Shortly after 1851 Goodman embarked upon a six-month walking tour around England and Wales, taking portraiture and sketching commissions along the way – most notably that of James Henry Cotton, Dean of Bangor.

The painting hung in the Tavistock Square home of Goodman's uncle, Sir John Simon (1818–1897), who worked on the trial[5] as Edwin James' junior.

[6] Around this time Goodman toured the provinces with a theatrical company, having gained employment as a scenery painter, after which he was commissioned by the United States to produce a series of panoramic views in Distemper (paint) depicting the Crimean War.

There he met fellow artist, Joaquín Cuadras, whom he painted several times, and the renowned Spanish painter Mariano Fortuny.

[11] In 1864, now rejoined by Cuadras, Goodman travelled to Rome[12] and then on to Saint-Nazaire in France where they set sail on a French steamer to the West Indies,[13] arriving in Santiago, Cuba on 10 May 1864.

[14] 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.

[15] During his time in Cuba, Goodman contributed articles and letters to the New York Herald, using the pen name el Caballero Inglese.

[1] Boarding the American steamer Morro Castle[18] in January 1870,[19] Goodman and Cuadras visited Puerto Rico, Santo Domingo and other islands.

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 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.

[1]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.

[38] 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.

[47] Goodman was very fond of pantomime as a child,[48] and depicted in pencil and water colour two children at the door of Drury Lane Theatre, staring longingly at the advertising poster for Little Red Riding Hood.

[49] 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[43] and Goodman submitted Idle Dreams and In Possession.

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.

In 1887 Goodman exhibited three portraits – Mary Anne Keeley, Fanny Stirling[55] (both presumably loaned from The Garrick Club), and Grace Darling, at the Signor Palladiense Gallery, on Bond Street in London.

[64][65] The Mr Henry Russell portrait was donated to The Savage Club in 1890,[66] and they lent it to the Exhibition of Dramatic and Musical Art at the Grafton Galleries in 1897.

[67][68] Around 1883 Goodman painted a fascinating trompe-l'œil depiction of the contents of a printseller's window (including the merchant himself, placing a figure in the display).

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.

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.

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.

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.

Goodman suggested they meet up, in either town, but Collins was reluctant to travel to Broastairs as it reminded him too much of his dear departed friends and Broadstairs housemates, Charles Dickens and Augustus Egg.

Shortly after, Pettit gave up acting and trained as a teacher, later securing a position at the North London Collegiate School in Camden Town.

The paintings were produced in an improvised studio in the lobby of the theatre, where painter and subject engaged in long conversations about Torrecillas' theatrical calling.

When Goodman enquires of the actor's leading lady in Florence, Clematina Cazzola, he replies sadly that she is lost and was his wife and mother to his son.

The heat was due to the furnaces that were kept burning day and night, enabling the Venetian craftsmen to carry out their trade in full view of the thousands of visitors.

The principle artists were the three Barrovier brothers – Benvenuto, Giuseppe, and Vittorio – said to be the linneal descendants of the original workers in Venetian glass many centuries before.

[74] 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.[98][99][100] Presumably he failed in this effort as the whereabouts of these two paintings are unknown today.

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.