Monday, 1 June 2026

Frank Bellamy and Look and Learn: New discovery - Castaways

 

Cropped image - see below

In issue 414 (20 December 1969) Look and Learn began a short series - featured on the cover by the wonderful Angus McKie - called "Castaways". They introduced the feature with this paragraph: 

Alexander Selkirk was the most famous castaway of them all. After quarrelling with his captain in 1704, he asked to be put ashore on an island and remained there alone for over four years. From his experiences came Robinson Crusoe, the great novel by Daniel Defoe which immortalised the notion of the castaway. Because Robinson Crusoe has now become an almost legendary character, it has often been taken for granted that no other men suffered as he did. In fact there were a number of castaways, whose stories are just as enthralling as the story of Alexander Selkirk's. This week we begin a new series, telling the stories of these forgotten men....


 The first episode concerned the wreck of the Eclipse where survivors found they had come ashore at Sanak Island, which is at the south-western tip of Alaska. At that time, Alaska and the neighbouring islands belonged to the Russian Empire. Read more here. The second in the series (#415) was Philip Ashton who was captured by pirates before escaping to a Caribbean island. The third tale (#416) was about Pedro Serrano who was the sole survivor of a shipwreck off Central America - both images that appeared in L&L can be viewed on the L&L website. The fourth story (#417) tells of William Mann who found himself in the Marianas. Look and Learn have a transcript of the whole article plus one of the accompanying images by artist Graham Coton. 

In issue #418 (17 January 1970) we read about the steamship U.S.S. Saginaw which was working on the Midway Islands and decided to head to the nearby Kure Island but became caught in treacherous currents and smashed in total darkness on - they found out later - Kure Island. After an unsuccessful attempt to get drinking water one seaman suggested creating a condenser from the steamer's boiler but they knew to escape the lonely place they'd need to build a boat and sail 1,200 miles south east to Hawaii.  A boat was built and a crew of 5 men headed out. They were apparently blown off course several times but eventually washed up in violent seas and one man survived to alert the authorities. The crew of the Saginaw had been stuck for 68 days before being rescued and the only casualties were the four men in the skiff. 

 

Look And Learn #418 (17 January 1970), pp.6-7 by Frank Bellamy
Now here comes a surprise. The above black and white page is drawn by Frank Bellamy! How do I know? Well, see if you can follow the facts below.

On 30 January 1970 Nancy Bellamy paid two cheques into the bank. 

The first she called "Capt Cook L&L" which we know was full colour and appeared in issue #422 (14 February 1970) for which Bellamy was paid £50. 

The second cheque was for £18/18/- - i.e. 18 guineas and Nancy titled that one "Look and Learn / Shipwrecked". I'll come back to that in a moment. Then on 3 March 1970 she paid in a large cheque for £177/10/- and stated this was for "Look and Learn First World War, 1,2, 3 and Castaways £20".

Well let's get some publication dates on these items:

  • LOOK AND LEARN  418 (17 January 1970): "Castaways"
  • LOOK AND LEARN 422 (14 February 1970): "The Man and the Moment: James Cook"
  • LOOK AND LEARN 437 - 462 (30 May 1970 - 21 November 1970): "The Story of World War One" (and #1,2,3 were specifically published in 30 May to 13 June 1970)

The cheques are out of order - sort of - so what could that mysterious "Shipwrecked" I mentioned be? The payment of £20 is just under half of the colour double-page rate for Captain Cook, so the above B&W drawing is likely to be the one. Just look at the way the rocks are drawn, the composition of the figures struggling against the waves,  even their shadows are included, notice the explosions of wave formations. If you are able to see the rest of "The Castaways" series you'll see a variety of art styles, but this one, once focussed on, is Frank Bellamy's work. 

But that still leaves us with the mystery of what is the 18 guineas for "Shipwrecked"? Where was it published? I checked all the Look and Learn magazines from August 1969 to April 1970 I couldn't find anything resembling Bellamy's handiwork. I then had inspiration and checked the Look And Learn Book 1970 and 1971. No joy! There was a later series called "Shipwreck" which appeared between 28 November 1971 to 23 January 1971 but again I don't think any are illustrated by Bellamy.

I asked my friend Steve Holland and he wrote back to me:
"My guess is that he illustrated two episodes of 'The Castaways' -- issues 414 and 418 -- but I wouldn't have guessed they were Bellamy. The second illustration in issue 414 isn't by the same artist as the first."
 So here it is so you can decide. .
Look And Learn #414 (20 December 1969), pp.6-7
I spoke to Paul Holder too and he thinks that the only Bellamy is #418 as stated above. But then he suggested that the amount of £18 guineas compared to the £20 suggested something else..
 
If you scroll back up and look at "The Castaways" heading, it could be that the series title was going to be "Shipwrecked" - after all that was used later in the year - and then at the last minute changed to the title above and that Bellamy drew the header! Now that's a really hard one to call as it's reproduced in each episode at such a small size that even scanning at hi-resolution and enlarging it on my screen doesn't convince me (or Paul for that matter!) but that was our best shot. However, and there's always a however, looking at the episode in issue 415 there's the exact ship which appears in the header, just reversed! Admittedly there is a bit of landscape added to the header but I've no idea who drew that! The L&L site has these two images but could not suggest an artist's name, and nor can I. If anyone wants to have a guess, do let me know, because at first I 'saw' Millar Watt, but I don't think it's him
Look And Learn #415 (27 December 1969), pp.6-7
What do you think? 
 
So we solve one puzzle and introduce another. Any Look and Learn fans want to check my research and tell me they think they know of a 'Shipwrecked' image is by Bellamy? I'd love to hear any theories. maybe it was never published? 

Friday, 29 May 2026

AUCTION: Robin Hood page from Swift 1956

 

Lot#118 "Robin Hood" from Swift Vol 3: 23 (9 June 1956)

Compal auctions have their latest auction up at TheSaleroom and their own webpage. This time we have a Robin Hood page from Swift - drawn in his expert fashion by Frank Bellamy.

Malcolm of Compal describes the lot:

Lot #118:
Robin Hood original artwork by Frank Bellamy from Swift Vol 3 No 23, 9 June 1956 (with original comic)
Robin encounters Little John in battle for the first time
Indian ink and grey wash on board, 21 x 15 ins
£350-450

As this is the second page of the two page story from that issue allow me to show you the first page

"Robin Hood" from Swift Vol 3: 23 (9 June 1956)

How have sales gone before?  On 9 May this year, one sold for £550 and two months earlier, one sold for £450. I love the one at auction this time as it has the famous Little John confrontation. 

The auction ends on Sunday 14 June when I'll add the end result below and add it to the spreadsheet.

 

AUCTION SUMMARY

"ROBIN HOOD" Swift Vol. 3:23 (9 June 1956) (Lot 118)

WHERE?: Compal/TheSaleroom
Estimate: £350-£450
Opening Bid: £320
ENDING PRICE: 
END DATE: Sunday 14 June 2026


Thursday, 21 May 2026

Frank Bellamy - Birthday Tribute

Today is Frank Bellamy's birthday - he was born on 21 May 1917 and left us far too soon. 

His influence has not waned over the years. In an interview published just yesterday Alan Moore mentions him in passing! But today I want to concentrate on how Bellamy's artwork is used by others. We've already looked at Al Williamson and Wally Wood, but today we are specifically looking at the 1994 Thunderbirds comic, drawn in this particular story by Mike White. We can see how the late Mike White 'borrowed' Bellamy images in his own quite lovely artwork. Finding which TV21s they came from has been quite an exercise, but Paul Holder was a great help, giving me most of these references. Showing Mike White's art alongside Frank Bellamy's allows us to marvel once again at how respected and loved Frank Bellamy's artwork is. Enjoy Frank's birthday with me by looking more closely at his wonderful Thunderbirds art - his most reprinted work.

The three issue story "The Virus" appeared in The New Thunderbirds 5 August 1994 -  19 August 1994 (#73-75).  I present the whole story here to show how influential Bellamy's artwork is, so I hope the copyright holders won't mind my overview for academic study, but should that not be the case, please let me know! 

The New Thunderbirds #73 p.3
The above page contains images from the following TV21s.  

  • Thunderbird 3 from TV21 #181
  • Thunderbird 1from TV21 #154?
  • Thunderbird 5 from TV21 #52? 

TV21 #181
TV21 #154

TV21 #52
The next page in The New Thunderbirds #73 is page 4 

The New Thunderbirds #73 p.4
Here we have

  • The top Thunderbird 1 from TV21 #61
  • The middle Thunderbird 1 from TV21 #62
  • The bottom Thunderbird 1 from TV21 #219

TV21 #61

TV21 #62

TV21 #219
The next page in The New Thunderbirds #73 is page 5

The New Thunderbirds #73 p.5
The only thing we could match here was the Thunderbird 1 which we think came from TV21 #140

TV21 #140

Here's page 6 of the story. Can you find the craft in TV21s and let me know?  

The New Thunderbirds #73 p.6

Then we move onto The New Thunderbirds #74 is page 3  

The New Thunderbirds #74 p.3
  • The Hood comes from TV21 #214
  • The Thunderbird 1 on the bottom left comes from TV21 #53 (the second ever episode of Thunderbirds) 

TV21 #214

TV21 #53

The next page in The New Thunderbirds #74 is page 4

The New Thunderbirds #74 p.4

  •  The Thunderbird 5 comes from TV21 #137

TV21 #137

Here's page 5 of the The New Thunderbirds #74. Can you spot where these came from?

The New Thunderbirds #74 p.5
Then we come to page 6

The New Thunderbirds #74 p.6
  • Thunderbird 4 comes from TV21 #211
  • Thunderbird 2 (modified) from TV21 #235
  • Thunderbird 2 (final panel) also comes from TV21 #235  

TV21 #211

TV21 #235

Here's page 3 of the The New Thunderbirds #75. 

The New Thunderbirds #75 p.3

  • Thunderbird 5 from TV21 #194

TV21 #194
The next page in The New Thunderbirds #75 is page 4 
The New Thunderbirds #75 p.4

  • Thunderbird 3 from TV21 #179
  • Thunderbird 5 from TV21 #210 

TV21 #179
 

TV21 #210

The New Thunderbirds #75 is page 5

The New Thunderbirds #75 p.5

  • The missile in TV21 #89 - note the explosion by White (above) and the one by Bellamy (below) - no attempt to copy the master here (However I've shown Al Williamson had a very good go!)! 

TV21 #89
Finally we have page 6 of The New Thunderbirds #75, which I'll leave you to discover for yourself!

The New Thunderbirds #75 p.6
John Freeman's excellent site DownTheTubes featured an obituary for Mike White with links to other tributes. I'm very grateful to Shaqui Le Vesconte for confirming the artwork was by Mike White, as he is not credited anywhere else for the Thunderbirds work, that I could find. 

I hope that he gets his day in the sun if Jamie Anderson, son of the late Gerry Anderson, publishes reprints of the 1990s Thunderbird original strips in his ongoing comic anthology series. So far we have seen Thunderbirds Comic Anthology Volume One (with Lee Sullivan's artwork on the cover) and Volume Two is coming out any time now and can be pre-ordered on his website. Again we see Bellamy's work still being enjoyed.

Finally, and just because Paul Holder reminded me, the image below started out as a birthday card. Back in 2011 I showed the image Bellamy drew for Dez Skinn of a western gunfighter. Here's the photo taken by Frank Bellamy as a record of his work. Scroll down this page (on Frank's influence!) to read how Bellamy knew he made a mistake in this artwork! 

"Western Gunfighter" taken from a photo of the art by Bellamy

Happy Birthday Frank. You are never forgotten!

Friday, 15 May 2026

Frank Bellamy in Action: The Sevenpenny Nightmare by Steve Holland

 

Steve Holland's latest index (Artwork by Martin Baines)
I'm cheating a bit with this article - but I'm the Blogger so I'm allowed! 

My friend Steve Holland - who deserves an MBE or some other accolade (are you listening University of Essex - he's local to you?) for all the indexing he has done, has released his latest work, Action: The Sevenpenny Nightmare.  I have not, to date, read a single issue of the original controversial comic, but have browsed through many over the years. But I can tell you the book he's written is fascinating as a social commentary on the hysteria that always attends children's comics from time to time. But for me the interesting bit was the story of the creation of this comic together with photos and biographies of the creators. If you can't find a copy of Martin Barker's Action: The story of a violent comic (currently selling for around £150!!!) give up and buy this as Steve quotes from the latter and also corrects some facts.

Steve didn't miss the connection to this blog, where he has indexed all the cover artists he mentions Frank Bellamy. But you ask, didn't the comic start 14 February 1976 - just before Bellamy passed away?  Yes, you are right!

I mentioned this use of a Frank Bellamy image, from Eagle before but thought I'd point to it again in order to highlight Steve's great work and just in case anyone missed the original story.

 

Action 4 September 1976
showing a reprint from Eagle
Which Eagle reprint you ask? It's from Bellamy's gorgeous series "Montgomery of Alamein" and precisely this issue:

Eagle Vol.13:16 (21 April 1962) pp.10-11

 And one on top of the other for comparison, forgiving me for such a crude combination:

Showing some manipulation - better than my attempt!

 As I said, I've never read an issue of Action but I still love reading Steve's detailed work on the history of the comic plus the indexing of so many writers and artists. Where do I buy it?

At Steve Holland's Bear Alley Books site 

Friday, 1 May 2026

GARTH STRIPS ANALYSED: The Orb of Trimandias

The first episode of "Trimandias" Daily Mirror 28 January 1972

Garth Strips Analysed: 

David Jackson and I (with the help of Paul Holder) started this series by asking a few questions about specifically 'who drew what?' in the 'Garth' strip during Frank Bellamy years. Moving onto the third story "The Orb of Trimandias" we'll examine where John Allard contributed - beyond the lettering - and look at special things of interest. 

"The Orb of Trimandias" originally ran in Daily Mirror  (28 January 1972 -22 May 1972 - numbers  #F24-F121) and has been reprinted a few times  I've created another spreadsheet to show which panels we think are purely Frank Bellamy and which have John Allard's work.

We worked from any versions we could find including the original crudely printed newspaper cuttings! Many times throughout this story David, Paul Holder and I thought we couldn't be definitive without viewing the original boards. 

IF ANYONE HAS ANY ORIGINAL ART, please do get in touch

THE ORB OF TRIMANDIAS - An overview of the story:

Garth and Professor Lumière visit Conte Giovanni Cometti in the Palazzo Livorno in Venice and discover their host owns some amazing drawings by Da Vinci - including an exact likeness of Garth himself! The drawing is dedicated to "Lord Carthewan, my English comrade - in the certainty that we shall meet again". During his sleep Garth hears a scream from the basement and finds himself thrown back 500 years, rescuing a man being tortured on the rack. He escapes with the poor man to his waiting friend Sir John Mordant where the dying prisoner tells them of the whereabouts of the Orb. Lord Dick Carthewan (Garth) and Mordant find the Orb and hide it as men arrive who are employed by Cesare Borgia "prince,soldier statesman, scholar and cold-blooded tyrant". On their defeat Garth /Carthewan and Mordant appear before the tyrant, who wants the Orb. He sends them to be tortured but they escape and find a room with Leonardo da Vinci in it. He has a drawing of Garth's love, Astra, on his easel, and he helps them escape the Palazzo with a note for a ship's captain in the local tavern. Soon at sea the ship is met by boarders who capture the two men and destroy the rest. Bound for the slave market, Carthewan and Mordant soon are sold to Sheik Haroun El Said who is sending his daughter Naida to be betrothed to none other than the nephew of Cesare and Lucrezia Borgia. The woman orders Carthewan released to nominally "give her protection" but really to seduce him. Garth rejects her advances and is strung up by his thumbs as punishment.

The scene changes to Astra and Belial (representing good and evil) and Astra setting off to possess Naida and transplant the latter's mind into Naida's pet monkey. She and Garth plan to release the galley slaves and Astra promises to further help him in Venice. Meanwhile Sheik El Said's man Hassan plots against Garth by sending a note to Borgia about Lord Dick Carthewan. We learn that the Orb belonged to "Trimandias the Greek mystic and prophet" and it has "strange occult powers - it can even conquer death!" as he tells Lucrezia. Garth realises there's a trap at the quayside and engages the men he set free to assist him. Meanwhile Astra restores Naida's mind to her and promises to watch over Garth. Winning the fight Garth and Mordant are led by Da Vinci's friend to his plague bedside. Astra appears and suggests the Orb's power would help. The two men set off to the San Vittorio church and retrieving the Orb, encounter Borgia's men but successfully get the Orb to Da Vinci. But carrying the man into the streets they encounter Borgia himself leading his men. After a duel Garth uses Borgia as a human shield to get Da Vinci and Astra away. Later they meet up and Garth gives the Orb to Da Vinci as he returns to Florence. Astra tells Garth they will meet again but he must go to the Borgias. Arriving he tells Borgia his time has come and he disappears in front of Borgia and his men, waking up in the present day with nothing but memories and the assurance of Astra meeting him again.

 The opening title strip has Bellamy's work in the first title panel and then Allard's background in the second. Then we see a lot of Allard going solo on backgrounds in F25- F28 before Bellamy draws completely solo in F29 - F39. This scene shown below shows Bellamy wanting to make sure the dungeon appears as he wants it. It's interesting to note that the printed lettering has a different script. Look at the second panel where we can clearly see the word "Borgia's" which I guess might have said "Borgia's fiends". The we can see the caption between panels two and three looks to be an amendment too as it appears stuck on.

"Garth: The Orb of Trimandias" F31
Thanks to Ray Mutimer

The next piece I wanted to show was F38 which shows Bellamy's backgrounds in panels 1 and 3 with Allard's drawing of the San Vittorio Church in the intervening panel. This shows how different the art appeared from panel to panel and indicates where Bellamy felt he'd leave space for Allard's additions. This must have been such a frustrating way of working. Later stories show Allard's work diminishing...but that's for further future articles. 

"Garth: The Orb of Trimandias" F38

From F43 to F49 Bellamy handles all the art in our opinion. In F48 Bellamy shows 'Garth' meeting Leonardo da Vinci who has coincidentally drawn Astra, an old friend of the time-traveller!

"Garth: The Orb of Trimandias" F48
Interestingly in F51, although there is no word balloon for what the woman says, 'Garth' asks the ship captain, "what is she saying?". 

"Garth: The Orb of Trimandias" F51
The last bubble is the captain's way of saying "why should I care?" but why have her speak at all as she now just disappears from the strip? In F53 we see a the first panel has Allard's work in the background, as does the second and then in the third we have a complete frame by Allard. 

"Garth: The Orb of Trimandias" F53
In F59 the opening panel caption seems incomplete with "The slave mart in Algiers..." at the bottom of the caption. Was there a longer caption in the script which was amended? Later in F73 we see a starfield - it's likely by Bellamy but which might be by Allard but we'd love to see the original to check. 

"Garth: The Orb of Trimandias" F73

For F82 we get another Allard frame. Was Frank Bellamy short of reference for a drawing of a galley? He also left it to Allard to complete F53. Have I spotted a pattern? It so easy now to get references via the Internet but back then...?

In F90 the first panel appears as a FB background, certainly the stonework and even the prow in frame one. In frame 3 Allard appears to have drawn some shading lines. In F91 frames 1 and 3 look to have been John Allard's backgrounds. Also notice the opening text is also down in the panel like F59

We think that from F92 through to the end Bellamy draws complete strips - with the exceptions of F97 and  F103 where Allard has a hand in one panel in each strip. We also debated the water effect in the last panel of F112 - thanks to Ray Mutimer for the scan.  

"Garth: The Orb of Trimandias" F112
Thanks to Ray Mutimer
To finish this analysis of who drew what in this particular story, we see that Bellamy drew 71 (out of 98) complete strips. The penultimate strip (F120) shows 'Garth' fading away, leaving the world of Venice and the Borgias. 

"Garth: The Orb of Trimandias" F120
Thanks to Ray Mutimer

CONCLUSION

The inclusion of the Borgias and Leonardo da Vinci made this strip interesting. Nancy and Frank did actually holiday in Milan, Venice, Capri, Naples, Genoa, and Rapallo in 1957 so the architecture was not unknown to Frank. During the period Frank Bellamy’s "The Orb of Trimandia" strips were published, we also saw other work by him, particularly for the Radio Times including what I think is his most reproduced art - the front cover for Doctor Who "Day of the Daleks". He also drew the B&W 'cameos' which were headers for the individual Doctor Who stories in the Radio Times as well as tiny, but legible portraits of Dirk Bogarde, Trevor Howard, and Gregory Peck and a two page article on the Wright Brothers. Despite so much work on top of a daily strip (6 a week) his output never diminished in quality.