Later Victorian Portraits Catalogue

Paintings, drawings, sculptures and prints
Photographs
Footnotes

Paintings, drawings, sculptures and printsback to top

mid- to late 1890s
Oil on canvas by Henry Bishop; see NPG 6626.

1906
Pencil drawing by John Hodgson Lobley, inscr. ‘to Dr Havelock Ellis from J Hodgson Lobley’, inscr. on reverse ‘Take no notice of this awful thing which I use only for safer packing’ and ‘August 1906’, head-and-shoulders, half-profile to right; untraced. Photograph BL, Add MS 70567, f.1.

c.1911
Bronze bust by Arthur George Walker; Ipswich M. (no further details). Exh. RA 1912 (1946).

1916
Bust by Jo Davidson; untraced. Ref. Vanity Fair (US ed.), June 1916, p.56; and Davidson 1951, p.115. Photograph by John Trevor, Hampstead, showing profile to left, head slightly to right and facing camera; prints BL, Add MS 70567, ff.11–13; f.11 inscr. on reverse ‘by Jo Davidson / before 1926’ (repr. Goldberg 1926, facing p.242).

1922
Ink drawing by Powys Evans (‘Quiz’), dated Feb. 1922, inscr. with sitter’s name, head half-profile to right; Powys Evans sketchbook, f.47, NPG Archive. Exh. Langton G., London, 1975.

1924
Pencil drawing by Paul Emile Becat, signed and dated lower right ‘Paul Emile BECAT – 1924 – ’, inscr. top left ‘HAVELOCK ELLIS’, half-length seated to left, hands clasped; untraced. Photograph BL, Add MS 70567, f.7.
Postcard print; BL, Add MS 70567, f.6.

1924–5
Oil on canvas, 610 x 508mm, by Henry Bishop, signed, half-length seated to left, half-profile to left, white hair and beard, wearing grey suit and red tie; RCP, X259. Repr. Wolstenholme & Piper 1964, p.154. Photograph by John Trevor, Hampstead, inscr. on reverse ‘Painting by Henry Bishop A R A / Havelock Ellis’; BL, Add MS 70567, f.19.

publ. 1925
Pencil drawing by Walter Tittle, signed and inscr. with sitter’s name, head-and-shoulders to right; Frick Coll., New York, 33923. Repr. ILN, 12 Sept. 1925, p.472; and [Ishill] 1929, frontispiece, captioned ‘from an original drawing made from life’. Photographs BL, Add MS 70567, ff.8–9, f.8 inscr. on reverse ‘?1925’.
Repr. as lithograph, purchased from the artist; Frick Art Reference L., New York.

Drypoints by Walter Tittle, two known poses:
(a) head-and-shoulders, turned to right; colls BM, 1929,0906.2, signed in pencil with initials and titled on plate; and Trexler L., Muhlenberg College, Allentown, PA. Repr. Forum, Sept. 1927 (no page no.); and [Ishill] 1929, facing p.192, where signed and inscr. with sitter’s name and note: ‘3rd & final trial pr?’.
(b) half-length seated to left, elbows resting on arms of chair, books on desk to left; BM, 1944,1212,23, signed on plate.

c.1925
Woodcut by Maurice Duvalet, inscr. ‘from Maurice Duvalet before 1926’, and on mount ‘Maurice Duvalet cf. Goldberg p.131’, head-and-shoulders, profile to left, chin on chest, print mounted on parchment paper; BL, Add MS 70567, f.14. Repr. Goldberg 1926, facing p.131, captioned ‘a woodcut by Maurice Duvalet’; [Ishill] 1929, facing p.108; and [Ishill] 1954, facing p.160. The print in BL, Add MS 70567 may be a page from Goldberg.

1928
Etching by Abraham Phillips, signed in plate ‘Abraham Phillips ’28’, head-and-shoulders; print BL, Add MS 70567, f.16, inscr. below plate ‘to Havelock Ellis with the compliments of A Phillips ’28’.

publ. 1929
Linocut or scraperboard quasi-caricature illustration by Scheel, half-length to left, right hand raised holding small Eros figure; untraced. Repr. Wickham 1929; see MEPL, London, 10066544.

1931
Sanguine drawing by William Rothenstein; see NPG 3177.

Pencil drawing by Helen Wilson, signed and dated, head, half-profile to right; untraced. Repr. as supplement to Bookman, Christmas 1931; see MEPL, London, 10066484.

Chalk drawing, 400 x 400mm, by Bernard Sleigh, head-and-shoulders, half-profile to right, silver quiff, large white beard, loose scarf or cravat; Birmingham MAG, 1931P219. From the details of this portrayal, especially the hair quiff and necktie or cravat, it would seem to be copied or inspired by a sequence of photographs taken around 1923 by John Trevor (see below, ‘Photographs, 1923’). Ellis’s letters to Sleigh 1915–39 are held in Birmingham Archives, Heritage and Photography Service, MS 854.

1932
Charcoal or chalk drawing, 455 x 310mm, by (Cecil) Desmond (Bernard) Harmsworth, 2nd Baron Harmsworth, head, near profile to left; U. of Texas at Austin, 65:328.

Pencil drawing, 370 x 290mm, by (Cecil) Desmond (Bernard) Harmsworth, initialled and dated, head-and-shoulders three-quarter-profile; untraced. Exh. Bloomsbury Auctions, 26 Feb. 2009 (500).

Oil by Walter Tittle, signed top right ‘Walter Tittle London 1932’, three-quarter-length seated to right, left arm on chair, right hand on leg; untraced. Photographed by Murray K. Keyes, New York; prints colls NPG SB (Havelock Ellis), signed and inscr. on reverse by Tittle ‘Painted in London 1933’; and BL, Add MS 70567, f.10.
According to Ellis, ‘[Tittle] has also painted me & I believe has the picture at his studio, 123 E 77 St. Personally I like him very much.’ [1]
Drypoint etching by Tittle, apparently based on a reversed image of this portrait; BM, 1944,1212.23 (as yet unillustrated, it is listed as ‘portrait of bearded man, half-length seated to left, elbows resting on arms of chair, books on desk to left’).

1933
Wood-engraving by Bernard Sleigh; Birmingham MAG, 1934P690.

1935
Plaster bust by Sigismund de Strobl, head-and-shoulders, square beard; untraced, formerly with National Book League / Book Trust. Repr. [Ishill] 1954, frontispiece; and Collis 1959, frontispiece. Photograph by Paul Lamb, Kensington; prints colls BL, Add MS 70567, f.17, inscr. on reverse ‘Scultpr / [illegible] S de Strobl / June / 36’; and NPG SB (Havelock Ellis).

1936
Oil by John Napper; untraced; known from typescript list compiled in 1981, NPG RP 5242; no further details.

c.1936
Oil on board, 176 x 125mm, by Henry Channing Stephens, head-and-shoulders, half-profile to right; RCP, X232. Exh. Defining Features, RCP, 2000; repr. Wolstenholme & Piper 1964, p.156.

1937
Charcoal drawing by Edmond Xavier Kapp, signed and dated, inscr. with sitter’s name, head-and-shoulders, eyes looking to left; untraced; photograph NPG Icon Notes; offered to NPG 1973, declined. Exh. Edmond Kapp retrospective, Whitechapel AG, London, 1961 (202).

Oil on canvas by Edmond Xavier Kapp; see NPG 5242.

Ink and red chalk drawing by Robin Guthrie, signed, dated and inscr., head-and-shoulders to front; untraced; photograph NPG SB (Havelock Ellis); offered to NPG by the artist 1940, [2] declined. Exh. RA 1938 (1094).


Undated portraits

Bronze bust by unidentified sculptor, head-and-shoulders showing roughly worked coat collar; untraced; photographs from three angles by John Trevor, BL, Add MS 70567, ff.22–4.

Drawing by Swamy; untraced. Ref. Christie’s MSS, 21 June 1989 (141).

Bust by unidentified sculptor, head and neck; untraced; photographs of sculptor working in studio, BL, Add MS 70567, ff.20–21. This appears to represent Ellis in the first half of his life, but the sculptor, with slight build, bushy hair and receding hairline, wearing a smock and smoking a pipe, is as yet unidentified.

Etching by Carton Moore-Park, head-and-shoulders to front, staring eyes; print BL, Add MS 70567, f.18, inscr. below plate ‘2/50 Carton Moore Park’.

Woodcut bookplate by unidentified artist, inscr. ‘LAFITTE EX_LIB / PAUL . JOAN . QUE’, showing caricature of Ellis as Pan/goat, profile to left with horns, pole and grapes; BL, Add MS 70567, ff.25–6.


Posthumous portrait

Ink caricature drawing by David Levine, signed, half-length standing to left, head turned to right, outsize quiff and moustache, holding pen and writing; untraced. Repr. New York Review of Books, 20 Nov. 1980; see New York Review of Books website.

Photographsback to top

A large collection of portrait photographs and snapshots are in the Havelock Ellis Papers in the BL, Add MS 70565-6-7.

c.1859–60
Photograph by unidentified photographer, with mother; untraced. Ref. Ellis 1939, p.101 (‘I appeared, on my mother’s lap, in all the happy insolence of vigorous babyhood, in my earliest portrait’).

c.1862
Photograph by unidentified photographer; untraced. Ref. Ellis 1939, p.101 (‘In the next picture, that happy careless air is gone, I appear as a small child in a frock, gazing out at the world of human beings with a look of nervous anxiety and doubt, a look which, whether or not it has gone from my face, has scarcely yet altogether gone from my heart’).

c.1863
Photograph by unidentified photographer, whole-length to front, standing wearing dark knickerbocker suit, left arm resting on table above waist height; repr. Goldberg 1926, p.50, captioned ‘Henry Havelock Ellis at the age of four’, presumably the source of page in BL, Add MS 70565, f.1.

1867–8
Carte-de-visite by D.C. Boake, Sydney, Australia, inscr. on reverse ‘HE / 1868’, whole-length standing, wearing three-piece suit and bow tie, left elbow on fake balustrade; BL, Add MS 70565, f.2. Repr. Grosskurth 1980, pl.3, captioned ‘Aged eight. Taken in Sydney Australia on the trip round the world with his father in 1868’. According to Ellis (1939, p. 101), ‘at the age of seven, in a photograph taken in Sydney, I appear with a sensitive but composed face (at this time it was said of me that I always looked as if I had just been taken out of a bandbox)’, presumably referring to this image. Ellis was seven in Feb. 1866; his sea journey was in progress during 1867 but the exact date of arrival in Australia is not known.

early 1870s
Photograph by unidentified photographer; untraced. Ref. Ellis 1939, p.101 (‘At the beginning of the Mitcham period I am seen, now tall but with the same expression [as in preceding item], and an added air of self-consciousness’).

1875
Photograph by G.E. Alder, Croydon, whole-length, profile to right, standing, left elbow on plinth, right hand holding gloves; repr. [Ishill] 1929, facing p.12, captioned ‘At the age of 14’.

c.1880
Carte-de-visite by Edward Goodwin, St Paul’s Churchyard and Anerley Rd, London, inscr. on reverse ‘medical studies’, vignette image head-and-shoulders, half-profile to left, centre parting, beard, wearing stiff collar, tie, waistcoat and jacket; BL, Add MS 70565, f.7. An enlargement mounted on paper stamped ‘W.J. Baker, Dulwich and Bromley’, inscr. ‘c.1880. B enlarged to show what it looks like’, BL, Add MS 70565, f.4.

c.1883
Cartes-de-visite by E.J. Stoneham, Cheapside, London, oval vignettes, two known poses:
(a) head-and-shoulders to front, dark hair, small beard, wearing stiff collar and buttoned jacket, inscr. verso ‘At the start of his medical studies’; BL, Add MS 70565, f.5. Repr. Brome 1979, pl.1, captioned ‘The young medical student’.
(b) similar to (a) but eyes looking to right; BL, Add MS 70565, f.6. Repr. slightly cropped Grosskurth 1980, pl.5, captioned ‘as a medical student at St Thomas’s Hospital in 1883’.

1889–90
Cabinet card by Frederick Hollyer, signed on reverse red ink ‘Fredk Hollyer Pembridge Sq.’, inscr. on reverse in pencil ‘?1889 / FL / about 30 / used in Peterson’s book p.182 and autobiography’, half-length profile to left, leaning back, left hand in fob pocket, wearing dark suit, panelled wall in background; BL, Add Ms 70565, f.9. Repr. Peterson 1928.

Other photographs thought to be from the same session:
(a) half-length, half-profile to left, seated with right hand to cheek, dark hair and thinnish beard, left hand holding pencil resting on book. Repr. [Ishill] 1929, facing p.132, captioned ‘from a photograph by F. Hollyer’.
(b) half-length slightly to right, arms folded. Repr. Calder-Marshall 1959, facing p.106, captioned ‘as a medical student’.

c.1893
Photograph by unidentified photographer, whole-length standing slightly to left, wearing unbuttoned Jaeger-style jacket with hands in belt loops, knickerbockers, long socks, boots, outside stone cottage with flimsy gate; print Carpenter Coll., Sheffield City L., 8/81; another print from unidentified publication (presumably Goldberg 1926) BL, Add MS 70565, f.10, inscr. ‘1893 just after the nationalisation of Health’. Repr. Goldberg 1926, facing p.66, captioned ‘Just after The Nationalisation of Health’ [3].

mid-1890s
Photographs by Elliott & Fry, Ellis wearing dark jacket (probably velvet), two known poses:
(a) half-length to front, right arm across chest, pocket handkerchief visible; BL, Add MS 70565, f.11, inscr. on reverse ‘1896’.
(b) half-length to front, arms crossed; NL of Medicine, Bethesda, MD, 1723.1, captioned ‘Author of “The World of Dreams”’; see MEPL, London, 10066487, where annotated ‘Sigmund Freud Collection neg.no.208C/Sulloway 24’. Repr. Goldberg 1926, facing p.83, captioned ‘In 1896, just after Man and Woman and just before the appearance of the first volume of the sex studies’; and Calder-Marshall 1959, facing p.106, captioned ‘Havelock Ellis as a medical student’.

1893 or 1896
Cabinet card photographs by unidentified photographer, taken at Carbis Bay, Cornwall, wearing dark velvet jacket, two known poses:
(a) half-length to front, seated behind table spread with papers, hands crossed resting on ring binder, patterned curtain behind; BL, Add MS 70565, f.17. Repr. [Ishill] 1929, facing p.204, captioned ‘Taken in 1896. The bedroom of the cottage at Carbis Bay’; and Grosskurth 1980, pl.16, captioned ‘In 1893, when he first began working on the Studies in the Psychology of Sex’.
(b) similar shot, taken from left, right arm across body, resting on ring binder; BL, Add MS 70565, f.18, inscr. on reverse ‘taken at Hawkes Point’.

1896–7
Photographs by unidentified photographer, taken at Carbis Bay, Cornwall, four known poses:
(a) whole-length profile to left, seated with legs crossed, hands holding book, wearing tweed knickerbocker suit, long socks and slippers, wife Edith standing to left, bookcases behind; cabinet card, possibly re-photographed from an original, BL, Add MS 70565, f.12, inscr. ‘Havelock Ellis. Somewhen about 1896’. Repr. Goldberg 1926, facing p.67, captioned ‘from a photograph about 1895’; [Ishill] 1929, facing p.96, captioned ‘Taken in her study about 1895’; and Grosskurth 1980, pl.11, captioned ‘In 1896, in the Count House, Carbis Bay’.
(b) half-length seated behind circular drop-leaf table, head down, writing, window, window seat and curtains to left; BL, Add MS 70565, f.13, inscr. on reverse ‘Hawkes Point Carbis Bay / 8 Dec 1897’. Repr. [Ishill] 1929 facing p.240, captioned ‘Taken in Dec.1897. The living-room of the cottage at Carbis Bay’.
(c) whole-length, wearing belted Jaeger-style suit, seated to right, legs crossed, leaning back, left hand on papers on table, right hand to cheek; BL, Add MS 70565, f.14, inscr. on reverse ‘Hawkes Point / 6 Dec 97’. Repr. Ellis 1939, facing p.288; and Summers 1991, p 168.
(d) whole-length seated, legs crossed, looking to right, left hand on knee, right hand on circular table, window and window seat to left; BL, Add MS 70565, f.19.

Photograph by unidentified photographer, whole-length to front, legs crossed, seated at circular drop-leaf table wearing tweed knickerbocker suit, full-length curtain to right, window behind to left; repr. Collis 1959, facing p.72, captioned ‘In the study at Hawkes Point, 1897’.

Snapshot by unidentified photographer, half-length seated in sitting room with pot of daffodils, patterned curtain to left, bookcase to right; BL, Add MS 70565, f.20.

c.1897
Snapshot by unidentified photographer, whole-length from behind, virtually invisible, seated in deck-chair far right, stone cabin to left; BL, Add MS 70565, f.91, inscr. on reverse ‘His study at Hawkes Point 1897 (Collis p.88)’. Repr. [Ishill] 1929, facing p.288, captioned ‘Studio at Hawkes Point, Carbis Bay Cornwall, which he occupied many years during the ’90s. He is seated at the right on a hammock-chair, overlooking the sea, where he usually did his writing’; Collis 1959, facing p.88, captioned ‘Outside the study at Hawkes Point, 1897’; and Grosskurth 1980, pl.17, captioned ‘The hut at Hawkes Point’.

1898
Cabinet card by Bassano Ltd, three-quarter-length seated to front, wearing dark waistcoat and jacket with grey trousers, right hand on chair back, left hand holding folded paper, grey hat on table to left; BL, Add MS 70565, f.15, inscr. on reverse ‘1898 / time of “affirmations”’. Repr. Goldberg 1926, facing p.115, captioned ‘Ellis in 1898, about the time of Affirmations’. [4].

1898–9
Snapshots taken in Malaga:
(a) attributed to Arthur Symons, whole-length profile to left, seated at outdoor table, with second figure under dark parasol, acacia tree in background; BL, Add MS 70565, f.16, inscr. on reverse (incorrectly) ‘Winter of 1898–99 / with [?Symons] at lunch in garden of Hotel Hernan / Cortes Malaga / taken by Arthur Symons / used in Goldberg’. Repr. Goldberg 1926, facing p.114 (below), captioned (correctly) ‘Mr & Mrs Ellis (taken by Arthur Symons)’.
(b) attributed to Edith Ellis, whole-length profile to left, seated at outdoor table, Arthur Symons wearing hat to left; repr. Goldberg 1926, facing p.114 (above), captioned ‘Arthur Symons and Havelock Ellis (taken by Mrs Ellis)’.
Both captioned by Goldberg: ‘Snapshots taken in winter of 1898–99, at Malaga, Hotel Hernan Cortes’.

c.1899
Photograph by unidentified photographer, head-and-shoulders to right, wearing tweed overcoat; repr. [Ishill] 1929, facing p.24 (‘Taken about 1899’).

c.1901
Snapshot by unidentified photographer, whole-length reclining in hammock in garden, stone wall behind, dog to right; BL, Add MS 70565, f.21, inscr. ‘About 1899 1901 in yard of Count House Carbis Bay’.

c.1902
Snapshot attributed to Edith Ellis, whole-length seated on ground, leaning against oak tree; BL, Add MS 70565, f.23, inscr. on reverse ‘At St Cloud / taken by Edith / ?1902 FL’.

before 1914
Snapshot by unidentified photographer, half-length standing to front, smiling, arms folded, plank wall behind; BL, Add MS 70565, f.22, inscr. on reverse ‘pre-1914?’.

Snapshot by unidentified photographer, whole-length to front, seated, holding book in right hand legs crossed to left, dark jacket, pale trousers and slippers, patterned fabric behind; BL, Add MS 70565, f.24, inscr. on reverse ‘pre-1914?’.

Bromide print by unidentified photographer, head-and-shoulders half-profile to right, grey hair, dark jacket; BL, Add MS 70566, f.6, inscr. on reverse ‘Destr?’.

c.1912–13
Photographs by John Trevor, four known poses:
(a) half-length seated at table, face to camera, smiling, right hand to cheek, wearing Jaeger-style suit, oval-patterned wallpaper behind; BL, Add MS 70566, f.4, mount signed John Trevor Hampstead, inscr. on reverse ‘Goldberg: Brixton apartment about 1912’. Repr. Goldberg 1926, facing p.4.
(b) nearly whole-length seated to left in rattan chair, legs crossed, hands folded, oval-design wallpaper; BL, Add MS 70566, f.1, inscr. on reverse ‘Brixton’.
(c) half-length to left, head towards camera, seated at table writing, oval-patterned wallpaper; BL, Add MS 70566, f.2, inscr. on reverse ‘Brixton about 1912’.
(d) half-length looking to camera seated at table, arms folded, oval-patterned wallpaper; prints BL, Add MS, 70566 f.3; and Carpenter Coll., Sheffield City L., 8/82; see MEPL, London, 10066485, where annotated ‘Sigmund Freud Collection neg no 208B’).
Poses (b) to (d) are attributed to Trevor on the basis of the patterned wallpaper; a reference by J. William Lloyd in [Ishill] (1929, p.163), recalling a visit in 1913 to Trevor’s studio in London where among the likenesses displayed was one of Ellis; and the inscr. on BL, Add MS 709566, f.9 stating that Trevor ‘took so many’ portraits of Ellis (see below, ‘Photographs, c.1918, pose (b)’).

Photographs probably also by John Trevor, Ellis with silver hair and grizzled beard, plain background, two known poses:
(a) head-and-shoulders slightly to left, wearing dark jacket and strongly-patterned tie; Hulton-Deutsch Colls, HUD19951 (‘ca.1910’); see MEPL, London, 10802369. Repr. with facsimile signature as half-tone print in supplement to Birth Control Review, Feb. 1919; copy BL, Add MS 70566, f.8; digital image NL of Medicine, Bethesda, MD, B06623.
(b) head-and-shoulders half-profile to left, wearing dark jacket and dark unpatterned tie; L. of Congress, LC-USZ62-60984 (dated c.1913).

c.1914
Photograph by John Trevor, head-and-shoulders profile to right, silver hair, grey beard, dark jacket; repr. Ellis 1914 (see Wellcome Images L0028364); and Goldberg 1926, facing p. 258, captioned ‘Ellis in 1915’.

1915
Photograph by unidentified photographer, head-and-shoulders looking to left, prominent white quiff, frowning brows; repr. Collis 1959, captioned ‘In 1915, aged fifty-six’.

c.1918
Photographs possibly by John Trevor, three known poses:
(a) head-and-shoulders half-profile to left, greying hair and beard, dark jacket; L. of Congress, LC-USZ62-60984 (where dated ‘c.1913’). Repr. as photogravure; BL, Add MS 70566 f.5, inscr. ‘Havelock Ellis in 1918, aged fifty-nine, about a year after he had met Francoise’s [sic] Delisle’, captioned ‘frontispiece’.
(b) bromide print, head-and-shoulders, staring intently to left, white hair, long beard; BL, Add MS 70566, f.9, inscr. on reverse ‘I can’t remember who took this / It might be John Trevor who took so many but I can’t be sure / nor can I remember date about 1922 I think’ and ‘HE’s note on Spanish copy suggests 1920’.
(c) sepia print, head-and-shoulders profile to left, silver hair, dark jacket; BL, Add MS 70566, f.10.

1921
Snapshots by unidentified photographer:
(a) three-quarter-length profile to left, standing in garden holding book, hat on table to right, inscr. on reverse ‘Havelock Ellis, St Cloud, Aug 21’; also enlarged image cropped from top; BL, Add MS 70566, ff.11–12.
(b) whole-length leaning back, seated on garden bench holding book, inscr. ‘St Cloud Sept 21’; BL, Add MS 70566, f.13.
(c) bromide print, whole-length profile to left, seated on wooden garden seat, legs crossed, hat on lap; BL, Add MS 70566, f.14.

1922
Photographs by Emil Otto (‘E.O.’) Hoppé; see NPG P240.

1923
Bromide prints by John Trevor, Ellis with prominent silver quiff wearing velvet jacket with wide lapels and silk cravat, six known poses:
(a) half-length to front, looking up to right, hands clasped below beard, wearing ring on little finger of left hand; BL, Add MS 70566, f.18, sitter signature on mount, inscr. on reverse ‘Photo John Trevor / I think 1923’. Repr. Grosskurth 1980, pl. 26, captioned ‘In 1923’.
(b) head-and-shoulders to front, head slightly tilted and eyes looking to right; BL, Add MS 70566, f.19, signed on reverse ‘John Trevor Hampstead’. Repr. Peterson 1928.
(c) head-and-shoulders profile to right, prominent quiff; prints colls BL, Add MS 70566, f.15, inscr. on reverse ‘1923 Goldberg book frontispiece’, on card, 142 x 97mm, with printed text ‘Ellis in 1923’ and facsimile signature below; and Smithsonian Inst. Libraries, Washington, DC, SIL14-E1-12. Repr. Goldberg 1926, frontispiece, captioned ‘Ellis in 1923’. Goldberg (1926, p.10) states that this and probably pose (f) below were taken in Aug. 1923 and hung on the wall in Ellis’s London home when Goldberg visited him around 1925.
Graphic repr. by Ben Appleby; see imgur.
(d) head-and-shoulders to front, looking right; BL, Add MS 70566, f.16, inscr. on reverse ‘1925 according to Peterson p.340’.
(e) half-length seated behind table, pen in right hand, bookshelves in background; BL, Add MS 70566, f.17, inscr. on reverse ‘By John Trevor / I think in 1923’ and ‘possibly 1925’.
(f) head-and-shoulders half-profile to right, bookcase with vase and framed picture above; untraced. Repr. Goldberg 1926, facing p.243, captioned ‘A late photograph’. Conjecturally ascribed to Trevor on the basis of cravat.

1923–4
Photographs by Man Ray, two known poses:
(a) see NPG P606; another print BL, Add MS 70567, f.2, signed ‘Man Ray Paris’ on mount, inscr. on reverse ‘August 1923’.
(b) three-quarter-length looking to camera, seated to right, hands on knees, in front of staircase and makeshift curtain; silver gelatine negative Man Ray Archive, Centre Pompidou, Paris, AM 1994-393 (2663); cropped print BL, Add MS 70567, f.2, signed ‘Man Ray Paris’ on mount.

1925–8
Snapshots by unidentified photographer, nine known poses:
(a) whole-length standing outside door of brick-built house; BL, Add MS 70565, f.99, inscr on reverse ‘A view of cottage at Little Frieth Buckinghamshire’. Repr. Grosskurth 1980, pl.30, captioned ‘“Little Frieth” the cottage in Buckinghamshire which Ellis rented during the summers of 1925–28’.
(b) whole-length standing outside door of brick-built house (a different door than in pose (a)), BL, Add MS 70565, f.100, inscr. on reverse ‘The Cottage Little Frieth’.
(c) whole-length looking to camera, seated to left in deckchair, legs crossed, holding papers, outside house; BL, Add MS 70566, f.21, inscr. on reverse ‘65 or so’; ‘?c.1924’.
(d–f) three small snapshots, whole-length seated in deckchair in field; BL, Add MS 70566, ff.22–4; in f.23 wearing flat cap; f.24 inscr. on reverse ‘Little Frieth’.
(g) half-length profile to right in deckchair; BL, Add MS 70566, f.25, inscr. on reverse ‘taken 1925 as frontispiece in Peterson’s biography’.
(h) nearly whole-length standing in orchard reaching up to fruit; BL, Add MS 70566 f.26.
(j) whole-length standing outdoors wearing belted Jaeger-style suit; BL, Add MS 70566, f.27.

1925–6
Photographs by unidentified photographer, wearing linen jacket over waistcoat and trousers, four known poses:
(a) half-length profile to right, reclining in deckchair, hands to chin. Repr. Collis 1959, facing p.200 (‘At sixty-six years of age’).
(b) variant pose to (a), hands invisible on lap; see Wikimedia Commons, where dated 1926. Repr. Peterson 1928.
(c) whole-length standing in garden in front of shrubs with blossom, half-profile to right, right hand holding spectacles, left hand on small branch. Repr. Peterson 1928.
(d) probably from same session, nearly whole-length to front standing, hands in pockets, foliage and flowers behind. Repr. Summers 1991, p 168, where misdated 1898.

1927
Snapshot by unidentified photographer, whole-length, naked, lying on ground on his side, left knee bent; BL, Add MS 70566 f.35, inscr. on reverse ‘age 68’. Repr. Grosskurth 1980, pl.34, captioned ‘Sun-bathing in the garden of “Little Frieth”, 1927’.

1929
Composite photograph by unidentified photographer, inscr. by Ellis ‘for Agniel the spirit of the dance hovers over the Philosopher of Love! H. Ellis’, whole-length profile turned to right, torso seated on ground to left, superimposed image of dancer Marguerite Agniel standing profile to left. Repr. Grosskurth 1980, pl.35 (long caption including place and date as the garden of house at Wivelsfield Green, Sussex, summer 1929.)

1932
Half-plate nitrate negatives by Lafayette Ltd, dated 12 Jan. 1932, three known poses:
(a) half-length torso to left, head towards camera; NPG x48019.
(b) three-quarter-length to left, seated, head towards camera, right hand holding book on right knee; NPG x48020.
(c) three-quarter-length seated, leaning forward, both hands holding book on knees; NPG x48021. Repr. slightly cropped Brome 1979, pl.7, captioned ‘Deeply troubled in maturity’.

1934
Half-plate film negatives by Howard Coster, in sequence of poses to left and right, eight known poses:
(a) half-length to front, left hand to lapel, outside house; NPG x11563.
(b) head-and-shoulders to front looking right, hands just visible clutching both lapels, indoors; NPG x11564; vintage bromide print NPG Ax136067. Another print on parchment-type paper BL, Add MS 70566, f.55, inscr. on reverse ‘POR ELLIS HENRY HAVELOCK’; ‘taken by Howard Coster I think in 1937’; ‘not to be used without permission of Howard Coster’.
(c) head-and-shoulders to front, dark background; NPG x11565.
(d) half-length looking up to right, right hand holding lapel; NPG x11566.
(e) head-and-shoulders, head turned to left, against dark wall; NPG x11567.
(f) head-and-shoulders, profile to right against dark wall; NPG x11568.
(g) head-and-shoulders, profile to right (identical pose to (f)); NPG x11569.
(h) head-and-shoulders, half-profile to right. Repr. as vignette ILN, 15 July 1939 p.115, credited to Coster.
Ref. Coster Day-Book 1926–1934, NPG Archive MS-22, where Ellis is listed under 1934 as no.2996.

Photographs by Maurice Turney, Cheltenham, eight known poses:
(a) head-and-shoulders, white hair and beard, looking to right; print Havelock Ellis Coll., Kinsey Inst., Bloomington, IN, inscr. lower left sitter’s name. Repr. Mortimer 1935 (sitter’s and photographer’s name on page); Calder-Marshall 1959, frontispiece, captioned ‘Havelock Ellis in old age’; and probably Ellis 1964, frontispiece.
(b–h) contact prints, inscr. with monogram and date 1934, seven frames, variant poses, one inscr. ‘Taken by Maurice Turney / age 75’; BL, Add MSS 70566, ff.28–34.

c.1934
Photograph by unidentified photographer, half-length standing, profile to left, left hand in jacket pocket, Françoise Lafitte-Cyon to right. Repr. Grosskurth 1980, pl.38, captioned ‘At Haslemere, c.1934’. [5]

1934–5
Photographs by unidentified photographer, deckle-edge prints, taken at Wivelsfield Green, Sussex, three known poses:
(a) head-and-shoulders half-profile to right, seated indoors in high-backed chair, inscr. on reverse ‘Haslemere c.1934–5’; BL, Add MS 70566, f.36.
(b) whole-length to front, standing in garden, both hands raised, inscr. on reverse ‘Haslemere c.1934–5’; BL, Add MS 70566, f40.
(c) three-quarter-length profile to right, standing in garden, hands in jacket pockets, inscr. on reverse ‘Well into his 70s, perhaps 75 or 6, never reproduced. He was already ill though not too badly yet’; BL, Add MS 70566, f.49.

Snapshots by unidentified photographer/s from around same time, 10 known poses:
(a) head-and-shoulders profile to left, bookcase behind; BL, Add MS 70566, f.38.
(b) three-quarter-length standing in garden, hands in jacket pockets, lilies to left, inscr. on reverse ‘Haslemere c.1934–5’; BL, Add MS 70566, f.39.
(c) whole-length to front, peering through trellis in garden; BL, Add MS 70566, f.40.
(d) whole-length standing, left hand raised to small branch; BL, Add MS 70566, f.42.
(e) whole-length standing underneath pergola frame, hands in pockets; BL, Add MS 70566, f.43.
(f) nearly whole-length standing amid fruit-tree branches; BL, Add MS 70566, f.44.
(g) whole-length standing, both arms bent forward, inscr. on reverse ‘This is the one Maurice Goldberg is making an enlargement of’; BL, Add MS 70566, f.45.
(h) head-and-shoulders profile to right, in strong sunlight, inscr. verso ‘at 70? or so[,] reproduced on jacket of a book but not otherwise’; ‘in his sun hut looks lovely as on jacket of My Confessional’ [6]; BL, Add MS 70566, f.46.
(j) whole-length reclining in deckchair outside house, teacups on side table, inscr. verso ‘1935?’; BL, Add MS 70566, f.47.
(k) three-quarter-length standing, profile to right, hands in jacket pockets, in orchard; BL, Add MS 70566, f.48.

Bromide print by unidentified photographer, half-length profile to right wearing pale-striped tweed jacket, inscr. verso ‘RAFITTE [sic] / 1935’; BL, Add MS 70566, f.37.

1936
Photograph by seaside photographer, whole-length to front, walking forward, wearing panama hat and light raincoat, carrying bag, Françoise Lafitte-Cyon to right. Repr. Grosskurth 1980, pl.39, captioned ‘Caught by a street photographer on the Brighton front, 1936’.

1938
Photograph by Paul & Bishop, close-up head, looking down to right. Repr. Ellis 1939, frontispiece; and Brome 1979, frontispiece.
Another image that may be from the same sitting, head profile to right, printed askew diagonal to right, inscr. verso ‘Paul’ or ‘PAM’ / ‘HAVELOCK ELLIS’; BL, Add MS 70566, f.58.

1939
Snapshots by unidentified photographer at Hintlesham, Suffolk, three known poses:
(a) three-quarter-length to right seated on reclining deckchair in hut, wearing panama hat, inscr. on reverse ‘Cherry Ground 1939’; BL, Add MS 70566, f.60.
(b) three-quarter-length reclining, hat on table, inscr. on reverse ‘H.Ellis in his hut / Cherry Ground May 39’; BL, Add MS 70566 f.61.
(c) whole-length in hut wearing hat [could be cropped version of (a) or same view from different distance], inscr. verso ‘Cherry Ground 1939’; BL, Add MS 70566, f.62.

late 1930s
Bromide prints by Art Photo Service, two known poses:
(a) half-length near-profile to right, seated on ladderback chair holding book, wearing three-piece suit; BL, Add MS 70566, f.56, Art Photo Service stamp on reverse.
(b) head-and-shoulders half-profile to right; BL, Add MS 70566, f.57, Art Photo Service stamp on reverse.

Photograph by unidentified photographer, page from unidentified publication, head-and-shoulders, looking down, books shelved to right; BL, Add MS 70566, f.59.

Footnotesback to top

1) Letter from H.H. Ellis to L.S. Bryant, 24 Feb. 1936, published in Havelock Ellis, ‘Letters to an American’, VQR, Spring 1940.
2) Letter from R. Guthrie to H.H. Hake, 8 Oct. 1937: ‘Ellis is a neighbour [in Sussex] and I went over and drew him about three weeks ago’ (Icon Notes).
3) The Nationalisation of Health is the title of a book by Ellis, published in 1892.
4) Affirmations is the title of a book by Ellis, published in 1898.
5) From 1929 Ellis rented a house for the summer called Haslemere in Wivelsfield Green, Sussex.
6) My Confessional is the title of a book by Ellis, published in 1934.


Dr Jan Marsh