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"In person she was very attractive; her figure
was rather tall and slender, her step light and firm, and her whole
appearance expressive of health and animation. In complexion she was
a clear brunette with a rich colour; she had full round cheeks, with
mouth and nose small and wellformed bright hazel eyes, and brown
hair forming natural curls close round her face."
James-Edward Austen,
Jane's nephew
~
"... certainly pretty-bright & a good deal
of colour in her face – like a doll – no that would not give at
all the idea for she had so much expression – she was like a child
– quite a child very lively and full of humour."
Mr Fowle,
family friend
~
"... her's was the first face I can remember thinking pretty ...
Her hair, a darkish brown, curled naturally – it was in short curls
round her face...Her face was rather round than long – she had a bright
but not a pink colour – a clear brown complexion and very good hazel
eyes. Her hair, a darkish brown, curled naturally, it was in short curls around her face. She always wore a
cap ... before she left Steventon she was established as a very pretty
girl, in the opinion of most of her neighbours."
Caroline Austen,
Jane's niece
~
"Her hair was dark brown and curled naturally, her large dark eyes were widely opened and expressive. She had clear brown skin and blushed so brightly and so readily."
An early description of young Jane at Steventon by Sir Egerton Brydges
~
"She was tall and slender; her face was rounded with a clear brunette complexion and bright hazel eyes. Her curly brown hair
escaped all round her forehead, but from the time of her coming to live at Chawton she always wore a cap, except when her nieces had her in London and forbade it."
Edward Austen Leigh of Jane's appearence in the years just after the family left Southampton
~
" Her stature rather exceeded the middle height; her carriage
and deportment were quiet but graceful; her complexion of the finest texture, it might with truth be said that her eloquent blood spoke through her modest
cheek."
" Her pure and eloquent blood spake in her cheeks and so distinctly wrought that you had almost said her body thought."
Henry Austen said of his sister
~ |
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on the image for a larger view
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Silhouette from the second edition of Mansfield Park
(1833?) , inscribed "l'aimable Jane" and
presumed to be Jane Austen. Owned by the National Portrait Gallery,
which considers it is possibly by Mrs Collins, a silhouettist who worked in Bath ca. 1800. There is no documentary evidence to confirm the identity of the sitter, but the provenance and title suggest it could be
JA. |

Jane, painted by her sister Cassandra. Initialled ‘CEA’ and dated 1804. This has often been reproduced in recent years, and remains in family ownership. |

Unfinished sketch of Jane Austen by her sister Cassandra ca. 1810. The
only authenticated likeness of the author, now in the National
Portrait Gallery, London. |

Winchester Cathedral Library has a silhouette, said to be of Jane Austen - ‘done by herself in 1815’. However, the attribution is modern and doubtful, and the style of the silhouette itself, and the appearance of the sitter, suggest a date ca. 1895. The image may possibly be of a Victorian Jane Austen (1849-1928), a grand-daughter of JA’s brother Charles. |

The Rice portrait of a young Jane Austen??? |

The Clarke portrait of Jane Austen ???
(from the Artworks
Gallery) |
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on the image for a larger view |

A watercolour of Jane Austen commissioned by her nephew James
Edward Austen-Leigh from a local artist, a Mr Andrews of Maidenhead
(1869). It remains in family ownership. James lent Andrews the portrait by Cassandra to copy "into a
smoother and more finished state". |

Jane Austen, steel engraving by Lizars after Mr Andrew's
watercolour, used as the
frontispiece to James Edward Austen-Leigh's A Memoir of
Jane Austen (1870).JA’s nieces Caroline Austen and Lizzy Rice both commented that, in this engraved version, the eyes had been made too large. |
Watercolor portrait
laid into the University of
Pennsylvania's copy of
Jane Austen, Emma (London 1816). |

An engraving of a rather sour Austen from A Portrait
Gallery of Eminent Men and Women in Europe and America. Johnson,
Wilson and Company, New York, 1873
From University
of Texas Portrait Gallery |
Found on the Internet, is this the painting that the Eminent
persons engraving (left) was drawn from, or a colourised version
of the engraving?
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One of 21 illustrations from an early Austen biography by GE
Mitton,
1905
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A pen drawing by Edgar Holloway, reproduced in The
English Novel by JB Priestley (1935) |

A Joan Hassall woodcut, from the late 1950s-early1960s Folio Society editions of Austen novels |
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on the image for a larger view |

The frontispiece of the Collins 1982 edition of Mansfield
Park |

One of a series of author portraits by David Levine, 1985. From
Barnes and Noble |

From the Times Literary Supplement, 1995. (Note the
talons!) The artist is Peter Brookes. From Republic
of Pemberley |

Illustration for the University
of Wisconsin's audio archives of its Jane Austen Festival, Four
Turbulent Decades
|

Jane Austen as a Victorian, image by D Williams, 2002
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Jane Austen in her cottage garden at Chawton. Painting by Tom
Clifford, 2002 |

Portrait of Jane by Melissa Dring, forensic artist,
commissioned by the Jane
Austen Centre in Bath, 2003 |

From Effusions of Fancy
by Jane Odiwe - "...a young Jane as she might have been at around the
time that she met Tom Lefroy ... with her hair dressed for a dance and a
hint of a smile." |
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From
Wordsworth Editions,
which sells millions of cut-price classic novels. Helen Trayler, its
managing director, said: “The poor old thing didn’t have
anything going for her in the way of looks. Her original portrait is
very, very dowdy. It wouldn’t be appealing to readers, so I took
it upon myself to commission a new picture of her. “We’ve given
her a bit of a makeover, with make-up and some hair extensions and
removed her nightcap. Now she looks great — as if she’s just
walked out of a salon.”
|
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Click
on the image for a larger view |
Jane Austen's family
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29 April 2007
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