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.

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 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.

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.

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.

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.

For more information on Marshall Hall's illustrious career, see his entry in the Oxford DNB. Fifteen items, the collection in fair overall condition, lightly aged and worn. ONE: Ten original photographic portraits of Hall, ranging in size from 14 x 9 cm. (carte-de-visite by 'The Biograph Studio | 107 Regent St, W.') to 29 x 21 cm (on mount stamped '185 Piccadilly W1', the studio of Kohler & Sons). Eight of the ten are mounted on paper or card, with printed photographers' details, and three of these are signed (two photographs by Carl Vandyk, both signed in pencil by 'C.

A contemporary oriental album, 19 x 27cm., with oat cloth boards, green ribbon and embroidered spine, containing a beautiful collection of vintage 9 x 14cm. postcards in near-mint condition. None of the postcards has any manuscript marks or sign of postage.

96 black and white photographic prints, each cloth-backed and with the landscape dimensions 20 x 25 cm. In black leather loose leaf album by Wilson Jones Co., Kansas City. Stamped in gilt in bottom right-hand corner of first leaf, 'HAROLD C. HARVEY'. The prints are in good condition, curling a little at the fore-edge, and with slight creasing at right-hand margin of the first two. The binding is somewhat worn, but still tight, with the three original metal screws holding the album together.

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.

Landscape 8vo album, containing eighteen leaves in embossed light-green card, each carrying a 17.5 x 23.5 cm black and white photograph. In embossed brown waxed imitation-leather cloth. Lightly-aged but good. The first photograph is of Shuster, and this is followed by three photographs each carrying numerous portraits of tutors, the rest of the photographs each carrying a portraits of a number of students, superimposed over images of Kiev, and of the students on their courses. A few photographs carry texts in Russian by Russian leaders.

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.

Album, in maroon cloth and fake leather half-binding, containing 24 leaves of thick paper (dimensions 36 x 26.5 cm). Small stamp on front paste-down: 'D.A.I. LONDON | No. 20[2]' (last digit added in manuscript). The binding is heavily-worn, with spine lacking, and the pages are somewhat discoloured with age, but the 82 photographs are in good condition, with four creased before insertion into the album, and one with slight discoloration. One photograph has been removed. Can be dated from picture of the 'Kreuzigung.

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.

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.

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.