Saturday 6 November 2021

ORIGINAL ART: Heros the Spartan, Garth and 2 portraits

'Heros the Spartan' Eagle Vol.16:16 (17 Apr 1965)

GET READY! We have a lot of Frank Bellamy in the latest auction from Compalcomics. The listings are at both Compalcomics and TheSaleroom but for your ease, I have highlighted the Frank Bellamy original art sales below (and to store them for the future!)

Let's start with the headliner, but to be honest there are a few jewels to be had here!

HEROS THE SPARTAN (Eagle Vol. 16:16)

One of few double page spreads that come up at all - and the last one fetched over £7,000 in August 2019. This one comes from Eagle (Volume 16 No. 16 dated 17 April 1965) and as you can see Bellamy has written "Episode 8" on the bottom in his lovely formal writing. It's from the story from 27 February 1965 - 24 July 1965, "The Slave Army" written by Tom Tully. 

The auction description states:

Heros the Spartan original double-page artwork (1965) painted and signed by Frank Bellamy. From the Eagle Vol. 16: No 16 centre spread 1965. Zathran, the Commander of the Black Guard and Heros are tied together in a duel of death…. Pelikan inks on board. 28 x 20 ins. [The 'Heros the Spartan' title and the square text boxes are laser colour additions to complete the look of the artwork and may be removed if required.]
My emboldening. The estimate is £4,500-£5,500 and the starting bid £4,100.

2 PORTRAITS

2 charcoal portraits

The next is an unusual one - a pair of portraits. These were up for auction previously in November 2019 and 'passed' at £230 but this time are offered at the lower starting price of £80 with a reserve. The estimate is £90-£120 which I think is much more realistic. Unfortunately since I first posted the details in 2019 no further information has come forward. This is the auction description:

Frank Bellamy (1940s). Two original charcoal sketches, both signed in capitals 'Frank A Bellamy' probably of his parents. 9 x 12 and 10 x 14 ins (2 sketches)

David Jackson has suggested these might be Bellamy's sister (Eva) and her husband (Stanley Viccars), (who is depicted in the last frame of the the Churchill life story "The Happy Warrior" in Eagle Vol.9 No.24).

Stanley Viccars in "The Happy Warrior"

GARTH: The Women of Galba - G52

Garth: The Women of Galba G52
The first Garth strip offered this time is from "The Women of Galba" story which ran in the Daily Mirror  (27 December 1972 - 10 April 1973 #F304-G86), showing Garth and Narissa about to cross the rope bridge. 

Garth: 'The Women of Galba' original artwork by Frank Bellamy for the D. Mirror 1 March 1973. Indian ink on board. 21 x 17 ins

GARTH: The Mask of Atacama - G201 and G206

Garth: The Mask of Atacama G201 + G206

Some solid drawing and shading in that inimitable Bellamy fashion. Just look at the last panel bottom right!

Garth: 'The Mask of Atacama' two original artworks drawn and signed by Frank Bellamy for the D. Mirror 24/30 August 1973. Indian ink on board. 21 x 17 ins (2)

 

GARTH:  The Mask of Atacama - Garth-G237

Garth: The Mask of Atacama G237

This single strip from the same story "The Mask of Atacama", which originally ran in the Daily Mirror (13 July 1973 - 25 October 1973 - #G165-G254), sees a strength in Bellamy's artwork. That portrait and shadowing with Bellamy 'swirls' is lovely.

Garth: 'The Mask of Atacama' original artwork drawn and signed by Frank Bellamy for the D. Mirror 5 October 1973. Indian ink on board. 21 x 17 ins

GARTH: The Angels of Hell's Gap - J47 - J48

Garth: The Angels of Hell's Gap - J47 + J48

Here we have two consecutive strips from one of the three Westerns that Bellamy drew in his run on the Garth strip. I love his Western work, there's such a freedom in it, perhaps because he was so confident in that genre and loved Western films, quoting Sergio Leon's movies as inspiration. His favourite film was the 1972 "The Culpepper Cattle Company" which has such a sepia look throughout the film and the dirt shows everywhere. Anyway back to this auction:

Garth: 'Angels of Hell's Gap' two consecutive original artworks by Frank Bellamy for the D. Mirror 27/28 February 1975. 21 x 17 ins (2)

I'll update winning bids below when the auctions are done and add the data to the sales spreadsheet



AUCTION SUMMARY
HEROS THE SPARTAN
WHERE?: Compal/Saleroom
STARTING BID: £4,100
ENDING PRICE: £4,100
END DATE: Sunday 21 November 2021

2 PORTRAITS
WHERE?: Compal/Saleroom
STARTING BID: £80
ENDING PRICE: PASSED
END DATE: Sunday 21 November 2021

GARTH: The Women of Galba - G52
WHERE?: Compal/Saleroom
STARTING BID: £230
ENDING PRICE: PASSED
END DATE: Sunday 21 November 2021

GARTH: The Mask of Atacama - Garth-G201 and G206
WHERE?: Compal/Saleroom
STARTING BID: £450
ENDING PRICE: £450
END DATE: Sunday 21 November 2021

GARTH:  The Mask of Atacama - Garth-G237
WHERE?: Compal/Saleroom
STARTING BID: £230
ENDING PRICE: £230
END DATE: Sunday 21 November 2021

GARTH: The Angels of Hell's Gap - J47 - J48
WHERE?: Compal/Saleroom
STARTING BID: £450
ENDING PRICE: PASSED
END DATE: Sunday 21 November 2021



Monday 4 October 2021

Fans of Frank: Owen Claxton (Part Two) - Frank's highlighting

"Thunderbirds" in TV21 219
White scraped off surface

Frank’s Highlights

Last time Owen Claxton told us about what inspired him in Frank Bellamy's artwork. This time he focuses on one aspect of Frank's technique. I've peppered the article with other examples where I know that Bellamy did NOT use any process white as the original art still exists

OWEN CLAXTON: Being an artist myself I’m always interested in how other artists approach their work and any quirky little tricks or tools they may employ to get certain effects. One aspect of FB’s technique that has intrigued me is how he did highlights without ever resorting to using process white, which is a simple, fast and effective way that many time-pressed illustrators would use. So I thought I would take a closer look. Disclaimer, I don’t have access to any Bellamy originals so this is based purely on viewing printed reproductions. [But lucky for you Norman does!]

"Fraser of Africa" Eagle 27 May 1961 (Vol.12:21)
An example of using ink over white board for highlights

It’s pretty clear that Frank never used process white for painting in highlights, in the Skinn/ Gibbons interview he clearly states that he didn’t like using it. In the same interview he also says the only masking technique he used was a piece of tape for giving a straight edge, no mention of any masking fluid.

In Timeview David Bellamy says his father would begin with a loose sketch in soft pencil without any preparatory work. A loose sketch rather than a tight one suggests to me that the final position of highlights was not decided at this stage. David goes on that Frank would start to ink with a dip pen on top of this loose sketch, building up the picture. 

This stage is where skill comes into play most of all, each pen mark carefully tightening up the initial sketch and providing the structure of the piece. Once this inking stage is over the position of the highlights would be suggested by the ink drawing. I doubt Frank would note their position in pencil as it’s most likely that all pencil would be rubbed out before adding the colour for fear of it showing through the translucent washes. So it must be as the colour inks go on that the final position of highlights is decided. Most of the time an artist can just carefully paint around the highlight with very light washes but there are occasions when this is not always possible. 

Look and Learn #452

If we look at the illustration of French soldiers (page 122 of The Art of Frank Bellamy and above) we can see that the background of fire, explosions and smoke is very loosely painted. However the bits of exploding shell on the left clearly cross over the loose splodges of red and brown ink. If Frank didn’t paint these curving marks over the top with a paler body colour then how did he do it? I can only think of two ways. 

"Montgomery of Alamein" Eagle 14 April 1962 (Vol.13:15)

Firstly while the ink was wet he used a damp cloth or even cotton wool to lift the colour off the board, he would have to work fast to do this to get the ink off before it dried. David Bellamy does state that his father worked at ‘fantastic speed’ and this may well be an approach that Frank used but it’s near impossible to get back to white doing it this way. [see "Montgomery" above ~Norman]

Which brings me to the second way, Frank let the inks dry and then scratched out the highlights with a razor. Now I’ve never used CS10 board but someone who has is Steve McGarry who writes: ‘The china clay surface accepts ink beautifully and mistakes can be scratched out with a razor blade without any feathering, so the art always looks pristine.’ My gut feeling, because I haven’t seen the original artwork, is that Frank used a combination of lifting and scraping to achieve these highlights. If anyone else has any further information or thoughts then I’d be interested to hear them. 

 

I gave this to David Jackson to have a look and he made some comments:

Some of the early romance - and that era - illustrations [c.1950-1952 ~Norman] have some indications of opaque paint but all later Bellamy art (where it isn't pencil/chalk type) is transparent colour washes of waterproof inks. As Owen has rightly deduced (some of this can be seen in the art) when the washes have completely dried on CS10 board it can be scraped away to the white surface. FB's scraped-back and rubbed-out effects were developed experimentally in black and white line and wash monochrome while still working on Swift. [King Arthur and Robin Hood ~Norman]. 

Thanks David. Paul Holder kindly sent me some of these images in better resolution than produced in the published versions. Looking at the character of Much the Miller in the tree, one can see scraped back elements in the branch, where it forks. 

In the image below that (of the Sheriff of Nottingham) we can see that emphasis has been placed on the gap between the front Norman rider and the one behind, by scraping or sanding the surface of the board. 

 

"Robin Hood" Swift, 23 June 1956 Panel #4

"Robin Hood" Swift, 23 June 1956Panel #3

And lastly in the two Thunderbirds images below,we see in the Thunderbird 3 image (from TV21 #217) not only white space left blank, but also scraping back to white (to emphasise the circular highlight on the body of TB3) and also the dabbing with cotton wool effect in the spray on the water. But as Paul mentioned, also look at the 'arm' and you'll see a yellow - orange colour in which Bellamy leaves some white for highlight - so confirming what Owen observed.  And in the Jovian Eye (TV21 #152) we can clearly see 'sanding' on the pupil.

 
"Thunderbirds" TV21 #217

"Thunderbirds" TV21 #152

I've always said I'm not an artist and shy from this sort of article which I know is of interest to many following the blog. So I'm very grateful to the above for so much help - Owen for being kind enough to write down the process he deduced; David for further help and thoughts as usual and Paul for most of the images and thoughts. This can not be done without you guys.


Monday 27 September 2021

Frank Bellamy in Action comic

Eagle 21 April 1962

This is a quick blog article which shows one "Montgomery of Alamein" from Eagle Vol. 13 No. 16 - dated 21 April 1962 as reprinted in Action, an infamous comic published in the UK beginning 14 February 1976 (until 12 November 1977, with annuals continuing until Action Annual 1985!). It was Richard Sheaf and Paul Trimble who alerted me to this, for which I thank them. As Richard stated "you'll see that the images has been 'squashed' slightly for the Action cover. The tank wheels in both images are identical and the explosion is very much in the Bellamy style. In fact it was the explosion style tipped me off that this was Bellamy more than the tank wheels! Once I knew it was Bellamy that helped me narrow it down".

If you want to see all the (idetified so far) reprinted Bellamy artwork in Action and its later incarnation Battle Action, read my previous article

Tuesday 14 September 2021

Fans of Frank: Owen Claxton (Part One)

Frank Bellamy: Radio Times (3 July 1976 - 9 July 1976)
Doctor Who - The Planet of Evil

I received the following email recently from Owen Claxton -[before you search, much of his work is NSFW - links below]:

Firstly, I would like to thank and congratulate you on your work for the The Art of Frank Bellamy book. I’ve been a Bellamy fan ever since I bought the Timeview book as a young Doctor Who fan in the mid 80’s, I found that book so inspiring that I took up pen and ink drawing as a hobby. I persevered at drawing, went to art college and am now an artist myself. The recent book has given me much more info about the man, his methods, times he worked in as well as introducing me to more of his marvellous drawings, for which I’m very grateful!
He then went on to ask me about Bellamy's technique - I responded with part of the Skinn/Gibbons interview and, with hope in my heart, asked him if he'd like to write a piece for the blog on how Bellamy inspired him! So I present (in two parts) another in the series "Fans of Frank": Owen Claxton.

OWEN CLAXTON: When I started school it was quickly discovered that I was mildly dyslexic and I found learning to read and write a frustrating chore. Consequently I tended to cast aside books for comics where I could follow the story by ‘reading’ the pictures and picking up the odd word or phrase that I understood from the captions. I found it much easier to learn to read from these bite sized captions with a pictorial context than from the dense pages of text in books. Eventually I managed to progress onto the books from my favourite TV show of the time 'Doctor Who'. I also loved to draw, maybe when I grew up I could draw comics and book covers too.

Like all young Doctor Who fans of the late 70’s and early 80’s I avidly scoured bookshops for the Target "Doctor Who" novels, on the lookout for another missing title to add to my ever growing collection. The appeal of these books wasn’t just the fantastic adventures within but the sumptuous artwork on the covers. The often brooding portraits of The Doctors surrounded by monstrous alien creatures always stood out amongst the Enid Blyton’s, CS Lewis, Black Beauty and other seemingly more wholesome fare of the children’s section.

 

Andrew Skilleter cover

Jeff Cummins cover

I quickly began to recognise the styles of the various artists responsible for these alluring images, occasionally the artist would get a credit so I could put a name to a style. Jeff Cummins and Andrew Skilleter, were two that stuck in my memory, but my early favourite was Chris Achilléos. Achilléos employed a dot stipple black ink technique that fascinated me, as a typical child with no patience I couldn’t begin to imagine how long it would take to build up all those individual dots to make such accurate images. In short it seemed like magic. Reading in Doctor Who Monthly I discovered that Chris Achilléos had been asked to draw in a similar style of another artist, Frank Bellamy, I was intrigued- Frank who?

Radio Times 13-19 May 1972

In those pre-internet days there was no easy way to discover information about anything remotely ‘niche’, so I resigned myself to never hearing anymore about this mystery artist or ever seeing any of his work. Then again in DWM I read that the aforementioned Andrew Skilleter had set up a company called Who Dares to promote his striking airbrush work, also he planned to publish two art books of work by his own illustration heroes, Frank Bellamy and Frank Hampson. I was excited by this prospect, not only would I get to see Bellamy’s work but there was another mysterious Frank out there to discover too!

Frank Bellamy's son David wrote Timeview in 1985

I was 12 when Who Dares published Timeview- The Complete Doctor Who Illustrations of Frank Bellamy in 1985, I pestered my mum to order me a copy as soon as it came out. It did not disappoint. I was blown away by the artwork and pored over every one trying to work out what it was that made them so compelling. I discarded my pencils for a dip pen and tried to copy many of them. I scoured the excellent text by Frank’s son David for any clue as to how his father approached his work. There wasn’t much for a young learner to grab onto- ‘never used process white’, ‘never did meticulous tracings’, ‘liked to get the essence of a photograph’ but I took them to heart and decided that’s what I must do to improve my own drawings. I have Frank to thank for getting into good habits early on!

Chris Achilléos cover

The two major works in the book are of course the 'Day of the Daleks' Radio Times cover and the colour illustration for 'Terror of the Zygons'. Frank’s depiction of the Skarasen Loch Ness Monster on the latter is just fabulous. Although it is extremely unfair to compare it with Achilléos’ version for the Target cover of the same story, I find it unavoidable. Achilléos does wonders breathing life into what was a very clumsy and unconvincing TV model but it doesn’t look as if it could give you more than nasty bite on the leg. In contrast Frank’s Skarasen twists and rears ready to lunge down and tear its prey apart with huge razor sharp claws that break out from the background frame. In the original story this fearsome cyborg was supposed to be able to sink oil rigs, here that terrifying potential seems credible. Again it’s wrong to compare two artists, Frank has obviously been given a much freer hand by RT than Achilléos has by Target books, the latter has been told to stay as true to the images from the TV programme as possible and has discussed before his frustrations that such constraints caused him. I don’t remember the creature on TV having claws but their addition by Frank is a masterstroke. Gratitude must go to the RT art director [David Driver ~Norman] for allowing Frank a free hand. 

Radio Times (30 August 1975 - 5 September 75)
Doctor Who - Terror of the Zygons

The beast is upon us, there seems no way of getting out of its way, with bloodlust in its eye and drool swishing from its mouth as it looms out of the darkness, The Doctor looks genuinely alarmed! Frank is a master of composition, here you have the Zygon spaceship blasting off upwards, the monster pushing forwards and to the right while in top right Tom Baker fixes us with his wide eyes, yet the whole drawing hangs together. The two rectangles of the background give stability but the way their edges are broken or sometimes left out stops them having a dulling effect and the jagged lightning border, the abstract shapes to Tom’s right and the zig-zagging wave of sea foam help to move the eye around the drawing and keep the two halves in harmony. 

Radio Times (1-7 January 1972)
Doctor Who - Day of the Daleks

On the 'Day of the Daleks' cover he brilliantly uses negative space on the left to break up the square format, the strong diagonal of the speech bubble along with the foreground sucker arm breaking the right border adds dynamism and the circle, which is not drawn but painted in by colour alone, provides focus. The composition is so perfect you don’t notice that Jon Pertwee doesn’t appear to have any ears. [He had a lot of hair covering them -~Norman] Also, note the Dalek eye at the centre of the circle, a lesser artist such as myself would be tempted to add more detail to that which would be the wrong thing to do as it would pull focus and send The Doctor into the background. One of the hardest things for an artist to learn is economy- when to make a mark or to leave it out- it’s something that can only really come from experience and a lot of drawing. Beauty comes from simplicity. The more simply something can be drawn, the more beautiful it will be. There are never any unnecessary lines or marks in Frank’s work, if something like a Dalek eye can be convincingly suggested by just a black oval and a bit of flat cream colour then why add anything more? Something you see a lot of in his work is a half defined face, the other half being lost in shadow or bleached out by bright light or even cropped off entirely. This is economy, you only need half a face to read the expression and if you’ve got tight deadlines you don’t have time to render everything so you must decide what’s the simplest way to get the story across dramatically and effectively. Less is more, it allows the viewer to fill in the gaps with his or her own imagination.

With Frank as inspiration and the guidance of very supportive art teachers at school I managed to get myself into Edinburgh College of Art in 1991. By the early 90’s, 'Doctor Who' had finished, Target books were running out of stories to publish and no one at art school knew who Frank Bellamy was. Having come to the painful conclusion that no one, particularly girls, was impressed by my extensive knowledge of creaky old TV shows and now long dead illustrators, I decided to put such childish interests behind me and try to become a cultured and sophisticated grown up. At art college I immersed myself in the work of the old masters and various 'Art-isms' and I swapped drawing Daleks for nude models. There are many smug artists that will tell you the hardest thing to draw is the human figure, that’s because they’ve never tried drawing a Dalek! I was lucky enough to win a Scottish Education Trust Visual Arts award as a student (the Trust set up by the late Sir Sean Connery with the money he made from Bond) and since graduating I have worked as a freelance artist and occasional illustrator. I have never forgotten my debt to Frank Bellamy and Chris Achilléos for inspiring a young lad to start taking drawing pictures seriously.

 
Thanks so much Owen - good to know Frank is still inspiring people! 
Owen kindly sent me two images which are pertinent as they depict Doctor Who subjects:
 
Dalek Life Drawing Class - Owen Claxton

 
David Tennant as Doctor Who
by Owen Claxton
 
And I love his clock face Doctor Who but obviously 12 might limit the imagination! An alternative to Lee Sullivan's ever expanding "Usual Suspects"!
 
Twelve Doctors by Owen Claxton

LINKS 

 
[Part Two to follow shortly]

Wednesday 1 September 2021

Home Notes revisited

 

Home Notes 8 February 1953

Home Notes was a magazine for which Frank Bellamy produced 'head shots', i.e. a man and a woman engaged in conversation or giving each other the cold shoulder. In an interview he stated that after getting connected with International Artists - the agency who represented him - he got "two love story illustrations for Home Notes, a woman's magazine," as well as commissions for other magazines such as Boy's Own Paper, Lilliput and Men Only.

I thought I'd found all Bellamy's art in this magazine but as usual, one can never close down a search! Shaqui, a fellow researcher, recently tripped over another Home Notes illustration and took a quick picture for me. I'll upload a better one should I ever own one, but until then....

I've added the details to the Checklist:

HOME NOTES (8 February 1952)
"Night of Terror" by Mary James

  • p.27 B&W page illustration "'Shivering with fright, I knew someone was behind me. I screamed...'". - see Article
    Home Notes 8 February 1953

 

Sunday 22 August 2021

ORIGINAL ART: Life Study

Life Study - side view seated

Which would you rather have? A fur coat or three Bellamy original artworks? 

Someone contacted me recently having discovered the blog (let's call her "jen_jen33", for reasons you'll soon discover). She let me know she owned three artworks by Frank Bellamy. But what was fascinating was the story of how she came by them. Like a lot of us, we've seen our parents' homes sold for care costs. She inherited the pictures on this page and let me know how her mother received them back in the late 70s. 

"jen_jen33" said: "I have just inherited these from my Mum who was given them by Frank's wife in exchange for a fur coat in the 70s.  They both lived in Geddington, Northants". She went on to tell me, "My mother was an art (and fashion) teacher in Kettering, but lived in Geddington where Nancy did.  And yes, I think you must be right, the fur coat/picture exchange probably happened in the late 70s.

"jen_jen33"has decided to part with the life study shown here but to keep the two Garth strips which she has kindly shared with me/us! The life study is now on ebay. It has already has a bid for £100. It's described as:

Frank Bellamy original signed life drawing from 1970s. In perfect condition. Frank Bellamy 1970s life drawing.  Excellent condition and framed properly.   Was a gift from artist's wife.

The two Garth strips - which I repeat are NOT for sale - are from two stories:

Garth: Freak out to Fear" - H202

H202 is from "Freak Out to Fear" story which ran which ran in the Daily Mirror (6 June 1974 - 27 September 1974 #H132-H227)

Garth: "The Bride of Jenghiz Khan" H240

H240 is from "Bride of Jenghiz Khan" which ran in the Daily Mirror (28 September 1974 - 14 January 1975 #H228-J11)

Thanks again to jen_jen33 for being so kind to allow me to share this fascinating story.



AUCTION SUMMARY

LIFE STUDY
WHERE?: eBay
WHO?: jen_jen33
STARTING BID: £100
NO. OF BIDS: 13
ENDING PRICE:£255
END DATE: Sunday 29 August 2021

Thursday 12 August 2021

ORIGINAL ART: Various garth strips from Comic Book Auctions Limited

Garth: The Wreckers G287 + G296

This time's auction from Compalcomics features multiple Frank Bellamy originals from the Daily Mirror strip "Garth". The listings are at both Compalcomics and TheSaleroom

GARTH: The Wreckers: G287 and G296

Lot 106 is described as:

Garth: 'The Wreckers' two signed original artworks (1973) by Frank Bellamy for the D. Mirror 3/13 December 1973. Indian ink on board. 21 x 17 ins (2)
This story is the one that sent me down a rabbit hole of discovery of the differences between the Daily Record in Scotland and the Daily Mirror in England (and presumably wales and Northern Ireland?). These are two nice examples of bellamy's composition and how he'd use the space he felt was needed - borders and no borders; shadow backgrounds etc.

GARTH: The Bride of Jenghiz Khan: H261

Garth: The Bride of Jenghiz Khan H261
 Lot 108 is described as 

Garth: 'Bride of Jenghiz Khan' original signed artwork (1974) by Frank Bellamy for the D Mirror 6 November 1974. Indian ink on board. 21 x 17 ins

I love the foreground vultures in this strip, "The Tower of the Vultures" Jim Edgar, the writer of these strips certainly had imagination and probably heard of the Tibetan practice of sky burials - but Garth and his bride are not yet dead! 

GARTH: The Angels of Hell's Gap: J58 + J59

Garth: The Angels of Hell's Gap: J58 + J59

 Lot 112 - I love this story but won't be bidding for these consecutive episodes.  I always felt this story (and Ghost Town) had a freedom and joy about the drawing - and westerns were one of Bellamy's favourite topics to handle.  

Garth: 'The Angels of Hell's Gap' two original consecutive artworks (1975) drawn and signed by Frank Bellamy for the D Mirror 12/13 March 1975. Indian ink on board. 21 x 17 ins (x2)
I suspect there are others who love this story so it will be interesting to see how much this goes for. 

GARTH: The Beautiful People: K35

Garth: The Beautiful People: K35
This is a nice piece for those who like scuba diving ...or just looking at how Bellamy handles waves and water!

Garth: 'The Beautiful People' signed original artwork (1976) by Frank Bellamy for the D. Mirror 11 February 1976. Indian ink on board. 21 x 17 ins
As usual I'll add these to the spreadsheet and below when the results come in. I'm curious to see whether the highlight of "The Art of Frank Bellamy" illustrators Special makes a difference and reminds people who this great artist was. [end of book plug]



AUCTION SUMMARY

GARTH: The Wreckers: G287 and G296
WHERE?: Compal/Saleroom
STARTING BID: £450
ENDING PRICE: £760
END DATE: Sunday 29 August 2021

GARTH: The Bride of Jenghiz Khan: H261
WHERE?: Compal/Saleroom
STARTING BID: £230
ENDING PRICE: £370
END DATE: Sunday 29 August 2021

GARTH: The Angels of Hell's Gap: J58 and J59
WHERE?: Compal/Saleroom
STARTING BID: £450
ENDING PRICE: £780
END DATE: Sunday 29 August 2021

GARTH: The Beautiful People: K35
WHERE?: Compal/Saleroom
STARTING BID: £230
ENDING PRICE: £340
END DATE: Sunday 29 August 2021