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Later Victorian Portraits Catalogue

Mrs Patrick Campbell (Beatrice Stella Campbell (née Tanner)) (1865-1940), Actress; former wife of Patrick Campbell, and later wife of George Frederick Myddleton Cornwallis-West

I. IN PRIVATE CHARACTER
Paintings, drawings, sculptures and prints
Undated portraits
Photographs
II. IN STAGE CHARACTER (alphabetically by play)
Footnotes

I. IN PRIVATE CHARACTERback to top


Paintings, drawings, sculptures and printsback to top


1880
Oil on canvas by Edwin Longsden Long, signed and dated, half-length, three-quarters to left, in Balkan dress, holding casket; untraced; Sotheby’s, 1 Oct. 2003 (177).

before 1895
Portrait by Philip Burne-Jones; untraced, formerly in Campbell’s drawing room. Ref. Griffith 1895, p.266; and Fitzgerald 1975, p.244 (‘an extravagant picture by Phil, representing “Stella” gazing longingly at the stars, while worshippers looked upon her from below as a star’).

Watercolour sketch by one of Campbell’s two older sisters; untraced. Ref. Griffith 1895, p.266.

1896
Chalk drawing on brown paper by William Rothenstein, head, profile to left; untraced. Ref. Rothenstein 1926, p.11, no.89; and Dent 1961, p.76.

exh. 1897
Painting by Philip Burne-Jones, The Vampire, whole-length, profile to left, strongly resembling Mrs Campbell, straddling recumbent man; untraced. Exh. New G., London, Apr. 1897; and New York, 1902 (no further details); ref. Fitzgerald 1975, p.274; and Mitchell 2012; [1] repr. New G. exh. cat., 1897; and Kipling 1898. See Wikimedia Commons.

Painting by Walford Graham Robertson, half-length seated, profile to left; untraced. Exh. SPP, 1897 (58). Repr. MA, 1900, p.80.

The artist wrote: ‘She very kindly sat to me for two portraits, as well as for many slighter sketches.’ [2] For other portraits of Campbell by Robertson see below, ‘In private character, Paintings, drawings, sculptures and prints, exh. 1902’ and ‘undated’.

1898
Pastel by Alice Pike Barney, head-and-shoulders, profile to left; Renwick G., Smithsonian American Art M., Washington DC, 1952.13.15.

Charcoal and pencil drawing by John Singer Sargent, signed and dated 26 June 1898, head appearing over left shoulder of composer Gabriel Fauré; priv. coll. Repr. Peters 1984, between pp.150–51; and Ormond & Kilmurray 2015, no.45, p.137. [3]

exh. 1898
Miniature by Dora Mann, no further details; untraced. Exh. SPP, 1898 (267).

c.1898–9
Portrait by Violet Manners, Marchioness of Granby, no further details; untraced. Exh. SPP 1898 (169).

Pencil drawing by Violet Manners, Marchioness of Granby, signed and dated 1899, no further details; priv. coll. Exh. Michael Parkin Fine Art Ltd, 1985 (148).

Lithograph by Violet Manners, Marchioness of Granby, head-and-shoulders, profile to left; NPG D23394. Repr. Manners 1900, pl.44; and Peters 1984, between pp.150–51.

See NPG Portrait Set ‘Lithographs after Violet, Duchess of Rutland lithographs, 1886-1900’.

exh. 1899
Painting by Hugh de Twenebrokes Glazebrook, whole-length, to left, head turned to viewer, in evening dress, hands clasped; untraced. Exh. RA 1899 (301); repr. [Cassell] 1899, p.93; and Alec-Tweedie 1904 (no page no.; see Wikimedia Commons).

1890s
Oil on canvas by Charles Edward Hallé, bust, full-face; priv. coll. (see Bridgeman Images MAA199986). Exh. Maas G., London, 2000 (49).

exh. 1902
Painting by Walford Graham Robertson, three-quarter-length seated, facing, possibly in part; untraced. Exh. New G. 1902 (no further details); repr. Pall Mall Magazine Extra, 1902, p.112.

exh. 1906
Oil on canvas by William Bruce Ellis Ranken, whole-length seated, profile to right, wearing dark hat; Bristol Museums, Galleries & Archives, K1634. Exh. RA 1906 (241).

1907
Oil on canvas by Charles Haslewood Shannon, signed and dated, three-quarter-length seated, to right, at keyboard, mirror in background; Tate, N02995. Exh. SPP, 1909 (107).

exh. 1908
Watercolour drawing by Florence E. Turner, no further details; untraced. Exh. RA 1908 (1361).

1910
Portrait by Prince Pierre Troubetskoy, signed and dated, whole-length seated, to right, in a black dress; priv. coll., 1984. Repr. Campbell 1922, facing p.172; and Peters 1984, between pp.246–7.

1912
Oil on canvas by John Lavery, signed and dated, half-length, three-quarters to left, eyes facing; untraced; Christie’s, 18 Dec. 2012 (53).

‘There was a very good portrait of Mrs. Patrick Campbell, the actress, in Sir John Lavery’s studio which had been a good deal admired by people who knew the lady but it had not had her own approval.’ [4]

1914
Gouache drawing by unidentified artist, inscr. ‘Mrs Patrick Campbell announcing the Relief, Royalty Theatre’, whole-length, facing, on stage, the audience waving banknotes; V&A, London, S.375-2011. Illustration for unidentified publication, possibly Penny Illustrated Paper.

A charity, the National Relief Fund, was set up 7 Aug. 1914, soon after the start of WWI.

publ. 1914
Portrait by Harold Speed, whole-length, wearing broad hat and long coat and gown, left hand on hip; untraced. Repr. Colour, Oct. 1914, p.91; see MEPL, London, 10086641. For this or further portraits of Campbell by Speed, see exh. SPP, 1909 (104) and RSPP, 1913 (44).

c.1920
Ink silhouette by J.B. Oakley, head-and-shoulders, profile to right, wearing hat; V&A, London, S.759:2013.

1922
Pencil and watercolour caricatures by Max Beerbohm, dated July 1922, occasioned by the publication of Campbell 1922, six known drawings:

(a) inscr. ‘Mrs Campbell and Mr Shaw as they respectively appeared to themselves’, whole-length, as a girl in a pinafore, holding hands with George Bernard Shaw; priv. coll. Ref. Hart-Davis 1972, p.136, no.1502; repr. Dent 1961, facing p.240; and Peters 1984, between pp.342–3.

(b) inscr. ‘Mrs Campbell and Mr Shaw as they respectively appeared to each other’, whole-length, holding hands with Shaw (pendant to (a)); priv. coll. Ref. Hart-Davis 1972, p.136, no.1503; repr. Dent 1961, facing p.241; and Peters 1984, between pp.342–3.

(c) inscr. ‘Berny and Stell, Revue Artistes’, dancing on stage with Shaw; untraced. Ref. Hart-Davis 1972, p.136, no.1504.

(d) inscr. ‘The Babes in the Wood (G.B. Shaw’s version of that tale)’, whole-length, facing, in a nightgown, with Shaw; untraced. Exh. Piccadilly Galleries, Mar. 1996 (39). Ref. Hart-Davis 1972, p.136, no.1505.

(e) inscr. ‘G.B.S. (to Mrs Campbell): “But why do you call me ‘Joey’? I’m only the pantaloon”’, on stage as Columbine, with Shaw; untraced. Ref. Hart-Davis 1972, p.136, no.1507.

(f) inscr. ‘Who mashed Stella? See Collected Poems of G.B. Shaw’, as a barmaid polishing a glass, with Shaw at bar; untraced. Ref. Hart-Davis 1972, p.136, no.1508.


Undated portraitsback to top


Portraits by Edward Burne-Jones; untraced.

‘Painters of course seized upon Mrs. Campbell as a most inspiring subject; even Burne-Jones, who hated drawing from other than professional models, did several studies of her’ (Robertson 1931, p.257).

Pen and ink caricature by Philip Burne-Jones, whole-length to right, wearing extravagant hat and walking small dog; priv. coll. Repr. Peters 1984, between pp.150–51.

Portrait by Florence Kate Upton, half-length facing, left hand raised to cheek; priv. coll. Repr. Davis 1992 (no further details).

Oil on canvas sketch, attributed to Walford Graham Robertson, half-length to left, holding rose; NT, Smallhythe Place, Kent, NT 1118243.

Formerly identified as a portrait of Ellen Terry when it was found underneath another portrait of Terry during conservation in 1989.

Drawing by Lewis Baumer, no further details; untraced. Exh. Abbott & Holder, London, Sept. 1983 (165).

An illustration for Pick-Me-Up.

Pencil drawing by Charles Haslewood Shannon, three-quarters to right at keyboard, study for untraced lithograph; BM, London, 1938,1008.80.


Photographsback to top


c.1880
Photograph by Vernon Kaye, half-length to left, with long hair, wearing thick lacy bodice. Repr. Peters 1984, facing p.150.

Repr. as wood engr. by ‘RT’, Strand, vol.13, 1897, p.551, captioned ‘age 15’.

c.1885
Photograph by Vernon Kaye, head-and-shoulders, to right. Repr. as wood engr. by ‘RT’, Strand, vol.13, 1897, p.551, captioned ‘age 20’.

c.1890
Photograph by unidentified photographer, half-length, facing, head resting on left hand, with son Beo looking over her shoulder; priv. coll. Repr. Campbell 1922, facing p.50; and Peters 1984, between pp.150–51.

Photograph by Window & Grove, head-and-shoulders, full-face. Repr. as wood engr. by ‘RT’, Strand, vol.13, 1897, p.551, captioned ‘age 25’.

1893
Platinotypes by Frederick Hollyer, three known poses:

(a) three-quarter-length seated, against panelled background; see NPG P229.

(b) whole-length, full-face, body to left, on low seat in front of window, wearing simple light dress; V&A, London, 7860-1938. Repr. Lucie-Smith 1975, pl.151; and Holroyd 1979, p.165.

(c) half-length, looking to right, in front of window, wearing same dress as (a); V&A, London, Portraits of Many Persons of Note Photographed by Frederick Hollyer, vol.3, inscr. ‘1895’ (date of printing; no further details). Repr. Campbell 1922, facing p.86; and Dent 1961, facing p.112.

Repr. as halftone Sketch, 14 Nov. 1894, p.109; NPG x137823.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008.

reg. 1893
Photograph by Alfred Ellis, seated at table, three-quarters to face, left arm on arm of chair; reg. for copyright 1893 July 18: National Archives (COPY 1/413/171).

Photographs by Alfred Ellis, apparently (but not certainly) in private dress, six poses reg. for copyright 1893 July 21 and 1893 Aug. 24; no further details.

reg. 1894
Photographs by Hayman Seleg Mendelssohn, in Aesthetic dress, four poses reg. for copyright 1894 July 25, including whole-length, to right, looking to right, left arm resting on urn and hand to head, ‘Mendelssohn’ inscr. on pedestal: National Archives (COPY 1/417/266). Repr. as halftone Black & White, 2 Jan. 1897, p.21 (full-page plate).

early 1890s
Photograph by unidentified photographer, head-and-shoulders, profile to right, wearing hat; Enthoven Coll., M. of London. Repr. Peters 1984, between pp.150–51.

reg. 1898
Photographs by William Crooke, Edinburgh, eight poses in private dress, two with hat and veil; reg. for copyright 1898 May 23 (no further details).

1890s
Photographs by unidentified photographer with her children Stella and Beo, two known poses:

(a) whole-length, full-face, seated. Repr. Campbell 1922, facing p.222.

(b) head-and-shoulders, looking down to left. Repr. Peters 1984, between pp.150–51.

Photographs by Walery, wearing broad fur stole over lacy bodice, possibly in character, three known poses:

(a) half-length seated, facing, head resting on right hand; Billy Rose Theatre Division, New York PL, image ID TH-00204.

(b) half-length seated, head to right, looking to right; Garrick Club, London, Photograph Box A.

(c) half-length seated, eyes to right; V&A, London, S.143:188-2007.

Photograph by London Stereoscopic & Photographic Co., head-and-shoulders vignette, looking to left; V&A, London, S.143:176-2007.

Photograph by unidentified photographer, head-and-shoulders, looking up to right; V&A, London, S.143:173-2007.

Photograph by unidentified photographer, half-length in opulent dress, possibly in character; formerly Rischgitz Coll.; see Getty Images 3317042.

reg. 1900
Photograph by Alfred Ellis, apparently in private dress; reg. for copyright 1900 Jan. 4 (no further details).

Photographs by Alfred Ellis, against a screen, apparently in private dress, three poses reg. for copyright 1900 Mar. 2 (no further details).

c.1900
Photograph by Langfier Ltd, bust, facing, head turned to left, wearing furry white collar. Photogravure publ. E. Wrench; V&A, London, S.1669-1986.

1901
Photographs by unidentified photographer, wearing lacy dress and holding small griffon dog, two known poses:

(a) half-length seated, full-face. Repr. Peters 1984, facing p.151, where dated 1901.

(b) three-quarter-length standing, full-face; Billy Rose Theatre Division, New York PL, image ID TH-00215.

reg. 1901
Cabinet card by Charles & Robert Russell, Belfast, with note ‘taken on July 4th 1901’; reg. for copyright 1901 July 4 (no further details).

Photographs by London Stereoscopic & Photographic Co., two poses reg. for copyright 1901 Sept. 3:

(a) head-and-shoulders, full-face, wearing evening dress and pearl necklace; V&A, London, S.143:186-2007.

(b) half-length seated, full-face, left hand raised to shoulder; no further details.

c.1901
Photographs by Burr MacIntosh studio, New York, Greek key frieze pattern on background wall, three known poses:

(a) whole-length standing, arms outstretched; Billy Rose Theatre Division, New York PL, image ID TH-00214.

(b) half-length on couch, head on right hand; see Broadway Studios website.

(c) whole-length on couch, head on left hand. Repr. Dent 1961, facing p.129 (captioned as in Mr and Mrs Daventry, but Campbell did not play this on her 1901–2 American tour).

1902
Gelatin silver print by Arnold Genthe, San Francisco, head-and-shoulders, profile to left, with dog; prints colls L. of Congress, Washington, DC, LC-G4085-0421; and J. Paul Getty M., Malibu, CA, 84.XP.1005.2.

Photographs by George Charles Beresford, three known poses:

(a) head, turned three-quarters to right, bare shoulders; platinum print NPG x5039.

(b) bust, head to right, wearing veil; dry-plate glass negative NPG x6459.

(c) bust, head to right, wearing lacy top; dry-plate glass negative NPG x6460.

c.1902
Photographs by Biograph Studio, three known poses:

(a) bust in oval, head turned over right shoulder; Billy Rose Theatre Division, New York PL, image ID TH-00224. Postcard, Wrench Series; print Garrick Club, London, Dorothy Burr Album no.55, inscr. ‘July 1902’.

(b) whole-length seated at table, looking to left, holding dog in right hand; prints colls L. of Congress, Washington, DC, LC-USZ62-99299; and MEPL, London, 10665082. Repr. as photogravure Campbell 1922, frontispiece (half-length detail).

Postcard, half-length detail; print Billy Rose Theatre Division, New York PL, image ID TH-00239.

(c) whole-length seated, on same chair and at same table as in (b) but wearing different dress, holding dog in left hand. Postcard, publ. Silverette; print TuckDB Postcards, S420.

reg. 1904
Photograph by London Stereoscopic & Photographic Co., whole-length standing, in evening dress, holding fan before her with two hands; reg. for copyright 1904 June 9 (no further details).

1900s
Photograph by unidentified photographer, half-length, full-face, seated between Stella and Beo. Repr. Peters 1984, between pp.150–51.

Photograph by unidentified photographer, half-length, facing, wearing hat with brooch and feather. Repr. Peters 1984, between pp.150–51.

Photographs by unidentified ?American photographer, looking solemn, wearing long fur-trimmed coat and dark hat, four known poses:

(a) half-length, three-quarters to left, eyes to camera; Billy Rose Theatre Division, New York, PL, image ID TH-00246.

(b) whole-length standing against column, facing; Billy Rose Theatre Division, New York PL, image ID TH-00248, illegible signature of photographer lower right.

(c) whole-length standing against column, profile to left; Billy Rose Theatre Division, New York PL, image ID TH-00205.

(d) three-quarter-length seated, to left, eyes to camera, hands in muff; Billy Rose Theatre Division, New York PL, image ID TH-00206.

Photographs possibly by same photographer as above, wearing feathered hat and furs, holding griffon dog, two known poses:

(a) three-quarter-length seated, head to left, dog in lap; Billy Rose Theatre Division, New York PL, image ID TH-00247.

(b) three-quarter-length seated, profile to left, dog in right arm; Billy Rose Theatre Division, New York PL, image ID TH-00221.

Photographs by William Smedley Aston, seated by tiled fireplace, with Kelmscott Press book, two known poses; W.S. Aston Coll., Birmingham Central L. Photographic Colls:

(a) half-length, left hand raised, head turned to face camera.

(b) half-length, left hand raised, looking to right.

1912
Photographs by George Bernard Shaw, whole-length in bed in convalescence, July 1912, two known poses:

(a) head turned to camera; prints colls NT (no further details); and Harry Ransom Center, U. of Texas at Austin. Repr. Holroyd 1979, p.195; and Peters 1984, between pp.342–3.

(b) head turned from camera; NT (no further details).

1921
Photograph by unidentified photographer, three-quarter-length seated, to right, by a window. Repr. Campbell 1922, facing p.334.

1926
Photograph by unidentified photographer, wearing black dress and long string of pearls, two known poses:

(a) bust, looking three-quarters to right; Wisconsin Center for Film and Theater Research, Madison. Repr. Peters 1984, between pp.342–3.

(b) half-length, to right, looking down, both hands visible. Repr. Dent 1961, facing p.257.

late 1920s
Photograph by unidentified photographer, whole-length, to left, standing by NBC microphone, giving Second Mrs Tanqueray radio reading; Albert Davis Coll., Harry Ransom Center, U. of Texas at Austin. Repr. Peters 1984, between pp.342–3.

c.1920s
Photographs by Clarence Sinclair Bull, Hollywood, two known poses:

(a) three-quarter-length standing, left hand on hip; V&A, London, S.1561-2015.

(b) whole-length standing, holding Pekinese dog; V&A, London, S.1562-2015.

Photographs by Sasha (Alexander Stewart), three known poses:

(a) half-length, head to left wearing hat and fur stole; Getty Images 3350529.

(b) half-length, turned to right, wearing hat and fur stole; Getty Images 3373286.

(c) half-length, to right, wearing shawl (no hat); Getty Images 3350459.

Photograph by Dorothy Wilding, head-and-shoulders, head three-quarters to left, wearing hat; V&A, London, S.1563-2015.

1938
Photographs by Cecil Beaton, wearing hat, black dress and pearl necklaces, two known poses:

(a) half-length, full-face, gloved hands raised to her face; bromide print NPG x14039.

(b) three-quarter-length standing, profile to left, head tossed back, with Pekinese dog at left; Wisconsin Center for Film and Theater Research, Madison. Repr. Peters 1984, between pp.342–3.

c.1930s
Photograph by unidentified photographer, three-quarter-length seated in group of seven Hollywood actors, including Marlene Dietrich; Wisconsin Center for Film and Theater Research, Madison. Repr. Peters 1984, between pp.342–3.

Photographs by unidentified photographer, wearing cloche hat and furs, two known poses:

(a) half-length, full-face, holding up Pekinese dog; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Peters 1984, facing p.343.

(b) head-and-shoulders, full-face, eyes to left (no dog). Repr. ILN, 27 Apr. 1940, p.566 (obits).

Photograph by unidentified photographer, whole-length with dog under arm, walking in garden with three others; Getty Images 3267019.


II. IN STAGE CHARACTER (alphabetically by play)back to top


The Adored One (as ‘Leonora’)

Opened at Duke of York’s Theatre 4 Sept. 1913.

Photographs

1913
Photographs by Dorothy Hickling, in dark close-fitting dress, two known poses:

(a) three-quarter-length seated, to right, torso turned to left, looking downwards. Repr. Sketch Supplement, 12 Nov. 1913, captioned ‘The All-Fascinating Leonora’; and Campbell 1922, facing p.268, where dated 1914.

Postcard-size halftone publ. 1916, printed notice on reverse ‘Mrs Patrick Campbell is selling her photographs for the benefit of the brave men at-the-Front’; NPG x198092.

The sale was through a fund licensed by the War Charities Act 1916. For a portrait of Campbell performing for the National Relief Fund see drawing by unidentified artist above, ‘In private character, Paintings, drawings, sculptures and prints, 1914’.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008.

(b) three-quarter-length seated, to right, torso turned to left, looking to left. Repr. Sketch, 15 Apr. 1914, p.45, captioned ‘Recently married at a London register office’, with notice of her marriage 6 Apr. 1914.

The Ambassador’s Wife (as ‘The Ambassador’s Wife’)

Opened in Chicago May 1910.

Photographs

1910
Photograph by unidentified photographer, three-quarter-length standing, to left (possibly in private dress), studying script with son Beo and George Arliss. Repr. Campbell 1922, facing p.240; and Peters 1984, between pp.342–3.

Aunt Jeannie (as ‘Jeannie Halston’)

Opened at Garden Theatre, New York, 16 Sept. 1902.

Photographs

1902
Photographs by Napoleon Sarony, four known poses:

(a) half-length, full-face, arms extended to right; Billy Rose Theatre Division, New York PL, image ID TH-00208. Repr. Tatler, 24 June 1903, front cover (see MEPL, London, 11072270); and Campbell 1922, facing p.94.

(b) half-length, full-face, right index finger to head; prints colls Billy Rose Theatre Division, NYPL, image ID TH-00235; and MEPL, London, 10469903.

Postcard, publ. Rotary Photographic Co. Ltd; prints colls Bancroft family material; Getty Images 173337301 (coloured); and Philip H. Ward Coll. of Theatrical Images, Penn Libraries, U. of Pennsylvania, 232.

(c) whole-length seated, full-face, left arm extended backwards; prints colls Billy Rose Theatre Division, New York PL, image ID TH-00234; and Wisconsin Center for Film and Theater Research, Madison. Repr. Peters 1984, facing p.342 (where captioned as Fanny Armaury in The Foolish Virgin).

(d) half-length, profile to left; prints colls L. of Congress, Washington, DC, LC-B2-3070-1; and Billy Rose Theatre Division, New York PL, image ID TH-00226.

Bella Donna (as ‘Ruby Chepstow’)

Opened at St James’s Theatre 9 Dec. 1911.

Photographs

1911
Photograph by unidentified photographer, whole-length standing, left hand on hip, head turned to right. Postcard, publ. Rotary Photographic Co. Ltd; see MEPL, London, 10948341.

Beyond Human Power (as ‘Clara Sang’)

Opened at Royalty Theatre Nov. 1901.

‘Mrs. Campbell reached her high-water mark in Beyond Human Power.’ [5]

Photographs

1901
Photograph by Alfred Ellis, whole-length in bed, facing, with Mrs Theodore Wright standing at right; prints colls NPG x197922; and Enthoven Coll., M. of London. Repr. Peters 1984, between pp.150–51.

‘The curtain rose upon a log-built room plain to bareness, a dreary glimpse of white mountains through a small window, a narrow bed, and on the white pillow a white face among masses of black hair, dark, haunted, sleepless eyes – the spell began to work.’ [6]

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008.

Photograph by Biograph Studio, whole-length standing, to left, arms upraised, two known poses:

(a) head tilted back and to her left; platinum print NPG x4611, inscr. 7 Nov. 1901.

(b) head tilted back;Billy Rose Theatre Division, New York PL, image ID TH-00228.

Postcard; prints colls Garrick Club, London, Dorothy Burr Album, no.54; and Billy Rose Theatre Division, New York PL, image ID TH-00244.

The Black Domino (as ‘Clarice Berton’)

Opened at Adelphi Theatre 4 Jan. 1893. ‘She did not look wicked – a startling innovation. She was almost painfully thin, with great eyes and slow haunting utterance; she was not exactly beautiful, but intensely interesting and arresting.’ [7]

Photographs

1893
Photographs by Alfred Ellis, two known poses:

(a) whole-length, to right, head turned to left, left hand raised; carbon prints colls V&A, London, S.143:73-2007; Garrick Club, London, Athole Stewart Album, no.296; Mander and Mitchenson Coll., U. of Bristol (no further details); and Billy Rose Theatre Division, New York PL, image ID TH-00236. Publ. The Theatre, series 4, vol.21, 1 June 1893, facing p.316; carbon prints colls NPG Ax28856 and MEPL, London, 10197709. Repr. Dent 1961, facing p.48.

(b) half-length to right, full-face, in Cleopatra fancy dress costume. Repr. Strand, vol.10, 1895, p.263.

The Bondman (as ‘Greeba’)

Opened at Drury Lane Theatre Sept. 1906.

Photographs

1906
Photograph by unidentified photographer(s), four known poses:

(a) whole length, facing, hands kissed by two men; prints colls V&A, London, S.1932-2015; and Enthoven Coll., M. of London. Repr. Peters 1984, between pp.342–3.

(b) whole-length standing, to left, with Henry Hinchliffe Ainley and Frank Kemble Cooper; V&A, London, S.2022-2015.

(c) whole-length seated, to left, with two kneeling children; V&A, London, S.2029-2015.

(d) whole-length, standing to left, centre stage; V&A, London, S.2027-2015.

reg. 1906
Photographs by Dover Street Studios Ltd, three poses reg. for copyright 1906 Oct. 31; no further details.

Crime and Punishment (as ‘Leona the Pawnbroker’)

Photographs and film

1935
Photograph by unidentified photographer, half-length seated to left, with magnifying glass; Wisconsin Center for Film and Theater Research, Madison. Repr. Peters 1984, between pp.342–3.

Film by Columbia Pictures Corporation, directed by Josef von Sternberg, released 22 Nov. 1935; BFI identifier 26870.

Campbell’s finest and last cinematic role.

The Dancers (as ‘Aunt Emily’)

Photographs and film

1930
Photograph by unidentified photographer, half-length standing, to left; National Archive, BFI (stills library). Repr. Peters 1984, between pp.342–3.

Film by Fox Film Corporation, directed by Chandler Sprague, released 9 Nov. 1930; BFI identifier 153086.

Deirdre (as ‘Deirdre’)

Opened at New Theatre Nov. 1908.

Photographs

1908
Photographs by unidentified photographer(s), two known poses:

(a) half-length seated, profile to left, playing chess with J.M. Kerrigan; Enthoven Coll., M. of London. Repr. Peters 1984, between pp.342–3.

See also photographs by Chancellor (2), Ellis and Walery (1) and by unidentified photographer, in chess game scene; Richard Southern Coll., U. of Bristol, Box 81, RS/081/0038–0041.

(b) three-quarter-length prostrated over Kerrigan’s body; Enthoven Coll., M. of London. Repr. Peters 1984, between pp.342–3.

Electra (as ‘Electra’)

Opened at Garden Theatre, New York, Feb. 1908.

Photographs

1908
Photograph by unidentified photographer, whole-length, facing, left hand on hip. Repr. Campbell 1922, facing p.230; and Peters 1984, between pp.342–3.

Fedora (as ‘Fedora’)

Opened at Haymarket Theatre 25 May 1895. ‘At the Haymarket Mrs Campbell … was duly exploited as the coming Sarah Bernhardt and was presented in the very trying rôle of ‘Fédora’. … Mrs. Campbell in ‘Fédora’ only succeeded in showing that she was not Sarah.’ [8]

Photographs

reg. 1895
Photographs by Alfred Ellis, 12 poses reg. for copyright 1895 Aug. 14 and Sept. 2, including whole-length lying on tiger skin on floor; no further details. Repr. Campbell 1922, facing p.100.

For the Crown (as ‘Militza’)

Opened at Lyceum Theatre 27 Feb. 1896.

1896

Watercolour drawing by Henry Charles Seppings Wright, whole-length, to left, in roundel, offering lilies to Johnston Forbes-Robertson, part of composite image; untraced. Repr. ILN, 7 Mar. 1896; see Bridgeman Images LIP1605136.

Watercolour drawing by Henry Marriott Paget, whole-length, to left, at base of statue with Forbes-Robertson; untraced. Repr. Graphic, 14 Mar. 1896; see Bridgeman Images LIP1042015.

exh. 1897
Miniature by Susan K. Tooth, Mrs Patrick Campbell as Melitza, no further details; untraced. Exh. RA 1897 (1507).

Photographs

1896
Photographs by W. & D. Downey, three-quarter-length standing, to left, turbaned head to right, two known poses:

(a) Getty Images 3269644.

(b) similar to (a), right hand raised; V&A, London, S.143:182-2007.

Photograph by unidentified photographer, head, three-quarters to right, wearing turban, chin resting on left hand; prints colls V&A, London, S.143:183-2007; and Enthoven Coll., M. of London (no further details). Repr. Peters 1984, between pp.150–51.

reg. 1896
Photographs by Thomas Charles Turner, Hull, with Forbes-Robertson at base of statue, three poses reg. for copyright 1896 May 6: National Archives (COPY 1/424/735, 737–8). These images may include the following prints by unidentified photographer(s):

(a) whole-length kneeling, to right, looking up at Forbes-Robertson; V&A, London, S.143:149-2007.

(b) whole-length kneeling, to left, looking up at Forbes-Robertson; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.126, no.373.

(c) whole-length standing, to right, holding Forbes-Robertson’s hand; Enthoven Coll., M. of London (no further details). Repr. Peters 1984, between pp.150–51.

Ghosts (as ‘Mrs Helene Alving’)

Opened at Wyndham’s Theatre Mar. 1928.

Photographs

1928
Three-quarter-length standing, looking to left, with John Gielgud as Oswald Alving; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Peters 1984, between pp.342–3.

Hamlet (as ‘Ophelia’)

Opened at Lyceum Theatre 11 Sept. 1897.

Photographs

1897
Photographs by W. & D. Downey, half-length, holding book, two known poses:

(a) full-face, head tilted to right; prints colls, Garrick Club, London, Athole Stewart Album, no.298; and Folger Shakespeare L., Washington, DC, digital image 21313. Publ. The Theatre, series 4, vol.30, 1 Nov. 1897, facing p.316; carbon prints colls NPG Ax28903; and Billy Rose Theatre Division, New York PL, image ID TH-00216.

(b) head turned to left; cabinet card Billy Rose Theatre Division, New York PL, image ID TH-18233.

Photograph by John & Lizzie Caswall Smith, whole-length standing, three-quarters to left, with hands behind back.

Photogravure, publ. Virtue & Co.; prints colls NPG x17962; V&A, London, S.85-2009; and Folger Shakespeare L., Washington, DC, digital image 2791. Repr. Peters 1984, between pp.150 & 151.

His Borrowed Plumes (as ‘Fabia’)

Opened at Hicks Theatre (now Gielgud Theatre) July 1909. Campbell also produced this play.

Photographs

1909
Photograph by unidentified photographer, whole-length, head to left, at centre of group of actors. Repr. Sketch, 14 July 1909 (see MEPL, London, 10236642); and Peters 1984, between pp.342–3.

John-A-Dreams (as ‘Kate Cloud’)

Opened at Haymarket Theatre Nov. 1894.

1894
Watercolour drawing by Ray Potter, whole-length to right, standing over Herbert Beerbohm Tree as Harold Wynn on couch; untraced. Repr. ILN, 17 Nov. 1894, p.612; see Bridgeman Images LIP1107802.

Sketch by Bernard Partridge, signed and dated 24 Nov. 1894, whole-length seated at table, profile to left; untraced. Repr. Punch, 24 Nov. 1894, p.241. Print of a proof sketch V&A, London, S.3768-2013.

Photographs

reg. 1894
Photographs by Thomas Charles Turner, ten poses reg. for copyright 1894 Nov. 23, many with Herbert Beerbohm Tree, including half-length, full-face: National Archives (COPY 1/418/542). Postcard, publ. Rotary Photo Co.; print Mander and Mitchenson Coll., U. of Bristol (no further details); repr. Peters 1984, between pp.150–51.

publ. 1894
Photograph by Hills & Saunders, half-length in white lacy bodice. Repr. ILN, 17 Nov. 1894, p.611, see Getty Images 78946575.

The Lights of Home (as ‘Tress Purvis’)

Opened at Adelphi Theatre 1892.

undated
Drawing by Leonard Raven-Hill; untraced. Exh. Abbott & Holder, London, June 1987 (286).

Photographs

1892
Photograph by Martin Sallnow, whole-length seated by fishing nets, with clasped hands; V&A, London, S.143:174-2007. Repr. Strand, vol.10, 1895, p.264.

Photograph by unidentified photographer (?Sallnow), whole-length seated, with fisherman. Repr. Peters 1984, between pp.150–51.

Little Eyolf (as ‘Rita Allmers (the Ratwife)’)

Opened at Avenue Theatre (now Playhouse Theatre), 23 Nov. 1896.

1896
Oil on canvas by John Shenton Eland, signed and dated, half-length, profile to left; Garrick Club, London, G0101. Ref. Ashton 1997, p.58, no.101.

Watercolour drawing by Samuel Begg, whole-length crouched, to left, in dark cloak; untraced. Repr. ILN, 28 Nov. 1896; see Bridgeman Images LIP1606015.

Macbeth (as ‘Lady Macbeth’)

Opened Lyceum Theatre 17 Sept. 1898.

‘What exactly was the barrier between Mrs. Campbell and Shakespeare it is difficult to say; she spoke the periods with due feeling for rhythm and melody, yet, as she gave them, they lacked grandeur and import. … She was a lyric artist, the epic evaded her ever.’ [9]

1898
Drawing by Frederick Pegram, whole-length to left, with Johnston Forbes-Robertson and Bernard Gould; untraced. Repr. Black & White, 1 Oct. 1898, p.425; print V&A, London, S.2470-2009.

Drawing by unidentified artist, whole-length, full-face, in sleepwalking scene; untraced. Repr. Graphic, 24 Sept. 1898; see Bridgeman Images LIP1063792.

Photographs

1898
Photograph by Baron Adolph de Meyer, whole-length standing, head three-quarters to right, left arm half raised. Repr. Sketch, 28 Sept. 1898, p.438; and Black & White (no further details).

Photograph by unidentified photographer, whole-length, full-face, in sleepwalking scene. Repr. Peters 1984, between pp.150–51.

Photograph by unidentified photographer, head-and-shoulders, full-face, wearing wimple. Repr. Peters 1984, between pp.150–51.

Madame Sand (as ‘George Sand’)

Opened at Duke of York’s Theatre 3 June 1920.

‘George Sand is thunderingly difficult – if I dont [sic] get stink bombs on the first night I will on the second!’ [10]

Photographs

1920
Photographs by Howard Instead, in ballgown, holding fan, two known poses:

(a) whole-length standing, to right, in front of fireplace; bromide print NPG Ax24970.

(b) whole-length seated, three-quarters to right; Enthoven Coll., M. of London (no further details). Repr. Campbell 1922, facing p.346; and Peters 1984, between pp.342–3.

Photograph by unidentified photographer, whole-length in trouser suit, smoking a cigar. Repr. Campbell 1922, facing p.342.

Magda (as ‘Magda’)

Opened at Lyceum Theatre 3 June 1896.

1896
Watercolour drawing by Samuel Begg, whole-length kneeling, to right; untraced. Repr. ILN, 20 June 1896; see Bridgeman Images LIP1605424.

undated
Caricature drawing by L.J. Binns, whole-length seated, head to left, wearing ermine-lined coat; Billy Rose Theatre Division, New York PL, image ID 182387. Based on a photograph by London Stereoscopic & Photographic Co., see below, pose (c).

Photographs

1896
Photographs by London Stereoscopic & Photographic Co., whole-length seated, wearing fur-lined coat, three known poses:

(a) full-face, head resting on right hand; MEPL, London, 10086615.

(b) looking to right, left arm raised; Billy Rose Theatre Division, NYPL, image ID TH-00223.

(c) looking to left, left arm raised. Repr. Campbell 1922, facing p.120.

Photograph by W. & D. Downey, whole-length, full-face, holding closed fan, wearing costume of fur, lace and brocade; prints colls NPG x5041 (albumen print, oval detail); and Billy Rose Theatre Division, New York PL, image ID TH-00230 (cabinet card). Repr. Dent 1961, facing p.128.

Repr. as wood engr. Strand, vol.13, 1897, p.551; see Getty Images 188006219.

The Masqueraders (as ‘Dulcie Larondie’)

Opened at St James’s Theatre 5 Jan. 1894.

1894
Sketch by Bernard Partridge, signed and dated 10 May 1894, airborne to left with George Alexander; untraced. Repr. Punch, 19 May 1894, p.232, captioned ‘“Here we go up, up, up!”’; print of proof sketch V&A, London, S.3767-2013.

According to Graham Robertson, Campbell ‘greatly disliked’ the part of Dulcie Larondie and played it ‘under protest’, very badly. [11]

Photographs

1894
Photographs by London Stereoscopic & Photographic Co., with fan, two known poses:

(a) half-length, profile to right; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Dent 1961, facing p.64.

(b) half-length, profile to left; albumen panel card NPG x135822. Exh. The Masque of Beauty, NPG, 1972 (74); repr. Strand vol.10, 1895, p.264.

See NPG Portrait Set ‘Patrick O’Connor Collection: Music Hall, Theatre and Film Stars 1890s–1940s’.

The Moonlight Blossom (as ‘Inamura Nanoya’)

Opened at Prince of Wales’s Theatre 21 Sept. 1899, with Campbell as manager.

Photographs

reg. 1899
Photographs by Alfred Ellis, four poses reg. for copyright 1899 Nov. 17 (no further details).

Mr and Mrs Daventry (as ‘Hilda Daventry’)

Opened at Royalty Theatre Oct. 1900, with Campbell as manager.

Photographs

1900
Photographs by London Stereoscopic & Photographic Co., in evening dress with dark flower on corsage, three known poses:

(a) whole-length seated, full-face; Getty Images 3093379.

(b) whole-length standing; V&A, London, S.143:185-2007.

(c) three-quarter-length seated, to left, left hand to cheek. Repr. Campbell 1922, facing p.184.

Photographs by Bassano Ltd, in dress with embroidered bodice and balloon sleeves, three known poses:

(a) half-length, looking to left. Postcard; print NPG x193676.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008’.

(b) half-length, looking to right; MEPL, London, 10086621.

(c) three-quarter-length, looking to right. Repr. Peters 1984, between pp.342–3.

Mrs Jordan (as ‘Dora Jordan’)

Opened at Royalty Theatre Feb. 1900.

Photographs

1900
Photograph by unidentified photographer, three-quarter-length, to left, wearing large feathered hat and holding a muff; Getty Images 510768902. Repr. Peters 1984, between pp.150–51.

Nelson’s Enchantress (as ‘Emma Hamilton’)

Opened at Avenue Theatre 11 Feb. 1897.

1897
Watercolour drawing by Joseph Holland Tringham, whole-length seated, to right; untraced. Repr. ILN, 20 Feb. 1897; see Bridgeman Images LIP1597196.

Watercolour drawing by Henry Marriott Paget, whole-length, to left, in ballroom scene; untraced. Repr. Graphic, 20 Feb. 1897; see Bridgeman Images LIP1036782.

Photographs

1897
Photographs by W. & D. Downey, with Johnston Forbes-Robertson as Nelson, two known poses:

(a) three-quarter-length standing, to right, full-face; Enthoven Coll., M. of London (no further details). Repr. Peters 1984, between pp.150–51.

Repr. as halftone Sketch, 3 Mar. 1897, front page.

(b) three-quarter-length standing, to right, head three-quarters to right. Colour print, publ. 1899; Mander and Mitchenson Coll., U. of Bristol, RS/062/0101.

Photograph by unidentified photographer, bust, to left, wearing lacy cap; V&A, London, S.143:180-2007.

The Notorious Mrs Ebbsmith (as ‘Agnes’)

Opened at Garrick Theatre 13 Mar. 1895.

1895
Pen and ink caricatures by Bernard Partridge, two known poses:

(a) whole-length standing, to right, with John Hare; untraced. Repr. Punch, 30 Mar. 1895, p.148.

(b) whole-length, profile to left, kneeling at oven, with Johnston Forbes-Robertson. Repr. Punch, 30 Mar. 1895, p.148. Print of a proof sketch V&A, London, S.3769-2013, inscr. ‘“The Notorious Mrs Ebbsmith” (Garrick) / Mr Forbes Robertson Mrs Patrick Campbell / proof for Punch 30 Mar 1895 / Bernard Partridge del’.

Watercolour drawing by Walter Paget, whole-length, to right, on sofa, with Hare at right; untraced. Repr. ILN, 6 Apr. 1895, p.408; see MEPL, London, 10503299.

Photographs

1895
Photograph by London Stereoscopic & Photographic Co., whole-length seated, to left, in evening dress, hands clasped; Billy Rose Theatre Division, New York PL, image ID TH-00217.

Photographs by unidentified photographer, possibly Alfred Ellis, three-quarter-length, in plain dark dress:

(a) with hands behind back; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Dent 1961, facing p.65.

(b) with hands clasped in front; Getty Images 3330442.

reg. 1895
Photographs by Alfred Ellis, 14 poses reg. for copyright 1895 Apr. 17, including:

(a) whole-length seated, in dark dress, threading needle; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.123, no.360.

(b) three-quarter-length seated, facing, in evening dress, hands clasped; Garrick Club, London, Athole Stewart album, no.297. Publ. The Theatre, series 4, vol.25, 1 May 1895, facing p.10; carbon prints colls NPG Ax28879; Harry Ransom Center L., U. of Texas at Austin; and Billy Rose Theatre Division, New York PL, image ID TH-00219. Repr. Peters 1984, between pp.150–51.

(c) whole-length, to left, crouching by open stove. Repr. Strand, vol.10, 1895, p.266.

One More River (as ‘Lady Mont’)

Photographs and film

1934
Photograph by unidentified photographer, half-length standing, to left, beside car; National Archive, BFI (stills library). Repr. Peters 1984, between pp.342–3.

Film by Universal Pictures Corporation, directed by James Whale, released 6 Aug. 1934; BFI identifier 40049.

A Party (as ‘Mrs MacDonald’)

Opened New York 4 Sept. 1932.

Photographs

1932
Photograph by unidentified photographer, whole-length seated, to left, with Pekinese dog in lap, smoking cigar. Repr. Peters 1984, between pp.342–3.

Pelléas and Mélisande (as ‘Mélisande’)

Opened at Prince of Wales’s Theatre 21 June 1898 and revived at Vaudeville Theatre 1 July 1904.

Photographs

1898
Photographs by W. & D. Downey, two known poses:

(a) whole-length seated on bench, to right, full-face, with long tress of hair, wearing costume designed by Edward Burne-Jones; Getty Images 2672885

(b) almost identical to (a); Ronald Grant archive, London, see Yooniq Images 102296827.

1904
Photographs by W. & D. Downey, with Sarah Bernhardt as Pelléas, two known poses:

(a) whole-length seated on bench, swooning against Bernhardt; Getty Images 2674275. Repr. Campbell 1922, facing p.142 (detail); and Dent 1961, facing p.193.

(b) whole-length seated behind spinning wheel, looking to left, Bernhardt standing reading at right; prints colls Getty Images 3254229; and V&A, London, S.3909-2015. Repr. Peters 1984, between pp.342 and 343.

Postcard, publ. Rotary Photographic Co. Ltd; prints MEPL, London, 10086617 and 10086278.

Campbell wore the 1898 dress in 1904 also; it was known as the ‘gold umbrella case’. [12]

Pygmalion (as ‘Eliza Doolittle’)

Opened at His Majesty’s Theatre 11 Apr. 1914; in USA at Park Theatre, New York, 12 Oct. 1914; revived at Aldwych Theatre 10 Feb. 1920. Images are of London productions except where stated.

1914
Pen and ink caricature sketch by George Bernard Shaw, whole-length seated, to left, wearing hat; Harry Ransom Center, U. of Texas at Austin (sketched on rehearsal notes dated 2 Apr. 1914). Repr. Laurence 1977.

Caricature drawings by Anthony Frederick Sarg (‘Tony Sarg’), various poses; untraced. Repr. Sketch, 22 Apr. 1914; see MEPL, London, 10923218.

Caricature drawings by Thomas Downey, various poses; untraced. Repr. Illustrated Sporting and Dramatic News, 25 Apr. 1914; see MEPL, London, 10923018 and 10923020.

Caricature drawing by Mary Williams (‘Kate Carew’), whole-length, to left, wearing feathered hat; untraced. Repr. Colour, Aug. 1914, p.17; see MEPL, London, 10086639.

Cartoon drawings by unidentified artist, figures from various scenes; untraced. Repr. Bystander, 1914 (no further details); cutting in Mander and Mitchenson Coll., U. of Bristol, repr. Holroyd 1979, p.196.

Drawings by Charles Buchel (Karl August Büchel), two known poses:

(a) half-length, to right, head facing, selling flowers; untraced. Lithographic poster Bernard F. Burgunder Coll., Cornell UL, Ithaca, NY; repr. Peters 1984, facing p.247.

(b) chalk sketch, half-length, to left, wearing costermonger cap; priv. coll. Repr. Peters 1984, between pp.342–3.

undated
Oil on board by Florence Kate Upton, head-and-shoulders, profile to left, wearing large black hat; untraced; with Ebury Galleries, 2004. Campbell possibly as Eliza Doolittle.

Doubtful portrait

undated
Portrait by unidentified artist, half-length, three-quarters to right, wearing large hat; untraced. Repr. Dent 1961, frontispiece, captioned as by John Singer Sargent. Not by Sargent and not clearly a portrait of Campbell.

Photographs

1914
Photographs by Frank William Burford, two known poses:

(a) whole-length standing, facing, hand on hip, as a flower seller with basket; MEPL, London, 10086619; and glass negative L. of Congress, Washington, DC, LC-B2-3030-6. Repr. Sketch, 22 Apr. 1914; and Holroyd 1979, p.196.

(b) whole-length seated, facing, in fashionable hat and dress; glass negative L. of Congress, Washington, DC, LC-B2-3040-7. Repr. Sketch, 22 Apr. 1914; see MEPL, London, 10923242.

For the two poses together see Illustrated Sporting and Dramatic News, 18 Apr. 1914, front page; MEPL, London, 10923006.

Photographs by unidentified photographer(s), three known poses:

(a) whole-length, to left, tipping basket at Herbert Beerbohm Tree; Getty Images 2698634.

(b) whole-length, to left, thumbing nose at Edmund Gurney; Getty Images 51109123. Repr. Sketch, 22 Apr. 1914 (see MEPL, London, 10923242); and Dent 1961, facing p.256.

(c) whole-length, to right, hand on hips, with Tree and Gurney; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.134, no.402.

Photographs by White Studio, New York, of US production, two known poses:

(a) whole-length, full-face, hand on hip, wearing feathered hat, standing in doorway; Billy Rose Theatre Division, New York PL, image ID psnypl_the_4390. Repr. Peters 1984, between pp.342–3.

(b) whole-length, to left, with six other cast members; Billy Rose Theatre Division, New York PL, image ID 5207518.

Photograph by unidentified photographer, of US production, whole-length, selling flowers; MEPL, London, 11060012.

1920
Photograph by unidentified photographer, three-quarter-length, to right, in fashionable dress; Enthoven Coll., M. of London (no further details). Repr. Campbell 1922, facing p.338; and Peters 1984, between pp.342–3.

Riptide (as ‘Aunt Hetty Riversleigh’)

Photographs and film

1934
Photograph by unidentified photographer, half-length seated, full-face, with cigarette and dog; National Archive, BFI (stills library). Repr. Peters 1984, between pp.342–3.

Film by Metro-Goldwyn-Mayer Corporation, directed by Edmund Goulding, released 30 Mar. 1934; BFI identifier 43057.

Romeo and Juliet (as ‘Juliet’)

Opened at Lyceum Theatre 21 Sept. 1895.

‘Oddly enough, Mrs. Campbell could do nothing with Shakespeare; his great lines seemed to paralyse her, her strange fascination was not felt, her effects appeared modern and trivial. Her “Juliet” was pretty and girlish, so for the matter of that, was her “Lady Macbeth”; but more could not be said.’ [13]

1895
Watercolour drawing by William Hatherell, whole-length, full-face, hands in prayer; untraced. Repr. Graphic, 28 Sept. 1895; see Bridgeman Images LIP1056598.

c.1895
Pen and ink drawing, 300 x 200mm, by Frederick Pegram, half-length, to right, leaning over balcony, Johnston Forbes-Robertson as Romeo below; Folger Shakespeare L., Washington, DC, digital image 34807.

1896
Lithograph by unidentified artist, inscr. ‘Mrs Patrick Campbell / as Juliet / Feb. 7 1896’, half-length, facing, hands clasped under chin; NPG D34148. Based (in reverse) on photograph by unidentified photographer, see below, ‘In stage character, Romeo and Juliet, Photographs, c.1895–6’.

See NPG Portrait Set ‘MacDonnell Collection’.

Photographs

1895
Photographs by William Edward Downey, five known poses:

(a) nearly whole-length, to right, looking out of window. Repr. Whyte 1898, p.172.

(b) whole-length, profile to right, kneeling and praying before crucifix; Getty Images 3324320 (where credited to W. & D. Downey). Repr. Peters 1984, between pp.150–51.

(c) half-length, profile to right, holding crucifix. Repr. Macqueen-Pope 1958, facing p.145.

(d) half-length, looking three-quarters to right. Publ. as chromolithograph by M. & N. Hanhart for cover of sheet music titled ‘Patria Waltz’, dedicated to Mrs Campbell; BM, London, 1922,0710.336.

(e) almost whole-length, right hand extended, left hand in hair, looking to left; V&A, London, S.143:187-2007.

reg. 1895
Photographs by Alfred Ellis, six poses reg. for copyright 1895 Oct. 24, including:

(a) whole-length, crouched on step, looking to left; prints colls V&A, London, S.143:184-2007 (half-length detail); and Folger Shakespeare L., Washington, DC, digital image 24074. Repr. ILN, 12 Oct. 1895, p.449.

(b) head-and-shoulders, head raised, looking up.

Photographs by William Edward Downey, seven poses reg. for copyright 1895 Nov. 4, with Johnston Forbes-Robertson as Romeo, including:

(a) half-length recumbent, clasping phial, Forbes-Robertson’s right hand partly visible above Campbell’s head. Publ. The Theatre, series 4, vol.27, 1 Jan. 1896; carbon prints colls NPG Ax28882 (credited to W. & D. Downey); Garrick Club, London, Athole Stewart album, no.81 and Photograph box C; and Folger Shakespeare L., Washington, DC, digital image 21803. Repr. Whyte 1898, between pp.172–3; Pearson 1950, between pp.2–3; and Peters 1984, between pp.150–51.

(b) half-length recumbent, clasping phial, Forbes-Robertson’s whole right hand visible above head; V&A, London, S.143:181-2007.

(c) whole-length recumbent, clasping phial, Forbes-Robertson’s hand not visible; prints colls Getty Images 3301502; and Miriam and Ira D. Wallach Division, New York PL, image ID 99838, three-quarter-length detail.

(d) whole-length recumbent, Forbes-Robertson’s right arm extended over Campbell; prints colls Mander and Mitchenson Coll., U. of Bristol (no further details); and National Archives (COPY 1/422/321). Repr. Whyte 1898, between pp.172–3; and Mander & Mitchenson 1957, p.126, no.372.

(e) whole-length recumbent, Forbes-Robertson crouched low, hand not visible: National Archives (COPY 1/422/318).

Print by A. Marion & Co. after Downey, with added candle at left; V&A, London, S.2329-2009. Repr. Dent 1961, facing p.113 (detail).

c.1895–6
Photograph by unidentified photographer, half-length, facing, hands clasped under chin. Repr. Peters 1984, between pp.150–51. For related lithograph, see NPG D34148 above (‘In stage character, Romeo and Juliet, Paintings, drawings, sculptures and prints, 1896’).

The Second Mrs Tanqueray (as ‘Paula Tanqueray’)

Opened at St James’s Theatre 27 May 1893.

After unpromising first rehearsals ‘on the night of production Mrs. Campbell scored one of the greatest personal successes ever known upon the stage. Her performance was perfect; beautiful, human and tragic.’ [14]

1893
Caricature sketch by Bernard Partridge, signed and dated 10 June 1893, whole-length, to right, jumping hurdle labelled ‘Convention’, chased by George Alexander as Aubrey Tanqueray; untraced. Repr. Punch, 10 June 1893, p.273; print of proof sketch V&A, London, S.3762-2013.

Sketch by unidentified artist, whole-length, to right, with hand on chair; untraced. Repr. Graphic, 10 June 1893; see Bridgeman Images LIP1038878.

1894
Oils on canvas by Solomon Joseph Solomon, whole-length seated, in front of screen, wearing ballgown; untraced, formerly Arts Club, London, until sale, Bonhams, 10 Nov. 2009 (32). Ref. Griffith 1895, p.266; repr. RA 1894, illustrated exh. cat.; ILN, 12 May 1894, p.585; Campbell 1922, facing p.74; and Peters 1984, between pp.246–7.

‘It represented her as she appeared on the stage illumined by the upward glow from the footlights … Mr Solomon, when painting his picture, had a stage erected in his studio, lit in the same way as that of the St James’s Theatre.’ [15]

Pen and ink and pencil drawing by Aubrey Beardsley, whole-length, profile to right, holding glove; Kupferstichkabinett, Berlin, 1739/07. Ref. Campbell 1922, p.74; and Zatlin 2016, vol.2, no.891; repr. Yellow Book, vol.1, Apr. 1894, p.157; MA, Nov. 1896, p.11 (see MEPL 10272073); and Zatlin 2016, vol.2, p.83.

Oscar Wilde introduced Beardsley to Campbell in Mar. 1894 after a performance of this play.

Pen and ink caricature drawing by Edward Tennyson Reed after Beardsley, whole-length, profile to right, holding glove; untraced. Repr. Punch, 5 May 1894, p.208, captioned ‘Played Out; or the 252nd Mrs. Tanqueray’.

Photographs

reg. 1893
Photographs by Alfred Ellis, 12 poses reg. for copyright 1893 June 24 and July 18, including:

(a) half-length, profile to right, with George Alexander, bowl of fruit at right; prints colls Garrick Club, London, Photograph Box A (cabinet card); and Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.123, fig.358; Macqueen-Pope 1958, facing p.81; and Dent 1961, facing p.49.

Bromide postcard, publ. J. Beagles & Co.; print NPG x160487 (credited to Alfred Ellis & Walery).

(b) whole-length seated, head on left hand, with Alexander kneeling at right; prints colls Getty Images 3321201; and Garrick Club, London, Athole Stewart Album, no.111.

Carbon print publ. The Theatre, series 4, vol.22, Aug. 1893, facing p.92; NPG x9393. Repr. Whyte 1898, p.206; and Peters 1984, between pp.150–51.

(c) whole-length seated, to left, at tea table with Alexander; cabinet cards colls Garrick Club, London, PH0155; and V&A Theatre and Performance Colls (no further details).

(d) standing with Alexander; prints colls V&A, London, S.4241-2015; and Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Donaldson 1970, facing p.128.

(e) three-quarter-length seated, full-face, clasped hands; prints colls V&A, London, S.143:177-2007; and Garrick Club, London, Photographs Box A. Repr. Peters 1984, between pp.150–51.

(f) three-quarter-length seated, three-quarters to left, holding mirror; V&A, London, S.143:178-2007. Repr. Strand, vol.10, 1895, p.265.

(g) whole-length seated, with Cyril Francis Maude, holding mirror; Garrick Club, London, Baron Wavertree Album 1, no.66.

(h) whole-length standing, to right, with Maude Millett; V&A, London, S.4242-2015.

Photograph by unidentified photographer, head-and-shoulders, looking slightly to right, wearing bonnet. Repr. Campbell 1922, facing p.68.

Photographs by Mayall & Co., wearing ballgown decorated with pearls, two known poses:

(a) half-length, three-quarters to right, looking up. Carbon print publ. MWD, vol.6, 1893, facing p.44; NPG Ax27652. Repr. Dent 1961, facing p.176.

See NPG Portrait Set ‘Men and Women of the Day: photographs by Barraud and others, published 1888–1893’.

(b) nearly whole-length, three-quarters to right, standing by pilaster. Repr. Strand, vol.10, 1895, p.260.

Photographs by W. & D. Downey, three known poses:

(a) whole-length standing, profile to left, in evening dress; Bridgeman Images UIG864258.

Albumen cabinet card, half-length detail; NPG x38842.

See NPG Portrait Set ‘W. & D. Downey cabinet cards, 1872–1902’.

(b) nearly whole-length standing, to left, hands resting on chair back, in same dress as (a); Miriam and Ira D. Wallach Division, New York PL, image ID 99839.

(c) whole-length standing, full-face, wearing rich lacy costume with broad fur stole; prints colls Billy Rose Theatre Division, New York PL, image ID TH-00225; and Garrick Club, London, Dorothy Burr Postcard Album, no.53 (half-length). Repr. Dent 1961, facing p.177, where described as photographed during the play’s 1903 revival.

The Sex Fable (unidentified role)

Opened New York 31 Oct. 1931.

Photographs

1931
Photograph by unidentified photographer, whole-length standing, to left. Repr. Peters 1984, between pp.342–3.

La Sorcière (as ‘The Sorceress’)

Toured America autumn 1904.

Photographs

1904
Photographs by Burr MacIntosh, New York, in sleeveless dress with ornate jewellery and headdress, five known poses:

(a) whole-length seated on stool, right arm extended; Billy Rose Theatre Division, New York PL, image ID TH-00231.

Postcard, publ. Rotograph; print Billy Rose Theatre Division, New York PL, image ID TH-00241.

(b) whole-length standing, to left, beside stool, right arm raised; Billy Rose theatre Division, New York PL, image ID TH-00232.

(c) half-length, to right, holding veil in both hands; Billy Rose Theatre Division, New York PL, image ID TH-00233.

(d) half-length, facing, holding veil with left hand; MEPL, London, 10642750.

(e) whole-length seated on stool, to right, head turned to face. Repr. Peters 1984, between pp.342–3.

The Thirteenth Chair (as ‘Madame Rosalie La Grange’)

Opened at Duke of York’s Theatre Oct. 1917.

Photographs

1917
Photograph by unidentified photographer, whole-length seated, with 12 cast members; Mander and Mitchenson Coll., U. of Bristol (no further details). Repr. Mander & Mitchenson 1957, p.143, no.447.

Photograph by unidentified photographer, three-quarter-length standing, to right; Enthoven Coll., M. of London (no further details). Repr. Peters 1984, between pp.342–3.

The Trumpet Call (as ‘Astrea’)

Opened at Adelphi Theatre 1 Aug. 1891.

Photographs

1891
Photographs by James Russell & Sons, with loose hair, two known poses:

(a) head-and-shoulders, head three-quarters to right; V&A, London, S.143:175-2007.

(b) three-quarter-length, arms raised to head, looking to left. Repr. Strand, vol.10, 1895, p.262.

Unidentified part or play

c.1903
Oil on canvas roundel by Charles Haslewood Shannon, half-length to left, wearing theatrical hat and costume, leaning forwards, arms resting on back of sofa; untraced; Phillips, 3 June 1997 (125).

1914
Oil on canvas, 1130 x 1510mm, by (John) Byam Liston Shaw, Design for the New Act Drop for the London Coliseum, signed and dated, whole-length, to left, at right of scene, holding fan in right hand (pose probably based on unseen photograph in which Campbell wears distinctive dress with large appliqué flowers: for the set, see below, ‘In stage character, Unidentified part or play, Photographs, 1900s’), standing between Henry Irving and Sarah Bernhardt, with numerous other theatrical, musical and artistic celebrities represented in an architectural setting; English National Opera, London. Exh. RA 1914 (536); Byam Shaw, Ashmolean M., Oxford, 1986 (29, ill.); and Edwardian Opulence, Yale Center for British Art, New Haven, CT, 2013 (55, ill. with key [no.42]). Repr. Sketch, 6 May 1914, p.133.

The full-size act drop was destroyed.

See also Alexander,Alma-Tadema, Anderson, M. Bancroft, S. Bancroft, Farren, Forbes-Robertson, Hare, Irving, Leighton, Leno, Millais, Terry, Tree, Waller, Watts, Whistler, Wyndham.

Photographs

c.1899–1908
Albumen cabinet card by Robert Johnson, half-length, looking to right, wearing diadem and veil; NPG x197579.

Possibly shown as Doña Maria de Neuborg in A Queen’s Romance, which opened at Imperial Theatre Feb. 1904.

See NPG Portrait Set ‘Terence Pepper gift: photographs, prints and drawings, 1808–2008.

1890s
Photograph by unidentified photographer, three-quarter-length, to right, on leopard skin on couch; Billy Rose Theatre Division, New York PL, image ID TH-00222.

Photograph by Lafayette, half-length, looking to right, casting flowers to right; MEPL, London, 10149268.

Photograph by W.& D. Downey, three-quarter-length in pale lacy dress, standing to left, left hand on hip; Furness Theatrical Image Coll., Furness P/Ca250.1 S Small Box.

publ. 1904
Photograph by unidentified photographer, whole-length standing, three-quarters to left, in contemporary dress, arms extended to left.

Postcard, dated 1904, publ. Philco Publishing Co.; print MEPL, London, 10086614.

Another postcard, Wrench Series; print Billy Rose Theatre Division, New York PL, image ID TH-00245.

1900s
Photographs by unidentified photographer, wearing distinctive dress decorated with large appliqué flowers, ribbons from neckline set with pearls, two known poses:

(a) three-quarter-length standing, full-face, left hand on hip; Billy Rose Theatre Division, New York PL, image ID TH-00212.

(b) bust, to left, head turned to face; Billy Rose Theatre Division, New York PL, image ID TH-00209. Coloured print repr. Peters 1984, facing p.246.

Postcard, publ. Rotary Photographic Co. Ltd; print MEPL, London, 10086622.

Photograph by unidentified photographer, whole-length seated, to left, head on hand, wearing plain dark dress; Billy Rose Theatre Division, New York PL, image ID TH-00220.

Photograph by unidentified photographer, whole-length standing, in dark dress with lace at neck and wrists, hands clasped; Billy Rose Theatre Division, New York PL, image ID TH-00213.

Postcard, three-quarter-length detail; prints colls Garrick Club, London, David Allen Postcard Album, no.80; and Billy Rose Theatre Division, New York PL, image ID TH-00243.

Photographs by unidentified photographer, close up, two known poses:

(a) full-face, arms folded; Getty Images 515134248.

(b) full-face, hands raised and framing face; copy negative of Rotograph postcard, Hardin-Simmons U., Abilene, TX, 89-05458-91.

Photograph by unidentified photographer, half-length seated, left elbow resting on couch, looking to left; Billy Rose Theatre Division, New York PL, image ID TH-00211.

Photograph by unidentified photographer, whole-length standing, hands raised to frame face; Billy Rose Theatre Division, New York PL, image ID TH-00210.

Photograph by unidentified (?American) photographer, half-length, full-face, wearing fitted pale dress and standing against volute design; Billy Rose Theatre Division, New York PL, image ID TH-00240.

Photograph by unidentified (?American) photographer, full-length in exotic costume, holding up veil, possibly as the sorceress in La Sorcière; Billy Rose Theatre Division, New York PL, image ID TH-00229.

Photograph by W. & D. Downey, three-quarter-length standing, to right, hands clasped; V&A, London, S.143:179-2007.


Footnotesback to top


1) ‘The infatuated painter’s amorous advances towards [Campbell] had been firmly and publicly rejected. The Vampire was his painterly revenge and would prove to be his most memorable work’ (Mitchell 2012, p.303). According to Mitchell Kipling’s poem was written to provide publicity for (his cousin) Burne-Jones’s 1897 exhibit.
2) Robertson 1931, p.257.
3) Campbell commissioned Fauré to write music for Maurice Maeterlinck’s play Pelléas and Mélisande when it was performed in London in 1898, with Campbell as Mélisande; see ‘All Known Portraits, In stage character, Pelléas and Mélisande’.
4) Memorandum, 9 July 1941, NPG NoS (Campbell).
5) Robertson 1931, p.256.
6) Robertson 1931, p.256.
7) Robertson 1931, p.248.
8) Robertson 1931, p.250–51.
9) Robertson 1931, p.252.
10) Letter from Campbell to G.B. Shaw, n.d., quoted in Dent 1952, p.212.
11) Robertson 1931, p.250.
12) Robertson 1931, p.253.
13) Robertson 1931, p.251.
14) Robertson 1931, p.249. See also Campbell 1922, p.64, on her appearance in 1893, auditioning in front of George Alexander for the part of Paula: ‘The mixture of fearlessness and fragility, the whiteness of my face, some strange and elusive charm, owing to my Italian strain no doubt, interested my future manager.’
15) Griffith 1895, p.266.


Carol Blackett-Ord