PHOTOGRAPH

14 x 10.5 postcard with 7 x 10 cm matte black and white metallic photographic portrait print by Studio Virgine of Paris to the right, and blank space to the left, in which Chevalier has written in blue ink, ‘Thanks to you both. Everything went fine. / Maurice’. The phtograph shows an urbane Chevalier in evening dress, hands in pockets, smiling. Somewhat aged and worn, with crease to top right corner going through Chevalier's head. See IMage.

Sepia portrait on 10 x 15 cm photographic print, on card. In good condition, lightly aged. Good bold inscription across foot: ‘Best wishes / Joan Barry’. A soft-toned head-and-shoulders portrait of a Marcel-waved Barry, staring dreamily to the left, with pursed made-up lits, in a sleeveless white gown with pearls and bracelet, left hand to chin and right hand supporting left elbow. Scan on application.

7.5 x 11.5 cm black and white publicity photograph by ‘ “Philco” London W.C.1.’ Expansive genuine signature ‘Gladys Cooper’ across bottom part of image, in addition to facsimile signature in white at bottom right. In good condition, on postcard with border trimmed. Dark sepia-toned image. A head-and-shoulders portrait, with Cooper staring to her right, with short frizzy hair, in fashionable gown. Scan on application

See her entry in the Oxford DNB. 8 x 13 cm collotype print, with 8 x 2 cm space at bottom in which she signs ‘Wendy Hiller.’ In good condition, lightly aged. Black and white, with Hiller’s face in left profile, her body at three-quarters, squinting to her right while wearing what looks like a buttoned-up sou’-wester. Scan on application.

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.

Photograph and signature in attractive frame. See Image. Label on reverse: Waterloo Galleries, Waterloo Street, Weston-super-Mare, BS23 1LA [...]. Photo, 9 x 13cm; Signature, 8.5 x 5cm.

See her entry in the Oxford DNB. 14.5 x 10.5 cm black and white print on matte paper stock. In 24 x 29.5 cm folder with ‘Camera Portrait’ in fancy letters embossed on front cover, which is inscribed at bottom right: ‘To Ivan with best wishes from / Eve’. The work is attractively presented by the photographer by being laid down on a 17.5 x 15 cm rectangle of tissue paper in turn laid down on a 16.5 x 12.5 piece of black paper which shows through the tissue and is itself laid down on the recto of the second leaf of the folder.

See his entry, and those of his siblings, in the Oxford DNB. A 15.5 x 20 cm black and white print, on glossy paper. Worn at edges, and with staining to blank area at top left. Stamped by the publishers on the reverse with ‘Sir Osbert Sitwell. Bt. / 25. 8. 49.’ There is a possibility that this is a signature by Sitwell, but the letter ‘O’ and other features are not quite right.

See his entry in the Oxford DNB. The two items are from the papers of Sally Worboyes, organiser of the residential arts courses at her home, Fen Farm in Suffolk, who has provided a signed caption on the reverse of both of the prints. Both colour prints. ONE: 23 x 16 cm photograph, in Landscape. Slightly creased at corners. A relaxed Rosenthal, in plaid shirt, jeans and trainers, seated on the steps of a farm outhouse, with five students and Warboyes grouped around him. On the reverse: ‘Jack Rosenthal / with his students / Sally Worboyes’.

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.

Albumen silver print, 29.8 x 25.6cm, laid down on slightly larger card, small nick at the top right corner, ow a good sharp image. There's contemporary docketing at the base of the photograph. See image. Note (BL description): Photograph of the Baillie Guard gateway in Lucknow, [...] taken by Felice Beato in the 1858. The Baillie Guard gateway is the entrypoint to the Residency Complex named after Major John Baillie, who was the Resident from 1811-1815.

Carte-de-Visite, c.10 x 6cm, sl. grubby but a good image. Name of subject (apparently) written on reverse in pencil, Mrs Magrath. A similar item at the V & A is described as an albumen print. Louis Werner appears in the Dictionary of Irish Artists. Apparently ill health drove him from portrait painting to photography.

Photograph, c.16 x 11.5cm, very good condition, tipped on to card of same size crudely taped,and with wire for hanging as with a picture, with inscription on verso, All good wishes for the New Year | Indira Gandhi. Some philistine has added to the inscription in blue ink and capitals, WITH THE PRIME MINISTER | AND HIS | GRANDSONS. See images. Note: I've not found the image on Google Images.

One page, 12mo, bifolium, good condition. Chevalier Bunsen presents his compliments to Mr. R. Cole and has the honour to state, that the parcel, which Mr. Cole has addressed to General Radewitz and left at the Legation shall be forwarded to Berlin and Erfurt by the next official opportunity.

14 x 13.5cm, laid down on slightly larger leaf extracted from an Autograph Album, very good condition. Pussyfoot is at the piano, blacked up (with thick whitened lips!).See image/

Five black and white prints, all laid down on mount and in glass frame. Later prints (1940s) rather than the early silver gelatin ones. Each with manuscript caption at foot of mount, and Negative Number written in manuscript on reverse of frame. Each print in excellent condition. All five behind glass in worn plain black frames. From the papers of Charles Chilton, the creator and producer of the influential BBC Radio series 'Journey into Space' (1953-1958), which numbered among its admirers Stephen Hawking and Colin Pillinger.

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.

The Gypsy Lore Society was founded in 1888, and one of its prime movers was John Sampson, friend of Augustus John (for many years President of the Gypsy Lore Society) and the subject of the book 'The Scholar Gypsy' (1997), written by his grandson Anthony Sampson. According to a review in The Times, 17 May 1997, Sampson was 'a Victorian autodidact and philologist, who spent most of his life running the Liverpool University Library.

The eight range in size from 14 x 10 cm to 11.5 x 10 cm. Most are heavily faded, almost to the point of indistinguishableness, but presumably recoverable using modern computer techniques. Each is stamped on the front 'PROOF TO BE RETURNED TO LAFAYETTE, LONDON'. Each with pencil note on the back identifying the sitter as 'Mrs. Harrington', with reference number and date in October 1905. From the papers of Sir Richard Harington of Ridlington, the sitter being identified by reference from other material therein.

The image is 8.7 x 6.2 cm, on part of printed London Stereoscopic & Photographic Company mount. In good condition, lightly-aged. The lower part of the mount has been cut away, and laid down over the lower part of the photograph is a 1 x 6.5 cm strip of paper, carrying Cruikshank's autograph signature ('Geoe Cruikshank'). The National Portrait Gallery copy of this image is NPG Ax17862.

Black and white photographic print on 20 x 82 cm piece of paper, with image size 14.5 x 78 cm. In good condition, with light signs of age and wear, tightly rolled. Printed caption below image, and photographers' details at bottom right. The year's intake and the tutors are placed in five rows on the grass in front of the main building.

189 black and white photographs, ranging in size from 15 x 10.5 cm to 4.5 x 7 cm, loosely inserted (i.e. not mounted but removable) on the fifty leaves of a 20 x 30 cm album. While the photographs themselves are in good condition, the album is somewhat worn and aged. Painted in large Gothic letters at centre of front cover is 'Camp Snaps'; with the name of the compiler 'E. TAIT' at top right. Inscribed inside cover 'From “Porky” | September 4th, 1934'. The leaves of the album are made of thick black paper, and more than three-quarters of the photographs are neatly captioned in white ink.

Albumen print photograph, dimensions 15 x 10 cm. Mounted on 16.5 x 10.5 cm card. Printed in red ink on the reverse of the card are the firm's illustrated details ('Photoraphers to the Queen the Prince of Wales and other members of the Royal Family' and 'Prize Medal For Portraiture Vienna Exibitiion 1873.' In fair condition, lightly aged and worn. The National Portrait Gallery lists four versions of this image, but not within an oval, as here.

Studio Photograph, c.15 x 10.5, laid down on slightly larger card with photographers printed at base, faintly speckled, good condition. Image of head and upper body, not found on Google Images.

Studio Photograph, c.15 x 10.5, laid down on slightly larger card with photographers printed at base, faintly speckled, good condition. Image of head and upper body, not found on Google Images.

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

The sepia photographic print is 15.5 x 11.5 cm, and shows a sumptuous domestic interior, showing paintings around an ornately carved wooden doorframe, into another room, with hangings draped footstool, piano, and other accoutrements of high Victorian interior decoration. In pencil on reverse: 'The Lyric Club'. The cutting is 12 cm and forty-five lines long. It begins 'The new Lyric Club is starting on its career with every propsect of a brilliant success.

Circa, 14 x 18cm, good condition. Image of Harold Macmillan standing on a balcony with Dorothy by his side, an autumnal estate in the background. Their clear signatures are above their heads. The balcony is festooned with barbed wire- presumably Chequers with it's wartime dressing.

A black and white print, 24 x 19 cm. In good condition, lightly aged and worn. Shows Loder in top hat and nineteenth-century frock coat, with cane. Inscribed: 'To Mrs. Wright | With sincere good wishes | from | John Loder.' In pencil on reverse: 'Capt. William | Java Head | J. K. 67 | For Mrs Wright | Stills'. Stamped on reverse: 'CYRIL LEESTON | LONDON | TELEPHONE 3884 PADDINGTON'. This image is not in the National Portrait Gallery collection, nor is any other by Leeston.

15 x 21 cm print laid down on 17.5 x 23.5 cm piece of card. Faded and aged, with wear to extremities of card (not print) and staining to reverse. The men are posing in four rows, in front of a large window in a brick wall. They are hatless, and wear single-breasted jackets with seven gilt buttons at the front, with black belt and metal buckle. Four numbers embroidered on either side of collars. In the centre of the group is a sergeant. Most of the men sport moustaches, and many pomaded hair and centre partings. From the papers of the gunsmith C.