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These include the significant, personal collections of RAD founders Adeline Genée, Phyllis Bedells and Philip Richardson which provide further insight into the lives and careers of these important figures. The GBL Wilson photographic archive provides a unique overview of the British Ballet scene between 1940 and 1980 and includes several RAD functions and events. The author and book designer Peter L. Moldon researched extensively on Margot Fonteyn and his papers include many notes on performances, article proofs and photographs as well as the full unpublished manuscript for his stage biography on Fonteyn. Beryl Grey’s personal collection of photographs and press cuttings provide an overview of her extensive career, while less extensive personal archives include materials from early RAD Members and teachers Dorothy Chaplin, Theresa Heyman and Sissie Smith, which complement the RAD Heritage Archive. Recent acquisitions include the Dancing Times photographic archive which complements and extends the photographic coverage of the existing photo collections, and the Kenneth MacMillan archive collection documenting the life and career of one of British ballets most important and influential choreographers.

The dinner was held at Claridge's Hotel on Sunday 16th December, 1956, to commemorate the fiftieth Anniversary of Bedells' first appearance on the stage.

Full length costume portrait. Bedells is standing with her legs in fifth position on pointe. Boteh arms are raised in a fifth position. The name of the dancer and photographer's copyright stamp is printed on the bottom of the image. Inscription reading 'hope you will like this card. With love, Elsie' is found on the reverse.

Full length costume portrait. Bedells is standing on pointe with her right leg crossed in front of the left. Both arms are bent toward her head, framing her face. The photographer's copyright stamp is given on the reverse.

Half length studio portrait in costume. Bedells is seated with her right arm resting on her lap and left hand placed on her chest. Head is tilted to her left. The name photographer is printed on the bottom right corner of the image. The name of the production, photographer and date is handwritten on the reverse.

The collection includes scrapbooks, notebooks, articles and illustration alongside Richardson's personal collection of ballroom and charity matinée programmes. Photographs were added to the collection in 2021 and given by the Dancing Times who also donated Richardson's typewriter and bookcase.

The archive contains a variety of materials – programmes, press cuttings and photographs – which provide a comprehensive record of Bedells’ professional dancing career as well as some personal papers and correspondence relating to her work for the RAD and teaching activities. The complete manuscript of her autobiography, My Dancing Days (1954), is housed alongside several other interview transcripts and scripts for radio programmes or magazine articles presenting a very detailed profile of her life and career.

The bulk of the collection comprises the photographic archive of 35,000-40,000 images. The images reflect the growth of dance from relatively sparse coverage in the years before 1914, rising in the 1920s and 1930s, growing exponentially in the 1940s and throughout the years of the “ballet boom” in the late 1940s and 1950s. They trace the expansion of contemporary dance in the US and the UK (especially London Contemporary Dance Theatre) during the 1960s and 1970s and the growing popularity of national dance, especially Spanish and Indian. The diversity is one of the collection’s strengths, charting the rise of first the national dance companies, and the rise of contemporary Black and Asian dance. The Dancing Times magazine was noted for its international coverage and this is reflected in the images of the flourishing dance scene in Europe, the US, the Soviet Union and further afield.
Additional material includes a complete run of the Dancing Times magazine from 1894 - 2020; Ballroom Dancing Times; and Dance Today, along with some framed photographs, historical designs and visitor books.

This Collection covers Genée’s performing career from the earliest years and includes a significant number of photographs of late 19th and early 20th century ballets, programmes and ephemera for performances in the UK and overseas, professional and personal memorabilia. There is material covering her work with the RAD, a significant number of letters especially to Anton Dolin, art works, designs, music scores, teaching notes and her memoirs written with Ivor Guest. It is a comprehensive record of a career as well as a rich resource for the study of ballet.