PHOTOGRAPHER

Bündchen’s career began in London in 1998. Since 2001, she has been one of the highest-paid fashion models in the world. In 2007, Forbes listed her as the sixteenth-richest woman in the entertainment industry. In 2019 Claudia Schiffer described her as the last of the supermodels. Comte’s fashion and portrait photography have appeared in a wide range of publications, primarily Italian Vogue. In 2000 he was named Photographer of the year by PHOTO magazine.

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.

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.

The last paragraph of McKenny Hughes’s entry in the Oxford DNB deals with his marriage, noting that his wife was ‘a keen amateur archaeologist, a botanist, and a distinguished artist, and under his tuition she became a valuable geologist’, and that the couple ‘travelled together on field excursions’, being accompanied on a trip to the Balkans by an armed guard. Six boxes of her papers are among the rest of those of the Hughes family in the Sedgwick Museum, Cambridge. The present item is 64pp, 4to, mostly on the rectos of a ruled ‘Universal Exercise Book.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) A nice piece of theatre and photographic ephemera. Vickers has five items in the National Portrait Gallery, which provides the following information: ‘John Vickers began his career by working as assistant to photographer Angus McBean in the 1930s. From 1939 until the time of his death, he ran his own studio. After the war he became well known as a theatre photographer working for theatres including the Old Vic.

From the papers of W. Macqueen-Pope. See the two men’s entries in the Oxford DNB. The National Portrait Gallery holds McBean’s portrait of MP, but not the present item, of which no other copy has been traced. 17.5 x 25 cm. In fair condition, with two corners dogeared; the reverse, carrying McBean’s stamp, is rather discoloured. Also on the reverse, in pencil is ‘Moya Macqueen-Pope’. Plain background.

See his son Ivo Bligh’s entry in the Oxford DNB. 1p, 16mo. Bifolium. In good condition, lightly aged. Folded twice. Reads: ‘Sir: / You are welcome to take some photographic views of this place: - you will please to ask to see the Houseeeper when you come. / I remain / Yours faithy / Darnley’. In worn envelope, self-stamped with pink penny stamp and two postmarks, one from Gravesend. Addressed in Autograph by Darnley to ‘Mr. F. York / Alfred Villa / Lancaster Road / Notting Hill London W.’

Three pages, 12mo, bifolium, good condition. Text: I fear you are like myself, & [burning?] into a state of mental debility or you would never imagine that such an old friend as you are could in any way have displeased one. I have not yet been to Brighton again but the invitation is in abeyance ---- I went last week to Deal & enjoyed the change much - Every body is out of Town & I fear we shall be very much alone next Sunday - but if under these circumstances you could venture to come, with Miss Reid & [stayed?] with us we should be very much pleased.

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.

Printed in black ink on both sides of a 26 x 30 cm piece of thick shiny art paper. Worn and folded twice. One side carries a priced list of eleven 'Natural History Works by R. KEARTON, F.Z.S.

The present item is the producer Hugh Burnett's own copy of the transcript of John Freeman's interview of Cecil Beaton, broadcast in the BBC series 'Face to Face' on 18 February 1962. Duplicated typescript. 4pp, foolscap 8vo. Numbered, and headed 'CECIL BEATON', otherwise consisting entirely of the transcript, with no other details. Aged and worn, with punch holes for binder. On four leaves which were originally stapled together, but with the first and last leaves now detached. Page references 1-10 (presumably to a shorthand transcript) in the outer margin.

1p., 12mo. In good condition, on lightly aged paper. The note reads: 'Dear Sir, | All the Catalogues at my disposal have long since been distributed. | Yours faithfully | P. Le Neve Foster | Secy'.

Three pages, 12mo, bifolium, good condition. With envelope. "En vous autorisant ce matin a prendre quelques photographies de mon appartement je n'ai entendu ni vous creez un droit a les reproduire ou a les venre a votre guise. Je vous [?] demande de m'envoyer des tirages pour les examiner, vous y refusez. Je me vois donc force de vous prevenir [...]" He proceeds in the same vein. Note: Dornac took photographs of both Marcel-Auguste and Jane Dieulafoy. He appears in Bernard Marbot, "After Daguerre: Masterworks of French Photography (1848-1900)".

The items are in good condition, lightly aged and worn, with slight rusting from a paperclip. ONE: TLS from Coster to the Secretary, The Authors' Syndicate Ltd., London. 2 April 1930. 1p., 8vo.

Bill/Receipt, 16.5 x 13.5cm, fold marks, good condition. Bill for purchases between 2 June 1858 and Novr 15 1859, for prices given) Negative, 8 Portraits. Album, "1 of Gordon" [General?] Interest. Bracher has added (with some relief) "Paid March 6/62 | E Bracher". Notes: A. Bracher was a "pioneering photgrapher" working in Oxford at much the same time as "Lewis Carroll" and Henry Taunt (who worked for Bracher when 14); B. This receipt has been extracted from a substantial bundle of invoices and receipts with Oxford addresses, with related letters. The Christ Church student, Victor H.

On two leaves. The illustrations on both are undamaged, but both leages are aged and worn, with chipping and closed tears to extremities. Fragile. ONE: Steel engraving: 'Photo. by Beniczky. | Engd by R. O'Brien.' Captioned with a facsimile of Cutter's signature, with 'THE LONG ISLAND FARMER POET' beneath it. 30 x 24 cm. On thickish wove paper. Head and shoulders image of a middle-aged Cutter, with goatee beard, smartly dressed with bow tie, waistcoat and jacket. TWO: Two small wood engravings on a 31 x 24 cm leaf of wove paper (thinner stock than Item One).

ALS, on letterhead of Millais House, Cromwell Place, South Kensington; 22 June 1915, one page, 4to, He is glad he 'liked the parboils - it was a great pleasure to me to make them'. Asks him to accept two copies: 'I have a library of signed Author's Copies and if you can spare me a copy of one of your admirable books I should treasure its possession.' Brief note at top by Maire on identity of letter-writer.

1p., 4to. In good condition, lightly aged. He is enclosing 'Squeaker Toys', which are 'a few of a large series which I designed for a toy Firm'. He thinks they may assist Adams 'to get interesting "expressions" on the faces of some of your less sophisticated sitters!' He concludes: 'They would be a variation of the old request to "Watch for the dickey bird."' Adams was Britain's foremost children's photographer, patronised by the Royal Family, and was famed for his Dover Street studio disguised as a children's playroom, complete with toys.

1p., landscape 12mo. In fair condition, on lightly aged and creased paper. Letterhead in brown and black, with childlike self-portrait with dripping pallette. She is enclosing 'a few of my small picture books', thinking that they 'would be entertaining in a waiting room' Adams was Britain's foremost children's photographer, patronised by the Royal Family, and was famed for his Dover Street studio disguised as a children's playroom, complete with toys. From the Adams family archive.

4pp., 4to. In good condition, lightly-aged and worn. Long closely-written letter, friendly and informative. Topics include the breaking of his right arm, the weather in Johannesburg ('I do not take my landscapes in winter - but our Transvaal summer is my time to operate with the camera to record the trees - the clouds & all the mood that goes with it'), Adams's support for 'the London Salon panel of prints'.

1p., 4to. In good condition, on lightly-aged paper. Ornate letterhead printed in red and black, with engraving of a rising sun ('The Mark of Excellence'). Addressed to 'Messrs. Marcus Adams Ltd. | Child Photographers, | 43, Dover Street, | W.1.' The letter begins: 'I have in hand the production of a film somewhat of a national character, including all the episodes in the reigns of our Royal Family, from Queen Victoria's Diamond Jubilee onwards, and I thought it would be a very nice idea to finish the film with a short length of little Princess Elizabeth.

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.

The two prints are in good condition, with light signs of age and wear. The 'Sing As We Go' (1934) photograph is 24 x 19.5 cm. In pencil on the reverse: 'Gracie Fields | S.G.P 4 | "Sing as we go" 1935 [sic] A.T.P. Studios' and is stamped 'CYRIL LEESTON | LONDON | TELEPHONE 3884 PADDINGTON'. It is a head and shoulders shot of Fields, leaning slightly forwards as she looks straight into the camera, smiling. The 'Look Up And Laugh' (1935) photograph is 25.5 x 19.5 cm. It has in pencil on reverse: 'LL | P.24 | Gracie Fields in "Look up & Laugh" | A.T.P. Studios 1935'.

The collection of 26 items is in fair condition, aged and lightly worn. The 24 black and white photographic prints, of which there are 23 different images and one image duplicated in a smaller size, range in size from 29 x 24.5 cm to 8.5 x 11.5 cm. The pictures are tender and affectionate, in an informal style unusual for Baron. One picture, stamped 'UNRETOUCHED ROUGH PR<...>', shows Owen sitting on Baron's knee, on a wooden bench, the two smiling. The four largest are studies of Owen's smiling face, staring into the camera.

Three black and white prints, ranging in size from 12 x 17 cm to 10 x 7.5 cm. The contact sheet is 12.5 x 13 cm. The four items in fair condition, lightly aged and worn. One of the three pictures shows a smiling Baron outdoors with a young blonde boy (his son?), who is holding a camera tripd; another shows him standing with his arm on the shoulder of another man (his brother?), both on skis in the snow; and the third shows him in a heavy wool coat, on the steps of a European building, with a man in Slavic costume. The last is inscribed on the reverse: 'May 1940 |

Dimensions of card: roughly 12 x 18 cm. Dimensions of image: 10 x 14 cm. Printed on shiny paper. Aged, spotted and worn. 'Meisenbach' in bottom right-hand corner of image. Caption above the image: 'Principal Writers of "The Clarion," the foremost advocate of evolutionary Socialism in England.' Beneath the image: 'E. F. Fay (THE BOUNDER). A.M. Thompson (DANGLE). Robert Blatchford (Nunquam). M. Blatchford (MONT BLANC).' Undated, but certainly dating from between 1891, when the Clarion was founded, and 1896, when Fay died.

For more information on Common, see his entry in the Oxford DNB. Both items on aged and worn paper. ONE: Typed Letter Signed. 31 March 1900. 1p., 4to. 'I bought a gross of balls of Hunter and paid for them on the understanding that I should take them as I wanted them'. He has a rough idea how many he has had, and will be 'able to say exactly when I look in my locker'. He ends by asking the firm to refer to Hunter's books regarding the matter. TWO: Typed Receipt, signed by Common over two red Inland Revenue penny stamps. 12 May 1900. 1p., 4to. 'Received of Messrs Emmerson & Co.

Both items in good condition, on lightly worn and aged paper. ONE: Photograph. Roughly 12 x 9 cm, with upper corners rounded. Laid down on piece of 22 x 16.5 cm brown paper with printed caption 'INTERNATIONAL STATISTICAL CONGRESS, | LONDON, 1860'. The paper backing is in turn laid down on a piece of white 23.5 x 17 cm paper. The photograph depicts a keen-eyed and bewhiskered Legoyt, seated uncompromisingly on a chair, with arms folded. TWO: Printed Appeal. 1p., 12mo. On bifolium, addressed on reverse of second leaf to 'F Hendricks Esqre. | 1 King William Street | E6'.

Carte-de-visite size, c.6 x 10cm, faded photograph of Bridget Winthrop (or engraving of), sl. spotted, on reverse the following information in MS., Bridget Winthrop married to Wm Maunsell | Mrs Wm Maunsell gt grandmother of H.O. Donnell[MA CLK?] [space] great great Grandmother to Mrs Petronella O'Donnell and to Mr Elliot O'Donnell". [Printed on reverse: Mrs. C. Flynn | Bookseller & Stationer | Circulating Library | Photographic Studio | 20 George Street | Limerick".From the archive of Elliot O'Donnell, Irish ghost-hunter. Note: Limerick: Mrs. C.

ALS, on letterhead of Millais House, Cromwell Place, South Kensington; 22 June 1915. He is glad he 'liked the parboils - it was a great pleasure to me to make them'. Asks him to accept two copies: 'I have a library of signed Author's Copies and if you can spare me a copy of one of your admirable books I should treasure its possession.'