MS Mus. 1749/1/4

1. ‘Inglewood’, Bowden, Cheshire, birthplace and family home of John Ireland. Front elevation. Black and white, 120 x 75 mm.

2. Annie Ireland (mother). Photocopy, as published in Muriel V. Searle, John Ireland (1979).

3. Three photographs (photocopies on a single sheet), taken 1886-7, as published in Searle (1979): Ireland as a young boy; Alexander Ireland (father), and a school group photograph with Ireland in the front row.

4. Alexander Ireland (father), as photocopy.

5. John Ireland (1895). Photocopy, as published in The John Ireland Companion (2011), Plate 5.

6. Five small studio portraits of John Ireland as a young child (1879-84), re-photographed as a single image (165 x 210 mm).

7. John Ireland, portrait (1920). Black and white, 115 x 165 mm.

8. John Ireland (c. 1909), as published in Companion (2011), Plate 12. Sepia, 70 x 115 mm.

9. John Ireland (c. 1909), seated on the beach with male figure kneeling behind. Black and white, 60 x 60 mm.

10. John Ireland (1910), standing in garden, leaning against trellis, as published in Searle (1979). Black and white, 85 x 85 mm.

11. John Ireland (1910), seated in the same garden. Black and white, 130 x 80 mm.

12. John Ireland (1925), annotated on the verso as published in the Radio Times. Postcard, ‘Modern British Composers’ series (Curwen and Co.). Photographer: Herbert Lambert. Black and white, 90 x 140 mm.

13. Helen Perkins and John Ireland, standing in a garden, dated 1930 on the verso. Reproduced in Companion (Fig. 15, p. 135) where it is described as deriving from an unidentified press cutting. Photocopy (possibly from Companion) cut to actual size: 75 x 120 mm.

14. John Ireland [c. 1950]. Portrait, as published in Searle (1979), where it is attributed to the photographer 'Janet Bown of The Observer' and dated 1929; however, this seems doubly wrong, in terms of date and attribution. Searle may have intended the photographer Jane Bown, although Bown was not engaged by The Observer until 1949. Black and white, 150 x 205 mm.

15. John Ireland (1932), cutting from printed source, annotated by Kirby (yellow slip) on the verso as ‘Doctor at Durham or Machen photo’. Black and white, 50 x 60 mm.

16. John Ireland and unidentified male (with pipe) standing by garden urn. Not dated [1940s]. Black and white, 130 x 80 mm.

17. John Ireland (1943), wearing hat, photographed by Leonard Bacon, as published in Searle (1979). Black and white, 187 x 240 mm.

18. John Ireland (1954), at Rock Mill. Portrait by Jane Bown. Black and white, 110 x 150 mm (mounted on card, with 'John' signed across the mount).

19. John Ireland (1954), seated at the piano. Similar to another photograph (evidently taken on the same 75th birthday occasion) published in Companion (2011), Plate 59, and in Searle (179). Black and white, 165 x 115 mm.

20. John Ireland (1954), seated at the piano, identical to photograph 19 above but larger size. Stamped on the verso as ‘Copyright of Radio Times’. Sepia, 240 x 190 mm.

21. John Ireland (1954), portrait. Stamped on the verso as ‘Copyright Radio Times’. Black and white, 190 x 240 mm.

22. John Ireland [1960], sat reading newspaper. Black and white, 57 x 90 mm.

23. John Ireland (31 August 1960), standing by French windows, Rock Mill, Sussex. Black and white, 80 x 120 mm.

24. John Ireland (1960), published in Companion, Plate 73, where the photographer is noted as Alan Chappelow.

25. John Ireland [1960], playing the piano. Stamped on the verso: ‘Martin Seymour, Photographer’. Black and white, 205 x 155 mm.

26. John Ireland [1960], portrait. Stamped on the verso: ‘Martin Seymour, Photographer’. Black and white, 155 x 205 mm.

27. John Ireland [1960], seated at the piano, facing camera. Stamped on the verso ‘Sussex Photo Agency’. Black and white, 200 x 150 mm.

28. John Ireland [c. 1960], looking out of the window, from Rock Mill, Sussex. Stamped on the verso as copyright ‘The Times’. Black and white, 203 x 155 mm.

29. John Ireland standing beside Eugene Goossens (1960), published in Companion, Plate 72. Black and white, 80 x 135 mm.

30. Photograph of a portrait of John Ireland drawn by Juliet Pannett (stamped on the verso). No date, black and white, 105 x 135 mm.

31. Photograph of a portrait of John Ireland drawn by W. Powys Evans (1932), published in Searle (1979). Black and white, 110 x 155 mm.

32. Photograph of a painting of John Ireland by Arnold Mason (1928), published in Searle (1979), facing p. 89. Black and white, 80 x 130 mm.

33. Photograph of a painting of John Ireland by Guy Lindsay Roddon (1960). Stamped on the verso: ‘National Portrait Gallery’. Black and white, 150 x 195 mm. With a related letter (11 November 1993) from NPG to Peter Taylor, John Ireland Trust (small images two NPG portraits of Ireland attached).

34. Plaque at Inglewood commemorating Ireland’s place of birth. Colour, 185 x 125 mm.

35. Plaque at Inglewood (closer shot) commemorating Ireland’s place of birth. Colour, 185 x 125 mm.

36. The Gunter Arms, Chelsea. No date, black and white, 120 x 80 mm.

37. Plaque at Rock Mill, Sussex. Black and white, 120 x 80 mm.

38. Plaque at Rock Mill, Sussex. Colour, 150 x 100 mm.

39. 14 Gunter Grove, front elevation, before re-decoration and National Heritage blue plaque installed. Annotated ‘Sept 1995’ on the verso. Colour, 100 x 150 mm.

40. 14 Gunter Grove, front elevation, after re-decoration, with National Heritage blue plaque installed. Copyright George Chin (label on verso). Colour, 100 x 155 mm.

41. 14 Gunter Grove, front steps, National Heritage blue plaque. Copyright George Chin (label on verso). Colour, 100 x 155 mm.

42. National Heritage blue plaque [1996]. Colour, 85 x 125 mm.

43. National Heritage blue plaque, between front window and porch [1996]. Colour, 125 x 175 mm.

44. National Heritage blue plaque, next to front window. Photograph by Ben Johnson (Classical Music, 8 June 1996). Colour, 85 x 125 mm.

45. National Heritage blue plaque. Photograph by Ben Johnson (Classical Music, 8 June 1996). Colour, 85 x 125 mm.

46. John Ireland standing outside Little Sampford Rectory [c. 1943]. Black and white, 80 x 120 mm.

47-51. Five small photographs of the Rectory at Little Sampford [1943], one of which shows the ‘wing’ occupied by Ireland. Black and white, each 80 x 55mm.

52. Sketch (as photocopy), annotated on the verso: ‘John Ireland’s Sitting Room at Rock Mill, sketched in 1956 by K. C. Thompson’. Black and white, 175 x 125 mm.

53. Rock Mill, Sussex [c. 1955], published (cropped) in Companion, Plate 52. Black and white, 135 x 80 mm.

54. Rock Mill. Black and white, 87 x 240 mm.

55. Rock Mill and garden (aerial photograph). Black and white, 245 x 195 mm.

56. Rock Mill (c. 1974). Colour, 90 x 130 mm.

57. Rock Mill (c. 1974). Colour, 130 x 90 mm.

58. Photograph of a portrait in pencil of Harold Rutland drawn by Juliet Pannett, published in John Longmire, John Ireland: Portrait of a Friend (1969), Plate 6. Black and white, 155 x 195 mm.

59. John Ireland Memorial House, High Street, Steyning, West Sussex [c. 1975]. Black and white, 130 x 80 mm.

60. ‘Reconstruction at Steyning of a favourite room at Rock Mill, with original furniture’ [c. 1975]. Black and white, 120 x 80 mm.

61. 14 Gunter Grove, Chelsea (1979). Black and white, 80 x 115 mm.

62. John Ireland Museum, ‘Open’ [c. 1975]. Colour, 100 x 150 mm.

63. Rock Mill, with scaffolding to exterior (1995). Colour, 100 x 150 mm.

64. Front porch, Shipley Church, West Sussex. Colour, 90 x 130 mm.

65. Memorial plaque on John Ireland’s headstone, Shipley churchyard. Black and white, 120 x 80 mm.

66. View of John Ireland’s grave, Shipley churchyard. Colour, 130 x 90 mm.

67. View of John Ireland’s grave, Shipley churchyard. Colour, 150 x 100 mm.

68. John Ireland’s headstone memorial plaque. Colour, 150 x 100 mm.

69. Memorial window to John Ireland, Musicians’ Chapel, Church of the Holy Sepulchre, Holborn Viaduct, City of London. Colour postcard, 90 x 140 mm.

70. Musicians’ Memorial Volume, Musicians’ Chapel, Church of the Holy Sepulchre, Holborn Viaduct, City of London. Black and white postcard, 90 x 140 mm.

71. Kenneth Thompson, John Ireland, and Norah Kirby seated on bench (late 1950s), published in Companion, Plate 51. Black and white, 160 x 115 mm.

72. ‘Smokey’ the cat [c. late 1960s] at Rock Mill. Colour, 120 x 80 mm.

73. Norah Kirby at Rock Mill, with cat, published Companion, Plate 61. Colour, 125 x 90 mm.

74. Photocopy of an extracted statement in Ireland’s hand: ‘I will give Norah your message of affection. She is to me one of God’s most wonderful loving kindnesses and I pray that He may preserve her. Without her selfless help I could not carry on at all.’ Dimensions: 190 x 55 mm.

75. Gravestone of Norah Kirby, died 24 November 1982, Shipley churchyard. Colour, 90 x 130 mm.

76. Arthur Machen [c. 1930]. Black and white, 90 x 115 mm.

77. Arthur Machen [c. 1930]. Black and white, 90 x 115 mm.

78. Photograph of a watercolour painting by Juliet Pannett in a card wallet, annotated (by Norah Kirby) ‘Chelsea Reach in April Sunshine after a Shower’. Photographer: James Clevett, Littlehampton. Folding card, measuring (folded): 155 x 115 mm.

79. Original watercolour (landscape), annotated on the verso: ‘Kindest remembrances to Miss Ireland / J. MacMahon’. Dimensions: 175 x 125 mm.

80. The Castle of Mai-Dun, Dorset [c 1920s]. Photogravure with border, sepia, 175 x 130 mm.

81-83. Three views of Chanctonbury Ring (colour postcard images), each 150 x 100 mm.

84. Colour photograph (scanned) of Chanctonbury Ring, mounted on paper with bars from ‘the druidical section from the 1st Violin Sonata’ mounted beneath. Sheet measures:165 x 235 mm.

85. Colour photograph (scanned) of Chanctonbury Ring, annotated by Kirby on the verso: ‘scanned from Literary Walks of Britain' [1989]. Dimensions: 380 x 165 mm.

86. Fort Saumarez, Guernsey. Black and white, 255 x 200 mm.

87. Photograph of a water colour painting by Juliet Pannett of Fort Saumarez, Guernsey. Colour, 150 x 100 mm.

88. Photograph of a watercolour painting by Juliet Pannett of Amberley, West Sussex. Colour, 150 x 100 mm.