Arthur WRAGG (1903-1976) Gandhi Pen and ink on board, graphite inscription, 21.5cm x 15cm, 38cm x 27cm mounted.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
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Arthur WRAGG (1903-1976) The Wisdom of Gandhi Mixed media on paper, titled, 56cm x 40.5cm (rolled)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
H. C. Elphinstone & Harry D. Jones, W. Edmund M. Reilly Siege of Sebastopol, 1854-5, Journal of the Operations Conducted by the Corps of Royal Engineers Parts I & II, with 'An Account of the Artillery Operations Conducted by the Royal Artillery and Royal Naval Brigade Before Sebastopol In 1854 and 1855,' first edition, three volumes, quarto, original uniform embossed red coth sun faded to spines with gilt titles, ex libris Courtney Library with customary shelf label to spine and label to front pastedown, presentation slip from the Lord Commissioners of Her Majesty's Treasury tipped in, vg to fine, George Edward Eyre and William Spottiswode, London, 1859. (3)Vol I- vi, pp.299, some sporadic spotting and toning, fold out frontis lithograph and title page, five large fold out lithograph maps and charts to rear.Vol II- Lithographed titled page, pp.593, Appendix pp.595-638.vol III- vii, pp.273.
Frederick ROBERTS JOHNSON (1900-1986) Gents on the Quay Charcoal on paper, 51cm x 60cm; together with eleven further original works, mostly portraits.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Kiribati and Tuvalu Islands) 'The Atoll of Funafuti, Ellice Group: Its Zoology, Botany, Ethnology, and General Structure Based on Collections Made by Mr. Charles Hedley of the Australian Museum, Sydney,' parts 1-10 bound in one volume, original printed thin card wraps bound in, pp.609, plates and vignette illustrations, vg, Published by Order of the Trustees, R. Etheridge, Sydney, 1896-1900; Mrs. Edgeworth David. 'Funafuti. Or Three Months on a Coral Island: An Unscientific Account of a Scientific Expedition,' original cloth with gilt lettering, ex libris Mark L. Sykes, spotting to endpapers, text block loosening from binding, b+w photographic frontis and plates, fold out map, some sporadic spotting, good to vg, pp.318, john Murray, London, 1899; Donald Gilbert Kennedy. 'Field Notes on the Culture of Vaitupu, Ellice Islands,' first edition, original cloth, unclipped dj, plates and fold out map, vg, Thomas Avery & sons, New Plymouth, 1931. (3) From the library of Guy Slatter, whose lifelong passion for island life began in childhood with an interest in Pitcairn. After studying at Oxford and working for the BBC, he spent two years in the 1960s setting up a radio station in the Kiribati Islands. His deep connection to the Pacific led to many return visits, including work for a German museum, where he facilitated the export of an ethnic house for an exhibition. A dedicated scholar of Pacific history and culture, he built his collection of books over many years through a dealer in York and even translated two German works into English: The Material Culture of Kiribati and The Material Culture of Tuvalu.
Arthur WRAGG (1903-1976) Two WWII inspired works Each pen and ink on paper, 27.5cm x 44cm and 28cm x 42cm, mounted as one 64cm x 51cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Arthur WRAGG (1903-1976) Sketches and preliminary studies including war propaganda Mostly unfinished works, some double-sided, largest 27cm x 38cm. Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) M. Andre Tardieu, former Prime Minister of France Pastel on paper, signed, 48cm x 33cm. Together with six further original works, five of which portraits.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) Still Life with Yellow Lemon Oil on board, 40cm x 63.5cm, portrait verso.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Ornithology) Fifty two works John Gooders (ed). 'Birds of Ocean and Estuary', 'Birds of Mountain and Moorland', 'Birds of Marsh and Shore', 'Birds of Heath and Woodland' and 'Birds of Hedgerow and Garden', all unclipped dj's, light sun bleaching to spines, colour illustrations throughout, vg, Orbis Publishing, London, 1978; Eric Hosking. 'Hosking's Birds. Fifty Years of Photographing Wildlife,' unclipped dj, Pelham Books, 1979; 'Waders,' unclipped dj, Pelham Books, 1983; 'Antarctic Wildlife,' unclipped dj, Croom Helm, 1982; Eric Hosking and Cyril W. Newberry. 'Birds of the Day,' first edition, original cloth, lacks dj, Collins, London, 1944; C. F. Tunnicliffe. 'Sketches of Bird Life,' first edition, unclipped dj, colour illustrations throughout, fine, Victor Gollancz, London, 1981; 'A sketchbook of Birds,' first edition, unclipped dj, colour illustrations throughout, fine, Victor Gollancz, London, 1979; Candace Savage. 'Bird Brains. The Intelligence of Crows, Ravens, Magpies and Jays,' first edition, unclipped dj, colour illustrations throughout, fine, Greystone Books, Vancouver, 1995; Robert Burton. 'Bird Behaviour,' unclipped dj, illustrations throughout, fine, Guild Publishing, London, 1985; Robert Hudson. 'Threatened Birds of Europe,' unclipped dj, fine, MacMillan, London, 1975; Geraldine Lux Flanagan and Sean Morris. ' unclipped dj, illustrations throughout, Kestrel Books, 1975; Charles E. Raven. 'In Praise of Birds,' first edition thus, lacks dj, original cloth, vg, George Allen and Unwin, London, 1950; Eric Simms and Robert Gillmor (illustrations). 'A Natural History of British Birds,' first edition, unclipped dj, vg, J. M. Dent & sons, London, 1983; With thirty five other works. (52 in two boxes)
Jane Austen Mansfield Park First edition, rebound in a modern full cloth, facsimile 'Standard Edition' title page, frontis and engraved titlepage, original titlepage, some spotting and ginger soiling but a generally good text block, Richard Bentley, London, 1833; With a collection of mostly 1st editions including, ‘Brideshead Revisited’ – Waugh E. 1945 – 1st Ed; ‘Cockroaches and Diamonds’ – Goss J. – 1937 – 1st Ed; ‘7 Must Die’ – Bellah J. W. – 1938 – 1st Ed; ‘Jasmine Leigh’ – C.C. Fraser-Tytler – 1871; ‘High Nile – A Novel of Egypt’ – 1st Ed – 1933. (6)
Frederick ROBERTS JOHNSON (1900-1986) The Seagulls of Polperro Oil on paper, 56cm x 72cm; together with seven further works on paper.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Art interest) Four works Andrew Lanyon. "The Loose Connection." signed limited edition 204/253, original slipcase, 1992, vg; 'Second Nature,' signed limited edition 28/250, slip,1989 vg; Terry Frost; 'Painting in the 1980's,' card wraps, illustrated throughout, University of Reading, 1986; With a copy of 'Art and Design' first issue, Ure Smith PTY, Sydney, 1949. (4)
DICKENS, Charles Oliver Twist Brown leather with brown marbled boards, spine is missing, leather is worn at corners with boards beneath are showing through, boards are worn, covers have become detached from text block, as have ffep and all pages up to and including the title page, marbled endpages, pages are frequently spotted, 367 pp, Baudry's European Library, Paris, 1839.Unusual edition published in France, one year after the first edition.
(Cambridge University) Granta Magazine Three bound volumes from 1909-1912 Uniform blue cloth with some finger soiling, vol 1910/11 with Denys Garstin book plate designed by Crosbie Garstin and eleven ms signatures to front pastedown, one inscribed To the Editor of the "Granta" With kind regards from Keble Howard, vg; L. callender (ed). 'The Windmill: Stories, Essays, Poems 7 Pictures by Authors & Artists whose Works are published at the Sign of the Windmill,' first edition, cloth backed boards, plates complete, contains short stories by Crosbie Garstin, William Heinemann, London, 1923; 'The Windsor Magazine for Men and Women,' volume I and II in a uniform green cloth, plates and illustrations throughout, Ward, Lock & Bowden, London, 1895; Alfred Tennyson. 'The Works of Tennyson in Thirteen Volumes,' fine original blue cloth, red ink edge, split to original card box, C. Kegan Paul & Co, London, 1878. (7)From the working library of art historian David Tovey
Langston Hughes Fine Clothes To The Jew First edition, cloth backed boards, signed by Plunket Greene to ffep, some spotting, Alfred A. Knopf, New York, 1927; Mr Pratt. 'The Lower World,' first edition, rebound in a full green calf with gilt lettering to spine, half title, facsimile dedication, some sporadic spotting, vg, Whittingham and Rowland for Sharpe and Hailes, London, 1810; W. Tonkin. 'The Mine of Pearls,' original pebbled cloth with bevelled edge, some toning but vg, A. H. Swiss, Devonport, n.d; Arthur Dillon. 'Orpheus,' 1st Ed 1907; 'Leto Suppliant,' 1st Ed, 1909; With one other work. (6)
Arthur WRAGG (1903-1976) Well-Wishers Ink and wash, signed, used as a Woman's Pictorial front cover, dated December 15th 1928 and image used within Judy Brook's biography of Arthur Wragg, page 124 37.5cm x 33.5cm; together with 'Christmas' ink and wash heightened with white, 37cm x 50.5cm, each inscribed with notes from the artist (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Cornish Nationalism) John Angarrack Three works (six books) 'Breaking the Chains,' first edition, card wraps, vg, Stannary Publications, Camborne, 1999; 'Our Future is History. Identity, Law, and the Cornish Question,' first edition, vg, Independent Press, 2002; 'Scat t'Larrups? Resist and Survive,' first edition, vg, Independent Press, 2002; With a defunct copy of F. W. L. Stockdale's 'Excursions in the County of Cornwall,' 1824, with just three of the fifty issued plates. (7)
John Maynard Keynes The End of Laissez-Faire First edition, original cloth backed boards sun bleached to edges, paper label to spine, dj torn and split, toning to endpapers, ink line to pp.49 and 50 in the text, a generally vg text block, Published by Leonard & Virginia Woolf at the Hogarth Press, London, 1926. The End of Laissez Faire was based on the Sidney Ball Lecture given by Keynes at Oxford in November 1924 and on a lecture given by him at the University of Berlin in June 1926. A good copy of an increasingly scarce work.
Frederick ROBERTS JOHNSON (1900-1986) Polperro Oil on board, 61cm x 76cm, with lily floral study verso.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) Polperro in the manner of Christopher Wood Oil on board, signed, 55cm x 69cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale. The work is unframed. Generally good condition, would benefit from a clean. It is painted onto very heavy cardboard, which has a 'soft' surface. The surface is stable and the colours are bright. There is 'dotting' which may be residue of historical damp (see photos). Some scratching into the paint surface is visible in a couple of areas but this is likely to be intentional by the hand of the artist.
John Dryden (trans) The Works of Virgil Third volume only, ealry edition, full calf rubbed and chipped, red and black printed title page, frontis and good quality plates throughout, cluster of small wormholes to foot margin running to first half of text block, good to vg, Jacob Tonson, London, 1790.
(South Pacific Islands) Twelve good works Austin Coates. 'Western Pacific Islands,' first edition, original cloth, unclipped dj, b+w photographic plates, vg, HMSO, London, 1970; Margaret Gardiner. 'Footprints on Malekula. a memoir of Bernard Deacon,' unclipped dj designed by Terry Frost, illustrations, fine, Free Association Books, London, 1987; Stuart Inder. 'Tales of Papua New Guinea. Insights, Experiences, Reminiscences,' signed and inscribed to ffep by the editor, first edition, illustrations throughout, fine, Retired Officers Association of Papua New Guinea Inc, Australia, 2001; Sir Harry Luke. 'From a South Seas Diary 1938-1942,' first edition, lacks dj, cloth backed boards, b+w photographic plates, light spotting to edge of dj, vg, Nicholson & Watson, London, 1945; Bengt Danielsson. 'Forgotten Islands of the South Seas,' first English edition, clipped dj, plates, The Adventurers Club, London, 1956; With seven other works. (12) From the library of Guy Slatter, whose lifelong passion for island life began in childhood with an interest in Pitcairn. After studying at Oxford and working for the BBC, he spent two years in the 1960s setting up a radio station in the Kiribati Islands. His deep connection to the Pacific led to many return visits, including work for a German museum, where he facilitated the export of an ethnic house for an exhibition. A dedicated scholar of Pacific history and culture, he built his collection of books over many years through a dealer in York and even translated two German works into English: The Material Culture of Kiribati and The Material Culture of Tuvalu.
(South Pacific Islands) Twelve good works Frederick O'Brien. 'Mystic Isles of the South Seas,' first edition, decorative cloth, xv, numerous b+w photographic plates, fold out map, pp.534, vg, Hodder and Stoughton, London, 1921; 'White Shadows in the South Seas,' first edition, decorative clove, racked inner hinge, sporadic light spotting to edge of text block, plates, xii, pp.450, vg, The Century Co, New York, 1920; [Pembroke, George Robert Charles, Earl of, and George Kingsley]. 'South Sea Bubbles. By the Earl and The Doctor,' third edition, original red cloth with bevelled edges,rubbed and bumped with some staining, ex libris Archibald Anderson Watt, pp.312, pp.12 publishers catalogue to rear, good, Richard Bentley and Son, London, 1872; Lieut-Colonel T. R. St. Johnston. 'The Islanders of the Pacific,' first edition, vg original blue cloth, heavy spotting throughout, b+w photographic plates, T. Fisher Unwin, London, 1921; Major A. J. A. Douglas and P. H. Johnson. 'The South Seas of To-day,' first edition, staining to original cloth, text block loosening from binding, b+w photographic plates and three charts, fair to good with the text block being good, Cassell and Company, London, 1926; Frank Burnett. 'Through Tropical Seas,' first edition, vg cloth with gilt lettering, gilt top edge, heavy spotting throughout, plates, Francis Griffiths, London, 1910; Sir Harry Luke. 'Queen Salote and Her Kingdom,' original cloth, plates, vg, Putnam, London, 1954; With five other works including 'Notes from my Sea Log' by Louis Becke. (12) From the library of Guy Slatter, whose lifelong passion for island life began in childhood with an interest in Pitcairn. After studying at Oxford and working for the BBC, he spent two years in the 1960s setting up a radio station in the Kiribati Islands. His deep connection to the Pacific led to many return visits, including work for a German museum, where he facilitated the export of an ethnic house for an exhibition. A dedicated scholar of Pacific history and culture, he built his collection of books over many years through a dealer in York and even translated two German works into English: The Material Culture of Kiribati and The Material Culture of Tuvalu.
(Pottery and Porcelain) Richard Champion and Hugh Owen Two Centuries of Ceramic Art in Bristol - Being a History of the Manufacture of "The True Porcelain" 'With an Account of the Delft, Earthenware and Enamel Glass Works from Original Sources,' boards debound and lacking backstrip, some spotting and loose plates, fair to good, Printed Privatley for the Author, By John bellows, Gloucester, 1873; Alexandre Brongniart. 'Traite des Arts Ceramiques ou des Poteries,' Deuxieme Edition, half black morocco with marbled boards, compartmentalized spine with morocco label and gilt decorations, light rubbing to extremities, ex libris label Courtney Library gifted by Cyril & Jean Staal, marbled edge, pp.80, sixty plates, spotting throughout, good, Bechet Jeune, Paris, 1854; With two volume set of the 1844 edition, again with some spotting; William Burton. 'Porcelain. A Sketch of its Nature, Art and Manufacture,' first edition, original cloth, ex libris label, 50 plates, vg, Cassell & Company, London, [1906]; Dora M. Billington. 'The Technique of Pottery', third impression, B.T. Batsford, 1962; With five other works on Pottery and Ceramics. (11)
(Maritime Art) Eleven good works Alex A. Hurst. 'Thomas Somerscales. Marine Artist,' first edition, unclipped dj, ink owner signature neatly signed to ffep, illustrated throughout, spotting to edge of text block, vg, Teredo Books, Brighton, 1988; Rita Chancellor and Austin Hawkins. 'John Chancellor's Classic Maritime Paintings,' first edition, unclipped dj with price label, illustrations throughout, vg, David & Charles, Newton Abbot, 1989; 'The Maritime Paintings of John Chancellor,' second impression, unclipped dj with price label, illustrations throughout, vg, David & Charles, Newton Abbot, 1990; Roy Cross, Derek Gardner, John Groves, Geoff Hunt, Mark Myers. 'The Tall Ship in Art,' signed by Mark Myers to title page, first edition, unclipped dj, illustrated throughout, vg, Blanford, London, 1998; Frank Kitson. 'When Brittania Ruled the Waves. The Heyday of the Royal Navy Through the Paintings of Vice Admiral Sir Henry Kitson,' first edition, unclipped dj, illustrations throughout, vg to fine, Halsgrove, Somerset, 2007; Adrian Vincent. '19th Century Maritime Watercolours,' first edition, tear to unclipped dj, vg, David & Charles, Newton Abbot, 1989; With five others.
Frederick ROBERTS JOHNSON (1900-1986) Jug with Orange and Apple Oil on canvas, 38cm x 46cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) Seven Polperro-based works .Mixed media including oils and pastel, one signed verso and possibly titled 'Passenger to Sheffield', a further one signed and framed, largest 92cm x 71.5cm (7)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Signed ALS) John le Carre 'The Constant Gardener,' Slipped in ALS on 9 Gainsborough Gardens, London headed paper; 'Dear Carol & Geoffrey, We are temporary exiles from Cornwall, & shall be, alas, until the New Year- we seem to be on the road constantly, last week New York + Germany, Italy looming etc. Anyway, we look forward to an agreeable schmooze when we all can make it back to base, + meanwhile here's a proof copy of my latest effusion, out mid- December, official pub. date early Jan. Love to you both from both of us.....,' proof copy, card wraps, nibbles and tears to dj, vg, Hodder & Stoughton, London, 2001; With a trade first edition, signed and inscribed to the title page 'For Carol + Geoffrey with love from David aka John le Carre (retired president of the Anti-Retirement League)', vg, to fine. (2)From the estate of Sir Geoffrey and Lady Carol Holland. Being sold on behalf of the arts educational charity, Little Parc Owles Trust.
Frederick ROBERTS JOHNSON (1900-1986) Nuremberg Pastel on card, titled, 25.5cm x 36cm, 40cm x 51cm mounted; together with two further works in pastel including a church scene, signed, 25.5cm x 25.5cm, and one further oil on paper of a boy with a toy horse, 32cm x 26cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Arthur WRAGG (1903-1976) Poor Judy Watercolour and ink, signed and titled, likely used within a children's publication, 'Mrs Cowper Coles, Art Agent' stamp verso 34.5cm x 29.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Pakistan) Captain Gregory Rich (Cantoment Magistrate) The Mutiny in Sialkot. With a brief description of the Cantonment from 1852 to 1857. First and only edition with a print run of 1,000 copies, original pebbled cloth with faded gilt lettering to front board, cloth is somewhat sun faded, ex libris label Courtney Library to front pastedown, ink gift inscription to ffep dated 1923, a fine text block, pp. 80, scarce with WorldCat showing copies in just six libraries (three in the UK), Privately printed by P. N. Handa, Handa Printing Press, 1924.In his preface, Rich writes, "since coming to the station I have heard many tales of massacres that are said to have taken place in Sialkot during the mutiny; of ghost stories connected with different bungalows and the Church; and have often been asked for further details. In trying to discover what actually did occur, I found that most of the information was contained in old records and book long since out of print and of which only one or two copies are still available".
Arthur WRAGG (1903-1976) Two Pre-Second World War Inspired Works 'I Must Look My Best Today', Graphite and ink on paper mounted onto card, signed, titled and dated November 11th 1936, 57cm x 40cm, 63.5cm x 51cm mounted; together with 'Do You Hear Them, Master?', signed, titled and dated November 11th 1936, 57cm x 40cm, 63.5cm x 51cm mounted. (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Arthur WRAGG (1903-1976) Sketches and preliminary studies Mostly pen and ink, largest 40.5cm x 28cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale. The image from Psalm 142 of Psalms for Modern Life (the man by a dustbin) is a print and not an original drawing.
Arthur WRAGG (1903-1976) Meet The Intelligentsia Double-spread for Woman's Journal. Ink and white highlights on card, signed, artist's inscriptions with additional notes to the blockmaker to be careful when printing the work, 38cm x 53cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) Six floral studies Mixed media, three signed, with name or initials, largest 59cm x 92cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) The Harbour Bridge, Polperro Watercolour on card, titled verso, 25cm x 19.5cm, 29cm x 24cm framed.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
![John Bunyan The Pilgrim's Progress from this World to that which is to come .... Printed for Nath. Ponder, 1678 [i.e. c.1890]](https://cdn.globalauctionplatform.com/387353d8-9d40-4f3a-b173-b17000c15268/9e71c613-2bc2-41ce-a7d4-b27900a7089e/468x382.jpg)
Frederick ROBERTS JOHNSON (1900-1986) Stylized Fish Mixed media, signed with initials, 44cm x 56cm, 62cm x 73cm framed.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) Continental Views including The Amalfi Coast and Stockholm Mixed media, including watercolour and pastel, all signed or inscribed, largest 31cm x 24cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Brigadier General CROZIER, F.P The Men I Killed A manuscript sent to Arthur Wragg with hand-written letter attached.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Arthur WRAGG (1903-1976) I Accuse Graphite on paper, signed and titled, 64cm x 51cm; together with five further original works, including ink drawings used within Woman's Pictorial Magazine.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Arthur WRAGG (1903-1976) Ye Shall Not Pass from 'Jesus Wept' Print, signed and titled, first published in ''News Chronicle'' November 11th, 1993, image size 26cm x 17.5cm, 40cm x 27cm mounted onto board.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Signed) John le Carre A fine collection of twenty works. 'The Pidgeon Tunnel', 'The Spy Who Came In From The Cold' reprint, 'Single & Single', 'A Delicate Truth', 'The Mission Song', 'A Most Wanted Man', 'Our Kind of Traitor' and 'Absolute Friends', all signed, all vg to fine, mostly first editions; First editions but unsigned 'The Little Drummer Girl', 'The Russian House', 'The Night Manager' and 'The Tailor of Panama', all vg; 'The Honourable Schoolboy,' unsigned, third impression, vg to fine, 1977; With seven other works, all unsigned and not firsts, all vg to fine. (20)From the estate of Sir Geoffrey and Lady Carol Holland. Being sold on behalf of the arts educational charity, Little Parc Owles Trust.
Frederick ROBERTS JOHNSON (1900-1986) Two fishing boat studies Each pastel on card, one signed, 31cm x 38cm and 23.5cm x 31.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Shipping Line Histories) A wonderful collection. Scarce works 'Bugsier, Reederei und Bergungs A. G. Shipping, Towage and Salvage Company, Hamberg. Nordischer Bergungsverein, Northern Salvage Association, Hamberg. W. Schuchmann, Bremerhaven,' printed paper wraps with small tears and nibbles, string bound, ex libris label Courtney Library, top fore edge corner dog eared throughout, forty seven b+w photographic illustrations tipped in, with descriptive text in German and English, three colour maps, good to very good, scarce, Drudkerei-Gesellschaft Hartung & Co, Hamburg, [c.1927]; 'Seventy Adventurous Years. The Story of the Bank Line 1885-1955,' Blue cloth, ex libris, illustrated throughout, fine, reprinted from The Journal of Commerce and Shipping Telegraph, Liverpool, 1956; A. H. John. 'A Liverpool Merchant House. Being the History of Alfred Booth and Company,' first edition, unclipped dj, ex libris, fine, George Allen & Unwin, London, 1959; George Blake. 'The Ben Line. The History of Wm. Thomson & Co. of Leith and Edinburgh, and of the Ships owned and Managed by them 1825-1955,' first edition, ex libris, clipped dj, plates, fine, Thomas Nelson and Sons, London, 1956; 'The Michail A Karageorgis Group of Companies,' full faux leather with gilt decoration to front board, ex libris, illustrated throughout, fine, rare, no imprint or date; With a large collection of other works including the Donaldson Line, Eagle Tankers, Canadian Pacific, Chapman of Newcastle, The Constantine Group, Cory Fleet, Rederiaktieselskabet Dannebrog &c. &c. too many to list. (30+)
Frederick ROBERTS JOHNSON (1900-1986) Four Works Mixed media, including a floral study, oil and pastel, 58.5cm x 92cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) Chrysanthemums within a 19th Century Asian blue and white vase Oil on canvas, 76.5cm x 51cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Frederick ROBERTS JOHNSON (1900-1986) Seven Works Mixed media on paper or canvas, including a kneeling nude, portraits and two studies of Polperro, one in watercolour on canvas, 78cm x 61cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
(Ornithology) Klaus Malling Olsen nd Hans Larsson. 'Skuas and Jaegers. A Guide to the Skuas Jaegers of the World,' first English editon, unclipped dj, illustrations and plates, Pica Press, Sussex, GMB, The Netherlands, 1997; Hans Winkler, David A. Christie and David Nurney. 'Woodpeckers. A Guide to the Woodpeckers, Piculets and Wrynecks of the World,' first English edition, unclipped dj, illustrations, fine, Pica Press, Sussex, Russell Friedman Books, South Africa, 1995; Clive Byers, Urban Olsson and Jon Curson. 'Buntings and Sparrows. A Guide to the Buntings and North American Sparrows,' first English edition, unclipped dj, fine, Pica Press, Sussex, 1995; R. B. Treleaven. 'In Pursuit of the Peregrine,' first edition, unclipped dj, fin, Tiercel SB Publishing, Herts, 1998; Desmond Nerthsole-Thompson. 'The Dotterel,' first edition, unclipped dj, fine, Collins, 1973; 'The Snow Bunting,' second edition, unclipped dj, fine, Peregrine Books, Leeds, 1993; John Sparks and Tony Soper. 'Penguins,' second impression, unclipped dj, fine, David & Charles, Newton Abbot, 1968; Nine issues from the Hamlyn Species Guide series, all fine; Kenneth Richmond. 'Wild Venture. A Bird-Watcher in Scotland,' first edition, small nibbles to unclipped dj, fine text block, Geoffrey Bles, London, 1958; With twenty two other works and a collection of booklets. (Q)
(Agriculture, Soils, Weeds and Pests etc) Forty eight good works John Morton. 'The Nature and Property of soils; Their connexion with the Geological Formation on Which They Rest.....,' third edition, later cloth with morocco label, ex libris to front pastedown Ernest Ridley Debenham (1865-1952, Debenhams Ltd), Courtney Library label to ffep, some light sporadic spotting, vg, James Ridgway, London, 1842; Primrose McConnell. 'the Elements of Agricultural Geology: A Scientific Aid to Practical Farming,' original green cloth with gilt lettering, ex libris label, frontis fold out map detached, plates and illustrations, spotting to edge of text block, vg, Crosby Lockwood and Son, London, 1902; Eleanor A. Ormerod. 'A Manual of Injurious Insects, with Methods of Prevention and Remedy for Their Attacks to Food Crops, Forest Trees, and Fruit....,' first edition, original embossed cloth, label to front pastedown reads Presented to the Library of the Royal Institution of Cornwall by John D. Enys...1904 (1837–1912, naturalist and botanist of Enys House), vignette engravings throughout, vg, W. Swan Sonnenschein & Allen, London, [n.d. but preface dated 1881]; With a second edition; Sir E. John Russell. 'The World of the Soil,' first edition, original green cloth, small nibbles to near fine unclipped dj, ex libris label, plates, vg to fine, The New Naturalist, Collins, London, 1957; Kenneth Mellanby. 'Pesticides and Pollution,' first edition, small nibbles to near fine unclipped dj, ex libris label, plates, vg to fine, The New Naturalist, Collins, London, 1967; G. R. Clark. 'The Study of the Soil in the Field,' fourth edition, 1957; Sir. A. D. Hall and G. W. Robinson. 'The Soil,' reprint, 1945; Brian T. Bunting. 'The Geography of Soil,' 2nd ed, 1967; Hugh Hammond Bennett. 'Elements of Soil Conservation,' 1st ed 5th imp, 1947; Sir E. John Russell. 'Soil Conditions & Plant Growth,' 8th ed, 1950; G. V. Jacks. 'Soil,' 1st ed, dj, 1954; C. S. Piper. 'Soil and Plant Analysis,' 2ndimp, 1944; C. Harold Wright. 'Soil Analysis,' 2nd ed, 1939; C. W. Rose. 'Agricultural Physics,' 1st ed, 1966; R. Adams, Clifford O. Jensoen and Paul M. Althouse. 'Introduction to Agricultural Biochemistry,' 1st ed, 1951; Arthur H. Savory. 'Grain and Chaff from an English Manor,' 1927; Donald E. H. Frear (ed). 'Agricultural Chemistry,' 2 vols, reprint, 1952; G. E. Fussell. 'The Farmers Tools 1500-1900,' 1st ed, 1952; Frank Hollis. 'Tractors on the Move,' 1st ed, 1963; Harold Bennett. 'Saga of the Steam Plough,' 1st ed, 1965; George H. Clark. 'Farm Weeds of Canada,' 2nd ed, 1909; Sir Charles A. Cameron and C. M. Aikman. 'Johnston's Elements of Agricultural Chemistry,' 17th ed, 1894; Walter Conrad Muenscher. 'Weeds,' 11th ed, 1952; 'Farm Weeds An aid to their recognition,' Shell Chemical Company, n.d; J. H. G. Lebon. 'the Evolution of Our Countryside,'; H. F. Barne. 'Gall Midges of Economic Importance,' two copies, 1946; E. C. Large. 'The Advance of the Fungi,' reprint, 1950; Ernst Gram, Prosper Bovien and Chr. Stapel. 'Recognition of Diseases and Pests of Farm Crops,' 1st ed, 1958; 'Common Farm Weeds Illustrated,' 1st ed, 1952; C. L. Walton. 'Farmers Warfare,' 1st, 1947; R. Randal Phillips. 'The Servantless House,' 1st ed, 1923; Hubert Martin (ed). 'Insecticide and Fungicide Handbook,'; Eleanor A. Ormerod. 'A Text-Book of Agricultural Entomology,' 2nd ed, 1892; D. H. Robinson and S. G. Jary. 'Agricultural Entomology,' 1st ed, n.d; Kenneth M. Smith. 'A Textbook of Agricultural Entomology,' 1st ed, 1931. (48)
Arthur WRAGG (1903-1978) Two original illustrations titled 'Time' and 'Spring' Pen and ink on paper, each titled, 34.5cm x 31.5cm and 34.5cm x 32cm (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
J. R. R. Tolkien Tree and Leaf First edition, facsimile signature to title page, ex libris Andover Public Library with ink library stamps, a few condition issues with large chip to head of spine being the worst, brown tape marks to endpapers, spotting to edge of text block, fair to good, George Allen & Unwin, London, 1964.Despite flaws, an increasingly scarce Tolkien first edition.
(Farming) Five good works John Curtis. ' Farm Insects: Being the Natural History and Economy of the Insects Injurious to the Field Crops of Great Britain and Ireland,' first edition, contemporary half polished calf, spine with gilt tooling and morocco label, label stuck to front board, marbled endpapers and text block edge, Courtney Library label pasted to verso of binders leaf, 16 hand coloured plates as called for, numerous vignette engravings throughout, a very good copy, Blackie and Son, Glasgow, 1860; With another copy in its original embossed cloth, inner front joint split with vg text block loosening; Robert Somerville. 'Outlines of the Fifteenth General Report from the Board of Agriculture. On the Subject of Manures,' first edition, near contemporary card boards rubbed, ex libris to pastedown, half title, advertisement, vi, contents, pp.89-36, some contemporary ink notes to margins, vg, W. Bulmer and Co, London, 1795; J. C. Nesbit. 'On Agricultural Chemistry, and the Nature and Properties of Peruvian Guano,' original embossed cloth with gilt lettering, ex libris label to front pastedown, advertisement, pp.126, three steel vignette engravings, vg to fine, Longman and Co, London, [c.1856]; Jethro Tull and Alexander Burnett. 'Tillage A Substitute for Manure Illustrated by the Principles of Modern Agricultural Science, and the Precepts and Practice of Jethro Tull....The Particulars of Lois Weedon Husbandry, and Other Instances of Tull's Method of Farming by Alexander Burnett,' original embossed green cloth with gilt lettering, slight sun discolouring to the spine, ex libris label, x, pp.212, xxiv, viii, errata, vg to fine, Whittaker and Co, London, 1859. (5)
Frederick ROBERTS JOHNSON (1900-1986) Stadshuset, Stockholm City Hall Pastel on card, signed, titled to the margin, 31cm x 24cm, 54cm x 47cm framed.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Arthur WRAGG (1903-1976) Three Works Mixed media on card, two of high-society with one titled 'Sunday', together with print of the image which appeared within a magazine of the time, one signed, largest 53.5cm x 38cm (3)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
Arthur WRAGG (1903-1976) An original illustration from 'The Psalms of Modern Life' Pen and ink on card, annotated in graphite, 38cm x 26.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.
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