PORTRAIT

These five items are part of a collection of correspondence (the rest is offered separately) relating to a supposed portrait of a young Percy Bysshe Shelley by George Romney, which was in a group of paintings donated to the Shakespeare Memorial Association by the appropriately-named anatomist Evan Marlett Boddy. (The Shelley portrait is reproduced in ‘The Magazine of Art’, 1901, with the caption ‘Reputed portrait of Shelley as a boy, by Romney. In the Shakespeare memorial, Stratford-on-Avon.’, in an article on ‘Portraits of Shelley at the National Portrait Gallery’, p.

See the two men's entries, with that of Helena Faucit, in the Oxford DNB. 3pp, 12mo. Bifolium. In good condition, lightly aged. Folded for postage. Addressed to 'Shirley Brooks Esq' and signed 'Theodore Martin'. Brooks has evidently asked for autographs and photographs of Martin and his wife, the celebrated actres Helena Faucit (1817-1898). The letter begins: 'My dear Brooks / Here are the autographs you wish. There is not in all The Lady of Lyons one line to which any reasonable being could wish to attach his name. It is only the situations which are good for anything.

Olivier’s luminous achievements are well described in his entry in the Oxford DNB. An 8 x 11 cm photographic image, printed in black and white on an 8.5t x 13.5 cm card, with the actor's autograph signature mostly on the blank area beneath the image: ‘L Olivier’. In fair condition, lightly aged and worn. An attractive image of the head of the young thespian, staring moodily to his right, hair slicked back, with part of white shirt and smart dark jacket just visible. Not present among the 114 portraits of Olivier in the National Portrait Gallery inventory.

The two items are in good condition, lightly aged, and both folded for postage. Both 1p, 12mo. ONE (evidently to Grant Reid, editor of the Northern Figaro, Aberdeen): Signed ‘E. W. Nye’. Recipient not named. ‘My dear Sir / Your favor of the 9- asking for a photograph to be used in your admirable publication is just received.

Dodd’s entry in the Oxford DNB by Michael Billington concludes with the assessment that he was ‘the greatest theatrical comic of his age and the last link with the hallowed days of music hall’. The two items are in good condition, lightly aged. ONE: TLS, 9 October 1957. 1p, 4to. Good large signature ‘Ken Dodd’. The male recipient is not named. He apologises for the late reply to the recipient’s letter. ‘May I also thank you for the compliments paid to my performance on Television. / I am a Liverpudlian, residing in Knotty Ash Liverpool.

1p, 4to. On discoloured and somewhat grubby paper, folded twice for postage. Addressed to ‘S. Hodgson Esq.’ and signed ‘H M. Hake’. Hodgson has sent Hake ‘a manuscript fragment’, which does not seem to indicate either of ‘the portraits in the Gallery’. He has ‘looked up the record of portraits offered in the past but there is no mention of Mrs. Cruikshank or her executors.’ He asks a related question before turning to the subject of the physician Sir Benjamin Ward Richardson (1828-1896), who was in Hake’s opinion ‘more of a professional worthy than a national one’.

The National Portrait Gallery copy of this item is NPG Ax17292, and the dating to September 1863 is theirs. A 5.8 x 8.8 cm photographic print, laid down on 6.2 x 10.3 cm piece of card. On the card beneath the portrait: 'JOHN WATKINS PHOT. / Copyright Secured'. On the reverse Watkins's full address, with crest. The image is faded and indistinct, compared with the NPG copy; otherwise the item is In fair condition lightly aged. A head and shoulders shot with a sepulchral Dickens turned almost to a left profile, eyes barely open, with a clenched right hand to the side of his face.

Rather long for a carte de visite: 6 x 9 cm albumen print laid down on 6.5 x 10.5 cm card. In fair condition, lightly discoloured and worn. On the card beneath the photograph is a facsimile of Ruskin’s signature (‘John Ruskin’) and ‘ELLIOTT & FRY Copyright. 55. BAKER ST.’ Printed on the reverse is the royal crest and the firm’s address. A copy of the present item was offered by Sotheby’s in 2021, dated to 1867, with the claim that it was ‘signed on the mount’. That claim is erroneous: the signature to that copy is identical with the present lithographed one.

Lyttelton was Gladstone’s private secretary during three of his terms as prime minister. The recipient Arthur George Liddon Rogers (1864-1944, son of the editor of the economist Thorold Rogers) is not named, but the item is from his papers, and was written while he was Secretary of the Liberal Publication Department, a position to which he was appointed in November 1891. 2pp, 12mo. Signed ‘Spencer Lyttleton.’ In good condition, lightly aged and folded for postage.

See Ashton’s entry in the Oxford DNB. Both items in good condition, lightly aged, with evidence of mount to blank reverse of photograph. ONE: TLS. 17 January 1922. 1p, 12mo. Folded once. Signed ‘Clemence Dane’. Addressed to G. Railton Barnard, 6 The Crescent, York. She thanks him for his ‘interesting letter’: ‘If the same question had not already crept up once or twice, I should not have thought it possible for anyone so to misunderstand Legend, but I know people do, clear as I thought I had made it.’ Barnard is ‘absolutely right’: ‘Madala Grey is head over ears in love with her husband.

LETTER: 3pp, 4to. Bifolium addressed on reverse of second leaf, with Saint Quentin postmark, 'A Monsieur | Monsieur Mathias | pour inspecteur des Douanes.' in good condition, neatly written, with repair to corner cut off in breaking of the wafer, and with stub from mount adhering. 43 lines of closely-written text. A warm letter of good length, addressed to 'mon cher Camarade'. The handwriting is difficult.

Twelve TLSs, 1-3pp. each, total 27pp., 4to. His subjects are predictable: his plays, his portraits, the contemporary theatre, performances (Brigadoon etc), actors, films, art exhibition, personal matters (eg his wife's ill heath, children), his writing activities,Popie's works (showing enthusiasm), drawing and writing activities, visitors to Glasgow (Hannan Swaffer writing articles on Scotland), portrait he did of Popie, the life of Novello (ghost-written then done in earnest by Popie), Edinburgh Festival, anecdotes, suggestions for theatrical books, insider gossip, anecdotes, etc etc.

ONE: Cabinet Card: 13.5 x 10 cm photographic head-and-shoulders portrait of Blouet, smartly-dressed with glasses and handlebar moustache, mounted on 16.5 x 10.5 cm card, with printed details of the photographers Taber's printed in gold below the image, and an elaborate advertisement for the firm printed in brown on the reverse. In fair condition, lightly aged. Inscribed on the base of the print: 'Yours Sincerely | Max O'Rell'. TWO: Autograph Letter Signed to 'Mr Appleton', i.e. E. W. Appleton. 1p, 12mo. On bifolium. 14 December 1885; 2 Lime Grove, Uxbridge Road, W.

Two etchings in black ink, printed side by side on a 23.5 x 18 cm piece of wove paper, with a thin printed line dividing them. Possibly proofs of two plates on conjoined leaves in a book. In fair condition, lightly aged and creased, with a tiny nick at foot and dog-eared corners. Each of the sketches is full-length, and has a caption at foot, in a facsimile of D'Orsay's hand.

Two etchings in black ink, printed side by side on a 23.5 x 18 cm piece of wove paper, with a thin printed line dividing them. Possibly proofs of two plates on conjoined leaves in a book. In fair condition, lightly aged and creased, with a tiny nick at foot and dog-eared corners. Each of the sketches is full-length, and has a caption at foot, in a facsimile of D'Orsay's hand.

An interesting correspondence, casting light on the practicalities of early twentieth-century English portrait-painting. The recipient is Colonel Frederick Hugh Langston Oldham, D.S.O., D.L., of Overley Hall, near Wellington, Shropshire, eldest son of the Archdeacon of Ludlow, and the letter concerns Brock's portrait of Oldham's wife Christabel Josephine Oldham. The five letters in good condition, lightly aged. The four dated letters are dated between 25 February and 13 July 1920. The total 9pp (seven in 8vo and two in 12mo).

See the Oxford DNB entry on Burnaby ('He was commemorated in verse, song, and Staffordshire pottery').

1p., 12mo. In fair condition, lightly aged. Presumably written to the governess of a child he had arranged to paint. Reads: 'Madam | I have Mrs. Horsfall's permission to ask if you could make it convenient that I should see her little daughter tomorrow at ¼ past 2 oC – for the purposes of arranging sittings for her portrait.'

An attractive item, in good condition, lightly aged and spotted. On one side of a piece of 17.5 x 25 cm landscape paper, with the autograph writing on the right-hand side and the 15 x 10 cm print of a studio portrait laid down on the left-hand side. Caine was a striking and instantly-recognisable individual, and the photograph shows him in characteristic style, bare-headed in his usual dress of long double-breasted coat with white cravat, staring intently at the camera, with a book in his right hand, and his right hand draped across his left thigh, his left leg being elevated on a chair.

Sepia-coloured studio photograph on 19 x 14 cm card. Backed on the reverse with brown paper on which are printed the details of the photographic studio responsible, Swaine's of London and Southsea. The print itself is in good condition, lightly aged and worn; the reverse is heavily-worn with traces of glue from previous mounting. Vachell has written his underlined signature in black ink diagonally upwards at the bottom right-hand corner: 'Horace Annesley Vachell.' This studio photograph of Vachell is not present in the National Portrait Gallery collection.

2pp., 12mo. On bifolium with mourning border. In good condition, lightly aged. He writes that he has only just received Allchin's letter on his return from the country. 'Please ask Sir George Burrows to call at any hour in the day most convenient to himself.'

Four pages, 12mo, a word for a part of a destroyed building cut out (text runs, including part of the [...cut out, in fact CENSORED]), otherwise clear and in good condition. He begins by discussing Tuckwell's recent operation, praising doctors,concluding that it's no wonder your nation heads the world in all that pertains to civilization, science, art, politics, &c. He continues, It gives me great pleasure to know that my pictures are still a source of pleasure to you [...]. He refers to Tuckwell's loss of his wife and his kindnesses when Dingli was in England.

1p., 12mo. In good condition. At the time of writing Scharf was on the verge of appointment as first Director of the National Portrait Gallery. Regarding a note he has received from Scharf he writes that the following Monday he goes 'thro' London direct to Brighton. This movement I fear does not hold out much facility for our meeting - but if your business carries you to Brighton you will find me at the Bedford Hotel.'

3pp., 12mo. On bifolium. In good condition. Year not given, but with '1859' in a contemporary hand at top-right of first page. The recipient is not named, but the letter is from the papers of Sir George Scharf. It begins: 'I remember your saying in the course of last winter you would be glad an [sic] opportunity of coming to see me, & what little I have to shew you. | I conclude the Portrait Gallery as well as <?> Institutions admits of some holidays at this season'. Consequently he suggests a time when the recipient might 'spend a few days' at Bowood, if his 'engagements admit'.

1p., 12mo. With mourning border. Reads: 'Dear Lord Stanhope | I am most unfortunately compelled to go into the country this evening, or I should not have failed to have attended the meeting of the trustees of the Nat. Portrait Gallery. | Very truly yours | Somers.' It was Stanhope who had been mainly responsible for the foundation of the National Portrait Gallery in 1856.

Peter Wardle studied at Leicester School of Art and the Ruskin School of Art, Oxford. He began his career as a professional portrait painter and sculptor in the 1970s, and has work in a number of institutions including the Ashmolean Museum, Oxford. Ten of his works in the National Portrait Gallery collection include portraits of Athol Fugard, H. J. Eysenck and Edmund Blunden. He was also responsible for the portrait of Sir Geoffrey Keynes used as the frontispiece to his 1973 festschift. The present collection, containing around ninety items, is in aged and worn condition.

Wardle studied at Leicester School of Art and the Ruskin School of Art, Oxford. He began as a professional portrait painter and sculptor in the 1970s, and has work in institutions including the Ashmolean Museum, Oxford. Ten of his works in the National Portrait Gallery include portraits of Athol Fugard, H. J. Eysenck and Edmund Blunden. Among his other sitters was Sir Geoffrey Keynes. The present item comprises 35 pages of sketches in pen and pencil, and 21 pages of text, making a total of 56pp in a 20 x 13 cm French notebook with spiral binding. In fair condition, lightly aged and worn.

For more information about Chandler, see the appreciative obituary by Vy Reiners in the Independent, 5 February 1993, which describes how 'An article in the Illustrated London News launched her on a successful career that took her to Hollywood, painting sensitive, charming watercolour portraits of the children of the stars, and many of the stars themselves.' The present item contains 70 photographs in a 24 x 33 cm album. The photographs, ranging in size from 19 x 23 cm. downwards, are in good condition, with light signs of age and wear.

Previously laid down in an autograph album. On both sides of a 12 x 10.5 cm. piece of paper, cropped down from 12mo. In fair condition, but with some loss of text due to cropping, and with traces of glue on first page (i.e. the page without the signature). On the first page he approves the postponement of the recipient's visit to Edinburgh, and on the second he expresses admiration for 'the kind and generous sentiments displayed on both sides and described with such perfect simplicity' in 'the presented papers'.

Both items are laid down on a leaf removed from an autograph album. Both in good condition, with light signs of age. The photographic print of Gladstone measures 9 x 5.5, with the head and shoulders image in an oval 7.5 cm high by 5 cm wide, and showing a middle-aged Gladstone with dark bow tie and frock coat, staring to the right. Beneath the photograph is a 9.5 x 9 cm piece of paper, cut from the conclusion of a letter, reading: '[...] difficult however to follow circumstances with which we are imperfectly acquainted | We are now on the eve of going abroad for a