Henry Irving

Henry Irving (1838-1905), sepia photograph, 19th century, Guy Little Collection. Museum no. S.145:70-2007. © Victoria & Albert Museum, London

Photography was a novel and exciting development in Victorian days. Most actors and actresses had studio photographs taken in everyday dress or theatrical costume for 'cartes de visite' and later 'cabinet cards'. Both were albumen prints made from glass negatives, attached to stiff card backing printed with the photographer's name. 'Cartes de visite', the size of formal visiting cards, were patented in 1854 and produced in their millions during the 1860s when it became fashionable to collect them. Their subjects included scenic views, tourist attractions and works of art as well as portraits. They were superseded in the late 1870s by the larger and sturdier 'cabinet cards' whose popularity waned in turn during the 1890s in favour of postcards and studio portraits. This photograph comes from a large collection of 'cartes de visite' and 'cabinet cards' removed from their backings and mounted in albums by Guy Tristram Little (d. 1952) who bequeathed them to the V&A. A collector of greetings cars, games and photographs, Guy Little was a partner in the legal firm Messrs Milles Jennings White & Foster and the solicitor and executor of Mrs Gabrielle Enthoven, whose theatrical collection formed the basis of the Theatre Collections at the V&A.

Henry Irving as Mathias

Henry Irving (1838-1905) as Mathias in The Bells at the Lyceum Theatre, London, sepia photograph, November 1871, Guy Little Collection. Museum no. S.145:12-200.© Victoria & Albert Museum, London

Photography was a novel and exciting development in Victorian days. Most actors and actresses had studio photographs taken in everyday dress or theatrical costume for 'cartes de visite' and later 'cabinet cards'. Both were albumen prints made from glass negatives, attached to stiff card backing printed with the photographer's name. 'Cartes de visite', the size of formal visiting cards, were patented in 1854 and produced in their millions during the 1860s when it became fashionable to collect them. Their subjects included scenic views, tourist attractions and works of art as well as portraits. They were superseded in the late 1870s by the larger and sturdier 'cabinet cards' whose popularity waned in turn during the 1890s in favour of postcards and studio portraits. This photograph comes from a large collection of 'cartes de visite' and 'cabinet cards' removed from their backings and mounted in albums by Guy Tristram Little (d. 1952) who bequeathed them to the V&A. A collector of greetings cars, games and photographs, Guy Little was a partner in the legal firm Messrs Milles Jennings White & Foster and the solicitor and executor of Mrs Gabrielle Enthoven, whose theatrical collection formed the basis of the Theatre Collections at the V&A.

Henry Irving as Macbeth print

Henry Irving (1838-1905) as Macbeth, printed page from the Illustrated Sporting and Dramatic News, 1888. Henry Irving (1838-1905) as Mathias in The Bells at the Lyceum Theatre, London, sepia photograph, November 1871, Guy Little Collection. Museum no. S.145:12-200.© Victoria & Albert Museum, London

Irving was the leading actor-manager in the late 19th century. Macbeth was one of his most admired roles, although he had not attempted it for 13 years before this production at the Lyceum in 1888 with Ellen Terry as Lady Macbeth. Irving's interpretation was innovative in that he did not show Macbeth as a virtuous character corrupted by evil influences, but as thoroughly evil from the start a 'hysterical, craven wretch' in a red moustache. Irving's productions were famous for their elaborate sets, vast armies of supernumeraries and spectacular scenic effects. For Macbeth he decided that it would be appropriate to set several of the scenes at night, dramatically lit with torches. He used this gloomy setting so extensively that when an outdoor scene was played in bright daylight, one of the audience leapt up with relief and shouted 'Good Old England!' The production was a success with the public, and played to full houses for 150 nights.

Ellen Terry as Lady Macbeth

Ellen Terry (1847-1928) as Lady Macbeth in Macbeth at the Lyceum Theatre, London, sepia photograph, photographer: Window & Grove, London, 1888, Guy Little Collection. Museum no. S.133:429-2007.© Victoria & Albert Museum, London

Ellen Terry as Juliet

Ellen Terry (1847-1928) as Juliet in Romeo and Juliet at the Lyceum Theatre, London, sepia photograph, photographer: Window & Grove, London, 1882, Guy Little Collection. Museum no. S.133:327-200.© Victoria & Albert Museum, London

Photograph of Ellen Terry

Ellen Terry (1847-1928), sepia photograph, photographer: Herbert Rose Barraud, London, England, 1890, Guy Little Collection. Museum no. S.133:489-2007.© Victoria & Albert Museum, London

Ellen Terry, the famous actress, represented the ideal aesthetic woman. She frequently flouted society with her independent lifestyle, but became a role model for the new modern woman. A leader of style in all matters, she is photographed here against a fashionable Japanese screen. Photography was a novel and exciting development in Victorian days. Most actors and actresses had studio photographs taken in everyday dress or theatrical costume for 'cartes de visite' and later 'cabinet cards'. Both were albumen prints made from glass negatives, attached to stiff card backing printed with the photographer's name. 'Cartes de visite', the size of formal visiting cards, were patented in 1854 and produced in their millions during the 1860s when it became fashionable to collect them. Their subjects included scenic views, tourist attractions and works of art as well as portraits. They were superseded in the late 1870s by the larger and sturdier 'cabinet cards' whose popularity waned in turn during the 1890s in favour of postcards and studio portraits. This photograph comes from a large collection of 'cartes de visite' and 'cabinet cards' removed from their backings and mounted in albums by Guy Tristram Little (d. 1952) who bequeathed them to the V&A. A collector of greetings cars, games and photographs, Guy Little was a partner in the legal firm Messrs Milles Jennings White & Foster and the solicitor and executor of Mrs Gabrielle Enthoven, whose theatrical collection formed the basis of the Theatre Collections at the V&A.