PHOTOGRAPHIC

Neither print is ascribed, but in an unpublished typescript in the Adams Papers, Rosalind Thuillier (author of a 1985 monograph on Adams) quotes her husband Gilbert Adams (Marcus's son) as follows: 'Another phase of his activities as a photographer was into a device called "photo sculpture". [...] At the time of Munich he went round to the photo-sculpture's studio, and I accompanied him, to photograph Neville Chamberlain. Neville Chamberlain was photographed in this way and some many hundreds of these casts were made of him.

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'.

Thirteen Typed Letters Signed: seven to Marcus Adams, four to Gilbert Adams, and one apiece to 'Miss Farr' and 'Mr Murray'. Totalling 16pp., and with eight on Dover Street letterheads, and five on Park's personal Pinner letterheads. Five signed 'Bertram', one 'B.P.'', the other seven 'Bertram Park'. The thirteen items in good condition, with light signs of age and wear.

4pp., 8vo, paginated 1-4. On two bifoliums. Aged and worn, but with the text clear and complete. From the Adams family papers, which also include an extensive archive of Walton Adams's papers relating to the British Israelites. An interesting artefact relating to an important figure in the history of British photography. (See also his obituary in The Times, 15 June 1934.) Untitled and unsigned, the unpublished account begins: 'As I am now over 90 years of age I believe that I am the oldest living British photographer, my first Studio was opened in 1864'.

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.

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 prints black and white, and in good condition. The portrait shot is 14 x 9.5 cm, on grey card backing, within a 30.5 x 20.5 cm folder of the same grey card, printed with the name and address of the firm. The image depicts the head and shoulders of a moustachioed Hall, who is glancing to his left side with a faraway look in his eyes, while smartly dressed in dark jacket and waistcoat.

Both prints black and white, and in good condition. The portrait shot is 14 x 9.5 cm, on grey card backing, within a 30.5 x 20.5 cm folder of the same grey card, printed with the name and address of the firm. The image depicts the head and shoulders of a moustachioed Hall, who is glancing to his left side with a faraway look in his eyes, while smartly dressed in dark jacket and waistcoat.

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'.

Six larger photographs (all 12 x 10.5 cm) and twenty-six smaller ones (between 5 x 7 cm and 5.5 x 8 cm). In fair condition, lightly aged and worn, on three leaves removed from an album (the smaller photographs on mounts and the larger ones laid down. The larger photographs have pencil captions, and a few of the smaller photographs have ink captions (for example, 'Taking a drink - Calcutta', 'Is that Ghandi? | The women are carrying dried dung for use as fuel.'). The smaller images appear to be photographs of photographs, with captions.

Black and white print, 15 x 10cm. A dewy-eyed Churchill stands in the doorway of 10 Downing Street in long dark coat, clutching top hat, gloves and cane in his left hand, and makes a raised victory sign with his right, while a group of seven male and female staff members crowd in the doorway behind him. From the papers of Elizabeth Sayers (later Cooper), member of the Downing Street staff.

Thirteen of the fourteen photographs are in black and white, with the largest 21.5 x 15.5 cm (with slight paint staining at edge), another 17.5 x 12.5 cm, and the other nine roughly 12.5 x 9 cm. The other print is a colour polaroid, with paint smudges from Sonnabend's portrait on the white mount. Other than the paint marks to three of the prints, in good condition, although six of the smaller ones have aged due to acid in the paper stock.

Beales, also a sign painter and picture framer, was a successful and prolific photographer (he boasts on two of the items below of '3,400 Testimonials'), whose Parade Studio was at 5 South Bar, Banbury, from 1888 to 1911, with a secondary business at the County Studio, George Row, Northampton at around the same time. Beales claimed the Royal patronage of both Queen Victoria and the Prince of Wales, and aimed at the upper end of the market. Seven of the eight items in good condition, lightly-aged, but Item Four with minor damage (see description).

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 black and white photograph is 24 x 19 cm, and is laid down on a 36.5 x 28 cm mount. The photograph is in good condition, on lightly-aged matte paper; the mount is brittle, chipped and discoloured, with closed tears and a detached corner reattached on reverse with archival tape. Facsimile signature in bottom right-hand corner of mount: 'Yours sincerely | R. M. Ballantyne'. On reverse, in contemporary hand: 'R. M. B. about 1893' (although the photograph does not look as if it dates from the year before Ballantyne's death), and at head of reverse, in the same hand: 'R. M.

99 + [3] pp., 4to, of which 31pp. are original photographs, on grey card mounts, each with tissue guard and manuscript caption in white ink. A further five small photographs laid down on pages of the typed text. In very good condition, on aged paper, in modern green leather quarter-binding with cloth boards and misleading title on spine 'THE BUDGET | CAMBRIDGE' In a contemporary hand on leaf preceding title-page: 'Please return to | Chas Nunneley | (Room 1, 3rd Floor) | A & R Branch | A. G. Dept | General Post Office (North) | (London) | E.C. | or to | C. O.

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.

Most of the photographs are 7.5 x 10.5cm in size, with the smallest 4.5 x 6.5cm and the largest 10.5 x 15cm. Loosely inserted in a 16mo album bound in green moire cloth. Both photographs and binding are in good condition, lightly aged and worn, with the occasional photograph with a dog-eared corner. Most of the photographs are captioned on the reverse, and seventeen are accompanied by captions on the pages of the album.

4pp., 16mo. Bifolium with mourning border. In fair condition, on aged paper. She begins by explaining the reasons for her silence, and apologising if she has 'seemed neglectful': 'the truth is that I quitted Chester Squr on Monday, for Miss Squire's of Blackheath [...] I return to London to morrow mg, to spend a few days with Mr. Murray's [publisher] family in Albemarle St. & then think of takg the railroad to Derby [opened in 1844] to fulfil a long promised visit.' The letter continues with references to 'Mrs Reese Sr.' of Chester Square, 'dear Kath:' and 'dear Matty'.

An evocative collection of photographs, in which, unusually, a Victorian servant has been allowed to make a record of his masters, their country house, and household. The 53 photographs are laid down on 17 leaves of a contemporary stitched 4to album. In fair condition, lightly-aged, and with the brown marbled wraps of the album detached and separated from one another. Three of the photographs are lacking from the album.

49 photographic prints, laid down on 48pp. of a small (16.5 x 13 cm) contemporary 4to album, quarter-bound with brown leather spine and brown cloth boards, with yellow endpapers. No captions: the only manuscript in the volume being the ownership inscription of 'Sybil M. Hubert | 1883' on the front free endpaper. A fragile survival: aged and discoloured, with occasional staining from damp, which also caused some of the photographs to stick to one another, with slight damage occurring on their being detached; binding also in poor condition, with boards detached and leaves loose.

On 20 x 24 cm piece of thick laid paper. A spirited and highly-finished cartoon, apparently unpublished. The two photographers have emerged from neighbouring doorways to solicit a portly Englishman, attired like John Bull, who holds his hands up in a gesture of exasperation or refusal. He is accompanied by a young boy, hands in pockets. The photographer on the left is dressed in the French or Italian style, back to the viewer, waving his cartes de visite around.

An albumen print, mounted on a piece of plain white card. Dimensions of print: 94 x 57 mm. Dimensions of card: 104 x 64 mm. Aged and faded. The card is entirely blank, apart from the date '1853' written at the head of the reverse. Clearly an early portrait of black people: if the date on the reverse is correct it pre-dates by a year the patenting of the carte to visite by Disdéri. The couple are seated side by side, gazing slightly to the right of the camera.

3pp., 12mo. Bifolium, on grey paper embossed with crest. In good condition, on lightly-aged paper, with slight damage to second leaf and with part of the paper to which it was attached still adhering to the blank reverse. He begins by declaring that he is 'much vexed' over a mix-up about a parcel of books 'I wrote expressly to London to desire that they might be sent here. As there is no help for it now I must beg you to believe it was not through carelessness of mine'. He asks her to send them on to Dartington, and to let him know the cost, which he will remit in postage stamps.

Printed on a piece of card, roughly 50 x 22 cm., with the photographic side shiny and the reverse carrying the manuscript plan matt. In fair condition, folded four times and lightly aged, worn and chipped. The whole of the one side comprises a single photographic print, with 'Reproduced & Printed by No 5 Advanced Section AP & SS' at the foot. The upper part of this print reproduces an aerial photograph, roughly 15 x 22 cm, with six positions indicated: 'Kansas Cross', 'Gravenstafel', 'Passchendaele', 'Otto FM. D. 15a', 'Delva FM.

In 1868 Joseph Swan (inventor of the incandescent electric bulb) set up the company to commercialise his patented process for producing permanent photographic images. Throughout the nineteenth century it was known as the Autotype Fine Art Company, It changed its name to the Autotype Company Ltd in 1923, and is now MacDermid Autotype. All five items are in good condition, on lightly-aged paper. Item One dates from before the company's move from 74 to 59 New Oxford Street in 1926; and the other four items from after the move.