Showing posts with label The Wreckers. Show all posts
Showing posts with label The Wreckers. Show all posts

Thursday 13 May 2021

ORIGINAL ART: 8 Garths

 

Garth: People of the Abyss F246 and F266

Compalcomics are offering more Garth strips this month, drawn by Frank Bellamy. The images are gorgeous and clear and make me re-appreciate his work here. 

As Malcolm Phillips, the Director of Comic Book Postal Auctions Ltd,  says:

Welcome to our May/June catalogue. The catalogue is open for bidding. You can place realtime bids at The Saleroom. Click here to visit our catalogue at The-Saleroom. You can also browse lots here and fill out a fax or mail bidding form.

The fact he still gets faxes (is that the plural?) is amazing to me. It's been years since I sent or received one!

Onto the Garth strips

GARTH: People of the Abyss - 2 episodes: F246 and F266

Garth: 'The People of the Abyss' two original artworks (1972) by Frank Bellamy for the Daily Mirror 18.10.72 and 10.11.72. Indian ink on board. 21 x 17 ins (x2)

That's the description for these two strips in Lot #103 (see top of article for the image). Please click on these images and view them in detail. Bellamy's gorgeous linework is sublime. And for those who want to know it's a torch and an electro-gun he's holding in that first strip!  Notice those famous Bellamy swirls which add tone in a light-handed way. In the second strip he creates a bubble of light.

Garth: The Women of Galba: G22 and G26

GARTH: The Women of Galba The Beast of Ultor - 2 episodes: G22 and G26

Garth: 'The Beast of Ultor' [sic] two original artworks (1973) by Frank Bellamy for the Daily Mirror 25/30 January 1973. Indian ink on board. 21 x 17 ins (x2)

These two strips are actually not from "The Beast of Ultor", but from "The Women of Galba" story. I'll let Malcolm know so this may change before you see it. Nevertheless they are lovely drawings. Look at the third panel in G22 and how Bellamy uses diagonals and cuts them off, to show a background of some sort. 

 

Garth: The Wreckers G280 and G283

GARTH: The Wreckers - 2 episodes: G280 and G283

The third lot (#107) has two strips from "The Wreckers". I've always wondered who Bellamy used as a model for his version of Andromeda, a recurring character who meets and helps (and loves) Garth in his time-travelling adventures. Malcolm's brief description:

Garth: 'The Wreckers' two original artworks (1973) by Frank Bellamy (both signed) 24/28 Nov 1973. Indian ink on board. 21 x 17 (x2)

These two strips have some usual Bellamy devices: beautiful woman, the sweeping thrust of an arm,  the frame behind Garth and Andromeda in G283 (the middle panel). 


Garth: The Bride of Jenghiz Khan H245 and H250

GARTH: The Bride of Jenghiz Khan 2 episodes: H245 and H250

These two strips come from "The Bride of Jenghiz Khan" story (Lot #110) are described:

Garth: 'The Bride of Jenghiz Khan (1974) two original artworks by Frank Bellamy (both signed) 18/24 Oct 1974. Indian ink on board. 21 x 17 ins (x2)

 

If you want information on reprints of the strips travel to the menu on the website "Garth Reprints" and I'll add these to the spreadsheet, where I record sales of original art by Frank Bellamy. 

Lastly I NEVER ask for money for the website or blog but gifts are very much appreciated, check out the Mike Noble Fireball XL5 - I suspect it might sell for the higher end of the reserve! And also there are lots of Eagle comics which have Bellamy artwork - but I have those!

AUCTION SUMMARY

GARTH: People of the Abyss - 2 episodes: F246 and F266

WHERE?: Compal/Saleroom -Lot #103
STARTING BID: £450 reserve
ENDING PRICE: £450
END DATE: Sunday 6 June 2021

GARTH: The Women of Galba The Beast of Ultor - 2 epsiodes: G22 and G26 

WHERE?: Compal/Saleroom -Lot #105
STARTING BID: £450 reserve
ENDING PRICE: £920
END DATE: Sunday 6 June 2021

GARTH: The Wreckers - 2 episodes: G280 and G283 

WHERE?: Compal/Saleroom -Lot #107
STARTING BID: £450 reserve
ENDING PRICE: £520
END DATE: Sunday 6 June 2021

GARTH: The Bride of Jenghiz Khan 2 episodes: H245 and H250 

 WHERE?: Compal/Saleroom -Lot #110
STARTING BID: £450 reserve
ENDING PRICE: £840
END DATE: Sunday 6 June 2021

Thursday 11 February 2021

ORIGINAL ART: Garth, Garth, Garth and Garth!

Garth:  G32 and G34 "The Women of Galba"

This month sees not just one Frank Bellamy artwork up for auction but 8 Garth strips! These come via Compalcomics. Malcolm Philips offers a listing at both his Compalcomics and TheSaleroom

GARTH: The Women of Galba - 2 episodes: G32 and G34

Garth: 'Women of Galba' two original artworks (1973) by Frank Bellamy for the Daily Mirror 6/8 February 1973.
Indian ink on board. 21 x 17 ins (x 2)
£500-600
That's the description for these two near consecutive strips in Lot #122 reads. The original story ran in the Daily Mirror from 27 December 1972 - 10 April 1973. The reserve price of £450 has been met - actually while I was typing this note!

GARTH: The Wreckers - 2 consecutive episodes: G308-G309

Garth: The Wreckers G308-G309

Here are two consecutive strips from the story "The Wreckers" - you might remember I discovered an unseen episode - in England at least - previously.  These two show Garth and Andromeda being brainwashed and demonstrate beautifully how to vary panels in just a small space! The lot is described as:

Garth: 'The Wreckers'. Two original consecutive artworks (1973) by Frank Bellamy (one signed) for the D. Mirror 29/31 December 1973. Indian ink on board. 21 x 17 ins (x 2)

At this time of writing the reserve has not been met but I suspect that will happen today or tomorrow!

GARTH: Freak out to Fear - 2 consecutive episodes: H135 and H136

Garth: Freak out to Fear H135-H136
I love these two as they portray the Swinging 60s-type environment in London (yes, I know they were published in the 70s!). Guy St. Clair appears to be a junkie - it can't be his unkempt hair that clued Garth in as Garth has a mirror nearby! And Guy ends up in hospital! A nice pair of consecutive strips, again showing Bellamy's command of black and white and how to vary images to grab attention.

Lot #127 is described as:

Garth: 'Freak Out to Fear', two original consecutive artworks (1974) both signed by Frank Bellamy for the D. Mirror 10/11 June 1974. Indian ink on board. 21 x 17 ins (x 2)

GARTH: The Bride of Jenghiz Khan - 2 episodes: J4 and J6


Garth: The Bride of Jenghiz Khan J4 and J6

This time we have two almost consecutive strips from "The Bride of Jenghiz Khan" story, which ran in the Daily Mirror from 28 September 1974 - 14 January 1975 - H228-J11. Garth is with Professor Lumiere in China on a dig. Bored he heads off  and as a result of a landslide discovers a skeleton with a necklace which he strangely remembers as belonging to "Crystal Sky". Touching it he becomes Kailim, guard captain to Feng, warlord of a Chinese province.  These two strips come right near the end of the story. Lot #129 is described as:

Garth: 'Bride of Jenghiz Khan', two original consecutive [sic] artworks (1975) both signed by Frank Bellamy for the D. Mirror 6/8 January 1975. Indian ink on board. 21 x 17 ins (x 2)

If you want information on reprints of the strips travel to the menu on the website "Garth Reprints" and I'll add these to the spreadsheet, where I record sales of original art by Frank Bellamy.

AUCTION SUMMARY

GARTH: The Women of Galba - 2 episodes: G32 and G34
WHERE?: Compal/Saleroom -Lot #122
STARTING BID: £450 reserve
ENDING PRICE: £800
END DATE: Sunday 28 February 2021

GARTH: The Wreckers - 2 consecutive episodes: G308-G309 

WHERE?: Compal/Saleroom - Lot #125
STARTING BID: £450 reserve
ENDING PRICE:£780
END DATE: Sunday 28 February 2021

GARTH: Freak out to Fear - 2 consecutive episodes: H135 and H136
WHERE?: Compal/Saleroom - Lot #127
STARTING BID: £450 reserve
ENDING PRICE: £680
END DATE: Sunday 28 February 2021
 

GARTH: The Bride of Jenghiz Khan - 2 episodes: J4 and J6
WHERE?: Compal/Saleroom - Lot #129
STARTING BID: £450 reserve
ENDING PRICE: £740
END DATE: Sunday 28 February 2021

Wednesday 17 June 2020

Frank Bellamy and Garth in the Daily Record (December, 1971-1973)

Back before Christmas I discovered a mystery - as far I was concerned: a Garth strip was offered that I'd never seen before. It soon came to light that it was from the Daily Record (in Scotland). So before lockdown I had the opportunity to review the Daily Record - God bless the British Library! - and am now writing this up with images to make a bit more sense.

SUMMARY

"G305.5" from Daily Record
  • This Garth strip featured characters from "The Wreckers" story which ran in the Daily Mirror 26 October 1973 - 18 February 1974 (G255-H41)
  • The seller noted the strip was numbered "DR.CH.73" and the printers' instructions in pencil written on front state "Daily Record 26-12-73"
  • With a bit of research I discovered that Scotland and England published different papers on different days over the Christmas/New Year period, so I knew we might have extra Garth strips by Bellamy that I'd not seen in England before.
THE HUNT
As Bellamy started on the Garth strip in July 1971 and died in July 1976 I thought there might be at least one strip for each Christmas / New Year holiday period. Once I found that the Daily Record published on Christmas Day and Boxing Day (where the English counterpart did not) I wanted to see how this looked in the paper.

I then found I needn't worry about Boxing Day in Scotland AFTER 1973 because:
  • 1973 - 2 January was created an additional bank holiday in Scotland by the 1971 Act. However, the provision did not come into effect until 1973.
  • 1974 - New Year's Day became an additional bank holiday in England, Wales and Northern Ireland, and Boxing Day became an additional bank holiday in Scotland. ~ Taken from the archived Government page
I then went through every published Daily Record in December 1971, 1972 and 1973 and noted when it was published and which Garths appeared


1971
Dates of Garth in Daily Record & Daily Mirror 1971

The notes above show the DAY on which the paper was published, its DATE, together with the NUMBERING for "Garth" and "Angus Og" (as that appeared together with "Garth" on the same page in the paper). Lastly the "Garth" notation in the Daily Mirror.

NOTES
It appears that when an Angus Og story finished its numbering changed (as opposed to "Garth" which changed the letter prefix every calendar year, i.e. 1971 = E, 1972 = F, etc.).
Interestingly my first discovery  was that everything matched until the Christmas Day issue of the Daily Record. There is an additional strip that didn't appear in the Daily Mirror and it fits between E300 and E301, so I'm calling it "E300.5" - apologies for the poor photo

Garth E300

Garth "E300.5"


Garth E301

I'm going to take a guess and say this is an additional strip drawn by John Allard himself as his lettering looks the same and the art looks like his too. The Perishers strip  was labelled "DR.25.12.71" so I'm guessing this didn't appear in England either - oh and by the way, the weekend Perishers strip tended to be coloured! - and as I'm a fan, here that 'missing' one


Perishers Daily Record DR.25.12.71


1972

Dates of Garth in Daily Record & Daily Mirror 1972
1972 got even more scary for me. I'm glad I captured all of December while there! Everything was fine until we get to the Daily Record dated 16 December 1972 where panels get repeated and skipped. I've labelled each panel A, B, and C and compared the Record to the Mirror's numbering

Daily Record 15 - 19 December 1972

F299 A + B panels were not published in Scotland

Garth F299
Why this occurred at this point, I have no idea. Every day was published (no strikes) and we are not yet at 25th December yet.

Garth F303
Talking of which, F303 is the end of the "People of the Abyss" story in England but in Scotland there is another episode rounding it off.

For the first time I present "F303.5"

Garth "F303.5"

1973

Dates of Garth in Daily Record & Daily Mirror 1973

The Christmas day edition of the Daily Record was not published and a note in the Christmas Eve edition says "We'll be back Wednesday" which is Boxing Day 26 December 1973 and here is where this hunt started with Rhona Flin offering this Garth for sale last year.

Garth "G305.5" or "DR CH 73"

CONCLUSION
So the Daily Record had some different Garth strips from the Daily Mirror, the paper that hired Frank Bellamy. It appears in these three Decembers that Bellamy produced 2 episodes and Allard one. Unfortunately both John and Frank are no longer with us to ask about this. John Allard will certainly have known about this different publishing schedule as he produced one episode in the time period I examined, during the Bellamy run - which stands out a mile due to the difference in style.

THE FUTURE
Looking at the history and outline of Public Holidays in Scotland, I feel it will be a long time before I look at the rest of the Garth publishing in the Daily Record but I'm happy to give others credit if they share the information!
 
[UPDATE DECEMBER 2020: A website for Angus Og now exists: www.AngusOg.scot]


Saturday 21 December 2019

ORIGINAL ART: Garth on ebay - TheWreckers (G305.5!)


If you read this:
G292 of The Wreckers
Then read this:

G293 of The Wreckers
Then this:
G294 of The Wreckers
Do you think the story is missing something? How did Garth get into the chair? The caption "Interrogation" doesn't really make sense.

But what if between G293 and G294, the guards and Garth had a fight and our hero knocked them out? Then Tallion, the villain who would interrogate Garth, might have been watching and threatened Garth. Then we might have Garth submitting and following new guards to the interrogation chamber. THEN we could see G294.

OR ALTERNATIVELY

G304-G305

G306-G307
What if between these two banks of strips Tallion challenges Garth and we see the two guards on the floor? Why do I say that?

G293.5(!) or G305.5(???)
Where did I find what I'm calling G305.5 until I know any better? On eBay!

An episode of "The Wreckers" DR.CH.73 - Daily Record

The seller (rhfl41) has been in touch and tells me that
The Garth strip belonged to my father, the late Ewen Bain, who was a cartoonist. His own cartoon strip, Angus Og, ran in the Daily Record for 30 years [UPDATE DECEMBER 2020: Rhona has created a website now www.AngusOg.scot]
She describes the Garth strip like this:
Original Frank Bellamy Garth cartoon strip. From the Wreckers numbered DR.CH.73. Printers' instructions in pencil written on front including 'Daily Record 26-12-73'.
Drawn in black on CS10 Line Board.
Measures 20 x 53 cms, outer area, 13 x 52 dimensions of drawing.
(The Daily Record is a Scottish newspaper).
Why would this have gone unnoticed all these years - since 1973? We have seen reprints of the strip in Garth: The Wreckers published by the now-defunct All Devon Comic Collectors Club. The Americans saw the strip (oddly missing  G301-G306 inclusive) in the wonderful Menomonee Falls Gazette (#184 - #202) and lastly in the Daily Mirror from Wednesday 13 April 2011 - Tuesday 7 June 2011 where it was coloured by Martin Baines. But NONE of them have this strip that is on offer!

Just to confuse me the edition of the Daily Mirror for 6 November 1973 states "Here's a double ration of your favourite strips" - no explanation why, but presumably industrial action again - there were loads around that time! However the paper appears to have been published the day before and on 6 November a reprint of the 5 November strip appeared! So our numbering sequence is fine.

If they presented the numbered sequences as above with no 'other' strip needing inserting then what is the one presented here? I think the Mirror numbered the Bellamy strips (not Bellamy) so there was a continuous sequence but I wonder if this strip was NOT published in the Daily Mirror.

If anyone reading this has cuttings from or access to the Daily Record for that period I'd love to know.
This has consequences as we may have other printed strips never before seen in England - and further afield, as well as original art that is unique! And I shall have to correct a note on the website that says the BBC article on FB states he did work for the Daily Record, where I thought he didn't!

I then checked all that I did know and agree that 96 episodes of this story are in the reprinted versions I have between Friday 26 October 1973 and Monday 18 February 1974. BUT that is based on the usual lack of Sunday versions of the Daily Mirror and also no Christmas Day, and Boxing Day editions - times were different back then! However usually there would be a New Year's Day edition BUT the Newspaper Archive says not for 1974! So 96 only works if these conditions are true, i.e. the Archive didn't miss one!

Now to the Daily Record reprinting the strip. The Internet and I know nothing! HELP! I shall do the research when next in the British Library and let you know but we now have to conclude:
  1. This is an original Bellamy never before printed except in Scotland - and my guess would be c. 26 December 1973 (for G305.5 to work) - dependent on Scotland printing on Boxing Day - as the writing says on the original
  2. There may be others in Scotland that England have not seen
  3. Ewen Bain asked Bellamy to create a Garth - and Bellamy jumped off using the story as inspiration - and John Allard lettered as usual - VERY UNLIKELY!
  4. This is a fake - which I don't believe! We have some provenance - which can be checked

The last thought I have on the matter is - did the Daily Record receive a clean version of the board - free from the usual 'double-day' information and also the sequential number inserted? More on that another day, but the Scots version is clean of the London markings. Draw your own conclusions!


AUCTION SUMMARY

GARTH: The Wreckers
WHERE?: eBay
STARTING BID: £280
ENDING PRICE: £460
No OF BIDS: 7
END DATE: Friday 27 December 2019

Saturday 16 February 2019

ORIGINAL ART: Thunderbirds and Garth from Bob Monkhouse Estate

Original art from the Bob Monkhouse collection
Thunderbirds from TV21 #131

I woke this morning to the announcement of three pieces of artwork produced by Frank Bellamy, in the latest (March 2019) Comic Book Auctions Limited  and from the estate of the late Bob Monkhouse. You might recall that the previous lots appeared in November last year. If you follow the link (or jump to my page where I keep sales records) you'll see they raised a fair amount of money. Will these go for more? "No-Predictions Norman", they call me!

Let's start with the headliner: From TV21 #131, this is the second episode from the story which ran in TV21 #130 - 136 (15 July 67 - 26 August 67) called the "Voyage of the President". It is described as:

Lot # 102:
Thunderbirds original double-page artwork (1967) drawn, painted and signed by Frank Bellamy for TV Century 21 No 131, 1967
From the Bob Monkhouse Archive
Fearing a rebel attack on the President super-ship Thunderbirds 1 keeps station but a rogue tanker is on collision course…
Bright Pelikan inks on board. 28 x 20 ins
£1,800-2,300

I wouldn't call it a "rogue tanker" as Casta and Golan are deliberately aiming at the 'President'. Here's the page from TV21 so you can see how this page has retained the colour - remember children, do not hang your art on the wall! The sun is a killer as we've seen many times over the years. Bear in mind this is a scan of a printed page and nowhere as clear as the original art above!!

Thunderbirds from TV21 #131
The next lot I found interesting is Lot #92 which is a rare page from the serial "Brett Million" and this story was the only one illustrated by Bellamy, called "Ghost World". I've written about this before (and it's worth highlighting Steve Holland's brilliant index again). It appeared in Boy's World, a photogravure comic which ran the story from Volume 1:46 - 1:49 and continued into 2:1 - 2:17. (7 December 1963 -28 December 1963, 4 January 1964 -  25 April 1964). The lot is described:

Lot # 92:
Boy's World/Brett Million and the Ghost World original artwork (1963) drawn, painted and signed by Frank Bellamy
From the Bob Monkhouse Archive
From Boy's World Vol. 2: No 9. To save the ship Brett undergoes the life threatening risk of neural amplication [sic] - invisibility!
Bright Pelikan inks on board. 20 x 15 ins
£1,200-1,500
Original art from Bob Monkhouse collection
Boy's World 29 Feb 1964 Vol.2:9
This, the 13th episode of the story, shows how Bellamy was using different colours for this strip, for some reason. The artwork may be a bit faded but the comparison below with the printed version shows similar colouring. Bellamy had a knack of making ships look very futuristic and alien! Here's a photo of my copy of the comic to compare.
Photo of the comic Boy's World 29 Feb 1964 Vol.2:9
The idea of accelerated time = invisibility appeared on my radar in Star Trek: The Original Series (as they call it now!) in the episode "Wink of an eye". This was aired first on 29 November 1968, so did Lee Coon the author of the story read British comics? I doubt it, but who knows?

Then we have the third offer which is of three consecutive Garth strips from the Daily Mirror.  "The Wreckers" story ran from 26 October 1973 - 18 February 1974 and these three strips certainly show how Bellamy had a very good command of such a small space.

Garth: The Wreckers Episodes G304-306
One episode of the story of "The Wreckers" is held by the Cartoon Museum which will soon be open in its new location in London.

The lot is described thus:
Lot # 104:
Garth: 3 original consecutive artworks (1973) drawn and signed by Frank Bellamy from the Daily Mirror 22-27 December 1973
From the Bob Monkhouse Archive
Garth is trapped with Andromeda in Tallion's torture chamber…
Indian ink on board. 20 x 18 ins (x3)
£600-800
I'll update the spreadsheet with the sale prices as soon as they are published - thank you Malcolm!


AUCTION SUMMARY

Thunderbirds - TV21 #131
WHERE?: Comic Book Auctions Ltd
STARTING BID:£1620.00
ENDING PRICE: £4750.00

END DATE: Sunday 3 March 2019 14:00 GMT

Garth: The Wreckers
WHERE?: Comic Book Auctions Ltd.
STARTING BID:£540.00
ENDING PRICE: £1320.00
END DATE: Sunday 3 March 2019 14:00 GMT

Brett Million & The Ghost World
WHERE?: Comic Book Auctions Ltd.
STARTING BID:£1080.00
ENDING PRICE: £1580.00

END DATE: Sunday 3 March 2019 14:00 GMT

Sunday 11 November 2018

ORIGINAL ART: Thunderbirds and Garth from Bob Monkhouse Estate

Cover of TV21 #90 Monster built by Roger Dicken

The November catalogue at Comic Book Auctions Limited run by Malcolm Phillips has some amazing materials up for auction. Follow that link for his catalogue and illustrations and bid via The Saleroom here. He has been entrusted by Bob Monkhouse's Estate to sell some of this collector's extensive artwork and comics. As he says (without hyperbole in my opinion)

We are delighted to draw your attention to some magnificent artwork boards consigned to us from the Bob Monkhouse Archive. They comprise pieces from 1900–1974 and include Ally Sloper by W F Thomas, Film Fun’s Terry Thomas by Terry Wakefield, Erik The Viking, The Trigan Empire, both by Don Lawrence with Garth and Thunderbirds pieces by Frank Bellamy. The Thunderbirds double-page illustration is magnificent and one of his best boards ever to come up for auction.
Tom Derbyshire at Antiques Trade Gazette has written a piece on the auction, which in itself is going to raise some outside interest, in my opinion.

Original art - sans balloons - Thunderbirds from TV21 #90

The Thunderbirds strip comes from TV21 #90, from the story where TB3 crashes on Venus, after blasting some solar matter to pieces. The photo doesn't do this piece credit as I think the colours look very bright and preserved correctly.  What's interesting here is the lack of balloons and captions. This is very unusual to see and I'd love to know how Bob Monkhouse managed to get this like this. Alan Davis' collection of Polaroids and other photos show how Thunderbirds would have been delivered by Bellamy to the publisher, but the artwork I've normally seen for sale has balloons stuck on (or falling off!) so this is a wonderful sale.

Malcolm describes the artwork like this:

Thunderbirds original double-page artwork (1966) drawn, painted and signed by Frank Bellamy for TV Century 21 No 90 1966. From the Bob Monkhouse Archive. The front cover of the comic screamed, "Nightmare Splashdown for Crippled Ship - Monster Attacks Thunderbird 3!" And here is Bellamy's brilliant double-page artwork to prove it! The 'Thunderbirds' logo is an unattached laser colour copy, as are the word balloons with the original comic, all included in the lot. Bright, fresh Pelikan inks on board. 28 x 20 ins. 

Auctioneer's estimate
1,800 GBP - 2,300 GBP (opening bid 1,620 GBP)

The original with the word balloons and captions attached looked like this - bearing in mind it's a scan that's joined together, but you can still see how vibrant the original is.



The three Garth strips  that are being offered form the Bob Monkhouse Estate are from "The Wreckers" story that ran in from 26 October 1973 - 18 February 1974. These three (H26, H27 and H29) show a lovely action sequence in the water - not quite consecutively - and demonstrate how very clear Bellamy's art was for the Garth strip in the Daily Mirror.

Garth: 3 original consecutive [sic] artworks drawn and signed by Frank Bellamy from the Daily Mirror Jan/Feb 1974. From the Bob Monkhouse Archive. Garth saves Andromeda from Tallion's clutches … Indian ink on board. 20 x 8 ins (x3)

Auctioneer's estimate
350 GBP - 400 GBP - (opening bid 320 GBP)

H26, H27 and H29 "The Wreckers" Frank Bellamy
As part of the wonderful public service I offer, here's the missing H28 that would have made these consecutive. BUT you are still getting 2 consecutive strips plus one more from the same story from the same source!

H28 of The Wreckers story
I shall record the details as usual here and on my spreadsheet, when the auction ends

AUCTION SUMMARY

Thunderbirds - TV21 #90
WHERE?: Comic Book Auctions Ltd
STARTING BID:£
ENDING PRICE: £4550 +16% VAT/Sales tax
NO. OF BIDS:
END DATE: Sunday 25 Nov 2018 14:00 GMT


Garth: The Wreckers
WHERE?: Comic Book Auctions Ltd.
STARTING BID:£
ENDING PRICE: £1200 +16% VAT/Sales tax
NO. OF BIDS:
END DATE: Sunday 25 Nov 2018 14:00 GMT

Tuesday 17 October 2017

CENTENARY ARTICLE: Part Five: 1970 - 1976 by David Jackson

FRANK BELLAMY - design and technique
Part Five: 1970-1976  

By David Jackson
[Part One] [Part Two] [Part Three] [Part Four] [Part Five]


1970-1976

One day in the early 1970s the Bellamy's telephone rang and the voice asking to speak to Frank Bellamy was Paul McCartney. As David Bellamy later remarked, there was always some joker who'd ring up and say they're 'Elvis', but no, it really was. Word had it that Ringo Starr was also a fan. The outcome being a meeting with Paul and Linda and a commission for concept artwork (unpublished) around the idea of a winged figure and/or for the cover of a solo album by Linda under the project title of "Linda and the Red Stripes". According to an article titled "Seaside Woman by Suzy and the Red Stripes", Paul called the group Suzy (Linda) and the Red Stripes (Wings) and they signed with Epic under that name. The name Red Stripes is from one of Paul and Linda's favorite drinks.

[The above summary is from a description by Nancy Bellamy in her own words, transcribed from a radio interview on this blog on 26 May 2007].

Wall's Wonderman by Frank Bellamy
Wall's Wonderman by Frank Bellamy

Lintas Advertising Agency contacted Frank Bellamy to draw "Wall's Wonderman and the Bridge of Terror" and "Wall's Wonderman and the Martian Inferno", two b/w full page ads which appeared in Smash and in Valiant comics.

The Book Palace reprint of Bellamy's WW1 work

FA: "You also did five months of work for IPC's Look and Learn..."
FB: "Yes. Illustrating a First World War series, mostly filling a spread, for Jack Parker. I tried a variety of techniques on this one - something I'm eternally grateful to Jack Parker for allowing me to do."
Look and Learn #452

The Great War series appeared as interior illustrations in Look and Learn from June to November 1970, (No.437 to No.462), and the cover of No.452. In terms of the variety of techniques, the cover and interior art of that issue, and immediately subsequent issues, are rendered in minimal linework with a sort of scrubbed drybrush effect. Despite not being in the continuity picture-strip format, the artwork is mainly comic-strip style rendering but - with what would be relatively small single frames in any comics page - actually at full-page size.

Look and Learn #455
Radio Times commissioned a number of covers and full colour interior pages and b/w spot illustrations on a broad range of BBC output, from sf, fantasy and horror, to military ceremonial and movie stars.

Radio Times 1-7 January 1972 Cover

Radio Times (11 May 1974 - 17 May 1974)
"The Movie Quiz Late horror show " p.54

Some of the Doctor Who cameos accompanying listings

"Star Trek" featured in the Radio Times as a full colour page in comics format and, later, small b/w illos.

Frank Bellamy Doctor Who artwork for Radio Times became the benchmark style for illustrations of the series, launching the collection with a three page picture-strip.

Radio Times (16 December 1972 - 29 December 1972)
Doctor Who and the Sea Devils [Omnibus edition], p.82

There is an interesting similarity in terms of Frank's interpretations being actual improvements on the reference sources from real life - the same way reference was improved upon in FB's depictions of the Apollo 11 moon landing [see the previous part of David's article ~Norman] is also evident in his interpretation of The Sea Devils: "..ENJOY YOUR REVENGE!". In both instances the innovative dynamic quality put into the art does not exist in the source material to be copied from in the first place, never mind accurately..!

Timeview by David Bellamy

Frank's Doctor Who illustrations for Radio Times were later collected in Timeview with a commentary by David Bellamy. He notes the contrast between his father's method and approach and that of the generality of other artists who normally use tracings and try-outs in a series of steps towards assembling the final image. And he described seeing his father colouring the background of the illustration for the Loch Ness storyline "WE ARE DEALING WITH A MONSTER THAT IS NOT OF ORDINARY FLESH AND BLOOD" It was really whizzed in!

Radio Times (29 May1971 - 4 June 1971)

"The Movie Crazy Years" front cover featured FB's own 'director's chair' in the foreground as a visual reference 'prop'.

Radio Times 7-13 July 1973
"Saturday Night Theatre: The Ministry of Fear"

Daily Mirror  Garth: Ghost Town G152

Another of Frank's self-posed photo shots, salvaged from his studio and, as noted by Alan Davis, was used both as reference for Radio Times (7 July 1973) "Saturday Night Theatre: The Ministry of Fear" and for Garth: "Ghost Town" G152 centre panel.

Frank Bellamy was interviewed in the BBC TV programme about journalism, Edition, presented by Barry Askew, broadcast on Friday 30th November 1973.

Edition began with a close-up on a Bellamy drawing of Barry Askew in a hectic pose, at his desk, paper strewn about, above him is the legend "POW!" [Unfortunately this is not known to exist in film or paper form ~Norman]

BA: "Edition... POW! That's one man's view of me sitting here in the Edition studio. The only thing he hasn't drawn are my tortured tonsils, for which, my apologies at the outset! Frank Bellamy, whose cartoons have a unique, unchanging quality, stretching from Dan Dare in the EAGLE, to Garth, which he now does in the Daily Mirror..".

John Allard's artwork on the first 2 episodes of "Garth: Sundance"


Frank Bellamy's first 2 episodes on "Garth: Sundance"

Garth. The newspaper strip represented a change in format, both in terms of the scale and quantity of the original artwork and its visual and narrative themes targeted at the newspaper readership.

Having expressed a preference in the Fantasy Advertiser interview for drawing at same-size and not more than a quarter-up, the lettering by John Allard had established that originals were drawn at two and a half times printed size (original image area 5ins x 20½ins).

It also unavoidably represented a return to working with an art assistant, John Allard, who had been the Daily Mirror editorial assistant to Garth creator Steve Dowling from the strip's beginning and creditably succeeded him for a time as the artist on Garth in his own right.

John Allard, in addition to lettering the strip and applying mechanical tints, continued to draw backgrounds and some fill-in frames, for the early stories; but again, as with Dan Dare, where the art assistant contributes to the actual drawing, there is a marked incompatibility in individual art styles when they are mixed and not matched.

Fantasy Advertiser asked Frank Bellamy what he thought of artist's aids like zip-a-tone, letrafilm and mechanical tint.

FB: "I can't comment on them because I've never used them."

FB: "Another thing I've never used is process white. I'm not showing off here, but I'll give you a prize if you can find any correction done with process white on any of my work. It's a bit more purism, but if you slap a piece of process white or process black on a piece of artwork, over a mistake, on the way to the engraver it could flake off, or the camera could pick up the grey unevenness. But in the first place - although it sounds hard - you shouldn't have had to use process white in the first place."
The Newspaper Strip Society Newsletter No.4, February 1981 features "In Conversation with John Allard" by John Dakin covering his time as art assistant from the beginning of the Garth strip and concluding with his working with FB under Mirror editor Mike Molloy:

"... John Allard was told at very short notice that he would revert back to assistant artist on the strip. After just two weeks of illustrating Sundance, John stepped down and Frank Bellamy began in mid-story [28 Jun 1971]. Under the terms of the agreement John Allard continued to do much of the background artwork and he even drew the occasional complete panel (the last panel of Sundance for example). This situation continued until the end of Ghost Town.
Last strip in "Garth: Sundance"
 Beginning with his eighth story Frank Bellamy drew the strip entirely on his own. The title strip of Mask of Atacama [12 Jul 1973 G165] is the first Garth strip to bear the famous Bellamy signature.

With sex and violence becoming commonplace in the media, to coincide with the change in artists it was decided at editorial level to make several changes. Now Garth would kill, sometimes quite viciously; and although there had always been a certain amount of nudity in the strip, it would now become more sensual by the inclusion of bedroom scenes. As John Allard recalls with amusement the sexual element was included partly to dispel some of the unsavoury rumours, that had been circulating around the newspaper offices, about Garth's relationship with Professor Lumiere. As well as these changes there was also the more realistic Bellamy style to turn the strip into something very different. Garth himself looked broader in the shoulder with slimmer hips and a more contemporary hairstyle; and his features were more strongly defined.
All this led to a completely unexpected occurrence, the Daily Mirror offices were flooded with letters complaining about Garth's changed appearance. Charles Roger, the then head of the Mirror's strip department asked Frank Bellamy to adapt his pencils to the old style in which Garth had been drawn. Understandably Bellamy angrily refused, and there the matter was left, never being taken as far as editorial level. John says it was the only time he ever saw Frank Bellamy lose his temper. John had lunch with Frank a few times and found him to be nervous, quietly spoken, courteous and proud of the recognition his work received."

Menomonee Falls Gazette #157 showing the start of FB's signature
now it was all his own work
It must have been a feeling of deja-vu all over again - flashback to Dan Dare when FB not only began work part way into an already running story, "Sundance", but again, as with Dan Dare, some readers noticed the change and wrote in..!

But, quite avoidably, it might be assumed, had management dealt with staffing issues more adroitly, the situation had created something of a turf war, or, given the western-themed first story, a range war, albeit with the shooting only on paper.


Having brought in Frank Bellamy he had then not given a free hand to do his work in the way he saw fit. The resulting problems were still in evidence even after he was drawing and signing the work as his own. Examples from "The Mask of Atacama" and "The Wreckers" (and, thanks to Alan Davis, now online) demonstrate there still existed a quite remarkable situation where the lead artist was being expected to fill-in the actual drawing as best as could be done, in and around whatever space was left by the previously set-out lettering panels and word-balloons. These comparisons show him reworking a particular strip to make better use of its layout possibilities, including breaking-up the dialogue to improved dramatic effect, as only he could have visualised it.

That the scripted visuals were also subject to revision by the excising of extraneous elements unnecessary to the dialogue is demonstrated by a comparison of the scripted directions with the finished strip for "The Women of Galba" [Again see Alan's great site ~Norman].

Scriptwriter Jim Edgar, who lived not far from Frank Bellamy's home in Northamptonshire, was interviewed by John Dakin in The Newspaper Strip Society Newsletter (No.2 July 1980):

JD: "Did Frank Bellamy have any say in the scripting or plotting of Garth?

JE: "Frank Bellamy had little or no say in the scripting or storyline of Garth. However, some of the stories emerged from discussions between myself and Frank. He certainly was fond of the western aspect and accordingly several westerns were written. Frank usually worked tightly to the scripts which were always written by me."

In Edition, presenter Barry Askew questions Frank Bellamy about the scripts.

BA: "Does the scripting give you a problem - I mean how do you relate the script to your work?"

FB: "I keep in general to the script. But occasionally, you get little things on a typewritten manuscript don't work visually. Then it's up to me to, er, re-draw, or re-think, or present it, in a different manner."

BA: "If you find a script that you're not, yourself, in sympathy with, can you draw to that or not?"
FB: "Well yes but er..".
BA: "If you don't actually 'feel' the script?"
FB: "Well, I try to make myself feel it and it's much better if I can get one that I am interested in in the first place. For instance, the western one, I was thoroughly interested in drawing a western because I wanted to get the little bits of authenticity into it, instead of it just being a cowboy story."

"A Cowboy Story" was, coincidentally, a two page western spoof in full colour for Bert Fegg's Nasty Book for Boys and Girls, aka The Nasty Book by Terry Jones and Michael Palin, republished as Dr Fegg's Encyclopeadia of All World Knowledge.



FB: "But I do find that when starting a new story, it takes a while to get into it, so I can feel about what I'm drawing. There's nothing worse than just getting the first script, and not knowing anything more about what's going on than a reader would. Like an actor I need to understand the character I am drawing. If I was drawing a western, for instance, I'd feel like I was walking around with bow legs, and a .45 strapped down low."

When interviewed for Look East, Frank said:

FB: "There's one thing while drawing a strip, I get very, very involved, I must get involved. ... Well, I have to. All my strip career I've tried to get involved in the characters, whether it's war, space or whatever; you must get excited about it, get the old adrenalin going. There's much more to it than just drawing the thing. It's not a hobby. It's a serious business. That's how I treat it. I shall always do so. And any development that I can think of I can assure you I shall put them in."


FB: "Accuracy is very important, because the readership - for instance The Daily Mirror, could be between thirteen and fourteen million - somewhere along the line, if I'm drawing a western, there's someone there who is probably a buff on western arms, ammunition, clothing, and I must be correct because they always like to write in and say, 'You've made a mistake'.

In Edition, Barry Askew said:

BA: "But to bring it right up to date, of course, you are, I suppose, most famous for Garth and here we have one or two examples of Garth. I think the first one is from last April."

Reprint from Menomonee Falls Gazette #135
FB: "Yes. In fact it is a western strip. Previous to the first one, which was of course taking place in the present day, he arrives in a ghost town and gradually changes off into the old west."
BA: "He's a remarkable character there, isn't he?"
FB: "You see in the second episode there, he is a western marshal."

[Camera then cuts to (est.G.282 / G.283) strips from The Wreckers].

Garth: The Wreckers G282

Garth: The Wreckers G283
 BA: "And then we bring him right up to date, if we look at, for example, yesterday's and today's. What's he doing here?"
FB: "This is, er, what we usually call a 'suit story' - where we have people walking around in suits, this is espionage sort of thing. I can't tell you further because that would be giving the show away on a present running story.
BA: "How long has that got to run?"
FB: "They usually run about seventeen weeks, it varies one way and another."

Day to day, the newspaper strip (the clue is in the name), being effectively a single bank of panels, is a limited format in terms of design options per se, let alone in comparison with a full colour centrespread.

Within these limits, the "Sundance" story makes early use of the design idea of figures which stand in front of, as distinct from within, a panoramic landscape frame background, in a 'tip-of-the-hat' to classic illustrator Fortunino Matania.

FB: "I've often been asked if people have influenced me. I find it difficult to sort out the difference between people who influence me or impress me with their work One person who did impress me was Fortunino Matania, an artist who specialized in highly detailed work on Greece, Ancient Egypt and World War One. I have a great admiration for him."

Apart from the restrictions placed on the artist in terms of available space - being at one and the same time drawn over-size but reproduced very small - also there was also the loss of colour, and the strip was rendered in pen and ink very much in a way to take this fact into account - never imagining let alone intending that it ever would be coloured.

Garth: The Cloud of Balthus E275
Black and white letterpress newsprint was never more limiting than the second Garth script - "The Cloud of Balthus" requirement to depict the detonation of a rocket vehicle in space. The newsprint format made technically difficult that which would be more straightforwardly rendered in colour. Although the creation of spectacular explosions on paper had long since been a Bellamy signature effect, the methodology of their creation involved colour washes of waterproof inks for photogravure, or even halftone, not b/w letterpress reproduction. None of which proved to be any sort of impediment whatsoever! As the innovative graphic realisation of that frame in b/w line ultimately demonstrated.

[As David mentions colour, we can take a look at how Martin Baines handled the explosion ~Norman]
Daily Mirror 15 March 2012 coloured by Martin Baines

The innovative design of the aliens (the eponymous Balthus and his minions) is compelling. It would be interesting to compare such strikingly original visuals with their scripted descriptions. Even the matching costume designs worn by Garth and his female companion (revealed on removing their spacesuits - technically convincing outfits in themselves), are both sleek and inventive, particularly so considering their tops in fact consist of two sets of running contoured parallel lines!

Garth: The Cloud of Balthus E272

Otherwise, in costume design terms, Frank Bellamy invariably depicted a distinctive tapering sleeve and the folds they produce - purely as a visual improvement - irrespective of whether any official reference sources provided had this design or not.

Consistencies in Bellamy design forms, as part of a thought-through repertoire, such as the previously described sandstone geology landscapes, also included Scots pine trees - a design element which the artist had completely understood and internalised and could be produced to match whatever was required to fit a given design space. The effect of light on distinctive cracked bark and spiked greenery has a extremely pleasing design aesthetic. A possible further consideration may have been, being an evergreen, it also avoided any necessity of having to keep in mind seasonal considerations which might be set out in a script.

The Newspaper Strip Society Newsletter (No.2 July 1980) interview with Garth scriptwriter Jim Edgar concludes:

JE: "Frank lived in the village of Geddington. He was the ultra-perfectionist, the only artist I ever met who worried over getting the right shade of black. Garth was the first national strip he ever handled, and I think it was Frank's first true bid for recognition as an artist. I think his chief failing was that he never quite learned to relax on the job. This is a failing of other fine artists I have worked with. Maybe it is endemic to the profession."

But what the readership got was five years of day after day of inventive unrelenting quality.

The Fantasy Advertiser interview was recorded in May 1973. In the introduction to its later re-publication in Warrior (1984) Dave Gibbons gives an account of Dez and he seeing the episode of Garth which Frank was working on that day, and (as with the 'work-in-progress' page of Thunderbirds described previously above) Dave reports:

"He had already inked the first two pictures but the third was a loose, expressionistic pencil 'doodle'. Again, he seemed embarrassed by its sketchiness, unused to others seeing this usually private stage of the work. To our amazement, he told us that it was his practice to then go straight to ink, without further pencilling. He seemed unmindful of the incredible boldness and skill that this represented, particularly in view of the deft crispness of his finished work.

"Finally, as Dez and I were just about to leave, we asked if he ever had the chance to do anything purely for his own pleasure. Again, Frank rushed off, this time reappearing with several huge sheets of his favourite CS10 board. Evidently he'd been missing colour during his Garth years, for here were the most stunning full-colour fantasy drawings, surpassing even his Heros the Spartan work in vigour and excitement. Despite our entreaties, he was unconvinced that anyone else would be interested in seeing them, let alone publishing them and so they went back to the privacy of his studio."
Frank Bellamy being unconvinced that anyone else would be interested in seeing the above work might be thought at this distance as being entirely self-effacing but today is another age. The conception of such work up to that time was wholly commercial. And Frank had already had the lived experience of even his best efforts failing to help save Eagle or TV21 from their eventual commercial failure.

The market at that time consisted of a readership who, it may seem odd to realise, were not fans! Comics fans were, then, a minority interest group - within a minority of fantasy fans - within a minority of science fiction fans. I seem to recall from the time that someone estimated there were about a thousand comic fans, reading fanzines, attending comic marts. The actual readership of comics as such (of whom the sf and fantasy readers were another minority), generally had no idea who drew, let alone who wrote, the stuff - their interest was genre character led, plus the dictates of their age and fashion generally meant a limited shelf-life.

That such commercial work could be in any sense a form of self-expression of an 'author' published in their own right, was then an idea in the minds of only a very few.

Unpublished - from Bob Monkhouse's collection
An unpublished 'Heros' type themed montage spread which has since come to light was in the FB collection of Bob Monkhouse.

Garth: Wolfman of Aussensee F130 - note the flowery-shirted David Bellamy

Some 'guest-appearances' in the Garth strip include his son David, in a flowered shirt, at the party in the "Wolf Man of Ausensee" story. Previous to this, Garth is driving Frank's Datsun 260Z Sports. And, (assuming Garth's adventures are related in chronological order, which they may not be), it is subsequently destroyed by an alien spacecraft in "Women of Galba" - and replaced (presumably from the insurance write-off payout) with RYK 274L, which features in "Freak Out to Fear". The Star Inn at Queen Eleanor Cross, Geddington appears as a location in "The Spanish Lady" (K.67 and K.76). David Bellamy has said the place is exactly as quiet as the postcard of it itself. This location also appeared in an episode of David Dimbleby's "Seven Ages of Britain" (shown Sun 7th Feb 2010).

Garth: Wolfman of Aussensee F127 - note the Datsun 260Z Sports

As with the previously mentioned parallel inspiration and motifs found in contemporary movies, there is a 'Garth'-look Robert Redford (in a sequence while clean-shaven) of the movie Jeremiah Johnson, which may possibly have influenced FB's subsequently revised styling of the character - assuming it isn't a complete coincidence (worldwide premiere at Cannes 7 May 1972 - the US premiere was not until the December) - which I would very much doubt!



It likely wouldn't have been entirely gone from FB's mind that he had taken over Dan Dare and Garth mid-story and readers had noticed and commented on the abrupt stylistic change. So once again another stylistic change by FB was not conveniently between stories break point. And FB resorted to subtlety - or, out and out subterfuge - (seeing that the style change is extraneous to the context of the storyline) - by gradually, unnoticeably, adapting Garth's Greek god statue type close cropped hairstyle (as FB had inherited it - as originally depicted - and up to the Wolf Man opening scene) to 'Jeremiah Johnson' style - over several banks of daily strips in 'The Wolf Man of Ausensee': from/between F.125 to F.143. This final form is as appears on the 1975 annual cover

Daily Mirror Book of Garth 1975
The covers of the Garth Book collections gave FB two opportunities for Garth in colour.

Original art for Daily Mirror Book of Garth 1976
[I wasn't clear on why David said this and put together a montage to ask him for further details and David, true gentleman that he is added this paragraph~Norman]

Garth morphs under FB's pen. I added Redford as a comparator

In Frank's first daily strips, Garth's close-cropped, Greek god statue style, is long down his neck but otherwise short curls in outline devoid of internal linework detail (no bulk to the hair) (E.162-E.166 and so on, such as last frame E.185, E.229 - E.235; Balthus E.240, and still sort of ad hoc indeterminate in definition to F.109 first frame, say and the end of Orb, to Wolf Man F.125), at which point it is still a 'moveable feast' as it were but this time, I surmise, with intent, to F.175 for example and mutating to F.194 and F.208 and from then on: i.e. the outline of the top of the head transmutes from short curls (almost 'spikey') to a smooth wavy cut, as you say, outline depicting bulk.

DISC music magazine also featured a distinctive colour full page cover of Garth - an example that areas can sometimes be more effective without a border, vignette shape - plus some b/w interior illustrations and interview with Garth by Fox-Cumming and scriptwriter Jim Edgar.


Two posters in comics line and full colour style for Gerry Cottle's Circus: one of the sensational Cimarro Brothers high wire act and one featuring Khalil Oghaby "Mighty strongman from Persia". Probably not coincidentally, Gerry Cottle was in the same class at school as Frank's son David - then already knowing that Cottle wanted to run his own circus when he left school.

From Once Upon a Time by David Larkin
Plate # 13: "Lord of the Dragons Unpublished Illustration 1975".

Once Upon A Time - some contemporary illustrators of fantasy - edited and the artists introduced by David Larkin (A Peacock Press/ Bantam Book, 1976) includes, "Lord of the Dragons" unpublished illustration and a reprint of the Doctor Who 'Loch Ness monster' interior colour illustration for Radio Times. There is no further information on the reasons for the original creation of "Lord of the Dragons" but it is self-evidently an exemplar demonstration of fine line and wash pen control.

Frank Bellamy's dynamic depictions of hands and fists are another recurrent signature design motif.

In contrast to the anecdotal stories of certain artists so unconfident of their attempts to render the complexities of the human hand, that they resort to posing their subjects with their hands in their pockets or behind their backs to avoid dealing with the problem!


In the words of John Constable, "We see nothing truly until we understand it."

The hand is so anatomically complex that ad hoc observation alone - without knowledge and understanding - is generally not sufficient to bring to an artist's attention the actual form of the structures they are looking at.

Garth: Wolfman of Aussensee F128 - note the fists and hands

It needs to be known and understood for example that the webs of skin between the fingers are half-way along the finger joint and not at the knuckle-joints themselves.

A characteristic aesthetic of Frank Bellamy hands and fists is the particular notice he must have taken of the slight convex curve along the backs of curled fingers for this to become such a distinctive feature in his work.

FA: "One famous Bellamy trademark has always been the hand, with its fingers pointing out of the frame at you..."

FB: "Yes, this is another little thing of mine. I like to give another dimension to my artwork, a sort of 3D effect. The fingers pointing out are just a part of this development. I've always had a great regard for professionalism. One of the best things that was ever said to me was when I was called a "professional's professional". And this just underlines what I mean. I'm a great believer in doing a professional job. This kind of work has been under-rated for many years. Throwaway artwork to be looked at and immediately discarded. This is a viewpoint I strongly disagree with."

Garth: The Women of Galba G11 - note the 3D effect of the pointing finger

FA: "How much comic strip work do you think you have done to date?"
FB: "A rough estimate would be about 20,000 frames - most of them being in full colour."
FA: "And that's since 1953?"
FB: "Yes. It might not sound much, but it has been a lot of very hard though enjoyable work."
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Well, that's it! Many, many thanks to David Jackson for this excellent overview - he certainly challenged me to provide images to accompany  the five parts of this overview of FB's life. I've written roughly 35,000 words of a biography myself and when retired will add more but until that time I am so grateful that we have an extensive biography on these pages. But more than that David has challenged me to look more closely at FB's work.

So that's another article added in this the celebration of the 100th anniversary of Frank Bellamy's birth. Is there anything more to add? YES. I have plenty more surprises up my sleeve!

If you would like to write an article, I'd be extremely happy to add it to this blog, just let me know