Folio 1. Photographic reproduction, ?1963 or a little before, of a portrait of Austen Henry Layard from an original black chalk sketch,

circa 1852, by G.F. Watts. The image has been reduced significantly in comparison to the original, which is held in the National

Portrait Gallery, London (NPG 1006).

The reproduction would appear to have been created to be used in a publication as the recto has been marked at the margins

by way of instructions for an image setter. Similarly, the verso has pencil annotations by John Murray VI, including notes on

image size, as follows :



4” 150 JM

1006 [i.e. National Portrait Gallery image reference number.]

[Ink stamp :] NATIONAL PORTRAIT GALLERY . LONDON .

COPYRIGHT PHOTOGRAPH.

1006 [i.e. National Portrait Gallery image reference number.] Sir A.H. Layard.

This image of Layard, and in the same ratio, was used in "Layard of Nineveh" by G. Waterfield. It is suggested that this

reproduction was used in the process of publishing Waterfield’s work.

Folios 2-3. Two boudoir cards from the studio of Fratelli Vianelli (Giuseppe and Luigi), Venice. The images are undated but would

seem to be from the period of the Layards’ retirement to Venice, 1884-1894. The floruit of the Vianellis is given by the

National Portrait Gallery, London, as 1860s-1880s. The images may, therefore, be assumed to have been captured between

1884 and 1890.

f. 2. Austen Henry Layard. From Layard’s physical appearance, and also his style of dress, this portrait would seem to have

been captured close to the time that his portrait was painted by Ludwig Passani in 1891. (See Passani’s fine watercolour

portrait of Layard in his study at Ca Capello. National Portrait Gallery, London, NPG 1797.)

The card mount has been cropped crudely at the left and the right margins, but the image of Layard is undamaged.

Verso, in gold print : “G e L flli Vianelli”.

f. 3. Enid Layard. ?Late 1880s.

Recto, in gold print : “G e L flli Vianelli [Crown] VENEZIA”.

Verso, in gold print : “G e L flli Vianelli”.