See The Victorian Art World in Photographs by Jeremy Maas, page 41. Charles Robert Leslie (1794-1859) was a painter and writer. He was born in London though his parents were Americans. The family resettled in Philadelphia in the USA when Charles was five years old. He was always interested in painting and drama and came to the attention of George Frederick Cooke when Cooke saw a portrait Leslie had drawn of him. Donations enabled Leslie to study in Europe.[1] Leslie went to London in 1811 and studied at the Royal Academy where he became a prize winning student. He became friends with Coleridge, Beechey, Allston, Washington Irving and Benjamin West. In 1825 he married Harriet Honor Stone. Together they had six children. One of whole followed in his fathers steps and became an artist, another was bridge builder and was knighted. Leslie became a full member of the Royal Academy in 1826. The following year he was elected into the National Academy of Design as an Honorary Academician. In 1833, he spent six months teaching drawing at the military academy of West Point in the USA, but soon returned to the UK. He died 5 May 1859.[1] Leslie's brothers were the American author Eliza Leslie and the United States Army soldier Thomas Jefferson Leslie.

Half length portrait of a standing woman posed behind a chair.

Arthur (James) Lewis (1824-1901), husband of Kate Terry, and grandfather of John Gielgud. It appears he was also a painter and a musician, with a connection to J M Whistler. Arthur James Lewis was a London landscape and portrait painter, and illustrator. Between 1848 and 1893 Lewis was active as an exhibitor in London at the Royal Academy, British Institution, Grosvenor Gallery and New Gallery, as well as at the Walker Gallery in Liverpool and Manchester City Art Gallery. A typical work is his 'Far Away on the Hills - Scene in Arran', exhibited at the Royal Academy in 1881. Lewis and Whistler were members of the Burlington Fine Arts Club in the 1860s. In 1861 both Lewis and Whistler contributed etchings to 'Passages from Modern English Poets' (London: Day & Son, 1862). Lewis contributed A Spring Morning, Spring in the Meadows, The Mountain Stream, The Cornfield and The Path through the Forest (Plates 20, 20, 23, 36 and 39 respectively). Arthur Lewis is listed as a founding member of the Arts Club from 1863 to 1901. However, his dates are given as 1828-1901, with his date of birth given as 1828, not 1824. He is described as a promoter of the Junior Etching Club of which Whistler was an early member. See: Wood, Christopher, Dictionary of Victorian Painters, Woodbridge, 1971; Johnson, J., and A. Gruetzner, Dictionary of British Artists 1880-1940, Woodbridge, 198; Records of The Arts Club, London. His wife, Kate Terry (21 April 1844 – 6 January 1924) was an English actress. Elder sister of the actress Ellen Terry, she was born into a theatrical family, made her debut when still a child, became a leading lady in her own right, and left the stage in 1867 to marry. In retirement she commented that she was 20 years on the stage, yet left it when she was only 23.[1] Her grandson was Sir John Gielgud. After her farewell performances, she left the stage to marry the wealthy haberdasher and silk merchant Arthur James Lewis (of the firm Lewis & Allenby). The couple had four daughters, the eldest of whom was also named Kate (the mother of Gielgud). The youngest, Mabel Terry-Lewis, became an actress. Terry made two later appearances on stage: first in 1898, in Stuart Ogilvie's The Master, with John Hare and her daughter Mabel, and in June 1906 she played Ursula in a scene from Much Ado About Nothing at the gala stage celebration of her sister Ellen's jubilee. Terry and her husband lived in considerable style in Moray Lodge in Kensington, London, where he hosted the Moray Minstrels, until Lewis lost all his money. After that, in Gielgud's words, "my grandmother lived very simply and rather resentfully in an ugly little house in West Cromwell Road, and she had no grand clothes and did not give parties any more. She played bridge and had paying guests. This was a sad ending to her career but she never grumbled or groused. She must have hated being out of the picture, even though many people still recognized her and paid court to her.

Full length portrait of a man in court dress in front of a curtain, leaning with his left elbow on what appears to be a column base but might be part of a painted backdrop..

Portrait of a woman in a lace trimmed bonnet tied in a bow under her chin and a bodice with flounces and a lace collar. Hand coloured.