Later Victorian Portraits Catalogue

Self-portrait
By other artists
Possible portrait
Photographs

Self-portraitback to top

1883
Oil on canvas, 345 x 297mm, signed in monogram, half-length, almost profile to left, wearing a hat; Aberdeen AG, ABDAG002599.

By other artistsback to top

1860s–70s
Portrait sketches by various artists, including:
(a) pencil by John Dawson Watson, whole-length, to front, wearing hat, in group, standing in doorway or hall passage; Birket Foster Sketchbook, priv. coll., f.1 (upper right).
(b) pencil by John Dawson Watson, head-and-shoulders to front, wearing hat, at back in group; Birket Foster Sketchbook, priv. coll., f.1.
(c) pencil by Frederick Walker, whole-length, to front, hands in pockets; Birket Foster Sketchbook, priv. coll., f.23 (lower).
(d) pencil by Frederick Walker, inscr. ‘M.B.F enjoying himself at Brighton, No. 1 – Morning’, whole-length, profile to right, riding a penny-farthing; Birket Foster Sketchbook, priv. coll., f.24 (lower).
(e) pencil by Frederick Walker, inscr. ‘M.B.F enjoying himself at Brighton, No. 2 – Night’, whole-length, to front; Birket Foster Sketchbook, priv. coll., f.24 (upper).
(f) pencil by Frederick Walker, whole-length, profile to right, wearing hat, talking to James Malcolm Stewart; Birket Foster Sketchbook, priv. coll., f.30.

publ. 1875
Design by (Edward) Linley Sambourne for At The Academy – “A Picture Puzzle.”, head, three-quarter profile to right, in amongst flowers and vegetation, 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, Frith, Goodall, Herkomer, Hodgson, Leighton, Marks, Millais.

publ. 1884
Drawing by (Edward) Linley Sambourne for Fancy Dress at the Royal Academy; or, Men of Mark in Costumes of Their Own Design., half-length, profile to left, wearing robe and large hood; 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, Frith, Goodall, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Watts, Yeames.

1891
Pencil and wash drawing by (William) Walker Hodgson; see NPG 4041 (1).

Possible portraitback to top

?1880s
?Oil on canvas by John Dawson Watson, half-length, profile to left showing bearded man, possibly (Myles) Birket Foster; untraced; ref. image from NPG SB (Foster).

Photographsback to top

c.1850
Daguerreotype by unidentified photographer, half-length, to left, no beard, wearing a striped waistcoat, jacket and necktie; repr. Reynolds 1984, p.39. One of a pair with his first wife Anne Foster (née Spence), dated to the time of their marriage.

1860s
Albumen prints by unidentified photographer (possibly William Foster?), mostly taken in Surrey, starting roughly in 1862 (but see poses [p], [r], [u], [v], [w] and [x]):
(a) inscr. ‘about 1862,Tigbourne Cottage, Hambledon, Surrey’, almost whole-length to front, in black suit and hat, second from left in group leaning on fence; William Foster ‘Scrap book’, priv. coll., f.1. Repr. Reynolds, 1984, p.88.
(b) whole-length, to front, with his family, third from right standing next to Mary [Polly] Brown; William Foster ‘Scrap book’, priv. coll., f.1. Repr. Reynolds 1984, p.88.
(c) whole-length, to front, standing, right hand on hip, wearing a hat, in an outside garden shelter, first on right in group; William Foster ‘Scrap book’, priv. coll., f.4.
(d) whole-length, to front, sitting on the terrace of The Hill, Witley with Polly Brown; William Foster ‘Scrap book’, priv. coll., f.5. Repr. Reynolds 1984, p.103.
(e) half-length, to front, in Tudor costume, fourth from left standing in group with John Dawson Watson, at a costume party in the garden at The Hill; William Foster ‘Scrap book’, priv. coll., f.5.
(f) half-length, to front, in Tudor costume, fourth from left standing in group with John Dawson Watson, at a costume party in the garden at The Hill; William Foster ‘Scrap book’, priv. coll., f.6. Repr. Reynolds 1984, p.118; and Hacking 2000, p.20.
(g) three-quarter-length, from rear, in costume, leaning on brick gate in foreground in group, to right of the central figure in white; William Foster ‘Scrap book’, priv. coll., f.6.
(h) whole-length, to front, standing outside The Hill, wearing costume, third from left in group with John Dawson Watson; William Foster ‘Scrap book’, priv. coll., f.8.
(i) three-quarter-length, to front, standing outside The Hill, wearing costume, hand on hip, elbow against window, first on left in group with John Dawson Watson; William Foster ‘Scrap book’, priv. coll., f.7.
(j) three-quarter-length, to front, in costume, third from left in group with John Dawson Watson outside The Hill; William Foster ‘Scrap book’, priv. coll., f.10.
(k) whole-length, to front, wearing a hat, outside at The Hill, leaning on house; William Foster ‘Scrap book’, priv. coll., f.13.
(l) whole-length, to front, seated on right, wearing hat, with his family outside The Hill; William Foster ‘Scrap book’, priv. coll., f.17.
(m) head-and-shoulders, seated in horse-drawn carriage, third from left in group, outside The Hill; William Foster ‘Scrap book’, priv. coll., f.21.
(n) whole-length, to front, seated on right side, with his family outside The Hill; William Foster ‘Scrap book’, priv. coll., f.23.
(o) whole-length, to front, wearing hat, left leg crossed over right, leaning against garden rail, on left side in group; William Foster ‘Scrap book’, priv. coll., f.24.
(p) albumen print by an unidentified studio photographer, cut into an oval, probably c.1855, aged 39, half-length, to right; William Foster ‘Scrap book’, priv. coll., f.25. Repr. Reynolds 1984, p.61.
(q) albumen print by unidentified studio photographer, c.1860s, whole-length to right, seated at a table writing; William Foster ‘Scrap book’, priv. coll., f.26.
(r) albumen print by an unidentified studio photographer, c.1870s, head-and-shoulders, profile to left; William Foster ‘Scrap book’, priv. coll., f.26.
(s) albumen print by John Watkins (see below, ‘early 1860s’); William Foster ‘Scrap book’, priv. coll., f.26.
(t) albumen print by Elliott and Fry (see below, ‘early 1860s’); William Foster ‘Scrap book’, priv. coll., f.26.
(u) woodburytype print by Lock & Whitfield (see below, ‘1880’); William Foster ‘Scrap book’, priv. coll., f.26.
(v) albumen print by unidentified studio photographer,c.1870s, half-length to left; William Foster ‘Scrap book’, priv. coll., f.27.
(w) albumen print by unidentified studio photographer, c.early 1850s, three-quarter-length to front, seated holding a book; William Foster ‘Scrap book’, priv. coll., f.27.
(x) albumen print by Elliott and Fry, c.1890s, three-quarter-length to front, seated, holding pencil and paper; William Foster ‘Scrap book’, priv. coll., f.27.
(y) whole-length, to front, wearing hat, elbow against tree, with his family on right at The Hill; William Foster ‘Scrap book’, priv. coll., f.20.

Albumen print by unidentified photographer (William Foster?), cut to circular shape, head-and-shoulders, to front; William Foster ‘Scrap book’, priv. coll., loose print.

1863
Albumen photographs by W. & D. Downey, four known poses:
(a) almost whole-length, seated, to right; The Rob Dickins Coll., Watts G., Compton, COMWG2008.640.
(b) three-quarter-length, looking slightly to right, sitting on the edge of a desk, left hand in pocket; The Rob Dickins Coll., Watts G., Compton, COMWG2008.73.
(c) whole-length, to left, leaning against a desk, left hand resting on a book behind him; The Rob Dickins Coll., Watts G., Compton, COMWG2008.75.
(d) three-quarter-length, to front, left hand in pocket; The Rob Dickins Coll., Watts G., Compton, COMWG2008.538. This is probably the pose reg. for copyright 1863 May 21: National Archives (COPY 1/3) and described as ‘sitting on a devonports [sic], full face, right hand in pocket, left hand resting on left leg’.

reg.1863
Albumen cartes-de-visite, 87 x 58mm, by McLean & Haes, two known poses:
(a) whole-length, slightly to right, left hand in pocket; reg. for copyright 1863 June 13: National Archives (COPY 1/3); NPG Ax14967.
(b) whole-length, to front, slightly profile to left, sitting on edge of bookcase; reg. for copyright 1863 June 13: National Archives (COPY 1/3); NPG Ax7571.

c.1863–4
Albumen print by David Wilkie Wynfield; see NPG P99.

Albumen carte-de-visite, 97 x 74mm, by John Watkins, half-length, standing to front, almost profile to left, leaning with left arm against the back of a chair; colls NPG x46563 and NPG Ax131871 (in Portraits of Members of the Society of Painters in Water Colours 1865, issued by Cundall, Downes & Co.; V&A, London, PH.436-1978; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4354; RA, London, 03/1615; and Birket Foster cartes album, priv. coll.

early 1860s
Albumen cartes-de-visite by Elliott and Fry, two known poses:
(a) quarter-length, torso to left, looking to front; colls NPG x128684 (vignette) and NPG Ax17246; and RA, London, 03/3697.
(b) quarter-length, looking to right, with full beard; colls NPG Ax28974 and NPG Ax131870 (both head-and-shoulders vignette, the latter pasted in Portraits of Members of the Society of Painters in Water Colours 1864, issued by Cundall, Downes & Co.); RA, London, 03/3697; The Rob Dickins Coll., Watts G., Compton, COMWG2008.74; V&A, London, PH.441-1978; and Birket Foster cartes album, priv. coll.

c.1864–6
Albumen carte-de-visite by unidentified photographer, almost whole-length to front, with John Dawson Watson; Birket Foster cartes album, priv. coll.

c.1866
Albumen photograph by Ernest Edwards, three-quarter-length, almost profile to left, seated; The Rob Dickins Coll., Watts G., Compton, COMWG2008.496, COMWG2008.2280. Repr. Reeve & Walford 1863–7, vol.5, Apr. 1866, no.35, p.21.

early 1870s
Albumen cartes-de-visite, 88 x 59mm, by Elliott & Fry, three known poses:
(a) quarter-length, shoulders to front, slightly profile to right, greying beard; NPG Ax18322.
(b) quarter-length, variant pose, slightly more profile to right; V&A, London, 1706:25/B-1956; and Birket Foster cartes album, priv. coll.
(c) quarter-length shoulders to right, profile right; NPG x197106

publ. 1880
Woodburytype print, 115 x 92mm oval, by Lock & Whitfield, quarter-length, half-profile to left, grey beard; colls NPG Ax17611; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1095 (rectangular format), COMWG2008.949 (oval mount); and Birket Foster cartes album, priv. coll. Repr. Cooper 1876–83, ser. 4, 1880; and Campbell Fine Art Cat. no.10, 2003 (123).

1880s
Platinum print by Bryan Hook, three-quarter-length, almost profile to left, standing, hands in pockets; in Silverbeck Album, priv. coll., p.8.

Photograph by unidentified photographer, quarter-length, torso to right, looking to front, shorter beard; untraced. Engr. by Davey repr. ‘Our Artists – Past and Present’, ILN, 14 May 1892, p.591.

late 1880s
Photographs by unidentified photographer, two known poses:
(a) three-quarter-length, half-profile to left, sitting in wicker chair in conservatory, pinstripe trousers, hat in left hand; repr. as halftone in Huish 1890, p.1.
(b) three-quarter-length, almost profile to left, seated in wicker chair, hands clasped on lap; repr. The Year’s Art 1890, facing p.12.

1890s
Photograph by Elliott & Fry, three-quarter-length, seated, torso to right, looking to front, wearing dark jacket, holding pencil and paper; coll. Glasson family album.

Photograph by Elliott & Fry, quarter-length, half-profile to left, white hair and beard, wearing dark buttoned-up jacket; repr. MA, 1899, p.336.

Magdalene Keaney