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Violet Esther Drury Clutterbuck (British,1869-1960), Alpine scene, watercolour, 13x9ins, framed and glazed.

Rackham, Arthur (illustrator), 'Gulliver's Travels' by Jonathan Swift, London, J. M. Dent, 1909, pictorial cloth gilt, 8vo; 'Peter Pan in Kensington Gardens', London, Hodder & Stoughton, 1910, 4to; 'Aesop's Fables', London, William Heinemann, 1933; 'The Peradventures of Private Pagett' by Major W. P. Drury, London Chapman and Hall, 1904; 'Tales from Shakespeare' by Charles and Mary Lamb, London, J. M. Dent, 1957; 'Grimm's Fairy Tales' by Mrs. Edgar Lucas; 'The Grey House on the Hill' by Mrs. Green, first edition, London, Thomas Nelson and Sons. (1 box)

FRAMED LORD MAYOR OF LONDON 1979-1980 PRESENTATION PLATE, SIR PETER DRURY HAGAGRESTON GADSDEN

Four early 20thC Lincoln city postcards, street scenes, corner of Lindum Road, East Bight in the snow, Cathedral from Drury Lane and High Sheriff's Carriage, Lincoln 1906, black and white. (4)

A .45 (ACP) COLT MANUFACTURED '1911A1' SERVICE PISTOL, serial no. 1127991, for 1943, with 5in. barrel, grey phosphated frame and slide, the latter with maker's address and patents, the former with 'M1911A1 U.S. ARMY' and 'UNITED STATES PROPERTY', 'G.H.D.' inspector's stamp (George H. Drury), grip safe, chequered dark brown plastic grips and original magazine with two-tone finish. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Section 7.3 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement.

Pair: Surgeon Major M. O’C. Drury, Royal Army Medical Corps, who had been mentioned in despatches for his service in Burma 1885-86, and was the Army Medical Officer in Charge of the Langman Hospital, Bloemfontein, South Africa during the Boer War. On his medical staff was one Dr Conan Doyle, who went on to mention him in his book Memories and Adventures Egypt and Sudan 1882-89, undated reverse, 1 clasp, Suakin 1885 (Surgn. M. O’C. Drury. Med: Staff.) cleaned; Khedive’s Star, dated 1884, unnamed as issued, generally very fine or better (2) £400-£500 --- Maurice O’Connor Drury joined the Army Medical Service as a surgeon in July 1880, and advanced to surgeon major in July 1892. He served in the Sudan Campaign of 1885 (Medal with clasp, and Khedive’s Star), and then with the Burmese Expedition 1885-86 (Mentioned in Despatches, Medal with clasp). He was appointed to the military command of the Langman Hospital in January 1900: ‘This hospital, which consists of one hundred beds, with marquees and thirty-five tents, has left in the Oriental for South Africa. The hospital, unlike other civil ones, is not a base-hospital, but is going to “the front,” where its services are greatly needed. The greatest thought and care have been bestowed on its equipment, and no expense spared to provide, not only the most complete outfit of surgical appliances, medicines, stretchers, etc, but also innumerable comforts and nourishments that will so much help to alleviate the sufferings and hasten the recovery of the sick and wounded. Mr Archie L. Langman (Lieutenant Middlesex Yeomanry), son of the donor, will accompany it as Treasurer.... Mr Robert O’Callaghan, F.R.CS., of Harley Street, Surgeon to the French Hospital in London, is Surgeon-in-Chief, and is a specialist of repute in abdominal surgery. As gunshot-wounds of the abdomen have been very frequent and serious during the present war, his services will be of special value to our soldiers at “the front.” Mr C. Gibbs, F.R.C.S., of Harley Street, Assistant Surgeon Charing Cross Hospital, is Surgeon.... Dr. Conan Doyle is Physician.... Major M. O’C. Drury, R.A.M.C., who has been appointed by the War Office as the Army Medical Officer in charge of the Langman Hospital.... The staff of this hospital was inspected by the Duke of Cambridge on Feb. 21 at the headquarters of the St. George’s Rifles, Davies Street, Portman Square. On the entry of the Duke of Cambridge, the staff was called to order, by Major O’C. Drury, R.A.M.C., the military officer in command. The Duke carefully inspected the men, and the medical officers were presented to him. The Duke then, in a short speech, congratulated the staff on having the opportunity of serving their Queen and Country in South Africa...’ (The Sketch, 7 March 1900) The same publication also followed the progress of the hospital in Bloemfontein, and published photographs of Drury showing Lord Roberts around the hospital, and Dr Conan Doyle attending to the sick. The latter recalled his time there, and Drury, thus: When we were complete we were quite a good little unit... We were compelled to have one military chief, as a bond with the War Office, and this proved to be one Major Drury, a most amusing Irishman who might have come right out of Lever. To leave service and to “marry a rich widow with a cough” was, he said, the height of his ambition. He was a very pleasant companion in civil life, but when it came to duties which needed tact and routine he was rather too Celtic in his methods, and this led to friction and occasional rows in which I had to sustain the point of Mr Langman. I have no doubt he thought me an insubordinate dog, and I thought him - well, he has passed away now, and I remember him best as a very amusing companion.’ (Memories and Adventures by Arthur Conan Doyle refers) Drury resided at Cynghordy Hall, Carmarthenshire, and was killed in a shooting accident there in December 1906. He was climbing over a fence, when he slipped and fell with his gun going off in the process. Drury also features as a character in Kieran McMullen’s Sherlock Holmes and the Mystery of the Boer War Waggon, a copy of which is included with the lot. Sold with copied research, including photographic images of recipient.

WW1 British Lord Kitchener's Birthday Recruiting pamphlet plus other WW1 British photographs inc portrait photo of J Drury-Lows of Derbyshire and postcards to include RFC, early RAF, along with some WW2 British examples inc RAF Aircrew, Glider Pilots, Nurses, WAAF, ATS and early post war WRAC. (17)

A theatre programme for The Royal Performance in the Presence of Her Majesty The Queen on the Evening of Monday November 26th 1979, at the Theatre Royal, Drury Lane, London, signed by some of the cast

Taxidermy. Entomology. A collection of late 19th century butterflies displayed in two pine boxes.Condition ReportImage 1Column 1-2 - Polyura athamas (Drury)Column 2 - Zemeros flegyas (Cramer)Column 3 - Abisara echerius (Stoll)Column 4 - Hestina assimilis (Linnaeus)Column 5 - Deudorix epijarbus (Moore) [Lycaenidae]Column 5 - Rapala manea Hewitson [Lycaenidae]Heliophorus epicles (Godart) [Lycaenidae]Column 6 - Miletus chinensis Felder [Lycaenidae]Famegana alsulus (Herrich-Schäffer) [Lycaenidae]Column 7 - Chilades lajus (Stoll) [Lycaenidae]Column 7-8 - Famegana alsulus (Herrich-Schäffer) [Lycaenidae]Column 8 - ?Pseudozizeeria maha (Kollar) [Lycaenidae] [maybe a mixed series]Column 9 - Jamides bochus (Stoll) [Lycaenidae]?Freyeria putli (Kollar) [Lycaenidae]Everes lacturnus (Godart) [Lycaenidae]Image 2Column 1 - Parantica sita (Kollar) [Nymphalidae: Danainae]Parantica aglea (Stoll) [Nymphalidae: Danainae]Column 2 - Tirumala limniace (Cramer) [Nymphalidae: Danainae]Column 3 - Ideopsis similis (Erichson) [Nymphalidae: Danainae]Column 4 - Danaus genutia (Cramer) [Nymphalidae: Danainae]Image 3Column 1 - Catochrysops strabo (Fabricius) [Lycaenidae]Column 2 - Euchrysops cnejus (Fabricius) [Lycaenidae]Column 3 - Lampides boeticus (Linnaeus) [Lycaenidae]Lycaena phlaes chinensis (Felder) [Lycaenidae]Column 4 - Arhopala bazalus (Hewitson) [Lycaenidae]Arhopala ?pseudocentaurus [Lycaenidae]Column 5-6 - Iraota timoleon (Stoll) (2 columns) [Lycaenidae]Column 7 - Curetis dentata Moore [Lycaenidae]Column 8 - Heliophorus epicles (Godart) [Lycaenidae]Spindasis lohita (Horsfield) [Lycaenidae]Column 9 - Remelana jangala (Horsfield) [Lycaenidae]Tajuria cippus (Fabricius) [Lycaenidae]Column 10 - Artipe eryx (Linnaeus) [Lycaenidae]Image 4Column 1 - Danaus chrysippus (Linnaeus) [Nymphalidae: Danainae]Column 2 - Euploea midamus (Linnaeus) [Nymphalidae: Danainae]Column 3-4 - Euploea core (Cramer) [Nymphalidae: Danainae]Column 4 - Euploea mulciber (Cramer) [Nymphalidae: Danainae]

An Elizabeth II cast silver caddy spoon, F Drury Ltd., Sheffield 1980, the leaf moulded bowl with fruiting boughs, chased foliate scroll handle, 9cm long, 0.64ozt

A collection of vintage vinyl LP records to include Saturday Night Fever, Strawbs, Gibson Brothers, Rod Stewart, Abba, The Moody Blues, Easy Rider, The Hollies, Roy Wood, The Motels, Who/Hendrix, Bloody Tourists, The Supremes, Ian Drury and the Blockheads, The Rumour, Blondie, Steve Gibsons, Procol Harum, Four Tops, Barclay James Harvey, Rick  Wakeman, Flying Home and Elvis.

Football Autograph Card Collection of 50. Signatures include Craig Fleming, Darren Huckerby, Iwan Roberts, Youseff Chippo, Adam Drury, Ewan Roberts, L Mettomo, A Andersen, D Cordone, Marcelino, Mikkel Bischoff, Darloi Marcoun, Mark Keller, Christian Val, Babayko, D Moretti, Stig Bjonebe, Antonio Valencia, Sylvester Joseph, Peter Martin, Tony Piggott, James Galding, Denis Law, Chris Mason, Craig McMillan and others. May Yield Good Value. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Augustus Harris’s Venus Burlesque account, a remarkable pamphlet in the form of an account book bulging with £5 notes and £500 cheques, undated, but the note is a May £5 and is dated 189(?), the book opens to reveal the full advert and cast of ‘Venus’, a burlesque in three acts (these were, 1 Vulcan’s Forge, 2 Mercury Newspaper Office and 3 The Immortals Club; The Trial), foxed, extremely fine and a remarkable item Outing unlisted £100-£150 --- While this item advertises the Drury Lane production, the show moved around and was played at Portsmouth in 1890, Sheffield in 1891 and Henley in 1892, which was probably amongst the last performances.

NO RESERVE London's lowlifes.- A fortnights ramble through London, or A complete display of all the cheats and frauds practized in that great metropolis, with the best methods for eluding them, engraved vignette title, lacking frontispiece and final advertisement f., title soiled, some staining, lightly browned, 20th century cloth-backed boards, spine gilt, rare, Printed by & for J. Roach at the Britannia Printing Office, Woburn Street New Drury Theatre Royal, 22nd May, 1795; and a book purportedly from the library of Lewis Carroll, 8vo (2)

Impressive and unusual English mahogany double fusee 20" drop dial wall clock signed Thwaites & Reed, Clerkenwell, London, the movement back plate signed Jas Drury, within a turned surround over a short drop (pendulum and keys)

Raleigh Cycle Co Postcard (The Raleigh Lion Poster), 1996, Breezy Stories Real Gold advert card (20x15cm), BFI "An Italian Straw Hat" 1984 leaflet (21x15cm). 3 Advertising cards and Theatre Royal Drury Lane Surprise Pantomime Spectacular (Mother Goose) 2nd Dec 1984. VGC

An assortment of early 20th century and later theatre programmes and pamphlets to include examples for Palace Theatre Manchester, Manchester Repertory Theatre, St Martins Theatre and Theatre Royal Drury Lane and  Apollo Avenue Theatre. 

Over thirty theatre programmes 1940s and later including various London theatres - Apollo, Adelphi, Savoy, Drury Lane, Palace, Prince Edward, Vaudeville, Palladium etc, Folies Bergere and othersCondition Report:Generally in good condition.Older items a little grubby from use and storage.

An enamelled iron street sign for Drury Lane WC2, City of Westminsterwith iconic black and red sans serif lettering first created by Sir Misha Black in 1967 which is unique to the Westminster signs and under copyright law, forbidden to be copied anywhere in the world. Height 44cm, width 72cmCondition: The sign has been hung outside and have been exposed to the elements and has a degree of wear. Some enamel losses to the edges in places, and two patches to the front.

A Theatre Royal Drury Lane souvenir programme for the 50 year stage jubilee of Ellen Terry. Dated June 12th 1906, complete with 8 full page illustrations, some colour, and loosely inserted supplementary booklet. Together with a 1937 Royal Coronation commemorative booklet.

Ruth MANNING-SANDERS. A miniature leather bound 'The Almanac Explained' in matching leather sleeve, nibbles and loss to ornate gilt full leather boards, engravings of 'Drury Lane Theatre', ink stamp to titlepage, London, [c.1800].

ARSENAL V DYNAMO MOSCOW 1945 / AUTOGRAPHS Official single sheet programme for the home Friendly 21/11/1945 which has been signed by over 20 players including Alex James, Stan Matthews, Stan Mortensen, Tommy Lawton, Bob John, Nelson, Collett, Halton, Cumner, Rooke, Drury, Bastin, Scott, Griffiths, Bacuzzi, Beasley, Brown, Joy and Bremner. Generally good

§ OROVIDA CAMILLE PISSARRO (BRITISH 1893-1968) JUNGLE LAW Etching, 22/45, signed, inscribed and numbered in pencil to margin;and another, Paul Drury (British 1903-1987), March Morning - 1933, etching, signed, titled and dated in pencil to marginDimensions:12 1/2cm (5in), 19cm (7 1/2in) and 13cm (5in), 16cm (6 1/4in)Provenance:Provenance: Paul Drury 'March Morning' - Elizabeth Harvey-Lee, Oxfordshire, 1996.

§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) CRAY FIELDS, 1925 (TASSI 19) Etching, signed in pencil to marginDimensions:image size 11.5cm (4 1/2in), 12cm (4 3/4in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 55.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.19.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.11. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: Gordon Cooke has noted that 'the Cray is a river, rising at St Mary Cray, near Farningham, where Graham Sutherland moved in 1927' (op.cit., unpaginated). Roberto Tassi has remarked that in this work ‘the bewitching atmosphere of [Samuel] Palmer…is clearly in the ascendant here, as we can see from the stars, the tall spikes and line of hop-poles’. (op.cit., p. 20)

§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) THE VILLAGE, 1925 (TASSI 20) Etching, signed in pencil to marginDimensions:17cm (6 3/4in), 22cm (8 3/4in)Provenance:Provenance: Christie's, South Kensington, 16th April 2014, lot 120.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.20.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no. 9. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air of quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Gordon Cooke has linked The Village to Samuel Palmer's etching The Bellman of 1879 (op.cit., unpaginated, see Victoria & Albert Museum collection acc. no.E.1465-1926). In contrast, Roberto Tassi detected the influence of Jean-François Millet and declared that The Village revealed 'a new and absolutely original vision...with tilled fields, weary labourers, their wretched cottages and the evening stillness that weighs on everything.' (op.cit., p. 19) Ronald Alley has explained that the scene depicted was 'based mainly on scenery around Cudham in Kent, but with elements from Warning Camp in Sussex.’ (Ronald Alley, Graham Sutherland, London 1982, p. 58.)

§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) PECKEN WOOD, 1925 (TASSI 21) Etching, signed in pencil to marginDimensions:13.5cm (5 1/4in), 18cm (7in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 51.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.21.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.10. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: Ronald Alley has written about this work that the rural world it depicts ‘is one of the past, the evocation of a mode of village life which had almost completely passed away. The emphasis is on the autumnal fertility of nature, with man living in communion with nature and...the moment depicted is when the sun is setting, or near setting and the stars are beginning to come out.' (Ronald Alley, Graham Sutherland, London 1983, p. 59)

§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) ST. MARY'S HATCH, 1926 (TASSI 22) Etching, signed in pencil to marginDimensions:12cm (4 3/4in), 18cm (7in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 52.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.22.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.13. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: St Mary's Hatch comes from ‘a series of small, densely worked etchings of rural England, thatched cottages and churches, fields with stooks of corn, the setting sun and the first evening stars, which were intensely poetic evocations of a more or less lost world of innocence and religious piety.’ (Ronald Alley, Graham Sutherland, London 1982, p. 9)

§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) MAY GREEN, 1927 (TASSI 24) Etching, signed in pencil to marginDimensions:11cm (4 1/4in), 16cm (6 1/4in)Provenance:Provenance: Christie's, South Kensington, 16th April 2014, lot 121.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.24.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.16. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: According to Gordon Cooke, this was the only etching which Sutherland made in 1927 (op.cit, unpaginated). He has also explained that it is the last in a series of four etchings, including Cray Fields and St Mary Hatch, ‘which seem to celebrate both religious and rural values, anchoring the scenes to the calendar and particular places.’

Miscellaneous Tokens and Checks, LONDON, Aldersgate, Ship Tavern, C.F. Parsons, brass Threepence, 27mm (Hayes 271); Drury Lane, Lion & Still, T[imothy] Dunn, brass, 24mm (Hayes 171); Islington, Canonbury House, copper Sixpence, 28mm (Hayes 31), Highbury Barn Tavern, brass Sixpence, 28mm (Hayes 121e), Red Lion, 1844, brass, 22mm (Hayes 231), [William IV], John Thornett, copper Penny, 1844, 28mm (Hayes 361 var.); Upper Thames Street, City of London Brewery Co Ltd, zinc Q[uart], 1869, 32mm (Hayes 7g); Winchmore Hill, Green Dragon, William McDonald, brass Threepence by Smith, 26mm (Hayes 21) [8]. Very fine £60-£80

Edward Topham (1751-1820) - Jedidiah Buxton, full-length profile portrait, aged 63, signed and dated 1770 within the plate, ancient Greek epitaph from John Tzetzes' Chiliad I: 275, etching, trimmed, 25 x 16.5cm Jedidiah Buxton (1707-1772), though born unlettered in Elmton, Derbyshire, developed and found fame as a mental calculator and savant. In 1754 his mental acuity was put to the test by the Royal Society, - who subsequently presented him with a handsome gratuity - and while in London, which he had walked to, he was taken to Drury Lane to see Shakespeare's Richard III; where his whole mind was given to the counting of words uttered by David Garrick. Trimmed but with no loss, as catalogued. Upper-left margin repaired, probably from being formerly affixed, and with associated creases. Upper-right with small repaired tear. The sheet with slight surface dirt. Hole to left margin.

Bibliography. Approximately 40 book dealers' catalogues, some auction sales of single-owner collections, including Bernard Quaritch's Natural History 1904, original red cloth, 8vo, three other Quaritch catalogues, Sotheran's nos. 795 & 837, original wrappers, 8vo, Sotheby's Broadsides, Posters, Pamphlets and other Printed Ephemera formed by Sir Thomas Phillipps, 1975, original wrappers, 8vo, Christie's Library of Kenneth K. Knight on the History of Science and Economics, 1979, original wrappers 4to, others, mostly late 20th century, comprising Blackwell's, Magg's, Jarndyce, John Drury, etc.

Theatre Royal (publisher) - 'Ginger Rogers in Mame, Drury Lane Theatre', screenprint with colour lithography, printed 1969, sheet size 50cm x 31cm, within an ebonized frame.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.

A set of six 19th century apothecary pottery jars with three covers. Stamped C Johns 157 Drury Lane 2qtr five with painted paper label, height 28.5cm.

A gold mounted silver horseshoe brooch with the motto 'A Run of Luck', with 'Augustus Harriss Compts' engraved to verso (Augustus Harriss was an actor and impresario and ran Drury Lane Theatre from 1879 until his death), 4cms high.Condition ReportIt measures 4cms high and 3.5cms wide.  The silver is somewhat dirty, the pin is a little loose on the hinge.  Maker 'R&Co. Birmingham 1886, good overall condition.

SUSANNA DRURY (18TH CENTURY, FL. 1733 - 1770)'The East Prospect of the Giants Causeway' Engraving, 41 x 69cmUnframedWith partial label reading '99 Wood Street Cheapside, Magazine reviews & Publications regularly served, Bookbinding in all its branches, Engraving & Printing neatly executed, Law & Commercial stamps'Condition Report: Recently restored with a paper restorer. Was cleaned and flattened and removed the print from the canvas backing that, in turn, was tacked onto stretcher bars before being framed. During the removal of the print from both the stretchers and the canvas, she found and removed the remains of a sticker which was affixed to  the canvas

Medals: a framed World War I Drury memorial plaque, inscribed to Col Robert Beech, CMG, DSO, Commanding 2/1 Scottish Horse, died August 1916, 13cm diameter.

AFRER ALFRED DRURY (1856 - 1944) 'THE AGE OF INNOCENCE' 20th century, signed to the reverse, on a marble plinth, 21.5cm high

Collection of Theatre programmes the majority signed/multi-signed inc. Interpreters starring Maggie Smith and Edward Fox at Queens Theatre, signed by both actors, David Merricks 42nd Street performed at Theatre Royal Drury Lane which is multi-signed by the cast, a 1951 production of Waters on the Moon by N.C.Hunter performed at Theatre Royal Haymarket signed by Sybil Thorndike and 5 others, a production of Show Boat at the London Palladium multi-signed by cast, a production of Underneath the Arches at the Prince of Wales Theatre, Multi-signed by cast, etc... (25)

FEMALE TRAVELLER: two extensive photograph albums from the 1920s belonging to one Miss D I Hoddinott, charting her travels through England and Ireland in the company of various young women, in particular M C Yule, the Misses Drury and Thomson and Mimi Clark: hundreds of images, sitters and locations all identified in same neat hand in black ink, presented in two half morocco bound albums of the period, oblong folio, generally in very good condition. (2)

AFTER WILLIAM HOGARTHTHE HARLOT'S PROGRESSOil on canvas30.5 x 37.5cm (12 x 14¾ in.) (6)The Harlot's Progress is a series of six paintings (1731, now destroyed) and engravings (1732) by William Hogarth. The series shows the story of a young woman, M. Hackabout, who arrives in London from the country and becomes a prostitute. The series was developed from the third image, after painting a prostitute in her boudoir in a garret on Drury Lane, Hogarth struck upon the idea of creating scenes from her earlier and later life. In the first scene, an old woman praises her beauty and suggests a profitable occupation. A gentleman is shown towards the back of the image. In the second image she is with two lovers: a mistress, in the third she has become a prostitute as well as arrested, in the fourth she is beating hemp in Bridewell Prison. In the fifth scene she is dying from venereal disease, and she is dead at age 23 in the last.zz

A good selection of military related and Royal autographs and signatures, fragments from letters etc, including Field Marshal Sir Charles Yorke (served in Peninsula and at Waterloo), General E Woodgate (killed at Spion Kop), William Gladstone, Major General Drury Lowe, George IV, General Sir William Butler, Marquis of Salisbury, Lord Chelmsford, Lord Herbert, General Wolseley, Field Marshal Viscount Wolsley, Field Marshal Roberts, Lord Sandhurst, General Sir Frederick Roberts, Willoughby de Broke, etc, (42)

After Sir Joshua Reynolds, PRA, British 1723-1792- Joanna Leigh, Mrs Richard Bennett Lloyd, inscribing her name on a tree; pencil and watercolour on paper, inscribed 'J R Shg 69' (lower left), 40 x 24.8 cm. Note: A 19th-century copy by an unidentified hand after the original in oils, held at Waddesdon Manor, Buckinghamshire [103.1995]. Joanna Leigh, later Lloyd, was the co-heiress, along with her four sisters, of the rich merchant John Leigh of Northcourt House, Isle of Wight. She married Richard Bennett Lloyd of Maryland in 1775. He came from a wealthy family who owned tobacco plantations and served as an English soldier in the Coldstream guards between 1773-1775. In 1773, the couple had their portraits painted in London and Richard was painted by the celebrated American artist Benjamin West (1738-1820). Reynolds shows Joanna carving her husband’s name on a tree, a literary reference to Shakespeare's 'As You Like It', a popular play at the Drury Lane theatre. The motif also occurs in two Italian epic poems of the 16th century: Ariosto’s 'Orlando Furioso' and Torquato Tasso’s Gerusalemme Liberata'.Please refer to department for condition report

A Collection of Various Gardening Books to include Loudon's Encyclopedia of Gardening, Open Air Gardening by Drury, The English Flower Garden by W. Robinson, All With Varying Condition Issues

A collection of vintage theatre programmes to include a signed  Blenheim Charity Cricket programme signed by Eric Morecambe, Michael Aspel and others. Also,  Bristol Hippodrome with Anna Neagle along with others.Theatre Royal Bristol, Theatre Royal Drury Lane, Adelphi Theatre and other concert orchestra programmes. Gracie Fields signed Winnipeg Auditorium programme.

1860 MalvasiaBottled by MWABelieved to have aged in the barrel for 50 + years1x70clMWA stands for Madeira Wine Association. This was an association of shippers formally adopted in 1925, having evolved from a less formal affair referred to as the British Factory which was wound up in 1838. The original members included Blandys and Leacocks. Reformed in 1934, they were joined by Drury, Lomelino and Power and Drury. Eventually the majority of shippers joined the association which changed its name in 1981 to Madeira Wine Company.  

Memorabilia - Original Frank Zappa / Mothers Of Invention concert poster for their performance at Colston Hall Bristol on Tuesday 3rd June 1969. Printer credit 'Hastings Printer Co, Drury Lane, St Leonards On Sea, Sussex Hastings 2450' Poster has been folded into 16 and has tears to many of the outer edges at crease/folds. Stains to all corners, as well as tape residue or old tape present. Various nicks, losses and discolouration throughout. Hole/loss to centre of poster, hole in centre crease at top of poster approx 1.5 inches from top seam

1 bt Power Drury Bual Vintage Madeira 1954 bottled bt Madeira Wine Company California Import (premium Ports & Madeiras) i.n, sl bs

Fanny Kelly Of Drury Lane 1950 by Basil Francis, signed by Francis. Showing signs of age. All autographs 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 £9.99

VINTAGE ADVERTISING ON COTTON TO INCLUDE DRURY LANE THEATRE, PHONOGRAPH AND A 1937 HANDKERCHIEF

Binding: Johnson (Charles) The Wife's Relief: or, The Husband's Cure, A Comedy. As it is Acted at the Theatre-Royal in Drury Lane, by Her Majesty's Servants, 4to Lond. (For Jacob Tonson at Shakespear's Head) 1712. First Edn., a.e.g. VIII, 68pp., cont. full crimson mor., dble. gilt fillets, tooled gilt panels with corner decorations, spine gilt but worn. Clean copy. (1)

S Drury (British 20th century): Herding Cattle, oil on panel signed 12cm x 17cm

A George III brass long case clock dial and movement, the dial with brass chapter ring showing Roman numerals, subsidiary seconds dial, pierced brass spandrels and date aperture, signed James Drury, London, having twin train 8-day movement together with various clock weightsWidth 30.5cm Height 42 cm extra pictures of the movement have also been added

Only Fools & Horses - Three Men, A Woman & A Baby - triple autographed 8x10" colour photograph from the episode, signed by Sir David Jason (Del), Tessa Peake-Jones (Raquel) and Ken Drury (Doctor McCallum). All signed in black ink to a light area. Supplied with a COA from the Only Fools and Horses Appreciation Society.

Three framed Norman Wisdom posters, comprising 'World of Wisdom' at the Theatre Royal Drury Lane, 50cm x 31cm, 'Not Now Darling', 55cm x 34cm, and 'Walking Happy', 55cm x 34cm.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.

A very rare Dutch stipple-engraved light baluster goblet by Frans Greenwood, circa 1744The round funnel bowl decorated with a half-length portrait of a fishwife, her head slightly turned and with a downward gaze, wearing a low-cut bodice and a flat-topped wide-brimmed hat, holding a herring by its tail in her left hand, another fish on an oval platter with a wavy border resting on her lap beneath her right arm, a spray of flowering lilies in a jug behind a pail of herrings on a table to her right, on a densely stippled ground, the reverse signed 'Frans Greenwood fecit.' in diamond-point script, raised on a tall slender multi-knopped baluster stem, above a later replacement parcel-gilt foot chased with strapwork and foliate scrolls, 24.3cm highFootnotes:ProvenanceSotheby's, 3 June 1974, lot 116Viscount Newport, Earl of Bradford, Weston Park, Shifnal, Christie's, 4 June 1985, lot 30With Heide Hübner, Würzburg, 1986Mühleib Collection, Bonhams, 2 May 2013, lot 57Stephen Pohlmann CollectionLiteratureNoel Riley, 'Antique Glass in Shropshire', The Antique Dealer and Collectors Guide (June 1975), p.147, fig.5The Earl of Bradford, 'Making a Collection', The Antique Collector, Vol.56, No.6 (June 1985), pp.108-9, fig.1Frank Davis, 'Talking about Salerooms', Country Life, Vol.178 (July 1985), p.215, fig.1David Watts, 'Glass', in Elizabeth Drury (ed.), Antiques (1986), p.87Frans Smit, Frans Greenwood (1988), p.151-2, no.44.1, figs.97 and 99Frans Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.121, no.Dc.3ExhibitedWeston Park, Shifnal, 198331. Deutsche Kunst- und Antiquitäten-Messe, Haus der Kunst, Munich, 1986Frans Greenwood (1680-1763) was a Dordrecht merchant of English extraction, born in Rotterdam. An amateur artist, poet and glass engraver, he is traditionally credited as being the first artist to experiment with stipple engraving in the early 1720s and the first engraver to produce a whole picture on a glass in the technique. The techniques he developed had a profound influence on the work of a number of other glass engravers in Dordrecht, including Aert Schouman, making him one of the most important glass artists of his time.The herring industry or 'Groote Visscherij' (Great Fishery) played a very important role in the Dutch economy and the fishwives of Scheveningen were a favourite subject of Greenwood. They traditionally wore hats with flattened tops to accommodate the fish baskets they carried on their heads, with the wide brim offering protection against resulting drips. The poet Jacob Cats published a poem 'On a woman from Schevenigen carrying a basket of fish on her head' as early as 1654.The scene on the present lot is paralleled by an almost identical portrait of a fishwife against a different background, signed by Greenwood and dated 1744. This is in the Huis van Gijn in Dordrecht, illustrated and discussed alongside the present goblet by Smit (1988), pp.151-3, no.44.2, figs.98 and 100. Another goblet but with a different portrait of a fishwife, signed by Greenwood and dated 1742, was in the Anton Dreesman Collection sold by Sotheby's on 3 June 1974, lot 115 and again by Christie's in Amsterdam on 16 April 2002, lot 1279. This is illustrated and discussed by Smit (1988), pp.146-7, no.42.1, fig.90.All three glasses unusually depict a fishwife holding a herring by its tail. This is echoed in several contemporary Dutch Old Master portraits of women selling herrings by artists including Gerrit Dou (1613-1675), Godfried Schalcken (1643-1706) and Carel de Moor (1656-1738). In Dutch painting this is sometimes interpreted as a demonstration of promiscuity, but the lilies shown behind her traditionally symbolise purity and it is clear from Greenwood's poetry that he held fisherwomen and the fishing industry as whole in particularly high regard. Interestingly, one of the Directors of the Dutch East India Company, Pauls Schepers, bequeathed a 'haringwijfje' goblet to his second Cousin Gerard Schepers in the mid-18th century, which may refer to either the present goblet or the example from the Dreesman Collection, see Smit (1988), pp.146-7.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lord Sainsbury of Drury Lane Signed 4. 5 x 3. 5 inch White Autograph Card. This Lot Comes With TLS From Lord Sainsbury's Secretary Dated 19th October 1964. Good condition. All autographs 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 £9.99

A horseshoe brooch with the motto ‘A Run of Luck', to the back engraved ' With Augustus Harriss Compts', Augustus Harris was an actor and impresario, and ran the Drury Lane Theatre from 1879 until his death; together with costume jewellery items

From The Collection Of Valerie Leon - Herbert Lom (1917-2012) - Pink Panther - a collection of correspondence from Lom to Leon (who worked together on Revenge Of The Pink Panther), comprising; x3 Christmas cards from Lom to Leon, an autographed Theatre Royal Drury Lane 'Two Hundred Years' brochure by Lom, two handwritten letters on headed stationery addressed to Leon, an 8x10" photograph of Lom in the movie alongside Leon with printed autograph, and a similar photograph hand signed by Leon. All from her personal collection.  Valerie Leon is an English actress and model who has had roles in film and television productions, including six of the 'Carry On' film series and in two James Bond films The Spy Who Loved Me (1977) and Never Say Never Again (1983) alongside Roger Moore and Sean Connery. She also had roles in high profile films such as The Italian Job (1969), The Wild Geese (1978) and Revenge of the Pink Panther (1978) and had a starring role in the Hammer horror film Blood from the Mummy's Tomb (1971).

A GEORGIAN INFANTRY OFFICER'S SABRE, 76cm blade engraved with scrolls, crowned GR cypher, stand of arms and Gills Warranted, traces of blue and gilt decoration, steel hilt with D-shaped knuckle guard and wavy side bars enclosing heart shaped motifs, ribbed ivory grip, in its steel mounted leather scabbard, the locket signed Drury, Cutler to His Majesty, Strand. Ivory Declaration Submission number T5VF5PL1.

Photographs, a mixed collection of approx. 32 photograph images (various sizes), inc. Edward VII and Alexandra at the Castille Malta in 1910, Soberton War Memorial Hants, Douglas Craggs magician, Lillie and Jenkins Baltic saw mills staff, reconstruction of Watford High St showing machinery and workmen (possibly 1920s) (5), 11 photographs of Haverfordwest (mainly views of town and church, 1890s). Also 6 photographs of the interior of Sainsburys in the 1950s, and the exterior views in Stamford St, and Drury Lane. Sold with racing car, racing bike with owner, and 2 photos of Martinique (mainly gd)