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21.4 x 14.3 cm</text>
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                <text>Ella and Percy Grainger, early 1930s</text>
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                <text> Sepia toned silver gelatin print.&#13;
&#13;
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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                <text>Silver gelatin print, 24.5 x 19.4 cm&#13;
&#13;
Frederick Morse was a photographer who lived next door to the Grainger household at 9 Cromwell Place, White Plains, in New York. His wife Tonie Morse became Grainger’s manager in 1925. Grainger initially commissioned him to shoot publicity photographs, but as the two men became more familiar with each other, Frederick took many informal images of Percy and Ella Grainger. He and Grainger also exercised together and engaged in bouts of Graeco-Roman wrestling.</text>
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                <text>silver gelatin print, 23.3 x 15.4 cm&#13;
&#13;
This elegant studio double portrait of Percy and Rose is unorthodox in the way the composition crops out the object of their avid attention, however it successfully documents the legendary closeness between mother and son. </text>
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                <text>platinum (or palladium) print,&#13;
&#13;
Photo: 19.3 x 13.7 cm&#13;
Photo and frame: 30.1 x 22.3 cm&#13;
&#13;
The Grainger Museum Archive contains hundreds of photographs of unidentified people. Some are very elaborate and sophisticated images like this Edwardian lady in her fur stole, pearls and Merry Widow hat, taken by the very fashionable Lafayette studio. Who were these people who passed briefly through Grainger’s life, not making enough impression to have their names recorded?</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>Sepia toned black and white photograph.&#13;
&#13;
11.2 x 12.1 cm&#13;
&#13;
Danish-born pianist, Karen Holten (1879–1953), was Grainger’s lover for eight years during the time he lived in London.&#13;
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                <text>Silver gelatin print.&#13;
&#13;
Photo: 14.5 x 9.7 cm&#13;
Photo and board: 30.2 x 24.7 cm&#13;
&#13;
Joseph Taylor of Saxby-All-Saints, North Lincolnshire, was a bailiff on a large estate in the latter part of his life. He was also a traditional folksinger. In the year this photograph was taken he recorded nine of his songs with the Gramophone Company. Percy Grainger befriended him and set Taylor’s version of the traditional song, Rufford Park Poachers, in his Lincolnshire Posey suite.</text>
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Photo: 20 x 14.9 cm&#13;
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Czechoslovakian-born Jan Kubelik (1880-1940) had an international reputation as a virtuosic violinist. Later in life he made Edison Phonograph recordings with Dame Nellie Melba, playing obligato to her solo performance of Ave Maria.&#13;
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In 1913 Grainger's then fiancée Margot Harrison ordered a very expensive present for her lover: a portrait of herself by H Walter Barnett. Despite his humble beginnings in the studio of Stewart &amp; Co in Melbourne, with his brilliant business mind and extraordinarily gifted photographic eye, Barnett became one of the most sought-after society portraitists in Melbourne, New York and London. Jack Cato (who worked for Barnett) records in his book, The Story of the Camera in Australia (1955), that in 1909 a single portrait sitting with Barnett cost £37. </text>
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