Archive of Photographic Work and Personal Effects of Wolfgang Suschitzky (1912-2016) A large collection of negatives, transparencies, personal records, photographic equipment, and selection of photographs, dating between the 1960s and the early 2000s, many with Suschitzky's handwriting, captions, notes, and labels affixed to objects. (a lot). The collection comprises: CANADIAN TIMBER WOLF, WHIPSNADE, JANUARY 1963. Silver gelatin print, printed later, image/sheet size 390 x 290mm, titled, dated, numbered, and annotated 'Liverpool' by the photographer in black crayon, with Suschitzky's Maida Avenue label affixed verso. A portfolio housing approximately 100 working c-prints, many with Suschitzky's numeric annotations verso, smallest 180 x 130mm, largest 400x 280mm, of assorted subjects including an interesting reflective self-portrait, London and European landscapes, portraits of unnamed person, zoo animals, and floral studies; the portfolio bears Suschitzky's Maida Avenue labels on the interior and exterior. A strip of colour 35mm negatives, with 4 frames from the set of "Get Carter", two depicting Michael Caine having his makeup done for the final scene in which his character is shot in the head. A certificate from the Royal Photographic Society of Great Britain, naming Suschitzky an honorary member, dated 26 April 1997, measuring 357 x 280mm, signed by the President & Secretary of the RPS. A calligraphic certificate from the Association of Cinematograph, Television and Allied Technicians in recognition of Suschitzky's "valuable contribution sustained over nearly 50 years, to the Photographic Arts as cameraman on some 950 shorts, documentaries and features", dated 11 Septemer 1988, signed by the President and General Secretay of the organisation, framed, measuring 365 x 270mm. A mixed group of 35mm Kodachrome slides, (approx. 1,000) housed in 15 slide catalogue boxes (ten measuring 235 x 125mm, five measuring 210 x 360mm), ten with annoated lists (either affixed to the box or loose and folded within the slides) referring to the subjects housed within. The contents of the three clear covered boxes refer to work from the following: Africa 1971: Marakwet Tribe, Kenya; Masai; Rift Valley, Living Free; Wolf and Masai; Thailand; Shell Station; Rockefeller Collection, Metropolitan Museum New York 1969; Simla, 1980; "Staying On"; and various family photographs dating from the late 1960s -early 1980s. The contents of the seven of the grey slide catalogue boxes refer to "C Plants, D Specials, S Places, T People, Q People, R Place, M Places, N Places, E Places, F Place, I Places, J Places, K Places, L Places" (Note that the "M Places, N Places" box is nearly empty). The contents of the five larger multi-coloured boxes refer to "Animals, A-C; Greece, Athens, Skiathos, Hydra, Yugoslavia, Venice, Austria; India, Malaya, Guiana, Barbados; Trinidad; France, Castles, Italy". (Note that in these larger boxes, many slides are titled and signed by Suschitzky in the cardboard border, and there also larger colour negatives mixed in some of these boxes, loose, unlabeled, and in various formats). A mixed group of colour transparencies (approx. 100), dating from Suschitzky's travels in Europe and Italy, the majority measuring 65 x 65mm, many with Suschitzky's handwritten caption and attribution labels affixed to transparency edges. (Unhoused and unorganised by location). Two card catalogue boxes of Suschitzky's alphabetised negative notes, the larger measuring 310 x 310mm with two drawers labeled A to G and H to Q, the other measuring 320 x 160mm, with one drawer labeled R to Z. Labels affixed to each box read in Suschitzky's hand "Red entries refer to colour negatives". An ink drawing on a cloth napkin in the style of Marcel Duchamp. 48 working print strips, many with Suschitzky's numeric annotations in crayon verso, approx.100 x 200mm silver prints, many subjects of animals; with an additional large group (approx 100) of the same type of strips mounted to construction paper (approx. 75). 12 homemade holiday cards with printed greeting best wishes for the new year and a WS photograph affixed, measuring 170 x 215. A silver gelatin print by Gerard Malanga, printed 2009, signed, dated, stamped on verso and blindstamp recto " Gerard Malanga's sitting room with the vertical display of Wolf Suschitzky's cat potraits. Hudson, New York, 2009", image size 237 x 157mm, sheet size 255 x 205mm. A large folder of assorted newspaper clippings. A small collection of 11 45rpm records, inlcuding a copy of We can Chase the Rainbows by Iran Koster, signed and dedicated "To Wolfgang, a very special, talented man. I hope we will do a film together - Iran" in Koster's hand on the upper sleeve. Two binders of sleeved 35mm colour negatives and one small Ilford box of assorted colour negatives (most 35mm), primaily dating to the early 2000s, some with corresponding index numbers and annotations in Suschtizky's hand. A small collection of printed postcards with WS' images (many dupes) from focus gallery london (approx 50), 1990s. Two digital cameras (Olympus) housed in a camera bag with Suschtizky's label affixed. A sealed calendar from 2003 featuring Suschitzky's images. 1 harbound copy of the International Zoo Yearbook, Vol.1 1959, ed. Morris, Jarvis. Two bound copies of Riders to the Sea (1986) teleplay with actor signatures, Suschitzky's stamps Seven mounted portraits of Suschitzky at the University of Brighton graudation ceremony, 2014, when he received an honorary Doctor of Arts degree from the University, each overall measuring 275 x 230, two dated in Suschitzky's hand verso. 14 sleeves of 35mm negative strips, envelopes annotated in WS's hand. Subjects include: Nakhom Pathan and Thailand, 1969; Usutu Swaziland, 1961; Swiss landscape c.1970; Israel, 1964; The River Must Live (Shell), 1964; London views, 1968; Kenya, 1966; Austria (undated). A signed and dedicated bound copy of J A Ford's Post Graduate Thesis "The Rediscovery and Recontextualisation of Photography Work From the Edith Tudor Hart Archive", The London Institute, December 1994; a signed and dedicated bound copy of J A Ford's Master of Arts Thesis "The Process of Selection and Use of Images From the Photographic Archive of Wolf Suschitzky Since 1982", The London Institute, August 1996. (water damage to one cover).