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Later Victorian Portraits Catalogue

Ford Madox Brown (1821-1893), Painter and designer

Undated self-portrait
By other artists
Posthumous portraits

Self-portraitsback to top

Oil on board, 222 x 147mm, head-and-shoulders, full-face; priv. coll. Exh. Ford Madox Brown, Grafton G., London, 1897 (22); Spring Exhibition, Whitechapel AG, London, 1901 (341); Ford Madox Brown, Leicester G., London, 1909 (2); Ford Madox Brown, Walker AG, Liverpool, 1964 (4, not ill.); Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (1, ill.); repr. Angeli 1949, facing p.42 (‘c.1850’); and Bennett 2010, vol.2, p.381, B.31. See also Bennett 1988, p.27.

Black chalk drawing, 250 x 230mm, signed, inscr. and dated ‘Sept. 1850’ and ‘retouched Octr./53’, head-and-shoulders to left in oval; Walker AG, Liverpool, WAG 10505. Exh. Ford Madox Brown, Grafton G., London, 1897 (93); Spring Exhibition, Whitechapel AG, London, 1901 (349); Biennale, Venice, 1934 (256); The Pre-Raphaelites, Tate, London, 1984 (170, ill. Parris 1984, p.251); Face to Face, Walker AG, Liverpool, 1994 (39, ill. Brooke 1994); Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (2, ill.); ref. Bennett 1988, pp.27–8; repr. Hueffer 1896, facing p.67; NACF Review, 1985, p.130; Newman & Watkinson 1991, fig.46; Milner 1995, p.87; Bennett 2010, vol.2, p.381, B.32; Thirlwell 2010, p.70; and Cruise 2011, p.101, fig.122.

Oil on canvas, ‘Take your son, Sir’, ?1851–92; Tate, N04429. The figure in the mirror (full-face, hands outstretched) behind the woman’s head is thought to be Brown. Exh. Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (57, ill.); repr. Bennett 2010, vol.1, A.68, ill. p.187; and Thirlwell 2010, pl.6.

Oil on panel, oval, The Last of England, three-quarter-length, seated facing, with his wife Emma on board ship; Birmingham MAG, 1891P24. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (116); Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (58, ill.); repr. Cruise 2011, p.121, fig.153. Ref. Bennett 2010, vol.1, A.61, ill. p.165. Engr. by H. Bourne repr. AJ 1 Aug. 1870; photogravure by Adrian and Swan repr. MA, 1890, p.294.
Associated works:
(a) pencil drawing, 1852; Birmingham MAG, 1906P795. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (115); repr. Cruise 2011, p.120, fig.152. Ref. Bennett 2010, vol.1, A.61.5.
(b) reduced oil version, 1860; Fitzwilliam M., Cambridge, M.Add.3. Ref. Bennett 2010, vol.1, A.61.2.
(c) watercolour drawing, 1864; Tate, N03064. Ref. Bennett 2010, vol.1, A.61.3.
(d) oil on panel, 1855, signed and dated; coll. Lord Lloyd-Webber. Ref. Bennett 2010, vol.1, A.61.1. Exh. Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (58, ill.). [1]

Pen and ink caricature sketch in letter to Lowes Cato Dickinson, dated '17 Oct. 1852', whole-length, rear view, wearing hat and check trousers, painting Work on outdoor painting cart, Hampstead; Princeton UL, Lowes Cato Dickinson Correspondence CO152, Box 1, folder 2. Exh. Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (79, ill.); repr. Thirlwell 2010, p.95.

Oil on panel, 240 x 332mm, The Hayfield, signed and dated, whole-length, reclining to right with arm raised to head; Tate, T01920. Exh. Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (53, ill.).

Oil on canvas, Walton-on-the-Naze, signed and dated '1860'; Birmingham MAG, 1915P97. Ref. Bennett 2010, vol.1, A.72, ill. p.193. Bennett suggests the whole-length figure on the right, profile to left, is Brown. Exh. Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (53, ill.). See preparatory figure drawing, pencil; Ashmolean M., Oxford, WA 1977.31.

Brush and wash cartoon for stained-glass window of Adam, whole-length, full-face, eyes lowered, standing; Ashmolean M., Oxford, WA1940.41.1. Ref. Bennett 2010, vol.2, C.76, ill. p.458. Designed for lancet window, St Martin-on-the-Hill, Scarborough.
Associated cartoon, three-quarter-length, full-face, eyes lowered, standing; untraced. Ref. Bennett 2010, vol.2, C.76.2, ill. p.459.

Oil on canvas, 746 x 610mm, signed in monogram and dated ‘77’, half-length, seated to right, with palette, painted for Theodore Watts-Dunton; Fogg AM, Harvard, 1943.185. Exh. Liverpool Autumn Exhibition, Walker AG, Liverpool, 1881 (113); Ford Madox Brown, Grafton G., London, 1897 (51); Ford Madox Brown, Leicester G., London, 1909 (60); Biennale, Venice, 1934 (234); Pre-Raphaelite Brotherhood, Fogg AM, Harvard, 1946 (1); A Private Passion, NG, London, 2002 (153, ill. Wolohojian & Tahinci 2003, p.357). Engr. by J.M. Johnstone repr. MA, 1889, p.185; Hueffer 1896, facing p.1; Newman & Watkinson 1991, frontispiece; Bennett 2010, vol.2, p.382, B.33; and Treuherz 2011, frontispiece; prints colls BM, London; Manchester L. Archives.
This self-portrait is probably the best-known image of Brown.

Wall painting (Gambier-Parry process of spirit fresco), The Baptism of Edwin AD 627, head, full-face, behind child in red hood in congregation group; Great Hall, Town Hall, Manchester. Repr. Treuherz 2011, p.286 (118). See Bennett 1988, p.28; Bennett 2010, vol.1, A.106, ill. pp.288–9.
Associated works:
(a) cartoon, 1879–91; NG Victoria, Melbourne, 216/2. Ref. Bennett 2010, vol.1, A.106.7, ill. p.293.
(b) small oil version, 1879; Tullie House MAG, Carlisle, 125-1949,27. Ref. Bennett 2010, vol.1, A.106.1.

Wall painting (Gambier-Parry process of spirit fresco), The Trial of Wycliffe AD 1377, as the figure of Courtney, Bishop of London, whole-length, seated to left, ‘an admirable portrait of the artist himself’; [2] Great Hall, Town Hall, Manchester. Repr. Treuherz 2011, p.292 (125); ref. Hueffer 1896, p.374; Bennett 2010, vol.1, A.112, ill. pp.318–19.
Small oil replica, 1885; Kelvingrove AGM, Glasgow, 1776. Ref. Bennett 2010, vol.1, A.112.1.

Undated self-portraitback to top

Self-portrait, no further information. Exh. 10th Annual Exhibition, New Gallery, London, 1900 (4, not ill.).

By other artistsback to top

Pen and ink drawing , 211 x 180mm, by John Everett Millais, Touching up Morning at the Royal Academy, 1850 (inscr. in error ‘1851’ by W.H. Hunt), whole-length in group, standing at right with Dante Gabriel Rossetti; BM, London (ex coll. Virginia Surtees; ref. Sotheby’s, 6 Oct. 1980 (16, ill.)).
See also: Hunt, Rossetti.

Pencil drawing by Dante Gabriel Rossetti; see NPG 1021. [3]

Watercolour drawing over pencil with pen and blue ink by John Everett Millais, signed in monogram and dated 1853, roundel, half-length, seated to left; Ashmolean M., Oxford, WA1940.102. Repr. Rose 1981, p.73; and Treuherz 2011, p.34, fig.22.

Pen and ink and ink wash drawing on laid paper by Dante Gabriel Rossetti, head, profile wearing peaked cap; Birmingham MAG, 1904P435. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (113); repr. Cruise 2011, p.101, fig.124. See Surtees 1971, vol.1, no.271.

Pencil caricature drawing(s) by pupils at the Working Men’s College, incl. bearded head, full-face, inscr. 'Old Brown', top left-hand spandrel (hidden under wooden surround) of Work; Manchester AG, 1885.1. Ref. Walker 2006, p.49, ill. p.49; Bennett 2010, vol.1, A.59, ill. p.140.

Oil on panel, 229 x 388mm, by Florence Claxton, The Choice of Paris: An Idyll, a satire on the PRB, full-face, seated at centre by wall; untraced. Exh. Portland G., London, 1860; Victorian Paintings, Agnews, London, 1961 (54); repr. Fredeman 1960, p.527, fig.26.
Wood-engr. by unidentified engraver, loosely based on the original, repr. ILN, 2 June 1860, p.541.
There are four known watercolours after the original:
(a) V&A, London, E.1224-1989. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (106); repr. Cruise 2011, p.90, fig.105.
(b) untraced. Ref. Christie's, London, 17 Jun. 2014 (68, ill.)
(c) untraced. Ref. Bonham's, 21 Nov. 2007 (80).
(d) untraced. Repr. Fredeman 1960, p.527, fig.27.
See also Hunt, Millais, Ruskin

Pencil drawing by Dante Gabriel Rossetti, signed in monogram and inscr. ‘To E.I.C. Jan 31 1867’, oval, head, three-quarters to left, small beard and moustache; priv. coll.; with Harold Rossetti in 1971. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (96); repr. Cruise 2011, p.101, fig.123; and Treuherz 2011, p.26, fig.14. See Surtees 1971, vol.1, no.270 (not ill.); Thirlwell 2003, p.60 (ill.).

Pen and brown ink caricature drawing, 179 x 113mm, by Dante Gabriel Rossetti, Rupes Topseia, c. July 1869, inscr. with title at bottom right, in row of thumbnail figures (William Morris’s business partners, including C.J. Faulkner and P.P. Marshall) in ruin above main image of Morris falling into hell from a precipice, preceded by his spectacles; BM, London, 1939,0513.7, from an album of 60 caricature drawings. Exh. Pre-Raphaelite Drawings, BM, London, 1994–5 (32); William Morris, V&A, London, 1996 (D6). Repr. Surtees 1971, vol.2, no.611, pl.445; MacCarthy 1994, pl.30; and Marsh 1998b, where dating is established. This caricature does not relate to the dissolution of the partnership in 1874–5, as previously conjectured.
See also Burne-Jones, W. Morris, Rossetti, P.S. Webb.

Watercolour by Catherine Madox Brown, signed and dated ‘CMB-70’, three-quarter-length, seated to right at easel in garden; priv. coll. Repr. Marsh & Nunn 1997, no.45; Newman & Watkinson 1991, fig.137.

Pencil caricature drawing by John Hipkins, inscr. ‘Mr Ford Madox Brown painting his Grandson’, rear view, profile to left, seated at easel, painting a child in a high chair; NL Scotland, Edinburgh. Repr. Colombino 2009, p.32, fig.1

Pencil drawing, 111 x 175mm, by John Hipkins, whole-length, profile to left, standing, wearing top hat, in group of five figures at Manchester Town Hall, 1 Aug. 1883; NL Scotland, Edinburgh. Repr. Thirlwell 2010, p.221.

Pencil caricature drawing, 145 x 100mm, by John Hipkins, inscr. ‘King F.M.B-’ and with other sitters’ names, whole-length facing, seated, feet resting on cushion, wearing a crown and cloak and chain, and holding sceptre, surrounded by six figures; NL Scotland, Edinburgh. Repr. Colombino 2009, fig.7 [no p. no.]; and Thirlwell 2010, p.51.
See also Burne-Jones, Horsley, Leighton, Rossetti, Stephens.

Red chalk drawing, 330 x 260mm, by Catherine Madox Brown, head-and-shoulders, three-quarters to left, wearing spectacles and a soft hat; priv. coll. (also [clearer to say ‘with’?] a pendant portrait of Emma Madox Brown). Repr. Soskice 1921, facing p.30; and Thirlwell 2010, p.230.

exh. 1889
Plaster bust, 28in high, by Conrad Dressler; untraced, formerly Manchester CAG, 1938.88 (to 1975). [4] Exh. Dressler one-man show, ?London, 1889, ref. Spielmann 1901, p.85. Wood-engr. by Paul Jonnard, MA, 1890, p.133; copies colls BM, London; NPG SB (Brown).

Pencil caricature drawing, 104 x 98mm, by John Hipkins, inscr. ‘His pet name for adversaries, “Skunks”’, whole-length to right, head in profile, seated, wearing a French revolutionary cap; NL Scotland, Edinburgh. Repr. Thirlwell 2010, p.155; and Treuherz 2011, p.28, fig.17.

Pencil caricature drawing, by John Hipkins, shown boxing with Frank Hueffer, whole-length to left, seen from behind with arms outstretched; NL Scotland, Edinburgh. Repr. Treuherz 2011, p.28, fig.18.

Pastel drawing by Harold Rathbone (pupil of Brown), signed, inscr. and dated 1890, almost half-length to right; untraced; submitted to NPG in 1912. Photograph NPG Descriptions of Portraits, vol.xi, no.18, NPG 87/11, NPG Archive.
Oil copy; untraced; seen at NPG in March 1970.

Watercolour drawing by (William) Walker Hodgson; see NPG 4041(4).

Posthumous portraitsback to top

Drawings by Frederic James Shields, head only, three-quarters to left, resting on pillow, eyes closed, on deathbed, two known images:
(a) pencil and pastel, inscr. ‘Ford Madox Brown / F Shields / drawn by candlelight / with a sad heart’; untraced. Repr. Soskice 1921, facing p.68; and Thirlwell 2010, p.247.
(b) black, white and red chalks, inscr. ‘Replica of a sketch of / F. Madox Brown / after death – one hour after[?]’; Manchester AG, 1911.52. Exh. Ford Madox Brown: Pre-Raphaelite Pioneer, Manchester Art Gallery, 2011 (153); repr. Newman & Watkinson 1991, pl.187, facing p.191.

Pencil and watercolour on paper, 292 x 394mm (support), by Max Beerbohm, Mr William Bell Scott wondering what it is those fellows seem to see in Gabriel, signed, dated and inscr., whole-length, back view, standing in background; Tate, A01056. Exh. Grosvenor G., London, 1917 (10); Leicester G., London, 1921 (19); Tate, 1923 (19); and Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (377); repr. Beerbohm 1922, pl.14; ref. Hart-Davis 1972, p.119, no.1276. [5]
See also Burne-Jones, W. Morris, Rossetti, Scott.

Pencil and watercolour caricature on paper, 362 x 379mm (support) by Max Beerbohm, Ford Madox Brown being patronized by Holman Hunt, signed, dated and inscr., whole-length, full-face, with William Holman Hunt; Tate, A01043. Exh. Leicester G., London, 1921; repr. Beerbohm 1922, pl.10; and Hart-Davis 1972, p.80, no.776. The figure of Brown is based on a photograph by W. & D. Downey; see below, 'Photographs, c.1862'.

Photographsback to top

Photograph possibly by photographer named Lee, three-quarter-length, full-face; priv. coll. Repr. Maas 1984, pp.95–6; and Thirlwell 2010, p.117.

Albumen carte-de-visite by W. & D. Downey, [6] three-quarter-length, standing to left, left hand in pocket; NPG Ax7568; other prints The Rob Dickins Coll., Watts G., Compton, COMWG2008.20, COMWG2008.21 and COMWG2008.922, formerly colls Holman Hunt and J. Leathart (repr. Bills & Webb 2007, no.81); and Manchester L. Archives, M38/4/2/23 (which appears to correspond to Ax7568). Repr. Newman & Watkinson 1991, fig.136; and Treuherz 2011, p.68, fig.42.
Glass copy negative by Emery Walker.
Pencil sketch by Max Beerbohm after Downey, inscr. 'F. Madox Brown '62', whole-length to left; Robert H. Taylor Coll., Princeton UL, MSS RTC01 (no.186) leaf 46. Repr. Beerbohm 1922 (Beerbohm 1987, unpaginated appendix); and Dearden 1999, p.66, no.66. THe sketch was used for a caricature drawing, see above, 'By other artists, 1917'.
See also Leighton, Rossetti, Ruskin, Scott.

Platinum print by Frederick Hollyer, half-length, seated to left with palette; print V&A, London, 7748-1938, Hollyer album, vol.2, p.47, album page dated ‘1865’; later print, NMM, Bradford, 2003-5001_2_20235, repr. Maas 1984, p.96 (where dated c.1870).
Drawing or repr. of a drawing after Hollyer photograph; Manchester L. Archives.

Albumen prints by Ernest Edwards, at least three poses:
(a) whole-length, eyes to front, seated in button-upholstered chair, with left hand in black glove; publ. Reeve & Walford 1863–7, vol.4, Aug. 1865, no.26, p.27; The Rob Dickins Coll., Watts G., Compton, COMWG2008.2256.
(b) three-quarter-length, as above, seated upright and facing front; The Rob Dickins Coll., Watts G., Compton, COMWG2008.2256. Repr. Bills & Webb 2007, no.87.
(c) three-quarter-length, as above, seated to right, eyes to front; Getty Images, 2663591. [7]

Photograph by unidentified photographer, three-quarter-length, standing with head to right; Violet Hunt papers, #4607, Division of Rare and Manuscript Colls, Cornell UL, Box 19, Folder 27.

Albumen carte-de-visite by Elliott & Fry, head-and-shoulders to right; NPG Ax14893. A slightly cropped photographic reproduction is in Birmingham MAG, 1978P210.
Compare the extra-long beard to that in the watercolour by Catherine Madox Brown, see above, ‘1870’.

publ. 1877
Photograph repr. Odds and Ends, St Paul’s Literary and Educational Society magazine, Manchester, Easter 1877. No further details.

Albumen cabinet portrait by William Pae of Newcastle upon Tyne, head-and-shoulders slightly to right; print signed, inscr. and dated ‘17/1/1885’, The Rob Dickins Coll., Watts G., Compton, COMWG2008.291. Repr. Maas 1984, p.97; Bills & Webb 2007, no.85; and Treuherz 2011, p.60, fig.40.
Another Pae print; Ford Madox Ford coll., #4605, Division of Rare and Manuscript Colls, Cornell UL, Box 95, folder 95.021.
Halftone by Meisenbach after Pae; cutting NPG SB (Brown); head-and-shoulders detail repr. as halftone after Pae, MA, 1894, p.72.
Wood-engr. by ‘PNS’ after Pae, head-and-shoulders; repr. ILN, 14 Oct. 1893, p.470; Review of Reviews 1893, p.481.
The Pae photograph is the primary late image of Brown and was used in his obituaries.

?early 1890s
Photograph by unidentified photographer, head-and-shoulders to right; copyprint in Ford Madox Ford coll., #4605, Division of Rare and Manuscript Colls, Cornell UL, Box 95, folder 95.021, no.46050.

Photograph by Ball of Regent Street, head-and-shoulders to right; print coll. MEPL, London, 10153585. Repr. as wood-engr. by unidentified engraver, Black & White, 14 Oct. 1893, p.471.

1) His appearance c.1850, recalled by Arthur Hughes: ‘I shall always remember my first sight of him […] Brown emerged [from the studio] with the impressive and rather severe face he seemed habitually to wear in those days, and which gave place to so entirely different a one in later years. His picture of the Last of England represents exactly his earlier face, where it looks out at us from the ship’s stern disappointed and half resentful. On the other hand, I think it would have been very difficult to find a face of happier character, and one more genially benign, than he habitually carried in later life; and, at the same time, its grand lines and heroic character only seemed to increase with age.’ Hueffer 1896, pp.69–70.
2) There may be other self-portraits in the subject paintings; see Bennett 2010, vol.1, p.274.
3) The reference in Barringer 2004 to an 1852 drawing of Brown by Dante Gabriel Rossetti in the V&A is erroneous.
4) ‘The gallery did indeed acquire a plaster bust of Ford Madox Brown by Conrad Dressler in 1938, given by Helen Rossetti Angeli. From information in our artist’s file it appears that it was to be displayed in the Great Hall in the Town Hall with the murals at the donor’s request. According to our records it was lost in 1975, presumably from the Town Hall. The Town Hall now has a curator and I will ask her to check their records. We do have a black and white photograph of the work.’ Manchester AG, email, 20 Feb. 2006.
5) ‘I must warn you, before parting, not to regard as perfectly authentic any of the portraits that I here present to you […] Nor did I ever set eyes on Coventry Patmore, or Ford Madox Brown or John Ruskin or Robert Browning.’ Beerbohm 1922, Note [to the reader], p.vii.
6) The reverse of the card has a Newcastle address, W. & D. Downey’s studio premises from 1863 to 1888; PRO Register of Photographs; Photo Historian, Supplement no.117, Professional Photographers in Newcastle, Gateshead and Sunderland 1873–1920, Sept. 1997. Brown was in Newcastle painting his Leathart patrons from Sept. 1863 to Jan. 1864; Newcastle 1968, p.11.
7) Brown planned to sit to Edwards at the end of Apr./early May 1865; see Maas 1984, p.96.

Carol Blackett-Ord