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                <text> Percy Grainger</text>
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                <text>Toned silver gelatin print.&#13;
&#13;
Photo: 24.1 x 19.0 cm&#13;
Photo and frame: 30.3 x 24.3 cm&#13;
&#13;
Grainger spent a lot of his life away from home touring as a concert pianist. While his mother was alive he developed a pattern of having photographs of himself taken by professional photographers, which he would then mail to Rose—a way of maintaining the closeness of their bond. This photograph held great significance for him, as it was the last he sent to her before she committed suicide in 1922. </text>
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                <text>Frederick Bushnell Studio, San Francisco</text>
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                <text>silver gelatin print.&#13;
&#13;
Photo: 21.1 x 16 cm&#13;
Photo and card: 25.2 x 20.2 cm&#13;
&#13;
&#13;
Although taken in a formal studio setting, this photograph was certainly not meant for promotional purposes. Grainger had his portrait taken by Mary Dale Clark on a number of occasions over a period of years including while he was enlisted in the army. Clark was a self-styled mystic who used photography to ‘look for the spirit within’ her sitters.&#13;
&#13;
&#13;
Grainger was aware of the photograph’s capacity to look past the constructed façade and capture the essence of a subject’s psychological and emotional inner-world.</text>
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                <text>c.1918</text>
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                <text>Platinum prints.&#13;
&#13;
Photo: 14.0 x 9.5 cm&#13;
Photo and board: 28.0 x 20.7 cm&#13;
Envelope: 35.6 x 22.8 cm&#13;
These portraits were taken in the same sitting at Elliot and Fry studio in London, and demonstrate how a change in lighting and camera angle can significantly alter the appearance of a subject. The studio was founded in 1863 at 55-56 Baker Street by Joseph John Elliott and Clarence Edmund Fry and operated for a century. It specialised in portraits of leading social, artistic, scientific and political figures.</text>
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                <text> Percy Grainger, c 1920.</text>
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                <text>Silver gelatin print.&#13;
&#13;
Photo: 20.2 x 15.6 cm&#13;
Photo and board: 37.5 x 29.8 cm&#13;
&#13;
This portrait depicts Percy Grainger with his fingers interlaced in front of him. The photograph is mounted on board. </text>
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                <text> Rose Grainger (age 59) wearing Indian necklace bought at Albuquerque, N.M., early May, 1920</text>
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&#13;
28.5 x 22 cm&#13;
&#13;
This portrait depicts Rose Grainger sitting in a plush armchair. She is wearing a long off shoulder dress with flowing skirts and organza. As described by the photo caption, she is wearing an "Indian necklace bought at Albuquerque, N.M., early May, 1920,”</text>
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&#13;
16.5 x 21.6 cm&#13;
&#13;
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                <text>Chromogenic print from Kodachrome slide.&#13;
&#13;
Photo: 23.9 x 9 cm&#13;
Photo and frame: 30.6 x 25.5 cm&#13;
&#13;
This portrait depicts a frontal view of Cyril Scott as an elderly gentleman. He is not looking directly at the camera and is wearing a black suit with a white shirt and black tie. The image has been mounted onto a board and contained within a cardboard frame.&#13;
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                <text>Dr Kaare Nygaard, (n.d.)</text>
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                <text>Silver gelatin print&#13;
&#13;
34.8 x 27.3 cm&#13;
&#13;
Dr Kaare Nygaard (1903-1989) was Percy Grainger’s friend as well as medical doctor and surgeon. Nygaard was also a sculptor, and he made three bronze sculptures of the composer and one life mask. He also performed Grainger’s autopsy&#13;
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                <text>Burnett Cross, (1914–1996), New York.</text>
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                <text>Eleonora Duse</text>
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                <text>Photogravure.&#13;
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Photo: 19.8 x 10.9 cm&#13;
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Eleonora Duse (1858-1924) was a much-adored star of the Italian stage who also enjoyed international acclaim. She is remembered for her roles in plays by Henrik Ibsen and Gabriele D'Annunzio. Duse is photographed here by De Meyer four years before her retirement and the photographer, who made portraits of many beautiful women, seems to be making a statement that beauty is not exclusively the preserve of the young.</text>
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                <text>Baron Adolf Edward Sigismund de Meyer (1868-1949), London.</text>
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            <name>Date</name>
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                <text>Ella and Percy Grainger, early 1930s</text>
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                <text> Sepia toned silver gelatin print.&#13;
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This complex photographic composition captures a fleeting moment of intimacy between Ella Grainger and her husband. Ella’s expression and body language suggest adoration, whereas Percy’s attention is turned inward in an intense moment of contemplation.  This is also an image full of information. The building behind—Ella’s cottage ‘Lilla Vran’ on the Sussex coast in England—is constructed in an intriguing manner. To the right of the couple, pebble-dash covers brickwork, but to the left, regular coursing of river pebbles are concreted between brick quoins. Ella and Percy’s dress is interesting—almost timeless. They could be a pair of middle-aged ‘hipsters’ photographed in 2017. Percy’s Mary-Jane shoes are not as feminine as they appear, however. It was not uncommon for men to wear them in the 1930s.</text>
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            <name>Identifier</name>
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