PHOTOGRAPHIC

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.

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.

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 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.

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 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.

The tradition of this annual day of revels at Scotland's oldest university St Andrews is said to date back to the fifteenth century and is said to commemorate the visits of a lady Katharine Kennedy to her uncle, Bishop Kennedy of St Andrews, every Spring. 9 x 5 cm sepia photographic print of illustration, laid down on 10.5 x 6 cm piece of card, and clearly made in the nineteenth century. In fair condition, lightly aged. As part of the print, at bottom right: ‘Kate Kennedy pinxit / 1871’.

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.

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.

The recipient's name, given at the foot of the last page, appears to read 'Mr. L. Newland' or 'Newlaw'. This may be J. W. Newland, was an English daguerreotypist and magic lanternist who travelled from New Orleans, through Central and South America, to the Pacific, New Zealand, Australia, England, and finally to Calcutta between 1845 and 1857. 2pp., 12mo. In good condition, lightly aged. He has submitted the recipient's letter to the Queen, 'together with the Daguerrotypes that accompanied it'.

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.

LETTER: 2pp., 12mo. On lightly aged and worn paper. He summons him to a meeting, telling him to read a memo beforehand, before writing: 'I am not disposed to waive any Crown rights for money advanced | Lenders may have notice, but if P. W L C advance public money, the public must be protected against persons who are trading for profit'. CARTE DE VISITE: In fair condition, lightly aged, with 'W. H. SMITH, ESQ., M.P.' printed beneath the image, and the details of the London Stereoscopic & Photographic Company on the reverse.

All items in good condition. The photographs range in size from 21.5 x 14.5 cm. to 18.5 x 16.5 cm., and show Knight at work on the sculpture, with her husband Mark Churchill present in one. Thuillier's text (1p., 12mo) reads: 'Geraldine Knight seen with her giant 10 ft. fibreglass and resin (GRP) Hinds Head which has been commissioned by Whitbreads for their new Brewery at Magor near Newport. The work has taken her a year to complete. She lives and works in a converted Bakery at Woodborough in Wiltshire where she has 4 large studios.

In very good condition, in transparent plastic waller. Accompanied by two booklets in French, containing extensive scholarly text on each painting. From the Philip West archive.

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.

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'.

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.

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'.

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 |

Both items in good condition, with minor signs of age and wear. The black and white photographic print is 24.5 x 19.5 cm, and depicts a chubby Hall, in shirtsleeves and tie, leaning over a seat at the back of a darkened theatre, with a positive look of concentration on his face, as he stares at the stage, a playscript in his hand. The reverse carries two stamps by 'Tony Armstrong Jones, one of them declaring his copyright. Also on the reverse are pencil calculations of dimensions for cropping for publication.

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'.

The collection consists of four items. All four in good condition, on lightly-aged paper, with slight creasing. ONE: Typed Memorandum. 3pp., foolscap 8vo. Signed over a stamp by Campbell, and witnessed by Florence Campbell of Newcastle-on-Tyne. Campbell agrees to teach Langsford 'how to prepare the photographic paper called "Gelatino-chloride glossy printing-out paper" by the same formula and process as he uses and put him in the way to start and carry on a business for himself'.

The album is landscape, 13 x 19 cm. Internally clean on lightly-aged paper, stapled into worn and spotted printed covers. It contains 26 photographs (10 full-page and 16 half-page), on 18 leaves separated by tissue guards, a mixture of indoor and outdoor scenes, and some posed. Images include: 'Les Mariages de Plougastel-Daoulas. - Le Défile des Mariés'; 'La Gavotte Bretonne'; 'DOUARNENEZ. - Toilette de la Mariée'; Arrivée du Cortege au Bourg'; 'Le Repas de Noces.