Artwork
Lillah McCarthy as Jocasta in <i>Oedipus Rex</i> by Sophocles

Lillah McCarthy as Jocasta in <i>Oedipus Rex</i> by Sophocles is a paint painting by the Post-Impressionist artist Harold Speed. It dates from 1907 and is held in the collection of the Victoria and Albert Museum. The oil painting presents actress Lillah McCarthy in costume as Jocasta from Sophocles’ Oedipus Rex.
About this work
Overview
The oil painting presents actress Lillah McCarthy in costume as Jocasta from Sophocles’ Oedipus Rex. Rendered in three‑quarter length, she stands against a plain black backdrop, her body turned to the left while her head looks to the right. The composition emphasizes her figure and attire through the stark contrast of dark background and vivid clothing.
Subject & Meaning
McCarthy is shown in a stylised Grecian gown of orange hue, its bodice adorned with yellow and gold detailing, complemented by a gold headdress and matching drop earrings. Her expression is solemn, eyes directed outward, suggesting the tragic gravity of Jocasta’s role in the ancient drama.
Technique & Style
Executed in oil, the work demonstrates Harold Speed’s precise brushwork and attention to texture, particularly in the rendering of fabric folds and metallic accents. The limited palette—dominant orange and gold against black—focuses the viewer’s attention on the figure’s posture and facial features.
History & Provenance
The portrait was presented to the British Theatre Museum Association by the Royal Borough of Kensington and Chelsea in April 1964. It remains part of the museum’s collection, documenting early twentieth‑century theatrical portraiture.
Context
Created during a period when stage actors were frequently commemorated in portraiture, the painting reflects contemporary interest in classical productions and the prestige of leading performers such as McCarthy, who was renowned for her Shakespearean and Greek roles.
Artist & collection
Artist
British painter Harold Speed turned everyday scenes and figures into sharp, lifelike portraits.











