Later Victorian Portraits Catalogue

Self-portraits
Undated self-portrait
Rejected self-portrait
By other artists
Undated portraits
Doubtful portrait
Photographs
Undated photographs

Self-portraitsback to top

1856
Crayon drawing, signed and dated ‘J. Pettie ‘56’, 7 x 5”’, head-and-shoulders, full-face; untraced; coll. M. Hardie, 1908; ref. Hardie 1908, p.213. Repr. as wood-engr. Strand, vol.5, 1893, p.157.

1881
Oil on canvas, signed and dated lower right, head-and-shoulders in oval, profil perdu to left; Aberdeen AG, ABDAG004100. Ref. Hardie 1908, p.213; repr. Errington 1983, p.106, no.136.

1882
Oil on board, signed and dated ‘J. Pettie 1882’, head-and-shoulders, three-quarters to right, eyes to viewer; Tate, N02434. Exh. RA Winter 1894 (187); ref. Hardie 1908, p.213; repr. Errington 1983, p.105, no.130; and as engr. by M. Dormoy, MA, 1893, p.215 (obits).

Undated self-portraitback to top

Oil on canvas, The Warrior – Self Portrait in 16th Century Armour, head-and-shoulders, profile to left, bareheaded, in armour; Aberdeen AG, ABDAG004109. Repr. Errington 1983, p.106, no.137.

Rejected self-portraitback to top

Oil on canvas, half-length, slightly to right, wearing civic robes with chain of office; priv. coll. Print in NPG SB (Pettie) labelled ‘probably’ Pettie. Not a likeness of John Pettie.

By other artistsback to top

1862
Oil on canvas by George Paul Chalmers, signed and dated ‘G.P. Chalmers ’62’, half-length, head slightly to right; RSA, Edinburgh (no acc. no.). Ref. Hardie 1908, p.213; repr. Errington 1983, p.104, no.129.

c.1877
Pencil drawing 180 x 108mm, by Frederick Bacon Barwell, head-only, profile to right, on same page with portrait studies of Lawrence Alma-Tadema and P.H. Calderon; coll. Scott Thomas Buckle.
See also: Alma-Tadema, Calderon.

exh. 1879
Terracotta bust by George Anderson Lawson; untraced. Exh. RA 1879 (1565).
Bronze bust; copies colls Glasgow M., S.261; and SNPG, Edinburgh, PG 1091. Copy coll. Mrs Elizabeth Ann Pettie, 1908; ref. Hardie 1908, p.213.

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, slightly profile to left, eleventh from the right 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, Faed, Fildes, Frith, Goodall, Herkomer, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pearson, 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, profile to left, second from right on 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, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, Woolner.

1883
Watercolour sketch by Frank Holl, signed and dated ‘F.H. /1883’, seated at centre, head bowed, among nine figures around a table, with drawing boards; BM, London, 1914,0128.1.

publ. 1883
Drawing by (Edward) Linley Sambourne for Royal Academy May-Pole Dance., signed and dated Apr. 1883, whole-length, standing at the bottom of the maypole, wearing a kilt; 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, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Sant, Watts, Yeames.

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, almost profile to left, in Scottish costume, standing amongst the Scots contingent; 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, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Pickersgill, Poynter, Prinsep, Watts, Yeames.

publ. 1885
Drawing by (Edward) Linley Sambourne for The Royal Academy Argonauts, half-length, fourth from left in a line of RA oarsmen, working oars fashioned from oversized artist’s palettes; untraced. Engr. by Swain repr. Punch, 9 May 1885, p.219; McMaster 2008, p.71, fig.19; and McMaster 2009, p.45, fig.26.
See also Alma-Tadema, Calderon, Holl, Horsley, Leighton, Millais, Orchardson, Poynter, Watts.

Drawing by (Edward) Linley Sambourne for The Pictures of 1885 and the Men Who Paint Them., signed, head only, facing forwards, attached to body of a butterfly at bottom left; untraced. Repr. ‘The Pictures of 1885’, Pall Mall Gazette ‘Extra’, no.17, 1885, frontispiece.
See also Alma-Tadema, Barlow, Holl, Leighton, Millais, Orchardson.

publ. 1886
Drawing by (Edward) Linley Sambourne for Art in Olympus; or, the Academia of the Gods., head and shoulders, in shadow at top left-hand corner of composition; untraced. Repr. Punch, 8 May 1886, p.218; McMaster 2008, p.74, fig.31; and McMaster 2009, p.64, fig.38.
See also Alma-Tadema, Barlow, Calderon, Frith, Goodall, Holl, Horsley, Leighton, Millais, Orchardson, Poynter, Watts.

1887
Oil painting, 305 x 254mm, by George Reid, head; untraced; coll. Mrs Hamish MacCunn, 1908; ref. Hardie 1908, p.213.

publ. 1888
Drawing by (Edward) Linley Sambourne for Royal Academy Cotillion at Burlington House., signed and dated May 1888, whole-length, wearing cap and feather, at left-hand margin of composition; 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, Hodgson, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter.

Two drawings from life by Charles Paul Renouard}:
(a) initialled by artist bottom left, three-quarter-length, seated to right, profile to left, holding palette and brushes, at work on canvas; Louvre, Paris, RF1714.A, Recto. Repr. as process print Graphic, 4 Aug. 1888, p.136 and 25 Feb. 1893, p.199 (in roundel).
(b) initialled by artist bottom left, whole-length, standing, profile to left, with palette and brush in front of easel; untraced. Repr. as process print engr. by Lydon Graphic, 4 Aug. 1888, p.137; and Daily Graphic, vol.13, 22 Feb. 1893, p.4 (captioned ‘Mr John Pettie R.A. at work on his great picture “The Traitor”. (Sketched from life in 1888 by Paul Renouard.)’).

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

Drawing by Leonard Raven-Hill, signed and dated 1891, three-quarter-length, facing left, with brushes and palette in studio; untraced. Repr. AJ, 1891, p.183.

1892
Oil on canvas by Arthur Stockdale Cope, signed and dated 1892, three-quarter-length, standing to left in front of easel, with palette and brushes; RA, London, 03/1112 (cut down). Exh. RA 1892 (982); ref. Hardie 1908, p.213; repr. Cassell’s RA Pictures 1892, p.68; and The Year’s Art 1893, p.162.

publ. 1892
Drawing by unidentified artist, based on an unidentified photograph, vignetted head; untraced. Repr. ‘The Pictures of 1892’, Pall Mall Gazette ‘Extra’, no.62, 2 May 1892, p.15 (‘Portraits of the RAs and ARAs’).

c.1892
Pen and ink drawing by Reginald Cleaver; see NPG 4245.

early 1890s
Oil on millboard by James Archer, head-and-shoulders, three-quarters to right; SNPG, Edinburgh, PG 720.

Undated portraitsback to top

Oil on millboard by George Paul Chalmers, head-and-shoulders, head lowered and turned to right; SNPG, Edinburgh, PG 1423. Repr. Errington 1983, p.107, no.140.

Etching by Léopold Lowenstam, small portrait in margin of etching of Pettie’s portrait of George Paul Chalmers, remarque proof; untraced. Ref. Hardie 1908, p.213.

Doubtful portraitback to top

Oil on canvas attributed to Frank Duveneck, half-length to right, holding palette and brushes; untraced; formerly Fine Arts M. of San Francisco; Bonhams, San Francisco and Los Angeles, 12 Dec. 2005 (9). Print in SNPG Reference Section shows a man too old to be in mid-50s, Pettie’s age at death.

Photographsback to top

early 1860s
Photograph by William P. Truefitt, Edinburgh, half-length, full-face, seated, holding top hat on his knees, with the Edinburgh Sketching Club (on board ship?), 13 figures (back row, left to right: William Fleming Vallance, George Hay, John Blake McDonald, William Ewart Lockhart, Thomas Graham, William McTaggart, Otto Leyde, Robert Purves Bell, Keeley Halswelle; front row, left to right: George Paul Chalmers, John Pettie, Steuart [A Stewart?], E.L. Johnston; copies RSA, Edinburgh, no acc. no.; and priv. coll., Glasgow (with inscr.).

publ. 1866
Albumen print by John Watkins, head-and-shoulders, three-quarters to left, with whiskers, moustache and clean-shaven chin; copies RA, London, 05/4312; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.197 and COMWG2008.163.198.
Wood-engr. by ‘JM’ repr. ILN, Supplement, 30 June 1866, p.637.

1860s
Albumen cartes-de-visite by Elliott & Fry, two known poses:
(a) head-and-shoulders, profile to left, looking ahead; NPG Ax14858.
(b) head-and-shoulders, profile to left, eyes lowered; NPG Ax28960.

c.1870
Photograph by George Washington Wilson, Aberdeen, head-and-shoulders, head turned to right. Repr. as wood-engr. Strand, vol.5, 1893, p.157 (captioned ‘Age 30’).

1874
Photograph by Elliott and Fry, head-and-shoulders, head turned to left; repr. as wood-engr. by R. Taylor in unidentified periodical, 2 May 1874 (no p. no.), cutting NPG SB (Pettie).
Perhaps connected with albumen carte-de-visite by unidentified photographer, head-and-shoulders, head turned to left; coll. Birket Foster cartes album; priv. coll.

reg. 1874
Photographs by John Jabez Edwin Mayall, reg. for copyright 1874 June 25: National Archives (COPY 1/25) (no copies), two known poses:
(a) bust, nearly full-face, right ear shown.
(b) bust, head profile to right.

c.1880
Photograph by Fradelle & Marshall, three-quarter-length, seated to right, left hand on thigh; repr. as wood-engr., Strand, vol.5, 1893, p.157 (captioned ‘Age 40’).

publ. 1881
Photograph by Imperial Photographic Co., head-and-shoulders, slightly to right; repr. as wood-engr. MA, 1881, p.12.

publ. 1882
Woodburytype by Lock & Whitfield, head-and-shoulders, slightly to left; repr. Cooper 1876–83, ser. 6, 1882; copies NPG x12723 and NPG Ax17664; SNPG L., Edinburgh, 71.023/5-6; The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.999 and COMWG2008.163.2138; and MEPL, London, 10087365. Repr. as halftone, The Year’s Art 1888, facing p.56.
This is the prime image for Pettie.

publ. 1883
Platinum print by Frederick Hollyer, half-length to left, head turned to viewer, wearing a cap; V&A, London, 7770-1938. Repr. as wood-engr. by ‘GK’, Harper’s Monthly Magazine (European ed.), Nov. 1883, vol.6, p.846.

reg. 1883
Albumen prints by Frank Dudman by J.P. Mayall, two known poses:
(a) whole-length, head turned to viewer, seated by easel in studio; reg. for copyright 1883 Sept. 13: National Archives (COPY 1/365/229); photogravure by Sampson Low, Marston, Searle & Rivington publ. Stephens 1884, part 3, pl.3; colls NPG Ax27837; RA, London, 05/4673; MEPL, London, 10172491; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.3745. Repr. Maas 1984, p.48.
(b) whole-length, head in profile, seated by easel in studio; reg. for copyright 1883 Sept. 13: National Archives (COPY 1/365/228).

1880s
Cabinet card by unidentified photographer, head-and-shoulders, slightly to right, looking straight ahead; The Rob Dickins Coll., Watts G., Compton, COMWG2008.163.348.

Platinum prints by B. or A.J. Hook, two known poses:
(a) half-length, head turned to right, seated to left, in checked jacket, holding pipe, out of doors; Silverbeck Album, priv. coll., p.49.
(b) whole-length to right, at easel, leaning against tree trunk, with palette and brushes, wintery background; Silverbeck Album, priv. coll., p.50.

publ. 1892
Platinum print by Ralph Winwood Robinson, three-quarter-length, slightly to left, head three-quarters to left, seated with brush and palette; prints colls NPG x7385; and RA, London, 06/1033. Repr. Robinson 1892; and as head-and-shoulders detail by unidentified engraver Black and White, 25 Feb. 1893, p.219 (obits).

publ. 1893
Photograph by Raymond Lynde, head-and-shoulders to left, wearing a broad white tie; repr. AJ, 1893, p.206 (obits); and as engr. by unidentified wood-engraver, Strand, 1893, p.157.
Pen and ink drawing by Herbert Johnson after Lynde repr. Daily Graphic, 22 Feb. 1893, p.4 (obits).

Photograph by Elliott & Fry, head-and-shoulders to left; engr. by Paul Hermann Naumann repr. ILN, 25 Feb. 1893, p.234 (obits).

1890s
Photograph by Raymond Lynde, head-and-shoulders to right; repr. as wood-engr., Strand, vol.5, 1893, p.157 (captioned ‘Present day’).

Undated photographsback to top

Photogravure by unidentified engraver after unidentified photographer; SNPG, Edinburgh, PGP R 1135.11 (no details).

Platinum print by James Cox, three-quarter-length, seated to right, in monk’s habit, holding a book and a magnifying glass; SNPG, Edinburgh, PGP 37. VOL 11.10.
Two other prints in monk’s habit (no details), from James Cox album 11; SNPG, Edinburgh, PGP 37.VOL 11.23 and SNPG PGP 37.VOL 11.24.

Carol Blackett-Ord