11 May 1838
|Died||20 August 1912
|Education||Julia Goodman (mother), Royal Academy, London|
|Known for||Painting, Drawing, Writing|
|Notable work||The Printseller's Window (c. 1882)
Home of the Bamboo (c. 1882)
Fanny Stirling (1885)
Mrs Keeley at Fourscore (1885)
Young Keeley (1905)
The Pearl of the Antilles, or An Artist in Cuba (1873)
The Keeleys on Stage and at Home (1895)
Walter Goodman (11 May 1838 – 20 August 1912) was an English painter, illustrator and author.
The son of English portrait painter Julia Salaman (1812–1906) and London linen draper and town councillor, Louis Goodman (1811–1876), he studied with J. M. Leigh and at the Royal Academy in London, where he was admitted as a student in 1851. Recent research has unearthed details of more than one hundred works by Goodman. The present whereabouts of most these are unknown, notable exceptions being The Printseller's Window (c. 1882), acquired by the Memorial Art Gallery of the University of Rochester in 1998, portraits of actresses Mary Anne Keeley (also known as Mrs. Keeley At Fourscore) and Fanny Stirling (1885), both in the collection of London's Garrick Club, A Kitchen Cabinet (1882) in a private collection in the US, and a Cuban scene, Home of the Bamboo, in a private collection in Sweden. Several sketches, paintings and water colours, are still in the possession of Walter Goodman's descendants.
One of Goodman's earliest recorded works is his depiction of the 1858 trial of Dr Simon Bernard over the attempted assassination of Napoleon III. The painting hung in the Tavistock Square home of Goodman's uncle, Sir John Simon (1818–1897), who worked on the trial  as Edwin James' junior. The same year The Liverpool Academy exhibited Doctoring The Cane, which was then exhibited the following year by The British Institution on Pall Mall in London. Doctoring the Cane was exhibited and sold as an Art Union prize at the annual exhibition in Manchester, probably in 1859. The British Institution also exhibited Bible Stories in 1861.
A publication of 1859 refers to Goodman as a scene painter and goes on to describe Goodman's (and various siblings') appearance in an amateur play staged at the Baker Street, London home of another uncle, the composer Charles Kensington Salaman (1814–1901). The production received glowing reviews. A somewhat comical flyer from the same year, of a production at the Goodman family home at Mabledon Place in London, describes Goodman as a hammerteur artist (alluding to the fact that he also constructed the scenery).
Beginning in 1860 Goodman undertook extensive travel to France, Belgium, Germany, Switzerland, Italy, and Spain. He spent two to three years in Florence, beginning in 1861, refining his skills by copying Old Master paintings at the Uffizi and Pitti palaces. There he met fellow artist, Joaquín Cuadras, whom he painted several times, and the renowned Spanish painter Mariano Fortuny.
One of Goodman's favourite destinations was Spain — he was fluent in Spanish. He travelled with Cuadras to Barcelona in 1862, where he spent almost a year, before returning alone to England and, later, Scotland. In Edinburgh, he resided for a short time during 1864 with his journalist brother, Edward, then an assistant to Edinburgh Courant publisher, James Hannay, whom he painted (exhibited at the Royal Scottish Academy in 1864 ), as well as author David Smith. Another work, entitled Head was also exhibited at the Royal Scottish Academy the same year.
In 1864, now rejoined by Cuadras, Goodman travelled to Rome and then on to Saint-Nazaire in France where they set sail on a French steamer to the West Indies, arriving in Santiago, Cuba on 9 May 1864. Most of Goodman's time in the West Indies was spent in Santiago and Havana, Cuba, working as an artist and journalist and painting theatrical sets. He also appeared in at least one stage production, putting his fluency in Spanish to good use. Goodman and Cuadras were imprisoned for a short time in the Morro Castle in Santiago. During his time in Cuba, Goodman contributed articles and letters to the New York Herald, using the nom de plume el Caballero Inglese. In this capacity he travelled to Port Royal in Jamaica in August 1868 in connection with the laying of the undersea cable between Cuba and Jamaica. Eventually civil unrest forced him to flee to New York City in January 1870  on board the American steamer Morro Castle.
He spent only a few months in the United States before returning to London in the first half of 1870 when he painted portraits of Sir Thomas Brassey MP, his wife, Lady Anna Brassey, their children, and Mr. Brassey senior. The Brassey portraits were hung at the Brassey estate at Normanhurst Court in Sussex. The same year he painted a Portrait of a Young Boy on a Horse, which found its way to a sale at Christie's in London in July 1998.
In 1871 he exhibited a portrait of Evelyn, Daughter of G.J.Reid, Esq. of Tunbridge Wells at the Royal Academy and his portrait of his uncle, Serjeant Simon M.P. was displayed at the Royal Oak Hotel in Simon's constituency of Dewsbury, Yorkshire. Photographic evidence exists of three portraits from 1871–1872, entitled Master Nicholls, Mr N Birkenruth, and Mrs N Birkenruth.
In 1872 Goodman contributed a piece entitled A Cigarette Manufacturer At Havana to the London Society magazine and one called General Tacon's Judgmen to the Daily Pacific Tribune, a Washington newspaper. In 1873 he published an account of his years in Cuba, entitled The Pearl of the Antilles, or An Artist in Cuba, to favorable reviews (reprinted in Cuba in 1986). The book was based upon a series of humorous sketches first published in Charles Dickens' periodical All the Year Round. The same year he contributed some sketches of Santiago to The Graphic magazine.
The February, 1874 issue of Cassell's Magazine included two articles by Goodman titled "Saved From a Wreck" and "Cuba Without a Master." In April of that year he wrote another article for the same magazine called "A Holiday in Cuba", which he illustrated with a pretty Cuban girl looking through a barred window. That winter also saw the exhibition of oil paintings titled Young Castille and Voices of the Sea at London's Dudley and French Galleries, respectively. In 1876 he exhibited a drawing, The Language of the Face at The Black and White Exhibition at The Dudley Gallery and Morning Work at the London Exhibition of Fine Arts. The latter work was probably a trompe l'oeil painting, as it is described in a publication of the day as a housemaid is cleaning a window, which the spectator is meant to be looking through. The Mail describes it as a pretty housemaid cleaning a window, and seen through the plate glass, a novel idea cleverly worked out. The painting was sold during the exhibition.
In 1877 two pages of drawings of Russian peasantry by Goodman appeared in the Illustrated London News, as well as an illustration for a Wilkie Collins story, "A Bit for Bob" in the magazine's Christmas Number, entitled "A Little Baggage."
Around this time, Goodman moved to Bradford, Yorkshire and lived with his sister, Alice for several years. Goodman contributed the same drawing to two books in 1879 — God is taking care of me to the Ellen Haile children's book Three Brown Boys and other Happy Children (the other main contributing artist was the renowned children's book illustrator Kate Greenaway) and Floy's first flight to The One Syllable Book. The same drawing appeared again, in 1885, as Obedient Bessie in a children's book called Little Ramblers and Other Stories. In 1877 he exhibited A Factory Girl  depicting a northern England factory girl returning home from work, at The Dudley Gallery.
That same year Goodman scored two coups involving the new Chinese diplomatic missions to Europe. Liu Hsi-Hung, Chinese minister to the Court of Berlin, commissioned him to copy the National Gallery's Madonna in Prayer by Sassoferrato, reputedly the first commission given by a Chinese to an English artist. The painting was subsequently dispatched to Germany. He also painted His Excellency Kuo Ta-Jen (Kuo Sung-Tao), Chinese Minister to the Court of St. James's (China's first such ambassador), initially exhibited in 1878 at the Royal Academy and later at the Walker Art Gallery in Liverpool.
The same year Goodman sent another full-length portrait of a A Chinese Lady of Rank (the sitter was Kuo Tai-Tai — the wife of Kuo-Ta-Jen) to the Royal Academy, after first previewing a preliminary study for Queen Victoria in March 1879 at Windsor Castle. Kuo Tai-Tai also featured in a group portrait by Goodman, together with her young child and child's nurse. This painting was later taken back to China by the ambassador. Major General William Yorke-Moore sat for Goodman in 1879 and this portrait is now in a private collection at The Keep Military Museum, Dorchester, Dorset, England.
Goodman's trip to Windsor might have led to The Queen's son, Prince Leopold, Duke of Albany, sitting for Goodman (The Prince never sat for another artist). His portrait was submitted to the Royal Academy in 1881. A court circular from Marlborough House dated 28 July 1884 notes that Goodman submitted the portrait of The Duke of Albany to the Prince and Princess of Wales, from where it was currently displayed in a place of honour surrounded by flowers (The Prince had died earlier that year) at the exhibition of the City of London Society of Artists at the old law courts of The Guildhall. The painting was purchased around 1884 by The National Hospital in Queen Square, London. The hospital has no record of the present whereabouts of the painting.
In the summer of 1883 Goodman sold two oil paintings at J.P. Mendoza's St. James's Gallery at King Street in London — Fresh and Pure (also known as Pure and Undefiled) and Candidate For The Front Row (also known as First at the Gallery Door). Goodman was a member of London's Savage Club and in 1883 submitted a drawing of the club president, Andrew Halliday, to the club tombola. The same year Goodman also produced a pencil and water colour of two children at the door of a theatre that was staging a performance of the pantomime Little Red Riding Hood.
In 1884 Goodman offered a water colour, Longing Eyes, for 10 guineas, at the Liverpool Autumn Exhibition. That year the annual exhibition of the City of London Society of Artists moved from its premises at the Worshipful Company of Skinners on Dowgate Hill, to the old law courts at The Guildhall and Goodman submitted Idle Dreams and In Possession. The latter work was of the two playing children of the artist and illustrator Harry Furniss.
In a departure from painting portraits, around October 1884 Goodman moved to Chalford in the Cotswolds to paint two landscapes of the valley below from the brow of a hill at Cowcombe Woods overlooking the village. He stayed in Chalford for at least five months.
Goodman contributed at least four essays to The Theatre during 1885 and 1886, entitled An English Ballet in Spain, Art Behind the Curtain, An Englishman on the Spanish Stage, and "Box and Cox" in Spanish.
Goodman is also credited with a portrait of the then Duke of Edinburgh (Queen Victoria's second son Alfred). His last Royal Academy submission (1888) was a portrait entitled Mrs. Keeley in her 83rd Year which is recorded as having subsequently found its way to London's bohemian Savage Club, of which the artist was a member from 1873 to 1894 and where his brother Edward was chairman of the committee. Another Keeley painting, Mrs. Keeley At Fourscore (now housed at the Garrick Club) was exhibited at Institute of Oil Painters and Bond Street's Burlington Gallery in 1885. Goodman was an admirer of Mary Anne Keeley and her acting family, publishing an appreciation in 1895 entitled The Keeleys on the Stage and at Home, which contains engravings of several of his portrait paintings. Goodman's life interest in the theatre culminated in an appearance with Mrs. Keeley in a full-scale production on the stage of the Prince of Wales theatre on the night of 16 January 1884. At about the same time he painted the actress, Mrs. Alfred Mellon (née Sarah Woolgar) . Another actress whose portrait Goodman painted was Amy Sedgwick. A year after her death in 1897, her third husband presented the portrait to the Garrick Club, where it remained until 1969. Other arts-related personalities who were captured by Goodman's brush included Negro Delineator, E. W. Mackney, the dramatist Henry Pettitt and composer Sir George A. MacFarren (who also sat for Goodman's mother Julia).
In 1887 Goodman exhibited three portraits — Mary Anne Keeley, Fanny Stirling (both presumably loaned from The Garrick Club), and Grace Darling, at the Signor Palladiense Gallery, on Bond Street in London. The Keeley and Stirling portraits were also exhibited in 1887 at Messrs Hennah and Kent's studios in London's Old Kent Road. In 1888 Goodman produced a head and shoulders portrait of Fanny Stirling Mrs Stirling (Lady Hutton Gregory).
In two consecutive annual exhibitions at the Institute of Oil Painters Goodman exhibited Mr Henry Russell (1889), Mr Lionel Brough (1890), and Kathleen, the latter of which was sold at the exhibition. In 1889 he exhibited Dolly at J.P.Mendoza's St. James's Gallery.
In 1890 Goodman contributed at least one painting to an exhibition in New York City. The proceeds from the sale of the paintings were to benefit the ailing Irish-born American artist Arthur Lumley (1837–1912).
The Printseller's Window
Around 1883 Goodman painted a fascinating trompe l'oeil depiction of the contents of a printseller's window (including the merchant himself, placing a figure in the display). Twelve carte-de-visite photographs are strung across the shop window, along with other photographs depicting artists and critics such as John Ruskin, Mariano Fortuny y Marsal and Augustus Sala.
The Printseller's Window (also known as The Printseller or A Print Seller's Window in The Strand) was displayed at various London galleries, including St. James's Gallery in 1883, the Burlington Gallery in Bond Street (together with Mrs. Keeley at Fourscore) from August 1885, Earls Court British and Foreign Art galleries Section, and at Imre Kiralfy's Venice in London exhibition at Olympia in 1892 (where the painting was entitled The Venetian Printseller). The painting was widely reported in the London and provincial newspapers of the day.
This impressive work was also displayed provincially at various locations, including The Walker Art Gallery in Liverpool in 1883. It was offered for sale at the Liverpool Autumn Exhibition the same year, but priced at 315 pounds the painting did not find a buyer, causing the artist to re-exhibit it in 1884 at the Royal Scottish Academy. Other recorded provincial exhibitions which included The Printseller's Window are Folkestone Art Treasures Exhibition (1886) (together with his portrait of Wilkie Collins), Edinburgh Academy of Arts, and Goodman's own studio at 88 Kings Road in Brighton in 1891. The latest recorded date that The Printseller's Window was shown in Britain was at a show at the 19th Art Century Society in 1894, which prompted a withering review in The Pall Mall Gazette where the reviewer accused Goodman of affixing facsimiles of photographs to his painting. Goodman later responded in the press to this inaccurate criticism in equally withering terms. The Printseller's Window was acquired by a Connecticut art dealer in 1965, and eventually by the Memorial Art Gallery of the University of Rochester in 1998.
The Printseller's Window is now considered an important example of its genre. The history of the painting and its ownership between the late 1890s and 1965 is unknown, and how it reached the United States is still a mystery.
The Printseller's Window was the subject of an exhibition, Walter Goodman's The Printseller's Window: Solving A Painter's Puzzle at the Memorial Art Gallery of the University of Rochester 14 August 2009 – 15 November 2009. A catalog of the exhibition has been published.
Walter Goodman was one seven children, amongst whom were Edward, the travel writer, author, and sub-editor of The Daily Telegraph, and Miriam, the acclaimed pianist who often accompanied Walter on his musical and dramatic stage outings.
Apart from living overseas for fourteen years, notably in Italy, Spain, Cuba, New York, and with family in Bradford and Edinburgh, Goodman lived with his parents and siblings at numerous central London addresses. Around 1888 he moved from Notting Hill, London, to Brighton, where he opened a studio on the premises of The Photographic Company at 88 Kings Road. The Photographic Company was the premises of the husband of his sister Alice — the photographer Edmund Passingham (represented in the National Portrait Gallery). While in Sussex, Goodman acted as the Brighton correspondent for The Sunday Times.
On 10 October 1888 Goodman married Clara Isabel Blackiston(b. 1866), from Ashby de la Zouch, Leicester. They lived first in West Brighton (1888) then in Hove (1891). In 1892 Goodman is reported to be living in West Kensington, London, a necessity no doubt due to his appointment as press director of the International Horticultural Exhibition at Earls Court, London. In this capacity, Goodman was heavily involved in the staging of Buffalo Bill's Wild West show.
Walter and Clara had a son, Walter Russell in 1889, followed by Joaquin Sedgwick (1891), Reginald Arthur (1893), Julia Constance (1894) and Keeley John (1899).
Goodman probably left his family in Sussex and returned to live in London around 1900. The 1901 UK census lists Clara living as head of the family with the children at Henfield in Sussex. In 1911 Walter was living with his three eldest sons in Willesdon, London, whilst Clara was living in Chorleywood, Hertfordshire with their two youngest children.
People I Have Painted
Between 11 February and 1 July 1893 Goodman contributed a weekly essay People I Have Painted to Sala's Journal. Each essay detailed the often humorous circumstances surrounding a particular painting or series of paintings Goodman had created. The subjects of these essays were entitled:
The Emperor Of The French
Around 1859 Goodman was commissioned to produce a series of seven large (six feet by four feet) panoramic views illustrative of the Italian war of 1859, most of which would feature The French Emperor, Napoleon III. Two of these works were to be transparencies, designed to be artificially lit from behind. Goodman recorded that his cleaning lady almost ruined some of these works due to her over-zealousness and his own forgetfulness. The Emperor never sat for Goodman in person — all paintings were executed with help of the many photographs of Napoleon III that were to be found in London at the time. The paintings were intended for a Continental show and were destined to be shipped to Odessa. Before this, the series was privately exhibited in the apartment where they had been painted. At the time of writing, in 1893, Goodman had no knowledge of the whereabouts of the seven paintings.
In 1881, at Goodman's request, Prince Leopold sat for him at his London studio. Goodman notes that prior to the Prince's visit on 5 February 1881, he requested that his cleaning lady make the studio extra tidy as he was expecting a prince. During the sitting the Prince's sister, Princess Louise, Duchess of Argyll, Marchioness of Lorne also paid a visit to Goodman's studio. Prince Leopold was in failing health and further sittings took place in the somewhat warmer surroundings of the Prince's apartments at Windsor Castle. Prince Leopold died in 1884, and in that year the painting was exhibited at the Guildhall.
His Excellency Kuo Sung Tao
In 1878, Goodman was commissioned by the Chinese Ambassador to Great Britain and France to paint his portrait. The minister in question's family name was Kuo Sung-Tao, and he held the official title of Kuo Ta-Jen. Goodman writes of the difficulties experienced while attempting to capture his subject's grand attire. The sittings took place at Goodman's home at Notting Hill, London, and he notes the wonder and excitement of the local inhabitants at the arrival of the ambassador's carriages and at the exotic occupants delivered to his home. By having his portrait painted, Kou Sung-Tao incurred the wrath and ridicule of his countrymen back home. To such an extent in fact that he returned the portrait to Goodman and requested his money back — which Goodman declined to do. Goodman states that he informed His Excellency if it was against the customs of his country for a mandarin to have his portrait painted, it was not less at variance with the rigid rules of the outer barbarian to return money.
A Chinese Lady Of Rank
The lady in question was one of the three wives of the Chinese Ambassador. Her name was Kuo Tai-Tai. Goodman goes to great lengths to explain her exotic appearance and that of her small child, Ying-Sung. The (eighteen) sittings took place in 1879 at the Chinese Legation at Portland Place, London (the present day Chinese Embassy). Also described is a reception held at the embassy at which the Prime Minister of the day, William Ewart Gladstone was present. The portrait was a group picture of Kuo Tai-Tai, her child Ying-Sung, and the child's nurse.
Mrs. Keeley At Fourscore, Jack Sheppard After Many Years, and The "Academy" Mrs. Keeley Goodman indulges his obvious obsession with Mrs. Keeley by devoting the next three essays to her and the two portraits she sat for. Mrs. Keeley at Fourscore being the portrait that now hangs in The Garrick Club. Goodman describes how his sitter fell off her stool and badly injured her ankle. The Jack Sheppard essay refers to her famous portrayal of the notorious 18th-century burglar and is a continuation of the description of the sitting for The Garrick portrait. He notes that between the completion of this´and starting the next portrait, Mrs. Keeley requests him to paint a posthumous portrait of her late daughter, Louise who was married to Montagu Williams and died in 1877. The second Keeley portrait, also referred to as Mrs. Keeley in her 83rd Year is the one that was exhibited at The Royal Academy and subsequently hung in The Savage Club.
A Notable Spanish Artist The notable Spanish artist being Marià Fortuny, whom Goodman met in Florence in 1861. Goodman and Joaquin Cuadras struck up a friendship with the great Spanish artist in the early 1860s whilst they lived in Florence. Goodman relates how he sketched Fortuny without his knowledge, in 1861. Rather interestingly, Goodman says that Fortuny featured later on in a "rather large" composition of his - this is almost certainly a reference to The Printseller's Window. Goodman goes on to describe how the threesome visited the various bodegas around the Uffizi Palace. Their favourite haunt was Café Michael Angelo, in the Strada Nuova. The walls here were covered with al fresco murals, with the picture cord, nails and projected shadows formed by those objects, all of which were so accurately represented as to appear from a distance like the real thing. This early 1860s experience of the trompe l’oeil technique would be used to great effect by Goodman twenty years later with his masterpiece The Printseller's Window.
My Cuban Companion
A British Consul of Barcelona
Author of the "Woman in White"
The Composer of "Cheer Boys Cheer"
An Emancipated Slave
The Original "Negro Delineator"
A Popular Dramatist
The Last of a Famous Clown
A Spanish Low Comedian
A Great Italian Actor
An Artist in Italian Glass
A Knighted Newspaper Proprietor
Around 1890 Goodman painted a portrait of Brighton resident The Countess of Munster and this was exhibited in his Brighton Studio in 1891 together with The Printseller's Window and the Wilkie Collins portrait. He also exhibited a replica of his Chinese Ambassador portrait here the same year.
Also in 1891, Goodman tried to persuade The Garrick Club to purchase his portraits of Wilkie Collins and Mrs. Alfred Mellon, pledging half the proceeds to a fund to help relieve the financial difficulties of Robert Reece, who was severely ill. Presumably he failed in this effort as the whereabouts of these two paintings are unknown today.
Around probably 1898 Goodman was commissioned to travel to Poděbrady castle in Bohemia to paint the portrait of Prince Hohenlohe and that of his daughter Elisabeth. According to reports, both works were met with much success. During this trip, while staying at a hotel in Bad Kreuznach, he organized a firework display in honor of The Queen's birthday. He was assisted in this task by his son, Russell (godson of Henry Russell).
In 1901 Goodman authored a two-part article in the Magazine of Art entitled "Artists Studios: As They Were and As They Are." In the piece Goodman makes it clear that he was on familiar terms (at least enough so as to have been able to visit a number of their studios first hand) with many of the great painters of the Victorian Age, six of whom are portrayed in The Printseller's Window.
The Jewish Chronicle commissioned Goodman to draw a study of his mother, Julia Goodman on the occasion of her 90th birthday. It appeared in the 7 June 1902 edition of that publication, and in Booklover's Magazine in February of the following year.
In 1906 Goodman exhibited a portrait of his son, Keeley, at the Institute of Oil Painters in London. At the Exhibition of Jewish Art and Antiquities at the Whitechapel Art Gallery, London in late 1906 he exhibited three works — The Late Sampson Lucas, Mrs Keeley in her 83rd year, and The Cuban Mulatto Girl.
From 1906 Goodman suffered from severe ill health, and was unable to continue painting. By 1908 he had fallen on hard times and in desperation wrote to the Jewish Chronicle asking for donations and financial assistance, giving his wife's Henfield address — even though by this time he had long returned to London and was being cared for by his three eldest sons at his final address in Priory Park Road, Willesden, London. However, in December the same year The Strand Magazine provided some welcome financial assistance by publishing his essay Drapery Figures.
Walter Goodman died from cancer on 20 August 1912, at a nursing home in West Hampstead. His funeral was held on 24 August and he is buried in Hampstead Cemetery, North London. A small obituary appeared in the 30 August 1912 edition of The Jewish Chronicle and a more extensive obituary appeared in an unidentified newspaper, listing his notable achievements. These are the last known references to Walter Goodman in the public record.
Paintings and drawings
|Title or subject||Date||Exhibited||Present whereabouts|
|Series of panoramic views of the Crimean war||Around 1856-1857||Commissioned by the US||Unknown|
|James Henry Cotton, Dean of Bangor||Before 1858||Unknown|
|Doctoring the Cane||Liverpool Academy (1858)
British Institution, London (1859)
Annual Art Union Exhibition, Manchester (1859)
|Trail of Dr Simon Bernard in the assassination attempt of Napoleon III||Sir John Simon's house,
36 Tavistock Square, London (1858)
|Battle of Montebello, with 84th Regiment, headed by Colonel Cambuels and General Forey, attacking the Austrians||c. 1859||Private exhibition at the apartment of the artist (c. 1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine.||Unknown|
|Attack and capture of the Bridge of Magenta by General Vinoy||c. 1859||Private exhibition at the apartment of the artist (c. 1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine.||Unknown|
|The Emperor of The French at Solferino||c. 1859||Private exhibition at the apartment of the artist (c. 1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine.||Unknown|
|Bivouac of French Troops at Alessandria||c. 1859||Unknown|
|The Emperor Visiting the Wounded in Hospital||c. 1859||Unknown|
|Reception of the Emperor and Count Cavour at Genoa||c. 1859||Unknown|
|Peace Rejoicings at Milan, with the Cathedral brilliantly illuminated||c. 1859||Unknown|
|Bible Stories||British Institution, London (1861)||Unknown|
|Interior of The Cathedral of San Lorenzo, Genoa||The Royal Scottish Academy (1861)
The Liverpool Society of Fine Arts (1862)
|Il Monte della Croce, San Miniato, Florence||The Liverpool Society of Fine Arts (1862)||Unknown|
|Don Baltasar Torrecillas (24 distemper sketches of the performer in different costumes)||1864||Unknown|
|The late daughter of Don Magin of Santiago, Cuba||1864–1869||Cuba||Unknown|
|The late Don Pancho Aguerro y Matos of Santiago, Cuba||1864–1869||Cuba||Unknown|
|Sabrina de la Torre||1868||Cuba||Unknown, but a photograph exists in a private collection in England|
|James Hannay, Esq.||Royal Scottish Academy (1864)||Unknown|
|Head||Royal Scottish Academy (1864)||Unknown|
|Sir Thomas Brassey (crayon)||1870||Normanhurst Court, Sussex (1870–?)||Unknown|
|Lady Anna Brassey (crayon)||1870||Normanhurst Court, Sussex (1870–?)||Unknown|
|The Brassey children (probably more than one portrait)||1870||Normanhurst Court, Sussex (1870–?)||Unknown|
|Thomas Brassey Esq. senior||1870||Normanhurst Court, Sussex (1870–?)||Unknown|
|Portrait of a Young Boy on a Horse||1870||Christie's South Kensington, London (July 1998)||Unknown|
|Mr Serjeant Simon MP||Royal Oak Hotel, Dewsbury, Yorkshire (1871)||Unknown|
|Evelyn, daughter of G. J. Reid esq.||Royal Academy (1871)||Unknown|
|Portrait of child holding a letter||1872||Lawrences Auctioneers, Somerset (2001)
Dreweatts Auctioneers, Devon, (2002)
Private collector Bristol, Somerset (2002–2005)
|Private collection in the US|
|Master Nicholls||1872||Unknown, but a photograph exists in a private collection in England|
|Mr. N Birkenruth||1873||Unknown, but a photograph exists in a private collection in England|
|Mrs. N Birkenruth||1873||Unknown, but a photograph exists in a private collection in England|
|Young Castille||Winter Exhibition of Cabinet Pictures in Oil, The Dudley Gallery (1874)||Unknown|
|Voices Of The Sea||Exhibition of Pictures by British and Foreign Artists, The French Gallery in Pall Mall (1874)||Unknown|
|Morning Work (also known as Cleaning Windows)||London Exhibition of Fine Arts (1876)||Unknown|
|The Language Of The Face (drawing)||The Dudley Gallery (1876)||Unknown|
|A Factory Girl||The Dudley Gallery (1878)||Unknown|
|His Excellency Kuo Ta-Jen||Royal Academy (1878)
The Walker Art Gallery (1879)
|Unknown, but a photograph exists in a private collection in England|
|Madonna in Prayer (Commissioned copy of Sassofferato's work)||Chinese Embassy, London (1878)
Berlin, Germany after 1879
|A Chinese Lady of Rank||Windsor Castle (1879)
Royal Academy (1879)
|Unknown, but a photograph exists in a private collection in England|
|Portrait of a Chinese lady in native attire. (Kuo Tai-Tai — the wife of Kuo-Ta-Jen — with her new son, Ying-Sung, and the child's nurse)||1879||Taken to China by Kuo Ta-Jen soon after it was completed.
|Major General William Yorke-Moore||1879||
The Keep Military Museum, Dorchester, Dorset, England
|Self-portrait||1880||Walter Goodman's The Printseller's Window: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)||Private collection in the US|
|HRH Prince Leopold||Royal Academy (1881)
Exhibition of City of London Society of Artists, The Guildhall (1884)
Manchester Institution (1884)
Malborough House (1884)
Prince Leopold Wing of The National Hospital in London (1884–?)
|A Kitchen Cabinet||1882||Walter Goodman's The Printseller's Window: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)||Private collection in the US|
|Home of The Bamboo||c. 1882||Walter Goodman's The Printseller's Window: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)||Private collection in Sweden|
|The Printseller's Window||c. 1882||St. James's Gallery, London (1883)
The Walker Art Gallery (1883)
Liverpool Autumn Exhibition (1883)
Royal Scottish Academy (1884)
Burlington Gallery, Bond Street (1884)
Folkestone Art Treasures Exhibition (1886)
Edinburgh Academy of Arts (c. 1886)
Goodman's Studios at 88 Kings Road, Brighton (1891)
British and Foreign Art Galleries Section, Earls Court (1891)
Venice in London Exhibition, Olympia (1891)
The Grosvenor Club, London (1892)
19th Century Art Society Exhibition (1894)
Tillou Gallery, Connecticut, US (1965)
Newport, Rhode Island, US (arr. Tillou) (1965)
Alexander Gallery, New York, US (1969)
Masco Corporation, Taylor, Michigan, US (1986)
The Art Museum of Western Virginia, Roanoke, Virginia, US (1986)
The American Spirit: 19th Century Masterpieces from the Masco Collection (1994)
Sotheby's, New York, US (1998)
Permanent collection of the Memorial Art Gallery of the University of Rochester, New York, US (1998)
National Gallery of Art, Washington, D.C., US (2002–2003)
Walter Goodman's The Printseller: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)
|Memorial Art Gallery of the University of Rochester, New York, US|
|Fresh and Pure (also known as Pure and Undefiled)||St. James's Gallery, London (1883)||Unknown|
|Candidate For The Front Row (also known as First at the Gallery Door)||St. James's Gallery, London (1883)||Unknown|
|Andrew Halliday (drawing)||1883||Savage Club, London (1883)||Unknown|
|At The Theatre Door||1883||Private collection in Sweden|
|Idle Dreams||City of London Society of Artists (1884)||Unknown|
|In Possession||City of London Society of Artists (1884)||Unknown|
|Longing Eyes||Liverpool Autumn Exhibition (1884)||Private collection in England|
|Mrs. Alfred Mellon||1884||Goodman's Studios at 88 Kings Road, Brighton (1891)||Unknown|
|Mrs. Keeley at Fourscore||1884||Institute of Oil Painters (1885)
Burlington Gallery, Bond Street (1885)
Presented to The Garrick Club (1886)
Signor Palladiense Gallery, London (1887)
Hennah and Kent's Studio, Old Kent Road, London (1887)
|The Garrick Club, London|
|Mrs. Keeley at Fourscore (drawing for Pall Mall Gazette)||1885||Unknown|
|The Golden Valley (landscape of Chalford valley)||1884–1885||Unknown|
|The Golden Valley (second landscape of Chalford valley)||1884–1885||Unknown|
|Mr G. Holloway (drawing)||1884||Unknown|
|Untitled painting of the 2 year old baby in the stage production My Sweetheart||1886||Sent to California after completion||Unknown|
|Fanny Stirling||Presented to The Garrick Club (1886)
Signor Palladiense Gallery, London (1887)
Hennah and Kent's Studio, Old Kent Road, London (1887)
|The Garrick Club, London|
|Grace Darling||Signor Palladiense Gallery, London (1887)||Unknown|
|Louise Keeley(Mrs. Montague Williams, Q.C.)||c. 1887||Unknown|
|Mrs Stirling (Lady Hutton Gregory)||1888||Private collection in Sweden|
|Mrs. Keeley in her 83rd year
(also known as The Academy Keeley)
|Goodman's Studios at 88 Kings Road, Brighton (1888)
Royal Academy (1888)
The Savage Club (1888 or later)
Exhibition of Jewish Art and Antiquities, The Whitechapel Art Gallery, London (1906)
|Mr Henry Russell (also known as Henry Russell at 77)||Institute of Oil Painters (1889)
Presented to The Savage Club (1890)
Exhibition of Dramatic and Musical Art, The Grafton Galleries, London (1897)
|Amy Sedgwick||1889||Presented to The Garrick Club (1897), deaccessioned in 1965||Unknown|
|Mr. Lionel Brough||Institute of Oil Painters (1889)||Unknown|
|Kathleen||Institute of Oil Painters (1889)||Unknown|
|Dolly||St. James's Gallery, London (1889)||Unknown|
|His Excellency Kuo Ta-Jen (replica of original)||Goodman's Studios at 88 Kings Road, Brighton (1891)||Unknown|
|Countess of Munster||Goodman's Studios at 88 Kings Road, Brighton (1891)||Unknown|
|Untitled children in black and white (drawing)||Goodman's Studios at 88 Kings Road, Brighton (1891)||Unknown|
|Untitled children in black and white (second drawing)||Goodman's Studios at 88 Kings Road, Brighton (1891)||Unknown|
|The Late Mr. Wilkie Collins at the age of 56
(also known as Wilkie Collins)
|Folkestone Art Treasures Exhibition (1886)
The Royal Society of British Artists (1890)
Goodman's Studios at 88 Kings Road, Brighton (1891)
|Prince Hohenlohe||Late 1890s||Poděbrady, Bohemia||Unknown|
|Prince Hohenlohe's daughter, Elisabeth||Late 1890s||Poděbrady, Bohemia||Unknown|
|Julia Goodman (drawing)||1902||Private collection in England|
|Young Keeley||1905||Institute of Oil Painters (1906)||Private collection in England|
|The Late Mr. Samson Lucas||Exhibition of Jewish Art and Antiquities, The Whitechapel Art Gallery, London (1906)||Unknown|
|The Cuban Mulatto Girl||Exhibition of Jewish Art and Antiquities, The Whitechapel Art Gallery, London (1906)||Unknown|
|Mary Anne Keeley||Private collection in England|
|Untitled portrait of a young woman
possibly entitled Beguiling Eyes
|Private collection in England|
|Untitled portrait of a young woman
in period clothes with ruff
|Private collection in England|
|Untitled portrait of a young boy||Private collection in England|
|Untitled portrait of a young girl||Private collection in England|
|Alfred, Duke of Edinburgh||Unknown|
|E. W. Mackney||Unknown|
|Don Baltasar Torrecillas||Unknown|
|Sir Thomas Sowler||Unknown|
|Miss Mabel Sowler||Unknown|
Dates specified are the earliest recorded date the work was displayed, or in some cases the year it was completed.
Walter Goodman wrote these books:
- Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co. 1873 (reprinted in 1986 as Un Artista en Cuba. Letras Cubanas (Col. Testimonio). La Habana.) Available here at gutenberg.org
- The Keeleys On Stage and At Home, London: Bentley and Son 1895
Walter Goodman is known to have contributed to many books, periodicals, and publications. These have so far been identified:
- A Cigarette Manufacturer At Havana, London Society (1872)
- General Tacon's Judgment, Daily Pacific Tribune (Vol. VII, No. 60, 24 December 1872)
- Sketches of Santiago, The Graphic (1873)
- Various sketches and stories, All The Year Round (1873)
- Saved From a Wreck, Cassell's Magazine (1874)
- Cuba Without a Master, Cassell's Magazine (1874)
- A Holiday in Cuba, Cassell's Magazine (1874)
- Tomasso Salvino (cover engraving), Pictorial World (1875)
- The Pictorial World (cover drawing The Language of the Face) (1876)
- The Russian Peasantry, Illustrated London News (28 April 1877)
- A Little Baggage, Illustrated London News (Christmas Number, 1877)
- A Little Baggage, Illustrated Christian Weekly (July, 1878)
- God is taking care of me, Three Brown Boys and Other Happy Children — Ellen Haile (1879)
- Little Mother, Little Folks. A Magazine for the Young, Cassell, Petter, Galpin & Co. (1881)
- Floy's first flight, The One Syllable Book — Emma E. Brown (1879)*Mrs. Keeley at Fourscore (drawing) Pall Mall Gazette, 29 July 1885
- Obedient Bessie, Little Ramblers and Other Stories. By favorite American authors (Cassell) (1885)
- An English Ballet in Spain, The Theatre (1885)
- Art Behind the Curtain, The Theatre (1886)
- An Englishman on the Spanish Stage, The Theatre (1886)
- Box and Cox in Spanish, The Theatre (1886)
- Untitled drawing of children Cassell's Magazine (c. 1888)
- The adventures of a young artist in and around Birmingham, unknown (1892)
- People I Have Painted, Sala's Journal (1893)
- Artists Studios: As They Were and As They Are, Magazine of Art (1901)
- Julia Goodman (drawing), Jewish Chronicle, 7 June 1902
- Julia Goodman (drawing), Booklover's Magazine, February 1903
- Drapery Figures The Strand Magazine (1908)
- Romance of the Rubber, The Manchester Courier (date unknown)
- Jewish Chronicle 2 July 1897. p. 21
- R v. Bernard  8 St. Tr. N.S. 887, (1858) 1 F&F 240
- The Liverpool Academy and Other Exhibitions of Contemporary Art in Liverpool 1774–1867. Edward Morris & Emma Roberts. Liverpool University Press and National Museums and Galleries on Merseyside (1998). p. 262.
- Wood, Christopher. Victorian painters. 3rd ed. Woodbridge: Antique Collectors' Club, 1995. Pressmark: Ref 759.2 WOO
- The Biograph and Review Volume IV 1880, E.W.Allen
- Baile de Laperrière, Charles, ed. The Royal Scottish Academy exhibitors 1826–1990. Calne: Hilmarton Manor, 1991. Pressmark: Ref 709.2GB
- Jewish Chronicle 13 May 1859. p. 8
- Dr. Hermann Alex. Müller, Verlag des Bibliographischen Instituts, Leipzig, 1882
- The Theatre 1 November 1885. p. 241
- Jewish Chronicle 21 April 1893. p. 17
- Jewish Chronicle 17 October 1873. p. 483
- Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co.1871 Chapter 1
- The Theatre 1 January 1886
- Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co.1871 Chapter 8
- The Jamaica Guardian 7 August 1868
- Jewish Chronicle 5 February 1875. p. 18
- Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co.1871 Chapter 30
- Goodman's own notes in a scrapbook covering this period
- The Universal Jewish Encyclopedia, Volume 5
- The Herald and Observer 24 September 1870
- British and Continental Watercolours and Drawings Thursday 23 July 1998 at 10.30 a.m. Lot 91 p. 15
- Jewish Chronicle 24 November 1871. p. 14
- Yorkshire Post 13 November 1871
- Literature 6 April 1874
- Court Circular 31 October 1874
- The Mail 29 April 1876
- Jewish Chronicle 16 June 1876. p. 170
- Daily Telegraph 26 May 1877
- Leeds Daily News 28 December 1877
- Pictorial World 8 December 1877
- Jewish Chronicle 7 December 1877. Pp. 6
- Daily Telegraph 17 January 1878
- Daily Telegraph 28 May 1878
- Jewish Chronicle 21 March 1879. p. 12
- Irish Daily News 22 March 1879. p. 12
- Sala's Journal 11 March 1893 pp. 237–238
- Art in the City Edward William Parkes. Private printing 1885.
- The Times 29 July 1884. Page 9
- Jewish Chronicle 27 November 1891. p. 16
- Sala's Journal 1893
- Daily News 10 July 1883
- Liverpool Autumn Exhibition Catalog 1884
- Stroud News 24 October 1884
- The Stroud Journal 8 November 1884
- New York Times 22 June 1879. p. 2
- Sunday Times 26 July 1885
- A Catalogue of Pictures in the Garrick Club compiled by C K Adams & published by the Club 1936
- The Era 21 May 1887. p. 10
- Jewish Chronicle 10 June 1887. p. 5
- Brighton Gazette 24 November 1887
- 1889 catalog of the annual exhibition of the Institute of Oil Painters
- 1890 catalog of the annual exhibition of the Institute of Oil Painters
- Brighton Society 25 October 1890
- Morning Post 21 November 1889. p. 5
- Johnson, Jane. Works exhibited at the Royal Society of British Artists 1824–1893 and the New English Art Club 1888–1917. Woodbridge: Antique Collectors' Club, 1975. Pressmark: Ref 709.2GB BRA
- New York Times 21 October 1890
- The Era Almanack, 1895, p. 62
- "The Stage" Cyclopaedia; a bibliography of plays, 1909, Reginald Clarence and H.J.Eldredge
- The Sunday Times 2 November 1890
- Jewish Chronicle 21 June 1897
- The Times 15 May 1897 p. 14
- Northwestern Gazette 12 May 1883
- The Times 1 June 1883. p. 4
- Goodman's notation on the rear of a 19th-century photograph of The Printseller's Window
- Evening News 29 March 1892
- Daily Chronicle 22 May 1886
- Brighton Society 18 April 1891
- Pall Mall Gazette 4 June 1894 Page 3
- The Star, 12 November 1892
- Sussex Daily News 9 March 1888
- The Times 25 October 1888
- The Morning 6 September 1892
- Sala's Journal 11 February 1893. p. 134
- Sala's Journal 25 February 1893. p. 186
- Sala's Journal 4 March 1893. Ppp. 199–200
- Sala's Journal 11 March 1893. pp. 237–238
- Sala's Journal 18 March 1893. pp. 247–248
- Sala's Journal 25 March 1893. pp. 272–273
- Sala's Journal 1 April 1893. pp. 307–308
- Sala's Journal 8 April 1893. pp. 332–333
- Sala's Journal 15 April 1893. pp. 354–355
- Sala's Journal 22 April 1893. pp. 370–371
- Sala's Journal 29 April 1893. pp. 405–406
- Sala's Journal 6 May 1893. pp. 424–425
- Sala's Journal 13 May 1893. pp. 440–441
- Sala's Journal May 20, 1893. pp. 475–476
- Sala's Journal May 27, 1893. pp. 490–491
- Sala's Journal June 3, 1893. pp. 514–515
- Sala's Journal June 10, 1893. pp. 545–546
- Sala's Journal June 17, 1893. pp. 571–572
- Sala's Journal June 24, 1893. pp. 586–587
- Sala's Journal July 1, 1893. pp. 610–611
- The Daily Telegraph 19 June 1891
- The Sunday Times June 1891
- Piccadilly 25 June 1891
- Goodman's passport for travel to The Continent, was issued this year
- Jewish Chronicle 7 December 1906. p. 32
- The Era – 28 May 1898. p 12
- 1906 catalog of the annual exhibition of the Institute of Oil Painters (Pressmark: 200.B.292)
- Catalog of the Exhibition of Jewish Art and Antiquities, Nov. 7 to Dec. 16, London (1906)
- Jewish Chronicle 12 June 1908
- Census of England and Wales, 1911
- Obituary in unidentified newspaper, August 1912
- The Stroud News and Gloucestershire Advertiser February 6, 1885
- The Topical Times 20 February 1886
- The Keeleys On Stage and At Home, London: Bentley and Son 1895
- Jewish Chronicle 1 January 1907. Page 12
- Birmingham Daily Post 31 October 1892
Walter Goodman is often incorrectly identified in contemporary publications as an American artist.
- Brown, Peter Ogden (2009) Walter Goodman's The Printseller's Window. Memorial Art Gallery. University of Rochester. ISBN 9780918098122
- Rosenberg, Pierre (2006) Only in America: 100 European Masterpieces in American Museums: Skira. ISBN 88-7624-662-2
- Moneta, Howard (2005) Davenport's Art Reference & Price Guide: Gold Edition. LTB Gordonsart, Inc. ISBN 1-933295-07-4
- Dunbier, Lonnie Pierson (2005) The Artists Bluebook 2004: 32,000 North American Artists, 16th Century through July 2004. AskART
- Falk, Peter Hastings (1999) Who Was Who in American Art : 1564–1975. Sound View Press; Rev Enl edition. ISBN 0-932087-57-4
- Opitz, Glenn B.(1986) Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers. Dealers Choice Books; 2 Sub edition. ISBN 0-938290-04-5
- Mallett, Daniel Trowbridge (1940) Supplemet to Mallett's Index of Artists: International-Biographical. R. R. Bowker, New York
- Mallett, Daniel Trowbridge (1935) Index of Artists: International-Biographical. R.R. Bowker, New York
- Parkes, Edward William (1885) Art in the City. Private printing, London
- Memorial Art Gallery
- Walker Art Gallery
- Royal Institute of Oil Painters
- Works by Walter Goodman at Project Gutenberg
- Works by or about Walter Goodman at Internet Archive
- Exhibition of Jewish art and antiquities
- A Cigarette Manufacturer From Havana
- Walter Goodman at Askart
- Walter Goodman at Artnet
- Walter Goodman at Artfact
- The Printseller's Window on Artfact
- The Printseller's Window
- The Garrick Club artist search
- Portrait of Major General William Yorke-Moore
- Walter Goodman's entry in Find A Grave