool as David Garrick; carbon print carte-de-visite, 91 x 55mm, prints colls NPG x12589; and V&A, London, S.142:737-2007. Repr. Pemberton 1904, facing p.184 (vignette, reversed).
(b) variant of (a); V&A, London, S.142:750-2007.
(c) another variant of (a), vignetted; V&A, London, S.142:727-2007.
(d) another variant of (a), looking slightly upwards towards Wyndham. Repr. Trewin 1980, p.151.
(e) half-length seated in chair, profile almost to right; V&A, London, S.142:733-2007.
(f) three-quarter-length standing, to front, profile slightly to right, hands clasped to front; V&A, London, S.142:736-2007.
(g) dressed as in (a), three-quarter-length, leaning forward against banister, head turned almost to right; V&A, London, S.142:738-2007.

Cabinet card, 166 x 109mm, by unidentified photographer, three-quarter-length seated in armchair, to right, left elbow resting on book, left hand under chin; Garrick Club, London, Photo Album 1, no.6.

The Jest (as ‘Fiorella’)

Photographs

undated
Cabinet card, 167 x 109mm, by Alfred Ellis, three-quarter-length, to front, profile to right, leaning against studio banister, wearing embroidered dress and holding feathered fan; Garrick Club, London, Photograph Box A, inscr. by sitter ‘To wish you a happy Xmas. Mary Moore’.

Mrs Dane’s Defence (as ‘Lady Eastney’)

1900
Pen and ink drawing, 129 x 233mm, by unidentified artist, whole-length, to right, seated at table in background reading letter, in group scene with Charles Wyndham, Lena Ashwell and Alfred Kendrick; V&A, London, S.350-2011. Repr. Penny Illustrated Paper, 9 Oct. 1900.

Rosemary (in multiple roles)

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

early twentieth century
Lithograph, 432 x 280mm, by unidentified artist, two sketches as Dorothy Cruikshank:
(a) after Howard van Dusen, head-and-shoulders vignette, to right;
(b) after John Hassall, three-quarter-length, to right;
both NPG D38950.

Photographs

c.1896
Photograph by Alfred Ellis & Walery, whole-length standing, to front, in woodland studio setting, wearing long flowing gown, holding bouquet, hair in ringlets, as Dorothy Cruikshank. Repr. Pemberton 1904, facing p.284.

Photograph, 145 x 103mm, by Alfred Ellis, possibly from above session, three-quarter-length standing, to front, wearing long flowing gown, hair in ringlets, holding sprig of leaves up in left hand, chair in background, as Dorothy Cruikshank; V&A, London, S.142:732-2007.

Cabinet card, 157 x 109mm, by Alfred Ellis, possibly from above session, whole-length, seen from behind, perched on the arm of a chair, head turned round to face outwards, hair in ringlets, as Dorothy Cruikshank; loose copy Garrick Club, London, Photograph Box D Misc., inscr. by sitter ‘Yours Sincerely Mary Moore’.

She Stoops to Conquer (as ‘Kate Hardcastle’)

1892
Drawing by Thomas Walter Wilson, signed and dated, head-and-shoulders, to right, on left hand side, in composite multi-figure group; untraced. Engr. by Richard Taylor repr. ILN, 28 Jan. 1893, pp.116–17, captioned ‘The Dramatic Profession of To-Day’, Moore no. 3 on key (p.118).
See also Brough, Farren, Forbes-Robertson, Hare, Irving, James, Langtry, Terry, Toole, Tree, Wyndham.

Photographs

publ. 1886
Photograph by unidentified photographer, 95 x 60mm, three-quarter-length standing, slightly to right, wearing bonnet tied with ribbon under chin and long gloves, holding closed fan; V&A, London, S.142:734-2007.

1890
Photographs possibly by Herbert Rose Barraud/Barraud’s Ltd, two known poses:
(a) half-length seated, to front, wearing lace collar and cap, Charles Wyndham standing behind, looking down towards her; V&A, London, S.142:740-2007.
(b) variant of (a), Wyndham standing more to right, facing front, looking down at Moore. Repr. Mander & Mitchenson 1957, no.351; and Trewin 1980, p.166.

Photograph by Herbert Rose Barraud, head-and-shoulders, profile almost to right, wearing lace collar and cap. Repr. Pemberton 1904, facing p.262.

Still Waters Run Deep (as ‘Mrs Mildmay’)

Photographs

c.1889
Photograph, 140 x 102mm, by Herbert Rose Barraud, three-quarter-length standing, to left, facing forward with stern expression, next to Charles Wyndham, who clasps her left arm; V&A, London, S.142:720-2007.

Photograph, 89 x 55mm, by Herbert Rose Barraud, possibly from above session, whole-length seated, to right, writing at desk; V&A, London, London, S.142:742-2007.

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

Wild Oats (as ‘Lady Amaranth’)

Photographs

1886
Photograph, 90 x 56mm, by Herbert Rose Barraud, half-length, profile to right, hands folded at front, wearing frilly cap; V&A, London, S.142:739-2007.

Cabinet card, 167 x 108mm, by London Stereoscopic & Photographic Co., whole-length, profile to right, dressed as above, standing beside Charles Wyndham who bends forward to kiss her hand; Garrick Club, London, PH0091.

Photograph, 88 x 56mm, by unidentified photographer, possibly from above session, head-and-shoulders, to front, profile slightly to right, looking upwards, wearing bonnet with large ribbon tied in bow under chin; V&A, London, S.142:741-2007.

Elizabeth Heath