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EDGAR ROWLEY SMART (1887-1934); ink drawing, 'City Street Scene, possibly The Strand, London 1920', signed lower right, 53 x 34cm, framed and glazed.

† GEOFFREY KEY (b.1941); ink drawing, 'Plattfields', signed and dated 59, 12 x 17cm, framed and glazed, with Geoffrey Key Drawings and Sketches1960 to 2000, and documents from Geoffrey. Condition Report: We have not removed the image from the frame, we are unable to comment on the paper, small blemish/ fingers print to the bottom right of the image.

† DAMIEN HIRST (b.1965); ink drawing on cream card, 'Shark', signed, with certificate of authenticity from Prince of Cards, approx 20 x 29cm, mounted.

† BEN KELLY (b.1974); ink drawing, figures walking in park, signed lower right, 28 x 41cm, framed and glazed.

Unbekannter Künstler, Frankreich, 18. Jh., Hirten im Gespräch unter Bäumen, Federzeichnung mit Lavur, Papier vergilbt (auf Karton aufgezogen), rücks. Hinweis auf Nicolas Bernard Lepicié, 17,3 x 24,5 cm / Unknown artist, France, 18th century, Shepherds in conversation under trees, pen and ink drawing with lavur, paper yellowed (mounted on cardboard), inscription on the reverse reference to Nicolas Bernard Lepicié on the reverse, 17.3 x 24.5 cm

(ARR) André Masson (French, 1896 –1987) – Lion on Bull - Ink and watercolour on paper Surrealist drawing painting. Signed lower right. Mounted, framed and glazed.Andre Masson was a French painter, sculptor, illustrator, designer and writer, born at Balagny (Oise). Spent most of his youth in Brussels, where he worked as pattern-drawer in an embroidery studio and studied part-time at the Académie des Beaux-Arts. Then moved to Paris and studied at the Ecole des Beaux-Arts 1912-14. Participated from 1924-9 in the Surrealist movement. Made further works exploring chance effects, including sand paintings, as well as paintings of metamorphoses of animal and human forms, themes of germination, combats and massacres, with emphasis on violence and eroticism. Lived 1934-6 in Spain; paintings of bullfights, Spanish myths, etc. Since 1998 the record price for this artist at auction is 3,125,485 USD for GRADIVA, sold at Sotheby's Paris in 2010. In the past 12 months, their paintings have averaged 15,389 USD, while his sculptures have sold for an average of 12,686 USD. Measures approx. 38cm x 55cm ecluding frame. From the Cooke Estate Private Collection. The painting having passed down through three generations.

(ARR) André Masson (French, 1896 –1987) – Surrealist Colome, 1945 - Ink on paper Surrealist drawing painting. Signed lower left with initials. Galerie Simon, Paris label to back. Mounted, framed & glazed.Andre Masson was a French painter, sculptor, illustrator, designer and writer, born at Balagny (Oise). Spent most of his youth in Brussels, where he worked as pattern-drawer in an embroidery studio and studied part-time at the Académie des Beaux-Arts. Then moved to Paris and studied at the Ecole des Beaux-Arts 1912-14. Participated from 1924-9 in the Surrealist movement. Made further works exploring chance effects, including sand paintings, as well as paintings of metamorphoses of animal and human forms, themes of germination, combats and massacres, with emphasis on violence and eroticism. Lived 1934-6 in Spain; paintings of bullfights, Spanish myths, etc. Since 1998 the record price for this artist at auction is 3,125,485 USD for GRADIVA, sold at Sotheby's Paris in 2010. In the past 12 months, their paintings have averaged 15,389 USD, while his sculptures have sold for an average of 12,686 USD. Measures approx. 37cm x 28cm excluding frame. From the Cooke Estate Private Collection. The painting having passed down through three generations.

(ARR) André Masson (French, 1896 –1987) – Le Coup de Trique (The Cudgel blow), 1936 - A pen and ink on paper sketch drawing. Signed with initial lower right. Label from the Galerie Simon, Paris to back. Mounted, framed & glazed.Andre Masson was a French painter, sculptor, illustrator, designer and writer, born at Balagny (Oise). Spent most of his youth in Brussels, where he worked as pattern-drawer in an embroidery studio and studied part-time at the Académie des Beaux-Arts. Then moved to Paris and studied at the Ecole des Beaux-Arts 1912-14. Participated from 1924-9 in the Surrealist movement. Made further works exploring chance effects, including sand paintings, as well as paintings of metamorphoses of animal and human forms, themes of germination, combats and massacres, with emphasis on violence and eroticism. Lived 1934-6 in Spain; paintings of bullfights, Spanish myths, etc. Since 1998 the record price for this artist at auction is 3,125,485 USD for GRADIVA, sold at Sotheby's Paris in 2010. In the past 12 months, their paintings have averaged 15,389 USD, while his sculptures have sold for an average of 12,686 USD. Measures approx. 29cm x 23cm excluding frame. From the Cooke Estate Private Collection. The painting having passed down through three generations.

(ARR) After Canaletto (Italian, 1697-1768) - Capriccio: A street crossed by arches – An ink and watercolour on paper drawing depicting a street scene with arch. Unsigned. Mounted framed and glazed. Chalk annotations for Sotheby's to back. Measures approx. 30cm x 20cm excluding frame.

(ARR) Siegfried Charoux (Austrian, 1896–1967) – Figure Internment Camp, Aug. 1940 - an ink on paper sketch drawing of male figure kneeling while reading a book. Titled, signed and dated to top left. Mounted, framed and glazed. Measures approx. 37cm x 29cm excluding frame. From the Cooke Estate Private Collection. The painting having passed down through three generations.

(ARR) André Masson (French, 1896 –1987) – Dying Bull - An ink on paper drawing painting. Signed with initial to lower right side of drawing. Mounted, framed & glazed.Andre Masson was a French painter, sculptor, illustrator, designer and writer, born at Balagny (Oise). Spent most of his youth in Brussels, where he worked as pattern-drawer in an embroidery studio and studied part-time at the Académie des Beaux-Arts. Then moved to Paris and studied at the Ecole des Beaux-Arts 1912-14. Participated from 1924-9 in the Surrealist movement. Made further works exploring chance effects, including sand paintings, as well as paintings of metamorphoses of animal and human forms, themes of germination, combats and massacres, with emphasis on violence and eroticism. Lived 1934-6 in Spain; paintings of bullfights, Spanish myths, etc. Since 1998 the record price for this artist at auction is 3,125,485 USD for GRADIVA, sold at Sotheby's Paris in 2010. In the past 12 months, their paintings have averaged 15,389 USD, while his sculptures have sold for an average of 12,686 USD. Measures approx.  33cm x 42cm excluding frame. From the Cooke Estate Private Collection. The painting having passed down through three generations.

(ARR) André Masson (French, 1896 –1987) – Untitled Surreal Face & Animal - An ink on paper Surrealist drawing painting. Signed with initial to lower left. Mounted framed and glazed.Andre Masson was a French painter, sculptor, illustrator, designer and writer, born at Balagny (Oise). Spent most of his youth in Brussels, where he worked as pattern-drawer in an embroidery studio and studied part-time at the Académie des Beaux-Arts. Then moved to Paris and studied at the Ecole des Beaux-Arts 1912-14. Participated from 1924-9 in the Surrealist movement. Made further works exploring chance effects, including sand paintings, as well as paintings of metamorphoses of animal and human forms, themes of germination, combats and massacres, with emphasis on violence and eroticism. Lived 1934-6 in Spain; paintings of bullfights, Spanish myths, etc. Since 1998 the record price for this artist at auction is 3,125,485 USD for GRADIVA, sold at Sotheby's Paris in 2010. In the past 12 months, their paintings have averaged 15,389 USD, while his sculptures have sold for an average of 12,686 USD. Measures approx. 36cm x 25cm excluding frame. From the Cooke Estate Private Collection. The painting having passed down through three generations.

Elizabeth Lampson - two coal drawing depicting a man with a shovel, together with two pen and ink drawings depicting a lady resting and one other, all framed and glazed, signed to lower cornersLocation:If there is no condition report shown, please request

Elizabeth Lampson - a quantity of sketches, mainly on tracing paper exhibiting her large artwork depicting a selection of figures, some signed, a pen and ink drawing on card titled 'There far beyond the river', and drawings for the Foyles Book ClubLocation:If there is no condition report shown, please request

EDWARD LEAR (BRITISH 1812-1888) SUNSET ON THE NILE NEAR MANKABAT Inscribed and dated ‘5.20 sunset Jan 8 1867 (near Mankabat)’ and numbered ‘107’ and further inscribed with colour notes throughout, pen and ink and watercolour 12.5cm x 19cm (5in x 7.5in) Colnaghi, London This drawing can be compared with the watercolour titled Near Gan el Kebir and dated 9 January 1867 at the Yale Centre for British Art (inv.no.B1997.7.105). Both drawings were executed when Lear was travelling on the river Nile near the town Asyut, around 200 miles south of Cairo.

Dijkstra, Johannes (Johan) (Groningen 1896-1978) "Seated female nude", signed with studio stamp r.o, ink drawing/paper, h 63 x w 40 cm.

[THEATRE] G. F. SCOTSON-CLARK, a collection of colour lithographs of actors, including George Robey, Vesta Tilley and a signed ink drawing by Robey (Q).

HEATH ROBINSON (W.) ink "Rough Sketch," & ink finished drawing, both signed, being a commissioned artwork for the Naval Ordnance Inspection Department; together with 2 examples of the printed card, u/f., 6 x 9 inches et infra. (4).

A framed and glazed abstract watercolour on paper by Leslie William Orriss, signed and dated 1963 to the lower right, along with an ink drawing on paper by Peter Campbell (1931-1989), figures in a rural landscape, signed to the lower right in a glazed gilt frame with a sketch and a label to the reverse. H.46 W.37cm

A collection of five artworks to include a signed and limited edition printed map on black paper, a Chinese ink drawing on paper with the artist's seal, and three other prints. All framed, one unglazed. Largest H.34 L.43.5cm

HELEN STEINTHAL (1911-1991), a group of pictures comprising two drawings the first depicts nude female figures frolicking in the sea, unsigned pencil on paper, approximate size 21cm x 27cm, the second depicts nude female figures surrounded by foliage, unsigned pencil on paper, approximate size 27cm x 41cm, (the first drawing has some foxing), and a picture showing three abstract figures, depicting a female nude in repose on the land, a nude female figure in the sea and a winged nude figure in the sky, initialled bottom right, mixed media on paper, approximate size 39cm x 27cm, together with a nude figure on a horse verso, mixed media on paper, approximate size 39cm x 29cm, (dirty marks to the drawing verso, frame marked in places), together with four female figure studies, comprising a seated nude leaning on her arms, signed top right black ink on paper, approximate size 26cm x 35cm, a seated nude resting on one arm, blue ink in paper, a standing nude depicted from behind, blue ink on paper and a seated nude wearing a cloak, blue ink on paper, all signed to the upper edge, (the seated nudes have some foxing), together with a painting attributed to Helen Steinthal 'Mythical Figures', two mythical figures are surrounded by multiple human figures and foliage, mixed media on paper, attribution verso, approximate size 49cm x 40cm, frame size 67cm x 58, (small chips and marks to the frame) (8) (Condition Report: most obvious damage is mentioned in the description)

Philippe VANDENBERG (1952-2009), ink drawing Untitled, signed and dated 1983Philippe VANDENBERG (1952-2009), inkt tekening Zonder titel, getekend en gedateerd 198356 x 42 cm

Herman BROOD (1946-2001), drawing ink and marker on paper Untitled (two green heads), signed, with certificate TORCH gallery AmsterdamHerman BROOD (1946-2001), tekening inkt en stift op papier Zonder titel (twee groene hoofden), getekend, met certificaat TORCH gallery Amsterdam20 x 19 cm

CORNEILLE (1922-2010), ink drawing Bratislava, signed and dated '47CORNEILLE (1922-2010), inkttekening Bratislava, getekend en gedateerd '4722 x 30 cm

Léopold HENDERYCKX (1888-1960), drawing watercolour and ink 'La vie', signed and with Art Deco silver-plated holderLéopold HENDERYCKX (1888-1960), tekening aquarel en inkt 'La vie', getekend en met Art Deco verzilverde houder22.5 x 24.5 x 4 cm

Victor STUYVAERT (1897-1974), symbolist drawing in Indian ink of a lady reading, signed and dated 1919Victor STUYVAERT (1897-1974), symbolistische tekening in Indische inkt van een lezende dame, getekend en gedateerd 191913 x 8 cm

Geroge Weissbort (1928-2013) Nude Model Study, pencil drawing, signed and dated 1993, 28 x 25cm. Ink drawing room interior, frameless watercolour (3).

Jack Grandfield (1911-1949) -  One Gouache and an Indian ink drawing - 'Illustration to 'The Island' ' showing couple on sand dunes, she wearing polka dot swimwear, circa 1935, signed, gouache on artist's board, 16ins x 27.5ins, and 'Call in Polly Royal' cartoon strip in Indian ink on artist's board, 19.5ins x 19.25ins Note: The artist lived locally and worked in Whitstable

Valerie Potter (born 1954) - Three works, comprising - Tapestry in colours, with embroidered initials 12.5ins x 16ins, monochrome embroidery of ethnic design, dated July 1990 12ins x 10.5ins, and a pen and ink drawing initialled and dated 24.12.83  5.75ins x 4ins, all in ebonised frames and glazed

Set of two original drawings in graphite on paper of the facade of World Famous Pumpernik's Restaurant, Miami Beach's sandwich shop and pantry opened in 1954. Written in ink on lower part of each drawing: Pumpernik's. Dimensions of the largest drawing: 33.50"L x 16.75"H. Smallest drawing: 17.50"L x 12"H. Issued: 1953Country of Origin: United StatesCondition: Age related wear.

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.

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.

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.

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.

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.

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) '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.

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.

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) Three Works including from Psalms of Modern Life Including Psalm 19:'The heavens declare the glory of God', illustrated in Judy Brook's biography on Arthur Wragg, p.53; 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.

Arthur WRAGG (1903-1978) Two book illustrations A dounle-page illustration from 'Psalms For Modern Life', pen and ink on board, graphite annotations, 26.5cm x 38cm; The Carrion and The Vulture illustration from 'Jesus Wept, pen and ink, titled, 21cm x 29cm, 28cm x 41cm mounted.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Verdi's Rigoletto. A Tragic Opera, In Three Acts An incomplete work of imense skill and detail, folio, cloth backed boards with gold gilt painted title to front board, chips and rubbed to extremities, tide mark to front pastedown, some spotting and finger soiling throughout, pp.27 of hand drawn decorations mostly in ink, some direct to boards and some tipped in, including flowers, Rigoletto himself, titles, actors, The Countess Ceprano, The Duke, Gilda, Sparafucile etc, circa 1920's.This singular work is noted for its incredible detail and was produced around the age of 20, when Wragg was at art school attempting to learn to become a commercial artist, something he admitted to finding tiresome, finding the commercial application of making pictures dull.Although unfinished, it reveals Wragg's vision, as evidenced by the completed Title page, Dramatis Personae and Foreword. It seems Wragg intended to use Piaxe's text as a foundation. The artwork, primarily rendered in black ink, features elaborate decorations and full page illustrations of the main characters, executed with zeal and an embrace of the grotesque and decadent, reminiscent of Aubrey Beardsley's style, though Wragg himself denied such comparison, with his own private heroes being Cruikshank, William Blake and Durer. When shown to art editors in London, the drawings were deemed too 'decadent', 'horrible' and 'dusgusting' to which Wragg replied 'And I see it that way; Rigoletto is a horrible story'.Image 17 & 19 reproduced within Judy Brook's biography on Arthur Wragg, p.41 & 43. 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) Smugglers Watercolour and ink, inscribed by the artist, image size 24cm x 35cm, 32cm x 38cm in total with graohite inscriptions.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) 'Look - The Sun' from 'Jesus Wept' and illustrated in Judy Brook's biography about Arthur Wragg and four other illustrations Each pen and ink, one signed, 'Look - The Sun' 32cm x 24cm (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.

Arthur WRAGG (1903-1976) Three Works Le Bal Masque, Stardust and a further signed untitled work, each watercolour and ink, likely illustrations for children's books or magazines, largest image size 29cm x 24.5cm, the other two 11cm x 16cm. (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) Three illustrations Pen and ink on paper, one titled 'The Banners of Spring', 26cm x 19cm (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) Illustration from 'The Psalms of Modern Life' 'Psalm 82: They walk on in darkness: all the foundations of the earth are out of course', illustrated in Judy Brook's biography about Arthur Wragg, p. 57; pen and ink on card, annotations in graphite, used as a double-page spread within 'The Psalms of Modern Life', 26.5cm 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.

Arthur WRAGG (1903-1976) Arriving At The Ball Ink and wash, signed, 38cm x 53cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Works Published by The Polperro Press Including 'Tobacco', and a series based around Widecombe Fair, each pen and ink on board, mostly signed and dated '24, some with inscriptions verso, all but one 27cm x 19cm (14)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 Way To God Ink and watercolour on board, illustration for the front cover for a rare booklet published by the British Broadcasting Corporation in 1934, 26.5cm x 34cm.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) Works produced for the Polperro Press and Polperro Post Each pen and ink, largest 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.

Arthur WRAGG (1903-1976) Three illustrations including from 'Psalms of Modern Life' Two pen and ink on board, one on paper, two with graphite annotations, 37cm x 26cm (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) Illustration from 'The Psalms of Modern Life' Pen and ink on card, annotations in graphite, 38cm x 26.5cm; together with one further illustration. (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) Journey to the end of the Night and There is a Green Hill Far Away - illustrations from Jesus Wept c.1935 Journey to the End of The Night illustrated within Judy Brook's biography of Arthur Wragg and published as 'Against the Signal in left-wing publication The Clarion, May 12th 1934 in response to British Prime Minister, Stanley Baldwin, who stated that not a day would be lost in making the airforce of the United Kingdom as powerful as other nations within striking distance; each pen and ink on card, graphite annotations, 22cm x 38cm and 26.5cm x 37.5cm. (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) Nine Works Each graphite or pen and ink, each unsigned, four 51cm x 64cm.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.