(Occult) Francis Barrett The Magus, or Celestial Intelligencer; being a complete system of occult philosophy. Second edition being the 1875 facsimile, original quarter gilt brown leather with demon device, maroon cloth boards, half title, portrait frontispiece, 17 plates, 5 hand-coloured plates of demons, water staining to ege of leave of Book II, some spotting but generally good to very good, Printed for Lackington, Allen and Co., Temple of the Muses, Finsbury Square, London 1801, Knight and Compton (on half title) & W. Blackader (on title for Book II, Part I and on last page), 1875.A virtually exact reprinting, only the number of hand-colour plates of demons (five in this second edition, but four in the first) and a couple of minor textual variants differentiate the two editions. A scarce copy in good condition.
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Frederick ROBERTS JOHNSON (1900-1986) Four Works Mixed media, including a pastel and watercolour of an energetic harbour view, initialled, 58.5cm x 73cm.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) Artwork and ephemera related to the artist Including comic sketches for publication, initial advertising designs for cigarettes, a typed story 'Pooh, Said the Panda' with associated sketches; and further works.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.
(Tuvalu and Kiribati) Thirty scarce publications mostly on and about the Ellice Islands and Gilbert Islands. Raobeia Ken Sigrah and Stacey M. King. 'Te Rii ni Banaba,' signed by the authors, card wraps, illustrations, charts and maps, vg to fine, Institute of Pacific Studies, University of the South Pacific, 2001; C. A. Small. 'Atoll Agriculture in the Gilbert and Ellice Islands,' first edition, card wraps with some spotting to inner flaps, illustrations throughout with colour frontis, Department of Agriculture, Tarawa, 1972; H.C. and H.E. Maude (ed). 'An Anthology of Gilbertese Oral Tradition. From the Grimble Papers and Other Collections,' translated by A.F. Grimble and Reid Cowell, colourful card wraps, typescript, Institute of Pacific Studies of The University of the South Pacific, 1994; 'Te Katake,' compiled and transcribed by Joan and Tony Whincup with the help of Tekaai Taake, Tibwere Ruita, Kaitama Teeba, and Errita Temare, Gilbertese text with English introduction and commentary by Bwere Eritaia and Tebouaki Tewei, Ministry, music score and lyrics with performers names, scarce with WorldCat showing one copy in thirteen libraries, Ministry of Education, Training and Culture, Tarawa, Kiribati, 1981; Rosemary Grimble (ed). 'Magic in the South Seas. Spells collected by Sir Arthur Grimble,' signed by Rosemary, small booklet staple bound, pp.20, fine, K.L. Goddard, n.d; Ten Tiroba (of Buariki) and Reid Cowell (trans). 'Traditional Stories from the Nothern Gilberts,' first edition, card wraps, references, pp.91, vg, Institute of Pacific Studies of the University of the South Pacific, 1990; Roniti Teiwaki. 'Management of Marine Resources in Kiribati, first edition, card wraps, vg, University of the South Seas, 1988; Roddy Cordon (compiler). 'Captain Ward. Pacific Navigator,' signed by the compiler, card wraps, b+w illustrations, vg, Cordon & Wood, Lincoln, 1995; 'Atoll Family,' signed, first edition, card wraps, vg, Cordon & Wood, Lincoln, 2002; 'Seven Years Island Hopping,' two volumes, both signed, card wraps, b+w illustrations, fine, Cordon & Wood, Lincoln, 1998; Ron Crocombe (ed). 'Land Tenure in the Pacific,' reprint, card wraps, Oxford University Press, 1977; Simati Faaniu, Vinaka Ielemia, Taulu Isako, Tito Isala et al (seventeen writers). 'Tuvalu. A History,' signed and inscribed to title page, card wraps, Institute of Pacific Studies and Extension Services, Ministry of Social Services, Tuvalu, 1983; R.G, and Marjorie Crocombe. 'The Works of Ta'Unga. Records of a Polynesian Traveller in the South Seas, 1833-1896,' reprint, card wraps, vg, Institute of Pacific Studies, University of the South Pacific, 1984; Peter McQuarrie. 'Tokelau. People, Atolls and History,' signed by author, card wraps, vg, Published by the Author by First Edition Ltd, New Zealand, 2007; 'Strategic Atolls. Tuvalu and the Second World War,' card wraps, illustrations, MacMillan Brown Centre for Pacific Studies, University of Canterbury, 1994; John Hockings. 'Traditional Architecture in the Gilbert Islands,' first edition, card wraps, toning, good to vg, University of Queensland Press, 1989; Batiri T. Bataua, Kamaua Lobi, Baranite Kirata, Moarerei Kirion et al (fourteen writers). 'Kiribati. A Changing Atoll Culture,' first edition, card wraps, vg, Institute of Pacific Studies, 1985; Peter Kanere Koru and Ginette Sullivan (ed). 'Iango Mai Kiribati. Stories From Kiribati,' card wraps, illustrated throughout, vg, Kiribati Extension Centre and the Institution of Pacific Studie, 1986; Claudia Pond Eyley and Robin White. 'Twenty-Eight Days om Kiribati,' card wraps, illustrations throughout, vg to fine, New Woman's Press, Auckland, 1987; With ten other works. (30)Scarce publications. Tuvalu National Archives major project | Endangered Archives Programme 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.
Te Rangi Hiroa The Material Culture of the Cook Islands (Aitutaki) First edition, original decorative cloth with motif running to the endpapers, slight staining to the edge of the text block, illustrations throughout, pp.384, a very good copy, Memoirs of the Board of Maori Ethnological Reasearch, Volume 1, Thomas Avery & Sons, New Plymouth, NZ, 1927. 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) Eleven Works Mostly pen and ink or graphite. unsigned, largest 49.5cm x 71cm. (11)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) Five Copies of Seven Words One signed copy, William Heinemann Limited: London & Toronto, 1939; together with 'Oscar Wilde, The Ballad of Reading Gaol, drawings by Arthur Wragg, signed by the illustrator, 1948; Daniel Defoe, The Fortunes of Moll Flanders, illustrations by Arthur Wragg, 1948; and two copies of Walter Greenwood's The Cleft Stick, drawings by Arthur Wragg, 1937; together with further ephemera related to Wragg.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) Two Harbour Views Each pastel on card, 29.5cm x 23.5cm and 22.5cm x 25.5cm, 56cm x 40cm 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) A large quantity of works Preparatory works for advertisements and book illustrations, together with figure studies, mostly graphite or ink 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.
(Private Press) Seven works by Ark Press GLORY ON THE EARTH By Donald Culross Peattie (1960). Illustrated by the wood-engravings of Otto Rohse. Light foxing. MAN IS A LITTLE WORLD By Michael Adam (1969) First edition. Together with THE CRY OF A GULL JOURNALS 1923-1948 ALYSE GREGORY Edited by Michael Adam (1973) and linocuts by Alan Richards and SO WILD A THING By Malcolm Elwin literary executor of Llewelyn Powys (1973) Ark Press. First edition with THE WILD STRANGE PLACE By Michael Adam (1971) All Ark Press Penzance/Dulverton together with MY WILD LOVE By Michael Adam (1987) Quay Books Penzance. Signed by the author. Paper boards. Last two with woodcuts by Robert Wyss and one other on the Ark Press. Nice bright collection (7)
(Politics) Four works Johann Wilhelm von Archenholz. 'Geschichte des siebenjährigen Krieges von 1756 bis 1763 (History of the Seven Year War in Germany from 1756 to 1763),' two volume bound in one, German text, contemporary half leather, marbled edge, ex libris label Sir William Molesworth, frontis engraving, fold out copper engraved map with no tears, pp.291 and pp.302, a fine text block, Haude and Spene, Berlin, [c.1787]; A. McManus (commentary). 'History of the Zinoviev Letter. Facts About the Infamous Letter,' printed thin card wraps, heavy spotting throughout, Communist Party of Great Britain, London, 1925; G. C. Baravelli. 'SWK. The Tragedy of the Stalin Canal,' printed thin card wrpas, some very light spotting, Societa Edrice Di Novissima, Roma, [c.1930]; Oswald Dutch. 'The Errant Diplomat. The Life of Franz von Papen,' first edition, original cloth, unclipped dj, spotting to edge of text block, vg, Edward Arnold & Co, London, 1940. (4)
Arthur WRAGG (1903-1976) The Lady of the Looking Glass Watercolour and ink, signed and titled, image size 43.5cm x 30cm, 50.5cm x 38cm including margin.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, Low Tide Oil on board, 41cm x 44cm.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 and Inscribed) Ivan Raby The Book of St Columb & St Mawgan Inscribed for Father Mike of St Mawgan with St Ervan and St Eval. Every good wish and Blessing, Mike, + Sandra with much affection......June 1985, signed again to the title page, first edition, clipped dj, plates, vg to fine, Barracuda Books, Buckingham, 1979.
Arthur WRAGG (1903-1976) The Bridge Mixed media, signed and titled, image size 35.5cm x 32.5cm, 47cm 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) A collection of mixed media work Including pastel cubist inspired portraits, landscape views, studies and sketches, each on paper with some signed, most approximately 54cm x 42cm.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.
(Cornwall) Fourteen good works C. E. Byles. 'The Life snd Letters of R. S. Hawker,' original embossed cloth, frontis lithograph, plates, some spotting to edge of text block, vg, John Lane: The Bodley Head, New York, 1906; Wendy Mink (ed). 'The Journals of Caroline Fox 1835-1871,' original cloth, tear to unclipped dj, vg, Elek London, 1972; R. L. Brett (ed). 'Barclay Fox's Journal,' first edition, original cloth, unclipped dj, plates, vg, Bell & Hyman, London, 1979; Maria Tuke Sainsbury. 'Henry Scott Tuke. A Memoir,' first edition, original cloth, some finger soil, good to vg, Martin Secker, London, 1933; With ten other works including from ;Life in Cornwall' series. (14)
Arthur WRAGG (1903-1976) Five works Each pen and ink, inscribed, each 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.
(Agricultural Experimentation and Botany) A good collection J. M. Hector. 'Introduction to the Botany of Field Crops,' first eition, two volumes, original blue cloth, gilt tooled lettering to the spine, ex libris labels Courtney Library, illustrated throughout, vg to fine, Central News Agency, Johannesburg, [c.1936]; Alexander Nelson. 'Principles of Agricultural Botany,' first edition, original red cloth, ex libris, illustrations and plates, vg to fine, Thomas Nelson and Sons, London, 1946; John Bennet Lawes. 'The Rothamsted Memoirs on On Agricultural Chemistry and Physiology,' reprint, volume I containing field experiments on vegetation, vol I only, library full leather with gilt grest to front board, rubbed to hinges and extremities, ex libris label, marbled endpapers and edge, fold out graphs, vg, re-printed by Dunn & Chidgey, London, 1888; A. D. Hall. 'The Book of the Rothamsted Experiments,' issued woth the authority of the Lawes Agricultural Trust Committee, original cloth, splitting to spine hinges but holding firm, ex libris, signed William Borlase to ffep, good to vg, John Murray, London, 1905; with a copy of the second edition, 1917; 'Catalogue of the Walter Frank Perkins Agricultural Library,' original cloth, ex libris, fine, the University Library Southampton, 1961; With a good collection of Experimental and Agricultural journals. (30+)
(Cornwall) A scarce First edition Murray's guide and others 'A Hand-Book for Travellers in Devon & Cornwall,' first edition, original cloth rubbed and bumped, split inner joint with text block loosening, ink and graphite inscriptions to front leaves including a contemporary owners signature, ink dedication from the author to the title page, tape repair to one of the two fold out maps, red ink inscription to index, somewhat soiled text block, despite the many faults this is a very scarce first edition, John Murray, London, 1850; With a third edition with both maps and another third but lacking of maps; C. S. Ward and M. J. B. Baddeley. 'South Devon and South Cornwall,' sixth edition, original gilt embossed cloth, marbled edge, colour maps with some fold out, vg, Dulau & Co, London, 1902; With one other; Rev H. Hugh Breton. 'Land's End and The Lizard,' pictorial thin card wraps depicting the Men-an-Tol, small nibbles to back strip, b+w photographic illustrations throughout, advertisements, pp.94, vg, Hoyten & Cole, Plymouth, [c.1913]; With twenty four guides and booklets, including Homeland, The Official County Guide and two Penguin Guides. (30)A very good collection.
Frederick ROBERTS JOHNSON (1900-1986) A Foreboding Character Oil on board, 35cm x 25cm.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 illustrations Pen and ink on card, each with graphite annotations, 38cm x 27cm (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 Upper-Class Stroll Mixed media on board, signed, 40cm x 33cm.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 illustration for Solpruff Fadeless Fabrics Art-nouveau in style, mixed media watercolour and graphite, with graphite inscriptions, 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.
Small collection of various 18th and 19th century English ceramics to include; an 18th century first period Worcester jug decorated with chinoiserie figures (8cm high); Crown Derby cup and saucer with garlanded floral decoration and turquoise banding; Minton cup and saucer of turquoise scalloped design and one other saucer, similar; Derby lozenge shaped dish with central floral sprig framed by swagged husk trails, and another similar lozenge dish; Derby plate with central swagged urn en grisaille, the rim banded with royal blue enamel and husk trails, and others (13 items) AFmany have damaged areas (see further images), scratches, rubbed gilding, chips or cracks, repaired chips.Minton cup and saucer appear unscathed.
Hermes- a vintage Carre 90 'Napoleon' silk jacquard scarf, designed by Philippe Ledoux, decorated with imperial symbolism and Napoleonic legend, cream ground decorated with bees, within a blue border also decorated with bees, rolled edge, the first edition seen in 1963, purchased in Switzerland c.1964. Further details: slight marks, no visible pulls, minor wear commensurate with age
A Royal Crown Derby Chalice in the 1128 pattern , first quality and in good condition , together with a Royal Crown Derby ltd edition Bell , made to commemorate the Investiture of Prince Charles 1969 , with Certificate. together with a Royal Crown Derby Vine Pattern bottle opener (AF) and 3 Royal Crown Derby Imari handled knives .
2 Moorcroft vases , comprising of a Cleome design Limted Edition vase by Sian Leeper and a Moorcroft Collectors Club vase in the Athena design also by Sian Leeper, usual factory marks to bases , both first quality , no chips , cracks or restoration. both with boxes, approximate height 20cm (2)
A boxed Oxford Rail OO gauge Adams 415 class 4-4-2 tank locomotive in Pre First World War LSWR light green livery numbered 488 (as later preserved) outer box wrongly says "Southern", together with a kit-built LSWR Road/Brake Van, locomotive has tension-lock couplings fitted and is missing its detail pack, Van is missing buffers and couplings, locomotive is untested.
5 Inch Gauge "GWR Manor Class" R'No 7800. An extremely well engineered 5 inch gauge live steam 4-6-0 G.W.R Manor Class tender locomotive built to a Martin Evans "Torquay Manor" Design - chassis with a silver soldered boiler first tested in 1991 to 80 psi working pressure, water feed from usual injector plus via hand pump in the tender. Chassis with breaking equipment, gunmetal cylinders actuated by Stephenson's valve gear, all buffers, couplings, steps to cab etc, twin safety valves (bonnet missing) - comprehensive backhead with usual controls and ancillaries etc. Nameplates to splashes, R/No 7800 to cab - tender unlettered. The six wheel tender has extensive rivet work, sprung, wheels, braking system and the water tank with hand pump. Overall condition of the loco' and GWR green paint is very good, last steamed we believe 23/24 years ago - she will require decommissioning and minor TLC to body fittings (loose boiler rails etc). With the loco is a good quantity of ephemera, plans, plus boiler certification etc, provenance suggests the model was built circa 1990ish by David Moseley (a Member of Sutton Coldfield Eng' Soc') who went on to build 7.25 inch models of which we have two in the auction.1st of class built 01/38 to a collett design - withdrawn 1964 - scrapped at Cashmode's, nine of the class in preservation. Locomotive length 40 inch - tender 24inch (64 inch)
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