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Arthur WRAGG (1903-1976) Gandhi Pen and ink on board, graphite inscription, 21.5cm x 15cm, 38cm x 27cm mounted.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Two WWII inspired works Each pen and ink on paper, 27.5cm x 44cm and 28cm x 42cm, mounted as one 64cm x 51cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Well-Wishers Ink and wash, signed, used as a Woman's Pictorial front cover, dated December 15th 1928 and image used within Judy Brook's biography of Arthur Wragg, page 124 37.5cm x 33.5cm; together with 'Christmas' ink and wash heightened with white, 37cm x 50.5cm, each inscribed with notes from the artist (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Poor Judy Watercolour and ink, signed and titled, likely used within a children's publication, 'Mrs Cowper Coles, Art Agent' stamp verso 34.5cm x 29.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Two Pre-Second World War Inspired Works 'I Must Look My Best Today', Graphite and ink on paper mounted onto card, signed, titled and dated November 11th 1936, 57cm x 40cm, 63.5cm x 51cm mounted; together with 'Do You Hear Them, Master?', signed, titled and dated November 11th 1936, 57cm x 40cm, 63.5cm x 51cm mounted. (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Sketches and preliminary studies Mostly pen and ink, largest 40.5cm x 28cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale. The image from Psalm 142 of Psalms for Modern Life (the man by a dustbin) is a print and not an original drawing.

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

Arthur WRAGG (1903-1976) I Accuse Graphite on paper, signed and titled, 64cm x 51cm; together with five further original works, including ink drawings used within Woman's Pictorial Magazine.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1978) Two original illustrations titled 'Time' and 'Spring' Pen and ink on paper, each titled, 34.5cm x 31.5cm and 34.5cm x 32cm (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) An original illustration from 'The Psalms of Modern Life' Pen and ink on card, annotated in graphite, 38cm x 26.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1978) It Can't Happen Here...? Pen and ink on paper, signed and titled, 33.5cm x 25.5cm, 51cm x 32cm 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) Five Original Works Each ink and some with graphite workings and inscriptions, three signed. Most likely used within Woman's Pictorial, a magazine Wragg often provided illustrations for. Woman's Pictorial was a British magazine published by Amalgamated Press which first started out as Family Pictorial in 1919. Largest 38.5cm x 31.5cm. (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) Works Published by The Polperro Press Including 'Old Sussex Yeoman's Litany', and 'Song of the Westernmen, mostly pen and ink, some mixed media signed and titled, 38cm x 27cm (11)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Illustration from 'The Psalms of Modern Life' and two others Each pen and ink on card, 'Praise Ye The Lord' an illustration from Psalms of Modern Life, with graphite annotations, 26.5cm x 38cm (3)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Frederick ROBERTS JOHNSON (1900-1986) Two Works Each pen and ink, 'Old and Young Acquaintances in Rotten Row' and 'Gossip around & about the Royal Exchange', image sizes 34cm x 24cm and 39cm x 25cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Food Relief Campaign Original Poster Ink and wash, signed, Advertising Company label verso, 70cm x 55cm. Illustrated in Judy Brook's biography on Arthur Wragg, p.107.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) 'Cul-De Sac' and 'Tomorrow and Tomorrow' from 'Jesus Wept' and three further works Each pen and ink on paper or card, Cul-de-Sac 29.5cm x 26cm. Tomorrow and Tomorrow illustrated in Judy Brook's biography on Arthur Wragg, p.86 (4) Each work has had issues with worm, as is evident within the images.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 New Master and two further original works by Roberts Johnson The New Master, ink and watercolour on board, 31.5cm x 27cm, produced for Woman's Pictorial magazine and highlighted on page 132 of Judy Brook's biography on Arthur Wragg; together with a watercolour of The White Horse at Romsey Hampshire, signed by Roberts Johnson, 38cm x 26.5cm and a pastel on paper mounted onto board of a farmer and two cows, 22cm x 29.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Three works Each pen and ink on board, inscriptions allude to use within Wragg's book 'Psalms', 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 (1903-1976) Nine Works Each pen and ink, one signed, one sheet double-sided with another containing two works with a further five on another sheet. Largest 64cm x 51cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Seven Works Each graphite or pen and ink, each unsigned, mounted onto card each 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.

Arthur WRAGG (1903-1976) Two Book Illustrations Each ink on card, image sizes 26.5cm x 17cm and 25cm x 16.5cm.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) Monumentous Moments Ink on paper, 56cm x 38cm; together with four further original works, largest, an oil on canvas, 76cm x 57cm (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) Smashes Poverty Ink with white highlights, with both Arthur Wragg and Roberts Johnson named, 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.

Arthur WRAGG (1903-1976) Illustration from 'The Psalms of Modern Life'  Pen and ink on board, used as a double-page spread within the book, 26.5cm x 38cm; together with two further illustrations, one being Psalm 119: 'Where withal shall a young man cleanse his way?' illustrated in Judy Brook's biography on Arthur Wragg, p.59, each 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) Two original illustrations from 'Psalms of Modern Life' Each pen and ink on card with graphite annotations, each 38cm x 27cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Works Published by The Polperro Press Including 'Be Glad (of the Ford), The Angler's Prayer and Tobacco, mostly pen and ink on board, signed and dated 1926, each 38cm x 26.5cm (11)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Frederick ROBERTS JOHNSON (1900-1986) Original works mostly landscape studies Mixed media, including graphite, ink and charcoal, largest 45cm x 58cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) 'Betrayal' from Wragg's book 'Jesus Wept' and illustrated in Judy Brook's biography. Pen and ink, titled, 29.5cm x 19.5cm, together with 'Wanted - A Statue', image size 22cm x 18cm. (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Eleven Works Mostly pen and ink or graphite. unsigned, largest 49.5cm x 71cm. (11)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

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

Arthur WRAGG (1903-1976) The Lady of the Looking Glass Watercolour and ink, signed and titled, image size 43.5cm x 30cm, 50.5cm x 38cm including margin.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Five works Each pen and ink, inscribed, each 38cm x 26.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Three illustrations Pen and ink on card, each with graphite annotations, 38cm x 27cm (3)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

H. Willis (Mid 20th Century) - Study of a cockerel, ink and wash drawing, signed, framed, 55cm x 74cm, frame size 60cm x 78cm.

Untitled (Cadavre Exquis), 1992-93Signed and dated Immendorff 92 / David Salle / Koons '93 on the reverse Watercolor, ink and collage on paper 14 1/4 x 10 inches (36.2 x 25.4 cm)UnframedProvenanceThe Drawing Center, New York, The Return of the Cadavre Exquis, November 6 - December 18, 1993No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Comprehensive Archive of Lois Castellain: Original Artworks, Manuscripts, and Personal Papersfrom the Creator of Adolphus, The T.V. Horsethis collection comprises original artworks, manuscripts, and personal papers by Lois Castellain, author of the children's book, The T.V Horse (1964). Highlights include works in pencil, ink, crayon and pastel of character studies, scene illustrations, and hand drawn sketches for a proposed TV series and other manuscripts. Also featured is a copy of the book. Further works included are that of Castellain's Royal Drawing Society certificate (1928), awarded for her artistic achievements. Not all works visible in photo due to sheer volume. Extensive collection; scrapbooks of ideas, design drafts with hand written notes, photographs, reference images for her projects etc. (qty)Condition: Commensurate with age. Lots of works, mostly in good condition.Discovered in 2018/2019 at the Oast House on the Sharnden Manor Estate, Castellain's family home. These works were rescued by the conservation team that were dealing with the property.

Sir William Rothenstein (1872-1945) caricature drawing of Charles Rowley. pen and ink. 15 x 22 cm.

* Airship Ephemera. A collection of airship ephemera, including Reynold (Percy). "Zeppelinitis" 1915, original pen and ink drawing, showing a maid and housekeeper on the stairs, inscribed verso 'Zeppelenitsi, "Sarah! you might bring up my spectacles. I left them on the dining room table, and if a bomb should come I don't want them broken', signed and dated lower right, some light mainly marginal spotting and small tear and loss at lower left corner, 27.5 x 23.5 cm, unframed, a pencil colour drawing showing an RNAS officer by Roy 1928 showing 'Capt Percival Spencer' with parachutist descending from an air balloon, 26.5 x 18 cm, mount aperture and laid on card, unframed, Robinson (Lieutenant William Leefe, 1895-1918). Souvenir in Commemoration of Lieutenant W.L. Robinson's Great Feat of Destroying a Zeppelin on Sunday 3 September 1916, printed by S. Burgess, Strand, London, 34 x 35 cm, together with a tissue paper souvenir In Commemoration of Essex Aviation Display, 24 September 1932, printed by S. Burgess, Strand, London, 34 x 35 cm, airship photographs, brochures and other related itemsQTY: (12)NOTE:Provenance: The John Procter Airship Collection (the final lot).

* Whistler (Rex, 1905-1944). Illustrated Autograph Letter Signed, 'Rex Whistler', 2nd Battalion Welsh Guards, Pickering, Yorkshire, 10 April 1944, to James Minney, sending two more drawings for "A Place of One's Own" [drawings not present], 'I send you this time a more detailed suggestion for the entrance gate and the general appearance of the approach of the house from the road', with a pen and ink drawing of the gates on page two of the letter, continuing with further suggestions and ideas, the letter ending and signed in somewhat cramped form vertically at the head of page one, 2 pp., 8vo, together with three further autograph letters signed from Rex Whistler to James Minney, all on Battalion Welsh Guards stationery, all undated, circa 1944, one beginning, 'Of course I perfectly understand that you have had to rely upon others for so much of the designing for the film; I only wish I had been free to give it my whole and undivided attention and that I could have been more help to you...', a second letter saying he finds 'it a little difficult to suggest a definite figure, as I do not at all know how much - in the way of designs - you are going to require from me', and can only suggest that he take as a basis recent theatrical designing that he has done in the same way, and later, 'Of course I don't feel it makes much sense comparing the requirements of a play with those of a film...', the final letter saying that he is 'following these with a view of drawing room interior, and another part of the garden. Let me know which particular bits should be attended to first and I will concentrate on them', a few minor spots and one with a light damp mark to left margin, all 2 pages, 8vo, plus an unposted envelope addressed to James Minney, The Studios, Lime Grove, Shepherds Bush, in Rex Whistler's hand, and a group of four related black and white photographs of Rex Whistler's drawingsQTY: (9)NOTE:Rubeigh James Minney (1895-1979) was a British film producer, journalist, playwright, editor and author. This correspondence relates to A Place of One's Own, a 1945 British film directed by Bernard Knowles and produced by Minney, with stage designs by Whistler. The film was based on Osbert Sitwell's novel of the same name, published in 1942, and starred James Mason and Margaret Lockwood.

Stan Price (1919-2001) - 'Deben Angel', Southwold, signed, pen, ink and watercolour, 32.5 x 49cm Good condition, the drawing slightly slipped in the mount but undamaged

Carel Weight (1908-1997), a signed pencil, ink and wash drawing with an indistinct title. Framed and glazed. H.51.5 L.39cm

R. H. G. (possibly Zenia Yvonne Garner, British, 20th Century) - Scenes in Morocco and other studies - Seven watercolours on millboard and a pen and ink drawing (all unframed) - The largest 37.5 x 50cm - Some inscribed and monogrammed 'R.H.G.'

A group of six modern pictures comprising - *Leo Davey (1924-1987), Fisherman's catch, pen and ink drawing heightened with white, 36 x 26cm, signed bottom right - *Leo Davey (1924-1987), Half-length figure study, oil and wash on paper heightened with white, 24 x 17.5cm, signed and dated '59 bottom right - Marjorie Croft (19/ 20th Century), Olive Trees near Florence, 18 x 25cm, pastel, signed bottom left - Together with two modern ink wash portraits and a print (6)

A group of pictures comprising - After Ludwig Gruner (German, 1801-1882), Portion of a Painted ceiling in the Monastero Maggiore at Milan; Portion of a Painted ceiling by Bernard Luini XVIth. century; two plates from Specimens of Ornamental Art Selected from the Best Models of the Classical Epochs (pub. London, Thomas McLean, circa 1850), two colour lithographs, each sight 49 x 62cm (2); *John Pillow (20th century), Scottish Coastline, watercolour, signed, 28 x 43cm; 20th-century school India, ink drawing of a harbour view, 49.5 x 75cm; Contemporary School, African village scene, Watercolour, 35 x 54cm, Signed lower left (5)

A Rexel Speedguide Edge Binder, two ink rollers, a collection of desk stamps, Stolzenberg hole punch, 1950s/60s, and three technical drawing sets and accessories

Aquinas (Thomas, Saint) [Summae totius theologiae divi Thomae Aquinatis] Secunda secundæ Summae theologiae, i.e. part 3 only (of 5, complete in itself), double column, title with large woodcut printer's device, woodcut historiated and decorative initials, title with obliterated early inscriptions (causing a few small holes), a piece from outer margin, creased and detaching, some spotting / foxing and staining, lightly browned, hinges split, small early ink drawing of warship to final verso, later vellum over boards, worn, [EDIT 16 CNCE 32515], folio, Venice, Heirs of Girolamo Scoto, 1580. sold not subject to return. 

H. Beckers. A temple in Palestine, a street in Tunis, ink drawing - pair, attributed and titled verso, 17cm x 24cm and another pair CEW 1942 (4).

David Smith (British, 1920-1999) - Welsh Slate Quarry - Ink wash drawing - 36.5 x 54cm - 59.5 x 82.5cm framed - Signed and dated 1962 lower left -Born in Lowestoft, Suffolk to a fishing family, Smith went on to serve in the RAF. After the war he studied at the Slade and eventually joined the teaching faculty at the Chelsea School of Art, retiring in 1979. His work is underpinned by extensive voyages spanning as far as Japan and Antarctica, entailed by his various commissions. As a result, Smith was tasked with recording the lighthouses of England and Wales in the early 1980s.

*Edward Wolfe RA (South African/ British, 1897-1982) -A group of sketches of heads -Pen and ink and pencil drawings on nine sheets of paper including envelopes -The largest drawing 18 x 13.5cm -Some signed and inscribed -Provenance: By descent from James (Jim) O'Connor, Edward Wolfe's partner

(ar) Joseph Lee (1901-1975), Original Motoring Cartoon, ink and pencil drawing, ''Ar! Say what you want about modern cars they'll never stand up to the old 'uns….... Don't put the stuff in 'em nowadays.'', signed 'Lee' to the lower middle, 33cm x 54cm, framed and glazed

(ar) S.G Farris, ink drawing of a Hawker Audax, 14cm x 18.5cm, framed and glazed

(ar) Joseph Lee (1901-1975), Original Motoring Cartoon, ink and pencil drawing, ''Congratulations, Sir! The bet so far… one hundred per cent. Inefficient!'', signed 'Lee' to the lower middle, with label 'presented to the Hendon Government Vehicle Testing Station with the compliments of the Editor of The Evening News', 40cmx 63cm overall, with original Sotheby's label to the reverse from a sale in December 1998

† BENNO SCHOTZ (Scottish, 1891-1984); pen and ink drawing, 'Youth 'gainst Time and Age', signed lower right, 22 x 31.5cm, framed and glazed.

† FELIKS TOPOLSKI (Polish, 1907-1989); a monogrammed ink drawing, portrait of gentleman, signed with initials 'F.T' lower right, 35 x 25.5cm, framed and glazed.

Attributed to George Chinnery, ink drawing, oriental figures near a waterside dwelling, 18 x 23cm, framed, numbered 54 to the bottom right hand corner and with Ledger Galleries label verso

Pen and ink drawing, study of a nightingale by Alan W. Seaby, bearing label verso, 12 x 10cm, together with two framed pairs of woodblock prints of birds, monogrammed D.R.

Early 18th Century, ink and wash drawing, figures with a chariot and other figures in attendance, 14 x 20cm

A signed ink drawing on paper depicting a knight in a fantastical forest scene along with an artist's proof etching titled 'Cornish Headland' 1984 with an indistinct signature to the lower right. H.45 W.29cm (ink drawing)

Two works on paper to include an early 19th century old master style ink and wash landscape drawing by Paul Sandby Munn (1773-1845), framed and glazed with an inscription to the reverse and another ink and wash drawing depicting a figure with horses in a rural setting. H.44 W.54cm (largest)