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Frederick ROBERTS JOHNSON (1900-1986) Stylized Fish II 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.

Arthur WRAGG (1903-1976) Two original illustrations from 'Psalms of Modern Life' Each pen and ink on card with graphite annotations, each 38cm x 27cm.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) Portrait Studies including Cornish Fishermen signed 'Essex' Together with a blockline drawing of the writer Osbert Sitwell, annotated verso, 37cm x 27cm; mixed media works, mostly graphite, pastel or charcoal (13)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 illustrations) Oscar Wilde The Selfish Giant Printed thin card wraps with illustration to front, staple bound, half title, woodcut to blue and black printed title page, pp.29 of which six leaves are illustrations, colour boarders to ever leaf of text, a very good copy, Comyns (Publishers) Ltd, London, 1946.An extremely scarce booklet, with no copies listed in the British Library or WorldCat. Of particular interest is the publisher, about whom little information is readily available. The booklet appears to have been published by William Comyns Beaumont (1873–1956), a notable journalist, staff writer for the Daily Mail, and editor of The Bystander and The Graphic. Beaumont is well known for his unconventional theories, particularly his belief in the historical existence of giants, a theme reflected in this publication. It is clear Johnson and Beaumont moved in similar professional circles. 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) Works Published by The Polperro Press Including 'Be Glad (of the Ford), The Angler's Prayer and Tobacco, mostly pen and ink on board, signed and dated 1926, each 38cm x 26.5cm (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.

Frederick ROBERTS JOHNSON (1900-1986) Original works mostly landscape studies Mixed media, including graphite, ink and charcoal, largest 45cm x 58cm.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) Four Still-Life Studies Each oil on board, ranging from 32cm x 35.5cm to 35.5cm 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.

Frederick ROBERTS JOHNSON (1900-1986) A Fisherman and Three Boats at Low Tide Oil on canvas (unstretched) 56cm x 77cm.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) 'Betrayal' from Wragg's book 'Jesus Wept' and illustrated in Judy Brook's biography. Pen and ink, titled, 29.5cm x 19.5cm, together with 'Wanted - A Statue', image size 22cm x 18cm. (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.

Frederick ROBERTS JOHNSON (1900-1986) Swimming Pool, Perranporth Watercolour and graphite, 63.5cm x 46cm; together with five further original works, including three still life watercolours. (6)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) 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.

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.

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.

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.

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.

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.

WW2 USAAF Officers ETO Jacket, British Made, A lovely British made Officers ETO jacket, originally patched up to an officer of the ‘USSTAF’ or ‘United States Strategic Air Forces’. A very nicely done example of an ETO officers’ jacket in which the tapes on the lower arms are present adding to this one’s slightly more unique appearance, adding to that most of these jackets had a button fastening cuff. Clutch back style ‘props & wings’ badges are present on each lapel. Unfortunately, the rank on the epaulettes has since been removed. Judging by the ghosting, they look to have been an embroidered type of Major’s or Lt Col’s leaves. The USSTAF patch sits on the left upper arm. Complete with classic British, wartime period buttons and a tailor’s label, ‘Jones Chalk & Dawson’ of Sackville St, Piccadilly to the inside pocket. Some mothing is present on the lapel and collar, but in no means distracting it from being a very nice period USAAF tunic.

American B-17 Pilots Uniform and Paperwork Archive of Captain Gerald T Smith DFC, 332nd Bomber Squadron of 94th Bomb Group US 8th Air Force, the comprehensive grouping relating to Cpt Gerald T Smith, Pilot, 332nd BS/94th BG. This excellent grouping consists of his full uniform, officers class A’s with shirt, tie and officers garrison cap as well as his A2 flying jacket. The medals, of which are still cased and a very large quantity of paperwork and photos. The officers class A tunic is good clean condition featuring its full insignia with sterling pilot wings, clutch back ‘US’ tabs and ‘Props’, Captain rank badges to the epaulettes, English made 8th air force badge to the right shoulder and the USAAF patch to the left. Common in these cases to have the previous serving air force patch applied to the opposite shoulder, probably in this case, due to returning home and serving in a training unit. Medal ribbons of the DFC, Air Medal and EAME sit nicely below the wings. The trousers or ‘Pinks’ are in good condition with the brass officers type buckled belt. The shirt with collar rank still present and US made 8th Air Force patch applied and period issue tie. His garrison cap with Captain rank badge in situ is in good condition with the black and gold USAAF piping. The A2 is a private purchase example, with good strong leather and working ‘talon’ zip in which a whistle hangs from. Captain Smith’s DFC and Air medals that accompany this lot are in their black presentation cases, both of which have the ribbon bar and button-hole badge in each. In the blue card boxes, are the American campaign medal, the victory medal and the EAME medal plus a spare set of 3in sterling pilot wings. The paperwork side of this grouping is what makes this lot special, detailing most of Gerald Smiths time with the air force from joining up to post war service. His wartime experiences with the 332nd Bomb Squadron of the 94th Bomb Group, based at Rougham, are fascinating, having Photos of two signed members of Geralds crew, ‘Upton’ his navigator and ‘McCormick’ his bombardier. Other pieces include general order extracts, informing Gerald of his DFC awarded on the 8th December 1943 for extraordinary achievement on the 18th oct 1943 on bringing back his stricken B17 ‘Little Sir Echo’ and crash landing it into a field, in Lydden, Near Dover, Kent, without harm to the crew. This is the second time Gerald made a forced landing, before a landing in the channel in July 1943. He would go on to complete a tour of 25 operational missions over enemy territory and receive an oak leaf to his DFC, of which is still attached to the extract letter, dated 16th Dec 1943. Overall, a fantastic collection of pieces relating to a B-17 pilot in the 8th Air Force. Viewing highly recommended due to the large collection of paperwork in which can’t be described in full here.

Star Wars Mad Monkey Props Chewbacca 1:1 scale Prop Replica Mask, Near Mint.

Harvey Harrison Props The Black Hole Maximilian 1:1 scale Prop Replica Helmet, Near Mint.

Three acro props

Postcards, Children, a large collection of approx. 300 mostly b/w photographs and printed cards of children, a few with toys and photographer props. A few cards hand coloured and 5 sets of 6 (mainly gd)

A Yonezawa (Japan) Tinplate Battery-Operated Douglas C-124 Globemaster, No.320, detailed tinprinted body in U.S Air Force livery with silver plastic nose cone, four white props and opening nose doors, in original box, VG-E, tested and working at time of cataloguing, box G

A pair of Bulkhead-mounted Petrol Aero Engines and related books, of similar design, both mounted on wood/aluminium bulkheads with extension controls for test running, with 340mm and 370mm wooden props respectively, both with parts of, but not complete, ignition systems, both G, one with damaged spark plug, together with 2 books on model petrol engines (4)

A 1950's Raise Up 1:72 'Seaboard & Western' Airlines L-1049 Lockheed Super Constellation Travel Agency Display Model, aluminium construction on tripod stand, 'N6501C' registration to wing, original 'Raise Up Rotterdam Holland' transfer to underside, approx wingspan 18.25", length 17", generally G, lacks all props, nose retouched, stand replaced

Five Diesel Aero Engines by 'K' and others, one with 'K' cast into crank-case, two smaller engines with long cast-alloy crank-cases, both fitted with props (one nylon, one wood), and two others unidentified, all appear G (5)

Two small Diesel-engined Control-line Model Monoplanes, one a German fighter aircraft in 'camouflage' colours with No. 7 and black cat motifs to nose, the other a very simple wooden 'plane, both fitted with plastic props, both with perishing to rubber tyres and other damages (2 + some loose parts)

Eleven assorted small Diesel Engines by FROG (11), including FROG 500 (2), 249, 250, 150, 50 (2) and four others, one with brass water jacket, and three others with props attached, one of which appears earlier with taller cylinder and 'Frog' trademark to rear of crankcase, possibly pre-war or early post-war (11)

Two replica pistols / stage props

COLLECTION OF FLAGS AND COUNTRY AND WESTERN PROPS, ALSO A SCOTTISH GLENGARRY WITH MILITARY CAP BADGE including various cowboy hats, saddlebags, reproduction uniforms, belts, and further

Shoji HAMADA (1894-1978) Vase Stoneware, height 17cm.Good condition with no areas of concern. The piece has come to us from an esteemed local collector.  

A Victorian Hand Painted Scrap Book, The Watercolours Depicting Characters, Back Drops and Props for Harlequin The Tinder Box

Matchbox Models of Yesteryear, a mixed boxed and unboxed group of various types of Yesteryears to include, Y1 1911 Ford Model T, Y5 1929 Bentley "Racing Number 5", Y14 1931 Stutz Bearcat and others similar. Conditions appear Good Plus to Near Mint in generally Good to Excellent boxes. (35+) 

Matchbox Superfast a mixed boxed group of Commercial Vehicles to include, 2x 17b London Bus, 2x 30d Artic Truck, 36d Refuse Truck, 42c Mercedes Container Truck, 65b Airport Coach and 72e Dodge Delivery Truck - Excellent to Near Mint in Fair to Excellent Plus boxes. (8) 

Matchbox Superfast a mixed boxed group of Sports Cars and similar to include, 21c Renault 5TL, 25d Audi Quatro, 25e Toyota Celia GT, 42 and others similar - Good to Near Mint in Fair to Excellent Plus boxes. (9) 

Matchbox Models of Yesteryear a mixed group to include various models and some minor variations noted to include; Y10 1928 Mercedes, Y10 1908 Mercedes Grand Prix white body and off white body with green seats and others similar - Good Plus to Near Mint in generally Fair to Excellent boxes. (Mainly DIY Boxes) (8)

Matchbox Models of Yesteryear a mixed boxed group of Mainly Commercials to include; Y19 "Brasso" Morris Cowley Van with 1st Type roof casting, Y12 Crossley "Carters Seeds" Y12 Ford Model T "Coca-Cola", Y23 1930 Mack AC "Texaco", Y18 1918 Atkinson Lorry and others similar, various minor variations noted. Conditions appear Excellent to Near Mint in generally Good to Excellent Straw and Maroon boxes. (55+) 

Matchbox Superfast a mixed boxed group of Commercial/Construction Vehicles to include, 19d Peterbilt Cement Truck, 23b Atlas Tipper, 2x 26c Site Dumper (Red and Yellow dumpers, 29c Tractor Shovel, 58c Faun Dump, 61c Peterbilt Wreck Truck - Excellent to Near Mint in Good to Excellent Plus boxes. (7) 

Matchbox Superfast a mixed boxed group of Sports Cars and similar to include, 21c Renault 5TL, 25d Audi Quatro, 62d Chevrolet Corvette, 74e Fiat Abarth and others similar - Good to Near Mint in Fair to Excellent Plus boxes. (9) 

Matchbox Models of Yesteryear a mixed boxed group of Mainly Commercials to include; Y12 Ford Model T "Motor 100",  Y12 Ford Model T "Royal Mail", Y5 Talbot "Taystee" and others similar. Conditions appear Excellent to Near Mint in generally Good to Excellent Maroon and Straw boxes. (45+) 

Matchbox Models of Yesteryear a mixed group to include various models and some minor variations noted to include; Y7 1912 Rolls-Royce with ribbed roof, Y9 1912 Simplex with darker and lighter green bodies, Y11 1911 Packard Landaulet and others similar - Good Plus to Near Mint in generally Fair to Excellent boxes. (Some DIY Boxes) (8)

Matchbox, Models of Yesteryear a boxed group of Woodgrain Models to include, Y16 1928 Mercedes SS Coupe with dark green wheels, Y6 Rolls Royce Fire Engine, Y15 1930 Packard Victoria and others similar with duplicates and minor variations noted. Conditions appear Excellent to Near Mint in generally Fair to Excellent boxes. (30+) 

Matchbox Superfast a mixed boxed group of Commercial/Construction Vehicles to include, 14d Leyland Petrol Tanker, 48c Sambron Jacklift, 58c Faun Dump Truck, 61b Wreck Truck and 3x 72c Bomag - Excellent to Near Mint in Fair to Excellent Plus boxes. (7) 

Matchbox Models of Yesteryear a mixed group to include Y9 Fowler Showman's Engine with some minor variations noted to include; Y9 Showman's Engine with brighter red body with black nameplate and Y9 Fowlers Showman's Engine with dark maroon body with black nameplate and different boiler door colours and others similar - Good Plus to Near Mint in generally Fair to Excellent boxes. (Some DIY Boxes) (8)

Matchbox, Models of Yesteryear a boxed group of Woodgrain Models to include, Y16 1928 Mercedes SS Coupe - dark Green roof and luggage and seats, Y11 Lagonda Coupe with red seats and roof cover and luggage and silver 24 spoke wheels, Y13 RAF Crossley with olive green roof and canopy and others similar with duplicates and minor variations noted. Conditions appear Excellent to Near Mint in generally Fair to Excellent boxes. (20+) 

Matchbox Superfast a mixed boxed group of  73c Ford Model 'A' Vehicles,  to include many variations and conditions - Excellent to Near Mint in Good to Excellent boxes. (8) 

LINE AND FORM NO. 17 NUDES AND PROPS PHOTGRAPHIC ART STUDIES BY EVA GRANT  Please note: We have blurred certain parts of the photographs to comply with The Saleroom's guidelines on nudity. Published by Photoform Publications Ltd. London. Good condition. Ref. T.

Moskvitch, Volga, Gama & similar, a boxed Car & Commercial group.  Although unchecked for completeness condition generally appears to be Good to Excellent in Fair to Good boxes.  See Photo. 

Matchbox, Corgi & Solido, a boxed Car, Commercial & Aircraft group.  Although unchecked for completeness condition generally appears to be Excellent in Fair to Good boxes.  See Photo. 

A Sokkia “AP41” theodolite; an Axis Dome Network camera; & various WW1 stage props.

Eric Morecambe's stage props. Two tambourines, two hand-bells, and a castanet clapper ❧ This is from Eric Morecambe’s private study at his home in Harpenden