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Click here to subscribeHassall (Joan) "Try Ye Crown Inn Cherrie Brandy Also Ye Sloe Gin", an original illustration, gouache on artists' board, signed in th elower right corner, further inscribed 'To my old pal/ R.H. Lindo/ of Drury Lane/ 24th July 1925', sheet 380 x 270 mm (15 x 10 5/8 in), affixed into mount, unframed, 1925Provenance:Private collection, London
MOORE MR. Gil Blas, A Comedy as it is Acted at the Theatre-Royal in Drury-Lane. 1751. Bound in orig. leather backed brds. with The Projectors, A Comedy, The Dissembled Wanton, A Comedy & The Mock Doctor, A Comedy (torn final leaf). Dovaston family bookplate from their "Nursery Library". Uncut & worn generally.
A CASE OF SINGLES AND A BOX OF CDS, to include just under two hundred singles by artists including Prince, The Police, Queen, David Bowie, Madness, The Kinks, Eurythmics, Ian Drury and the Blockheads, Duran Duran, Dire Straits, Dexy's Midnight Runners, Depeche Mode, Visage, Supertramp, UB40, Tears for Fears, Soft Cell, Spandau Ballet, The Jam, Adam & the Ants, Culture Club, David Bowie and Bananarama, with Ultravox, Talk Talk and Imagination picture discs, together with a box of CDs from artists including Green Day, Gorillaz, Pink Floyd, Sheryl Crow, Jethro Tull, Madonna, Black Sabbath and Coldplay, etc (1 case + 1 box) (sd)
Three folio scrapbooks compiled by the stockbroker James Kenrick Edward (b. 1859), dated 1886-1941, being volumes I, III & IX only, illustrative throughout with his close companionship to the confirmed bachelor, his 'uncle', Edward 'The Laird' Wagg (1843-1933), of Glenlochy, Perthshire, Scotland, son of John Wagg of Helbert & Wagg, stockbrokers to their distant Jewish cousins the Rothschilds, but interspersed, particularly the earlier years in volume I with annotated clippings from newspapers and magazines often of a gossipy nature and related to society figures and actresses, many of whom have married into the aristocracy, including the scandalous Lady Colin Campbell divorce case. JEK appears to have been well-connected to the London theatre and its circles, there are several invitations and further ephemera relating to theatrical events, including Augustus Harris, the impresario of Drury Lane; one ephemeral and intriguing piece relates to the Melodramatic Burlesque by Richard Henry of Frankenstein at the Gaiety Theatre for 'Xmas 1887', the cast of which includes a 'Vampire Viscount': the production was not a success, closing after only a week. Further annotations and 'scraps' refer to Duleep Singh and his marriage to Ada 'Marini' Wetherill, a latter from the novelist William Black viz. a rehearsal for Robinson Crusoe in Brighton, etc. Some of Edward's earlier life is autobiographically chronicled by the compiler, Balruddery House passing out of the family and its subsequent destructive fire in 1886, his time at Eton when his schoolfellows destroyed every piece of glass in the theatre, illustrated with 12 original caricatures and studies of dogs by Archibald Stuart-Wortley (1849-1905). The final volume shows how concerned JKE was with the future of these books, almost his autobiography, as it opens with a note from the 'author', dated 1940, leaving them to Harold Wakefield (no doubt a connection through his sister's marriage to the Rev. Richard Wakefield), the same volume also is illustrated with photographs of Glenlochy, its laird and visitors, particularly during the shooting season, and eventually culminated in the 'Laird's' death, and JKE's marriage to Florence Luxton Jeffrey in 1932, etc., original quarter-roan over cloth boards, rubbed, split in places but holding, folios (38.5 x 31.5cm), (3)
An 18th c English Harleian-style morocco binding, later adapted to enclose an early 19th c and later collection of works on paper, the leaves mounted or loosely inserted with miscellaneous drawings and watercolours, including a horse drawn sled excised from a letter and inscribed Quebec 24 January 1831, two miniature pencil drawings of a That nurse to a coach stand, sketched at 3 o'clock in the morning and the interior of a coach with passengers by Robert Cruickshank, 95 x 75mm and smaller, The Burning of the Effigy of the Pope in Chancery Lane in 1679 by Amelia Gordon, signed verso, The Lion Bridge from the window at Alnwick Castle, Northumberland, by Louisa Beresford (née Stuart), Marchioness of Waterford, inscribed, tipped-on embossed writing-paper, pen-and-ink and pencil on paper, St Martin Le Grande York, 1895, en grisaille and several others, most leaves blank, watermarked DRURY, the scarlet morocco borders with deep tooled gilt border of crowns and sceptres, spine in six compartments, worn, binding detached, marbled endpapers, 4to (27 x 21cm) Provenance: Hugh McMcausland, 7 Holbein House, London, S.W.1., label to ffep.
Commines (Philippe de) & [Sauvage (Denis), editor], Les mémoires de Messire Philippe de Commines [...], Avec la vie de messire Angelo Catho, archevêque de Vienne: Auqel ce present livre est dedié. Paris: Chez Claude Micard, au clos Bruneau, à l'enseigne de la Chaire, Rouen: De l'Imprimerie de George l'Oyselet, 1576, woodcut title-page, foliated initials, signatures collating: a³, 2a⁶, b-z⁸ A-Z ⁸, Aa-Ss⁸, including the verso blank, [B8] chipped fore-margin just touching marginal notation, [O8] with a similar if smaller chip, ditto Dd but smaller at centre lower-margin, Ff1 thinned corner margin, later early 19th c English russia, blind-panelled boards now detached, worn spine, red-stained edges, probably contemporary, marbled endpapers contemporary to rebind, 16mo Provenance: 1) probably Richard Windwood (1609-1688), of Quainton, Buckinghamshire, MP for Windsor during the Long Parliament (1641-1648); indistinct ink manuscript ownership inscription on title-page, dated 1655. 2) possibly Henry Drury (1778-1841), classical scholar, Harrow master, bibliophile and Roxburghe Club member; ffep with dated presentation inscription: To Gell;/from/HD/1813.
ATTRIBUTED TO JAMES NORTHCOTE R.A. (BRITISH 1746-1831), AFTER SIR JOSHUA REYNOLDS DAVID GARRICK `THE PROLOGUE PORTRAIT' Oil on canvas 77 x 63cm (30¼ x 24¾ in.)Provenance: (Possibly), Mrs Piozzi, Streatham Park, Surrey Sale, George Squibb, on the premises, 8 May 1816, first day's sale, lot 63, 183 gns. Dr Charles Burney (1726-1814) By descent to Miss Burney. Sale, Christie's, London, 31 March 1922, lot 31, as 'Sir J. Reynolds', 609 gns. to Weston. S.R. Hibbard, London Sale, Christie's, London, 9 March 1923, lot 132, as 'Sir J. Reynolds', 787 gns. Sir James Roberts Bt. (1848-1935), The Hall, Fairlight. Sale, Christie's, London, 20 March 1936, lot 75, (with incorrect exhibition history), 267 gns. J. Mitchell, London. Sale, Christie's, London, 24 November 1972, lot 140, as 'Sir Joshua Reynolds', (with incorrect exhibition history). Sale, Christie's, London, Property of the Late Geoffrey and the Hon. Carole Lawson, Stilemans, Surrey, 13 November 2019, lot 216. Literature: (Possibly) A. Graves and W.V. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., London, 1899, I, pp. 347-348, with incorrect exhibition history. (Possibly) W. Armstrong, Reynolds, London, 1900, p. 207, as 'a replica of the Duke of Bedford's painting' D. Mannings, Sir Joshua Reynolds: a complete catalogue of his paintings, New Haven and London, 2000, p. 211, no. 705e, as 'possibly Northcote'. Exhibited: (Possibly) London, Royal Academy, Exhibition of Old Masters and deceased masters of the British School, 1877, no. 124. This portrait of the theatre manager, playwright and actor, David Garrick (1717-79), is a copy of 'The Prologue Portrait' (c. 1776) by Sir Joshua Reynolds (1723-92). It shows Garrick with a manuscript inscribed 'Prologue' in large cursive script, an allusion to his lauded practice of writing prologues to plays staged at Drury Lane. The actor stage-manager's prologues became famous, and Garrick would deliver them in the style of a virtuoso orator priming his audience. The original painting was acquired by the 3rd Duke of Dorset in 1780, and has been at Knole, Kent, from at least 30 August of that year when it was seen by Horace Walpole in the Chamber of Poets (NT 129936). The painting offered here is probably by James Northcote (1746-1831), who was a pupil of Reynolds from 1771, lodging with him for five years. Northcote probably made several copies of this popular subject (Mannings, p. 211). On the 17 April 1776, he wrote to his brother, Samuel: 'I have made some more copies which I shall send down when I leave London, particularly one of Garrick which is vastly like. This I will not sell under ten guineas as the original will be in the Exhibition (ibid.). The Reynolds painting was exhibited at the Royal Academy in 1776 (no. 241). There are at least four other copies known including one formerly at Woburn Abbey, supposedly painted for the Duke of Bedford. In 1900, what is possibly the copy offered here, was described by the art historian, Sir Walter Armstrong, as 'a replica of the Duke of Bedford's painting' (Armstrong, p. 207). The other copies are: an untraced version, possibly painted for either Bennet Langton or Topham Beauclerk; an oval example in the Garrick Club, London and one in the Royal Collection (RCIN 406432). Condition Report: Canvas relined on later stretcher which is providing good support. There are shallow horizontal creases across the surface, but these are only visible in raking light. There is a fine surface craquelure. Under UV light there are some broad areas of retouching mostly in the background areas and on his coat, most towards the left edge. Apart from a line on his left eyebrow, the face appears untouched as the hands. It has a layer of discoloured varnish. Condition Report Disclaimer
JOHN HOPPNER (BRITISH 1758-1810) MRS SARAH SIDDONS Oil on canvas 77 x 64cm (30¼ x 25 in.) Provenance: Sale. Christie, Manson & Woods, 16 July 1909, lot 136, where it was acquired by Shepherd Brothers. With Charles Sedelmeyer by 1911. Exhibited: Shepherd Brothers Galleries in Autumn 1909 Les modes à travers trois siècles. Exposition rétrospective organisée par la Société Nationale des Beaux-Arts, dans les Palais du domaine de Bagatelle, 1911, no. 78, lent by C. Sedelmeyer. Literature: P. Hérissey (Ed.), Exposition rétrospective organisée par la Société Nationale des Beaux-Arts, dans les Palais du domaine de Bagatelle, 1911, no. 78. The Masterpieces of John Hoppner, London and Glasgow, 1912, p. 57. W. McKay and W. Roberts, Supplement and index to John Hoppner, R. A., London and New York, 1914, p. 47Sarah Siddons (née Kemble) (1755-1831) was born on 5 July 1755 into a theatrical family. Her father, Roger Kemble (1722-1802) was an actor and theatre manager. Seven of her siblings were to become thespians, yet it was Siddons who would establish herself as the most acclaimed tragic actress of her age, subsequently becoming widely regarded as the greatest female performer in English theatrical history. In her lifetime she became a popular icon and played a key role in the social legitimation of the acting profession - particularly women working within it - moving from the reputedly disreputable world of provincial touring theatre to the salons of the aristocracy, and amassing substantial personal wealth.Siddons was one of the earliest sitters to John Hoppner (1758-1810). When she returned to London from her years touring 'in the wilderness,' she took the world by storm at Drury Lane in 1782. Given her newfound fame, Hoppner's capturing of her in her first flush of riotous success would have been a popular subject. Besides a sketch found among the artist's effects after his death, only one other, quite different, portrait of Siddons by Hoppner survives. Siddons would go on to be painted by Thomas Gainsborough, Sir Joshua Reynolds and Sir Thomas Lawrence. In 1909 the portrait was misidentified as 'an artist of the Early English School' when sold by Christie's but was later recognised and reproduced in The Masterpieces of John Hoppner, p. 57. The Times described it as '...the portrait almost recalls Frans Hals in the vigour of its handling, and is worthy to hang besides Hogarth's Shrimp Girl as an example of what the English 18th century painters could do when they were content to be what we should now call 'impressionist'" (McKay, Roberts, p. 47). Mrs. Siddons was in the Drury Lane company of the theatre manager, playwright and actor, David Garrick (lots 80, 81, 82) and she performed opposite the actor and theatre manager William Charles Macready (1755- 1829; lot 198). Condition Report: The canvas is relined and provides a good support to the paint. Under racking light there is crease crossing horizontally the painting at the hight just below the mouth, which suggests the canvas might have been folded in the past. UV light reveals some dotted retouches on the right-hand side of the background, where there is also a small dot of paint loss. Furthermore, there is a thick layer of yellowing varnish across the whole surface. Condition Report Disclaimer
BENJAMIN VAN DE GUCHT (BRITISH 1753-1794) PORTRAIT OF DAVID GARRICK Oil on canvas, feigned oval Signed and dated '1768' (middle left) 55.5 x 44cm (21¾ x 17¼ in.) Provenance: (Possibly) the estate of David Garrick and left to his friend Bartleman Sale, Sotheby's, London, 17 June 1981, lot 61 R. & J. Jones, London Mr Reauvier Mrs Marsden Sale, Bloomsbury Auctions, New York, 'The Paula Peyraud Collection, 6 May 2009, lot 104. Sold Stair Galleries, New York, 30 April 2016, lot 417. Benjamin van der Gucht (1753-1794) was a close friend of David Garrick and painted him on multiple occasions. His posthumous auction `The Property of The Late David Garrick', by Mr. Christie, 23 June 1823, included lot 7, 'V.D. Gucht Portrait of a Gentleman, and Portrait of an old Lady in oils'. The artist was the thirty-second child of the engraver Gerard van der Gucht and studied at St Martins and the Royal Academy. An accomplished painter he was also a successful art dealer and restorer, building an art gallery in Upper Brook Street in 1776. Van der Gucht specialised in painting theatrical scenes and portraits of actors and received significant patronage from the great actor and stage manager (indeed, he once went on a buying trip for Garrick and his wife in Holland and Paris). This portrait is an oval rendition of a threequarter length portrait painted in 1764 by Pompeo Batoni (1708-87), held in the Ashmolean Museum, Oxford (WA1845.61). Garrick travelled to Italy in 1763-1765 and like many that went on the Grand Tour had his portrait painted by Batoni as a gift for Richard Kaye in exchange for an antique gem that Kaye had found at the Baths of Caracalla. Garrick is holding an illustrated edition of Terence's 'Comedies' (1736) open at the page showing masks for the Andria copied from a manuscript in the Vatican Library Transcending his modest provincial origins, David Garrick (1717- 1779), the high-spirited, ambitious lad from Lichfield morphed into a theatrical icon, dominating the London stage as a naturalistic and engaging actor for three decades. Later, as the commanding manager of Drury Lane, Garrick was at the epicentre of theatrical debates and cultural politics. Besides his dramatic genius and versatility as an actor, what made Garrick exceptional was the extraordinary scope of his artistic and literary achievements, his professional and social status, and his international celebrity. A theatrical superstar who elevated the art of acting and professionalised the English stage, Garrick was also a talented dramatist poet, artistic patron and collector. After his magnificent state internment in Poets' Corner in Westminster Abbey, Edmund Burke's epitaph encapsulated Garrick's cosmopolitanism, literary talents, and lifelong devotion to Shakespeare: 'Shakespeare was the chosen object of his study: in his action, and in his declamation he expressed all the fire, the enthusiasm, the energy, the facility, the endless variety of that great poet. Like him he was equally happy in the tragic and comic style. He entered into the true spirit of the poets, because he was himself a poet, and wrote many pieces with elegance and spirit. He raised the character of his profession to the rank of a liberal art, not only by his talents, but by the regularity and probity of his life and the elegance of his manners.'[1] Key to his success, Garrick possessed a genius for self-promotion and a mastery of image-making which set him apart from his contemporaries. His features widely disseminated in multiple mediums, thus amplifying his cultural pre-eminence, posthumous reputation and arguably birthing modern celebrity culture
Riviere Bindings. Burke (Edmund) by John Morley, Containing One Hundred Illustrations, London: Macmillan & Co, Limited, 1902, cancelled title page, frontispiece and plates list, extra-illustrated with 19th-century portraits, bookplate of Alexander Stone to front pastedown, entire work (including the 8vo text and all the additional illustrations) window-mounted to larger sheets, top edge gilt, early 20th-century red morocco by Riviere & Son, gilt embossed coat of arms to front boards of John Doyle Fry (1840-1907), elaborate gilt decorated spine, elaborate gilt turn-ins, super royal octavo (26.5 x 18.5 mm), together with:Jennings (Louis J.). Field Paths and Green Lanes..., Country Walks, Chiefly In Surrey And Sussex, 1st edition, London: John Murray, 1877, extra-illustrated with 60 views, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, top edge gilt, contemporary green half morocco by Riviere, elaborate gilt decorated spine, spine evenly faded to brown, 6mo, plus La Bruyere (Jean De). The "Characters"..., Rendered Into English by Henri Van Laun, London: John C. Nimmo, 1885, 24 etchings, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, top edge gilt, contemporary crimson morocco by Riviere & Son, elaborate gilt decorated spine, gilt floral motifs and borders to boards, elaborate gilt turn-ins, 8vo, plus Drury (Henricus, editor). Arundines Cami Sive Musarum Cantabigiensium Lusus Canori, 1st edition, Cantabrigiae: Veneunt Apud J. Et. J. J. Deighton, 1841, red-ruled outer borders throughout, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown all edges gilt, grazing to front pastedown from removal of old bookplate, 20th-century crimson morocco by Riviere, elaborate gilt decorated spine, elaborate gilt turn-ins, 8voDonson (Austin). Eighteenth Century Vignettes, 6 volumes, London: Chatto & Windus, 1894, engraved frontispiece, title in red and black, extra-illustrated with numerous portraits and views, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, errata tipped-in to volume 2 list of illustrations, top edge gilt, early 20th-century blue morocco by Riviere & Son, gilt motifs and lettering to spine, elaborate gilt turn-ins, 8voLamb (Charles). A Memoir, London: Edward Moxon & Co, 1866, frontispiece, 38 additional illustrations, slight spotting, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, grazing to front pastedown from removal of old bookplate, all edges gilt, contemporary tan calf by Riviere & Son, elaborate gilt decorated spine with crimson morocco title label, elaborate gilt turn-ins, 8vo, Stanhope (Philip Dormer). The Letters... Edited by Lord Mahon, 5 volumes, London and Philidelphia: J. B. Lippincott Company, 1892, engraved frontispiece, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, tan calf by Riviere & Son, gilt spines with red and green morocco title labels, gilt turn-ins, 8voand 7 others similar including Maxwell (W. H). History of the Irish Rebellion in 1798..., 1st edition, London: Baily, Brothers, Cornhill, 1845, Hebrew Tales. New Edition, Translated by Hyman Hurwitz, Edinburgh: Stirling, Kenny, & Co, 1863, bookplate of Alexander Stone to front pastedown, Bashkirtseff (Marie). The Journal... Translated, With An Introduction By Mathilde Blind, 2 volumes, London: Castell & Company, 1890, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, The Letters of Queen Victoria..., between the years 1837 and 1861..., 3 volumes, London: John Murray, 1907, bookplate of Andrew Carnegie to front pastedown of each volume, all bound in brown or blue morocco gilt by Riviere, mostly large 8vo QTY: (16)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate) except first work: John Doyle Fry, 1840-1907 (armorial stamp) and Alexander Stone (bookplate).
Bell (John, editor). British Theatre, 30 volumes, London: Bunney and Gold, 1791-1799, two engraved frontispieces and title page to each play, many volumes with dedications; some with preface and advertisements, all with dramatis personae for performances at the Drury Lane and/or Covent Garden theatres, engraved armorial bookplate of Clonbrock to front pastedown of each volume, contemporary uniform green straight-grain morocco, gilt lettering and ruled spines, gilt turn-ins, corners slightly bumped, contemporary manuscript ink inscription to upper board of volume 28, 12moQTY: (30)NOTE:Provenance: 1st Baron Clonbrock, County Galway, Ireland (bookplate).
Ellis (Henry). The History and Antiquities of the Parish of Saint Leonard, Shoreditch, and Liberty of Norton Folgate, in the Suburbs of London, London: J. Nichols, 1798, extra-illustrated and expanded into three volumes, including autograph items of Lord Burleigh, John Wilkes, David Garrick, Horace Walpole and the author Henry Ellis (2) including one about the book’s scarcity, autograph signatures of Robert Vyner, Robert Aske, Thomas Bloodworth and John Hobby together on a slip of paper, plus approximately 330 engravings, comprising portraits, views, and antiquities, etc., plus 2 original drawings, printed items and extracts including a scare David Garrick playbill, etc., some occasional spotting or browning, red morocco bookplates of W. A. Foyle, top edges gilt, late 19th-century red half morocco gilt by Sangorski & Sutcliffe, some edge and corner wear, 4to (280 x 210 mm)QTY: (3)NOTE:Provenance: John Bullock (author’s autograph letter signed to Mr Bullock, Guildford, 29 September 1859: ‘… You quite astonish me to find a copy of the History of Shoreditch (illustrated too) at Guildford. There were but two hundred and fifty copies printed: and I believe the largest portion of them were lost in Mr [John] Nichols’s Fire [February 1808]; W. A. Foyle, Beeleigh Abbey (bookplates).The autograph items include:Cecil (William, 1520-1598), 1st Baron Burghley, English statesman, the chief adviser of Queen Elizabeth I for most of her reign, twice Secretary of State (1550-1553 and 1558-1572) and Lord High Treasurer from 1572. Document Signed, ‘W. Burghley’, 8 May 1594, being a warrant, in a clerk’s hand but signed by William [Cecil], Lord Burghley, instructing his former secretary Vincent Skinner, now Auditor of the Receipt of the Exchequer, to issue £100 to Sir Roger Williams for his ambassadorial mission to Henri IV of France, as the queen’s warrant has not yet been signed, dated 8 May 1594; annotated by Skinner with instructions to Mr Taylor, one of the tellers, to pay the amount, and that that this warrant would be replaced with a further order, whereupon this warrant is to be cancelled, dated 13 May 1594, a little spotting, old bookseller’s brief printed catalogue entry pasted to lower left blank margin, one page, folio [tipped in opposite p. 23]For William Cecil (1520-1597), Lord Burghley, Lord Treasurer, see ODNB.Sir Roger Williams (1539/40-1595), soldier and author, was a flamboyant Welshman who fought on the continent from 1557, between 1574 and 1577 in the Spanish army of Flanders (where he may have served as an intelligence agent on behalf of Sir Francis Walsingham). Williams spent the Armada year, 1588, in England. He helped to prepare the English militia to do battle with the Spanish (whose military methods he knew so well) and was second in command, to Essex, of the cavalry of the army gathered at Tilbury. Elizabeth had always tolerated rather than liked Williams, but in 1594 he was finally granted a life pension of £300 a year. In that year and in 1595 he was sent as special ambassador to Henri IV. These appointments reflect his special expertise in French affairs and friendship with the French king, but also perhaps a growing acceptance of him by Elizabeth—and probably most of all the influence at court of his patron, Essex. Williams died of fever on 12 December 1595 after a four-day illness, with Essex at his side. His extensive ODNB entry endorses the speculation that he might have served as the model for Fluellen, the fiery yet witty, consummate Welsh professional soldier in Shakespeare’s Henry V.Vincent Skinner (c. 1540-1616) entered Trinity College in Cambridge in 1557 and Lincoln’s Inn in 1565, occupied administrative positions in Lincolnshire between 1575 and 1583. He may already have been in Burghley’s service in 1571, when he was elected MP for Truro, the first of his eight parliamentary seats. A puritan, he was serving as Burghley’s secretary by at least 1578. Skinner left Burghley’s personal service in 1593, when he became auditor of the receipt, by that time the principal office in the lower Exchequer. His career after this date was an unhappy one, and he died intestate at a debtor’s prison on 28 February 1616 (History of Parliament).Burghley’s inability to obtain proper authorisation for this payment can be explained by the queen’s itinerary: on 7 May 1594 Elizabeth arrived at Lambeth Palace, where she remained until departing for Wimbledon, the house of Burghley’s son Sir Thomas Cecil, on 11 May. (Folger Shakespeare Library, Washington: The Elizabethan court day by day – 1594.Wilkes (John, 1725-1797), English radical journalist and politician, magistrate, essayist and soldier, Lord Mayor of London 1774-75. Document Signed, ‘John Wilkes’, 12 July 1775, concerning blood money in settlement of £40 for the assault and robbery by Charles Whittle of William Watlington in the Parish of St Leonard’s Shoreditch, 6 May 1774, on vellum, countersigned by Sergeant Glynn (recorder), some soiling, one page, docketed, 230 x 310 mm [window-mounted as a double-page between pages 4 & 5]Garrick (David, 1717-1779), English actor, playwright, theatre manager and producer. Autograph Letter Signed, ‘D.G.’, no place, no date, c. 1770s, to the actors [at the Theatre Royal, Drury Lane], in full: ’Gentlemen, I have long seen and felt the great evil you complained of – it came with double weight upon me this season but as I resolv’d to quit the direction of your theatre I gave up all thoughts of finding out a remedy for it. - As I most sincerely wish you well, if you can point out to me any justifiable method of serving you, I will do that for you, which I have hitherto delay’d to do for the proprietors’, several deletions and corrections, endorsed in Garrick’s hand, ‘My letter to your performers’, 1 page, 4to [opposite page 141]Walpole (Horatio, 1717-1797), 4th Earl of Orford, better known as Horace Walpole, English writer, art historian, man of letters, antiquarian, and Whig politician. Unsigned autograph manuscript note, no date, ‘I cannot call on your Ladyship this evening, nor go to the Duchess of Montrose, as I have just now been sent for to the Pavilions; but I shall be very glad of the honour of seeing your Ladyship tomorrow morning.’ [window-mounted beneath an engraved portrait opposite p. 11]The two drawings are: ‘View taken in the fields between Shoreditch and Hackney’ by O. N., no date, late 18th century, monochrome watercolour en grisaille, titled and initialled to lower margin, 205 x 300 mm [opposite p. 100]; ‘Balme House, Finsbury Fields’, by C. H. M., no date, early 19th century, pen and ink and sepia watercolour wash, titled and initialled to lower margin, 150 x 180 mm, [opposite p. 124].Portraits include: The Author (a private plate lithographed by H. Corbould), 9 plates of Jane Shore (including one by Bartolozzi), Charles I, and St. Agnes (mezzotints by J. Smith); Garrick as Romeo, etched by T. Paurland, 1851 (only 20 copies executed); The Rev. Arthur Biford (Jeremy Collier's coadjutor in his work on the Immorality of the English Stage); Richard Gough, FSA (private plate); Foster Powell, the Pedestrian, etc.Engravings include: Both Views of Lunardi's Balloon Ascent from the Artillery Ground (with his Autograph); Original print of the performance of Topham, the Strong Man, 1757; and several others.
Rowe (Nicholas). The Tragedy of Jane Shore. Written in Imitation of Shakepear's Style, 1st edition, London: Printed for Bernard Lintott, at the Cross-Keys, between the Two Temple-Gates, in Fleet-street [1714], [viii],63,[1]pp, first issue with 'the Heart' (page 18, line 3), 'This trickling show'r of Teats' (page 19, line 17), and publisher's notice at end of last leaf of text, dated 'Jan. 28. 1713-14', some light browning, modern half-calf, spine lettered in gilt, together with:The Tragedy of the Lady Jane Gray. As it is Acted at the Theatre-Royal in Drury Lane, 1st edition, London: Printed for Bernard Lintott at the Cross-Keys, between the Two Temple-Gates, in Fleetstreet, 1715, title, two (of 4) leaves of preface, lacking pages iii-vi, A2-3, prologue leaf trimmed with loss of blank outer fore-margin, 66pp, plus final leaf of Epilogue, modern half-calf over marbled boards, both small 4toQTY: (2)NOTE:First edition by the playwright and Shakespeare editor Nicholas Rowe (1674-1718). Jane Shore was first produced at Drury Lane in February 1714 and ran for 19 nights with Anne Oldfield as Jane Shore, Robert Wilks as Dumont, and Colley Sibber as the Duke of Gloucester.
Richard Brinsley Sheridan's copy.- Boccaccio (Giovanni) La Fiammetta, italic type, woodcut printer's device to title, woodcut head- and tail-pieces, historiated initials and small device above colophon, P7 blank, lacking final blank, some spotting or staining, lightly browned, ?18th century vellum, gilt (dulled) spine in compartments and with double red morocco labels, soiled, [EDIT 16 CNCE 6400], 8vo, Florence, Filippo Giunta, 1594. *** Sheridan's copy of this novel set in Naples, which tells of Fiammetta's tragic love affair with the Florentine merchant Panfilo. Provenance: Richard Brinsley Butler Sheridan (1751-1816) Anglo-Irish playwright, owner of the Theatre Royal, Drury Lane, and Whig politician (ink signature to head of title and engraved armorial bookplate to front pastedown).
An Edwardian silver mounted glass ink bottle with canted corners, the silver hinged cover engraved E.N.D.L 22 OCT 1909 from S&C.. hallmarked by Hilliard & Thompson, Birmingham, 1907 together with an Edwardian plain silver tobacco box, the cover with initials E.N.D.L., hallmarked by Matthew John Jessop, Birmingham, 1909, approx 1.94 ozt and a gilt metal mounted hardstone desk seal, the base engraved E D-L below two crests (3) Provenance: Edward Drury-Lowe and thence by descent Further details: damage and repair to hardstone handle, dents to cover of ink stand and chips to the glass ink holder rim, dents to the tobacco box
Ephemera, 18th Century Theatre Programmes, 25 Drury-Lane, Covent-Garden, Hay-Market and other theatre programmes, to include plays by William Shakespeare, Garrick, Samuel Foote, Mr. Farquhar, Thomas Southern, Mr Moore, Mr. Gay, Nicholas Rowe, Allan Ramsay, Mr Havard, Nathaniel Lee and John Hughes. Have been previously bound. Together with 12 1770s dated illustrations removed from books showing actors in costume playing various parts (fair/gd)
A folio of several dozen autographs, including U Boat Commander Erich Topp, British Army Officer General Sir Drury Curzon Drury- Lowe , Stanely Owen, 1st Viscount Buckmaster, Apoolo program manager George Low, Colonel Edward Dalby, Lillie Langtry, Louis Bleriot, Odette Hallowes, Herbert Lom, Flora Robson, Victor Mature, Ingrid Bergman. Also stars of stage and screen including Gary Cooper, Cary Grant, Margaret Lockwood, Stanely Holloway, Noel Coward, Elizabeth Sellars, Robert Heston, Dustin Hoffman and others. Some on letters, some on card. Worthy of a closer inspection
NO RESERVE Magic Lantern.- Theatre Royal, Drury Lane... His Majesty's servants will perform (2nd time) a new opera, called Isidore de Merida, or, the Devil's Creek, founded on the popular opera of The Pirates, small stub on verso, Thursday, 29th November 1827; and another similar playbill, The Theatre Royal, Isidore de Merida (2nd time)..., Saturday, 1st December 1827, printed playbills, both with small hole in left margin, creased at head and tail, 315 x 200mm. (2).⁂ An early mention of the Magic Lantern in the theatre. Much of the scenery was designed by the scenic artist and marine painter Clarkson Stanfield (1793-1867). At Drury Lane over the course of twelve years he achieved a reputation as a creator of romantic landscape scenery. He was especially famed for his 'moving dioramas' - land and seascape panoramas, unrolling with complex lighting and mechanics as travelogue interludes. This performance of Isidore de Merida features several scenes designed by Stanfield, among them "Castle Hall, introducing the effects of the Laterna Magica", i.e. the Magic Lantern.
The Country Girl: A Comedy Adapted from Wycherly by David Garrick, Esq. Adapted for Theatrical Representation, as performed at the Theatre Royal, Drury Lane Printed for the Proprietors, under the Direction of John Bell, London, 1791 Guili Camdeni (William Camden) Viri Clarissimi Britannia Sive Florentissimorvm Regnorvm Angliae, Scotiae, Hiberiae, & Insularum adjacentium ex intima antiquitate Descriptio William Blaeu, Amsterdam And two further antiquarian books (4) Condition Report:Available upon request
Rackham (Arthur, illustrator). A collection of 14 early titles illustrated by Arthur Rackham, comprising 1st editions Queen Mab's Fairy Realm, 1901 (Riall p. 41), The Argonauts of the Amazon, by C. R. Kenyon, 2nd issue coral-pink binding, 1901 (Riall p. 42), Brains & Bravery (green pictorial cloth issue rather than red cloth, no priority), 1903 (Riall p. 49), The Greek Heroes. Stories translated from Niebuhr, 1903 (Riall p. 56), Two Years Before the Mast, by R. H. Dana [September 1904], (Riall p. 57), Where Flies the Flag, by Henry Harbour, [1904] (Riall p. 59), The Peradventures of Private Pagett, by Major W. P. Drury, 1904 (Riall p. 61), Kingdoms Curious, by Myra Hamilton, 1905 (Riall p. 71), The Children's Hour, [1906] (Riall p. 73), Puck of Pook's Hill, by Rudyard Kipling, 1st US edition, 1906 (Riall p. 75), The Cotter's Saturday Night, by Robert Burns, [1908] 2 copies, (Riall p. 86), Stories of King Arthur, by A. L. Haydon, 1910 (Riall p. 99), and Don Gypsy, by Walter Starkie, 1936 (Riall p. 191), colour and monochrome illustrations by Arthur Rackham (and others in Queen Mab's Fairy Realm, Kingdom's Curious, and The Children's Hour), occasional light spotting, a few previous owner inscriptions, prize label to The Argonauts of the Amazon, original cloth (original wrappers for the Greek Heroes, and boards for Cotter's Saturday Night), a little rubbed, dust jacket for Don Gypsy, 8vo, together with 14 later issues, reprints etc of illustrated titlesQTY: (28)
A Georgian oak longcase clock, by Drury of Banbury, square brass dial with gilt spandrels, silvered chapter ring bearing Roman and Arabic numerals, two train movement with bell strike, the carved hood with fluted columns, above a shaped door, flanked by fluted quarter pilasters, raised on bracket feet, 94.5cm high.
[Missale Romanum], Latin, Incipit ordo missalis secundum consuetudinem Curiae Romani, manuscript in Latin, on vellum, 234ff., collation: [1]8, [2]10, [3]10, [4]10, [5]10, [6]10, [7]8, [8]8, [9]8, [10]8, [11]8, [12]11, [13]8, [14]8, [15]8, [16]4, [17]10, [18]22, [19]10, [20]10, [21]10, [22]10, [23]10, [24]10, [25]10; in several hands, 25 to 31 lines, double column in black ink with red captions and passages, two historiated initials in red, blue, green, pink, off-white and liquid gold with floral extensions along margins depicting King Solomon and Christ on the Cross, numerous two and three-line initials in blue or red, 19th century ink inscription on fly-leaf, first f. browned and soiled, fol. 18 excised at ?early date, fol. 23 and fol. 233 small tear with loss in lower margin, other very small corner tears affecting 5ff. towards end, initial and final two leaves with mainly marginal spotting, last 22. water-stained, a few pieces of text abraded affecting legibility, some ff. slightly spotted and marked, later endpapers, bound in early 19th century calf, gilt-tooled borders, rubbed, corners repaired, gilt spine rebacked preserving 19th century label, by Birdsall of Northampton with printed label on front pastedown, 8vo (118 x 167mm.), Milan, [c. 1400].⁂ This Latin handbook with instructions and liturgical texts for saying mass for the priest's use is of Milanese origin as is clear from the style of the historiated initials. It was produced by more than one scribe, on a variety of vellum leaves, and has the vestiges of a French influenced hand. It opens with 'Incipit ordo missalis secundum consuetudinem Curiae Romani' and the fine initial depicting King Solomon at prayer. Leaf [99] opens with the second historiated initial, depicting Christ on the cross. Provenance: Early 19th century calligraphic inscription on initial blank paper leaf stating that the book was in the library of Abbé Luigi Celotti (1759-1843), an Italian art dealer and collector of illuminated miniatures and that, in 1821, it was given by Henry Drury to one William Thornton of Harrow. Henry Drury (1778-1841) was rector of Fingest, Buckinghamshire, from 1820 master at Harrow, and a renowned book collector, whose manuscripts were sold via auction in 1827 in London.
LEMON MARK: (1809-1870) English playwright, the founding editor of Punch magazine. A.L.S., Mark Lemon, two pages, 8vo, Fleet Street (London), n.d., to a gentleman, on the printed stationery of the Punch office. Lemon states ‘As it seems I am never to get to Drury Lane again I send books & razors which I had intended to have brought myself’, asking that the razors be returned along with a bill, and remarking ‘I am still using the old black razors….since you did them’. Some light overall foxing, a few creases and some tears (repaired with old tape, very slightly affecting a few words of text). Only FR
WENMAN, Joseph (publisher). Sammelband of 91 plays in two volumes, 1777-1781. Half leather with marbled boards, rubbed and bumped to extremities, hinges cracked with front boards loosening, all plays acted at the Theatres-Royal in Drury-Lane and Covent Garden, title pages to most plays with many signed in the contemporary hand of a John Hooper, head and tailpieces, numerous engraved plates of actors in character throughout, a very good to fine text block, all plays published by J. Wenman, London, 1777-1781. (2)
(Satire.) Alfred Bunn: 'A Word with Punch', London, Published at 60 St. Martin's Lane, Charing Cross, [1847], "No. 1, - (to be continued, if necessary.)" All ever published. 12pp, engraved illustrations throughout. A satire on the principal contributors of the periodical 'Punch', G.A. À Beckett, Douglas Jerrold and Mark Lemon, with extracts from their writings. Punch’s first star writer, Douglas Jerrold, was nicknamed “the Little Wasp” for his stinging humor and slight frame. In 1843, he began skewering the flamboyant theatrical impresario Alfred Bunn (1796-1860) whom he called “the Poet Bunn” for his supposed literary pretensions. Jerrold never explained why Bunn was chosen, but for four years Punch ridiculed his productions, his management of Drury Lane and Covent Garden theatres and, especially, his 1846 breach-of-contract suit against soprano Jenny Lind, the “Swedish Nightingale.” In retaliation, a fed up Bunn met with editor Albert Smith and writer Shirley Brooks, who had their own quarrels with Punch, and together with George Augustus Sala, they created a twelve-page “squib” that turned the tables on Bunn’s chief tormentors at the magazine: Jerrold, editor Mark Lemon and writer Gilbert á Beckett. On the back, a parody of the famous Warren’s Blacking ad shows Lemon reflected as an ass; another ad offers old issues of Punch “in any quantity, and at any price, on the premises.” Inside are several columns of Punch-like anecdotes, puns and poems, but the heart is Bunn’s seven-page takedown of Jerrold, Lemon and á Beckett, called “Wronghead,” “Thickhead” and “Sleekhead” respectively. With relish and in detail, he exhumes their many theatrical flops, reprints their favor-begging correspondence and nit-picks their verse for faulty images, a blood sport back then. After all that, speaking directly to Punch, he warns: “In carrying out the purport of this little squib, I have confined myself … to matters of a literary nature…. Your puppets, who have assailed, ridiculed and caricatured me for years, without any reason whatever, will not … abandon this branch of their trade now that I have given them reason…. In that case, I am prepared to pay back any compliment I receive with the highest rate of interest allowed by law, and shall let you, and perhaps them, into a secret or two worth knowing.” The response from Punch was … silence, at least in print, though there were reports of staff being dispatched to buy up all the copies of “A Word with Punch” they could locate. The attacks on Bunn ceased immediately and were never renewed, and the “secret or two” he claimed to know stayed secret; one Punch biographer called it “the only defeat of its kind in the magazine’s history.” As a bonus, two months later the courts ruled for Bunn against Jenny Lind, who had to pay him £2,000 damages. Very scarce. Bound together with 'An Account of the Tradesmen's Tokens of Essex', Lowestoft, Samuel Tymms, 1868, 28pp, and Lewis Nockall Cottingham, Architect: 'Some Account of an Ancient Tome...Discovered at Rochester Cathedral 1825', London, J. Taylor, [nd], c.1850, engraved title page followed by 5 stone lithograph plates, scarce. All bound together, 4to, 19th Century half calf gilt, two mounted manuscript letters at front from Nattali & Bond publisher's, 1871, re Joseph Lilly book sale at Sotheby's, 1871, "...this was written by Bunn in retaliation for the attacks made upon him in Punch. The title is "No.1 to be continued, if necessary", but Bunn did not find it necessary to continue it...it is very difficult to meet with. If you would like to purchase it please say how much you will give. Yr. most obed. servts. Nattali & Bond"
An 18thC mahogany cased bracket clock, with silvered Roman numeric dial, and Arabic minutes counters, date aperture, eight day movement, roundel bearing name for Pennington, Drury Lane., surrounded by raised scroll spandrels, the case surmounted by acorn finial, brass ring handles, reeded pilasters, on four brass bracket feet, with key and pendulum, 58cm high.
World - Mixed coinage to include G.B. Victoria OH Crown 1893 (N.B. Edge bruises) otherwise VG, Royal Mint proof set 1970 (N.B. Cased with Certificate of Authenticity), brass theatre token 'Drury Lane' 1888 (N.B. Pierced @ 12 o'clock) otherwise AEF, 19th century copper token Basil Burchell, Long Acre (N.B. Pierced @ 10 o'clock) otherwise AEF & other issues (Qty)
[BALLETS RUSSES]Importante collection des programmes des spectacles des ballets russes à Paris. Comprenant : • Années 1900-1920, dix programmes et publications au sujet des ballets russes : Théatre fémina Spectacles de la Chauve-Souris de Nikita Balieff, saison 1923. In-folio, la couverture est en l’état ; Théâtre de la Madeleine, Nikita Balieff, saison 1926-27, in-folio, en l’état (il manque la couverture) ; Théâtre de la Chauve-souris, London Pavilion, en anglais, in-folio, en l’état ; Balieff’s « Chauve-souris », couverture d’après un œuvre de B.Schoukhaeff, in-folio, en l’état ; Paris qui chante, 2 année №56, 14 février 1904, in-folio, en l’état ; Paris qui chante, 2 année №61, 20 mars 1904, in-folio, en l’état ; La Princesse lointaine, pièce d’Edmond Rostand, décors et costumes d’Erté, 9 novembre 1929. In-4, en l’état ; Serge Diaghileff season of Russian ballet 1927, at the Princes Theatre, en anglais, in-folio, B.E.; Ballets russes de Diaghilew, 1909 à 1929. Ed. Musée des arts décoratifs. In-4, en l’état; Souvenir of Lydia Yavorska’s two hundredth performances of Anna Karenina at the Scala Theatre London, in-4, en l’état.• Années 1930. Dix-neuf programmes des spectacles : Covent garden russian ballet company, june-august 1939. En anglais, in-folio, en l’état. Nous y joignons un programme du même spectacle en petit format ; col.W de Basil’s ballets russes de Monte-Carlo, 4th american season. En anglais, in-folio, en l’état ; col.W de Basil’s ballets russes de Monte-Carlo, 4th american season, june-october 1937. En anglais, in-folio, en l’état ; Ballets russes de Monte-Carlo, season 1938, Théâtre royal Drury lane. En anglais, in-folio, B.E. ; Ballets russes de Monte-Carlo, Fox Garfield theatre, 1954. En anglais, in-folio, B.E. ; Ballets russes de Monte-Carlo, american tour 1942-1943. En anglais, in-folio, B.E. ; Ballets russes de Monte-Carlo, season 1948-1949. En anglais, in-folio, B.E. ; Ballet russe de Monte-Carlo, season 1940-1941. En anglais, in-folio, B.E. ; Grand ballet de Monte-Carlo, couverture d’après un dessin de Marie Laurencin. In-folio, B.E. ; Ballets russes direction W.de Basil, 1934. In-folio, couverture d’après un projet de S.Lissim, B.E. ; Ballets russes du Col.W.de Basil, Royal Opera House Covent Garden, London. En anglais, in-folio, B.E. ; Ballet russe Highlights, couverture d’après un projet de M.Chagall. En anglais, in-folio, B.E. ; Col.de Basil’s Ballets russes, june-septembre 1936, 3d season. En anglais, in-folio, B.E. ; Opéra russe à Paris, Théatre des Champs Elysées, 1930. In-folio, en l’état ; The Markova-Dolin ballet, souvenir programme coronation season 1937. En anglais, in-folio, B.E. ; Philadelphia ballet, Alexis Dolinoff ballet master et premier danseur. En anglais, in-folio, B.E. ; Ballets Jooss, dance theatre Dartington hall, England, 1932. En anglais, in-folio, B.E. ; The ballet theatre, 1946-1947. London, en anglais, in-folio, B.E.; The Ballet theatre coast to coast tour in America, 1944-1945. En anglais, in-folio, A.B.E.; • Trois revus « ComŒdia illustré », 2e année №18, 15 juin 1910 ; 3e année №18, 15 juin 1911 ; 4e année №17, 1 juin 1912. Les trois sont au sujet des ballets russes, in-folio, A.B.E.[РУССКИЕ СЕЗОНЫ]ОБЪЕМНАЯ КОЛЛЕКЦИЯ театральных программ Русских балетных сезонов. Включает: 10 программ и публикаций на тему балетных сезонов в 1900-1920х гг. (труппа С.Дягилева, театр «Летучая мышь» и др.); 19 программ постановок балетов полковника де Базиля (Монте-Карло), туров в Англии и США различных балетных трупп русского происхождения. Прилагаем 3 театральных журнала на тему русских сезонов, 1910-1912 гг. Состояние программ различное, есть довольно редкие.
Lesley Joseph signed Christmas Pantomime FDC. 2nd November 1985 Drury Lane London. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Multi signed June Ritchie, Ronald Adam Dedicated. 'Gone with the Wind' Royal Drury Lane Theatre Programme. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Simon W Fisher (late 20th Century), 'The Lusitania at Liverpool', limited edition coloured print, signed in pencil by two survivors Alice Drury and Avis Foley, and countersigned by the artist, numbered 688/850, with certificate, 40cm x 72cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
A selection of fly fishing terminal tackle boxes: Richard Wheatley slim alloy tin 5" x 3 ½", retailed by William Powell Birmingham, 12 windows to base, leather cast flap and original tweezers, quantity of dry flies. W J Cummins Bishop Auckland black japanned round fly tin, cork to base and cast holder to lid, quantity of small flies. Richard Wheatley alloy cast tin with dampers and 4 Hardy artificial baits and Esmond Drury treble hooks. Alvey Australia Bakelite fishing tackle box (4)
A collection of 18th - early 19th century heraldic bookplates, each removed from original book and pasted to a loose leaf. The lot to include the bookplates of Francis Eyre Esq., Robert Duckle, Thomas Story Spalding, George Sowerby, William Parker Hammond, John Conacher, Valentine Cary Elwes, Rev. Chas. Stebbing Elvin M.A., Alfred J. Elkington, Francis Drake (likely a descendent of the explorer), Thomas John Elmore, Edward Fiennes Elton, Robert Duncan, Edward Duke, Culling E. Eardley, Richard Dyott, Frederic W. Earle, Gulielmi A. Drury, Andrew Mortimer Drummond, John Henry Ellis, Francis Percival Eliot Esq., Henry Earl of Shannon, William Blood, Rev. Chatwood Eustace, Arthur Cavendish Onslow Boddington, Captain Furneaux, Frederick Seymour Clarke, Philip Earl Stanhope, Viscount Gage, Cresswell Pigot, Sir Thomas Gage, Lord Gardner, etc. Along with some leaves and plates from 1785 Introduction to Heraldry on their identification. Along with a framed collection of three for Edward Bensley Gardner, the Hon. Herbert Gardner, and Samuel Gardner. A large collection.
ALBUM - THEATREAlbum of over 50 autograph letters relating to the theatre, particularly Drury Lane, from the collection of Lady Maria Theresa Lewis (née Villiers) (1803-1865), held loose in an album, including:Autograph letter signed ('N. Paganini'), to Bohemian composer M. Moscheles, in Italian, thanking him for his invitation and agreeing to dine with him, integral address panel, one page, 4to, [n.p. but probably London], 23 May 1831; also letters from Maria Malibran (at liberty to accept invitations); Bohemian composter Ignaz Moscheles; Charles Halle to Sir Thomas Villiers Lister (making arrangements); Thomas King to Richard Peake (asking for his salary to be paid for work at Drury Lane); printed Deed of Trust signed by Richard Peake, discharging debts due from the proprietors of Drury Lane theatre, August 1805; Mrs Dorothea Jordan (mistress of William IV); actor-manager Alfred Wigan; John Bannister (complaining about lack of support for a Benefit and citing Mrs Siddons, Mrs Jordan and Garrick); H. Millett (presenting his 'melo-dramatic spectacle called The Maid of Lodi' to the committee of the Theatre Royal, Drury Lane); actor William Farren; Maria Foote; Adelaide Sartoris (asking to borrow Lady Villiers 'big room' to put on a play starring herself, Lady Lewis and Henry Greville '...to send back a poor Italian singer to his own country...'); composer Julius Benedict; and many others, some annotations by Lady Lewis, index leaves at front, c.110 leaves, half maroon roan gilt, decorative spine gilt stamped 'Autographs' and 'Artists/ Actors/ Composers', worn, 4to (235 x 280mm.), [late eighteenth-century/early nineteenth-century]Footnotes:Lady Lewis's collection represents some of the most colourful theatrical characters of the age – violin virtuoso Niccolo Paganini, Spanish opera singer Maria Malibran (who met an untimely death in Manchester at age 28,) and actresses such as Dorothea Jordan and stilt-walker and animal impersonator Leonora Wigan. Also represented are writers and other doyens of the theatre world such actor-manager Charles Matthews, who was the inspiration for Dickens' Alfred Jingle in Pickwick Papers, the treasurer of Drury Lane Theatre, Richard Peake, and Fanny Butler (née Kemble), the actress, writer and anti-slavery activist. Many of the letters are connected to the Drury Lane Theatre and include a signed admittance ticket, dated 7 April 1829, a request from Mr Millett presenting his new 'Melo-Dramatic Spectacle' written especially for the theatre and letters from several actors such as Irish actor William Farren regarding performing there. Provenance: Lady Maria Theresa Lewis (née Villiers) (1803-1865); her son Sir Thomas Villiers Lister (1832-1902); thence by descent.The collection of Lady Maria Theresa Lewis (1803-1865) was initially formed through the amalgamation of two significant collections of letters: royal and political correspondence from that of her mother the Hon. Theresa Villiers (1775-1856), and that of her close friend, the writer Mary Berry (1763–1852). Impressed by Lady Lewis' writings, Mary Berry bequeathed her papers to her so that she could edit them for publication, and the three volume Extracts of the Journals and Correspondence of Miss Berry was published in 1865. Mary Berry's bequest included correspondence from Horace Walpole, most notably his correspondence with Thomas Chatterton and David Hume, hitherto thought lost, and three poems dedicated to her. To this inheritance Lady Lewis subsequently added her own correspondence and collection of autographs gathered through her wide circle of social, political and literary connections entertained at her home, Kent House, St James's. Not seen outside the family until now, the collection is a remarkable survival and tells the story of a family at the heart of English society. An intricate web of connections and alliances is revealed, bringing together the worlds of royalty and politics, the arts and literature. It is also a story of influential women both as collectors and as correspondents: Theresa Villiers as keeper of royal secrets, Mary Berry and her circle of intellectuals, and, importantly, Lady Lewis as collector and salonnière bringing them all together in one extraordinary collection.For further information on this lot please visit Bonhams.com
Books. Art and antiques, including Stephens (Chris et al) The History of British Art, 3 vols, Becker (Vivienne) Art Nouveau Jewellery, Drury (Elizabeth) Self Portraits of the World's Greatest Paintings, Oka (Isabruo) Hiroshige, Great Japanese Art, and Phillips (Michael) William Blake Apprentice and Master. (1 shelf)
Vinyl - 3 Limited Edition Re-issue album on Domino records to include: Lal & Mike Waterson – Bright Phoebus (limited edition double album, Domino REWIGLP 102), Robert Wyatt & Friends – Theatre Royal Drury Lane 8th September 1974 (double album + CD, Domino DNO 206), Robert Wyatt – Ruth Is Stranger Than Richard (album + CD, Domino DNO 201). Condition at least EX overall
Kent.- Andrews (John) & Andrew Drury & William Herbert. [A Topographical Map of the County of Kent in Twenty Five Sheets on a Scale of Two Inches to a Mile, from an actual survey], folding index map, and 23 engraved double-page sheets in 18 sections, lacking title section [no. 5], and blank sea section [no. 21], some hand-colouring, sheets of various sizes, all dissected and laid onto linen, scattered surface dirt and minor browning, each section with numbered ink inscription to endpanel, folding into marbled box with manuscript label, [circa 1769].
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![[Missale Romanum], Latin, Incipit ordo missalis secundum consuetudinem Curiae Romani, manuscript in Latin, on vellum, 234ff.,](https://cdn.globalauctionplatform.com/abe22dc9-8888-40ef-8429-b0b301071f37/a8ea4a33-5e87-45fa-b9c5-b0b3012581fd/468x382.jpg)
![(Satire.) Alfred Bunn: 'A Word with Punch', London, Published at 60 St. Martin's Lane, Charing Cross, [1847], "No. 1, - (to b](https://cdn.globalauctionplatform.com/b3c2c738-19d0-4d60-8532-b0c100bdc003/8d83ebc8-09d2-4783-aa44-b0c10108eae3/468x382.jpg)
![[BALLETS RUSSES]Importante collection des programmes des spectacles des ballets russes à Paris. Comprenant : • Années 1900-19](https://cdn.globalauctionplatform.com/eb33d33b-ad8c-4b14-83fd-b0b600ad0a7b/4f41e01d-3b41-4d1e-99d4-b0b600c2f81d/468x382.jpg)
