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Vintage advertising posters, WW2 poster issued in Nazi occupied France for the National Lottery for health treatment, French 60s exhibition poster LES ENFANTS DE GRAND PAPA , 1970S German Exhibition poster for Albrecht Durer at the Gera Museum, advertising poster for Le Nouveau Beaujolais, Toulouse-Lautrec exhibition poster, Gus Bofa exhibition poster.

Four prints - including a Medici Society print of an Owl after Albrecht Durer, 18.8 x 13.2cm, gilt frame; a hand coloured engraving of a Fahaka Pufferfish, after R. P. Nodder, 8.1 x 13.7cm, wooden frame; a pair of hand coloured engravings of slugs and snails after R. P. Nodder, pub.1790, each 11.3 x 20cm, in a single wooden frame; and a (faded) still life in a wooden moulded frame, overall 37.75 x 31.5cm.

* Dürer (Albrecht, 1471-1528). Saint Jerome in His Study, 1514, engraving on laid paper, trimmed just inside the plate mark, an early (possibly 16th century) impression, some staining and several small tears repaired, generally without loss, sheet size 240 x 185 mm (9 1/2 x 7 1/4 ins), laid down on early 19th century English backing card, with ruled outer border in brown ink and pale brown wash, inscribed in ink to foot of the backing sheet 'Etching by Albert Durer - the Picture by the same Artist at Powerscourt', together with Jan Wierix (circa 1549-1615). Melencolia I, after Albrecht Dürer, 1602 [but later], engraving on wove paper, a good impression from a later printing (probably late 18th century or early 19th century), trimmed to plate margin, sheet size 239 x 190 mm (9 1/2 x 7 1/2 ins), plus two other later engravings after Dürer, including The Virgin Seated on a Grassy Bank, 1566, published by Claes Jansz. Visscher, engraving on antique laid paper, trimmed to plate margin, sheet size 116 x 72 mmQTY: (4)NOTE:Saint Jerome: Meder 59. Wierix: Mauquoy-Hendrickx, Estampes des Wierix 1556; Hollstein 2000; Alvin 1576. Virgin Seated on a Grassy Bank: Bartsch 34, Meder 31.

Kurth (Dr Willi, editor) The Complete Woodcuts of Albrecht Durer, with an introduction by Campbell Dodgson, one of 500 copies, illustrations, modern morocco-backed marbled boards, spine gilt, small scuff to foot of spine, 1927 § Hartt (Frederick) & others. The Sistine Chapel, 2 vol., one of 500 copies, 1991 § Andres (Glenn M.) & others. The Art of Florence, 2 vol.,  1994, the last two with colour illustrations, some folding, original cloth with slip-cases, folio & 4to (5)

ALBRECHT DURER: AN ENGRAVING 'HERCULES AT THE CROSS ROAD'32cm x 22cmFramed and glazed 42cm x 37cmProvenance: Private collection, South West London.

ALBRECHT DURER: AN ENGRAVING 'VIRGIN AND CHILD WITH MONKEY'19cm x 12cmFramed and glazed 36cm x 26cmProvenance: Private collection, South West London.

A cold painted and patinated bronze figure of a man in a shawl along with a bronze relief plaque after the original 1513 engraving by Albrecht Durer titled 'The Knight, Death and the Devil'. H.28cm

Frederick ROBERTS JOHNSON (1900-1986) The Net Loft, Polperro Oil on board, 61cm x 90cm, 67cm x 96cm 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) House on Props, Polperro Pastel on paper, signed, 30.5cm x 22cm, 47.5cm x 39cm 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) Stylized Polperro Oil on board, 43.5cm x 72cm.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 portfolio of work including for Woman's Journal and Woman's Pictorial Mainly ink or graphite on board or paper, toegther with letters written to the illustrator, numerous dust jackets for 'Thy Kingdom Come' and other ephemera.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) Thirteen Sketches and Studies Mixed media, including pen and ink and graphite, each unsigned, 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) Sunny Day, Polperro Oil on board, 61cm x 74cm.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) Five Works Mixed media, including watercolour and pastel, two signed, 'International Test Match', 37cm 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.

Arthur WRAGG (1903-1976) An illustration for Solpruff Fadeless Fabrics Watercolour and ink, graphite inscription, 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.

Arthur WRAGG (1903-1976) Disaffection From Wragg's book 'Jesus Wept' Pen and ink, titled, with graphite inscription and notes regarding the font type to use for the finished publication, 22cm 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.

Frederick ROBERTS JOHNSON (1900-1986) Polperro Oil on board, 61cm x 76cm, with portrait 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.

Arthur WRAGG (1903-1976) What These Newspapers Is Coming To Watercolour and ink, signed, inscribed ' What these newspapers is coming to, Mrs ....., they all has their official co-respondent now!'', 54cm 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) Six Original Works Two portrait studies, pastel and charcoal, together with a pastel study of a female nude in repose, initialled RJ, 45.5cm x 58.5cm and three further female portrait studies (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.

Arthur WRAGG (1903-1976) A portfolio of studies, preporatory sketches and ideas and partly finished works, all unsigned, largest 58cm 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 Mixed media, including cruise advertising imagery and 'The Promenade (1860), mixed media, signed, 30cm 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.

Frederick ROBERTS JOHNSON (1900-1986) Four Works Two styalized views of Polperro, each pastel on paper, 51cm x 63.5cm; together with two pastel portraits, one initialled RJ.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 Polperro Views Each oil on board, 30cm x 28cm and 26cm x 41cm. 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 (1903-1978) Illustration used on cover of 'Arthur Wragg: Twentieth-century Prophet and Jester' by Judy Brook Pen and ink on paper mounted onto card, titled 'Escape!' from 'Jesus Wept', image size 24cm x 51cm, 41cm x 56.5cm mounted, also illustrated on a double-page spread within the book; together with a further work.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) Political Anti-War Propaganda illustration Pen and ink on paper mounted onto card with white corrections, graphite annotations, signed, 27cm x 41cm.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) Four illustrations Each pen and ink of card, each with graphite annotations, each 26.5cm x 38cm (4)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 Views of The House on The Props, Polperro Oil on board, 35cm x 25cm and 25cm x 30cm.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) Interior of a Ryggas Cottage at Sordal, Sweden Pastel on paper mounted onto board, signed and titled, dust cover suggests it was used within a Polperro Exhibition, image size 32cm x 27.5cm, 45.5cm 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) Abdulla Superb Cigarettes advertisements Published within 'Punch, Or The London Charivari', one original work signed 'Essex', together with mostly reproduction proofs for the artist from Ruth Holmes, together with typed letters stipulating the improvements to Johnson's work requested by the cigarette specialists. Both Roberts Johnson and Wragg produced advertisements for Abdulla Cigarettes; a job done often to keep 'the wolf from the door', as Wragg put it.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 Works Each charcoal, one on paper and one on card, unsigned, image sizes 36.5cm x 30cm and 27cm 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) Polperro Cottages Oil on board, 38cm x 37cm.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) Babson's High-Class Supper Ball Ink and graphite on paper, 32cm x 51cm; together with other studies and sketches, including 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.

Arthur WRAGG (1903-1976) 'The Roads of England' from 'Jesus Wept' and three other illustrations Illustrated in Judy Brook's biography on Arthur Wragg, p.88, each pen and ink on or mounted onto board, graphite annotations, largest 40cm 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) Preparing For a Day's Fishing Oil on board, signed, 41cm 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 Portrait Studies Mixed media on paper, three signed and dated '24, largest 74cm x 56cm. (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.

Arthur WRAGG (1903-1976) Four illustrations, including one from 'The Psalms of Modern Life' Each pen and ink of card, one with annotations. page 60 of 'Psalms of Modern Life', 38cm x 26.5cm (4)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) Wistful Figures Graphite and charcoal on paper, `63.5cm 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. This work has been kept continually under protective tissue and consequently is in excellent condition. There are two drawing pin holes to the top corners, and a couple of very minor knocks and creases to bottom edge but nothing of concern.

Frederick ROBERTS JOHNSON (1900-1986) Apple Blossom in a Vase Oil on board, signed with initials, 40cm x 38.5cm. 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.

Arthur WRAGG (1903-1976) 'Love Locked Out' from Wragg's book 'Jesus Wept Pen and ink, titled, 29.5cm x 19.5cm, together with a dust-jacket for the book.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 Each oil, three on canvas and one on board, largest 30.5cm x 50.5cm. 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) Nine Works, mostly portrait studies A range of media including oils and pastel, one signed, largest 76cm 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.

Arthur WRAGG (1903-1976) Haunting Faces and four other works Mixed media, including pen and ink, charcoal and graphite; pen and ink 'Morals: 1837 page border 38cm x 47cm, Haunting Faces, graphtie and charcoal, 58.5cm x 42.5cm (5)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) Budding Thistle in a Vase Oil on board, 44cm x 35cm. 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) Sankt Hansgatan, Visby, Sweden and three other works Each pastel on card, two signed and titled, Visby 31.5cm x 24cm, 50cm x 37cm mounted. (4)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) An Owl and A Mouse and a further original work Owl and A Mouse, mixed media on board, signed, 60cm x 73cm; together with a floral study, oil on board, 61cm x 81cm.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 Gourmet' from 'Thy Kingdom Come (1939) and one illustration Each pen and ink on paper mounted onto board, with graphite annotations, 29cm x 21cm and 24.5cm x 18.5cm (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) Seven Anti-War Posters 'And Jesus said: Suf-fer Lit-le Child...', published by the No More War Movement from Wragg's book 'Jesus Wept', Selwyn Blount Publishers, Watford Printers Ltd, each 76cm x 50.5cm (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. The lot contains seven of the same, original poster. They are mostly in good, clean condition with some creases and knocks to the edges. All have a some minor creasing horizontally to the centre of the poster. Virtually no foxing. One poster has black marks to the centre (see photo). Three have very small tears to the bottom edge.

Arthur WRAGG (1903-1976) Seven Coventry Reborn In Unity posters Print on paper, A campaign to raise money to rebuild Coventry Cathedral and found its Christian Service Centre, printed by The Baynard Press, 76cm x 50cm, together with The Coventry Cathedral Plan booklet for which the poster was produced (8)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 portfolio of works Including a graphite design for the signage of The Three Pilchards Pub, Polperro, 'Terence on the Terrace' comic sketches and prints, together with a host of other sketches and 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.

Frederick ROBERTS JOHNSON (1900-1986) Eight Works Mostly oils on board, one initialled, largest 46cm 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.

Frederick ROBERTS JOHNSON (1900-1986) Four Works Two floral still-life studies, one garden view and a further portrait, each oil on board, portrait measures 35cm x 30cm.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) Sunflowers Two works, each oil on board, each 61cm x 46cm (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) Chapel Cliff, Polperro Oil on card, titled verso, 56cm x 68.5cm.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.

Edmund BLAMPIED (1886-1966) The Two Coves and one other Lithographs, each signed, one inscribed, 'To Arthur Wragg - with J Blampied (Jerrais Edmond Bliampied) compliments, 14.1.1935; each 51cm x 38cm. (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) Two Christmas Card designs Each mixed media with pencil inscriptions, 26.5cm x 18.5cm.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.

Arthur WRAGG (1903-1976) Figure studies Mostly graphite on paper, including 'Insanity Fare', 20cm x 25cm, most 44.5cm x 28cm (Qty)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) Abstract Oil on board, signed, 76cm 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.

Frederick ROBERTS JOHNSON (1900-1986) Sitting Room Interior c.1930 Watercolour, signed, 41cm x 56cm. 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) St Nygatan, Sweden Pastel on paper, signed and titled to margin, 32cm x 25cm, 54cm x 41cm framed; together with two further pastel works of continental views, 33cm x 25cm and 28cm x 18cm (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 illustration for Solpruff Fadeless Fabrics Art-nouveau in style, mixed media watercolour and graphite, 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.