1. News from Afar [London Missionary Society], November 1922, p.172,
   illustration to his “Letter from China”.
   Reprinted in MPR 11:5.

2. News from Afar [London Missionary Society], January 1924, p.9,
   ten illustrations to his article, “Ways of Travelling”.
   Reprinted in WD, p.10.

3. Satire [London], December 1934, p.7,
   cartoon, “Child Life”, to text by Wells, under the pseudonym “Nemo”.
   Reproduced in WD, p.19.

4. Satire [London], December 1934, p.17,
   two illustrations to his poems, “Practically Poetry” and “Ode to a Bowler”, and
   one cartoon, “’Land of Hope and Glory’ / . . . As delivered by a Tory”, under the pseudonym “Nemo”.
   Reproduced in MPR 16: 27

5. Satire [London], January–February, 1935, p.13,
   cartoon, “Art”, under the pseudonym “Nemo”.

6. London Mercury, August 1936, Vol.34, No.202, f.p.342,
   designs for “The Insect Play” by the brothers Capek: (1) “’I proclaim myself conqueror of the world’” [the Commander-in-Chief of the Black Ants], and (2) “The Ichneumon Fly”.
   Both reproduced on p.124 of Virginia Woolf and the Discourse of Science (of all places!), by Henry Holly (CUP, 2003).

7. London Mercury, September 1936, Vol.34, No.203, f.p.402,
   portrait of Edith Evans.

8. London Mercury, October 1936, Vol.34, No.204, f.p.494,
   portrait of Ernst Toller.

9. London Mercury, December 1936, Vol.35, No.206, f.p.165,
   portrait of Walter de la Mare.

10. London Mercury, February 1937, Vol.35, No.208, f.p.385,
    portrait of W. H. Auden.
    Reprinted in Drawings 1974 (Pl.47) and in Radio Times, 7 November 1981, p.30.

11. London Mercury, February 1937, vol.35, No.208, p.409,
    In a review (pp.409–10) by A. V. Cookman of The Son of the Grand Eunuch, a drawing of “the Grand Eunuch’s costume”.
    

12. London Mercury, June 1937, Vol.36, No.212, f.p.124,
    portrait of George Barker.

13. London Mercury, July 1937, Vol.36, No.213, f.p.236,
    portrait of Ruth Pitter.

14. London Mercury, October 1937, Vol.36, No.216, pp.508 & 509,
    two scraperboard illustrations to his poem “Rhondda Valley”.
    The only known use of this medium by Peake; reproduced (rather badly) in WD, p.24, so they are here (first / second). Also in Collected Poems.

15. London Mercury, November 1937, Vol.37, No.217, f.p.12,
    portrait of John Gielgud.

16. London Mercury, December 1937, Vol.37, No.218, f.p.157,
    portrait of Margot Fonteyn.

17. London Mercury, March 1938, Vol.37, No.221, f.p.501,
    a drawing from his exhibition at the Calmann Galleries.

18. London Mercury, May 1938, Vol.38, No.223, f.p.61,
    portrait of James Stephens.

19. London Mercury, July 1938, Vol.38, No.225, f.p.240,
    portrait of Sarah Gertrude Millin.

20. London Mercury, September 1938, Vol.38, No.227, f.p.404,
    portrait of Charles Madge.

21. London Mercury, November 1938, Vol.39, No.229, f.p.12,
    portrait of Laurence Binyon.

22. London Mercury, December 1938, Vol.39, No.230, f.p.112,
    portrait of Elizabeth Bowen.

23. London Mercury, January 1939, Vol.39, No.231, f.p.305,
    portrait of C. Delisle Burns.

24. London Mercury, March 1939, Vol.39, No.233, f.p.505,
    a drawing from his exhibition at the Leicester Galleries.

25. London Mercury, April 1939, Vol.39, No.234, f.p.584,
    portrait of James Bridie.

26. World Review, August 1940, p.2,
    cartoon, “On Guard” [patriotic treatment of a young soldier].

27. Lilliput, January 1942, Vol.10, No.1, issue 55, pp.7 & 8,
    two illustrations to the short story, “Life isn’t Worth While”, by J. Gurevitch.
    Reprinted in PS 9:iii (October 2005).

28. Lilliput, February 1942, Vol.10, No.2, issue 56, pp.123, 124, & 125,
    three illustrations to the short story, “The Pacifist”, by Lionel Birch.
    Reprinted in PS 9:iii (October 2005).

29. Lilliput, April 1942, Vol.10, No.4, issue 58, pp.295 & 297,
    two illustrations to the short story, “The Fireman’s Wife”, by Stephen Spender.
    Reprinted in PS 9:iii (October 2005).

30. Lilliput, June 1942, Vol.10, No.6, issue 60, p.495,
    two illustrations to the poem, “Bill Pronkum Purrs”, by Ruth Pitter.
    Reprinted in PS 9:iii (October 2005).

31. Lilliput, August 1942, Vol.11, No.2, issue 62, pp.162 & 164,
    two illustrations to the article, “The Mechanical Chess Player”, by George Edinger.
    Reprinted in PS 9:iii (October 2005).

32. Lilliput, October 1942, Vol.11, No.4, issue 64, p.331,
    one illustration to the article, “Ships that Disappeared”, by Sam Bate.
    A doubtful attribution - probably not by Peake.

33. Lilliput, February 1943, Vol.12, No.2, issue 68, p.131, 133, & 134,
    three illustrations to the short story, “Incombustible Men”, by Pennethorne Hughes.
    Reprinted in PS 9:iii (October 2005).

34. Lilliput, March 1943, Vol.12, No.3, issue 69, p.[244],
    one drawing beneath a photograph of MP by Bill Brandt.
    Reprinted in PS 9:iii (October 2005).

35. Lilliput, July 1943, Vol.13, No.1, issue 73, pp.21 & 22,
    two illustrations to the short story, “The Men Who Knew Not What They Did”, by Gerald Kersh.
    Reprinted in PS 9:iii (October 2005).

36. Lilliput, November 1943, Vol.13, No.5, issue 77, p.399, 400, & 401,
    three illustrations to the short story, “Some Kind of a God”, by Robert Neumann.
    Reprinted in PS 9:iii (October 2005).

37. Poetry London, 1944, Vol.2, No.10, pp.196–[204],
    eight illustrations for The Rime of the Ancient Mariner (B5), including the original plate 5, “Life in Death”, which was not used by Chatto until 1978 (B5g).
    Seen both in beige and in blue cloth bindings; d/w by Gerald Wilde.

38. Lilliput, February 1944, Vol.14, No.2, issue 80, pp.147 & 149,
    two illustrations to the article, “Magic Does Happen”, by Rupert Gleadow.
    Reprinted in PS 9:iii (October 2005).

39. Lilliput, May 1944, Vol.14, No.5, issue 83, pp.351 & 353,
    two illustrations to the article, “The Swords of Japan”, by David Ellbey.
    Reprinted in PS 9:iii (October 2005).

40. Lilliput, February 1945, Vol.16, No.2, issue 92, pp.147, 149, & 151,
    three illustrations to the short story, “The Wasp in the Letterbox” by Maurice Richardson.
    Reprinted in PS 9:iii (October 2005).

41. Leader, 12 May 1945,
    “Portrait of the Artist” [a caricature of Hitler].

42. Leader, 30 June 1945, pp.12 & 13,
    four drawings of “Hitler’s Problem Children”: “Hitler Youth”; “The German Boy leans against the concentration camp pictures and looks at the occupation forces”; “The New Start: school at Aachen opened under Allied authority (drawn from the teacher’s desk)”; and “Veteran Hitler Youth”; with a commentary by Tom Pocock.
    “The German Boy” was reproduced in A World Away, f.p.96.

43. Leader, 14 July 1945, pp.12–13,
    five illustrations (“Paris Cabaret: Drummer”, “Dancer”, and “Singer”; “Paris Street Scene”; “And Still More Cabaret”) to “Paris Celebrates” by R. C. Knight.

44. Leader, 4 August 1945, pp.11–13,
    “The British Soldier in Europe: The Sketch Book of Mervyn Peake”. Ten drawings (“He Writes to Tell You What He Thinks of Europe: the British soldier in Germany”; “Soldier Looks at Europe”; “Soldier on Bed”; “Soldier on Barrow”; “Soldiers at Plön, near Kiel”; “Soldier Cleans Boots”; “Soldier Exercises”; “Soldier Considers Bargain”; “Soldier reads of Home”; and “Soldier Dreams”), printed alongside Tom Driberg’s “European Notebook”.

45. Studio, December 1945, Vol.130, No.633, p.183,
    “Figure in Yellow”, accompanying “London Commentary” by Cora Gordon.

46. Ballet, January 1946, [Vol.1,] No.3, p.5,
    one illustration to the article, “Genji Dances at the Festival of Red Leaves”, by Arthur Waley.

47. Studio, January 1946, Vol.131, No.634, p.3,
    “Study of a girl”, accompanying an article (pp.2–7) on “British Figure Painting” by Iain MacNab, who comments, “MP is both a painter and an illustrator with a refreshing and original sense of humour.”

48. Facet, 1946, Vol.1, No.1, pp.9 & 13,
    two line drawings (“The Daily Help” and “Head of a Clown”) accompanying Quentin Crisp’s article, “The Genius of Mervyn Peake”.
    “The Daily Help” was reprinted with the article in MPR 14 (pp.2 and 37–42, respectively).

49. Alphabet & Image, Spring 1946, Vol.1, pp.31 & 32,
    two drawings for the projected edition of Bleak House (John Murray) accompanying the article by Frances Sarzano, “The Book Illustrations of Mervyn Peake” (pp.19–37).
    Reprinted in the book, Mervyn Peake: Drawings from Bleak House (B24)

50. Ballet, June 1946, Vol.2, No.1, frontispiece [p.2],
    untitled drawing, depicting a nude male figure passing through a shattered window.
    Reprinted in MPR 15:2 and in VoH (F15).

51. Ballet, July 1946, Vol.2, No.2, pp.29–36,
    eight drawings of Jean Babilée (of which a sample spread).

52. Convoy, July 1946, No.4, pp.23–7,
    seven drawings to accompany his description of “The Glass Blowers”.
    Reprinted in MPR 18:3–7.
    

53. Studio, September 1946, Vol.132, No.642, pp.88–90,
    five drawings and paintings (“Vulture” (pen drawing), “Mother and Child” (oil painting), “The Glass-Blowers” (oil), “Belsen: girl dying of consumption” (charcoal) and “I pass, like night, from land to land” from The Ancient Mariner) accompanying Bernard Denvir’s article, “Mervyn Peake”.
    The article and the “Vulture” were reprinted in MPR 15, pp.36–38 and 37 respectively.
    The oil painting, “Mother and Child”, was reprinted in New Road, 1949, No.5, f.p.120.
    “The Glass-Blowers” was used for the d/w of Gb, and the “Girl Dying” is in Drawings 1949, pl.31.

54. Strand Magazine, November 1946, Vol.112, issue 671, p.58,
    two illustrations to his own poems, “The Enforced Return” and “If the Earth Were Lamp-lit”.
    Reprinted in PS 9:iii (October 2005).

55. Strand Magazine, December 1946, Vol.112, issue 672, pp.82, 85 & 87,
    three illustrations to “Three Gifts: a Christmas Tale” by Alan Wykes.
    Reprinted in PS 9:iii (October 2005).
    The illustration on p.85 was reprinted in Designers in Britain, 1947, [Vol.1,] p.86.

56. The Windmill [an occasional in-house magazine of Wm Heinemann, publishers], 1946, Vol.1, No.3, p.59,
    “Study of a Head” (from the collection of John Brophy).
    Antedates publication in The Mind’s Eye (Part C, drawings) by several years.

57. Counterpoint, 1946, Vol.2,
on reverse of frontispiece,
three sketches (one just a profile) accompanying his poem “Belsen 1945”.
Reproduced in PS 1:ii and in Drawings 1949.  Cf. WI, p.38, item 16.
58. Designers in Britain, 1947, [Vol.1,] p.107,
    line drawing.

59. Strand Magazine, March 1947, Vol.112, pp.100–105,
    three illustrations to the short story, “At the Lantern”, by Alan Wykes.
    Reprinted in PS 9:iii (October 2005).

60. Everybody’s Weekly, 3 January 1948, p.13,
    one illustration for the short story, “The Between-Maid”, by Montague Summers.

61. World Review, August 1948, p.56,
    one illustration to the short story, “The Man who Returned to Dublin”, by Gerard Fay.
    Reprinted in PS 9:iii (October 2005).

62. Radio Times, 17 December 1948, Vol.101, No.1314, p.20,
    drawing for Rumpelstiltskin.
    Reprinted on 8 June 1951, Vol.111, No.1439, p.14, and in The Art of Radio Times (BBC, 1981).

63. Radio Times, 24 December 1948, Vol.101, No.1315, p.23,
    drawing for Treasure Island.
    Reproduced in The Art of Radio Times (BBC, 1981).

64. World Review, August 1949, New Series No.6, pp.55–59,
    five illustrations to his article, “London Fantasy”.
    Reprinted in MPR 16:11–15.

65. Leader Magazine, 17 December 1949, pp.9 & 10,
    six illustrations (“Christ is Forgotten”, “The Christian . . . dedicated to a creed, as a recluse and mystic, as a man of the world, and as a humble – and romantic – believer”, and “Christ is Remembered”) to the article, “Where is Christ in the World Today?”, by James Lansdale Hodson.
    There is also, on p.5 of this issue, a photograph of, and brief note on, MP.

66. London Mystery Magazine, [June 1949,] Vol.1, No.1, pp.25 & 35,
    two illustrations to the short story, “Yak Mool San”, by H. B. Drake.
    Reprinted in PS 9:iii (October 2005).

67. Lilliput, January 1950, Vol.26, No.1, issue 151, pp.58 & 59,
    two illustrations to his own short story, “The Connoisseurs”.
    Reprinted in PS 9:iii (October 2005).
    There is also, on p.112 of this issue, a biographical note on MP.

68. Leader Magazine, 4 February 1950, pp.23–25,
    three illustrations (“Truth is Childish”, “The Party Demands Fanaticism” and “After the Break, What?”) to “A Conscience among the Communists” by Ignazio Silone.

69. Leader Magazine, 8 April 1950, pp.7–9,
    three illustrations (“Atta Amarata”, “Where is Truth?”, and “Faith”) to “Did Jesus Have a Fair Trial?” by Robert Graves.

70. Lilliput, May 1950, Vol.26, No.5, issue 155, pp.37–40,
    four colour illustrations to “Children’s Hour: four nursery rhymes”, with a commentary by Leslie Daiken. The original drawings were sold at Sotheby’s on 24–25 January 1983 and reproduced, full-size, in their catalogue for the sale.

71. Lilliput, November 1950, Vol.27, No.5, issue 161, pp.55, 57, 59 & 60,
    four illustrations to the short story, “The Traitors”, by F. L. Green.
    Reprinted in PS 9:iii (October 2005).

72. Radio Times, 9 February 1951, Vol.110, No.1422, p.20,
    drawing for The Enchanted Cottage.
    Reproduced in The Art of Radio Times and in TLS, 4 December 1981, p.1405.

73. Lilliput, December [1951]–January 1952, Vol.29, No.6, issue 175, pp.80, 87, 97 & 105,
    four illustrations to the short story, “The Wendigo”, by Algernon Blackwood.
    Reprinted in PS 9:iii (October 2005).

74. Housewife, August 1952, pp.56–59,
    eight decorations (including 7 capital letters) to the short story, “Blind Love”, by Laurence Housman.

75. John o’London’s, August 1952, p.817,
    small portrait of Kay Fuller.
    Reproduced (from the original drawing) in MPR 9:3 (Autumn 1979).

76. Radio Times, 7 November 1952, Vol.117, No.1513, p.19,
    drawing for Brushwood Boy.
    Reproduced in The Art of Radio Times (BBC, 1981).

77. Radio Times, 23 January 1953, Vol.118, No.1524, p.12,
    drawing for The Little Gold Shoe.

78. Lilliput, May–June 1953, Vol.32, No.6, issue No.192, pp.72, 78, 85, 88, 93, & 96,
    six illustrations to the short story, “Love Among the Ruins”, by Evelyn Waugh.
    Reprinted in PS 9:iii (October 2005).

79. Encounter, July 1954, Vol.3, No.1, pp.4 & 5,
    two illustrations to Dylan Thomas’s poem, “Reminiscences of Childhood”.

80. Encounter, July 1956, Vol.7, No.1, pp.23, 31 & 32,
    three illustrations to the article, “Young Spain and the Old Régime”, by François Bondy.

81. Encounter, September 1956, Vol.7, No.3, front cover,
    portrait of Walter de la Mare (not the same as item 9, above).

82. Athene [Journal of New Society of Art Teachers], April 1957, Vol.8, No.3, p.21,
    line drawing of a head accompanying his article, “What is Drawing?”

83. Radio Times, 6 December 1957, Vol.137, No.1778, p.37,
    drawing for Molloy.
    Repeated in Radio Times, 6 January 1972, Vol.194, No.2513, p.53.

84. Radio Times, 13 June 1958, Vol.139, No.1805, p.39,
    drawing for Malone Dies.

85. Elizabethan, June 1959, Vol.12, No.6, p.14,
    “Anne Frank in the concentration camp – an impression by MP” accompanying “The Diary”, an article on Anne Frank by Gerald McKnight.
    Reprinted in MPR 16:24.

86. Transatlantic Review, Spring 1960, No.3, p.[78],
    one line drawing.

87. Transatlantic Review, December 1960, No.5, p.[120],
    one line drawing.

88. 3 Arts Quarterly, Winter 1960, No.4, front cover and pp.22–25,
    five line drawings.

89. Folio Society 1961, [a leaflet describing forthcoming publications], f.p.3,
    the illustration from f.p.17 of Droll Stories.

90. International Stage & Film Review, February 1962, p.27,
    one line drawing.

91. Transatlantic Review, Spring 1968, No.28, pp.[22], 27, 94, 98 and 107,
    five line drawings.

92. Transatlantic Review, Winter 1968–9, No.31, pp.60 & 82,
    two drawings, the second being Auntie Jill from “Uncles and Aunts” (BN, p.70).

93. Antique Dealer and Collectors Guide, February 1969, Vol.23, No.7, p.98,
    “Two Studies of Cats”, chinese ink drawing.

94. New Worlds, February 1969, No.187, pp.41–43,
    drawings accompanying “The Adventures of Foot-fruit” (see Part D: prose).

95. New Worlds, April 1969, No.189, front cover,
    drawing of Foot-fruit-like figure and dogs.

96. New Worlds Quarterly, September 1971, No.1, pp.51, 63, 182,
    three illustrations from Witchcraft in England (without acknowledgement).

97. TLS, 1 September 1972, p.1027,
    three drawings for nonsense poems.
    Printed in BN, pp.34, 74 & 75.

98. Mervyn Peake Society Newsletter [subsequently, The Mervyn Peake Review], Spring 1976, No.2, pp.18 & 19,
    two line drawings: “Man and Beast” from the MS of TG, and “A Professor” from the MS of G.

99. Mervyn Peake Review, Autumn 1976, No.3, pp.10 & 27,
    “The Dark Breakfast”, a sketch from the MS of TG, and an illustrated envelope for sale.

100. Radio Times, 15–21 October 1977, Vol.217, No.2814, pp.76 & 79,
     two drawings for “Treasure Island”.

101. Mervyn Peake Review, Autumn 1977, No.5, p.1,
     “The Chief of the Ants”, a drawing for The Insect Play (1936).

102. Mervyn Peake Review, Spring 1978, No.6, pp.3, 11, 18, 19, 31, & 35,
     line drawings of a man and boy (p.3) and a bird-like creature looking over a wall (p.31) from the sheet of drawings reproduced complete on p.35; “Frail Figure” (p.11); “Cat in Hat” (p.18); “Hypnotic Creature” (p.19).

103. Mervyn Peake Review, Autumn 1978, No.7, between pages 18 & 19,
     an eight-page insert of felt-pen drawings (untitled).

104. Sunday Times, 12 November 1978, p.37,
     with an article by Philip Oakes, “Peake’s progress”, a pencil drawing of Keda on her crag, silhouetted against a massive sun, as seen by Flay (TG p.446). First publication that I am aware of.
     

105. Mervyn Peake Review, Spring 1979, No.8, pp.6 & 35,
     line drawing of an “Animal Figure”, and a portrait of E. J. S. Parsons.

106. Mervyn Peake Review, Autumn 1979, No.9, pp.3 & 26,
     portrait of Kay Fuller (see item 74, above), and “A s-a-a-a-d sight”: a self-portrait.

107. TLS, 21 December 1979, p.159,
     reproduction of a drawing for sale at the Maclean gallery.

108. Mervyn Peake Review, Spring 1980, No.10, pp.3, 13, 19, 23 & 42,
     a fantasized portrait of Diana Gardner; “Dr Prunesquallor and Irma” from the MS of G; back of girl’s head, from the MS to TA; “Muzzlehatch and dog”, from the MS of TA; and a costume design for The Son of the Grand Eunuch.

109. The Green Book, Summer 1980, Vol.1, No.3, p.11,
     “Get yer bloody ’air cut – you look like a bleeding poet”, a drawing (with wash) accompanying MG’s article, “I sometimes think about old tombs and weeds.”
     The Green Book claims that this is an “unpublished drawing”, but it looks identical (although greatly reduced) to pl.25 in Drawings 1974.

110. Mervyn Peake Review, Autumn 1980, No.11, pp.2 & 5,
     “Chinaman with Fish” and the drawing for “A Letter from China” (see Part D: prose, first item).

111. Mervyn Peake Review, Spring 1981, No.12, pp.3, 14, 17, 20–21, 24 & 27,
     “Girl’s head”; “Life Study”; “Prunesquallor” and a man’s head (both on p.17); “Swelter”, a lithograph; an unspecified character from Gormenghast; and “Boy with Owl”, a line drawing.

112. Mervyn Peake Review, Autumn 1981, No.13, p.36,
     line drawing of two boys and animals in seascape from the MS of Titus IV.

113. Mervyn Peake Review, Spring 1982, No.14, pp.7, 13, 14, & 36,
     “Walking figures”, a pen drawing from the MS of TA; a figure astride a monster (pencil); “The Sad Departure”, a pen drawing; and “Sleeping”, a pencil drawing from the MS of G.
     “Sleeping” is similar to the drawings of Dylan Thomas in Encounter (see above), but it is not the same.

114. Mervyn Peake Review, Autumn 1982, No.15, pp.9 & 13,
     “Scroll”, a pen drawing from the MS of TA, and “Infant and Fairies”, a pen drawing from the MS of G.

115. Mervyn Peake Review, Spring 1983, No.16, p.2,
     line drawing of strange bird with frog and flowerpot.
     Used by Leslie Sklaroff on his catalogues and printed here as an advertisement for his second-hand book business.

116. Mervyn Peake Review, Spring 1983, No.16, pp.6, 23, 41
     pen-and-ink sketch of an interior, and “Balancing act”, a pen-and-ink sketch of a piebald horse on a pedestal, both from the MS of TA; pirate Peake presents a cheque to his bank manager, also pen and ink.

117. Mervyn Peake Review, Autumn 1983, No.17, pp.3 & 33,
     pastel (or chalk) portrait of Jennifer Pink, and oil painting of young boy, possibly Sebastian Peake.

118. Mervyn Peake Review, Spring 1984, No.18, pp.19, 32, 37 & 42,
     a pen drawing of a weird creature on an island from the MS of G; “Square-jawed Susie”, a line portrait from the collection of John Wood; “Furrie”, an ink sketch from the MS of TA; and “Boy with Bird”, a line drawing from the collection of John Wood.

119. Guardian, 15 January 1985, p.9.
     Previously unpublished drawing accompanying an article by Robert Macdonald, “Central’s line to calamity.”

120. Mervyn Peake Review, Summer 1985, No.19, pp.2, 19, 29–32, & 56,
     a sketch of Sebastian, Maeve and Fabian (1945); grotesque pen sketch from a letter to Maurice Collis; five preliminary sketches for The Hunting of the Snark; and Cupid shooting a strange bird, in pen-and-ink (source not mentioned).

121. Mervyn Peake Review, 1987/88, No.21, pp.4, 18, 59, 69, & 96,
     sketches accompanying Peake’s radio play of Titus Groan, source not given.

122. Mervyn Peake Review, 1989, No.22,
     a card portfolio containing five sketches made during Peake’s visit to Yugoslavia in 1955, with a commentary (dated April 1989) by John Watney: a fish-seller (brush and ink); two heads (same medium); old man with two sticks (same medium); boy in traditional costume with earring (watercolour); and woman in traditional costume (watercolour).
123. Mervyn Peake Review, 1992, No.25, called “Mervyn Peake: The Wit to Woo Compendium”,
     twelve sketches for Peake’s play, The Wit to Woo, of which only two (the centre spread of the set, and a comic pen-and-wash picture of Old Man Devius and Dr Willy, on the back cover) had not previously appeared in Peake’s Progress.

124. Mervyn Peake Review, 1997, No.30, a single sheet,
     a crazy cricket team, in ink and coloured wash, produced for his son Sebastian, signed “from Daddy” and dated “Aug 1953”.
125. Wormwood, No 4, Spring 2005, front cover
     previously unpublished drawing.
     

Original listing © Dee Berkeley and G. Peter Winnington 1983; this revised and expanded edition © G. Peter Winnington 2007
Please tell me of any corrections or additions I should make.

Not included on this page are the drawings by Peake that have appeared regularly in Peake Studies since 1988.
For these, see the list of contents of past issues.