George Percy Jacomb-Hood (1857–1929) stands as a notable figure in the British art scene of the late Victorian and Edwardian eras. A man of diverse talents, he excelled as a painter, particularly of society portraits, a skilled etcher, and a prolific illustrator whose work graced the pages of popular periodicals and beloved books. His career was marked by a blend of academic proficiency, a keen observational eye, and an active engagement with the leading artistic institutions of his time, including being a founder member of the influential New English Art Club and the Society of Portrait Painters. His connections extended into the highest echel vrouwen of society, including the British Royal Family, for whom he often worked as an official artist on tours.
Early Life and Artistic Formation
Born in Redhill, Surrey, on July 6, 1857, George Percy Jacomb-Hood hailed from a family with engineering connections; his father, Robert Jacomb-Hood, was a railway engineer. However, young George's inclinations lay firmly in the arts. His formal artistic education commenced at the prestigious Slade School of Fine Art in London, an institution that was, at the time, a crucible for new artistic ideas, often standing in contrast to the more conservative Royal Academy. At the Slade, he would have studied under influential figures such as Alphonse Legros, a French-born painter and etcher who profoundly impacted a generation of British artists with his emphasis on draughtsmanship and traditional techniques.
To further broaden his artistic horizons, Jacomb-Hood, like many aspiring artists of his generation, travelled to Paris. The French capital was the undisputed center of the art world, and he enrolled to study under Jean-Paul Laurens, a respected academic painter known for his large-scale historical and religious compositions. This period in Paris exposed him to contemporary French art movements and further honed his technical skills. He also undertook study trips to Madrid, where he could immerse himself in the works of Spanish masters like Velázquez and Goya, whose approaches to portraiture and realism would have offered valuable lessons.
A Flourishing Career in Illustration
Upon returning to England, Jacomb-Hood quickly established himself as a capable and sought-after illustrator. One of his most significant and long-standing engagements was with The Graphic, a leading illustrated weekly newspaper founded in 1869 by William Luson Thomas. The Graphic was renowned for its high-quality wood engravings and later, photo-mechanical reproductions, and it employed some of the finest illustrators of the day, including Hubert von Herkomer, Luke Fildes, and Frank Holl. Jacomb-Hood's contributions to The Graphic involved depicting a wide array of subjects, from social events and scenes of daily life to more dramatic news items, showcasing his versatility and ability to capture the essence of a moment.
His illustrative talents also found a prominent outlet in book illustration. He is particularly remembered for his collaboration with Henry Justice Ford on Andrew Lang's series of "Fairy Books." Jacomb-Hood contributed significantly to the first volume, The Blue Fairy Book (1889), providing numerous black and white line drawings that brought to life classic fairy tales for a generation of young readers. These illustrations, often characterized by their dynamic compositions and clear narrative quality, perfectly complemented Lang's texts. His work on The Blue Fairy Book demonstrated his adeptness in the fantasy genre, creating memorable images that captured the magic and adventure of the stories.
Another notable commission was for H. Rider Haggard's historical novel, Lysbeth: A Tale of the Dutch (1901). For this, Jacomb-Hood produced a series of twenty-six illustrations, executed in pen, ink, and black chalk. These works displayed a strong narrative drive and a decorative quality, effectively evoking the atmosphere and drama of Haggard's tale of the Spanish Inquisition in the Netherlands. His ability to adapt his style to suit the literary context was a hallmark of his success as an illustrator.
Master of Portraiture
While illustration provided a steady stream of work and public visibility, Jacomb-Hood also cultivated a reputation as a fine portrait painter. He was a founding member of the Royal Society of Portrait Painters in 1891, an organization established to promote the art of portraiture and provide an alternative exhibition venue to the Royal Academy. His fellow founders and members included prominent artists like John Singer Sargent, James Jebusa Shannon, and Solomon J. Solomon, placing him in esteemed company.
Jacomb-Hood's approach to portraiture was characterized by a desire to capture not just a likeness, but the personality and character of his sitters. His portraits were often described as "social portraits," indicating his focus on individuals within their societal context. He painted numerous figures from London's elite, as well as fellow artists and intellectuals. Examples of his portrait work include a depiction of the army officer Arthur Cedic Foster and a sensitive female portrait commissioned by Somerville College, Oxford, demonstrating his ability to work within institutional settings as well as private commissions. His style blended academic solidity with a certain freshness and directness, avoiding excessive flattery while still conveying a sense of dignity and presence.
Involvement in Art Societies and Royal Patronage
Jacomb-Hood was deeply involved in the artistic life of London. His role as a founder member of the New English Art Club (NEAC) in 1886 is particularly significant. The NEAC was formed by a group of younger artists, many of whom had studied in Paris and were dissatisfied with the perceived stagnation and exclusivity of the Royal Academy. They sought to create a platform for more progressive and diverse artistic styles, influenced by French Impressionism and plein-air painting. Key figures in the early NEAC included Philip Wilson Steer, Walter Sickert, Frederick Brown, and William Strang, many of whom were Jacomb-Hood's contemporaries and friends. His involvement underscores his alignment with the more forward-thinking elements of British art.
He also served as Honorary Secretary of the Chelsea Arts Club, a social hub for artists living and working in the Chelsea area, and was a council member of the Royal Society of Painter-Etchers and Engravers (now the Royal Society of Painter-Printmakers). His activity in these organizations highlights his commitment to the professional community of artists and his respected standing within it.
A distinctive aspect of Jacomb-Hood's career was his close association with the British Royal Family. He was frequently invited to accompany them on official tours, acting as an artist to document these occasions. For instance, he accompanied King George V (then Prince of Wales) and Queen Mary (then Princess of Wales) on their tour of India in 1905-1906. He was also present as an official artist at the Delhi Durbar in 1911, a grand ceremony marking the coronation of King George V and Queen Mary as Emperor and Empress of India. During the King's visit to Nepal in 1911, Jacomb-Hood also served as one of the photographers, showcasing another facet of his visual skills. These royal commissions brought him considerable prestige and resulted in a body of work that documented significant historical events. In recognition of his services, he was appointed a Member of the Royal Victorian Order (MVO) in 1909.
Notable Works and Artistic Style
Beyond the specific commissions already mentioned, Jacomb-Hood produced a diverse range of works. His painting A Gamble by the Wayside, depicting an Alpine market scene with figures engrossed in a game of chance, executed in pen, ink, and colour wash, showcases his skill in capturing lively genre scenes and his accomplished draughtsmanship. His oeuvre included landscapes, genre scenes, and subject pictures, in addition to his portraits and illustrations.
His artistic style can be described as a competent and often elegant fusion of academic realism with a lighter, more observational touch, particularly evident in his illustrations and genre scenes. He was less of an avant-garde innovator than some of his NEAC colleagues like Sickert or Steer, but he possessed a solid technique and a reliable ability to meet the demands of various commissions. His training under Legros would have instilled a strong foundation in drawing, while his Paris experience likely encouraged a brighter palette and a more direct engagement with the subject. In his illustrations, especially the black and white line work, there is a clarity and dynamism that made them highly effective. His etchings, too, benefited from his strong drawing skills.
Contemporaries and Influence
George Percy Jacomb-Hood operated within a vibrant and evolving art world. His contemporaries at the Slade and in Paris, and later in the art societies of London, formed a complex network of influences and collaborations. Artists like William Strang, also a pupil of Legros and a fine etcher and painter, shared a similar grounding. The towering figure of John Singer Sargent set a high bar for portraiture, and while Jacomb-Hood's style was less flamboyant, he shared the aim of capturing the sitter's essence.
The illustrators he worked alongside at The Graphic, such as Hubert von Herkomer (also a notable painter and social realist), Luke Fildes (known for his social commentary and later, state portraits), and Frank Holl, were all significant artists who shaped public visual culture through the illustrated press. His collaboration with Henry Justice Ford on the Fairy Books places him in the context of the Golden Age of Illustration. Other prominent illustrators of this period included Arthur Rackham and Edmund Dulac, though their styles were often more fantastical and decorative.
Within the NEAC, he rubbed shoulders with artists who would go on to define British modernism, such as Walter Sickert, with his gritty urban scenes, and Philip Wilson Steer, who experimented with Impressionism and later developed a distinctive style of landscape painting. Other NEAC members like George Clausen and Henry Scott Tuke also contributed to the diversity of British art at the turn of the century. While Jacomb-Hood may not have pushed the boundaries of art as radically as some of these figures, his consistent professionalism and skill earned him respect. He was also a contemporary of establishment figures like Sir Edward Poynter, President of the Royal Academy, representing the more traditional side of the art world against which the NEAC reacted. The influence of James McNeill Whistler, with his aestheticism and emphasis on artistic harmony, was also pervasive during this period.
Later Life, Legacy, and Collections
Jacomb-Hood continued to work and exhibit throughout his career. He published his memoirs, With Brush and Pencil, in 1925, providing valuable insights into his life, his travels, and the artistic circles in which he moved. He passed away on December 11, 1929, in Philipson Street, London.
Today, George Percy Jacomb-Hood's works are held in various public and private collections. The British Museum and the Victoria and Albert Museum in London hold examples of his prints and drawings. His portraits can be found in institutions such as Somerville College, Oxford, and the National Portrait Gallery, London, has a photographic portrait of him. His book illustrations, particularly for The Blue Fairy Book, continue to be appreciated and are often reprinted.
In the art market, his works appear periodically at auction. Original illustrations, particularly those for well-known books, can command interest, as can his oil paintings, especially portraits of notable individuals or well-executed genre scenes. The value of his work varies depending on the medium, subject matter, size, and provenance. While perhaps not as widely known today as some of his more radical contemporaries, his contribution to British art, particularly in the fields of illustration and portraiture, remains significant. He was a quintessential Edwardian artist: skilled, versatile, and well-connected, navigating the changing art world with professionalism and talent. His career reflects the diverse opportunities available to artists in a period of burgeoning media and established patronage.
Anecdotes and Character
Jacomb-Hood's autobiography, With Brush and Pencil, is the primary source for personal anecdotes. It reveals a man who was well-travelled, observant, and moved comfortably in high society, yet remained dedicated to his craft. His accounts of royal tours offer fascinating glimpses into the workings of the court and the challenges of an official artist. He appears to have been a congenial figure, well-liked within the various art societies he belonged to, such as the Chelsea Arts Club, known for its camaraderie. There are no major controversies associated with his name; rather, he seems to have been a respected professional who fulfilled his commissions diligently and contributed positively to the artistic life of his time. His long and productive career, spanning several decades and artistic roles, attests to his adaptability and enduring skill.
His role as a documenter, whether of royal tours, social events for The Graphic, or the characters in a novel, was central to his artistic identity. He possessed a narrative gift, able to tell a story or convey an atmosphere through his images, a skill highly valued in an era before photography became ubiquitous in print media. His legacy is that of a talented and industrious artist who successfully bridged the worlds of popular illustration, formal portraiture, and the institutional art scene of late 19th and early 20th century Britain.
