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Jennie Bond Collection- A.S.Byatt- Angels & Insects, A Whistling Woman and Still Life, all 1st Editions, hardcovers, with dust jackets (3)

A framed still life oil on board of flowers in a jug, a framed oil of a lady in a garden, a framed watercolour of Crete, a framed print of London from the Thames and a framed oleograph of an elderly tailor with his cat

Continental School, still life of apples and wine , oil on board indistinctly signed lower right, Malakoff stamped verso 16.5 x 24cm. JH mountain landscape, oil on canvas, initialled L.R 24 x 34cm (2).

Bowring, Still Life of Flowers, oil on canvas, signed lower left, 50 x 60cm. G Morris 'Sugar Loaf Mountain' oil on board, signed and dated 1954, 26 x 35.5cm (2).

Jorge Ziata (French Artist), Still Life of Peppers and Fruit, signed lower left, 32.5 x 48cm, The Sampler Print (2).

Four still life oils on board

A modern ruby red ceramic bowl and a pair of oval oil paintings of still life and a pair of circular images of birds

Oil on board, still life of flowers, 23x30cm

20th century still life of fruit with jug, watercolour on paper, dated '85, signed Orlando, 45x55cm

Jean Slade, still life of red cabbage and cauliflower, watercolour, signed and dated 1994, 22x31.5cm

19th century still life, flowers in a vase, pencil and watercolour, oval, 44x33.5cm, bears Christie's label to verso

A 19th century still life of kettle, grapes and peaches, oil on canvas, 38x46cm

After Anton Weiss, a large oleograph print on canvas of a floral still life, 70x56cm

Harold KNIGHT (1874-1961)Portrait of the artist Robert Morson Hughes (1873-1953)Circa 1915/16 Oil on canvas 102 x 127.5 cmExhibited: ‘Artists by Themselves’ 2019 Penlee House GalleryProvenance: From the Estate of Robert Morson Hughes, thence by descent. A professional conservator's condition report is available upon request. This heroic portrait, so reminiscent of Harold Knight’s self-portrait in the National Portrait Gallery, ostensibly appears to be a study for his large, important work 'The Council,' (exhibited RA 1916) which features Robert Hughes on the right of the painting, also with pint in hand, walking stick and overcoat on left arm.In 'The Council' Hughes leans forward, intently facing his good friend the artist Samuel John Lamorna Birch. Birch is expounding an opinion, no doubt upon a war-related subject, whilst three other Lamorna locals around the table look on, including Old Jory, the landlord of the Lamorna Wink where the painting is set. Knight was an accomplished portraitist and completed numerous commissions, but his sensitive portraits of women differ greatly to many of his male studies, which although technically brilliant, could be dour and lacking in emotional warmth. Rapport, respect or a connection with his subject really mattered. In this portrait Hughes (Bertie to his friends) looks directly at us out of the painting, with a truly penetrating, almost intimidating gaze. He is life sized, and the full force of his personality is almost simmering upon the canvas. It says: “This is a man of character.” And who are we to argue? It is a painting that demands respect. It is one of Harold Knight's most powerful portraits, and is very much a finished work in its own right. Prior to the war, life for the Knights in Lamorna had been idyllic, aside from the tragedy of Florence Munnings’s suicide in July 1914, these had been halcyon days in the ‘Happy Valley’ of Cecily Sidgewick’s novels, and Harold had done some of his best work here.They moved to Lamorna in 1913 when Laura’s career was still developing and although Harold had established himself as a portrait painter, money was still tight for them. They needed to sell paintings to live, unlike their friends and neighbours, the independently wealthy Hughes’.Robert Morsen Hughes and his wife Eleanor were popular and significant members of the artists group living in pre-war Lamorna. Like the Procters, the Simpsons and several others, they had come to Newlyn to study under Stanhope Forbes, had fallen in love, not just with each other but also Cornwall. They married, stayed, and made their lives there.Along with the Napers, Sidgewicks, Leaders and the Heaths, the Hughes bought a parcel of land from Colonel Paynter of Boskenna and in 1911, designed and built their own home, 'Chyangweal' above the Lamorna Valley. Eleanor was an accomplished pianist and their home became popular for social gatherings and musical evenings. Along with S J Lamorna Birch and his family, this was a social group of great harmony and friendship. Although undated, this work was probably painted in 1915 and in the context of that time frame, it is a fascinating portrait. As illustrated by ‘The Council’, war dominated every conversation. Many Lamorna friends and colleagues joined up, and by 1915 there had been tragic deaths and woundings amongst them. This portrait and ‘The Council’ document a point in Harold’s life just before a great emotional shift, because in 1916 Harold declared himself a conscientious objector. It was the start of a period of immense mental and physical strain. Friendships fractured, even long standing friendships with the Sidgewicks and the Birchs were put to the test. Although too old to serve, in 1916 S J Lamorna Birch and Robert Hughes became members of a local volunteer force, guarding Newlyn harbour, and so struggled with Harold’s pacifist stance. When Knight got his call up papers in 1916, he was asked to explain himself before a tribunal. Unimpressed, they sent him to work as a farm labourer on the Cornish coast. He was alienated by friends and colleagues, writing: '’I have lost the friendship of several people whose friendship I valued, and my career as a portrait painter has been prejudiced by my attitude towards the war I have been compelled to take.’' It must have been an immensely painful episode for him. Knight was a quiet, sensitive man, often overshadowed by his brilliant, vivacious artist wife, Laura, but this stance showed immense courage. It took its toll on him both mentally and physically. 'Hoeing', Laura remarked, 'for days on end without seeing a living soul. He was again a sick man.' By 1917, Knight's health had deteriorated to such an extent that he was excused from further labour and returned to painting. After the war they left Cornwall for London, whilst this portrait, arguably one of Harold Knight’s finest, remained in the Lamorna home for which it was painted. We don’t know whether this work was a gift or a purchase, but other than a three month loan to Penlee House in 2019, this marvellous portrait has hung at Chyangweal for over 100 years and never been exhibited elsewhere.

Stella CARDEW (XX-XXI)Still life of flowersMixed mediaSigned45 x 35cm

20th Century French School, a still life of tulips in a vase, oil on board, indistinctly signed, 18" x 15" (46 x 38cm).

J.J. Hauser, a still life of mixed objects, oil on canvas, signed, 21.75" x 18" (55 x 46cm).

Jiva, a still life of flowers in a vase, oil on canvas laid down, signed, 21" x 16" (53 x 41cm).

19th Century French School, a still life of mixed flowers, oil on board, 13" x 10" (33 x 25cm).

20th Century French School, a still life of mixed flowers, oil on canvas, indistinctly signed, 23.5" x 28.75" (60 x 73cm).

20th Century French school, a colourful still life of mixed flowers, watercolour indistinctly signed, 25" x 19" (63 x 48cm).

Pierre Noyelle, circa 1947, a still life of colourful flowers, oil on panel, signed, 21.5" x 15.25" (54 x 39cm).

20th Century French School, a pair of still life paintings of mixed flowers, oil on canvas, indistinctly signed, each 19.75" x 15.75" (50 x 40cm), (2).

20th Century French School, a still life of mixed objects on a shelf, oil on canvas, indistinctly signed, 19.75" x 24" (50 x 61cm).

Sylvia Gardette, 20th Century French, a still life of flowers and a fan, oil on canvas, signed, 13" x 16" (33x 41cm).

Arthur Theo Dirkx, circa 1944, a still life of roses in a glass vase, watercolour, signed, 10.5" x 14" (27 x 36cm).

French School circa 1921, a still life of roses in an oriental vase, oil on board, indistinctly signed, 13.5" x 10.5" (34 x 27cm), (unframed).

A. page, still life of flowers in a jug, oil on board, signed, 15" x 20" (38 x 51cm).

Early 20th Century French School, a still life study of shells, oil on canvas, 25.5" x 32" (65 x 81cm).

L. Waty, a still life of tulips, oil on board, 16" x 13" (41 x 33cm).

Early 20th Century French School, a still life of colourful flowers, oil on canvas, indistinctly signed, 18" x 21.5" (46 x 55cm), (unframed).

Bernard Sickert (1862-1932) a collection of six watercolour sketches of country scenes, four of the sketches also painted verso with various subjects, including still life and harbour scenes, all around 10" x 13" (25 x 33cm), all unframed (6).

Arthur Dudley (19th/20th Century) British, A pair of still life paintings of fruit, watercolours, both signed and 10.5" x 19.75", (2).

Oliver Clare (1853-1927) British, A still life of apples, grapes, plums, gooseberries and raspberries, oil on canvas, signed and dated '97, 20" x 16".

Percy Rendall (1872-1955) British, A still life of mixed objects, oil on panel, from the artist's studio collection, 18" x 14".

Ersebeth Kalicza (1879-1943) Hungarian, A still life of poppies, daisies and cornflowers in a bowl, oil on canvas, signed, 27.75" x 39.5", (unframed).

Dutch School, 19th centurydepicting a still life of tulips, roses, other flowers with a butterflies and a ladybird, unsigned, oil on panel, within an ebonised wooden frame with gilt leaf-tip inner border, the back with remnants of framers label 'Thomas...', the back of the panel written in pencil 'Gift from Brian Sewell', 21.5 cm x 17 cm

PAT WHITE (ISHERWOOD); oil on canvas, still life, 46 x 61cm, signed and dated 76, together with a further oil on canvas, still life by the same artist (2). (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

COLIN RUFFELL FRSA (born 1939); oil on board, still life of a gramophone, signed lower right, 19 x 24cm, framed. (D)Additional InformationImage appears OK, minor wear to frame.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

PHYLLIS HIBBERT (1903-1971); watercolour, still life, signed, 55 x 77cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

T. SELLERS; oil on board, still life of fruit, signed and dated lower right, 21 x 75cm, framed. 

GRACE L. M. ELLIOT; oil on board, still life, flowers in a glass vase, signed lower right, 28.5 x 18cm, bears label verso, in an ornate gilt frame. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

VICTOR WAGEMAEKERS (DUTCH, 1876-1953); oil on board, still life, flowers in a vase beside mirror and easel, signed lower right, 35 x 21cm, framed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

KAM HOI "Flowers in a vase", a still life study, oil on board, signed lower right, 40 cm x 30 cm, together with two further still life studies by the same hand and X W LEUNG "Sailboat at night", oil on canvas, signed lower right, 68 cm x 37.5 cm

ENGLISH SCHOOL "Mushrooms", study of fungi on a mossy ground, watercolour, unsigned, 17 cm x 25 cm, together with AFTER WILLIAM RUSSELL FLINT "Gypsies outside the church Argilliers", colour print, 27.5 cm x 41.5 cm and P FROST "Basket of fruit", still life study, acrylic, signed lower right, 17.5 cm x 23 cm

20thC School. Three Ladies Attending in Daula: Two in Yellow and Grey, and One in Grey and Yellow, watercolour and pencil, unsigned, 58cm x 40cm, and a still life print, 64cm x 65cm. (2)

J. Marzo. Still life with upturned basket, apples, crabs and shell on a gingham throw, oil on canvas, signed, 66cm x 83cm.

Various pictures and prints, comprising view of Lincoln Cathedral, watercolour, signed R T M, 37cm x 59cm, view of a bridge in rural landscape, watercolour, unsigned, 21cm x 26cm, and L. Wain, floral still life with porcelain figure group and fan, watercolour, signed and dated 1927, 23cm x 19cm. (3)

Various pictures, prints, etc., to include floral still life, print, 36cm x 26cm, after E Leslie Haynes, portrait of girl with flower basket, signed print, 27cm x 23cm, 18thC interior scene with mother, father and child warming hands before fire, print, 57cm x 48cm, etc. (a quantity)

Various pictures, prints, to include cottage aside lake, oil on canvas, unsigned, 19cm x 53cm, after Cecil Aldin, country scene depicting horse and cart in procession, with other figures, print, 32cm x 41cm, fruit still life, oil on board, indistinctly signed, 19cm x 30cm, etc. (a quantity)

John Jessop Hardwick - Still Life with Flowers and Bird on a Mossy Bank, late 19th/early 20th century watercolour, signed, 26cm x 36.5cm, within a gilt 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.

After Cornelius Johannes de Bruyn - Still Life with Fruit and Vine, 20th century oil on panel, bears signature, 29.5cm x 40cm, within a gilt 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.

L. Ravenhill - Still Life of Flowers in a Jardinière, 20th century oil on canvas, signed, 19cm x 24cm, within a painted and gilt frame, together with a similar work by the same hand.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.

Nina Sergeevna Stenshinskaya - Still Life of Pears and Grapes on a Table, 20th century oil on canvas, signed and titled in Cyrillic verso, 58.5cm x 84.5cm, within a gilt 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.

S.V.P., British School, Still Life with Oranges and Basket, 20th century oil on board, signed with monogram and dated '96, 22.5cm x 17cm, within an ebonized frame, together with a similar oil by the same hand, Still Life with Pomegranate and Vegetables.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 large collection of Second World War Prisoner of War letters (30+) relating to Second Lieutenant Percy Anthony 'Tony' O’Reilly (No. 10004, First Battalion, The Welch Regiment with the Middle East Force Z). O'Reilly was captured in Crete in 1941 and held as a Prisoner of War until he contracted Hodgkins Lymphoma and was, therefore, most unusually, repatriated due to the severity of his condition. O'Reilly appears to have held in several camps including Stalag IV-B, Oflag IX A/Z and Oflag VI-B. The letters include one from the War Office stating O'Reilly was reported missing on 1st June 1941 along with a Red Cross Society written to Percy's sister, Miss T. O'Reilly on 9th July 1941, further advising that he was reported missing in Crete and requesting information in order to aid their search of prisoner records, alongside a returned envelope marked as undeliverable due to the 'Addressee Reported Prisoner of War'. Letters written from Percy O'Reilly include one in pencil, stating 'My dearest girls, still no sign of any letters but I feel they will arrive soon ... I have a little news, I have been put down on the list for repatriation by the German Doctor. I am in hospital at present; don't get alarmed, I'm not very bad and may possibly have an operation as the chances of getting back in the immediate future I gather, are slight'. Other letters are all addressed to his sister, including both official Kriegsgefangen paper and type-written transcriptions. Content varies, with sample extracts such as 'I had a regular feast day yesterday, as I got 9 Invalid Comforts Parcels', 'I'm hoping to have a snap of a group I'm in to send to you soon' (presumably relating to the group photograph included with this lot); 'Aunt Ethel evidently thinks that I don't get any letters still - don't disillusion her it's much easier not writing'; and otherwise documenting daily life in the camp with general commentary about other inmates and discussion of the most recent news from home. Other letters include a copy of a translation from German written by doctors at the P/W Hospital of Nase Camp 9C following O'Reilly's transfer, which includes a general description of his diagnosis and condition. Sold together with O'Reilly's identity card, portrait photograph, group photographic postcard taken inside Stalag IX (O'Reilly appears in the top right-hand corner), leaflet giving instructions for 'Next of Kin' parcels for Prisoners of War and, sadly, a funeral card relating to Percy O'Reilly's early death on 7th February 1949. Further included is a selection of Ancestry website family biographical detail together with a funeral program for Winifred Boyd-Rochfort. The Irish O'Reilly and Boyd-Rochfort families were united by a marriage between the Irish Polo player Captain Percy O'Reilly (d.1942) and Alice Eleanor Boyd-Rochfort of Middleton Park on 18 January 1900. Alice was the sister of the royal horse trainer, Captain Sir Cecil Boyd-Rochfort. To this end, one letter mentions Sir Cecil 'I gather poor old Chaucer was galloped till they soured him and he was a complete wreck when they got him back, also I hear the same thing happened to St. Martin - if it is true its very silly of Cecil B, as they were two valuable horses.' Furthermore, the recipient of the majority of the letters in this lot, 'Tups' O'Reilly would go on to marry the famous British Second World War Commander General Sir Miles Dempsey.

THE TRIAL OF GEORGE SACKVILLE, AKA GEORGE GERMAIN (George Sackville) (1716 - 1785) Lord Germain, English Secretary of State for the Colonies who directed attempts to suppress the Revolution. An extraordinary manuscript in an unknown hand, 59pp. 8vo. [n.p., n.d., London, 1760] titled on the first page: "Extracts from the Trial of Lord George Sackville" being Germain's court-martial for disobeying orders at the battle of Minden in 1745. Bound in paper with marbled boards, binding loose but pages mostly clean. Before his political career, Germain began his adult life as a cavalry officer first seeing action at Fontenoy in 1745. At Minden, he was accused of repeatedly failing to order a cavalry charge in support of the infantry, over what appeared to be a petty intra-officer dispute. His failure to order his cavalry forward cost the British-Hessian force a decisive victory over the French. For his actions, he was cashiered and sent home. Refusing to accept responsibility, he ordered a court-martial in an attempt to clear his name. The "Extracts" offered here detail Germain's defence and read, in a very small part: "...Not to have executed Orders in Action does not always imply even a Neglect of Duty. My intention is not to throw Blame upon others but to vindicate myself from the Blame imputed to me And I must beg the Court would enter unto my Situation & not judge upon my supposed Knowledge or upon Facts since disclosed... The Marquis of Granby a Lieutenant General & second in Command of the British Troops who was as little acquainted as myself with any Plan of Action or instructed in any general Disposition a Precaution that few Commanders in Chief & particularly H.S Highness who is so able to form & to explain his Ideas have seldom omitted on the Eve of an Engagement... The Inference from thence to my Prejudice is that H.S Highness's Impatience proves his Sense of my Delay but I beg leave to observe that it only proves that the Prince had very great occasion for Cavalry & was very sensible that they might be very useful where they were not posted... I should greatly wrong the Prince if I should suppose it necessary to take much Notice of what has been told the Court of his expressing his surprise at my doubt upon the Orders not by Words but by his Looks & Actions. The Orders he gave to me were so materially different in their Object from either Captain Ligoniers or Colonel Fitroy's that these Orders alone were a Confirmation of my Doubts & his Manner seemed to correspond with his Words. Had pursuit been the object H.S.H would undoubtedly have ordered the Cavalry which first appeared to advance instantly without ordering me to form the whole. How much Time was employed in this Manouveur is not ascertained by the Evidence. No particular time can be said to be necessary for such movements as the making of them slower or faster must always depend on the Adroitness of the Troops & their readily comprehending the Orders they receive. If it was on this Occasion that Lord Granby found fault with my manoeuvers I flatter myself his Lordship would not have blamed them had he known I was acting under the Orders of the Prince. The intention of which I am persuaded he would have agreed with me could not have been otherwise satisfied than by advancing with a well formed Line of Cavalry fit to sustain. No Officer of the Cavalry I believe imagined that the Engagement was over before we came upon the Heath Nor had H.S.H any Idea that the success of the few Battalions that had engaged could determine the Event of the day as is plain by the Order he gave to Sustain the Infantry... Upon the whole if any of the Orders brought either by Captain Wintzingerade Captain Ligonier or Lieutn. Colonel Fitzroy appears not to have been obeyed with all the Expedition which under the several circumstances now before you in Evidence shall appear to have been practicable or if any blamable Delay was afterwards made in the March whether by Halts or otherwise when Lord George Sackville considers himself as acting under the Prince immediate Orders. I submit that you will be under the disagreeable Necessity of finding his Lordship Guilty & in our Judgement will have regarded to the Degree of the Offence with respect to the Proportion & the Motive of the Delay..." Germain concluded, "My Witnesses cannot say what they have said without being convinced that it is Truth... I expect no better Security for my Cause than their uninfluenced Determinations. I have mention'd already that I have the Security of their Oath. I have stronger still their Honour Upon that I reply. If I am guilty let me be declared so. If I am not Guilty let the Court shew [sic] by their Sentence that they will with pleasure protect the innocent."The court did not bite on Germain's lengthy defence and found him guilty as charged, sentencing him to the most severe punishment that could be meted out to a general officer. Not only was his discharge upheld, but the court also ruled that he was unfit to serve in any military capacity. His name was struck from the Privy Council rolls and the verdict entered in the orderly book of every regiment in the army. Fortunately for Sackville, he was well-born and had already been a Member of Parliament on and off since 1741. With the ascension of George III to the throne in the same year, his political fortunes began to turn. He allied himself with Lord North in the 1760s and in 1775, the now Lord George Germain (his wife Lady Elizabeth Germain had died, leaving him her fortune and title), was appointed Secretary of State for the American department and this responsible for suppressing the revolt in America. It would be Germain who would approve the contrary plans of Howe and Burgoyne, setting the stage for disaster in Saratoga. Germain's bumbling would again provoke confusion in 1781, helping seal the fate of Cornwallis at Yorktown.

English School, circa 1810 'Knightsbridge Barracks' (aka Hyde Park Barracks) watercolour, unsigned, titled to the mount and dated 1810, 318mm x 451mm, 472mm x 603mm, mounted & unframed Notes: The Hyde Park Barracks are in Knightsbridge in central London, on the southern edge of Hyde Park. They were often known as Knightsbridge Barracks and this name is still sometimes used informally. The first buildings, illustrated in this watercolour, were constructed for the Horse Guards in 1795 and are not to be confused with the other barracks in Knightsbridge which were intended for use by the Foot Guards. No formal grant appears to have been made of the land in 1795 and it was apparently occupied simply with the King's permission, as were other military buildings in the park. The Life Guards had earlier occupied a barracks or stables in the park on a much smaller but otherwise comparable site. The arrangement of the barrack buildings - strung out in a line - was quite different from earlier cavalry barracks designs, such as William Gibson's model plans of 1784, produced for the Barrack Board in Ireland. When the barracks were rebuilt in 1878–80, one set of royal arms from the 1795 building was saved for installation in the small pediment on the Knightsbridge frontage of the new Officers' Quarters. The coat of arms was again saved when the barracks were rebuilt in a new modernist design by Sir Basil Spence in 1967–70 and now adorns the ante-room in the officers' mess, being the only known fragment of the original building to survive.

A Special Constabulary long service medal, awarded to 'Albert E. Slater' together with his distinguished conduct citation from Gloucestershire Special Constabulary (Special Constable Albert Edward Slater, No. 4781) for his actions on the occasion of enemy bombing of Filton aeroplane factory on the 25th September 1940. (2) Notes: This certificate was awarded for actions on the night that German bombers from 1./ Kampfgeschwader 55 targeted the Bristol Aeroplane factory at Filton, killing 149 people - of which 91 were BAC employees, with over 310 other casualties in the factory and surrounding area. The attacking German formation of 58 Heinkels was supported by a number of Junkers Ju88s from Lehrgeschwader 1 and 52 Messerschmitt Bf 110s of ZG26 and the RAF 10 Group Controllers based at Rudloe Manor in Wiltshire mistakenly believed they were heading for the Westland factory Yeovil. As a result, the warning was issued too late to save many at Filton and over 80 tonnes of high explosives and 6 tonnes of oil bombs were simultaneously dropped from 11,000 feet over a span of a mere 45 seconds. The biggest loss of life within the factory occurred when a shelter suffered a direct hit. Other bombs fell close to, or between, the soft earth of other shelters, seriously damaging them with a large loss of life. In one shelter, occupants were thrown up to 30 feet in the air from the force of the detonation and another shelter was hit so badly that it was sealed with the bodies still inside and remains so today. Of one such shelter, the daughter of one survivor recalled "During the raid the people in the first shelter were singing the popular song of the time “Somewhere over the rainbow”. While they were singing this song, that shelter received a direct hit and everyone was killed. The head of one of my mother’s friends was in the lap of another worker. We children were never allowed to sing that song ever again, and when it came on the radio we had to turn it off, because if my mother heard it she always fainted." The devastation also hit the surrounding civilian houses, blowing out windows and injuring many others. Allied defences took out several enemy aircraft in the lead up to and after the raid, with several enemy aircraft being downed and any surviving occupants taken prisoner by policemen, civilians (in one case, farmers with sharp farm tools!) or Home Defence Guards. For interest, several newspaper articles documenting this attack have been uploaded online but do not come with this lot.

ARTHUR DUDLEY (BRITISH, 1864-1915)Still life with cherries, oranges and a basket signed 'A DUDLEY' (lower left) watercolour 26 x 75cm