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Giles Annuals cover cartoons coming to auction

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Several wonderful cartoons by legendary Daily Express cartoonist Giles are heading to auction soon, alongside many other artworks by other cartoonists, including British caricaturist James Gillray and Bill Mevin, the latter perhaps best known for drawing “Doctor Who” for TV Comic. Plus rare first edition books, too, including signed Harry Potter novels.

The cartoons, which include one of his original, carefully crafted Giles Annual covers, were gifts from the artist to his old editor, Harold Keeble, and form part of Chiswick Auctions upcoming Books & Works in Paper Auction, running 12th March 2026.

One of the nation’s best-loved cartoons, the Giles Family series both reflected and reacted to post-war British life. From 1946 to 1995, the cartoons were collected into bestselling Christmas Annuals, with a new cover design in full colour. As opposed to the relentless nature of the daily cartoon, these were a labour of love which Giles worked on for months.

Cover artwork for the ninth series Giles Annual, Daily Express, 1954-55, depicting a French cafe scene featuring the Giles family, with Grandma pouring wine and Mother glowering at Father, ink, watercolour and bodycolour on board, image 34 x 72 cm. As opposed to the relentless nature of the daily cartoon, these were a labour of love which Giles worked on for months.
Cover artwork for the ninth series Giles Annual, Daily Express, 1954-55, depicting a French cafe scene featuring the Giles family, with Grandma pouring wine and Mother glowering at Father, ink, watercolour and bodycolour on board, image 34 x 72 cm. As opposed to the relentless nature of the daily cartoon, these were a labour of love which Giles worked on for months.
Father Christmas descending a chimney, artwork for a Christmas card, signed lower right, ink, watercolour and bodycolour on board, pencil measurements in margins, image 32 x 48 cm, board 38 x 54 cm, n.d. Unframed art. Giles was particularly associated with Christmas, each year dedicating much of his time to producing cards and designs commissioned by charities.
Father Christmas descending a chimney, artwork for a Christmas card, signed lower right, ink, watercolour and bodycolour on board, pencil measurements in margins, image 32 x 48 cm, board 38 x 54 cm, n.d. Unframed art. Giles was particularly associated with Christmas, each year dedicating much of his time to producing cards and designs commissioned by charities.
Giles Cartoon depicting the Daily Mail, and associated packaging. “Got a right one here, Sir - claims he’s in the first three for the £5 crossword prize.”, depicting a scene outside the editor's office at the Daily Mail, signed lower left, ink and wash on board, inscribed label to mount: “To Harold - from ‘Giles’ ‘82. May the brilliance of the wit compensate for the absence of the artistry!”, image 31 x 48 cm, overall 47 x 65 cm, within the original parcel paper featuring ‘Press Urgent’ and ‘Liverpool Street Parcels Office per passenger train’ labels, and addressed to Harold Keeble as editor of the Daily Express, 24th February, 1982. Giles refused to work from Fleet Street, instead sending each cartoon by train from his home in Ipswich to Liverpool Street Station. His process of drawing cartoons on the day often caused headaches for editors on a deadline.
Giles Cartoon depicting the Daily Mail, and associated packaging. “Got a right one here, Sir – claims he’s in the first three for the £5 crossword prize.”, depicting a scene outside the editor’s office at the Daily Mail, signed lower left, ink and wash on board, inscribed label to mount: “To Harold – from ‘Giles’ ‘82. May the brilliance of the wit compensate for the absence of the artistry!”, image 31 x 48 cm, overall 47 x 65 cm, within the original parcel paper featuring ‘Press Urgent’ and ‘Liverpool Street Parcels Office per passenger train’ labels, and addressed to Harold Keeble as editor of the Daily Express, 24th February, 1982. Giles refused to work from Fleet Street, instead sending each cartoon by train from his home in Ipswich to Liverpool Street Station. His process of drawing cartoons on the day often caused headaches for editors on a deadline.
Giles Cartoon depicting the Daily Mail, and associated packaging. “Got a right one here, Sir - claims he’s in the first three for the £5 crossword prize.”, depicting a scene outside the editor's office at the Daily Mail, signed lower left, ink and wash on board, inscribed label to mount: “To Harold - from ‘Giles’ ‘82. May the brilliance of the wit compensate for the absence of the artistry!”, image 31 x 48 cm, overall 47 x 65 cm, within the original parcel paper featuring ‘Press Urgent’ and ‘Liverpool Street Parcels Office per passenger train’ labels, and addressed to Harold Keeble as editor of the Daily Express, 24th February, 1982. Giles refused to work from Fleet Street, instead sending each cartoon by train from his home in Ipswich to Liverpool Street Station. His process of drawing cartoons on the day often caused headaches for editors on a deadline.
Giles (Carl Ronald Giles O. B. E.) - packaging for cartoon depicting the Daily Mail
Giles (Carl Ronald Giles O. B. E.) - packaging for cartoon depicting the Daily Mail “Got a right one here, Sir - claims he’s in the first three for the £5 crossword prize.”, depicting a scene outside the editor's office at the Daily Mail, signed lower left, ink and wash on board, inscribed label to mount: “To Harold - from ‘Giles’ ‘82. May the brilliance of the wit compensate for the absence of the artistry!”, image 31 x 48 cm, overall 47 x 65 cm, within the original parcel paper featuring ‘Press Urgent’ and ‘Liverpool Street Parcels Office per passenger train’ labels, and addressed to Harold Keeble as editor of the Daily Express, 24th of February, 1982. ***Giles refused to work from Fleet Street, instead sending each cartoon by train from his home in Ipswich to Liverpool Street Station. His process of drawing cartoons on the day often caused headaches for editors on a deadline.
Giles "Raw steak and Bull at the Mirabelle Cafe" political satire, ink and wash on paper, initialled lower right, image 25 x 42 cm. First opened in 1936, the Mirabelle was a fashionable cafe frequented by figures such as Winston Churchill and Edward Heath. This art was gifted by the artist to his friend Harold Keeble, who worked as an assistant editor of The Daily Express, and editor of the Sunday Express from 1952 - 54. Subsequently gifted to the vendor.
Giles “Raw steak and Bull at the Mirabelle Cafe” political satire, ink and wash on paper, initialled lower right, image 25 x 42 cm. First opened in 1936, the Mirabelle was a fashionable cafe frequented by figures such as Winston Churchill and Edward Heath
Giles ‘No Camping’, featuring the Giles family, 1951 ‘No Camping’, featuring the Giles family, with Mother glowering at Father, and a Traveller family, mixed media on board, inscribed by Giles to mount: ‘To H. K., FROM GILES ‘51.’, image 23 x 52 cm. Fabulously coloured by Giles. At this time, Giles was following the circus concerned around, in his caravan. It was a cold Autumn into Winter, so much so, he caught Pneumonia and was Hospitalised, as a result! Provenance: Gifted by the artist to his friend Harold Keeble, who worked as an assistant editor of The Daily Express, and editor of the Sunday Express from 1952 - 54. Subsequently gifted to the vendor.
“No Camping”, featuring the Giles family, with Mother glowering at Father, and a Traveller family, mixed media on board, inscribed by Giles to mount: ‘To H. K., FROM GILES ‘51.’, image 23 x 52 cm. “Fabulously coloured by Giles,” notes Giles expert Bruce Sellers. “At this time, Giles was following the circus concerned around, in his caravan. It was a cold Autumn into Winter, so much so, he caught Pneumonia and was Hospitalised, as a result!”
Giles Autograph letter, signed ‘GILES PIGGOTT’, with a drawing by Giles. The letter is signed ‘GILES PIGGOTT’, with a humorously-labelled coloured ink drawing of a horse’s rump with a London Underground sign, along with a depiction of the artist, letter reading "Many, many thanks for your hymn to the horse. But me - the son of a jockey - not quite sure of the rump?", addressed to Daily Express assistant editor Harold Keeble, on Hillbrow Farm headed paper, ink mark upper left, one page, 4to, 7 December 1960. Berty Giles had hoped that his son would follow the family profession but, as Giles recalled, he proved a disappointment “by going overweight at an early age and sprouting to an impossible stature of five-ten.” Nevertheless, horse racing and betting featured prominently in the Giles Family series, as one of Grandma’s favourite pastimes. Provenance: Gifted by the artist to his friend Harold Keeble, who worked as an assistant editor of The Daily Express, and editor of the Sunday Express from 1952 - 54. Subsequently gifted to the vendor.
Giles Autograph letter, signed ‘GILES PIGGOTT’, with a drawing by Giles. The letter is signed ‘GILES PIGGOTT’, with a humorously-labelled coloured ink drawing of a horse’s rump with a London Underground sign, along with a depiction of the artist, letter reading “Many, many thanks for your hymn to the horse. But me – the son of a jockey – not quite sure of the rump?”, addressed to Daily Express assistant editor Harold Keeble, on Hillbrow Farm headed paper, ink mark upper left, one page, 4to, 7 December 1960. Giles father, Berty Giles, had hoped that his son would follow the family profession but, as Giles recalled, he proved a disappointment “by going overweight at an early age and sprouting to an impossible stature of five-ten.” Nevertheless, horse racing and betting featured prominently in the Giles Family series, as one of Grandma’s favourite pastimes.

The auction also includes “The Adventures of Morph” art by Bill Mevin, a “The Perishers” strip by Maurice Dodd, Raymond Briggs and Harry Potter signed first editions, and much more. Several cartoons by nineteenth century caricaturist James Gillray also feature… and much more.

A serio-comic map of Europe, “T.B.”, Das heutige Europa, from Nebelspalter magazine, with each country anthropomorphised according to its current political and international circumstances, lithograph, several repaired short tears and larger one on right-hand side, 35 x 52 cm, Zürich, Verlag von Caesar Schmidt, 1887.
A serio-comic map of Europe, “T.B.”, Das heutige Europa, from Nebelspalter magazine, with each country anthropomorphised according to its current political and international circumstances, lithograph, several repaired short tears and larger one on right-hand side, 35 x 52 cm, Zürich, Verlag von Caesar Schmidt, 1887
“Austrian bugaboo, funking the French army”, hand-coloured etching by James Gillray, on wove paper, no watermark, a satire on the panic-stricken flight from Tournay which was followed by the murder of Dillon, browned, some loss and two short tears to upper edge, (BM Satires 8086), sheet 263 x 356mm, Hannah Humphrey, 12 May 1792, or later. Part of a larger lot offered by Chiswick Auctions, March 2026
“Austrian bugaboo, funking the French army”, hand-coloured etching by James Gillray, on wove paper, no watermark, a satire on the panic-stricken flight from Tournay which was followed by the murder of Dillon, browned, some loss and two short tears to upper edge, (BM Satires 8086), sheet 263 x 356mm, Hannah Humphrey, 12 May 1792, or later. Part of a larger lot offered by Chiswick Auctions, March 2026
“The Hand-Writing upon the Wall”, hand-coloured etching, on wove paper, no watermark, an invasion print: Napoleon boasted in June that he needed only three days of fog to be master of London, mounted at edges, pin holes to corners, (BM Satires 10072), by James Gillray, 1803, or later. Part of a larger lot offered by Chiswick Auctions, March 2026
“The Hand-Writing upon the Wall”, hand-coloured etching, on wove paper, no watermark, an invasion print: Napoleon boasted in June that he needed only three days of fog to be master of London, mounted at edges, pin holes to corners, (BM Satires 10072), by James Gillray, 1803, or later. Part of a larger lot offered by Chiswick Auctions, March 2026
“Boney and Talley, The Corsican Carcase-Butcher's Reckoning Day” by James Gillray, on wove, cut down from a broadside with verse below, splitting, creasing and restoration, [BM Satires 10091], D. W. Shury, 1803. Part of a larger lot offered by Chiswick Auctions, March 2026
“Boney and Talley, The Corsican Carcase-Butcher’s Reckoning Day” by James Gillray, on wove, cut down from a broadside with verse below, splitting, creasing and restoration, [BM Satires 10091], D. W. Shury, 1803. Part of a larger lot offered by Chiswick Auctions, March 2026
Edmund Dulac - Collection of 44 mounted prints. 44 mounted with the original printed cover sheet from his 'Arabian' series of illustrated books, each page about 245 x 190mm. (1907)
Edmund Dulac – Collection of 44 mounted prints. 44 mounted with the original printed cover sheet from his ‘Arabian’ series of illustrated books, each page about 245 x 190mm. (1907)
Noah's Ark, woodcut, signed “F. Lang” and labelled “baudruck” in pencil, monogram within image, on Japanese paper, spotting, edges laid down, sheet 41 x 61 cm
Noah’s Ark, woodcut, signed “F. Lang” (Fritz Lang) and labelled “baudruck” in pencil, monogram within image, on Japanese paper, spotting, edges laid down, sheet 41 x 61 cm
“The White Cat”, a poster by John Hassall (1904). Lithographic poster of a Dury Lane Pantomime, c. 500 x 800mm. This Hassall design is belived to be the last pantomime poster for the Dury Lane Theatre as it closed for several years at the end of that season.
“The White Cat”, a poster by John Hassall (1904). Lithographic poster of a Dury Lane Pantomime, c. 500 x 800mm. This Hassall design is belived to be the last pantomime poster for the Dury Lane Theatre as it closed for several years at the end of that season.
“Allied air invasion stepped up as invasion date draws near”, drawn for the Ministry of Information, charcoal and ink on paper with highlights in white, signed “Page” (Claude A. Page) lower right, from the “Carroll Art Collection” ink stamp verso, overall 84 x 72 cm, circa 1944. I’ve so far been unable to find information on the artist, his name drowned out on search engines by gratuitous self promotion for Anthropic’s under fire AI
“Allied air invasion stepped up as invasion date draws near”, drawn for the Ministry of Information, charcoal and ink on paper with highlights in white, signed “Page” (Claude A. Page) lower right, from the “Carroll Art Collection” ink stamp verso, overall 84 x 72 cm, circa 1944. I’ve so far been unable to find information on the artist, his name drowned out on search engines by gratuitous self promotion for Anthropic’s under fire AI
“Allied air invasion stepped up as invasion date draws near”, drawn for the Ministry of Information, charcoal and ink on paper with highlights in white, signed “Page” (Claude A. Page) lower right, from the “Carroll Art Collection” ink stamp verso, overall 84 x 72 cm, circa 1944. I’ve so far been unable to find information on the artist, his name drowned out on search engines by gratuitous self promotion for Anthropic’s under fire AI
“The Perishers” original art for the Daily Mirror, pen and ink on board, signed and inscribed by artist Maurice Dodd "To Eileen Pollock with kind regards", framed and glazed. Dimensions: 20 x 7"
“The Perishers” original art for the Daily Mirror, pen and ink on board, signed and inscribed by artist Maurice Dodd “To Eileen Pollock with kind regards”, framed and glazed. Dimensions: 20 x 7″
Original storyboards for “The Amazing Adventures of Morph” by Bill Mevin, black ink and pen vignettes and cuttings mounted on board, and two of “Parsley the Lion” for the young children’s title, “Playland”, pen and gouache on boards; some pencil annotations, handling wear to board margins (28, Dimensions: each 19.6 x 15.3"/ 50 x 39 cm approximately)
Original storyboards for “The Amazing Adventures of Morph” by Bill Mevin, black ink and pen vignettes and cuttings mounted on board, and two of “Parsley the Lion” for the young children’s title, “Playland”, pen and gouache on boards; some pencil annotations, handling wear to board margins (28, Dimensions: each 19.6 x 15.3″/ 50 x 39 cm approximately)
“The Snowman”, First Edition, hardback, by Raymond Briggs, 1978; and The Snowman. Pop-up Book, first edition, a fine copy, 1982; offered with a First Day Cover dedicated to the Snowman, signed in blue ink by Raymond Briggs, postmarked Castletown, Isle of Man, 5th November 2003
The Snowman. Pop-up Book, first edition, a fine copy, 1982
“The Snowman”, First Edition, hardback, by Raymond Briggs, 1978; and The Snowman. Pop-up Book, first edition, a fine copy, 1982; offered with a First Day Cover dedicated to the Snowman, signed in blue ink by Raymond Briggs, postmarked Castletown, Isle of Man, 5th November 2003
Harry Potter and the Philosopher's Stone, first edition, second printing, inscribed by the author, “to Patrick (again!) J K Rowling”, on dedication page, original boards, worn at extremities, recipient's name and address label to upper right corner of title-page, 8vo., 1997. Estimated to sell for an eye watering £6,000 - £8,000
Harry Potter and the Philosopher’s Stone, first edition, second printing, inscribed by the author, “to Patrick (again!) J K Rowling”, on dedication page, original boards, worn at extremities, recipient’s name and address label to upper right corner of title-page, 8vo., 1997. Estimated to sell for an eye watering £6,000 – £8,000
Paddington Bear Books (11 first editions) by Michael Bond
Paddington Bear Books (11 first editions) by Michael Bond
Thunderball, first edition, first impression, the ninth Bond novel and the first in the Blofeld trilogy, inscribed “From George Reid” to front free endpaper, original cloth, dust jacket, minor short tears to extremities, 8vo, Jonathan Cape, 1961; and The Kraken Wakes, first edition, original cloth, dust jacket, minor short tear to bottom edge, some spotting to dust jacket, offsetting to endpapapers, 8vo, Michael Joseph, 1953
Thunderball, first edition, first impression, the ninth Bond novel and the first in the Blofeld trilogy, inscribed “From George Reid” to front free endpaper, original cloth, dust jacket, minor short tears to extremities, 8vo, Jonathan Cape, 1961; and The Kraken Wakes, first edition, original cloth, dust jacket, minor short tear to bottom edge, some spotting to dust jacket, offsetting to endpapapers, 8vo, Michael Joseph, 1953
Lane’s Celestial Globe, 1811. 3 inch pocket globe, with 12 hand-coloured engraved paper gores, calottes at poles, and paste-over rectangular title cartouche, the night sky coloured blue (except for along ecliptic line) with constellations left uncoloured, over plaster sphere, varnished, axis pivots, housed within original shagreen clamshell case, with hooks and eyes, plain paper interior lining, surface abrasion to Ursa Minor figure, some loss to case cover. Nicholas Lane (fl. 1775 - 1783), was particularly associated with the production of a pair of pocket globes in about 1779, with gores derived from those designed by James Ferguson (1710 - 1776). The globe was updated in 1807 by his son Thomas Lane (fl. 1801 - 1829), who continued to revise the globe up until the 1820s. Pocket globes’ lack of precision made accurate calculations impossible and makers continued to use pictorial constellation figures, even after they fell out of use on larger, scientific globes. Pocket globes were therefore more likely to serve as status symbols or educational aids.
Lane’s Celestial Globe, 1811. 3 inch pocket globe, with 12 hand-coloured engraved paper gores, calottes at poles, and paste-over rectangular title cartouche, the night sky coloured blue (except for along ecliptic line) with constellations left uncoloured, over plaster sphere, varnished, axis pivots, housed within original shagreen clamshell case, with hooks and eyes, plain paper interior lining, surface abrasion to Ursa Minor figure, some loss to case cover. Nicholas Lane (fl. 1775 - 1783), was particularly associated with the production of a pair of pocket globes in about 1779, with gores derived from those designed by James Ferguson (1710 - 1776). The globe was updated in 1807 by his son Thomas Lane (fl. 1801 - 1829), who continued to revise the globe up until the 1820s. Pocket globes’ lack of precision made accurate calculations impossible and makers continued to use pictorial constellation figures, even after they fell out of use on larger, scientific globes. Pocket globes were therefore more likely to serve as status symbols or educational aids.
Lane’s Celestial Globe, 1811. 3 inch pocket globe, with 12 hand-coloured engraved paper gores, calottes at poles, and paste-over rectangular title cartouche, the night sky coloured blue (except for along ecliptic line) with constellations left uncoloured, over plaster sphere, varnished, axis pivots, housed within original shagreen clamshell case, with hooks and eyes, plain paper interior lining, surface abrasion to Ursa Minor figure, some loss to case cover. Nicholas Lane (fl. 1775 - 1783), was particularly associated with the production of a pair of pocket globes in about 1779, with gores derived from those designed by James Ferguson (1710 - 1776). The globe was updated in 1807 by his son Thomas Lane (fl. 1801 - 1829), who continued to revise the globe up until the 1820s. Pocket globes’ lack of precision made accurate calculations impossible and makers continued to use pictorial constellation figures, even after they fell out of use on larger, scientific globes. Pocket globes were therefore more likely to serve as status symbols or educational aids.
Lane’s Celestial Globe, 1811. 3 inch pocket globe, with 12 hand-coloured engraved paper gores, calottes at poles, and paste-over rectangular title cartouche, the night sky coloured blue (except for along ecliptic line) with constellations left uncoloured, over plaster sphere, varnished, axis pivots, housed within original shagreen clamshell case, with hooks and eyes, plain paper interior lining, surface abrasion to Ursa Minor figure, some loss to case cover. Nicholas Lane (fl. 1775 - 1783), was particularly associated with the production of a pair of pocket globes in about 1779, with gores derived from those designed by James Ferguson (1710 - 1776). The globe was updated in 1807 by his son Thomas Lane (fl. 1801 - 1829), who continued to revise the globe up until the 1820s. Pocket globes’ lack of precision made accurate calculations impossible and makers continued to use pictorial constellation figures, even after they fell out of use on larger, scientific globes. Pocket globes were therefore more likely to serve as status symbols or educational aids.
Lane’s Celestial Globe, 1811. 3 inch pocket globe, with 12 hand-coloured engraved paper gores, calottes at poles, and paste-over rectangular title cartouche, the night sky coloured blue (except for along ecliptic line) with constellations left uncoloured, over plaster sphere, varnished, axis pivots, housed within original shagreen clamshell case, with hooks and eyes, plain paper interior lining, surface abrasion to Ursa Minor figure, some loss to case cover. Nicholas Lane (fl. 1775 – 1783), was particularly associated with the production of a pair of pocket globes in about 1779, with gores derived from those designed by James Ferguson (1710 – 1776). The globe was updated in 1807 by his son Thomas Lane (fl. 1801 – 1829), who continued to revise the globe up until the 1820s.
Pocket globes’ lack of precision made accurate calculations impossible and makers continued to use pictorial constellation figures, even after they fell out of use on larger, scientific globes. Pocket globes were therefore more likely to serve as status symbols or educational aids.

You will need to be registered to bid. Giles archivist Bruce Sellers, who tipped us off to the artwork sale, cautions the auction house takes no-prisoners with their fees and they are pumping realistic (under)estimates, so there’s probably chunky reserves on each, especially the Giles Annual cover.

• Chiswick Auctions Books & Works on Paper Auction, 12th March 2026 | Full Catalogue here | You need to be registered to bid

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