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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> Percy Grainger</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>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, 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>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> 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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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Oscillator-playing tone tool, 1st experiment</text>
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            <name>Creator</name>
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                <text>Percy Grainger</text>
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            <name>Date</name>
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                <text>Sketch drawn 23 November 1951. Instrument made 25 October 1951 </text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="549">
                <text>Copyright Grainger Estate</text>
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            <name>Format</name>
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                <text>Watercolour and ink on paper, 27.9 x 21.9cm</text>
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            <name>Identifier</name>
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                <text>04.0182</text>
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            <name>Description</name>
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                <text>Watercolour, ink and graphite on paper. Illustration of instrument (a modified sewing machine) with handwritten explanations and instructions. 14.2 x 25.7cm&#13;
Excerpt from Percy Grainger's daybooks 1944-1960: Thursday 25 October 1951&#13;
‘Red Letter day for Free Music [red ink] Burnett brot $15 oscilator, having recorded 2-, 3- &amp; 4-part trials with it at home. . . . I got sewing machine &amp; drill to play oscilator [red ink]’ &#13;
Burnett Cross: ‘The oscillator was a Morse code practice device with a continuously variable pitch produced by a loudspeaker (in the case). Its single vacuum tube operated on house current (110 vols). PG at once set to work to find out how its pitch-knob could be controlled.’</text>
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                <text>Untitled (Free music machine process)</text>
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            <name>Subject</name>
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                <text>Free Music drawings</text>
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                <text>Percy Aldridge Grainger</text>
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                <text>n.d. (c.1952)</text>
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            <name>Rights</name>
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                <text>Copyright Grainger Estate</text>
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                <text>Typescript, watercolour and ink on paper, 19.9 x 13.9 cm</text>
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            <name>Identifier</name>
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                <text>04.0189</text>
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