Later Victorian Portraits Catalogue

By other artists
Photographs

By other artistsback to top

1902
Etching by C.J. Watson, possibly based on an untraced sketch by William Strang, head-and-shoulders to left, wearing smock, with marine background; colls AWG, London; and Garton & Cooke, London, Cat.27, Autumn 1983 (12, ill.). Massé 1935, no.9 (pl.5) describes this print as a sketch by Strang.

exh. 1902
Marble medallion by T. Stirling Lee; untraced. Exh. RSPP 1902 (24, coll. Frank Short). [1]

c.1914
Chalk drawing by Albert Wallace Peters; see NPG 3776.

exh. 1918
Oil on canvas by Arthur Hacker, three-quarter-length, full-face, seated in studio holding sheet and magnifying glass, wearing smock; RA, London, 03/1162. Exh. RA 1918 (71); repr. RA Illustrated 1918, p.48; and Newbolt 1930, p.8.

1921
Lithographic chalk drawing by William Rothenstein; see NPG 4804.
Related lithograph; colls NPG D20899; Deval and Muir, Bishop’s Stortford, Cat.6 [undated sale catalogue, 1970], (180 and 181); and Campbell Fine Art, Tunbridge Wells, Cat.11, Summer 2004 (388). Ref. Rothenstein 1926, no.132.

1922
Black and white chalk drawing by William Rothenstein, half-length, almost profile to left, wearing smock; RA, London, 03/133. Exh. RA 1922 (1088).

Drypoint by Ernest Lumsden, half-length, seated to right at table, wearing smock; Garton & Cooke, London, Cat.27, Autumn 1983 (5, ill.).

1925
Oil sketch by Fred Roe, dated 9 July 1925, head-and-shoulders, full-face; RA, London, 03/700.

1931
Drypoint by Malcolm Osborne, half-length, seated to right at studio table; impressions colls BM, London, 1945,1208.133 (trial proof) and 1932,0407.1); and NPG D31764 (fine impression with inscribed dedication to Stanley Anderson, dated 9 Mar. 1932); NG Canada, Ottawa (trial proof, ill. Schoenherr 1997, p.24); Phillips, 7 May 1973 (estate of Dorothea Short, P57) and 30 Mar. 1999 (288); Sotheby’s, 26–7 Nov. 1979 (616); FAS, London, 3–14 Apr. 2000 (145, ill.) and FAS 125 Years 1876–2001, 2001 (94); Wolseley Fine Arts, London, 1999 (61, ill.) and 2002 (51, ill.); Campbell Fine Art, Tunbridge Wells, Cat.11, Summer 2004 (389, ill.); and Bonhams, 22 Sept. 2010 (139). Exh. RA 1932 (1163); repr. RA Illustrated 1932, p.87.
The prime image for Short.

1944–5
Oil on canvas by John Bulloch Souter, three-quarter-length, profile to left, seated with rug over knees; RA, London, 03/701.


Undated portrait
Engr. by Constance Mary Pott; untraced; Phillips, 7 May 1973 (P63). [2]

Photographsback to top

publ. 1893
Photograph by Frederick Hollyer, bust, almost profile to left, wearing soft cap, repr. The Year’s Art 1893, facing p.108.
The earliest known image of Short.

?1890s
Albumen print by unidentified photographer, half-length, full-face, arms folded; coll. AWG, ‘Portraits of Old Brethren’ album, vol.2, p.25.

1914
Photographs by Bassano, three known poses:
(a) platinotype, bust slightly to left, full-face; NPG x17398 (signed, inscr. and dated ‘To my friend Sir Isidore Spielmann Frank Short Decr. 1914’).
(b) vintage print, bust slightly to right, full-face; NPG x84755 and whole-plate glass neg. NPG x19242.
(c) whole-plate glass neg., head-and-shoulders, near profile to right; NPG x19243.
These are late but the clearest images of Short.

late 1930s
Photographs by unidentified photographer, at Print Collectors Club meeting, Pall Mall G., London, two known poses:
(a) half-length to left, standing by printing press, holding print in both hands.
(b) whole-length to left, holding cup of tea.
Royal Soc. of Painter-Printmakers, Bankside G., London.


Footnote
1) A ‘marble relief’ of Short by T.S. Lee belonged to Short’s daughter Dorothea in the 1950s (see Hardie 1959, p.758) but it was not in the sale of her estate, Phillips, 7 May 1973.
2) See the dedication by Rothenstein on one of his prints of Short: ‘To my friend and colleague Miss Pott, gratefully, W. Rothenstein / July 1924’; Campbell Fine Art, Tunbridge Wells, Cat.11, Summer 2004 (388, ill.).

Carol Blackett-Ord