CARTOON

See the biography of this much-beloved figure in the Oxford DNB. Stylish signature ‘Humphrey Lyttelton’, on irregularly-shaped piece of paper, roughly 7.5 x 4.5 cm, torn from an envelope flap. Somewhat worn and a little creased.

See his entry in the Oxford DNB. A bold, untidy and yet stylish signature, in exactly the state one would hope to find Bairnfather moniker. It gives the impression of having been sent post-haste from the trenches, scrawled in pencil on a piece of vertically-ruled paper torn out of a notebook, ruckled and grubby, and laid down on an unruckled and clean 15.5 x 9.5 cm leaf with rounded edges, torn from an autograph album. The signature ‘Bruce / Bairnsfather’ is across the head of the landscape page, with a jagged line (intended for the flourish?) by Bairnsfather across the foot.

See his entry in the Oxford DNB. The present item is a nice piece of printed ephemera relating to the man described in his Guardian obituary as ‘the dominant cartoonist of the western world’. In 1937 Goebbels had told Lord Halifax that Low’s cartoons were harming Anglo-German relations, and after the war it was revealed that his name was in the ‘black book’ of individuals to be ‘liquidated’ on German conquest of Britain. In good condition, lightly aged.Small 4to bifolium printed in brown ink on thick wove paper.

Fortnightly publication, founded after the closure of Punch by Sir John Sorrell and the Punch cartoon editor Steve Way. It only lasted for eight months, and this and the second number are said to be scarce. (The only copies listed on JISC are at the deposit libraries.) A 28-page broadsheet. Folded twice. In good condition, on lightly-discoloured and worn paper. Whole of the front page taken up with striking image by Chris Riddle of Boris Yeltsin holding up a piece of paper on which he orders democracy, while dwarfed by a menacing Soviet bear.

The six items - all from Cruikshank’s ‘Comic Almanac’ for 1845 - are in fair condition, lightly aged, and have all been trimmed, with diagonals cut from the corners resulting in minor loss. The last has a small amount of loss to the bottom left-hand corner from removal from a mount. All six are signed in type by Cruikshank at bottom left. They are captioned: ‘Flying Artillery’ (gentlemen on bended knee, declaring their love to ladies, while Cupids shoot arrows from overhead), ‘The Day After - “St.

From the Macqueen-Pope papers. (See his entry and that of her father in the Oxford DNB.) 6pp, the first four on two 4to leaves, the last two on a 12mo leaf. Signed ‘E. Winnie Parsons / nee / Winnie Burnand’. In fair condition, lightly aged and with some creasing, particularly to the last (12mo) leaf. Slight rust staining from paperclip. A delightful letter, written in a strong and energetic hand, with various words underlined in red pencil for emphasis. She is staying with Desmond Lysart, ‘who in his lovely study has all your delightful books’, and they are both great admirers of MP.

See his entry in the Oxford DNB. On rectangular slip of paper, roughly 11 x 3 cm, cut from the end of a letter. In fair condition, lightly aged, slightly spotted and laid down along one edge on thicker piece of paper. In an elegant calligraphic hand he writes: ‘Believe me / Yours truly / Geo du Maurier / Apr. 26, 83’. The ‘eo’ of the ‘Geo’ of the signature is presented as a stylish squiggle, looking a little like a ‘W’. See image.

See his entry in the Oxford DNB. A scarce item: no copy in the British Library and the only copies on COPAC at Cambridge and the V & A. In fair condition, lightly aged and with slight creasing to outer edge of front cover, on which a label has been laid down, carrying an inscription (repaired at one corner with archival tape) by Thomas: ‘From one child to another - Love and I cant thank you enough for everything - I’ll look forward to Janiuary - Muh love I’ll writer later’. A stapled pamphlet in brown card wraps. 16pp, landscape 8vo.

See his entry by E. V. Knox in the Oxford DNB. 1p, 12mo. In good condition, lightly aged, with dog-eared corner. Folded once. Reads: ‘Dear Mr. Denselow, / If my erratic and unenviable handwriting has any interest for anyone - except my tailor (who seldom sees it!) you are very welcome to a fragmentary example of it, at its word’. The signature is no doubt deliberately emphatic, with colons to the initials, and a period on each side of the end of the final flourish. In a postscript Reed expresses gratification to hear ‘that my work “touches the spot” occasionally, that’s what it’s “for!”’

1p, 12mo. Aged and worn. Reads: 'I should very much like to use your article, but we are so crowded with matter that I am afraid there is little chance of finding space for a considerable time and I therefore return the MS with much regret.'

Both 1p., 8vo. In good condition, lightly aged and worn, with paperclip stain to first letter. Unusual signature, in block capitals. Both addressed to Brooks at the Savage Club, with both salutations to 'Collin'. ONE: 18 April 1947. Begins: 'My dear Collin, | I consulted my firend in the Process Department here and he said that a half-tone block would not be very successful, as there is a dash of colour in the picture and the half-tone would not bring it out very well. He thought that a photograph on a piece of Matt bromide paper would look much better and not spoil the detail of the drawing.

1p., 12mo. In good condition, lightly aged. He begins by acknowledging Armstrong's letter: 'I assure your Committee that I appreciate the honour they do me by asking me to become a Vice-President of the Golders Green Literary Society.' He has for some time felt that in the interest of his health he must 'enter no fresh engagements for a while', and therefore does not feel 'able to accept even this one, which I am sure would be pleasanter than most'. He ends by offering his 'sincere regrets'.

2pp., 4to. Printed in black on the inner two pages of a bifolium. The left-hand page (i.e. verso of the first leaf) carries text, in two columns of small print, of a prospectus for a share flotation for 'Hanman's Cycle and Needle Co.', dated 16 March 1897. The facing right-hand page (i.e. the recto of the second leaf) is headed 'Twenty-first Year | No. 1,065.] The Birmingham Pictorial and Dart. [Friday, March 19th, 1897'. It carries Mountfort's lithographed illustrations, with a facsimile of his signature at bottom right, printed by 'E. C. OSBORNE & SON. LITHO. NEW ST.

1p., 4to. In good condition, lightly aged. He is enclosing 'Squeaker Toys', which are 'a few of a large series which I designed for a toy Firm'. He thinks they may assist Adams 'to get interesting "expressions" on the faces of some of your less sophisticated sitters!' He concludes: 'They would be a variation of the old request to "Watch for the dickey bird."' Adams was Britain's foremost children's photographer, patronised by the Royal Family, and was famed for his Dover Street studio disguised as a children's playroom, complete with toys.

Albumen print photograph, dimensions 15 x 10 cm. Mounted on 16.5 x 10.5 cm card. Printed in red ink on the reverse of the card are the firm's illustrated details ('Photoraphers to the Queen the Prince of Wales and other members of the Royal Family' and 'Prize Medal For Portraiture Vienna Exibitiion 1873.' In fair condition, lightly aged and worn. The National Portrait Gallery lists four versions of this image, but not within an oval, as here.

ONE: TNS. 1p., landscape 12mo. In good condition, lightly aged with nick to corner. Letterhead features two small cartoons: a caricature of himself and a lion. Covering letter sending 'herewith my autograph for your collection'. TWO: Signed black and white portrait photograph of Cole. 8 x 5.5 cm. In good condition. Signed at bottom right: 'Sincerely | Charles Cole | 1945'. Cole has rather disappeared under the radar.

4pp., 8vo. Bifolium on shiny paper. In good condition, lightly-aged. The front cover carries a reproduction of the print 'Wireless Telegraphy.' Pp.3-4 carry reproductions of the 'Gibson Heads': 'NOW READY. - A Series of Sixteen Gibson Heads, of which the accompanying illustrations are miniatures. | Each subject is Hand-Printed on Japanese Hand-Made Tissue Paper, mounted ready for framing. Price 5s. 6d. each, post free.' Scarce: no copies on WorldCat, or on COPAC.

Printed in black on one side of a 19 x 29 cm piece of stiff card, with rounded corners. In fair condition, lightly-aged, with 4cm vertical closed tear at head. The memorial to a stern-faced Gladstone is depicted - a setting sun blazing behind it - between two mythical seated women, Justice on the right, and a hooded woman with a hand mirror on the left. In the background are the Houses of Parliament and Westminster Abbey. The card is made out in manuscript to 'Edward C Young' (with '186357' at foot), and the caption at the foot reads: 'This Memorial Card was issued to [ Edward C Young.

Six leaves extracted from the two issues, carrying six pages of coloured cartoon strips, with black and white text and illustrations on their reverses. In fair condition, lightly aged.

Both transparencies negatives on plastic sheets. The two images attached by a thin vertical strip of Scotch tape. On the right (22 x 14.5 cm) the image of the ragamuffin boy fisherman, with net and rod, looking to the left. On the left (22 x 16.5 cm) his young sweetheart, with fishing nets aand lace apron, waving a lace handkerchief. His image with caption (old Breton poem): 'Dear God be good to me | The sea is so wide | And my boat is so small | Sold in aid of the R.N.L.I.' Her image with the same caption, but with the word 'his' replacing 'my'.

Folio folder of red card, with title printed on cover in black, containing the six prints, each on a separate piece of thick wove paper (almost card), with a bifolium of the same paper carrying the title leaf and limitation (164), as well as a page of letterpress by Vicentini. Internally in good condition, with one corner bumped; in worn and aged card folder. Each cartoon is signed in pencil by Marantonio in the bottom-right corner, with the limitation '162 [sic] / 250' in the bottom-left corner. Six crisp and elegant designs.

1p., 12mo. In good condition, lightly aged and creased. On behalf of himself and his wife Madeline he writes: 'Like everybody that knew Robert we shall miss him keenly - For me the world will be a poorer place. Words don't come easily to me to express my sorrow.'

Simpson was a native of Carlisle in Cumbria, and came to London in the early years of the twentieth century, where he was encouraged by Frank Brangwyn to take up etching. In 1918 he was made official artist with the new Royal Air Force. The National Portrait Gallery has eight of Simpson's works, but none of the present six, which are all in the style of the artist's portrait ('ink, irregular') of the Earl of Halsbury, present in the Gallery's collection.Each of the six caricatures is printed in black within a 17 x 12 cm border.

The envelope is 27.5 x 12.5 cm, and the cartoon is printed lengthwise (around 15cm long including caption) on the front in brown ink, with facsimile signature. In good condition, lightly-aged and worn, with the flap of the apparently-empty envelope gummed back into place. The stamp is attached in its customary place, with the address in Thomas's autograph beneath it: 'Wm. Booth Esq | The Rosery | Cambridge Rd. | Felixstowe'. Thomas's original cartoon had been drawn in ten minutes for the Weekly Dispatch 'Smokes for Tommy' campaign.

16pp., folio. In fair condition, on aged and worn newsprint with short closed tear at spine. Spoof articles ('The Secrecy of the Ballot', 'What the Villagers might make of the Parish Councils. By A Villager', 'What the Bishops tried to make of the Parish Councils', 'The Great Liberal Budget and the Wail of the Landlords', and others), with caricatures by Gould featuring Rosebery, Gladstone, Salisbury, the Archbishop of Canterbury and others. Also two full-page cartoons by Gould, titled 'The Tory Village.

2pp., 16mo. Bifolium. Very good, on lightly-aged paper, with small hole through both leaves at top inner corner. Beneath the signature the faint stamp of the St. James's Budget, 15 Dorset Street, EC. Raven-Hill points out that the Pall Mall Budget had only the right to use his drawings 'in that paper', and that he holds 'the entire copyright of all my drawings that appeared' in that magazine. 'If you want any of mine you could of course get the blocks from them & we could come to some arrangement about using them'.

2pp., 12mo. Bifolium. Very good, on lightly-aged paper, with small hole through both leaves at top inner corner. The letter begins: 'As far as I can remember I keep the Copyright of my late drawings in the Pall Mall Budget'. He refers Brodhurst to the magazine's editors, and apologises for his alte response.

The 'Ape' cartoon: 21.5 x 32.5 cm. In good condition, on aged paper, with a neat horizontal fold 4 cm up from the bottom. Hayward's autograph note: 1p., 32mo. In good condition, on aged paper. It reads: 'Mr Heywood presents his compliments to Viscountess Combermere and has much pleasure in accepting her invitation to luncheon on Wednesday 21 June. | 8 St. James St | June 9'.

On piece of paper 35 x 22 cm. Dimensions of illustration 32 x 19 cm. Striking illustration, predominantly in dark-blue, purple and grey, showing three City office blocks, topped with the names 'FRESHFIELDS', 'LINKLATERS' and 'CLIFFORD CHANCE', dwarfing a two storey Victorian house. Anonymous businessmen trudging zombie-like towards the blocks, and a smiling figure with his hand in his pocket walking towards the Victorian house, which is cheerily-lit in orange. A note (by Blower?), stapled to the margin in the top left-hand corner (not affecting the image) reads 'Colour match.

12mo: 2 pp. On the rectos of the two leaves of a bifolium. Good, on lightly aged and spotted paper. Her letter has been handed to him by 'Mr Spender'. He would be 'very pleased to have the temperance cartoons circulated as post cards', and has asked 'the manager here' for a costing. 'Some of the cartoons I believe are being produced as posters by the Liberal Publication Department and by Temperance organisations.'