PORTRAIT

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.

1p., 4to. In fair condition, aged and creased, with slight tearing at edges. She begins: 'Please forgive me for not answering your letter before, but I have been so rushed!' She is not able to 'sit for Mr. Priest just at present': 'We are just on the point of starting rehearsals for several plays to be toured and, in addition, my two small girls are ill, so that I want to spend all my spare time with them.' She is trying to 'get out of' sittings for another artist.

3pp., 12mo. Bifolium. In fair condition. He has been 'clinging' to Lucas's umbrella since the return from a trip to Ostend, where Cust had 'an awful quart d'heure with the luggage people, who were very unwilling to send it on, [...] but by bribery and threats of weeping and pcitures of you all shivering on deck, I <?> them to entrust the 16 or 17 packages to the guard of the train next due'. The letter continues in much the same chatty tone.

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'.

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.

The five letters total 10pp., 12mo. On five bifoliums. In good condition, lightly aged. An interesting correspondence, from one of the trustees of the new National Portrait Gallery to its (as yet unknighted) secretary. ONE: 'Brit. Mus. | Saturday afternoon' [1859]. 1p., 12mo. Begins: 'Lord Macaulay [another trustee] tells me that he intends to visit the Portrait Gallery with some friends at 3 on Monday.' TWO: Chevening. 2 November 1859. 2pp., 12mo. After thanking him for 'the drawings for Lady Stanhope' he exclaims: 'Another terrible storm yesterday!

Totalling 14pp., 12mo. On four bifoliums. In good condition, lightly-aged. The correspondence indicates the closeness between Scharf and the family of the man responsible for his appointment as Secretary to the National Portrait Gallery. Topics include: the obtaining by her son [Edward Stanhope (1840-1893)] of 'a first Class in Mathematics the first in that branch at Ch[rist]. Ch[urch, Oxford].

3pp., 12mo. Bifolium. In good condition, lightly-aged. Scharf had illustrated her 'Life in Ancient India' (1856), and she writes informally, expressing regret at the news of his move 'from the Classic No. 1., a house consecrated to the Arts by your occupation of it & ever to be remembered with respect, regard, pleasure & all good feelings'.

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.

3pp., 12mo. Bifolium. In good condition, on lightly aged paper. Ouless regrets that he has 'nothing available' for 'the Aberdeen Exhibition this year', 'unless it be Marks' portrait [Henry Stacy Marks, artist] which is my property & now at Manchester, but as it was painted 12 years ago I do not think you will consider it suitable'. He suggest asking the Highland Railway Company whether they might lend the 'half length by me of Sir A. Matheson'. The letter ends: 'I wish I had something more recent which I could propose. I hope another year you will ask me again.'

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'.

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 is in good condition, on lightly-aged paper. Zetland's letters total 26pp., 8vo; 19pp., 12mo; 1p., 16mo. The theme is the painting and engraving of a portrait of Zetland by Slocombe, and the correspondence casts an interesting light on the relations between patron and artist in late nineteenth-century England, with the drafts of Slocombe's two letters, and his accounts for painting and engraving, adding to its value.

The letter is 1p., 4to. In good condition, on lightly-aged paper. Livingstone has sent her the photograph which he has cut from a magazine, and she writes that she has 'had pleasure in signing the enclosed picture', and is 'so glad you like it'. The photograph is 17 x 14 cm, in black and white, and shows a smiling Lady Megan seated at a table with a piece of paper in front of her. She has signed it 'Megan Lloyd George'. It is laid down on a piece of 22 x 16.5 cm card, and is aged and lightly ruckled.

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.

On piece of 21 x 13 cm India paper, laid down on a piece of thick paper, 33 x 24cm. The engraving is small in comparison, measuring around 8 x 6 cm, and showing a formally dressed and bearded Baxter's head and shoulders, facing to his right. Aged and dusty, with crease line to the mount at the foot. Stodart has signed in pencil in the bottom right-hand corner of the engraving paper, and the crease line bissects the signature and its underlining. At bottom right of mount, in pencil: 'Dr Baxter | Kings College'.

1p., 4to. Bifolium. Very good, on lightly-aged paper. Addressed on reverse of second leaf to 'James Elmes Esqre.' At the head of the letter Elmes has written: 'From J. Raphael Smith the celebrated mezzotinto Engraver | J Elmes', and down the bottom right-hand corner: 'From J. Raphael Smith, Painter in Crayons & Mezzotinto Engraver to Mr Elmes, with 2 proof prints | J. E'. At the foot of the page Elmes has identified 'Mr. Tooke' in the letter as 'Horne Tooke J.E.' Smith writes: 'Sir | I have sent you an impression of Sr.

1p., 12mo. Good, on lightly-aged paper, with slight traces of glue from mount on reverse, which is docketed 'Phillips the Portrait Painter'. The note reads: 'Dear Sir | Your Picture is now varnished & ready to be sent away. Pray be so good as to favour me with the Direction for the Case'.

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.

Note: 1p., 12mo. In fair condition, lightly-aged, laid down on paper with traces of glue to one margin. In response to a request for an autograph it reads: 'Novr 10/69 | 21 Beauvoir St | Portland Place | London. W. | Dear Sir | I send this in accordance with your request to Mr Lacy.' | I am | Dear Sir | Yours | R. H. Holden Esqre'. Engraving: On 14 x 10.5 cm paper, laid down within border on 21 x 14 cm paper. Good: Photogravure 11 x 8 cm image cut from a magazine. Showing a bearded Horne in old age, with velvet writing cap.

One page, 12mo, bifolium, fold mark, mainly good condition. "I am quite ashamed of my blunder in having sent you the letter of Mrs May's so curiously addressed [to me?] & thank you for this trouble of forwarding it. The [?] misled me - pray excuse me, & let me welcome you [?] Sunday in my New House - a house that is the dream of three generations of craftsmen (practically) now realized."

The nine large prints are in good condition, lightly-aged with slight wear to corners. The smaller print is lightly-creased. In worn blue faux-leather album, with large facsimile signature of 'Lenare' on cover in gilt, with the address 'Portraiture | 28, GEORGE STREET | HANOVER SQUARE | LONDON, W.1.' ONE to FOUR. A series of four head-and-shoulders portraits of Driberg, each signed in pencil by Maurice Beck, and with the stamp on the reverse: 'Photograph by | Maurice Beck | F.R.P.S.' Each on a piece of 37 x 29.5 cm.

Black and white portrait of Driberg from the waist up, by Converse Studios Inc., New York. In good condition, in lightly-worn printed card folder, 35 x 25.5 cm. The image is mounted behind a 23.5 x 18 cm windowpane. Driberg, in his early thirties, in a double-breasted pin-striped suit, white shirt, and tie, faces the camera with hands in pockets. From Driberg's own papers.

On one side of an 8 x 10 cm piece of paper, cut from the bottom of a letter. In good condition, on lightly-aged paper. Reads: '[...] being that very many things demand my attention that have already waited too long. | Yrs. sincerely | Frank Dicksee'.

Albumen print, 14.5 x 19.5 cm, with arched top, laid down on original cream backing paper, 18.5 x 24.5 cm, with border to photograph and company details all printed in gold. A good photograph, showing Buckstone staring at the viewer, while seated in a plush chair at a writing table with tablecloth, his right hand holding a pen over a piece of writing paper. The print is in good condition, on slightly grubby backing. Buckstone has signed 'John Baldwin-Buckstone', in black ink at the foot of the mount.

Colour photograph in grey card wallet frame. Dimensions of photograph 13 x 18 cm. Dimensions of frame 18 x 23 cm. In good condition. A head and shoulders shot of a smiling old Ashcroft in overcoat outdoors in the countryside. Captioned by Balcon on frame at foot of photograph 'Peggy Ashcroft at Vine Cottage (called by her "The Tiny Palace")'. Part of Balcon's own collection.

Black and white matt bromide print photograph in card frame with covering flap. Dimensions of photograph 20 x 25 cm. Dimensions of frame 25.5 x 32 cm. A head and shoulders shot of Balcon, staring across the photograph from the right, left hand at right shoulder, with the bust of Day-Lewis facing her from the left. Inscription in pencil on frame beneath photograph: 'London. Mark Gerson. AIBP/ARPS'. Photograph and inscription in excellent condition; frame aged and worn.