Later Victorian Portraits Catalogue

Self-portraits
Possible self-portrait
By other artists
Photographs

Self-portraitsback to top

c.1866
Pen and ink sketch, whole-lengh, reclining on the back of a giant fish under water; untraced. Repr. Smith 1927, p.102 (as 'John Hodgson's Dream after Fishing at Hever').

c.1860s
Design, signed ‘J. E. Hodgson’, three-quarter-length to front, seated, second from left in group; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.2, f.57, no.384. Repr. Marks 1894, vol.1, p.90(b) (as ‘Sermon to the Clique’).
See also Calderon, Marks, Walker, Wynfield, Yeames.

1882
Oil on canvas, 345 x 297mm oval, head-and-shoulders to left, big red beard; Aberdeen AG, ABDAG002760. Exh. Walker AG, Liverpool, 1992 (13); repr. Morris & Milner 1992, p.54.

1886
Oil on panel, 305 x 406mm, The Connoisseur, whole-length to right, seated at a desk reading and writing, in a cluttered study; priv. coll. Exh. Walker AG, Liverpool, 1991 (14); repr. Christie’s, 23 Oct. 1981 (209, as ‘The Artist at Work’); and Morris & Milner 1992, p.55.

Undated self-portrait
Pen and ink drawing; untraced; ref. Abbott and Holder, List 299, Aug. 1995 (52, as ‘comic self-portrait’).

Possible self-portraitback to top

1865
Pen and ink sketch in ‘note of invitation from Hodgson’, half-length, almost profile to right, seated at table, drinking with another man (probably G.D. Leslie); untraced. Repr. Marks 1894, vol.1, p.181.

By other artistsback to top

1860s
Wall painting by P.H. Calderon, whole-length to front, in Elizabethan costume, holding palette and maulstick, with wife seated alongside also in Elizabethan costume; originally on the wall of Hodgson’s studio, 5 Hill Road, Abbey Road; presumed destroyed. Repr. Eyre 1913, facing p.182.

1863
Design by Frederick Walker, three-quarter-length, reclining with ruff collar (Elizabethan costume?), as part of multi-figure group; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.1, f.57, no.378. Repr. as engr. Marks 1894, vol.1, facing p.90 (as ‘A Vision of “the Clique”’); and Walkley 1994, p.190, fig.153 (where dated 1864).
See also Calderon, Marks, Walker, Wynfield, Yeames.

1864
Design by Henry Stacy Marks, whole-length, with ruff collar (Elizabethan costume?), asleep on steps, in multi-figure group; untraced; ref. E.E. Leggatt (Walker) coll., 2 vols containing original letters, prints, drawings and facsimiles of images of and by Frederick Walker, BM, London, 1915,0710.1–27, vol.1, f.57, no.343. Repr. Marks 1894, vol.1, facing p.152 (as ‘Election of the A.R.As 1864’).
See also Calderon, Leighton, Marks, Walker, Yeames.

c.1864–5
Design by Henry Stacy Marks, three-quarter-length, profile to left, holding maulstick and palette, centre front in group in his studio; untraced. Repr. Marks 1894, vol.1, facing p.156 (as ‘Decorating Hodgson’s Studio’); and Walkley 1994, p.38, p.121, fig.91.
See also Calderon, Yeames.

1875
Terracotta by Aimé-Jules Dalou; untraced. Exh. RA 1875 (1358).

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, small head only, profile to right, attached to a large clothes peg pinning a canvas to a washing line, with others; untraced. Repr. Punch, 22 May 1875, p.222; Herkomer 1910–11, vol.1, facing p.82; McMaster 2008, p.66, fig.7; and McMaster 2009, p.27, fig.14.
See also Alma-Tadema, Butler, Calderon, Du Maurier, Fildes, Foster, Frith, Goodall, Herkomer, Leighton, Marks, Millais.

1881
Pen and ink drawing, 306 x 444mm, by (Edward) Linley Sambourne for Royal Academy Banquet at Burlington House., a comic take on William Salter’s The Waterloo Banquet, signed and dated Apr. 1881, half-length, seated to left in lower right corner of composition; Aberdeen AG, ABDAG003898). Repr. Punch, 7 May 1881, p.206; Gould 2004, p.154, fig.122; McMaster 2008, p.70, fig.18; McMaster 2009, p.42, fig.25; and Ormond 2010, p.83, fig.30.
See also Alma-Tadema, Ansdell, Armitage, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

1882
Pen and ink drawing, 317 x 419mm, by (Edward) Linley Sambourne for Saturday Review of the Royal Academy.- The March Past., signed and dated Apr. 1882, half-length, slightly profile to left, standing, wearing a fez, fifth from right on the second row of Academy ‘troops’; coll. Juliet McMaster. Engr. by Swain repr. Punch, 6 May 1882, p.206; McMaster 2008, p.71, fig.20; and McMaster 2009, p.46, fig.27.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Frith, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

exh.1882
Oil on canvas 1282 x 2328mm, by Henry Tanworth Wells, Friends at Yewden, signed and dated ‘Henry T. Wells 1882–85’, whole-length, slightly profile to left, standing third from left in group of eight men at the home of G.C. Schwabe; Hamburger Kunsthalle, HK-2271 (as ‘Schwabes Freunde in Yewden’). Exh. RA 1882 (261); ref. Hamburg 1886, p.8; repr. Country Life, 8 Feb. 1979, p.345; Morris & Milner 1992, p.11; and http://www.manfamily.org/gustav_christian_schwabe.htm.
See also Calderon, Wells, Yeames.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head only, slightly profile to left, dancing with others at the bottom of the maypole; untraced. Engr. by Swain repr. Punch, 12 May 1883, p.218; McMaster 2008, p.72, fig.26; and McMaster 2009, p.56, fig.33.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Calderon, Cope, Faed, Fildes, Frith, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

exh. 1883
Terracotta by Samuel Fry; untraced. Exh. RA 1883 (1583).

1884
Oil on canvas by Walter William Ouless, three-quarter-length to front, seated, knees to right, holding palette and brushes; untraced. Exh. RA 1884 (244); repr. Royal Academy 1931, p.158, no.21. Though this was Ouless’ RA diploma work, it is not now in the RA collection.

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design., three-quarter-length, slightly profile to left, with pipe and wearing sailor’s hat (an allusion to his recent switch from eastern to naval subjects); untraced. Engr. by Swain repr. Punch, 24 May 1884, p.250; McMaster 2008, p.73, fig.28; and McMaster 2009, p.58, fig.35.
See also Alma-Tadema, Calderon, Faed, Foster, Frith, Goodall, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Watts, Yeames.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, head only, slightly profile to right; untraced. Engr. by Swain repr. Punch, 12 May 1888, p.218; McMaster 2008, p.75, fig.32; and McMaster 2009, p.67, fig.40.
See also Alma-Tadema}, Barlow, Boehm, Calderon, Frith, Goodall, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Poynter.

Drawing by Thomas Walter Wilson for The 10th December – Prize Day, half-length, seated in back row in multi-figure group, behind Frederic Leighton; untraced. Engr. by R. Taylor repr. MA, 1888, p.61.
See also Alma-Tadema, Gregory, Horsley, Leighton, Millais, Prinsep, Sant, Watts.

1889
Oil on canvas by Henry Jamyn Brooks; see NPG 1833.

publ. 1890
Wood-engr. by E.J(?).W., Artistic Stars, oversized head on small body, bottom left-hand corner; repr. Punch, Christmas number (‘Punch among the Planets’), Dec. 1890.
See also Alma-Tadema, Boehm, Boughton, Calderon, Fildes, Frith, Herkomer, Leighton, Millais, Poynter

Photographsback to top

1863
Albumen prints by David Wilkie Wynfield: see NPG P74 and NPG P91.

Albumen print by David Wilkie Wynfield, quarter-length, almost profile to left, in costume, with feathered cap and lace collar; RPS, Bath, 1995p. Repr. Hacking 2000, pl.4.

c.1864
Albumen print by David Wilkie Wynfield, quarter-length, profile to left, seated in group with St John’s Wood Clique, probably in garden of Wynfield’s home, Park Place Villas; repr. Marks 1894, vol.1, p.182 (as ‘The St John’s Wood Clique’).
See also Calderon, Marks, Wynfield, Yeames.

before 1873
Photograph by unidentified photographer, half-length, almost profile to right, wearing striped tie; repr as wood-engr. ILN, 22 Feb. 1873, p.177.

c.1880s
Photograph by the London Stereoscopic & Photographic Company, quarter-length to right; repr. MA, 1895, p.400; and The Year’s Art 1888, p.40.

Photograph by David Wilkie Wynfield, whole-length, wearing cap, seated with other men and women in his garden, first on right; priv. coll. Repr. Morris & Milner 1992, p.12.

Platinum print by Bryan Hook, head-and-shoulders, profile to left; Silverbeck Album, priv. coll., p.3. Repr. McMaster 2008, p.72, fig.23; and McMaster 2009, p.53, fig.30.

1883
Albumen print by Frank Dudman, whole-length, profile to left, eyes closed, seated, legs crossed, in front of easel in studio at 5 Hill Road; reg. for copyright by J.P Mayall 1883 Sept. 24: National Archives (COPY 1/365/301).

reg. 1889
Platinum print by Ralph Winwood Robinson, whole-length to left, standing, in studio beside easel, holding a dog on a chair; reg. for copyright 1889 Aug. 20: National Archives (COPY 1/397/266); colls RA, London, 06/1042; and NPG x7369. Repr. Robinson [1892].

Magdalene Keaney