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In the background, bicycles are propped up against the castle wall, evidence of a domestic family outing, while a smaller dog (one of the Queen's favourite breeds, the dorgi; half corgi, half dachshund) looks on, entirely calm in a manner that very few people are when in the presence of the Monarch.
Then there's the similarly unposed split-second that Lichfield catches, as the Queen and the Duke of Edinburgh dance at the annual Ghillies' Ball (the Queen Mother, like her daughter, also identifiable by her tiara and tartan, as she stands to the right of the circle).
Ten years on Lichfield was close at hand again, this time at Buckingham Palace, capturing Princess Diana on her wedding day, as she leant down to comfort one of her bridesmaids, Clementine Hambro; the Queen in turquoise blue behind them, concerned mother to the groom, rather than head of state.
Second, Lichfield's shot of the Queen on her way to the State Opening of Parliament in November 1971, her smile as radiant as her diamond tiara, glamorous within the dark surround of a ceremonial carriage, yet somehow at the heart of her nation.
Photographs provide us with an intrinsic and privileged access to memory,' observes Martin Harrison, while also acknowledging that 'nothing about Lichfield is as it appears on the surface'.
Six years after Patrick Lichfield died of a stroke at the age of 66, his considerable legacy as a photographer is coming back into focus, with a major new retrospective (curated by the art historian Martin Harrison, who has also edited a forthcoming book of his work).
Of course, the 5th Earl of Lichfield had been famous for several decades before his death in 2005; but the fairytale of his life – the Queen's first cousin once removed, handsome Old Harrovian and Grenadier Guard turned Swinging Sixties snapper – skewed a more considered view of his career.