Later Victorian Portraits Catalogue

Possible self-portrait
By other artists
Photographs

Possible self-portraitback to top

Medium unknown, half-length, nearly full-face, body turned to left, arms crossed; untraced. Engr. ‘T.Faed R.A., after T.Faed’ by James Faed exh. RA 1894 (1505); copy Stranraer Public L.; repr. McKerrow 1982, p.59. The identification may be mistaken owing to a printing error; possibly the engraving is from John Faed’s 1855 portrait of the sitter (see below).

By other artistsback to top

c.1837
Miniature, 106mm oval, by James Faed, tentatively identified as Thomas Faed as a boy, head-and-shoulders, full-face; untraced; Bonhams, 24 June 2004 (178). Repr. Foskett 1979, p.219.

c.1843–4
Watercolour, 552 x 424mm, by John Faed, whole-length, standing, half-profile to right, holding palette; SNPG, Edinburgh, 1591. Repr. McKerrow 1982, p.82.

c.1848–9
Sepia wash with white, 162 x 203mm, by John Faed, A Club Sketch, with John Ballantyne and William Fettes Douglas, fellow-members of the Smashers Club, half-length, profile to right, left hand to chin; SNPG, Edinburgh, 1589. Repr. McKerrow 1982, p.17.

exh. 1851
Oil on canvas, 860 x 736mm, by William Fettes Douglas, half-length, looking left, arms akimbo; SNPG, Edinburgh, 674. Exh. RSA 1851 (5).

Lithograph by Schenk & MacFarlane after portrait by Louis Joseph Ghémar, three-quarter-length, seated, nearly full-face, with sketchbook and pencil, before landscape; SNPG, Edinburgh, SPL 198.1. Repr. McKerrow 1982, p.101.

exh. 1855
Oil on canvas by John Faed, Thomas Faed Esq; untraced (but see possible self-portrait above). Exh. RA 1855 (867).

exh. 1861
Oil on canvas by W.M. Tweedie; untraced. Exh. RA 1861 (395) and Liverpool Academy 1861; see Morris & Roberts 1998, p.605.

early 1860s
Watercolour, 145 x 105mm oval, possibly by John Ballantyne, from a series of members of the Auld Lang Syne Sketching Club, London, head-and-shoulders, profile to right, horizontal bow tie; untraced. Repr. Sotheby’s, 28 Apr. 1983 (70/8) and subsequent auction catalogues.

exh. 1863
Sculptured bust by G.E. Ewing; untraced. Exh. RA 1863 (1032).

1863–5
Oil on canvas, 640 x 767mm, by John Ballantyne, whole-length, standing, looking to right, thumbs in waistcoat armholes, in studio with many props; Aberdeen AG, ABDAG000713. Repr. Apollo, May 1998, p.22.

publ. 1865
Design by C.H. Bennett for A Private View of the Royal Academy., signed in monogram by the artist ‘C H B’, full-length, miniature body with exaggerated head, reclining upon his picture Last of the Clan; untraced. Repr. Punch, 13 May 1865, p.196; McMaster 2008, p.65, fig.4; and McMaster 2009, p.21, fig.11.
See also Calderon, Frith, Leighton, Millais, Whistler.

1865
Oil on canvas, 648 x 772mm, by John Ballantyne, whole-length, standing in studio, holding brush, with Mitherless Bairn replica on easel; SNPG, Edinburgh, PG 962. Repr. McKerrow 1982, p.111.

exh. 1866
Oil on canvas, 610 x 460mm, by John Ballantyne, Thomas Faed painting in a Highland Cottage, half-length, seated in cottage kitchen, working on canvas propped on chair; untraced. Exh. RSA 1866 (333); repr. (as ‘The Artist’s Studio’) Sotheby’s, Belgravia, 18 June 1974 (180); and (as by John Faed) Phillips, 20 May 1980 (78).

1870s
Lithograph, 260 x 186mm (paper size 374 x 273mm), by Maclure & Macdonald, London, after unidentified artist, possibly from a photograph, with facsimile of sitter’s signature and ‘(R.A)’ lower right, half-length, half-profile to left, seated, arms crossed, easel to far left; NPG D23464.

publ. 1872
Design by Edward Linley Sambourne for Vision of Burlington House. Sixth of May., head only, profile to left, toiling down in a mine beneath the Academy; untraced. Repr. Punch, 11 May 1872, p.198; McMaster 2008, p.66, fig.6; McMaster 2009, p.25, fig.13; and Ormond 2010, p.84, fig.31.
See also Ansdell, Calderon, Leighton, Marks, Millais, Ruskin.

1876
Oil on canvas, 1452 x 2201mm, by Charles West Cope, The Council of the Royal Academy Selecting Pictures for the Exhibition, 1875, half-length, seated behind table and leaning forwards, profile to right, to the left of J.C. Horsley and among other RAs scrutinizing a picture held up by a group at right; RA, London, 03/1288. Exh. RA 1876 (160).
Wood engr. after Cope, 122 x 192mm, repr. as a book illustration with key to the principal figures pasted on the verso, c.1878; copy BM, London, 1895,0617.742.
There is a parody sketch after this picture by Harry Furniss; repr. Furniss 1890b, p.51.
See also Armitage, Calderon, Cope, Horsley, Leighton, Millais.
The composition bears a remarkable resemblance to the etching by H. Woods of the same subject (Graphic, 4 May 1870, p.450–51) and, although details and the figures depicted vary, was perhaps inspired by it.

exh. 1878
Terracotta bust by John Adams-Acton; untraced. Exh. RA 1878 (1519).

publ. 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, head-and-shoulders, seated fifth from the left on the back row of RAs; 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, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, Pettie, Pickersgill, Poynter, Prinsep, Sant, W.H. Thornycroft, Watts, Woolner, Yeames.

publ. 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, full-length, with over-sized hat, first on the right in the second from back 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, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pettie, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, head only, to front, 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.38, fig.33.
See also Alma-Tadema, Ansdell, Barlow, Boehm, Boughton, Calderon, Cope, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy: or, Men of Mark in Costumes of Their Own Design, head and shoulders, profile to left, in Scotsman’s uniform, standing amongst the Scot contingent including William Quiller Orchardson and John Pettie; 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, Foster, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Watts, Yeames.

1884
Oil on canvas, 345 x 297mm oval, by John Pettie, signed and dated, head-and-shoulders, half-profile to right, with side-whiskers and clean-shaven chin; Aberdeen AG, ABDAG004099.

c.1886
Oil on panel by William Fettes Douglas; see NPG 4840.

1887
Oil on canvas, 660 x 419mm, by John Pettie, signed and dated ‘87’, three-quarter-length, standing, profile to left, holding palette and brushes before easel; RA, London, 03/427.

1891
Pen and ink drawing by G. Grenville Manton; see NPG 2820.

1892
Drawing in black chalk and wash, 508 x 355mm, by (William) Walker Hodgson, signed and dated 18 May 1892; untraced. See [Wood] 1984, no.33; and NPG collection 4041(1–5).

Photographsback to top

late 1850s
Albumen print by Herbert Watkins; see NPG P301(45).

late 1850s?
Albumen carte-de-visite, 85 x 55mm, by Maull & Polyblank, whole-length, standing, full-face, right elbow on pillar, left hand in pocket; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.69, COMWG2008.1964; NPG Ax14827. A cropped version of the same image, albumen print, 198 x 156mm, three-quarter-length; NPG Ax27702.

c.1860
Photograph by John Watkins, half-length, full-face looking left, wearing greatcoat buttoned to neck. Engr. W. Murden repr. ILN, 28 Feb. 1861, p.178.

1860s
Carte-de-visite by John & Charles Watkins, vignette head, half-profile to left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1372, COMWG2008.4385; and Bristol CMAG, Album I. MB7227.

Albumen cartes-de-visite by Elliott & Fry, four known poses:
(a) 92 x 57mm, head-and-shoulders, half-profile to right, with bushy sidewhiskers; colls NPG x13925; The Rob Dickins Coll., Watts G., Compton, COMWG2008.540, NPG Ax28925 (vignette); and Archives of American Art, Smithsonian Inst., Washington, DC, Hiram Powers Papers 1819-1903, series 6, box 10, folder 66, no.19 (vignette).
(b) head-and-shoulders, slightly more profile to right with chin raised slightly; V&A, London, PH.409-1978 (and vignette 1706:25/A-1956).
(c) near profile to right; NPG Ax39885.
(d) head-and-shoulders, half-profile to right, looking slightly upwards; The Rob Dickins Coll., Watts G., Compton, COMWG2008.67, COMWG2008.68.

Photograph by John Done & Co., head-and-shoulders, profile to right, with bushy muttonchops. Engr. MA, 1878, p.93.

1863
Photograph by David Wilkie Wynfield; see NPG P73.

1863–5
Albumen carte-de-visite, 91 x 59mm, by Lucas Brothers, three-quarter-length, full-face, standing with palette and brush; NPG Ax7567 and Ax14941.

publ. 1864
Albumen print, 87 x 68mm, by Ernest Edwards, whole-length, standing in photographic studio; colls NPG Ax13912; The Rob Dickins Coll., Watts G., Compton, COMWG2008.939; and loose duplicate NPG x13924; The Rob Dickins Coll., Watts G., Compton, COMWG2008.2238. Publ. Reeve & Walford 1863–7, vol.2, 1864.

mid-1860s
Carte-de-visite by unidentified photographer, vignette of head, looking left. Repr. Rootsweb.

Albumen carte-de-visite, 92 x 58mm, by George Heron Hay, head-and-shoulders, half-profile to right, looking up; NPG Ax17254.

Albumen carte-de-visite by unidentified photographer, head-and-shoulders, wearing muttonchop whiskers and large spotted tie; The Rob Dickins Coll., Watts G., Compton, COMWG2008.937. Repr. Bills & Webb 2007, no.53.

1870s
Carte-de-visite by Elliott & Fry, half-length, seated to right, with hands clasped to front and right elbow resting on arm of chair, almost profile to right with bushy side whiskers; V&A, London, 1706:24/B-1956.

publ. 1880
Woodburytype, 128 x 91mm, by Lock & Whitfield, half-length, looking right, wearing muttonchop whiskers, dark coat, pale waistcoat and striped tie gathered in ring; publ. Cooper 1876–83, ser.4, 1880, no.30; colls NPG x133348 (uncropped) and NPG Ax17614 (oval); The Rob Dickins Coll., Watts G., Compton, COMWG2008.1103.

1882
Albumen prints by Frank Dudman for J.P. Mayall, two known poses:
(a) whole-length to front, seated in an interior in front of a canvas, holding mahlstick; reg. for copyright (by J.P. Mayall) 1883 Sept. 13: National Archives (COPY 1/365/226).
(b) whole-length to left, seated in an interior in front of a canvas, holding palette; reg. for copyright (by J.P. Mayall) 1883 Sept. 13: National Archives (COPY 1/365/227). Repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.9.

reg. 1889
Platinum print, 199 x 154mm, by Ralph Winwood Robinson, three-quarter-length, half-profile to right, seated in own studio, with grizzled hair and full beard, wearing tweed suit; reg. for copyright 1889 Aug. 20: National Archives (COPY 1/397/269); colls NMM, Bradford; and NPG x7362. Repr. Robinson [1892].

late 1880s
Photograph by Elliott & Fry, head-and-shoulders, nearly full-face, with grey hair and full beard. Repr. The Year’s Art 1888, facing p.56.

c.1890s
Photograph by Elliott & Fry, three-quarter-length, half-profile to left, seated, left elbow on chairback, with bushy grey hair and beard.
Engr., head and shoulders vignette, repr. MA, [May] 1893, p.268; a vignette probably from the same photographic session repr. MA, 1900, p.564.

1893
Photograph by unidentified photographer, Thomas Faed aged 67, head-and-shoulders, profile to left, with grey hair and full beard, wearing coat and tie held in clip; coll. Bruce Faed Bainsmith. Repr. McKerrow 1982, p.127.

Dr Jan Marsh