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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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                <text>Sheet-fed photo gravure print&#13;
(Bruchmann Mezzotint gravures, printer)&#13;
&#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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                <text>William Louis Koehne, Chicago</text>
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                <text>29/07/1920</text>
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                <text>Ella Grainger wearing her wedding dress, in the home she and Percy Grainger shared at White Plains&lt; New York, 1928</text>
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                <text>Black and white photograph. 25.1 x 19.4 cm Swedish poet and painter, Ella Viola Strom, married Percy Grainger at the Hollywood Bowl, Southern California, USA, on 9 August 1928. The wedding occurred in front of a huge audience, estimated as between 15,000 and 23,000, at the end of a concert of Grainger's own compositions. Ella Grainger performed alongside other musicians, under the conducting baton of Percy Grainger, in a piece of music written especially for the occasion and as a wedding gift to her: "&lt;a href="https://www.youtube.com/watch?v=_N8O3rCrSrw&amp;amp;ab_channel=MelbourneSymphonyOrchestra-Topic"&gt;To a Nordic Princess&lt;/a&gt;".&lt;br /&gt;&lt;br /&gt;</text>
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                <text>Frederick E. Morse (1884–1969), New York</text>
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                <text>Portrait of unknown young lady with short hair and a white blouse.</text>
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                <text>Black and white photograph.&#13;
&#13;
Photo: 15.5 x 11 cm&#13;
Photo and board: 25.3 x 15.1 cm&#13;
&#13;
This portrait depicts a young lady (possibly aged in her 20s or 30s) staring straight into the camera against a grey background. The streaks in her hair, blue eyes and rouged lips are visible. She is wearing a white blouse. The photograph has been adhered to a gold cardboard window and supported on a similar cardboard. The two pieces of gold cardboard are separated. </text>
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                <text>Portrait of Ignacy Jan Paderewski</text>
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                <text>Black and white photograph.&#13;
&#13;
Photo: 11.2 x 8.7 cm&#13;
Photo and board: 17.1 x 13.4 cm&#13;
&#13;
This portrait depicts a stern faced elderly Ignacy Jan Paderewski in a black suit, white vest and cravat. This photograph has been mounted on a piece of cardboard. It has also been signed I J Paderewski, who was a Polish piano and composer. The photograph has been mounted onto a speckled grey cardboard. </text>
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                <text>Francis Brugiere</text>
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                <text>As Francis Brugiere was an American Photographer (1879-1945), this photograph was most likely taken towards the end of the 19th century or the beginning of the 20th century. </text>
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                <text>Nellie Melba at Coombe Cottage, Victoria, 1927</text>
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                <text>Silver gelatin print&#13;
&#13;
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&#13;
The photograph depicts Nellie Melba tending to plants and shrubs placed on an elegant cane and wood table. She is standing in front of the entrance to Coombe Cottage, possibly in her porch with light streaming through the windows on the proper left of the photo.  </text>
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                <text>Percy Grainger 1915.</text>
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                <text>Silver gelatin prints and mechanically printed postcard.&#13;
&#13;
17.6 x 12.6 cm&#13;
&#13;
Aimé Dupont was a fashionable New York studio where Grainger sat for a number of portraits sometime before November 1915. He had already made his debut to New York audiences and with the help of a manager was energetically promoting his career. These four images indicate how he made the most of a single portrait sitting with printed and hand-written inscriptions added for a more personalised effect. He had numerous post cards featuring these images machine printed with details of his future performances. The studio’s namesake, Aimé Dupont, died in in 1900, but his family, and subsequent future investors, kept his ‘brand’ going until the 1950s.</text>
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&#13;
17.6 x 12.6 cm&#13;
&#13;
Aimé Dupont was a fashionable New York studio where Grainger sat for a number of portraits sometime before November 1915. He had already made his debut to New York audiences and with the help of a manager was energetically promoting his career. These four images indicate how he made the most of a single portrait sitting with printed and hand-written inscriptions added for a more personalised effect. He had numerous post cards featuring these images machine printed with details of his future performances. The studio’s namesake, Aimé Dupont, died in in 1900, but his family, and subsequent future investors, kept his ‘brand’ going until the 1950s.</text>
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