Later Victorian Portraits Catalogue
Elizabeth Southerden (née Thompson), Lady Butler (1846-1933), Military painter; wife of Sir William Francis Butler
Self-portraitsback to top
?Oils, three-quarter-length, at easel with painting of soldiers; priv. coll. See Cheney, Faxon & Russo 2000, p.155 (not ill.).
Possibly same as a self-portrait, oil on board, 390 x 260mm, signed, inscr. and dated ‘66’; Phillips, 26 June 1984 (172).
Pencil drawing, half-length, three-quarters to right, with sketchbook; coll. Mrs Marie Kingscote Scott. Repr. Usherwood & Spencer-Smith 1987, no.10.
Oil on card; see NPG 5314.
Pen and ink sketch, inscr. ‘My Studio. Florence 1869’, half-length, on terrace; untraced. Repr. Butler 1923, facing p.58.
By other artistsback to top
Design by (Edward) Linley Sambourne for Essence of Parliament, whole-length in group; untraced. Repr. Punch, 8 Aug. 1874, p.55.
See also Marks, Millais, Sant.
Design by Leslie Ward (‘Spy’), half-length to left, with sketchbook; untraced. Repr. as wood engr. Graphic, vol.11, no.284, 8 May 1875, cover.
Design by (Edward) Linley Sambourne, At the Academy – “A Picture Puzzle.”, head only, to front, attached to a large branch with leaves, with others; untraced. Repr. Punch, 12 May 1875, p.222; Herkomer 1910–11, vol.1, facing p.82; McMaster 2008, p.66, fig.7; McMaster 2009, p.27, fig.14.
See also Alma-Tadema, Calderon, Du Maurier, Fildes, Foster, Frith, Goodall, Herkomer, Hodgson, Leighton, Marks, Millais.
Design by (Edward) Linley Sambourne for Academicians and Outsiders – A Battle-piece., whole-length in group; untraced. Repr. Punch, 26 June 1875, p.278.
See also Alma-Tadema, Ansdell, Boughton, Calderon, Cope, Du Maurier, Frith, Herkomer, Horsley, Leighton, Marks, Millais, Orchardson, Sant.
Portrait (no further details). Repr. Harper’s New Monthly Magazine (US ed.), vol.54, 1877, p.170.
Design by (Edward) Linley Sambourne for Royal Academy Canvas-backs: or, A High (Art) Tide., head attached to body of a duck, to front, riding the crest of a wave in the background, behind Mr Punch; untraced. Repr. Punch, 12 July 1879, p.6; McMaster 2008, p.69, fig.15; and McMaster 2009, p.38, fig.22.
See also Alma-Tadema, Ansdell, Armitage, Boughton, Calderon, Cope, Du Maurier, Fildes, Goodall, Herkomer, Holl, Horsley, Leighton, Marks, Millais, Orchardson, Poynter, Prinsep, Sant, Watts.
Pen and ink sketch by unidentified artist (?after photograph), head-and-shoulders to left. Repr. as zincograph, Daily Graphic, vol.5, ‘First Birthday Number’, March 1891, p.3.
Undated portraitsback to top
Oil on canvas by Louis William Desanges, head-and-shoulders to left; priv. coll. (Butler descendants).
Pen and ink drawing by Harry Furniss, head-and-shoulders to left; untraced. Repr. Furniss 1923, facing p.92.
Photographsback to top
Albumen cartes-de-visite by Fradelle & Marshall, two known poses:
(a) half-length, full-face, looking straight ahead, arms folded on chairback; colls Getty Images, 3070246; MEPL, London, 10146950. Repr. London Sketch-Book, Sept. 1874, cover. Also repr. in lithograph (with additional background) by Montague Chatterton & Co., Touchstone, 21 Dec. 1878; impression NPG D1156.
This Fradelle & Marshall pose is the primary image for Elizabeth Butler.
Same pose cropped to bust; The Rob Dickins Coll., Watts Gallery, Compton, COMWG2008.22. Repr. Maas 1984, p.73; Bills & Webb 2007, no.58; and wood engr. by R. & E. Taylor, captioned ‘From a Photograph by the Stereoscopic Company’ (sic), cutting inscr. '20 June 1874', NPG SB (Butler).
(b) half-length, head turned three-quarters to left; colls NPG Ax14902; V&A, London, 854-1956, inscr. ’30 September 1874’.
Photograph by W. & D. Downey, three-quarter-length, seated to right; MEPL, London, 10072269. Repr. as wood engr. with facsimile signature, MA, 1879, p.257.
Photograph by J. Hawke, head-and-shoulders to left, with ?medal around neck. Repr. as wood engr., Graphic, 6 Dec. 1890, p.634; as pen and ink thumbnail sketch, Graphic, ‘First Birthday Number’, Dec. 1890, p.3 (supplement); and as halftone by J.S. Virtue & Co., The Years Art 1893 and Q [?Quarterly], 18 Feb. 1893.
Photograph by unidentified photographer, three-quarter-length, standing to right, with palette and brushes; coll. Viscount Gormanston. Repr. Usherwood & Spencer-Smith 1987, fig.11.
Photographs by H. Virtue & Co., whole-length, profile to right, at easel in studio, Dover Castle, two known poses:
(a) whole-length, profile to right; print NAM, London. Repr. as halftone Meynell 1898, p.1; Usherwood & Spencer-Smith 1987, frontispiece; Country Life, 21 May 1987, p.126; and Gillett 1990, p.174, fig.26.
(b) whole-length, three-quarters facing. Repr. as halftone Meynell 1898, p.22; and Fish 1901, p.329.
Photograph by unidentified photographer, whole-length, seated with eldest son Patrick; coll. Mr Rupert Butler. Repr. Usherwood & Spencer-Smith 1987, fig.14.
Photograph by unidentified photographer, half-length, in hat and veil, at Water Colour Society exhibition [?Dublin]. Repr. Irish Times, 19 May 1925; republ. Irish Times, 5 Oct. 1933 to mark Butler’s death.
1) This drawing is approximately datable to the 1890s by hairstyle. Compare with the photograph by an unidentified photographer, c.1893, above.
2) A public image was needed after the success of the Roll Call in spring 1874: ‘Of course, the photographers began bothering. The idea of my portraits being published in the shop windows was repugnant to me. Nowadays  one is snapshotted whether one likes it or not, but it wasn’t so bad in those days; one’s consent was asked, at any rate. I refused. However, it had to come to that at last. My grandfather simply walked into the shop of the first people that had asked me, in Regent Street [Fradelle & Marshall], and calmly made the appointment. I was so cross on being dragged there that the result was as I expected – a rather harassed and coerced young woman, and the worst of it was that this particular photograph was the one most widely published.’ Butler 1923, p.114.