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Drury (Dru) Illustrations of Natural History...Exotic Insects, vol.1 & 2 only (of 3) bound in 1, first edition, text in English and French printed in double column, engraved key plate and 100 superb hand-coloured engraved plates, mostly by Moses Harris, some lightly browned but generally clean and bright, very occasional foxing to text, later bookplate of E.J.Labouchere, handsome contemporary mottled calf with gilt-tooled floral border, spine gilt in compartments and red morocco label, rubbed, splits to joints, corners a little worn, [Hagen 185.1; Nissen ZBI 1160], for the Author...by B.White, 1770-73.⁂ A lovely copy of this work on exotic insects, mostly illustrated by Moses Harris from specimens sent from all over the world to Drury, a collector regarded as the father of British entomology. A third volume was published later in 1782.

George III Irish silver christening tankard, Dublin 1822, stamped 'M West', tapered cylinder form engraved with a crest featuring a running lurcher, and inscribed 'William Valancey Drury' and with further initials, height 8cm, weight approx. 168g (NB: Condition is NOT noted in catalogue descriptions. 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 large leather Gladstone bag marked W.E. Jackson, Drury Hill, Nottingham

George Perfect Harding (1781-1853) - Portrait of the English Actor, Playwright and Theatre Manager David Garrick three-quarter length , wearing a grey jacket and white cravat, with a Tricorn hat under his arm, holding a staff in his right hand, signed also extensively inscribed with a biography on the sitter, pencil and watercolour, 4.5" x 3.5" ** Provenance with J. & W. Vokins, Great Portland Street, London also sold by Sotheby's in their good English and continental portrait miniature sale on the 16th December 1974 lot 65 ** David Garrick was the leading actor of the English stage from 1741 to 1776 and the manager of Drury Lane Theatre from 1747 to 1776, his domination of every department of the theatre is something unique in the history of the stage. A great deal of his fame must be due to his brilliant use of publicity, and used visual arts as a vehicle to capture his own more transient art, commissioning Zoffany 's first theatrical painting in 1762 (No. 21) and many others from him and other artists in subsequent years. He also encouraged the production of copies and engravings (39-42) which were dispersed on the continent as well as in England. Samuel Foote also used Zoffany to propagate his name (24-25) and a vogue for theatrical conversation pieces, many of the best of which are shown in this section of the exhibition.

Lucas Cranach d. Ä., 1472 Kronach – 1553 WeimarDER JUNGE CHRISTUS ANGEBETET VON JOHANNES DEM TÄUFERÖl auf Holz.35,2 x 23,2 cmLinks unten signiert mit dem Künstlersignet einer geflügelten Schlange und datiert „1534“.Auf dem kleinen Andachtsbild dargestellt das Johanneskind mit dem Lamm, das ihn segnende Christuskind mit dem Kreuz anbetend. Das Thema Christus als Lamm Gottes, so bezeichnet von Johannes dem Täufer, war insbesondere bei norditalienischen Künstlern populär und wurde hier von Cranach adaptiert und in seine eigene Bildsprache übersetzt.Das vorliegende Werk, datiert auf 1534 und ist im Zusammenhang mit mehreren Versionen des Themas zu sehen, welche durch Cranach und dessen Werkstatt geschaffen wurden. Bei Friedländer und Rosenberg publiziert, überzeugt die überaus hohe Qualität der kleinen Tafel. Während seiner Tätigkeit für Johann Friedrich den Großmütigen (1503-1554), Kurfürst von Sachsen, in Wittenberg arbeitete Cranach auf dem Höhepunkt seines Schaffens sowohl für den Kurfürsten als auch für Privatkunden.Insbesondere drei weitere Arbeiten Cranachs kommen in Komposition und Ausführung der hier vorliegenden Tafel äußerst nahe. Zu unterscheiden ist allerdings, dass sich hier die Szenerie vor dunklem Hintergrund ansiedelt und so den Fokus des Betrachters ohne Ablenkung auf die beiden durchaus vergleichbar angelegten Figuren im Vordergrund lenkt. Eine Version mit einem etwas kleineren Lamm und Kieselgrund befindet sich in einer Privatsammlung in Luxemburg. Das besagte Gemälde wird heute als erste Fassung des Themas durch Cranach angesehen und datiert 1515/20. Zwei weitere Versionen im Niedersächsischen Landesmuseum Hannover und in den Kunstsammlungen Zwickau werden Cranachs Werkstatt zugeschrieben. Das Thema erfährt durch Cranach in späteren Arbeiten eine Weiterentwicklung und wird durch Vanitassymbole, Schlangen oder Dämonen ergänzt. Vergleichsweise kann hier ein sich heute im Wallraff-Richartz-Museum, Köln, befindliches Werk angeführt werden.Alle vier Arbeiten sind gelistet im Cranach Digital Archive.Das vorliegende äußerst qualitätvolle Gemälde hebt sich im Vergleich mit den anderen Arbeiten insbesondere durch seine naturalistische Auffassung, das Blattwerk im Hintergrund und die größer angelegte Darstellung des Lamms von diesen ab.Provenienz:Edward R. Bacon (1848-1915), New York.Albert Keller (1879-1939), New York, um 1928.Mr. und Mrs. Drury W. Cooper, ca. 1935-40, New Jersey.Durch Erbe an John M. Cooper, 1939, Princeton.Versteigert über Sotheby‘s, New York, 12. Januar 1995, Lot 10.Privatsammlung USA.Später versteigert durch Sotheby‘s, New York, 28. Januar 2016, Lot 14 mit einem Schätzpreis von 700.000 – 900.000 und gekauft für ca. 850.000 vom jetzigen Besitzer.Literatur:Max J. Friedländer und Jakob Rosenberg, Die Gemälde von Lucas Cranach, Berlin 1932, S. 64, Abb. 184.Max J. Friedländer und Jakob Rosenberg, Die Gemälde von Lucas Cranach, London 1978, S. 114, Abb. 222.Daniel Görres, in Gunnar Heydenreich, Daniel Görres und Beat Wismer, Lucas Cranach der Ältere: Meister, Marke, Moderne, München 2017, S. 174, Nr. 82 und Farbabb. S. 175.Ausstellungen:Museum Kunstpalast Stiftung, Lucas Cranach der Ältere: Meister, Marke, Moderne, Düsseldorf, 8. April – 30. Juli 2017, Nr. 82. (1361991) (17) (†)Lucas Cranach the Elder,1472 Kronach – 1553 WeimarSAINT JOHN THE BAPTIST IN ADORATION OF THE CHRIST CHILDOil on panel.35.2 x 23.2 cmSigned with artist’s emblem of a winged serpent and dated “1534” lower left.The small devotional painting depicts the Young Saint John with the lamb in adoration of the Christ Child blessing with the cross. The subject of Christ as the Lamb of God, as called by John the Baptist, was particularly popular with northern Italian artists and was adapted here by Cranach and conveyed in his own pictorial language. The work on offer for sale in this lot dates to 1534 and should be seen in the context of several versions of this subject created by Cranach and his workshop. Published by Friedländer and Rosenberg, the high quality of the small panel is convincing. At the peak of his career as court painter to Johann Frederick I, called the Magnanimous (1503 – 1554), Elector of Saxony, in Wittenberg, Cranach worked both for the Elector and for private clients. Three other works by Cranach show extreme similarities with regards to composition and execution to the present work. What must be distinguished, however, is that in the present painting the scenery is set against a dark background thus directing the viewer’s focus to the two comparable figures in the foreground without any distraction. A version with a slightly smaller lamb and a pebble background is now held in a private collection in Luxembourg. The painting in question is now regarded as the first version of the subject by Cranach and dates from 1515/20. Two further versions held at the Niedersächsisches Landesmuseum, Hannover and the Kunstsammlungen Zwickau are attributed to Cranach’s workshop. Cranach developed this subject further in later works by adding vanitas symbols, snakes, or demons. For example, a work now held at the Wallraf-Richartz Museum, Cologne, can be cited here. All four paintings are listed in the Cranach Digital Archive. The present painting, which is of extremely high quality, particularly stands out from the other works due to its naturalistic conception, the foliage in the background and the larger-scale depiction of the lamb.Provenance:Edward R. Bacon, 1848 – 1915, New York.Albert Keller, 1879 – 1939, New York, ca. 1928.Mr and Mrs Drury W. Cooper, ca. 1935 – 1940, New Jersey.Thence by descent to John M. Cooper, 1939, Princeton.By whom sold at Sotheby’s New York, 12 January 1995, lot 10.Private collection, USA.Later sold at auction at Sotheby’s New York, 28 January 2016, lot 14 with estimate of 700,000 – 900,000 and acquired for ca. 850.000 by present the owner.Literature:Max J. Friedländer and Jakob Rosenberg, Die Gemälde von Lucas Cranach, Berlin 1932, p. 64, no. 184 with ill.Max J. Friedländer and Jakob Rosenberg, Die Gemälde von Lucas Cranach, London 1978, p. 114, no. 222 with ill.Daniel Görres, in: Gunnar Heydenreich, Daniel Görres and Beat Wismer (eds.), Lucas Cranach der Ältere: Meister – Marke – Moderne, exhibition catalogue, Munich 2017, p. 174, no. 82, colour ill. on p. 175.Exhibitions:Lucas Cranach der Ältere: Meister – Marke – Moderne, Museum Kunstpalast Foundation, Düsseldorf, 8 April – 30 July 2017, no. 82.

A Light Dragoons non-commissioned Ranks Sabre, circa 1770, with slender slightly curved blade formed with a clipped point and boldly stamped ‘GR’ crowned, the cutler’s name ‘Drury’ stamped beneath, slotted hilt drawn-up to a slender knuckle-guard, spirally moulded wooden grip retaining an early fishskin covering, probably the original, and with domed cap pommel surmounted by a prominent button, blade length 81cm

William Jackson Allingham, British 1866-?- August, after Sir William Hamilton; stipple engraving, printed in colours, oval, signed in pencil 'William J. Allingham' (lower right edge), published in 1914 by G. F. Howell & Co. 26 Museum Street, London, 32.5 x 27.5 cm. Provenance: According to label on reverse, with The Museum Galleries, 53 Shorts Gardens, Drury Lane, London, WC2. Condition Report: Not examined out of frame. Some marks to the sheet in areas, possible minor spots of foxing. No sign of creasing or tearing. Good condition, framed and ready to hang. 

Theatre Royal, Drury Lane, play bill The Bride of Abydos, framed and glazed

SHERIDAN, RICHARD BRINSLEY A TRIP TO SCARBOROUGH. A COMEDY, AS PERFORMED AT THE THEATRE ROYAL IN DRURY LANE Altered from Vanburgh's Relapse; or, Virtue in Danger. Printed for G. Wilkie, London, 1781. GOLDSMITH, DOCTOR (OLIVER) SHE STOOPS TO CONQUER: OR, THE MISTAKES OF A NIGHT. A COMEDY, AS IT IS ACTED AT THE THEATRE ROYAL IN COVENT-GARDEN Printed for F. Newbery, London, 1773. Near-uniform fine full leather bindings by Riviere & Son, with elaborate gilt tooled spines, the slightly larger volume measuring approx. 21.5cm x 14cm (2) Condition Report:Available upon request

COLQUHOUN (ITHELL)Archive of 'magical writings', manuscripts, typescripts, original illustrations and printed material, comprising: i) Manuscript and typescript essays and lecture notes, including typed essays on Qabalah with manuscript amendments ('The Crown and the Kingdom' in four parts '...The ten circles, centres or concentrations of force are the Sephioth or Divine Emanation...'), Druidry and Gnosticism, 'Fire and the Pyramid of Flame' ('...the progeny of Electricity... the essence of our divine ancestors, the celestial hierarchies...'), typescript of her one-act play 'The Pilgrimage', essay on Aleister Crowley ('Heaven & Earth: The Dying Kick of the Dying-God'), on ritual ('Ceremony Connected with the Banishing Ritual of the Pentagram... The altar is arranged as for the Neophyte Grade of the G.D... Rose and Dagger in E., Incense, lamp and Fire-Wand in S., Cup in W.... if the pentacle is not ready, a gold coin may be substituted...'), on interior stars ('De Astris Interioribus'), a long descriptive essay on 'The Isiac Tablet of Bembo', also 'The Taro as Colour', 'Zodiacal Rulership of the Taro Court Cards' and descriptions of 17 of the 22 Major Arcana of the Tarot ('The Fool', 'The High Priestess', 'The Hanged Man', etc.), and much else; illustrated with some 23 original diagrams in biro, some coloured in gouache, including 'The Cube' (5), the Tree of Life (10), 'Tatwass Through the Day' (collection of loose coloured-paper shapes), 'Taro Trumps in the Cube of Space' (4), c.244 pages, typed or written in blue or black biro on lined paper, many annotations and amendments, illustrations and diagrams in biro and gouache, mostly 4to, [undated]; ii) File of incoming correspondence, some published as appendices (Dorothy Empson, Maxwell Armfield (3), Robert Temple (3), Colin Murray of the Golden Section Order), typed article by Mrs Armer on 'Worship of the Old Deity', printed matter concerning Colquhoun's Masonic affiliations, and 4 pages of unpublished notes and diagrams, 80 pages, various sizes, etc. [1970's]; iii) Colquhoun's research material pertaining to W.B. Yeats, Maude Gonne and Ireland, including notes taken at the Yeats International Summer School at Sligo, her 'Irish' address book (including those of Jack Yeats and Mrs W.B. Yeats), various photographs, maps, guidebooks, timetables etc., c.47 pages of notes, c.1966-1968; with first edition copies of Ithell Colquhoun's Sword of Wisdom: MacGregor Mathers and the Golden Dawn, London and New York, 1975, one inscribed by the author to Kitty (2), The Crying of the Wind, Ireland, 1955, and The Living Stones, Cornwall, 1957, [second half twentieth century] (collection)Footnotes:'THE OPENING OF THE SEALS IS FOLLOWED BY THE SOUNDING OF SEVEN TRUMPETS & THE POURING OF SEVEN VIALS': MAGICAL WRITINGS AND ILLUSTRATIONS BY THE IMPORTANT BRITISH SURREALIST PAINTER, OCCULTIST & AUTHOR.Until recently the surrealist works of Ithell Colquhoun (1906-1988) have been somewhat overshadowed by better-known contemporaries such as Leonora Carrington and Eileen Agar, but interest in her art and writing is now firmly in the ascendant. Indeed, the scholar Amy Hale has noted that Colquhoun '...is becoming recognized as one of the most interesting and prolific esoteric thinkers and artists of the twentieth century...' (Amy Hale, 'The Magical Life of Ithell Colquhoun' in Nevill Drury, Pathways in Modern Western Magic, 2012) and argues that through Colquhoun's work '...we can see an interplay of themes and movements which characterizes the trajectory of certain British subcultures ranging from Surrealism to the Earth Mysteries movement and also gives us a rare insight into the thoughts and processes of a working magician...'.The magical material in this archive, save for four pages of notes and diagrams, was gathered together and published as The Magical Writings of Ithell Colquhoun in 2007 by Steve Nichols, a copy of which is included in the lot. It serves as a complement to Colquhoun's 1974 work, Sword of Wisdom: MacGregor Mathers and the Golden Dawn, her only published book on magical theory. The four essays entitled 'The Crown and the Kingdom' were also published by Steve Nichols as a separate volume in 2006. Much of it was delivered as lectures, notably to Countess Tamara Bourkhoun's Golden Dawn-inspired Order of the Pyramid and Sphinx in the 1960's, of which she was a prominent member, or articles in such publications as Prediction. She was an initiate of several different orders representing Hermetic and Pagan traditions including the OrdoTempli Orientis, the Masonic Order, the Fellowship of Isis and the French Gnostic Church. Colquhoun discovered surrealism through the work of Dali and Magritte whilst studying at the Slade under Henry Tonks, and joined the English Surrealist Group in 1939, exhibiting with Roland Penrose at the Mayor Gallery the same year. Her involvement with the British Surrealist movement, however, was to be brief as she was soon expelled from the group for refusing to abandon the occult research which had become central to her work. She was interested in the occult from an early age, particularly the principles of the Hermetic Order of the Golden Dawn, introduced through her cousin Edward Garstin, and she infused her art with elements of occult colour theory and sacred geometry, both of which she returned to in her later writings as evidenced here (see Amy Hale, The Magic Surrealism of Ithell Colquhoun, Art UK online, June 2020).The present collection represents many of her wide-ranging interests, drawing together her magical and artistic careers. In her short article of 1977, 'The Taro as Colour', a modern typed copy of which is included in the archive, she talks of her magical theory of colour and the surrealistic painting technique of automatism: '...It renders the essence of each card by the non-figurative means of pure colour, applied automatically in the manner of the psychomorphological movement in surrealism...' she explains. Also evident is her admiration for Celtic lore (one letter is from a Deaconess of the Ancient Celtic Church) and in particular W.B. Yeats, a Golden Dawn Adept who also used automatism in his work ('...Through his hermetic studies under MacGregor Mathews, Yeats was deeply embued with Qabalistic thought...'). Ithell's influential article about Aleister Crowley which appeared originally in the London Broadsheet, no.4, April 1955, is also present, typed and amended by the author: '...Ithells' attitude to Aleister Crowley was ambivalent. He chased her around a house once, but she managed to escape his advances...' (Nichols, p.3). Amongst the wealth of material here is a detailed description of a ritual, 'The Outline of Preliminary Ceremony Connected with the Banishing Ritual of the Pentagram', running to some five handwritten pages with red and black inks used to clarify which are spoken words and which are actions. As might be expected, there are also several striking illustrations, including a series of colourful painted diagrams depicting various configurations of The Cube. Provenance: Steve Nichols, editor of The Magical Writings of Ithell Colquhoun, 2007.For further information on this lot please visit Bonhams.com

Books - The British Theatre, or A Collection of Plays which are acted at The Theatre Royal, Drury Lane, Covent Garden, and Haymarket......... by Mrs Inchbald, in twenty-five volumes, London 1808, leather bound, five compartmental gilt tooled spines, gilt titles on black, each numbered, (25th Vol missing, Vol 2 repeated), along with a set of seven volumes The British Theatre - A Collection of Farces and other Afterpieces....... selected by Mrs Inchbald, London, printed for Longman, Hurst, Rees, and Orme, 1809, similarly bound Location:

A BOX OF VINYL SINGLES, over three hundred records, artists to include Ian Drury and the Blockheads, Elvis Presley, Debbie Harry, Culture Club, Boney M, Elton John, Roxy Music, Status Quo, UB40, Mud, Simon and Garfunkel, Hot Chocolate, Sailor, Carly Simon, Alice Cooper, Pretenders, Kool and the Gang, Cher and 10cc, etc, in mainly plain sleeves (1 box) (sd)

[Trotter (Catharine)] Agnes de Castro, A Tragedy, first edition, title with printed advertisement along lower edge, and manuscript authorial attribution in ink, bookplate, title with two small marginal defects at top edge, touching letters of 'Castro', multiple ff. with light damp-stains to upper or lower edge, a few ff. towards end trimmed close to or touching headlines, faint foxing, modern calf-backed boards, joints rubbed, [Wing C4801], 4to, for H. Rhodes, et al, 1696.⁂ Based upon Aphra Behn's novel of the same name, itself a translation based upon Jean-Baptiste de Brilhac's original tragedy, Trotter's work was first staged by John Rich's company at the Theatre Royal, Drury Lane.

Nabbes (Thomas) Hannibal and Scipio. An historicall tragedy. Acted in the yeare 1635 by the Queenes Majesties Servants, at their private house in Drury Lane, first edition, woodcut device to title, woodcut head-piece, with final blank, occasional light foxing or browning, small rust-hole to E4 with loss to 1 or 2 letters, 19th century polished calf, gilt, spine a little rubbed, [Pforzheimer 755; STC 18341], small 4to, printed by Richard Oulton for Charles Greene, and are to be sold at the white Lion in Pauls Church-yard, 1637.⁂ The first edition of Nabbes' most celebrated work, rare in commerce. This quarto edition is unusual in being one of only 5 examples from the period that includes a cast list of the original production, the members including William Allen, Richard Perkins and Theophilus Bird.

Shelley (Percy Bysshe). Queen Mab, 1st published edition, 2nd issue, London: R. Carlile, 1822, lower blank margin of cancel title excised, verso of final page of notes (p. 82) bearing the imprint of W. Clark, 2 pp. dedication to Harriet at end, edges of leaves at foot of volume partly trimmed (to remove ink stain or stamp?), occasional scattered spotting, signature 'Angela Mills, Bristol 1969' to front free endpaper, bookplate to front pastedown sometime removed, original cloth-backed boards, spine faded and few marks to boards, 8vo, together with:Clare (John), Poems Descriptive of Rural Life and Scenery, 2nd edition, London: Taylor and Hessey; Stamford: E. Drury, 1820, half-title discarded and without 4 pp. advertisements, occasional light dust-soiling and few marks, contemporary half calf, rebacked, 12mo,Burns (Robert), The Poetical Works of Rob[ert] Burns, with his life Engravings on wood by Bewick from designs by Thurston, 2 volumes, Alnwick: Printed by W. Davison, [1808], engraved frontispiece and title to each volume, wood engraved vignette plates and illustrations by Bewick, some toning, spotting mostly at front and rear, modern half calf, dark green skiver labels to spines, small 8vo in 4s,Byron (George), The Works of the Right Honourable Lord Byron, 5 volumes in three, London: John Murray, 1817, volume III & IV title-pages bound together at front of third volume, title page for 'Childe Harold's Pilgrimage Canto the fourth' with imprint dated 1818, front pastedowns with armorial bookplates of Richardson Harrison and also Harper Repository of Arts Cheltenham, contemporary diced calf, gilt decorated spines with morocco labels, volume 1 rebacked preserving spine, rubbed at foot to spines, 8vo, plus other late 18th & early 19th-century antiquarian including Scott (Walter), Ballads and Lyrical Pieces, Edinburgh, 1806; Hazlitt (William), Lectures on the English Poets, delivered at the Surrey Institution, 1819, etc.QTY: (14)NOTE:Shelley first printed Queen Mab privately in 1813, but it was subsequently published in a pirated edition by R. Clark in 1821, for which Clark subsequently received four months' imprisonment. Thereafter the remaining sheets were reissued with a new title-page by Carlile.

Paul Drury (1903-1987), drypoint etching from Memorial Portfolio, Self portrait, signed in the plate and dated 1949, 14.5 x 19.5cm

A quantity of vinyl LPs, punk alternative 70s and early 80s in genre, including such artists as Reckless Eric, The Police, Madness, Blondie, Elvis Costello, Ian Drury, Echo and The Bunnymen etc

Framed monochrome theatre posters, Theatre Royal Drury Lane, 1859, etc, H51cm

Andrews, John and Drury, W and Herbert, W L "A Topographical - Map of the County of Kent ... in which are explained all the roads, lanes, churches, towns, villages, etc together with the division of the lathes and their subdivision in two hundreds", published January 1st 1769, inked name top of the tp, double folding plates, map of County of Kent is creased in the centre of the double page, biro written name and date top right hand corner of the ffep, elephant folio, contemporary marbled boards, quarter leather which has mainly rubbed away and little remaining of the backstrip bar the pastedown title . All 25 double maps are present, double title page and double subscription pageCondition Reportall 25 maps present, title page and subscription page

A GEORGIAN LONG CASED CLOCK BY DRURY BANBURY

Mary Lowndes (1857-1929), a stained and leaded glass panel dated 1920, depicting Saint John in the wilderness holding a lamb in his arms, signed and dated 'M. Lowndes Des 1920'145 x 90cm, framedThe eldest of four sons and four daughters born to Richard Lowndes and Annie Harriet, Mary Lowndes is best known as a stained glass artist, suffragist and pioneering social reformer. Initially training in drawing and painting at the Slade School of Fine Art, it was not until the completion of her studies that Lowndes unearthed her natural aptitude for stained glass making. Under the supervision of renowned artist, Henry Holiday, Lowndes, whose work was prized for her bold use of colour and innovative design schemes, soon became esteemed in her field, despite cultural attitudes towards female influence in the workplace during the late 19th century.By 1888, Lowndes had joined Powell & Sons of Whitefriars, but an increasing desire for artistic liberty persuaded her to work independently from 1892. Unfortunately, Lowndes found herself restricted by the technical requirements of stained glass making and was frequently travelling from her workshop in Chelsea to Southwark, where her designs were fired and glazed at the Britten and Gilsen studio. Owing to her need for specialist facilities, in 1897, Lowndes, alongside Alfred Drury, the former foreman at Britten and Gilsen's studio, established the eponymous Lowndes and Drury glass studio in Chelsea. Quickly having become one of the most prominent glass studios in London, in 1906 the pair moved their business to custom-built premises in Fulham, which later became known as 'The Glass House'.Quickly evolving into a sanctuary of artistic exchange, the Glass House offered artists a space to share and learn from one another whilst working on their own commissions. Lowndes’ became a particularly important figure in the workshop, not only in regard to her own commissions which were installed in churches, private buildings and private homes throughout the country, but also due to the invaluable instruction she offered to the denizens of the Glass House, particularly female artists who would be denied positions at other workshops.In addition to her work as an artist, Lowndes was also involved in the women's suffrage movement. She joined the Women's Social and Political Union and was an active participant in several protests and demonstrations, including the 1910 "Black Friday" demonstration where she was arrested and imprisoned. Lowndes was also passionate about social reform and worked to improve conditions for working-class women. She established a cooperative for women weavers in South London, which provided them with fair wages and safe working conditions. Mary Lowndes died in 1929, but her legacy continues through her stained glass works and her contributions to the suffrage movement and social reform.The panel is buckling under its own weight within the frame and there is a resultant bulge along the bottom. A couple of cracks and breaks to lead work and some scuffing to painted decoration, but in overall good condition.

An 1805 Pattern Naval Officer's Sword By Drury & Son, Sword Cutler, 32 Strand, London, Circa 1830 With tapering double-edged blade (some old pitting) of flattened diamond section etched with a martial trophy and foliage over half its length on both sides, cast and chased ormolu hilt comprising foliate scroll rear quillon, langets each with crowned fouled anchor within a border of foliage, stirrup knuckle-guard bound with laurel, lion-mask pommel, its mane forming the back-piece, and wire-bound partly chequered ivory grip, in its original black leather (some surface loss) scabbard with ormolu mounts (gilding worn) each engraved with neo-classical foliage against a stipple ground, the locket signed on one side, and with two rings for suspension 73 cm. blade Footnotes: Cf. a very similar sword sold Bonhams New Bond Street, Nelson & The Royal Navy 1750-1815, 5 July 2005, lot 351 See footnote to lot 54 This lot is subject to the following lot symbols: Y Ф Y Subject to CITES regulations when exporting items outside of the EU, see clause 13. Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU. For further information on this lot please visit Bonhams.com

A George IV 1822 Pattern Infantry Officer's SwordBy Drury & Son, Sword Cutler, 32 Strand, London, Circa 1830Of regulation pattern, with bright slightly curved pipe-back blade etched on both sides with crowned 'GR IV' cypher within a wreath of laurel, and with the maker's details on one side at the forte, ormolu hilt incorporating crowned 'IV' against cast and pierced symmetrical foliage in an oval, and retaining most of its original gilding, in its brass scabbard (locket repaired, minor old dents) 82 cm. bladeFootnotes:For details regarding this maker see Leslie Southwick, London Silver-hilted Swords.., 2001, pp. 95-96For further information on this lot please visit Bonhams.com

A Cavalry Officer's Basket-Hilted Backsword Mid-18th Century Or Later With tapering fullered blade double-edged towards the point and cut with a narrow fuller along the back for most of its length on both sides, the back at the forte stamped 'DRURY', iron guard of vertical rounded bars framing side panels each with fleur-de-lys shaped finial at the top and pierced heart-shaped terminal at the bottom, an oval panel at the front with a pair of hooked bars set either side of a central bar, fore-guards, scrolled wrist-guard, integral ring around the base of the bun-shaped pommel, and spirally-grooved leather-covered grip bound with a strand of twisted brass wire (light pitting overall) 88.7 cm. blade Footnotes: For a related sword in the National Museums of Scotland, Edinburgh (LA 153) see Cyril Mazansky, British Basket-Hilted Swords, 2005, p. 143, G5a See also a sword with a very similar hilt by Walter Allan of Sterling, Christie's South Kensington, Antique Arms and Armour..., 19 July 2001, lot 61 For further information on this lot please visit Bonhams.com

A novelty silver place card/menu holder,   cast as a man with a sandwich board, advertising shows on Drury Lane  Vesta Tilley, Harry Champion, Dan Leno and Marie Lloyd, Thomas Charles Jarvis, London 1976, 56mm high, 46.4g

After Robert Dighton, Derby & Joan, or The Platonic Lovers,coloured etching, framed and glazed,visible 19x24cm.Footnote:This Georgian satirical cartoon depicts Elizabeth Farren and the Earl of Derby in the audience at Drury Lane Theatre, London, 1804.

Francis (Dick), Risk, uncorrected proof copy, half-title signed and dedicated by the author, London: Michael Joseph, 1977, half-title autographed and inscribed by the author: Charmian, This might not be a hard back, but the author's feelings are no less sincere. Only wish we'd met at Drury Lane last night. Best wishes Dick Francis, dated 11th September 1977, original wrappers, ?publishing house inscription, slightly stained, 8vo, & two more Francis uncorrected proof copies, Slay-Ride and High Stakes, London: Michael Joseph, 1973 & 1975, original wrappers, soiled, chipped and creased, but good, 8vo, (3)

Roy Hudd signed Christmas Greetings FDC. 27/10/97 Drury Lane postmark. 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.

Original vintage movie poster for the Italian release of the classic American political drama film Advise & Consent / Tempesta su Washington based on the novel by Allen Drury, directed by Otto Preminger and starring Henry Fonda, Charles Laughton, Don Murray, Walter Pidgeon, Peter Lawford, Gene Tierney, Franchot Tone and Lew Ayres. Great design by the notable American graphic designer and filmmaker Saul Bass (1920-1996) showing a stylised depiction of the United States Capitol in Washington with a hand opening the dome to reveal the actors' names with the title below, set against a red background. Printed in Italy by Vecchioni & Guadagno, Roma. Very good condition, folds. Country of issue: Italy, designer: Saul Bass, size (cm): 70x32, year of printing: 1962.

Fourteen Vanity Fair Spy and Ape Prints of THE ARTS, together with 'Corney Grain and George Grossman', framed print signed below by Grossman, Grain and Ward; Augustus Henry Glossop Harris - 'Drury Lane', framed; Henry Wood - 'Queen's Hall'; Mark Hambourd ' Impromptu'; William Cuffe - 'Chesterfield Letters'; M. P. Dore - 'Sensational Art'; Ronald Charles Sutherland Leveson-Gower - 'A Sculptor', framed; Joseph Joachim - 'The Last of a Classical School', framed; Richard Wagner, framed; W. S. Gilbert; Sir Squire Bancroft; Henry Arthur Jones - 'Author-Manager'; Edward O'Connor Terry; Richard Wagner - 'The Music of the Future', framed; George Busson de Maurier - 'Trilby', framed (15)

Silver salver with scalloped edge Sheffield 1978, maker F Drury. Diameter 20.5cm. Weight 324gm.

Trials.- Trial (The) of Thomas Phipps, the Elder, Thomas Phipps, the Younger, and William Thomas, for Forgery, modern half morocco, Oswestry, J.Salter, 1789 § Wise (Edward) The Remarkable Tryal of Thomas Chandler...for wilful and corrupt Perjury..., modern marbled boards, Reading, C.Micklewright, 1751 § True (A) and Faithful Narrative of the Life and Actions of John Oneby, Esq....who was to have been Executed last Monday at Tyburn, for the Murder of William Gower, Esq., modern marbled boards, J.Roberts, [?1727] § Particulars of the Very Singular and Remarkable Trials, Convictions, and Escapes, of John Shepherd..., modern cloth, S.Bladon, 1786 § Gurney (Joseph) The Trials on the Informations...against Richard Smith, Esq. and Thomas Brand Hollis, Esq. for having been Guilty of Notorious Bribery, and thereby procuring themselves to be Elected...for the Borough of Hindon, ex-library copy with small stamp to foot of title, contemporary half calf, rubbed, G.Kearsly, [1776], first editions, some light foxing; 4to & 8vo (5)⁂ Oneby was found guilty of the murder of William Gower during an argument at the gaming-table in The Castle Tavern, Drury Lane. His appeal against the verdict was heard by Lord Chief Justice Raymond (1673-1733) and became important in establishing a distinction between manslaughter and murder. The verdict was upheld and the prisoner committed suicide with a large knife.

Edward Alfred Briscoe Drury - a late 19th/early 20th century patinated cast bronze figure of a British soldier, holding a rifle and a pair of binoculars, bearing cast signature, raised on a green marble plinth, height 50cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Byron (George Gordon, 6th Baron Byron, 1788-1824). English Romantic poet and peer. Lord Byron's personal acting copy of The Wheel of Fortune; A Comedy, in Five Acts; as Performed at the Theatre Royal, Drury-Lane, by Richard Cumberland, printed… from the Prompt Book, with Remarks by Mrs Inchbald, London: Longman, Hurst, Rees & Orme, [1806], engraved frontispiece, 70 pp., the engraved frontispiece signed and inscribed by Lord Byron in black ink at head, ‘Byron / Harrogate / Monday Sept. 15th 1806’, inscribed ‘Leacroft’ at head of title, manuscript annotations, (probably by Julia Leacroft) to ‘Persons Represented’ leaf, identifying the names of the persons playing each part, (with Byron as Penruddock and Julia L[eacroft] as Emily Tempest, plus [C.] Becher, [John] Leacroft, [John] Pigot, [H.] Houson, [Captain] Lightfoot, [G.] Wylde, Weatherell, Miss L[eacroft] and [Ann] Bristoe), the pencil letters ‘O S’ over-inked in an unidentified hand adjacent to first prompt on p. [7], the dialogue affecting Weazel, a ivery servant and Jenkins struck through with pencil on p. 40 (Act 3 Scene 3, just prior to Penruddock’s entrance), lacks the final printed leaf (pp. 71-2), supplied in slightly later manuscript on 5 pages in the autograph of Caroline Elizabeth Leacroft, frontispiece heavily spotted and detached with paper loss to stub where originally stitched, title somewhat dust-soiled and frayed without loss of text, occasional spotting, marks and finger-soiling with page edge curling and a little fraying to a few leaves (touching a few initial letters of manuscript names on ‘Persons Represented’ leaf), the contents somewhat loose with later re-stitching into plain wrappers by Caroline Leacroft, the later stitching now partly broken, signed by Caroline Elizabeth Leacroft on the inside front wrapper, wrappers lightly dust-soiled, slim 12mo (165 x 99 mm)QTY: (1)NOTE:This is the original acting copy of the play used by Lord Byron to learn his lines in Harrogate during his brief visit there in September 1806. Though very battered and lacking the final text leaf, it was lovingly completed in manuscript and re-stitched by Caroline Leacroft (1799-1861) into plain wrappers. As such, it is a unique and powerfully emotive association item from Byron’s tempestuous teenage years.Byron’s mother rented Burgage Manor in Southwell, Nottinghamshire, and from 1803 Byron would visit her during school holidays from Harrow, and then later when he was at Cambridge. While visiting his mother, Byron formed friendships with neighbouring families, in particular Elizabeth and her brother John Pigot, and the siblings John and Julia Leacroft (1789-1855) at Burgage House. It was here that in the summer of 1806 the group of friends decided to stage some amateur dramatics. For this play Byron took the lead male role, while Julia Leacroft played the role of Emily Tempest. During this period Byron and Julia became close, their flirtation leading to rumours in the Southwell community. By January 1807 the idea that the pair would marry was assumed by many, including the Leacroft family. However, Byron had no intention of marrying Julia and the circumstances caused a local scandal.‘Life at Harrogate was anything but wild. All the while Byron was poetizing, and he and Pigot were memorizing their parts for the play. “Lord Byron can say all his parts,” Pigot wrote his sister, “and I most of mine. He certainly acts it inimitably.” Byron had seen a beautiful Quaker who inspired some verses to be included in his volume.On his return from Harrogate Byron wrote between stages a prologue for the play. He entered wholeheartedly into the production of the amateur group, which had chosen Cumberland’s Wheel of Fortune, a heroic drama that gave ample scope to Byron’s love for histrionic rhetoric. He had the leading role of Penruddock, the gloomy disappointed lover of Arabella Woodville (Miss Ann Bristoe). He mouthed the heroic passages with gusto, frequently bringing down the house with his acting. Byron also played the lead (Tristram Fickle) in Allingham’s Weathercock in the second play of the evening’s offering. Miss Bristoe played the heroine again.Through October Byron was working on his poems, sending them off to Ridge, the printer, in Newark, as he copied and revised old ones or wrote new. At the same time he was paying court and writing verses to several of the Southwell belles, especially to Julia Leacroft, in the dining-room of whose home the plays were represented, and to Ann Houson. To none of these Southwell flirtations did Byron give more than cynical attention. Since his frustrated passion for Mary Chaworth he felt that the capacity for romantic attachments had been burned out of him. Most of his verses addressed to the Southwell girls were essays in gallantry and accusations of infidelity and fickleness.’ Leslie Marchand Byron, A Biography, volume 1, (London: John Murray), p. 117: More information about this period and the people in Byron's life can be found in his Letters and Journals.Byron wrote two poems referring to Julia Leacroft, the first entitled ‘To Julia’ and published in his first collection, Fugitive Pieces, though the title was later changed to ‘To Lesbia’. In the poem he addresses her and explains he no longer loves her.When these theatricals were performed in September 1806 Julia would have been about 17 years old, her younger sister Caroline about 7. Caroline would undoubtedly have been swept along with the dramas then going on in the drawing room and beyond, and perhaps re-discovering the dog-eared pamphlet in her adult years, decided to restore and preserve this fragile Byron holy relic.

Virginian slavery.- Drury Mays for the sum of four hundred dollars has bargained and sold to Robert Stephen "a certain negro woman named Presila about Twenty two years of age", manuscript, 1p., folds, browned, 270 x 190mm., 5th January 1825.

Alfred Drury (1852-1944) bronze bust 'Head of a Girl' , nr 183 May 1969, raised on a green marble plinth, approx 27 x 13 cms. London Fine Art Society New Bond Street, label.

ANDREWS (John) and Andrew DRURY. A Topographical Map of the County of Wilts, Describing the Seats of the Nobility and Gentry, Turnpike and Cross Roads, Canals, &c., Surveyed Originally in 1773..., 2nd edition, revised and corrected, London: W. Faden 1810, large folio, title slightly stained, table of the market towns and villages, folding Index, County Map of Wiltshire and complete with 18 double page sectional maps hand coloured in outline, Holland House armorial bookplate, later half calf over contemporary marbled boards

A rare South Staffordshire commemorative patch box, c.1800, printed in manganese with an angel holding a shield bearing the portrait of King George III, in her other hand a shield deflecting the course of an arrow, inscribed 'God Save the King' and 'May no weapon form'd against him prosper', raised on a dark blue base, fitted with an internal mirror, a little cracking, 5.2cm.Provenance: from the estate of the late Barry Lock.The print on the box relates to a failed assassination attempt on George III on 15th May 1800, when James Hadfield fired a shot at the king during the singing of the national anthem at the Drury Lane Theatre. The medal from which this print was taken was designed by P. Kempson.

LONDON (City), Bishopsgate Without, Henry Jordon, Farthing, 0.95g/6h (N 6624; BW. 302), Old Change, N.I.B. at the willow tree, Farthing, 1.28g/6h (N 7444; BW. 2127); (Metropolitan Middlesex), Drury Lane, Robert Deluke, Farthing, 1.03g/6h (N 8701; BW. 863), Ratcliff Cross, George Bulmor, Farthing, 1658, 0.80g/6h (N 8362; D 2325B), Tower Wharf, D.M.G. at the 3 tvnns, Farthing, 0.47g/6h (N 8482; BW. 3187), Wapping, W. Gaunt, Farthing, 1652, 0.93g/12h (N 8533; BW. 3301), Wapping Wall, M.A.S. at the plow, Farthing, 1.00g/6h (N 8565 rev., diferent obv.; BW. 3339); SOUTHWARK, Tooley’s Watergate, I.S.W. the sheepheard and dogg, Farthing, 0.66g/6h (E 1008; N 5143; BW. 470) [8]. Generally fair to fine, some excavated £60-£80

Original antique theatre poster for a Drury Lane Pantomime show for children written and invented by the playwrights J. Hickory Wood and Arthur Collins. Colourful image by the notable English illustrator, poster designer and cartoonist John Hassall (1868-1948) depicting characters in flamboyant costumes in a royal throne room with a man in a red cape with a white ruff collar holding a white cat as he kneels in front of the King and Queen and two guards who are all looking down at him, the stylised title text running down the sides and theatre text above. Traditional Christmas pantomimes have been held at the Drury Lane Theatre in Covent Garden London since the early 1700s. Horizontal. Very good condition, light staining, creases and restored tears in margins. Country of issue: UK, designer: John Hassall, size (cm): 76x50.5, year of printing: 1904.

Original antique theatre poster for a Drury Lane Pantomime show for children written and invented by the playwrights J. Hickory Wood and Arthur Collins. Colourful image by the notable English illustrator, poster designer and cartoonist John Hassall (1868-1948) depicting a smartly dressed man coaxing two children towards two unshaven men, one with a money pouch and a dagger knife on his belt, the young girl wheeling a toy dog on a red ribbon behind her and the boy holding his hat behind his back. Traditional Christmas pantomimes have been held at the Drury Lane Theatre in Covent Garden London since the early 1700s. Horizontal. Excellent condition, light staining in margins. Country of issue: UK, designer: John Hassall, size (cm): 76x50.5, year of printing: 1907.

George Drury (British 1950-): 'Velsheda and Shamrock off the Needles', oil on board signed, titled verso 74cm x 49cm

George Drury (British 1950-): 'The Big Class 1935', oil on board signed, titled verso 74cm x 49cm

THE DUENNA OR DOUBLE ELOPEMENT A COMIC-OPERA AS PERFORMED AT THE THEATRE ROYAL IN COVENT GARDEN FOR THE VOICE, HARPSICHORD AND VIOLIN, [Words by R B Sheridan, Music selected and composed by T Linley the Elder and T Linley the Younger], London, printed for C & S Thompson [1775], first edition, bound in with [John Gay]: THE BEGGARS OPERA AS IT IS PERFORM'D AT BOTH THEATRES WITH THE ADDITIONAL ALTERATIONS BY DR ARNE FOR THE VOICE, HARPSICHORD AND VIOLIN THE BASSES ENTIRELY NEW, London, printed for T Straight & Skillern, circa 1775, bound in with [Charles Dibdin]: TWO MISERS A COMIC OPERA IN TWO ACTS...AS NOW PERFORMING WITH UNIVERSAL APPLAUSE AT THE THEATRE ROYAL COVENT GARDEN..., London, John Johnston [1775], first edition, bound in with Charles Dibdin: THE OVERTURE SONGS ETC IN THE QUAKER A COMIC OPERA NOW PERFORMING WITH UNIVERSAL APPLAUSE AT THE THEATRE ROYAL DRURY LANE..., London, J Johnston [1777], first edition, all works engraved throughout, oblong folio, contemporary boards worn, crimson morocco gilt label on top board plus A VICTORIAN BOUND VOLUME OF ASSORTED SHEET MUSIC, five with illustrated fronts, 4to, old half morocco worn plus THE MUSICAL MISCELLANY BEING A COLLECTION OF CHOICE OF SONGS AND LYRIC POEMS..., London, John Watts, 1731, vol 5 (of 6) engraved frontis with small part marginal loss, old calf worn (3)

Theatre interest: a Theatre Royal, Drury Lane, Souvenir Programme given by Theatrical & Musical Professions As A Tribute to Miss Ellen Terry on the Occasion of Her Jubilee, Tuesday Afternoon, June 12, 1906, with ink signature Ellen Terry - 1906 to front page; together with a Royal Lyceum Theatre programme, Coriolanus, Last Night of the Season, 1901, Henry Irving, Miss Ellen Terry; two black and white photographs of Ivor Novello in Henry V, Theatre Royal Drury Lane, with ink inscription to the reverse of each, From Olivia Gilberts Collection, 30.5 x 38cm; and five further theatrical photographs, including Vanessa Redgrave, 1950-60s (9) (VAT charged on Hammer Price)

TV and Film Autograph Card Collection of 30 Signed Cards/Signature Cuttings. Signatures include Derek Minter, Arthur Askey, Jimmy Tarbuck, Harry Secombe, Frankie Howerd, Brian Rix, Frank Muir, John Wells, Victor Spinetti, Alison Steadman, John Neville, Geoffrey Hughes, Kevin McKidd, David Jansen, Isla Blair, Royce Mills, Julian Glover, Robert Henry Hennessy, Leslie Phillips, Hugh Lloyd, Robin Askwith, Joan Bakewell, Patrick Drury, Lou Gish, Charles Dance and others. Good collection. May Yield Good Value. 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

After Edward King - Lincoln's Inn Gateway - coloured engraving, etched by C T Winter, The Museum Gallery, 53 Shorts Gardens, Drury Lane London label to verso, signed in pencil with blind backstamp, 39 by 29cms, framed & glazed.

F. DRURY LTD; an Elizabeth II hallmarked silver cake stand with cast rim and pierced border of grapevine, scrolling detailing and floral sprays with three vacant cartouches, Sheffield 1981, diameter 26cm, approx. 19.47ozt/605g,Condition Report: Surface wear and scratches, tarnishing and wear, otherwise good.

F. DRURY LTD; an Elizabeth II hallmarked silver waiter with cast rim of Celtic knot style motifs, Sheffield 1977, with a hallmarked silver three piece cruet, approx. weight 11.8ozt/368g.

Late 19th Century Continental Hunting Sword17 3/4 inch, single edged blade with back edge sharpened point.  The forte with later stamp "Nathan Drury Lane. London".  Brass oval crossguard with scalloped ends.  Brass ferrule.  Brass disk pommel.  Polished horn grip.  Contained in its leather scabbard with brass mounts.  

Posters. London Theatre Poster Collection of 3 Posters. Includes Cats From New London Theatre Drury Lane. The Phantom Of The Opera From Her Majesty's Theatre Haymarket. Les Miserables From The Palace Theatre Shaftesbury Avenue. Great Memorabilia. Rolled. 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.

Miscellany (6): a uniface cast copper medal, unsigned, 35mm (Eimer 196); One Penny, uniface, copper, 31mm (Eimer 198); white metal, undated, by Allen & Moore, rev. royal wellington rifle guards, 39mm (Eimer –); uniface, copper, by Bain, rev. engraved t. riddell, drury lane, 21mm (Eimer Ap. 3); Halfpenny, 1811 (Eimer Ap. 5); Ten Shillings, uniface, brass, 20mm (Eimer Ap. 20) [6]. Varied state£50-£70

Folklore Studies Interest - Histories or Tales of Passed Times by Mother Goose With Morals. By M. Perrault. Translated into English. Printed for J. Pote, at Sir Isaac Newtons Head near Suffolk Street, Charing Cross and R. Montagu, the Corner of Great Queen Street, Near Drury-Lane. Printed 1729. To include; The Little Red Riding-hood, The Fairy, The Blue Beard, The Sleeping Beauty in the Wood, Pus in Boots. Illustrated. 

Arsenal 38/39 Signed Football Player Postcards: Original postcards from around 1938 including hand signed by Carr B Jones L Jones Drake Kirchen and Copping. Other players from the set of pictures taken from waste upwards are Wilson Swindin Bastin Male Hapgood Drury and Joy. All from the same set and not to be mixed up with a similar set of full length photos. 8 have press stamps to rear and 2 have evidence of being previous Y stuck down to rear. Rare chance. (13)

1917 Grand Concert programme, for Town Hall, Abergavenny in gilt frame together with leaflet for Dido, for Theatre Royal in Drury-Lane, by His Majesty's Company, also framed, largest L37cm

A collection of Compilation and Sound Track LP's to include, Star Wars (OST), The War Of The Worlds, The Muppet Show, Monty Python Live At Drury Lane, Johann Sebastian Bach, The Sensational 70's (Box Set), Ghost Busters, Music Inspired By Lord Of The Rings, The Best Of The Goon Show No.1 and No.2 as well as other titles (Some titles have duplicates) All conditions vary from Good to Very Good with Fair to Good Plus Sleeves. (33)

Walter Richard Sickert (1860 - 1942), 'The Mogul Tavern, Drury Lane', etching/aquatint, signed, dated & titled within the plate, 1908, inscribed in pencil Sickert lower right in the margins, plate 25cm x 17.5cmFramed and glazed, print has not been removed for inspection. Signs of acidic browning around the edge at the mount aperture, and some spots of rubbing to the paper on the balcony (see image), otherwise appears to be in good condition, with no visible signs of tears, holes or foxing.

John O'Connor (British, 1830-1889)A view in Vicenza oil on canvas laid onto board81 x 15cm (31 7/8 x 5 7/8in).Footnotes:ProvenanceSale including the contents of 17 Grove End Road, Hampton & Sons, London, 11 June 1913.With The Fine Art Society, London, as Village Steps.The Irish News Collection (acquired from the above).O'Connor was born in County Londonderry in 1830. Orphaned at the age of twelve he had, by 1848, found employment in London, first working at Drury Lane and then from 1863 as principal scene painter at The Haymarket Theatre. He was commissioned by Richard D'Oyly Carte to work on productions by Gilbert & Sullivan which proved very popular. He began exhibiting at the Society of British Artists in 1854 and The Royal Academy from 1857. He is best known for his panoramic views of London, including Ludgate, Evening, The Embankment from Somerset House and From Pentonville Road looking West, London, Evening painted in 1884 (Museum of London).O'Connor travelled extensively and this small view of Vicenza relates to a larger composition and is one of a number of views that he painted in the North Eastern Italian city. By 1887, he was living in Abercorn Place, St John's Wood, just a few minutes' walk from Grove End Road.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Royal Worcester white porcelain figure of a boy on a pony, "Happy Days" modelled  by F G Doughty, 19.5cm high, and another "Sweet Nell of Old Drury" no. 3006, modelled by Anne Atchison, 23cm high  (2)

'Conscience; Or The Bridal Night’, Theatre Royal, Drury Lane, April 9, 1821, a framed theatre billboard poster, 32x18cm excl frame