Blyton, Enid

Enid Mary Blyton (11 August 1897 – 28 November 1968) was an English children’s writer whose books have been among the world’s best-sellers since the 1930s, selling more than 600 million copies. Blyton’s books are still enormously popular, and have been translated into 90 languages; her first book, Child Whispers, a 24-page collection of poems, was published in 1922. She wrote on a wide range of topics including education, natural history, fantasy, mystery, and biblical narratives and is best remembered today for her Noddy, Famous Five, and Secret Seven series.

Following the commercial success of her early novels such as Adventures of the Wishing-Chair (1937) and The Enchanted Wood (1939), Blyton went on to build a literary empire, sometimes producing fifty books a year in addition to her prolific magazine and newspaper contributions. Her writing was unplanned and sprang largely from her unconscious mind; she typed her stories as events unfolded before her. The sheer volume of her work and the speed with which it was produced led to rumours that Blyton employed an army of ghost writers, a charge she vigorously denied.

Blyton’s work became increasingly controversial among literary critics, teachers and parents from the 1950s onwards, because of the alleged unchallenging nature of her writing and the themes of her books, particularly the Noddy series. Some libraries and schools banned her works, which the BBC had refused to broadcast from the 1930s until the 1950s because they were perceived to lack literary merit. Her books have been criticised as being elitist, sexist, racist, xenophobic and at odds with the more liberal environment emerging in post-war Britain, but they have continued to be best-sellers since her death in 1968.

Blyton felt she had a responsibility to provide her readers with a strong moral framework, so she encouraged them to support worthy causes. In particular, through the clubs she set up or supported, she encouraged and organised them to raise funds for animal and paediatric charities. The story of Blyton’s life was dramatised in a BBC film entitled Enid, featuring Helena Bonham Carter in the title role and first broadcast in the United Kingdom on BBC Four in 2009. There have also been several adaptations of her books for stage, screen and television.

This is a list of 762 books by Enid Blyton (1897–1968), an English children’s writer who also wrote under the pseudonym of Mary Pollock. She was one of the most successful children’s storytellers of the 20th century.

1920s
1922

Child Whispers

1923

Real Fairies: Poems
Responsive Singing Games

1924

The Enid Blyton Book of Fairies
Songs of Gladness
Sports and Games
Ten Songs from ‘Child Whispers’, music by Sydney Twinn
The Zoo Book

1925

The Enid Blyton Book of Bunnies

1926

The Enid Blyton Book of Brownies
The Bird Book

1927

A Book of Little Plays
The Play’s the Thing, illustrator Alfred Bestall, music Alex Rowley, as Plays for Older Children and Plays for Younger Children, 1940
Silver and Gold, illustrator Ethel Everett
The Wonderful Adventure
The Animal Book

1929

The Book Around Europe
Enid Blyton’s Nature Lessons

1930s
1930

The Knights of the Round Table, John O’London’s Children’s Library
Tales From the Arabian Nights, John O’London’s Children’s Library
Tales of Ancient Greece, John O’London’s Children’s Library
Tales of Robin Hood, John O’London’s Children’s Library
Wendy Wins Through
The Luck of the Laytons

1933

Cheerio!
My First Reading Book
Read To Us
Let’s Read
Five-minute Tales
Letters from Bobs
News Chronicle’s Boys and Girls Annual

1934

Brer Rabbit Retold Old Thatch series
The Adventures of Odysseus
News Chronicle Boys’ & Girls’ Story Book No 2
Children of Other Days, Old Thatch series
Happy Stories Treasure Trove Readers Book I
The Enid Blyton Poetry Book
The Red Pixie Book
Round the Year with Enid Blyton: Spring
Round the Year with Enid Blyton: Summer
Round the Year with Enid Blyton: Autumn
Round the Year with Enid Blyton: Winter
The Story of the Siege of Troy
The Strange Tale of Mr. Wumble, Old Thatch Series
Tales of the Ancient Greeks and Persians
Tales of the Romans
Ten-Minute Tales

1935

Birds at Home, Old Thatch series
News Chronicle Boys’ & Girls’ Story Book No 3
The Children’s Garden[2]
The Green Goblin Book, republished in abridged form in 1951 as Feefo, Tuppeny and Jinks after the characters in the book[3]
Hedgerow Tales, illustrator Vere Temple
Six Enid Blyton Plays

1936

News Chronicle Boys’ and Girls’ Story Book No. 4
The Famous Jimmy, illustrator Benjamin Rabier
Fifteen-Minute Tales
The Yellow Fairy Book

1937

Adventures of the Wishing Chair, illustrator Hilda McGavin, Wishing Chair series 1
News Chronicle Boys’ and Girls’ Story Book No. 5
A Book of Magic, Old Thatch series
More Letters from Bobs

1938

The Adventures of Binkle and Flip, illustrator Katherine Nixon
Billy-Bob Tales, illustrator May Smith
Heyo, Brer Rabbit!, illustrator Kathleen Nixon
Mr. Galliano’s Circus, Circus Series 1
The Secret Island, illustrator E. H. Davie, Secret Series 1
The Talking Teapot, Old Thatch series

1939

The Adventures of Bobs, (later illustrator Lilian Chivers), Old Thatch series
Boys’ and Girls’ Circus Book
Cameo Plays, Book 4
Children of Other Lands, Old Thatch series
The Enchanted Wood, Faraway Tree Series 1
Hurrah for the Circus, Circus Series 2
The Little Tree House, Josie, Click and Bun 1
Naughty Amelia Jane!, Amelia Jane 1
The Watchman with 100 Eyes, Old Thatch series

1940s
1940

Birds of Our Gardens, illustrators Ernest Aris and Roland Green
Bobs Again
The News Chronicle Boys’ and Girls’ Annual, illustrators Katherine Nixon and Ernest Aris
Boys and Girls Story Book 6, illustrator Dorothy M. Wheeler
The Children of Cherry Tree Farm: A Tale of the Countryside, illustrator Harry Rountree
The Children of Kidillin, as Mary Pollock
Let’s Have a Story
Mister Meddle’s Mischief, illustrators Joyce Mercer and Rosalind M. Turvey
The Naughtiest Girl in the School, illustrator W. Lindsay Cable, Naughtiest Girl series 1
The Secret of Spiggy Holes, illustrator E. H. Davie, Secret series 2
Sunny Stories Annual
Tales of Betsy-May, illustrator J. Gale Thomas
The Treasure Hunters, as Mary Pollock
Three Boys and a Circus, as Mary Pollock
Twenty-Minute Tales

1941

The Adventurous Four, illustrator E. H. Davie
Adventures of Mr. Pink Whistle
Enid Blyton’s Book of the Year, illustrator Harry Rountree, music by Alec Rowley
Five O’Clock Tales, illustrator Dorothy M. Wheeler
The Further Adventures of Josie, Click and Bun, Josie Click and Bun 2
The Secret Mountain, illustrator Harry Rountree, Secret Series 3
The Twins at St. Clare’s, illustrator W. Lindsay Cable (later Jenny Chapple), St. Clare’s series 1

1942

Bed-Time Stories, illustrator Vernon Soper, Evans Little Books 2, published by Evans Brothers
Brer Rabbit, illustrator Alfred Kerr, Evans Little Books 1, published by Evans Brothers
The Children of Willow Farm, illustrator Harry Rountree[4]
Circus Days Again, Circus series 2
Five on a Treasure Island, illustrator Eileen Soper, Famous Five series 1
The Further Adventures of Brer Rabbit, illustrator Ernest Aris
Enid Blyton’s Happy Story Book, illustrator Eileen Soper
Happy Stories, illustrator Alfred Kerr, Evans Little Books 6, published by Evans Brothers
Hello, Mr. Twiddle!, illustrator Hilda McGavin
Ho Ho and Too Smart, illustrator Alfred Kerr, Evans Little Books 4, published by Evans Brothers
I’ll Tell You a Story, illustrator Eileen Soper
John Jolly at Christmas Time
Jolly Tales, illustrator Alfred Kerr, Evans Little Books 3, published by Evans Brothers
The Land of Far-Beyond, illustrator Horace J. Knowles
Mary Mouse and the Doll’s House, Mary Mouse 1
More Adventures on Willow Farm, illustrator Eileen Soper,[5]
The Naughtiest Girl Again, illustrator W. Lindsay Cable, Naughtiest Girl series 2
The O’Sullivan Twins, illustrator W. Lindsay Cable (later Jenny Chapple), St. Clare’s Series 2
Enid Blyton Readers 3, illustrator Eileen Soper
Shadow the Sheep Dog, illustrator Lucy Gee (later illustrator G. W. Backhouse)
Six O’Clock Tales, illustrator Dorothy M. Wheeler
Tales of the Toys, illustrator Alfred Kerr, Evans Little Books 5, published by Evans Brothers

1943

The Adventures of Scamp, as Mary Pollock (1951 illustrator Olive Openshaw, 1992 illustrator Beryl Sanders)
Bimbo and Topsy, illustrator Lucy Gee (later Guy Parker-Rees)
The Children’s Life of Christ, illustrator Eileen Soper
Five Go Adventuring Again, Famous Five series 2
The Further Adventures of Josie, Click and Bun!
I’ll Tell You Another Story, illustrator Eileen Soper
John Jolly at the Circus
John Jolly by the Sea
John Jolly on the Farm
The Magic Faraway Tree, illustrator Dorothy M. Wheeler, Faraway Tree series 2[6]
Enid Blyton’s Merry Story Book, illustrator Eileen Soper
More Adventures of Mary Mouse, illustrator Olive Openshaw, Mary Mouse 2
The Mystery of the Burnt Cottage, illustrator J. Abbey, The Five Find-Outers 1
Polly Piglet, illustrator Eileen Soper (later as Brockhampton Little Book 11)
The Secret of Killimooin, illustrator Eileen Soper, Secret Series 4
The Secret of Cliff Castle, writing as Mary Pollock
Seven O’Clock Tales, illustrator Dorothy M. Wheeler
Smuggler Ben, by Mary Pollock, illustrator E. H. Davie,[7]
Summer Term at St. Clare’s, illustrator W. Lindsay Cable, St. Clare’s series 3
The Toys Come to Life, illustrator Eileen Soper

1944

At Appletree Farm
Billy and Betty at the Seaside
A Book of Naughty Children, illustrator Eileen Soper
The Boy Next Door
The Boy with the Loaves and Fishes, illustrator Elsie Walker
The Christmas Book, illustrator Treyer Evans
Come to the Circus (A) (duplicated title), illustrator Eileen Soper
Daily Mail Annual for Boys & Girls 1944, editor
The Dog That Went To Fairyland, illustrator Eileen Soper
Eight O’Clock Tales, illustrator Dorothy M. Wheeler
Jolly Little Jumbo, illustrator Eileen Soper
Enid Blyton’s Jolly Story Book, illustrator Eileen Soper
Enid Blyton’s Nature Lover’s Book, illustrators Donia Nachshen and Noel Hopking, published by Evans Brothers
Five Run Away Together, Famous Five series 3
The Island of Adventure, illustrator Stuart Tresilian, The Adventure Series 1
Little Mary Mouse Again, illustrator Olive F. Openshaw, Mary Mouse 3
The Mystery of the Disappearing Cat, illustrator J. Abbey, The Five Find-Outers 2
Rainy Day Stories, illustrator Nora S. Unwin, published by Evans Brothers
The Second Form at St. Clare’s, illustrator W. Lindsay Cable, St. Clare’s series 4
Tales from the Bible, illustrator Eileen Soper
Tales of Toyland
The Three Golliwogs
Claudine at St.Clare’s, illustrator W. Lindsay Cable, St. Clare’s series 5
The Train that Lost its Way, illustrator Eileen Soper

1945

A Book of Magic, Old Thatch series
The Blue Story Book, illustrator Eileen Soper
The Brown Family. London to the Seaside, and Building a House, illustrators E. and R. Buhler
The Caravan Family, illustrator William Fyffe
The Conjuring Wizard and Other Stories
The Family at Red-Roofs, illustrator W. Spence
Fifth Formers of St. Clare’s, W. Lindsay Cable, St. Clare’s series 6
The First Christmas
Five Go to Smuggler’s Top, Famous Five series 4
Hello, Little Mary Mouse, illustrator Olive Openshaw, Mary Mouse 4
Hollow Tree House, illustrator Elizabeth Wall
The Mystery of the Secret Room, illustrator J. Abbey, The Five Find-Outers 3
The Naughtiest Girl is a Monitor, illustrator Kenneth Lovell, Naughtiest Girl series 3
The Nature Lover’s Book, illustrators Noel Hopking and Donia Nachshen, Evans Brothers
Round the Year Stories, Old Thatch series
The Runaway Kitten, illustrator Eileen Soper, Brockhampton Enid Blyton Picture Book
Enid Blyton’s Sunny Story Book, illustrator Eileen Soper
The Teddy Bear’s Party, illustrator Eileen Soper, Little Book 5, 1989 reprint as The Night The Toys Had A Party, illustrator Susan Pearson
The Twins Go to Nursery-Rhyme Land, illustrator Eileen Soper, Brockhampton Enid Blyton Picture Book

1946

Amelia Jane Again, Amelia Jane 2
The Bad Little Monkey, illustrator Eileen Soper
The Castle of Adventure, The Adventure Series 2
The Children at Happy House, illustrator Kathleen Gell
Chimney Corner Stories
First Term at Malory Towers, illustrator Stanley Lloyd, Malory Towers 1
Five Go Off in a Caravan, Famous Five series 5
The Folk of the Faraway Tree, Faraway Tree Series 3
Enid Blyton’s Gay Story Book, illustrator Eileen Soper
Josie, Click and Bun Again, strip book, illustrator Dorothy Wheeler, Josie Click and Bun 3
The Little White Duck and Other Stories, illustrator Eileen A. Soper
Mary Mouse and her Family, illustrator Olive Openshaw, Mary Mouse 5
The Mystery of the Spiteful Letters, illustrator J. Abbey, The Five Find-Outers 4
The Put-Em-Rights, illustrator Elizabeth Wall
The Red Story Book, illustrator Eileen Soper
The Surprising Caravan, illustrator Eileen Soper, Brockhampton Enid Blyton Picture Book
The Train that Lost its Way, illustrator Eileen Soper (later Brockhampton Little Book 10)

1947

The Adventurous Four Again!, illustrator Jessie Land
Five on Kirrin Island Again, Famous Five series 6
The Green Story Book, illustrator Eileen Soper
The Happy House Children Again, illustrator Kathleen Gell
Here Comes Mary Mouse Again, illustrator Olive Openshaw, Mary Mouse 6
The Enid Blyton Holiday Book
Second Holiday Book
The House at the Corner, illustrator Elsie Walker
The Little Green Duck and Other Stories, illustrator Eileen Soper, Bedtime Series
Lucky Story Book, illustrator Eileen Soper
Mischief at St. Rollo’s (as Mary Pollock)
More About Josie, Click and Bun, strip book, illustrator Dorothy Wheeler, Josie Click and Bun 4
The Mystery of the Missing Necklace, illustrator J. Abbey, The Five Find-Outers 5
The Second Book of Naughty Children
Rambles With Uncle Nat
The Saucy Jane Family, illustrator Ruth Gervis
Second Form at Malory Towers, illustrator Stanley Lloyd, Malory Towers 2
The Smith Family 1–3
Enid Blyton’s Treasury
The Valley of Adventure, The Adventure Series 3
The Very Clever Rabbit, illustrator Eileen Soper, Enid Blyton Bedtime Series

1948

The Adventures of Pip, illustrator Raymond Sheppard[8]
My Enid Blyton Brer Rabbit Book BR1[9]
Come to the Circus!(B) (duplicated title), illustrator Joyce M. Johnson[10]
Five Go Off to Camp, Famous Five series 7[11]
Third Holiday Book[12]
How Do You Do, Mary Mouse, illustrator Olive Openshaw, Mary Mouse 7[13]
Just Time for a Story, illustrator Grace Lodge[14]
Let’s Have A Story, illustrator George Bowe[15]
The Little Girl at Capernaum, illustrator Elsie Walker
Mister Icy-Cold
More Adventures of Pip, illustrator Raymond Sheppard
Now For a Story, illustrator Frank Varty
The Mystery of the Hidden House, illustrator J. Abbey, The Five Find-Outers 6
The Red-Spotted Handkerchief and Other Stories, illustrator Kathleen Gell
The Sea of Adventure, The Adventure Series 4
Secret of the Old Mill
Six Cousins at Mistletoe Farm, illustrator Peter Beigel[16]
Tales After Tea
Tales of Old Thatch, Coker edition
Tales of the Twins, illustrator Eileen Soper
They Ran Away Together, illustrator Jeanne Farrar
Third Year at Malory Towers, illustrator Stanley Lloyd, Malory Towers 3
We Want a Story, illustrator George Bowe, Pitkin

1949

My Enid Blyton Bedside Book, Arthur Barker[17]
Enid Blyton Bible Stories: Old Testament
Enid Blyton Pictures: Old Testament
Bluebell Story Book[18]
A Book of Magic
My Enid Blyton Book, illustrator Cicely Steed, 2[19]
Bumpy and His Bus, illustrator Dorothy M. Wheeler[20]
A Cat in Fairyland and Other Stories, Pitkin[21]
Chuff The Chimney Sweep and other stories, Pitkin
The Circus Book, illustrator R. Webster
Daffodil Story Book[22]
The Dear Old Snow Man, Brockhampton Nursery Series[23]
Don’t be Silly, Mr. Twiddle[24]
The Enchanted Sea and Other Stories, illustrator E. H. Davie[25]
Five Get into Trouble, Famous Five series 8[26]
Good Morning Book, illustrator Don and Ann Goring[27]
Fourth Holiday Book, illustrator Mary K. Lee and Eelco M. T. H. Van der Beek, cover Hilda Boswell[28]
Humpty Dumpty and Belinda, illustrator Sally Gee[29]
Jinky’s Joke and other stories, illustrator Kathleen Gell[30]
Little Noddy Goes to Toyland, Noddy Library 1[31]
The Mountain of Adventure, The Adventure Series 5
Mr. Tumpy and his Caravan, illustrator Dorothy Wheeler[32]
The Mystery of the Pantomime Cat, illustrator J. Abbey, The Five Find-Outers 7[33]
Oh, What a Lovely Time, illustrator Jeanne Farrar, Brockhampton Press[34]
Enid Blyton’s Robin Hood Book, illustrator Joyce Johnson, Latimer House[35]
The Rockingdown Mystery, illustrator Gilbert Dunlop, The Barney Mysteries 1[36]
The Secret Seven, illustrator George Brook, Secret Seven series 1[37]
A Story Party at Green Hedges, illustrator Grace Lodge[38]
The Strange Umbrella and Other Stories, illustrators E. H. Davie and M. Thorp[39]
Tales After Supper, illustrator Eileen Soper
Those Dreadful Children, illustrator Grace Lodge
Enid Blyton’s Tiny Tales, illustrator Eileen Soper[40]
Upper Fourth at Malory Towers, illustrator Stanley Lloyd, Malory Towers 4[41]

1950s
1950

The Astonishing Ladder and Other Stories, illustrator Eileen Sloper
Enid Blyton’s Second Bedside Book
Five Fall into Adventure, illustrator Eileen Sloper, Famous Five series 9
Fifth Holiday Book
Hurrah for Little Noddy, illustrator Harmsen Van Beek, Noddy Library 2
In the Fifth at Malory Towers, illustrator Stanley Lloyd, Malory Towers 5
Jolly Little Jumbo, illustrator Eileen Soper, Little Book 12 (?date)
The Magic Knitting Needles and Other Stories, illustrator Eileen Sloper
Mister Meddle’s Muddles, illustrators Rosalind M. Turvey and Joyce Mercer
Mr. Pink-Whistle Interferes, illustrator Dorothy M. Wheeler
The Mystery of the Invisible Thief, illustrator Treyer Evans, The Five Find-Outers 8
The Pole Star Family, illustrator Ruth Gervis
Poppy Story Book
The Rilloby Fair Mystery, illustrator Gilbert Dunlop, The Barney Mysteries 2
A Rubbalong Tale, Werner Laurie peep-book
Rubbalong Tales, illustrator Meredith Norman
The Seaside Family, illustrator Ruth Gervis
The Ship of Adventure, illustrator Stuart Tresilian, The Adventure Series 6
Secret Seven Adventure, illustrator George Brook, Secret Seven series 2
Six Cousins Again, illustrator Maurice Tulloch[42]
Tales About Toys, illustrator Jeanne Farrar, Brockhampton Little Books 1
The Three Naughty Children and Other Stories, illustrator Eileen Sloper
Tricky the Goblin and Other Stories, illustrator Eileen Sloper
We Do Love Mary Mouse, illustrator Olive Openshaw, Mary Mouse 8
Welcome, Mary Mouse, illustrator Olive Openshaw, Mary Mouse 9
What an Adventure, illustrator Eileen Soper, Little Book 2
The Wishing Chair Again, illustrator Hilda McGavin, Wishing Chair series 2
The Yellow Story Book, illustrator Eileen Soper

1951

Enid Blyton’s Third Bedside Book
Benny and the Princess, Pitkin Pleasure Book
The Big Bedtime Story
The Big Noddy Book 1
Boody the Great Goblin and Other Stories, illustrator Gordon Robinson
The Buttercup Farm Family, illustrator Ruth Gervis
Buttercup Story Book
Down at the Farm with Enid Blyton
Father Christmas and Belinda
Five on a Hike Together, Famous Five series 10
The Flying Goat and Other Stories, Pitkin
Hello Twins, illustrator Eileen Soper, Little Book 4
Here Comes Noddy Again!, Noddy Library 4
Sixth Holiday Book
Hurrah for Mary Mouse, illustrator Olive Openshaw, Mary Mouse 10
Enid Blyton’s Jolly Story Book
Last Term at Malory Towers, illustrator Stanley Lloyd, Malory Towers 6
Let’s Go to the Circus
Enid Blyton’s Lucky Story Book
Mr. Pink-Whistle Comes Along & Other Tales
The Mystery of the Vanished Prince, illustrator Treyer Evans, The Five Find-Outers 9
Noddy and Big Ears Have a Picnic Noddy’s House of Books 6
Noddy and His Car, Noddy Library 3
Noddy Goes to the Seaside Noddy’s House of Books 3
Noddy Has a Shock Noddy’s House of Books 4
Noddy Has more Adventures Noddy’s House of Books 2
Noddy Off to Rocking Horse Land Noddy’s House of Books 5
Noddy has some Adventures, hardback strip book
Noddy Painting Book
A Picnic Party with Enid Blyton
Pippy the Gnome and Other Stories, Pitkin
A Prize for Mary Mouse, illustrator Olive Openshaw, Mary Mouse 11
The Proud Golliwog, illustrator Molly Brett, Little Book 3
The Queen Elizabeth Family, illustrator Ruth Gervis
The Ring O’ Bells Mystery, illustrator Gilbert Dunlop, The Barney Mysteries 3
The Rubadub Mystery, illustrator Gilbert Dunlop, The Barney Mysteries 4
Runaway Teddy Bear and Other Stories, illustrator Eileen Soper, E. H. Davie et al., Pitkin Pleasure Book
The Six Bad Boys, illustrator Mary Gernat
Enid Blyton’s Sunny Story Book
Tales from the Arabian Nights
Too-Wise the Wonderful Wizard and Other Stories, Pitkin
Trouble for the Twins, illustrator Eileen Soper, Little Books 18
The Little Spinning House, Pitkin Pleasure Book
A Tale of Little Noddy, Noddy’s House of Books 1
Up the Faraway Tree, illustrator Dorothy Wheeler, Faraway Tree series 4
Well Done Secret Seven, illustrator George Brook, Secret Seven series 3

1952

The Adventurous Four Again
Enid Blyton’s Animal Lover’s Book, illustrator James Lucas, E. C. Mansell, Norman R. Satchel
Enid Blyton’s Fourth Bedside Book
Big Ears Loses Some Jewels, Noddy’s Ark of Books 2
Big Noddy Book 2
Bob the Little Jockey illustrator Pierre Probst, Little Gift Book
The Bonfire Folk
Third Brer Rabbit Book
Enid Blyton’s Bright Story Book
The Circus of Adventure, Adventure Series 7
Come Along Twins, illustrator Eileen Soper, Little Books 9
Don’t Be Silly, Mr. Twiddle!
Enid Blyton’s Gay Story Book
Enid Blyton’s Good Morning Book, illustrator Willy Schermelé
Enid Blyton’s Noddy Song Book
Enid Blyton’s Omnibus!, illustrator Jessie Land, mixed short stories
Five Have a Wonderful Time, Famous Five series 11
The Funny Boy & Other Tales
Here’s the Naughtiest Girl!
Seventh Holiday Book
The Mad Teapot, illustrator Mandy Brett
The Magic Needle & Other Tales
Mandy Mops and Cubby Again, strip book
Mandy, Mops and Cubby Find a House, strip book
Mary Mouse and her Bicycle, illustrator Olive Openshaw, Mary Mouse 12
Mary Mouse and the Noah’s Ark, illustrator Olive Openshaw, Mary Mouse 13
Mister Meddle’s Mischief
Mr. Tumpy Plays a Trick on Saucepan, illustrator Dorothy Wheeler
Mr. Twiddle’s Trumpet & Other Tales
My First Enid Blyton book
My First Nature Book: The Brownie’s Magic
My Second Nature Book: The Spell That Went Wrong
The Mystery of the Strange Bundle, illustrator Treyer Evans, The Five Find-Outers 10
New Testament Bible Plates
Noddy and Big Ears[43]
Noddy and the Three Bears, Noddy’s Ark of Books 3
Noddy Colour Strip Book, hardback strip book
Noddy Goes to School, Noddy Library 6
Noddy’s Penny Wheel Car, strip book
Noddy and the Big Balloon, Noddy’s Ark of Books 5
Noddy and the Flying Elephant, Noddy’s Ark of Books 1
Noddy and the Witch’s Wand, strip book
Noddy’s Car Gets a Squeak, strip book
Noddy’s Car Rides in the Air, Noddy’s Ark of Books 4
Pippi the Little Panther illustrator Pierre Probst, Little Gift Book
The Queer Adventure, illustrator Norman Meredith
Ruby Storybook
The Rat-a-Tat Mystery, illustrator Gilbert Dunlop, The Barney Mysteries 5
Scamp Goes on Holiday, illustrator Pierre Probst, Little Gift Book
Secret Seven on the Trail, illustrator George Brook, Secret Seven series 4
Snowdrop Story Book
The Snowman in Boots & Other Tales
The Story of My Life autobiography
The Enid Blyton Story Time Book
Tales of Green Hedges
The Very Big Secret, illustrator Ruth Gervis
Welcome Josie, Click and Bun!, strip book, illustrator Dorothy Wheeler, Josie Click and Bun 5
Well Done Noddy!, Noddy Library 5

1953

The Animal Book, illustrator Kathleen Nixon
Enid Blyton’s Fifth Bedside Book, illustrator Catherine Scholz
Before I Go to Sleep
Bible Stories
Big Bedtime Book, illustrator Mary Brooks
Big Noddy Book 3
Bimbo and His Cousin, illustrator Pierre Probst, Hackett’s Little Gift Books
Enid Blyton’s Fourth Brer Rabbit Book
Chimney Corner Stories
Enid Blyton’s Christmas Story, advent calendar
Clicky and the Flying Horse, illustrator Molly Brett
Clicky the Clockwork Clown, illustrator Molly Brett
Five Go Down to the Sea, illustrator Eileen Soper, Famous Five series 12
Go Ahead Secret Seven, illustrator Bruno Kay, Secret Seven series 5
Gobo and Mr. Fierce, strip book
The Golliwog Grumbled, as Little Book 17 (1955)
Here Come the Twins, illustrator Eileen Soper, Little Book 13
Here Comes Little Noddy, illustrator Beek
Eighth Holiday Book
Mandy Makes Cubby a Hat, illustrator Dorothy Wheeler
Mr. Tumpy in the Land of Wishes, illustrator Dorothy Wheeler
Enid Blyton’s My Book of Fables, from the Tales of La Fontaine, illustrator Simon Romain
The Mystery of Holly Lane, illustrator Treyer Evans, The Five Find-Outers series 11
New Noddy Colour Strip Book, illustrator Beek, hardback strip book
My Fifth Nature Book
Noddy and Jimmy Giraffe, Noddy’s Garage of Books 5
Noddy and the Cuckoo’s Nest, strip book
Noddy and the Naughty Toys, Noddy’s Garage of Books 2
Noddy at the Seaside, illustrator Beek, Noddy Library 7
Noddy Gets Captured, illustrator Beek, strip book
Noddy is Very Silly, strip book
Noddy Loses His Clothes, Noddy’s Garage of Books 1
Noddy Makes a Mistake, Noddy’s Garage of Books 3
Noddy Wins a Prize, Noddy’s Garage of Books 4
Patapouf’s Circus, illustrator Pierre Probst, Little Gift Book/Collins Wonder Colour Book
The Secret of Moon Castle, illustrator Dorothy Hall, Secret Series 5
Snowball the Pony, illustrator Iris Gillespie
The Story of Our Queen, illustrator F. Stocks May
Tenth Tell-a-Story Book
Visitors in the Night, illustrator Molly Brett, Brockhampton Little Books 14
Well, Really Mr. Twiddle, illustrator Hilda McGavin

1954

The Adventure of the Secret Necklace, illustrator Isabel Veevers
The Adventures of Scamp, illustrator Olive Openshaw
Animal Tales, Collins Wonder Colour Book
Animals at Home, Old Thatch series
Away Goes Sooty, Collins Wonder Colour Book
Enid Blyton’s Sixth Bedside Book
Big Noddy Book
Bimbo the Little Kitten, Little Gift Book
Bimbo and Blackie, Little Gift Book
Bimbo and Blackie Go Camping, illustrator Pierre Probst, Collins Wonder Colour Books
Bobs, Collins Wonder Colour Book
Bruiny and his Brothers, illustrator Pierre Probst, Little Gift Book
The Castle without a Door and Other Stories, Pitkin
The Children at Green Meadows, illustrator Grace Lodge
Christmas with Scamp and Bimbo, illustrator Pierre Probst, Collins Wonder Colour Books
The Clever Little Donkey, Collins Wonder Colour Book
Clicky the Clown at the Circus, illustrator Molly Brett
Colin the Cow-Boy, illustrator R. Caille, Collins Wonder Colour Book
Enid Blyton’s Daffodil Story Book
Five Go to Mystery Moor, Famous Five series 13
Fun with the Twins, illustrator Eileen Soper, Little Books 16
Enid Blyton’s Friendly Story Book, illustrator Eileen Soper
Favorite Book of Fables, Collins Wonder Colour Book
Gerry the Little Giraffe, Little Gift Book
Good Work Secret Seven, illustrator Bruno Kay, Secret Seven series 6
The Greatest Book in the World, illustrator Mabel Cook
The Ninth Holiday Book
How Funny You Are, Noddy!, hardback strip book
The Laughing Kitten
The Little Toy Farm, Pitkin
Enid Blyton’s Magazine Annual No. 1
Enid Blyton’s Marigold Story Book
Mary Mouse to the Rescue, illustrator Olive Openshaw, Mary Mouse 14
Merry Mister Meddle!, illustrators Rosalind M. Turvey and Joyce Mercer
More About Amelia Jane!, illustrator Rene Cloke, Amelia Jane 3
The Mystery of Tally-Ho Cottage, illustrator Treyer Evans, The Five Find-Outers 12
Neddy the Little Donkey, Collins Wonder Colour Book
Noddy and Mr. Roundy in Clowntown, Noddy’s Castle of Books 4
Noddy and Mr. Cheery, Noddy’s Castle of Books 5
Noddy and the Magic Goldfish, Noddy’s Castle of Books 2
Noddy and the Magic Rubber, Noddy Library 9
Noddy and the Snow-House, strip book
Noddy Gets into Trouble, illustrator Mary Brooks,[44] Noddy Library 8
Noddy Goes Dancing, strip book
Noddy Goes to the Fair, illustrator Charles Seez
Noddy in the Land of King Ho–Ho, Noddy’s Castle of Books 3
Noddy the Cry-Baby, strip book
Noddy Visits the Land of Tops, Noddy’s Castle of Books 1
Scamp, Little Gift Book
Scamp and Bimbo, Collins Wonder Colour Book
Scamp at School, Collins Wonder Colour Book
Scamp and Caroline, illustrator Pierre Probst, Little Gift Book
Scamp Goes to the Zoo illustrator Pierre Probst
Sooty illustrator Pierre Probst, Collins Wonder Colour Book
Tales After Tea
Three Little Lions, Little Gift Book
What a Surprise, illustrator Molly Brett
What Shall I Be?, Collins Wonder Colour Book

1955

About Silly Sammy
About the Doll that Fell out of the Pram
Enid Blyton’s Annual (series produced by L. T. A. Robinson Ltd., some undated)
Away Goes Sooty, illustrator Pierre Probst, Collins Wonder Book
Enid Blyton’s Seventh Bedside Book
Benjy and the Others, illustrator Kathleen Gell
Bible Stories from the Old Testament
Bible Stories Old Testament II
Sixth Brer Rabbit Book
My Third Enid Blyton Book
Five Have Plenty of Fun, Famous Five series 14, illustrator Eileen Soper
Enid Blyton’s Foxglove Story Book
Gobo in the Land of Dreams
The Golliwog Grumbled, illustrator Molly Brett
Hello, Little Noddy, strip book[45]
Tenth Holiday Book
Holiday House, illustrator Grace Lodge
Enid Blyton’s Magazine Annual Number 2
Mandy, Mops and Cubby and the Whitewash
Mary Mouse in Nursery Rhyme Land, illustrator Olive Openshaw, Mary Mouse 15
Mischief Again
More Chimney Corner Stories
Mr Pink-Whistle’s Party
Mister Tumpy in the Land of Boys and Girls, illustrator Dorothy Wheeler
New Big Noddy Book, illustrator Peter Wienk[46]
Noddy in Toyland, Noddy Picture Book
Noddy Meets Father Christmas, illustrator Mary Brooks,[44] Noddy Library 11[47]
Playing at Home: A Novelty Book, illustrator Sabine Schweitzer
The River of Adventure, illustrator Stuart Tresilian, The Adventure Series 8
Run-About’s Holiday, illustrator Lilian Chivers
Scamp at School, illustrator Pierre Probst
Secret Seven Win Through, illustrator Bruno Kay, Secret Seven series 7
Three Cheers for Noddy, strip book 5
Trouble for the Twins, illustrator Eileen Soper
The Troublesome Three, illustrator Leo
Who Will Hold the Giant, play
You Funny Little Noddy, Noddy Library 10

1956

A Day with Mary Mouse, illustrator Frederick White, Mary Mouse 16
Be Brave, Little Noddy!, Noddy Library 13
Enid Blyton’s Eighth Bedside Book
New Big Noddy Book 6
Bom the Little Toy Drummer, illustrator R. Paul-Hoye
The Clever Little Donkey, illustrator Romain Simon
A Day with Noddy, Noddy Picture Book
Five on a Secret Trail, illustrator Eileen Soper, Famous Five series 15
Four in a Family, illustrator Tom Kerr[48]
Let’s Have a Party
Enid Blyton’s Magazine Annual Number 3
The Mystery of the Missing Man, illustrator Lilian Buchanan, The Five Find-Outers 13
Noddy and His Passengers, Noddy’s Station of Books 1
Noddy and Naughty Gobby, Noddy’s Station of Books 4
Noddy and Tessie Bear, Noddy Library 12
Noddy and the Magic Boots, Noddy’s Station of Books 2
Noddy Be Careful!, strip book 6[49]
Noddy Flies a Kite, Noddy’s Station of Books 3
Noddy Has Hankie Troubles, Noddy’s Station of Books 5
Enid Blyton’s Book of Her Famous Play Noddy in Toyland
Scamp at School, illustrator Pierre Probst
A Story Book of Jesus, illustrator Elsie Walker
Three Cheers Secret Seven, illustrator Burgess Sharrocks, Secret Seven series 8
Water-Lily Story Book, illustrator Hilda Boswell and Dorothy Hall

1957

Enid Blyton’s Annual, illustrator Gilbert Dunlop
Ninth Bedside Book
Bom and His Magic Drumstick
Brer Rabbit Funtime Adventures
Do Look Out Noddy, Noddy Library 15
Five Go to Billycock Hill, illustrator Eileen Soper, Famous Five series 16
The Twelfth Holiday Book, illustrators Grace Lodge and Robert MacGillivray
Enid Blyton’s Magazine Annual Number 4
Mary Mouse and the Garden Party, illustrator Frederick White, Mary Mouse 17
The Mystery of the Strange Messages, illustrator Lilian Buchanan, The Five Find-Outers 14
New Testament Picture Books 1 and 2, illustrator Elsie Walker
Noddy and the Bear Who Lost His Growl, strip book
Noddy and the Bumpy-Dog, Noddy Library 14
Noddy and the Tricky Teddy, strip book
Noddy Tricks Mr. Sly, strip book
Noddy’s New Big Book 7
Secret Seven Mystery, illustrator Burgess Sharrocks, Secret Seven series 9

1958

ABC with Noddy, Noddy Picture Book
About Amanda Going Away
About the Wizard Who Really Was a Nuisance
Enid Blyton’s Tenth Bedside Book
The Birthday Kitten, illustrator Grace Lodge
Bom Annual, illustrator Paul Hoye and H.W. Felstead
Bom Annual 2
Bom Goes Adventuring
Bom Goes to Ho Ho Village
Eighth Brer Rabbit Book
Brer Rabbit Holiday Adventures
Clicky Gets into Trouble
Five Get into a Fix, illustrator Eileen Soper, Famous Five series 17
Enid Blyton’s Good Morning Book, illustrator Willy Schermelé
Enid Blyton Holiday Book
Mary Mouse Goes to the Fair, illustrator Frederick White, Mary Mouse 18
Mr Pink Whistle’s Big Book
My Big Ears Picture Book, 1958
My Noddy Picture Book, Noddy Picture Book
New Big Noddy Book
Noddy Buys a Spell, Noddy’s Shop of Books 1
Noddy Buys Tinny a Present, Noddy’s Shop of Books 5
Noddy Complains to Mr. Plod, Noddy’s Shop of Books 4
Noddy Drives Much Too Fast, Noddy’s Shop of Books 3
Noddy Has an Adventure, Noddy Library 17
Noddy Helps Tinny Build a House, Noddy’s Shop of Books 2
Noddy Jingle Book[50]
Noddy’s Own Nursery Rhymes, Noddy Board Book
Noddy Painting Book[51]
Puzzle for the Secret Seven, illustrator Burgess Sharrocks, Secret Seven series 10
Rumble and Chuff 1, 2, illustrator David Walsh
You’re a Good Friend, Noddy, Noddy Library 16

1959

Adventure Stories (reprints Mischief at St. Rollo’s and The Children of Kidillin)
Eleventh Bedside Book
Bible Stories, New Testament Book 6 The Man by the Pool, The Poor Leper
Big Noddy Book
Bom and the Clown, illustrator R. Paul-Hoye
Bom and the Rainbow
Enid Blyton’s Book of the Year
Dog Stories (reprints Three Boys and a Circus and The Adventures of Scamp)
The Famous Five Special (this is an out-of-series omnibus)
Hullo, Bom and Wuffy Dog, strip book
Holiday Book
Mary Mouse Has a Wonderful Idea, illustrator Frederick White, Mary Mouse 19
Mystery Stories (reprints The Secret of Cliff Castle and Smuggler Ben)
Noddy and the Bunkey, Noddy Library 19
Noddy Goes to Sea, Noddy Library 18
Noddy’s Car Picture Book, Noddy Picture Book
Noddy’s Grand Adventure, strip book 7[52]
The Ragamuffin Mystery, illustrator Anyon Cook, The Barney Mystery Series 6
Secret Seven Fireworks, illustrator Burgess Sharrocks, Secret Seven series 11
Enid Blyton’s Story Book

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Kerr, Tom

TOM KERR is a British comic strip artist whose work has appeared in comics such as Look-in, the Eagle, Valiant, and TV21. He has also drawn for many annuals of the 1960s and 1970s including the Monkees Annuals, Look-In annuals etc.

Comic strips

Strips include ‘Boy Bandit’ in Jag Comic (later Tiger) 1968-1969 and the Tara King/Avengers strip in TV Comic (1968). He also worked for comics such as Lion, Buster, Thunder, the Eagle, Knockout, Valiant, Princess, TV21, Lady Penelope, Solo and Jet.

IPC planned a comic strip character called ‘Captain Britain’ which was to be drawn by Kerr during the early 1970s. Marvel later produced a similar character but the idea seemed to be dropped by IPC long before this.
1940s and 1950s

His early work appears as far back in 1949 when he drew for Pets’ Playtime Comic published by Philmar.[3] Later work included ‘Fay’ in the Weekend Mail Comic in 1955 and ‘Monty Carstairs’ in Mickey Mouse Weekly. He drew for many girls comics including Marilyn, School Friend, Girls’ Crystal and June.
1960s

‘Rip Kerrigan’ was a strip he did for Buster in 1961-62, and also worked on ‘Kelly’s Eye’, ‘Captain Hurricane’, ‘The Steel Claw’, ‘Charlie Peace’, ‘Kraken’ and ‘Black Axe’.
1970s

In 1970 he drew the first ever Adam Eterno strip in Thunder comic. This would be his only time doing so.

In the 1970s, he drew for ‘Twinkle’ and ‘Little Star’ and his career seemed to end soon after this.

Trotter, Stuart

Stuart Trotter is a British children’s book illustrator and the author of ‘Rupert Bear’ since 2008. He has drawn ‘Winnie the Pooh’, ‘Postman Pat’, ‘Kipper’, ‘Thomas the Tank Engine’ and many other characters for publishers like Hodder, Treehouse, Simon and Schuster, Walker, Boxer Books and Penguin.

He runs his own publishing company, Rockpool Children’s Books. He succeeded John Harrold as the artist of the ‘Rupert Bear’ stories for the Daily Express and the Rupert Annuals in 2008, and has since introduced new characters such as ‘Clara the Cat’.

Jennings, Richard E.

RICHARD E. JENNINGS was born in Hampstead, England (20 May 1921 – 19 January 1997) was a British comic book artist who lived and worked in the United Kingdom.
Died 19 January 1997 in Cornwall, England.

Richard E. Jennings was born in Hampstead, England. In 1937 he won a free place to the Central School of Arts, London. After 2 years his studies were interrupted by the outbreak of the Second World War, during which he served in the Air/Sea Rescue service of the Royal Air Force in the Middle East. Following demobilisation he travelled around England before taking work as a fisherman, and decorating public houses and hotels in the Devon area for a brewery company.

Moving to London in 1950, he secured a position with the newly launched Eagle comic. His first work was on the Tommy Walls strip (advertising Wall’s ice cream). He worked on this for the next three years, eventually writing the scripts as well as providing the artwork.

In October 1953 Jennings commenced work as the artist on the new Eagle Storm Nelson maritime adventure strip, in collaboration with film screenwriter Guy Morgan. After Morgan left he continued both drawing and writing the strip until its cancellation in March 1962. Further work for the Eagle followed during that year, with his last strip for the comic being ‘Island of Fire’ which ran from July to October 1962.

Jennings’ work was not confined to the Eagle. Other commissions included strips for the Junior Mirror, Swift and early episodes of The Daleks comic strip for TV Century 21. He also provided artwork for several annuals.

By the late 1960s Jennings had ceased working as a comic strip artist. At one point he was employed as a long-distance lorry driver, supplementing his income by travelling around the Yorkshire Dales during his spare time painting pub signs and portraits.

In later years Jennings retired to Cornwall. He died of pneumonia on 19 January 1997, aged 75.

His Comic works include –

Tommy Walls (in Eagle, 1950–1953)
Storm Nelson (with Guy Morgan in Eagle, 1953–1962)
The Fighting Tomahawks (in Junior Mirror, 1954)
The Further Adventures of Robinson Crusoe (in Swift, 1957–58)
Adventures of the Bovril Brigade (advertising strip, in various publications, 1961)
The Lost World (script, with Martin Aitchison in Eagle, 1962)
Island of Fire (in Eagle, 1962)
Seeing Stars (in Eagle, 1962)
Tornado Jones (in Wham!, 1964–68)
The Daleks
Genesis of Evil (with Alan Fennell, David Whitaker in TV Century 21 #1–3, 1965)
Power Play (with Alan Fennell, David Whitaker in TV Century 21 #4–10, 1965)
Duel of the Daleks (with Alan Fennell, David Whitaker in TV Century 21 #11–17, 1965)
The Amaryll Challenge (with David Whitaker in TV Century 21 #18–24, 1965)
The Penta Ray Factor (with David Whitaker in TV Century 21 #25–32, 1965)
Plague of Death (with David Whitaker in TV Century 21 #33–39, 1965)
The Menace of the Monstrons (with David Whitaker in TV Century 21 #40–46, 1965)
Eve of the War (with David Whitaker in TV Century 21 #47-49, 1965)

Annual & graphic novel works include –

The Dalek Book (Panther Books Ltd. / Souvenir Press Ltd., 1965)
The Dalek World (Panther Books Ltd. / Souvenir Press Ltd., 1966)
The Dalek Outer Space Book (Panther Books Ltd. / Souvenir Press Ltd., 1967)
The Dalek Chronicles (Marvel UK Ltd., 1994. ISSN 1353-7628)

Townsend, Philip

Philip Townsend is one of the lesser known artist that worked for British girls’ comics. He drew for June in the late 1960’s and contributed regularly to Jinty in the 1980’s. Among his Jinty stories are ‘Somewhere over the Rainbow’, ‘Mark of the Witch!’, ‘Children of Stepford’ and ‘Song of the Fir Tree’. Some of his stories were also published abroad, like in Dutch magazine Tina.

Jackson, Peter

Peter Charles Geoffrey Jackson (4 March 1922, in Brighton – 2 May 2003, in Northwood, London) was a British artist who is noted for his cartoon strip ‘London is Stranger Than Fiction’ that ran every Wednesday in the London Evening News newspaper. The strip featured quirky and little known historical facts about London in an easy to read illustrated cartoon strip. The strip ran continuously from 1949 until the paper closed for good in 1980.
Peter Jackson’s London Is Stranger Than Fiction strip which appeared on 10 August 1949

Jackson showed a talent for illustration from childhood. He attended Hove High School and then Willesden School of Art. He submitted some sketches to the newspaper unsolicited in 1949 and through a lucky coincidence the paper was looking for an artist to do a strip about London at that time. He was hired and the strip become a success, giving rise to books of compilations of his work.[2]

He also authored the “Saul of Tarsus” cartoon, which appeared in the first issues of the Eagle comic and reflected Jackson’s religious faith. His work also appeared in the children’s educational comics Look and Learn and Treasure .

Jackson also became a notable collector of antiques and documents relating to the history of London. The Ephemera Society, presented Jackson with the Samuel Pepys Medal for his contribution to ephemera studies.

He married Valerie Harris in 1995.

Trevillion, Paul

(b. 11 March 1934, UK)

Paul Trevillion is a highly acclaimed sports artist in Europe. He drew the ‘Roy of the Rovers’ soccer comic in the early 1960s. Afterwards, he has illustrated many sports books and magazines, most notably about football and golf. He is the inventor of the “sock tag”, a short-lived football fashion item. Trevillion has worked in the US, illustrating books on American Football and Wrestling.

Kitching, Nigel

NIGEL KITCHING (born 29 May 1959) is an illustrator and writer in comics and in books.

He is best known for his work in British comics, especially Sonic the Comic.

Since 2001, Kitching has lectured at Teesside University.

Tourtel, Mary

(28 January 1874 – 15 March 1948, UK)

Mary Tourtel was the creator of ‘Rupert Bear’, the famous newspaper comic of the Daily Express. Born in Kent, she was already an illustrator of children’s books when she was asked to create a character for the Daily Express. Although she was wife of the Express newspaper’s night news editor, Herbert Tourtel, it wasn’t simply a case of nepotism. When all attempts to find an animal character that would enable the Express to counter its Fleet Street rivals had failed, she came to the rescue with the furry bear.
A trained artist, particularly skilled in the depiction of animals, she wrote and drew many ‘Rupert’ stories between 1920 and 1935, introducing such memorable new characters as Podgy Pig and Bill Badger. Failing eyesight forced her to leave the artwork of the strip to Alfred Bestall, but she remained involved in the strip’s creation until her death in 1948.

Judge, Malcolm

MALCOLM JUDGE (1918 – 17 January 1989) was a British cartoonist, best known for his contributions to DC Thomson’s range of comics. He was married, had one daughter, and lived in Bishopbriggs near Glasgow.

His early career was spent as a writer and journalist, and in 1948 he began contributing comic strips to the newspapers and magazines at DC Thomson. He contributed his first strip, The Badd Ladds to The Beezer in 1960, and Colonel Crackpot’s Circus to The Beano the same year. He created several more popular strips including The Numskulls in the Beezer in 1962, Billy Whizz in The Beano, a.k.a. the greatest comic in the world, in 1964 and Ball Boy in the same comic in 1975. He also drew Square Eyes for The Topper, and Ali’s Baba and Baron Von Reichs-Pudding in Sparky before and after its merge with the Topper.

Judge remained an active contributor to DC Thomson until his death at the age of 70 in early 1989. John Dallas took over Ball Boy, and John Geering replaced Judge on The Badd Ladds, while the workload on Billy Whizz was shared by Barrie Appleby and Steve Horrocks until the appointment of long-term successor David Parkins. The numskulls had already been taken over by Tom Lavery in 1979 .

Lilly, Kenneth Norman

KENNETH NORMAN LILLY (1929–1996) was a British wildlife artist who contributed many painted pages to Look and Learn and Treasure magazines.

Harrold, John

(b. 1947, UK)

John Harrold was a longtime artist of the comic adventures of the bear ‘Rupert’ for the Daily Express. He was born in 1947 in Glasgow, where he also studied painting and drawing at the local School of Art. He made his first drawings starring ‘Rupert’ in 1973 for ‘Lots of Fun to Cook with Rupert’. The Daily Express subsequently assigned him for the newspaper strips, where he succeeded Alfred Bestall and Alex Cubie. His first story for the paper was ‘Rupert and the Worried Elves’ in 1976. He became the daily comic’s fulltime artist in 1985. He worked in cooperation with editors James Henderson and Ian Robinson who wrote the stories. He also started working for the Annuals in 1978. He was Rupert’s official artist for 30 years and was succeeded by Stuart Trotter in 2008.

Cooper, John

JOHN COOPER (1942 – 22 February 2015) was a British comics artist.

Cooper was born in Featherstone, West Yorkshire, in 1942. In 1963 he became a freelance artist, and illustrated the comic strips “Captain Scarlet”, “Thunderbirds” and “Secret Agent 21” for TV Century 21. In 1975 he co-created “One-Eyed Jack” for Valiant, with writer John Wagner. He later became the regular artist on “Johnny Red” for Battle Picture Weekly, drawing over 300 episodes, as well as “Action Force” and “Dredger” for the same title. For 2000 AD he drew “Judge Dredd,” “M.A.C.H. 1”, Alan Moore’s “Abelard Snazz” and some “Future Shocks”. He also worked on Starlord, Eagle, Scream!, Marvel UK, Roy of the Rovers, Warlord, the Judge Dredd Megazine and Private Eye.

As well as his work on comics, he also painted detailed maritime scenes by private commission, and did some work as a court room artist.

He was survived by his second wife and by two children from his first marriage.

Turnbull, Jim

(1930 – January 2005, Scotland)

Jim Turnbull was a Scottish cartoonist, who work appeared in the Glasgow newspaper The Herald for many years. Prior to this, he had been a funny animal comics artist for the nursery titles of the Amalgamated Press/Fleetway Publications and DC Thomson. When related to his comics work, he is generally (and erroneously?) referred to as “Douglas Turnbull”.
James Turnbull was born in 1930 in Maryhill, Glasgow, as the son of a railway worker. The family later moved to Pollokshields where he attended Albert Road school. He took evening classes at Glasgow and Guildford Shools of Art, where he was trained as a lithographic artist. He served part of his national service in Suez. He possibly joined the Amalgamated Press in the late 1950s, and stayed with the company after it became Fleetway Publications during the early 1960s. Since British comics artists were scarcely allowed to sign their work, and generally asked to copy another artist’s style or a housestyle, it is still difficult to pinpoint exact credits.

Turnbull was one of the artists drawing the adventures of ‘Freddie Frog’ in Jack & Jill, when the original artist Peter Woolcock took a break from it in the early 1960s. Other artists involved with the feature were Gordon Hutchings and the Italians Antonio Lupatelli and Sergio Asteriti. In Playhour, Turnbull drew stories based on the TV show about the two pigs ‘Pinky & Perky’. He was also one of the artists of Playhour’s ‘The Merry Tales of Mimi and Marny’, another featured originated by Woolcock. Turnbull later appeared in the nursery titles of competitor DC Thomson, such as Bimbo and Magic. He was the artist of the series ‘Old McDonald’s Farm’ (Bimbo, 1964), and one of the artists drawing ‘Cuddly and Dudley’ (Magic, 1970s). The latter was a spin-off starring the niece and nephew of The Dandy’s ‘Biffo the Bear’, drawn by Dudley D. Watkins.

He started his career as a daily newspaper caricaturist with the Daily Record in the mid 1960s. He did his first contribution to the Glasgow Herald in 1969 and stayed with this newspaper over 30 years. He drew both humorous and political cartoons for this newspaper. Typical for his work was his depiction of Scotland as a “feart lion”, with a nod to the Cowardly Lion from Frank L. Baum’s novel ‘The Wonderful Wizard of Oz’. Following the abortive 1979 referendum for a proposed legislature for Scotland, the artist felt his country was like a scabrous lion in a cage with an open door. In the 1990s he made the illustrations for Charlie Allan’s ‘Farmer’s Diary’ book series (Ardo Publishing Co Ltd). He was also an avid painter, making many works during his travels to Italy. Jim Turnbull passed away in January 2005 at the age of 74.

Sullivan, James Frank

J. F. Sullivan (1852-1936)

“The British Working-Man” from Fun

James Frank Sullivan was born on 31 October 1852 at Great Ormond Street, London, the son of printer and stationer James Sullivan and his wife Harriett, née Crosbie. He studied at the National Art Training School in South Kensington, where he learned to draw the figure from classical sculpture, and then took a studio, where he drew live models.

At the age of 18 he was invited to contribute to the comic journal Fun, a cheaper, liberal rival to Punch. He became the magazine’s leading cartoonist, and pioneered the strip cartoon, including a series of cartoons entitled “The British Working-Man”, which started in 1875 and ran untilo 1901, satirising tradesmen, retailers and their customers, commuters, industrialists, landowners, journalists and politicians. He advocated the presence of women in parliament, was sceptical of British imperialism, and deplored what he called “grandmotherly government”, today known as the “nanny state”.

He also drew for Black-and-White, Cassell’s, Pearson’s, Pick-Me-Up, The Strand Magazine (a feature called “The Queer Side of Things”), Tom Hood’s Comic Annual, and, for two brief periods in 1893 and 1905, Punch. He illustrated Marie Corelli’s novels The Sorrows of Satan (1895) and Belial’s Burdens (1896), and wrote and illustrated books for children.

He retired in 1904, settling in Chertsey and pursuing interests including metalwork, illuminated manuscripts, wood-carving and heraldry. He died there on 5 May 1936, aged 83, survived by his wife Agnes, née Mullett, whom he had married in 1877.

Kennedy, Ian

IAN KENNEDY (born 22 September 1932, Dundee, Scotland) is a UK artist who worked initially for D. C. Thomson & Co. Ltd, then later for Amalgamated Press

Educated at the Clepington Primary School and then at Morgan Academy, both in Dundee, Kennedy was employed after leaving school by D. C. Thomson & Co. He was taken on as a trainee illustrator in their Art Department in 1949. He recalls that his first published work was inking the black squares in the weekly Sunday Post crossword.

In 1953 having become married, Kennedy managed to get work in Amalgamated Press’s Knockout via a local agent. In 1955 he began working for D. C. Thomson again, this time as a freelance artist.

During the 1950s Kennedy mainly illustrated war comics such as Thriller Picture Library and Air Ace and his work appeared in a range of comics including Hotspur, Buster, and Wizard.

From the 1970s onward, Kennedy began to specialise in science fiction comics, regularly producing work for IPC’s 2000AD and Star Lord. He also worked for Battle Picture Weekly, Buddy, Blake’s 7, Eagle (Dan Dare), M.A.S.K., Victor Summer Special, Wildcat and D. C. Thomson’s pocket books (including Commando).

Kennedy has also over the years produced many covers for different comics and annuals, working mainly in acrylic paint. In the late 1980s and 1990s Kennedy began creating the covers for the annual RAF Leuchars Air Show’s programmes.

He went into semi-retirement in 1997.

As of 2016, he continues to draw covers and features for Commando.

A definitive career-spanning interview with Kennedy appears in the Spring 2009 edition (Vol.11, No.1) of the “International Journal of Comic Art”

Hampson, Frank

(21 December 1918 – 8 July 1985, UK)

Frank Hampson was only thirteen when he got an assignment to draw sketches for Meccano Magazine. At the age of twenty, he started studying at the Victoria College of Arts & Sciences. During World War II, he served in the Royal Army Service Corps and became a lieutenant. At the end of the war, freshly married, he started attending the Southport School of Arts and Crafts and tried to make a living doing freelance jobs. He met Marcus Morris, a vicar, who had ambitions for founding a national Christian magazine, The Anvil, with a special emphasis on material for youngsters.
Eventually, Morris employed Hampson full-time, and they created Eagle, the magazine that featured the popular ‘Dan Dare’ comics, 1950. Hampson started out doing all the work single-handedly, but soon gathered a large crew of hard-working artists around him, including artists Desmond Walduck, Harold Johns, and Donald Harley, as well as writers Alan Stranks and Arthur C. Clarke. The years between 1955 and 1959 were the heyday of the Eagle studios. In addition to ‘Dan Dare’, Hampson has worked on a variety of other strips for Eagle, such as ‘The Great Adventurer’, ‘Tommy Walls’, ‘Rob Conway’ and ‘The Road of courage’. After this, with a new editor, Frank retired from the ‘Dan Dare’ strip, leaving it to Frank Bellamy. In 1975, he was given an award recognizing his work at the Comic Festival in Lucca. He died of a stroke in 1985.

Lawrence, Donald Southam

DONALD SOUTHAM LAWRENCE (17 November 1928 – 29 December 2003) was a British comic book artist and author.

Lawrence is best known for his comic strips The Rise and Fall of the Trigan Empire in the British weeklies Ranger and Look and Learn and the Storm series, first published in the Dutch weekly Eppo (later relaunched as Sjors & Sjimmie) and subsequently in album form. Famous for his realistic and detailed style, he was an inspiration for later UK comic-book artists such as Brian Bolland, Dave Gibbons and Chris Weston (indeed, Weston was taught by Lawrence), and influenced Indonesian artist Apri Kusbiantoro.

Early life

Born in East Sheen, a suburb of London, Lawrence was educated at St. Paul’s School, Hammersmith. After joining the Army for his National Service, Lawrence used his gratuity to study art at Borough Polytechnic Institute (now the London South Bank University) but failed his final exams. Shortly before, a former student had visited the school to show students the work he was doing as a letterer on comic strips. Lawrence was inspired to take some samples to an editor at Amalgamated Press who suggested he try showing them to Mick Anglo, who ran a studio packaging comic strips for a London publisher and magazine distributor, Len Miller.

Lawrence worked for Anglo for four years, drawing the adventures of superhero Marvelman and various Western comic strips. After an argument with Anglo over pay rates, he found work with Odhams Press, drawing Wells Fargo for Zip, and with the Amalgamated Press (now renamed Fleetway Publications), contributing episodes of Billy the Kid to the comic Sun. When the ailing Sun merged with Lion, Lawrence switched to swashbuckling historical strips, Olac the Gladiator, Karl the Viking and Maroc the Mighty (written by Michael Moorcock).

A colour strip produced for Lion Annual 1965 (‘Karl the Viking and the Tideless Sea’) led to Lawrence being offered colour work in Bible Story magazine and the sprawling science fantasy The Rise and Fall of the Trigan Empire which debuted in Ranger in 1965. Lawrence was to draw the strip in the pages of Ranger and Look and Learn until 1976.

In 1976 Lawrence attended the London comic book convention called Comics 101, the first convention dedicated to British comic book creators. There he learned that The Trigan Empire was syndicated all over Europe. When his publisher refused to give him any form of royalties or compensation, he departed from his old employer and was immediately offered work on a new Dutch comic called Eppo. After an abortive start on a strip entitled Commander Grek written by his friend Vince Wernham, Lawrence found success with Storm. The first volume, The Deep World, was based on a concept by Martin Lodewijk but written by Philip Dunn. A further 22 volumes followed.

Lawrence did not limit himself solely to Trigan Empire and Storm and other strips he drew include Fireball XL5 and The Adventures of Tarzan for TV Century 21, Carrie for the men’s magazine Mayfair and a number of one-off strips for various Dutch publishers.

A number of partly completed and unpublished comic strips appeared in the series Don Lawrence Collection, published in the Netherlands. The final Storm serial (completed by Lawrence’s former assistant Liam Sharp appeared in the magazine Pandarve published by the Don Lawrence Fanclub in 1999–2001. One of his last illustrations was the cover of volume 6 of the Storm -the collection- from 2002.

In the mid 80s he was looking for an assistant and accepted then 17-years old Liam Sharp as his apprentice, but after realizing he did not want to step back as much as he had though he would, he helped Sharp develop his own style.

Later life

In 1995, he lost sight of his right eye, caused by an infection after an unsuccessful cataract operation. With his depth perception gone, he could no longer see when the tip of his pen and brush touched the paper’s surface, forcing him to teach himself an alternative drawing technique.

He went through a new cataract operation in 1999, this time without medical complications. But his general health was starting to decline, and when he was diagnosed with emphysema and put on medication, he permanently retired from comics and art.

Lawrence died in December 2003 of emphysema at the age of 75.

Lewis, Brian Moncrieff

BRIAN MONCRIEFF LEWIS (3 June 1929 – 4 December 1978) was a British science fiction illustrator, comics artist and animator.

Lewis served in the RAF, and became involved in science fiction fandom in the early 1950s. His first professional illustration was for the Radio Times, and he began contributing to New Worlds in 1954, painting forty covers for the magazine. He also painted 21 covers for Science Fantasy, 19 for Science Fiction Adventures and a few for Digit Books between 1957 and 1962. His work was characterised by strong colours laid on thickly, and was influenced by surrealists Paul Klee and Max Ernst and illustrator Richard Powers.

His first work in comics was the strip “Magna Carta” for Lone Star in 1959. In the early 1960s he drew adventure strips “Jet Ace Logan”, “The Suicide Six”, “Paddy Ryan”, “Memorable Moments in Sport” and “The Destroyer from the Depths” for Tiger, “Captain Condor” for Lion, “John Brody” and “Brett Million” for Boys’ World, “Planet Z” for Hurricane, and “The Guinea Pig” and “Mann of Battle” for Eagle. He also used a more cartoony style to draw “Pest of the West” and “Georgie’s Germs” in Wham!, and “Space Jinx” and “Charlie’s Choice” for Smash.

Around 1966 he moved into animation, working on films such as Yellow Submarine. In the late 1960s and 70s he drew TV adaptations for TV21, Countdown and TV Action, and horror adaptations for Dez Skinn’s House of Hammer, which led to a strip, written by Cary Bates, for Warren Publishing’s Vampirella in the USA. He also continued his cartoonier work with “Tomboy” in Cor!! and Buster and “Les Dawson is Superflop” in Look-in. In 1978 he had a brief stint on “Dan Dare” in 2000 AD, drew a strip in a Van Der Valk annual, and produced some technical illustrations for Harry Harrison’s book Mechanismo. He died on 4 December 1978. His final published work appeared in The Wall of Years by Andrew M. Stephenson in 1979.

Titcombe, Bill

British comic book artist Bill Titcombe started illustrating children’s comics in the late 1950s. He created ‘Buster’, the son of Reg Smythe’s ‘Andy Capp’, and drew the title comic of the character’s own comic book before Hugh McNeill took over in the 1960s. He is best known for his versatile contributions to TV Comic throughout the 1960s and 1970s.

Titcombe drew not only ‘TV Terrors’, but also a great many comic strips based on TV shows, including British programs and personalities, such as ‘Bootsie and Snudge’, ‘The Dickie Henderson Family’, ‘The Telegoons’ and ‘Dad’s Army’. He also drew comics about American animated film characters such as ‘Bugs Bunny’, ‘Barney Bear’ and Hanna-Barbera’s ‘Tom and Jerry’. In 1966 he also made a comic strip about the mascot for the World Championship Associated Football, ‘World Cup Willie’.
Furthermore, Titcombe drew for the ‘Mary, Mungo and Midge’ annuals in 1969 and 1970. He drew Hanna-Barbera’s ‘Scooby-Doo’, ‘Benny Hill’, Walter Lantz’ ‘Woody Woodpecker’ and Bruno Bianchi’s ‘Inspector Gadget’ comic strips for Look-in from 1986 until the early 1990s as well as a ‘Wind in the Willows’ comic for Pippin in 1983-86. In the 1990s he drew ‘Roy of the Rovers’ (originally created by Frank S. Pepper and Joe Coluhoun) for a while in The Sunday Squad, as well as ‘Perils of Page 3 Pauline’ in News of the World and ‘TV Centre’ in Fast Forward. Bill Titcombe also illustrated ‘Tat the Cat’, a novel series and comic strip created by his wife, Audrey Titcombe.

Bestall, Alfred

(14 December 1892, Upper Burma – 15 January 1986, UK)

Alfred Bestall is a British illustrator of children’s books and Amalgamated Press annuals. Born in Mandalay, Burma, as the son of a Methodist Missionary, Bestall eventually was sent to Rydal Public School in North Wales. He attended the Birmingham Central School of Art and spent three years in Flanders during his military service in World War I. He contributed his first cartoons to The Cartoon and Blighty and worked through the Byron Studios in London after the war.

He drew for Punch and was also present in magazines like Passing Show, Tatler, Eve and The Strand. He became a productive book illustrator and also drew for the Schoolgirl’s Own Annual by Amalgamated Press between 1923 and 1942. He was the artist who continued the adventures of ‘Rupert Bear’ when creator Mary Tourtel quit the series.

Bestall started in 1935, when the furry British bear Rupert already had fifteen years in the public eye. Bestall managed to increase the popularity of Rupert Bear, who is now known all over the world. He semi-retired in 1965 and ‘Rupert’ was continued by Alex Cubie and John Harrold and scriptwriters Freddie Chaplain and James Henderson. Bestall continued to do art on the annuals until 1973, however.

Cubie, Alex

(1 August 1911 – 1995, UK)

Alex Cubie was a Scottish animator, illustrator and comics artist. He is best known as one of the main artists to draw Mary Tourtel’s iconic ‘Rupert Bear’ newspaper strip during the 1960s and 1970s.
Alex Cubie was born in 1911 in Renfrew, Scotland, not far from the capital Glasgow. He started out drawing cartoons for the newspaper Glasgow Evening Citizen. In 1934 he moved to London, where he created cartoons for The Daily Sketch and The Leader. When World War Two broke out in 1939, Cubie was drafted in the British army the following year. He originally worked as a fitter, before the army felt his artistic talent could be more useful in their design team, where he could draw lay-outs for tactical exercises. After the war Cubie returned to Fleet Street, where he designed greeting cards.
In the late 1940s Cubie made a move to animation. He joined the Rank film company in Cookham. Around the same time one of Disney’s animation directors, David Hand, was in England to help out the Gaumont Company with their own locally produced animated films. Cubie became part of Hand’s British-based animation unit. Cubie was already an illustrator for the quarterly ‘Rupert Adventure Series’ books between 1952 and 1962, in alternation with Enid Ash. The heads of Rupert and his friends were sometimes filled in by Alfred Bestall.

In 1951 Cubie became an illustrator and cartoonist for the Daily Express. It wasn’t until 1965 before he was asked to become one of Alfred Bestall’s successors on the ‘Rupert Bear’ comic strip. Bestall was no longer physically able to continue the series and instantly retired (although he continued to provide artwork for the annuals until well into his 90s). Cubie drew adventures with the little white bear until 1978, with Freddie Chaplain providing the stories. Cubie had a more cartoony approach than Bestall and applied thicker black outlines around the characters. Apart from drawing the daily comic itself, Cubie also provided artwork for the annual ‘Rupert’ books between 1974 and 1978. Although Cubie produced most stories in the post-Bestall period, other artists who alternated on the stories were Lucy Matthews and Jenny Kisler. John Harrold also drew stories from 1976 onwards and was appointed as the full-time ‘Rupert’ artist in 1985. Alex Cubie passed away in 1995.

Thompson, Wayne

WAYNE THOMPSON is a freelance illustrator/comic book artist from Gloucestershire. He has worked on several characters for DC Thompson’s The Beano and the now-defunct The Dandy and Dandy Xtreme since the early 2000s. He has drawn stories starring ‘Jak and Todd’, ‘Bully Beef and Chips’, ‘Pepperoni Pig’, ‘Silly Moo’, ‘The Mighty Bork’, ‘Agent Dog 2-Zero’, ‘Roger the Dodger’, and is the main artist of ‘Bananaman’ since 2010. He has also contributed a story to the ‘Carbon Grey’ comic book by Image Comics.

Metcalfe, Trevor

TREVOR METCALFE born May 1939 in Brotton, Yorkshire is a British illustrator and comic book artist. Known for his comic strips in IPC Magazines comics such as Sweet Tooth and Junior Rotter in Whizzer and Chips.

Influences include Leo Baxendale, Reg Parlett and Walt Disney.
Metcalfe became interested in drawing at age eight during a stay in hospital. His main influence being sports cartoonist Tom Webster. He first submitted work to his local newspaper alongside art school mate Robert Nixon. After his National Service he obtained work for DC Thomson drawing his own strip Babes and Bullies for The Dandy Annual.
In Whizzer and Chips he drew for many years his most famous characters Junior Rotter The strip was about a boy called Junior Rotter (or J.R.) who is always scheming up plans which generally fail. The character is loosely based on the character of the same name from the television soap opera Dallas. His sister in the comic strip was called Sue Helen who, in contrast to her brother, was a decent, charming and helpful person. Being chalk-and-cheese characters meant that JR and Sue Helen’s sibling rivalry extended into all-out conflict.

Sweet Tooth first appearing in January 1973. A “Whizz-Kid” in the comic, and about a boy who has a fixation for sweets, continually hounded by Greedy Greg (originally Bully Bloggs), A main feature of the comic was the prominent front tooth that the character always displayed. Though other artists drew strips from time to time, Metcalfe was the main artist throughout.
For The Beano, he understudied Billy Whizz for David Parkins in the early 1990s in his traditional style, and replaced Wayne Thompson on the same character between 2005 and 2007 using a graphics tablet, drawing in a style somewhere between his own and Thompson’s. He has also briefly took over drawing Bob Nixon’s strips such as Roger the Dodger and Ivy the Terrible, and drew several Les Pretend strips in 2004-2005. He left DC Thomson in 2007, leaving billy whizz without an artist for two years, until Nick Brennan took over in October 2009. In more recent years he has done more serious illustrations, Work is now in TV licensed tie-in comics and magazines, he has gone entirely digital working with a Wacom tablet at his Apple Mac working on Thomas The Tank Engine art in Adobe Illustrator and coloured in Photoshop. He drew warring brothers strip Growing Paynes for the dandy in the 1990s.
He draws comics in Ronald McDonald & Friends Magazine.
In 2010 he began work on a charity-oriented iPhone game called Cent Hope, marking his first foray into creating graphics for smartphone games.

Tully, Tom

TOM TULLY is one the most prolific writers ever to grace British comics, whose diverse portfolio of work covers over forty decades.

Born in Glasgow, Tully entered the industry in the 1960’s when he became working for fleetway.

One of his earliest strips, Heros the Spartan, ran in the original Eagle and was illustrated by the great Frank Bellamy.

He also wrote Janus Stark (Smash! & Valiant), Mytek the Mighty (Valiant & Vulcan) and The Steel Claw (Valiant & Vulcan) in the same decade.

The seventies saw Tully work on a variety of great stories including Adam Eterno (Thunder), Johnny Red (Action), Harlem Heroes (2000 AD), The Leopard from Lime Street (Buster) and Roy of the Rovers – the strip he worked on longer than any other writer and is most closely associated with.

Paterson, Tom

TOM PATERSON is a Scottish comic artist who drew characters for Fleetway in 1973–1990, and D.C Thomson from 1986-onwards. He lives in Leith, with three kids, and is a Hearts supporter.
Taking stylistic inspiration from Leo Baxendale’s work on The Bash Street Kids, Paterson’s talent as a cartoonist was discovered at the age of sixteen by original Dandy editor Albert Barnes, who was impressed with the cartoon samples Paterson had sent to him. Barnes offered the young artist a chance to collaborate with him on a strip called The Dangerous Dumplings (which would later be retooled as The Doyle Family for the Dandy), which was to become the leading strip of a new comic Barnes was developing, but the project was scrapped when Barnes retired and Paterson has hired to work for IPC after leaving school.
He is famous for drawing comics such as:

Fleetway

Grimly Feendish from Shiver and Shake
Buster from Buster comic
Guy Gorilla from Whizzer and Chips
Horace and Doris from Whizzer and Chips
Strange Hill from Whizzer and Chips
Robert’s Robot from Whizzer and Chips
Watford Gapp from Whizzer and Chips
Crow Jak from Buster and Monster Fun
Scooper from Jackpot
Full ‘O’ Beans from Jackpot
Jake’s Seven from Jackpot
The Park from Jackpot
School Belle from School Fun
Team Mates from Wow!
Sweeny Toddler for Whoopee/Whizzer and Chips

D.C Thomson

The Beano

Calamity James
The Numskulls
Minnie the Minx
Dennis the Menace
Fred’s Bed (reprints and new strips)
Bash Street Kids – Singled Out
Roger the Dodger
Billy Whizz (Beano annuals 2008 and 2010)
Ivy the Terrible
Ball Boy
Little Larry

Beezer

The Banana Bunch
Fred’s Bed (Beezer and Topper)
Phoot and Mouse
The Numskulls

The Dandy

Beryl the Peril
Bananaman
Brain Duane
Euro School
Fiddle ‘o’ Diddle
Freddy the Fearless Fly
Hyde & Shriek
Laughing Planet
Mutant Cow
Rasper

Many of his comic strips feature a single, striped sock standing upright on the ground that appears once in each story that acts as a trademark. He is currently drawing for Viz and his work appeared in Jamie Smart’s Moose Kid Comics.

Brain Duane

Brain Duane was a comic strip in The Dandy. It was about a nerdy bald inventor whose inventions would always go wrong. It was drawn by Tom Paterson between 1997-2005 before it was taken over by Duncan Scott. The strip disappeared when the comic became Dandy Xtreme. He returned in the 2012 Dandy Annual drawn by Steve Beckett. He was one of the characters featured in the PC game, Beanotown Racing.

Tom Paterson Artwork For Sale

Anybody familiar with British comics will of course know the name Tom Paterson, and would probably recognise his trademark smelly sock.
Tom is currently selling some of the original artwork he produced, which includes everything from front covers of Buster comic to more recent Dennis the Menace strips.
Tom’s highly detailed pages are a treat to the eye and it often takes multiple reads to spot everything hidden in, and sometimes even outside, the panels.
A black and white page costs between £100 – £150, or you can grab yourself a full-colour one for £200 – £225.
All the pages seen here are for sale, and Tom has plenty more, so feel free to enquire about others. You can contact Tom by emailing him at:

Bave, Terry

TERRY BAVE (b. 1931)
British artist Terry Bave worked as a trainee cartographer before turning to professional cartooning in the 1950s. His early work appeared in magazines like Picturegoer, The Pathescope Gazette, Photography, TV Times, Fire! and Scooter. He then returned to map-making and worked in the packaging industry. He started out in comics at the age of 36, in 1967.
Bave started out drawing for WHAM!, to which he contributed ‘Sammy Shrink’, ‘Baby Whamster’, ‘Baby Smasher’, and ‘Grimly Feendish’. He moved over to Fleetway Publications in 1969, and Bave became a regular in Whizzer and Chips. He was the prime artist of the weekly ‘Odd Ball’ comic, that started in 1969 and ran until 2000.

During the 1970s and 1980s, Bave worked many other IPC/Fleetway magazines, like Shiver & Shake (‘The Desert Fox’), Krazy (‘Scaredy Cat’), Cor!! (‘The Slimms’), Cheeky/Whoopee (‘Webster’, ‘Toy Boy’, ‘Calculator Kid’, ‘Blabbermouth’, ‘Willy Worry’), WOW! (‘Barney’s Badges’), Jackpot (‘Richie Wraggs’, ‘Full O’Beans’) and Buster (‘Draculass’, ‘Pete’s Pop-Up Book’, ‘Good Guy’). He has mainly done his scriptwork in cooperation with his wife, Sheila.
In 2013, Terry Bave published a book called ‘Cartoons and Comic Strips’, with over three hundred pages of reminiscences, artwork and original cartoons.

Yeowell, Steve

STEVE YEOWELL is a longtime collaborator of 2000 AD. He studied 3D Design at Sheffield Polytechnic, where graduated in 1984. His first published work was in independent comics, most notably the strip ‘Lieutenant Fl’ff’, which he took over from Mike Collins and Mark Farmer in Swiftsure of Harrier Comics. He has worked a lot with writer Grant Morrison, starting with ‘Zoids’ for Marvel UK. He did fill-ins on ‘Action Force’ and ‘Thundercats’ until he worked with Morrison again on ‘Zenith’ in 2000 AD in 1987. ‘Zenith’ became one of the most popular series of 2000AD.

Yeowell was then hired by American companies and has worked on ‘Batman’, ‘The Fantastic Four’, ‘The Invisibles’, ‘JSA’ and ‘Starman’. He continued his cooperation with Morrison on series like ‘Sebastian O’ and ‘The New Adventures of Hitler’. Later on, Yeowell also created ‘The Red Seas’ with Ian Edgington for 2000 AD, and ‘Red Fang’ with Steve Moore.

Bright, Steve

STEVE BRIGHT, also known as “Brighty”, is a British cartoonist and illustrator. He is an editorial cartoonist with The Sun, and also does celebrity caricatures and commercial art. His comic ‘Rex and Tex’ appeared in the Sunday Times supplement The Funday Times.
He has drawn extensively for DC Thomson’s children’s magazines The Dandy and The Beano. Since the age of 19, he has been drawing and writing ‘Bananaman’. He has also created ‘Bad Max’ (2003-2007) and drawn episodes of ‘Calamity James’ and ‘Beryl the Peril’. He drew ‘The Numskulls’ in the early 1990s for The Beezer and Topper.
Bright has worked with Jamie Smart on the comic strip ‘Hairy Steve’.

Bell, Steve

STEVE BELL (b. 26 February 1951) is one of Britain’s sharpest political cartoonists. His best known work are the satirical comics ‘Maggie’s Farm’ (1979) and the more long-running ‘If…’ (1981). As of the 2010s the controversial cartoonist has brutally depicted both British and international politics for almost four decades now. His work has often been victim of censorship and occasionally irritated thin-skinned politicians.

He was born in 1951 in Walthamstow and studied art at the Teesside College of Art, graduating in this discipline and film making at Leeds University in 1974.
Among his influences are Leslie Illingworth, Trog (Wally Fawkes), James Gillray, William Hogarth, George Cruikshank, David Low, Ronald Searle, E.C. Segar, Leo Baxendale and Robert Crumb.
Three years after his graduation, he became an art teacher in Birmingham, but quit after only a year because the job was not what he expected from it.
Encouraged by his girlfriend, he tried out cartooning. He was rejected by The Beano, but still impressed enough to preserve their rejection letter.
His first comic strip, ‘Maxwell the Mutant: Marauding the Midlands’ was published in the alternative paper Birmingham Broadside in 1977. It featured a story about a man able to mutate in whoever he wanted. His rival, Neville Worthyboss, was a thinly veiled caricature of the head of the local city council, Neville Bosworth.

Thanks to a cartoonist friend, Kipper Williams, Bell found work at the magazine WHOOPEE!, where he published the short-lived comic strip ‘Dick Doobie the Back to Front Man’ (1978). His strip ‘Gremlins’ appeared in the first issue of the magazine JACKPOT. While he enjoyed making children’s comics he was more drawn to making political work.
With the election of Margaret Thatcher as Prime Minister in 1979, he had more than enough reasons to become more socially conscious. When Time Out looked for a cartoonist who could attack Thatcher’s administration, Bell gave them the satirical comic strip ‘Maggie’s Farm’ (1979), whose title was both a nod to Thatcher as well as the Bob Dylan song of the same name. The strip meant his breakthrough and was later transferred to City Limits magazine.
Other projects he made around 1980 were the comic strip ‘Lord God Almighty’ for The Leveller and a cartoony adaptation of the song ‘Ivan Meets G.I. Joe’ by The Clash, which can be read inside the sleeve of their album ‘Sandinista!’. Another graphic artist who once collaborated with The Clash was Derek Boshier.

Bell’s best-known comic strip is ‘If…’, which has been running in The Guardian since 2 November 1981 and was named after Rudyard Kipling’s iconic poem. The satirical gag strip only took off during the Falklands War (1982), when Bell got the idea to move the action of his stories to the Falkland Islands. Most episodes center around a socialist marine officer, Reginald Kipling, and a talking penguin who shares more conservative and capitalist ideas. Over the course of decades, storylines mirrored current events and had frequent unflattering cameos of real-life politicians, such as Thatcher, Ronald Reagan, Khomeini, Henry Kissinger and George Bush Sr. and Jr.
Apart from ‘If…’ Bell also publishes one-panel cartoons, which forces him to reach two deadlines a day. His interest in politics is such that he often visits political party conferences to see his targets in real life. He claims it often inspired him spotting small details in their features which he didn’t notice in photographs or news footage, such as “Prime Minister Tony Blair’s psychotic glint in his eye”. He also enjoys referencing famous classical paintings in his cartoons.
Bell has also published in CHEEKY, Private Eye, New Society, Leveller, Social Work Today, NME, The Journalist and The New Statesman. The latter magazine fired him in 1999 after handing in a cover drawing depicting Tony Blair’s brain in a food-processor.
Steve Bell was voted Humorous Strip Cartoonist of the Year 1984 and was honored with the same title by the British Press Awards in 2003. Together with Bob Godfrey, he made the animated cartoon series, ‘Margaret Thatcher – Where Am I Now?’ (1999) for Channel 4.

Burgon, Sidney William

SIDNEY WILLIAM BURGON learned the elements of sketching from his mother. Burgon became a mechanic, while continuing to draw. It were his cowerkers in a local garage who finally pushed him to further exploit his artistic talent. After some first cartoons for The Weekly News (published under the pseudonym Swab), Burgon gave up his dayjob and began freelancing as a cartoonist in 1963. His cartoons appeared in several dailies and weeklies.

It was 1970 when Burgon sent his first comic to the editor of Whizzer & Chips. Burgon stayed briefly at Whizzer: a year later he went to Knockout, for which he created the successful ‘Joker’ feature. In his later series, he brought forth several monster characters, such as ‘The Invisible Monster’ and ‘The Little Monsters’. Burgon also worked on ‘The Toffs and the Toughs’ (in Whizzer), ”Milly O’Nare and the Penny Less’ (in Jackpot), ‘Ivor Lott and Tony Broke’ (in Buster) and ‘Lolly Pop’ (in Whoopee), among others.

Goodall, Scott

SCOTT GOODALL was born in Aberdeen in 1935. After returning from the far east where he was sent after being called up for National Service, Goodall joined DC Thompson where he worked on a romantic girl’s magazine that was never published.

Moving to London in the 1960’s (where he initially worked on another romance magazine called Mirabelle), Goodall joined IPC, and ended up writing some of the most popular strips, including Captain Hurraine, Kelly’s Eye, Cursitor Doom, The Steel Claw in Valiant and Thunderbirds, Lady Penelope and Captain Scarlet strips in TV Century 21.

His other notable strips include Kid Chameleon which was illustrated by Joe Colquhoun, Fishboy and Marney the Fox which he co-created with John Stokes for Buster and Goodall’s favourite, Rat Trap in Cor!

Moving to France in 1981, Goodall helped created an annual pilgrimage through an old WWII escape route known as the Chemin De La Liberte.

In 2005 he was awarded an MBE.

Mitchell, Roy

ROY MITCHELL was a prolific cartoonist and comic strip artist since the 1970s. He contributed his work to the Express Newspapers, Mirror Group, TV Times, Chat, Take a Break and CPS News. Mitchell, who signed with Mitch, drew strips for several IPC titles, including ‘Rambling Rhymes’ (Whoopee, 1982), ‘Freddy 3-D’ (Whizzer & Chips, 1983), ‘Micro Mates’ (Whizzer & Chips, 1984), ‘Animalad’ (Whoopee, 1984 and Whizzer & Chips, 1985) and ‘Paper Boy’ (Buster, 1992-94). He also made the strip ‘Project Pete’ for Project magazine. He was a longtime artist for the Salvation Army’s magazine The War Cry. He did the ‘God Is…’ cartoon and the ‘The Chalks and the Cheeses’ strip that appeared on the back page for over 20 years.

He has done cartoons for commercial clients like United Greeting Card Company, HM Treasurey, British Rail, the Ministry of Defence, British Gas, BP, Peugot, Kodak, etc. His cartoons have been collected in several cartoon and humour books.

Turner, Ron

RON TURNER’s artwork emerged in the independent comic books of 1949. His first color work, like ‘Giants of the Second World’ and ‘Terror of Titan’, appeared in Tit-Bits Science Fiction Comix in 1953. That same year, he was offered a regular commission on a self-penned strip called ‘Space Ace’, published in the monthly Lone Star comic book. ‘Rick Random, Space Detective’ followed a year later.

When the Tit-Bits series closed, Turner moved to the Amalgamated Press and drew many stories for their ‘Library’ series. In 1969, after illustrating television sci-fi series, Turner did ‘The Space Accident’ and ‘Wonder Car’ for Whizzer & Chips. He then returned to more adult strips like ‘Judge Dredd’ and ‘Spinball’ and in 1985, Turner took on his fabled rival Frank Hampson and revived ‘Dan Dare’ for the new series of Eagle. Ron Turner died at the age of 76 on 19 December 1998.

Nixon, Robert

ROBERT NIXON: Long associated with the Beano, the British children’s comics illustrator and cartoonist Robert Nixon has died, aged 63. During his lengthy career, he drew Roger the Dodger and many more of D.C . Thomson’s famous characters, as well as contributing for 12 years to the weekly comics of rival publishers IPC. His editor at the Beano said that Nixon would have been able to illustrate a note to the milkman and “make it look appealing”.

Nixon was born in Southbank, near Middlesbrough, where his father worked in the steel industry. One of six children, he was educated at the Central secondary modern school in Southbank, where his artistic talents were recognised early. He won several art competitions and a scholarship to Middlesbrough Art College, but he was forced to leave because of his father’s death.

In 1955 he got a job in the art department at a printing factory, where he served an apprenticeship as a lithographic artist. He started submitting work to the Beano in 1964 and had his first set of pictures published in April that year in an episode of Little Plum, Your Redskin Chum, first drawn by Leo Baxendale.

Later that year, following the departure of the original artist, Ken Reid, Nixon took over Roger the Dodger. By 1965 he had enough assignments to go freelance full time. Nixon proved especially skilled at “ghosting” various styles, while adding his own distinctive cuteness. He inherited Lord Snooty and His Pals in 1968 from Dudley Watkins and revived Grandpa in 1971, as well as drawing Esky Mo and Captain Cutler for Sparky.

In late 1972, he left Thomson’s to join IPC. Nixon proved invaluable, taking over successful series and originating bizarre characters of his own. He enjoyed drawing mildly macabre horror humour, an IPC speciality inspired by the Addams Family and the Munsters television shows, in new titles like Monster Fun and Shiver and Shake. Nixon continued such regulars as Hire A Horror, about a mad monster agency, and the bolt-necked buffoon Frankie Stein.

Other fondly remembered series include his lavish medieval romp King Arthur and His Frights of the Round Table, which helped launch the comic Whoopee in 1974, and the surreal eco-comedy Family Trees, about a gang of trees always on the run from humans.

Shortly after Euan Kerr became editor of the Beano in November 1984, he persuaded Nixon to return to the comic – and to Roger the Dodger – in January 1985. On May 4th, 1985, Nixon created the look of the “enfant terrible” Ivy the Terrible, his favourite character. In the 1990s, he also drew Korky the Cat in the Dandy and illustrated merchandise from jigsaw puzzles to Easter egg boxes.

Nixon also drew the newspaper strips, The Gems, about a gang of children (from 1977) and Parkie the park keeper (from 1982) in the Middlesbrough Evening Gazette.

For his own pleasure, he painted in oils, watercolours and pastels. He is survived by his wife Rita, and children Paul, Tony, Wendy and Catherine.

Robert Nixon:born July 7th 1939; died October 22nd 2002

Parlett, Reginald Edward

REGINALD EDWARD PARLETT (2 August 1904 – 18 November 1991) was an artist from England who had a career of drawing for comic books that lasted for 66 years.
Born in London, his father Harry Parlett (1881–1971) was also a prolific artist whose work appeared in many publications, often anonymously, as well as on many picture postcards, which he signed as ‘Comicus’. Reg Parlett’s older brother George (1902–1981) also later became an artist. On leaving school Parlett became a clerk at Thomas Cook.
Realising that he was ill-suited to working for a travel agent, he was encouraged to draw by his father, who submitted his son’s cartoons to Amalgamated Press (AP); such was his success that he left Thomas Cook and in 1923 became a permanent member of staff for AP. His work appeared in the Merry and Bright comic in 1926, and he would later go on to do comic strips for comics such as Funny Wonder, Radio Fun, Film Fun, Knockout, Buster, Whizzer and Chips, Cor!!, Whoopee!, ”Jackpot and Wow!. He became one of the top artists for Amalgamated Press in the second half of the 1930s, and stayed with the company until his death in 1991.

Parlett served in the R.A.F. during World War II drawing maps, and in the late 1940s he became a writer and artist for J. Arthur Rank’s GB Animation ‘Animaland’ cartoons. He contributed to the 1954 animated film Animal Farm. In the 1960s Parlett worked on his first newspaper strip, when he took over ‘Just Jake’ in the Daily Mirror.

On the death of Frank Minnitt in 1958 he became one of the artists who took over the drawing of the Billy Bunter comic strip in Knockout. Such was his popularity that the 2 August 1984 issue of Buster celebrated his 80th birthday, and a 1989 issue of Big Comic Fortnightly celebrated his 85th.
Parlett married in 1928, and with his wife Mary (née Carter), whom he had first met at a dance in 1921, had two sons, Malcolm and Grahame Parlett.
A book titled The Comic Art of Reg Parlett (ISBN 0-9511214-0-5) written by Alan Clark was released on 10 November 1986.

Gascoine, Phil

PHIL GASCOINE (8 June 1934 – August 2007) was a British comics artist, best known for his work in comics such as Jinty, Bunty, and Battle Action, for which he drew The Sarge.

On leaving school at the age of 15, Phil Gascoine worked in various London art studios until leaving to do his National Service. On his return, his first comic book work was on a series of pocket-sized comics based on TV medical drama Emergency Ward Ten.

His comics career covered 45 years of work on varied titles as a freelancer, in the British, American, and European comics markets.

He died in August 2007 after a short illness.

Sutherland, Peter

PETER SUTHERLAND (11 August 1921 – 1977) was born in the Leicestershire village of Somerby. After serving in the REME during World War II, he became a staff artist at D.C. Thomson in Dundee. He made illustrations for the company’s story papers. Throughout the 1950s he was working for Amalgamated Press on the Super Detective Library, Thriller Picture Library and the Cowboy Comics Library, illustrating among others ‘Battler Britton’, ‘Spy 13’ and ‘Kit Carson’ stories.

In the 1960s and 1970s he was mainly drawing for D.C. Thomson’s The Victor and The Hornet. He illustrated many serials, such as ‘The Big Palooka’ and ‘Mike Fink’ for The Hornet. He was best known for his work on ‘Alf Tupper’ in The Victor, which he did from the early 1960s until shortly before his death in 1977.

Parkinson, Nigel

NIGEL PARKINSON is a regular artist for the D.C. Thomson magazines The Beano and The Dandy, as well as the companion title BeanoMAX. During the 1980s and 1990s, he drew such comics as ‘Thunderbirds TV Show’, ‘Stingray’ and ‘Scouse Mouse’ for Fleetway, and comics based on ‘Baywatch’ and ‘Grange Hill’ for BBC Magazines. He has been working for The Dandy since 1982 and The Beano since 1997.

He has been one of the main artists of ‘Dennis the Menace’ for The Beano since 1999, and is sole artist on the title’s trademark comic since 2012. Among his other regular comics for The Beano and BeanoMAX are ‘The Bash Street Kids’ (since 1998), ‘Lord Snooty the Third’ (2008-2011), ‘Minnie the Minx’ (since 2012) and ‘Dangerous Dan’ (2011). In The Dandy, he has drawn the soccer comic ‘Owen Goal’ between 1998 and 2009, and he restyled Barrie Appleby’s ‘Cuddles and Dimples’, which he drawn on and off from 2003. Among his other Dandy comics are ‘The Banana Bunch’ (2000-2004) and ‘Marvo the Wonder Chicken’ (2008-2012). The Dandy ceased publication in 2012.

White, Mike

MIKE WHITE was a British comic artist known principally for his work on various IPC/Fleetway and DC Thomson titles.
Mike White began submitting work to comics publishers in the early 1960s, and his earliest work was for Micron’s romance titles in 1963-64.
He moved to London and His first regular strip was drawing “Jackaroo Joe”, (about the adventures of a ‘swagman’ in the Australian outback) for Valiant in 1965, written by Angus Allan, for Valiant in 1965-66 and ghosting for Mike Western on “School for Spacemen” for Champion. Other strips he drew included “The Lords of Lilliput Island”, “Cannonball Craig” for Score ‘n’ Roar, “The Team Terry Kept in a Box” (1973-4, written by Frank S. Pepper) for Lion, “Whiz-Along Wheeler” and “The Test Match Terrors”.
For Action in 1976 he drew “The Running Man”, “Hell’s Highway”, “Kids Rule OK!” The notorious Kids Rule OK strip (pictured) which led to the suspension of Action due to its violent content and “Hellman of Hammer Force”. He drew a number of “Future Shocks” and “Time Twisters”, including “The Reversible Man” and several Abelard Snazz stories written by Alan Moore, as well as “Distaster 1990” (1979) and “The Mean Arena” (1981-82), written by Tom Tully, for 2000 AD. Again with Tully, he worked on “Sintek” (1982-84) for Tiger, and drew “Wagner’s Walk” (1979) for Tornado, “Starhawk” (1979-80) for The Crunch, “Iron Barr” (1983-84) for Spike, “Deep Sea Danny’s Iron Fish” and “Raoul the Warrior” for Buddy, and “We Are United” for Champ.

After that he more or less specialised in football strips, drawing “Dexter’s Dozen” (1985-86), “Cheat” (1992-93) and “Dream Keeper” (1993) for Roy of the Rovers, as well as drawing the lead strip from 1986 to 1992. As boys’ adventure comics declined, he moved into illustration, notably a series of historical educational books, but still contributed to Sonic the Comic and DC Thomson’s Football Picture Story Monthly and Commando digests, his last story for the latter appearing in March 2011. In his last years his arthritis was so bad he had to hold his drawing hand in his other hand.
Mike White passed away in February 2012 after a long illness.

Western, Mike

Widely regarded as one of the best artists to ever grace the British comic industry,
MIKE WESTERN, began his career on Knockout, having already spent time working for GB Animation.

During the fifties he shared art chores with Eric Bradbury on the popular western strip Lucky Logan.

In 1960 he moved onto TV Express where he drew No Hiding Place and Biggles.

Buster and Valiant followed and Mike found himself drawing long-running strips such as Wild Wonders.

In the seventies he had been even more prolific, illustrating Buster’s The Leopard from Lime Street, and the gritty Battle stories Darkie’s Mob and HMS Nightshade.

Returning to the new Eagle in the eighties, Mike also made an impact with the sport story Billy’s Boots (Tiger) and with his nineties Roy of the Rovers Daily Star newspaper strip.

Lacey, Mike

MIKE LACEY is a productive artist whose work has appeared in nearly all Fleetway/IPC funnies since the 1970s. For many years, he drew ‘X-Ray Specs’ for Monster Fun and Buster (1975-2000). His many features for Whoopee! include ‘Blinketty Blink’, ‘Bumpkin Billionaires’ (1974-2000), ‘Jimmy Fix-it’, ‘Chip’, ‘Kid’s Court’, and ‘Scared Stiff-Sam’. For Whizzer and Chips, he made ‘Boy Butler’, ‘Pete’s Pocket’, ‘Phil Fitt’, ‘Sid’s Snake’ (1969-2000), ‘Shiner’ (1969-1976) and ‘Slow Coach’.

He also made many features for Jackpot (‘Cry Baby’, ‘Ritchie Wraggs’, ‘Snap Happy’), Shiver and Shake (‘Match of the Week’), Monster Fun (‘Art’s Gallery’), Buster (‘Nightmare on Erm Street’, ‘Strongarm’), Cor!! (‘Wacky’), Cheeky (‘Speed Squad’), Wow (‘Ship-wreck School’) and Knockout (‘The Super Seven’). He eventually turned to commercial artwork. He is the son of artist Bill Lacey.

Hubbard, Mike

MIKE HUBBARD (2 April 1902, Ireland – 25 June 1976) was born ERNEST ALFRED HUBBARD in Dublin, Ireland. He came to London after World War I and there he attended art school and joined Dean’s Studio as an illustrator. He started out as an illustrator on the British story papers of the Amalgamated Press in the 1930s, including The Thriller and Detective Weekly.

Hubbard moved into comics after the Second World War. He continued to work for AP, making adaptations of ‘Treasure Island’, ‘The Coral Island’, ‘The Adventurs of Robin Hood’, ‘Sinbad the Sailor’, ‘The Adventures of Marco Polo’ and ‘Red River’ for Knockout in the second half of the 1940s.

He additionally was Norman Pett’s assistant on the daily ‘Jane’ comic strip for the Daily Mail, starting in 1946. Hubbard took over completely in 1948 and turned the comic into an early soap series. He kept it running until 1959, when he made Jane and her lover live happily ever after.

By the early 1960s, Hubbard started working for the Fleetway girls’ titles. He drew strips based on pop songs for Valentine, the serial ‘Nurse Angela’ in Princess and strips like ‘Annette in Wartime France’, ‘Angel of the Backstreets’ and ‘The Peewit Gang’ for Schoolgirl’s Picture Library. One of his best-known works is however ‘Jane Bond, Secret Agent’, that appeared in Tina and Princess Tina between 1967 and 1970. He then did full colour novel adaptations for Ranger, Look and Learn and Pixie in the late 1960s and early 1970s. He died on 25 June 1976.

Belardinelli, Massimo

MASSIMO BELARDINELLI (5 June 1938 – 31 March 2007) was an Italian comic artist best known for his work in the British science fiction comic 2000 AD.
Belardinelli was born in Rome. His father was an amateur oil painter. Inspired by the Disney film Fantasia, Belardinelli went into animation in the 1960s, painting backgrounds for films produced by the Sergio Rosi studio. He then moved into comics, again through the Rosi studio, drawing backgrounds for “The Steel Claw” in the British weekly Valiant in a team which also included Giorgio Cambiotti on pencils and Sergio Rosi himself on inks. In 1969 he moved to the Giolitti Studio, which got him work in Italy, Germany, the UK and the USA. He collaborated with Alberto Giolitti on Gold Key Comics’ Star Trek series in the USA, with Giolitti drawing the characters and Belardinelli the spaceships. In the UK in the mid-70s he drew “Rat Pack” for Battle Picture Weekly and “Death Game 1999” and “Green’s Grudge War” for Action.

When 2000 AD was in preparation in 1977, an artist was needed for the revamped “Dan Dare”, and Belardinelli tried out for no pay and got the job, and the rare honour of a byline, despite editor Pat Mills’ reservations: although he excelled at visualising aliens, alien technology and alien landscapes, Mills thought “the hero looked awful”. Belardinelli’s work on the strip was not popular, and after a year he was switched to future sports series “Inferno”, the sequel to the popular “Harlem Heroes”, while former “Harlem Heroes” artist Dave Gibbons took over “Dan Dare”.
Belardinelli then drew the second series of “Flesh”, in which the time-travelling meat-farmers moved into the prehistoric oceans, in 1978-9. He also drew “The Angry Planet”, a sci-fi serial set on colonised Mars, written by Alan Hebden, for Tornado in 1979, and then took over “Blackhawk”, Gerry Finley-Day’s strip about a Nubian slave who became a Roman centurion, when Tornado merged into 2000 AD later in the year. The strip was given a sci-fi twist by new writers Alan Grant and Kelvin Gosnell, with the hero being abducted by aliens and forced to fight in a galactic arena. Grant believes the strip’s popularity was down to Belardinelli’s art.

“Meltdown Man”, a year-long cliffhanger serial written by Alen Hebden, followed in 1980-81, in which an SAS officer was caught in a nuclear explosion and blasted into a future where humans have enslaved genetically-engineered humanoid animals, and leads the fight for their liberation. In 1981 writers John Wagner and Alan Grant created a new series for him, space haulage comedy “Ace Trucking Co.”. Grant says they wanted to exploit Belardinelli’s “fevered imagination” and wrote a series which featured “as few actual human beings as possible” – almost all the characters were aliens.
Belardinelli also drew several storylines of the Celtic barbarian strip “Sláine” in 1983-84, whose writer, Pat Mills, selected him to visualise the hero’s body-distorting “warp spasm”. Although his strips were popular with the general readership, the fan audience never really took to him, and his “Sláine” stories were not collected by Titan Books.

His last major 2000 AD strips were “The Dead”, written by Peter Milligan (1987) – a philosophical yet psychedelic series set in a future where an evolved human race thinks it has conquered death, until demons start erupting from their bodies, and the hero, Fludd, has to travel to the land of the dead to save mankind – violent future sport series “Mean Team” (1985, 1987), and space opera “Moonrunners” (1988–89). He also drew “Joe Alien” for short-lived younger-readers sci-fi comic Wildcat, in 1988. Among his last comic work in the UK was for Fleetway’s Teenage Mutant Hero Turtles comic in the early 1990s.
He stopped working in British comics in 1993 when his agent, Alberto Giolitti, died. Having suffered from heart problems, Belardinelli died on 31 March 2007.

Stringer, Lew

LEW STRINGER (born 22 March 1959 in England) is a freelance comic artist and scriptwriter.
Stringer began his career from the late 1970s with a series of fanzines, many featuring his popular Brickman character; these were read by several professional creators (including Kevin O’Neill, Alan Moore and Dave Gibbons) who encouraged Stringer to try comics as a profession and Stringer recalls that “Alan Moore actually introduced me to one of the editors at Marvel UK – Bernie Jaye who was editor on The Daredevils”.

He sold his first professional cartoon to Marvel UK (the British branch of Marvel Comics) in 1983 where it appeared in The Daredevils comic, after which he worked for a short time as art assistant to the cartoonist Mike Higgs (creator of Moonbird and The Cloak). Since then Stringer has freelanced for numerous British comics for various companies and audiences.
His best remembered creations are Tom Thug and Pete and His Pimple for Oink! comic (1986), which outlasted that comic and continued into Buster comic, and Combat Colin the halfwit hero who featured in Action Force and The Transformers comics. Prior to Colin joining Transformers, Stringer had written another, similarly slapstick, strip Robo-Capers for that title. Robo-Capers was replaced by Combat Colin when the reprints of American G.I. Joe strips were added to the Transformers comic. Robo-Capers returned for a single story, which featured Colin and his sidekick, in Issue No. 200. After a change of editorial direction in 1991, Marvel UK handed the rights of Combat Colin to Stringer and he has used him in small-press titles, such as the Combat Colin Special and Yampy Tales. On 30 September 2012, Combat Colin returned in an all-new story for the launch of new David Lloyd’s new online comic Aces Weekly and two other new stories featuring the character have appeared there since.
Stringer has also worked as a writer on CiTV Tellytots; was one of the main writers on Sonic the Comic, where he created several fan-favourite characters and stories; and has been a long time artist/writer for Viz and many other publications. He has written Toxic!’s Team TOXIC! strip since the first issue (and drawn it since issue 15); this proved popular enough with the readers to gain two pages an issue and lead to other comic strips being brought in.
In October 2012 reprints of Team Toxic began to appear in the magazine but brand new stories Started to appear from January 2014.

He broke into the international market in 1997 creating the Suburban Satanists for the Norwegian comic Geek. From 1999 to 2007 those characters appeared in the Swedish comic book Herman Hedning.
In April 2005, Active Images published a collection – Brickman Begins – of all of Stringer’s Brickman strips since 1979. In 2006, a brand new Brickman series began in the American comic book Elephantmen, published by Image Comics, and in 2007, Combat Colin became a guest star in the strip. Brickman seems to be Stringer’s most enduring character. The series concluded in Elephantmen No.24 in 2009. In September 2015 Stringer reprinted all 20 episodes in a self-published comic entitled Brickman Returns.
He began freelancing for The Beano in 2007, drawing a Fred’s Bed story for the Christmas issue and a one-off Ivy the Terrible strip for an issue in 2008. In October 2008 Stringer became the artist on a new strip, Super School which is about five superhero children and their non-superpowered teacher. He started drawing for The Dandy after its revamp in October 2010, providing the illustrations for Postman Prat and Kid Cops and writing and drawing The Dark Newt.
In 2014 Lew announced that he would be contributing a regular new cartoon strip to Doctor Who Magazine.
In recent years Lew has scripted and illustrated Rasher and Joe King (The Beano) for The Beano and in 2018 began work on a revival of Big Eggo for that comic.

Sullivan, Lee

LEE SULLIVAN trained as a wildlife and technical illustrator at Barnfield College, then spent five years as a graphic artist for British Aerospace in Stevenage, England. He then became a freelance artist for advertising agencies and magazines, before entering the comics field in 1988.

Since, he has worked on such titles as ‘Transformers’ (UK run), ‘Thundercats’, ‘Deathshead’, ‘RoboCop’, ‘Blacknight’ and ‘Doctor Who’ for both the British and the American market. Sullivan is also active as an illustrator for educational publications and as a storyboard artist for the BBC.

Reid, Ken

Often cited as one of Britain’s greatest comic book illustrators, KEN REID was born in Manchester in 1919.

An avis artist from an early age, Ken was constantly drawing, even when confined to bed for six months after developing a tubercular hip at the age of nine.

After leaving school at the age of thirteen, he won a scholarship to Salfod Art School.

His father, who had always offered Ken a tremendous amount of encouragement, became his agent and got his son an interview over at the Manchester Evening News.

Ken submitted several strip ideas for the children’s section of the newspaper, which led to them commissioning The Adventures of Fudge the Elf.

Originally appearing in 1938, Fudge’s adventures were published right the way through to 1962, only stopping in 1941 during WWII until 1946 when Reid was de-mobbed.

In the 1950’s, Ken was courted by Scottish publishers D.C.Thomson (his brother-in-law, Bill Holroyd was already working for them), where he starting working on a new strip for The Beano called Roger the Dodger.

Grandpa, Jonah and other strips followed in The Dandy.

Then in the 1960’s, Ken and another member of the British comics royalty – Leo Baxendale, left the company to work for Odhams Press on the new titles Smash and Wham!

A major draw for Ken was that he was being allowed to both write and illustrate for these titles.

It was at Odhams on such strips as Frankie Stein, The Nervs and Dare-a-Day Davy that Ken really got to show off his skill at drawing the beautifully grotesque that he would later become synonymous with.

Dare-a-Day Davy was particularly great. About a schoolboy who couls never say no to a challenge, readers were encouraged to send in a dare and if selected would be paid a pound for their contribution. This led to 86 strips including a Marvel crossover (of sorts) with Nick Fury and an unpublished episode featuring Frankiestein that ended up in the pages of Weird Fantasy magazine.

In the 1970’s, Ken created his most popular character working for IPC. First published in the pages of Jet, Faceache became an instant fan favourite. The adventures of Ricky Rubberneck and his malleable mush ran through Jet and into Buster when the two titles merged. Faceache (Ricky Rubberneck) was a strip that Ken both wrote and illustrated (though Ian Mennell wrote two of the early instalments).

In 1978, Ken’s brilliance was recognised when he was presented with two awards by the Society of Strip Illustration – Cartoonist of the Year and Humorous Script Writer of the Year.

His great work continued through to the next decade where he worked on strips such as Robot Smith, Martha’s Monster Make-Up and Tom Horror’s World.

He passed away on 2nd February 1987 whilst working on a page of Faceache.

Baxendale, Joseph Leo

JOSEPH LEO BAXENDALE (27 October 1930 – 23 April 2017) was an English cartoonist and publisher.

Baxendale wrote and drew several titles. Among his best known creations are the Beano strips Little Plum, Minnie the Minx, The Bash Street Kids, and The Three Bears.

Baxendale was born in Whittle-le-Woods, Lancashire, and was educated at Preston Catholic College.

After serving in the RAF, he took his first job as an artist for the local Lancashire Evening Post drawing adverts and cartoons.

In 1952, he began freelance work for the children’s comic publishers DC Thomson, creating several highly popular new strips for The Beano including Little Plum, Minnie the Minx (started in 1953, taken over by Jim Petrie in 1961), The Three Bears, and The Bash Street Kids (initially called When the Bell Rings).

Baxendale also co-operated on the launch of D.C. Thomson’s The Beezer comic in 1956.

Baxendale’s time with D.C. Thomson came to an abrupt end in 1962 when, overburdened with work he, in his own words, “just blew up like an old boiler” and left.

In 1964, Baxendale began work for Odhams Press as they set up a new children’s comic Wham! and, two years later, its sister comic Smash!

Beginning in 1966 Baxendale worked for Fleetway (IPC Magazines), creating Clever Dick and Sweeny Toddler.

Baxendale left the world of mainstream British children’s comics in 1975, creating the more adult-orientated Willy the Kid series, published by Duckworths.

In the 1980s he fought a seven-year legal battle with D.C. Thomson for the rights to his Beano creations, which was eventually settled out of court.

His earnings from that settlement allowed Baxendale to found the publishing house Reaper Books in the late 80s. In the same year he brought out THRRP!, an adult comic book.

For a year before he fully retired from cartooning to focus on publishing in 1992, Baxendale drew I Love You Baby Basil! for The Guardian.

Baxendale was the second person inducted into the British Comic Awards Hall of Fame, in 2013.

He was described as having created “a lifetime of original, anarchic, hilarious and revolutionary comics” and having had an “incalculable” influence on children and comic artists, while his work was lauded for being “an integral and inseparable part of the history of British children’s comics.”

The BBC said that he was “regarded by aficionados as one of Britain’s greatest and most influential cartoonists” and quoted the British cartoonist Lew Stringer as saying that Baxendale was “quite simply the most influential artist in UK humour comics”.

In the mid-1960s, Baxendale published a weekly anti-war newsletter the Strategic Commentary.

Though it had some paying subscribers, including fellow Vietnam War opponent Noam Chomsky, Baxendale made a considerable loss from sending hundreds of free weekly copies to Labour MPs.

Leo Baxendale and his wife Peggy had five children including Martin Baxendale who also became a cartoonist and worked on some of his father’s strips.

Leo Baxendale died on 23 April 2017 of cancer at the age of 86.

Andy Fanton, who at the time of Baxendale’s death was the Beano’s writer for several Baxendale-created strips, lauded his predecessor as “the godfather of so much of what we do”.

Over the course his career, Baxendale worked for a number of different publishers, writing and drawing many different strips in several different comics.

As well as creating new strips, Baxendale also worked on pre-existing properties, such as Lord Snooty in Beano issues 691–718.

Stokes, John

Discovering his love of comics through reading The Eagle, JOHN STOKES would later join his brother George at IPC, where he worked on several strips for Buster including, Maxwell Hawke, Lennie the loner and no less than three strips that were written by Scott Goodall – The War Children, Fishboy and Marney the Fox.

In the seventies he moved to Marvel UK and worked on The House of Hammer, Black Knight in Hulk Weekly, Doctor Who Monthly and Star Wars amongst others (he collaborated with Alan Moore several times in the latter two titles).

As well as illustrating several Future Shocks in 2000 AD, Stokes has worked on many US comics, including L.E.G.I.O.N., Aliens: Havoc, Randy Bowen’s Decapitator and The Invisibles.

Geering, John Keith

John K. Geering (9 March 1941 – 13 August 1999)

JOHN KEITH GEERING was one of the notable artists for British children’s comic magazines during the 1970s and 1980s. He has worked extensively for the DC Thomson magazines Sparky, The Topper, Cracker, Plug, Nutty, The Beano and The Dandy, for which he created features like ‘Puss ‘n’ Boots’, ‘Smudge’ and ‘Bananaman’. The latter gained such popularity that it was turned into an animated TV series. He also drew the Robert Nixon creation ‘Gums’ for Buster magazine by Fleetway, and was a topical and political cartoonist for British newspapers. Geering, who lived in Comberbach, passed away in 1999 at the age of 58. His last new creation was ‘Dean’s Dino’ for The Beano.

Oliver, John Edward

JOHN EDWARD OLIVER (19 June 1942 – 26 May 2007) was a British cartoonist. He is more usually known as J. Edward Oliver or JEO, and to his friends he was Jack.

He originally achieved fame in late 1970 with a long-running strip in the UK music paper Disc (and Music Echo), later Record Mirror. The strip had many fans including John Lennon and Yoko Ono. It included characters from TV, film and music, with a large section for readers’ contributions (Win a Plastic Warthog). Jack provided other material, including a pop-based strip called The Nose, stories and numerous graphics.

One character proved particularly enduring, a dinosaur called Fresco-Le-Raye. Up to his death, J Edward Oliver continued to create Fresco strips which can be seen on his official website. (The site also features other strips, such as The Invisible Man, a staple of his Record Mirror years, with Young Julie, The Invisible Woman and more.)

In November 1977, the Record Mirror strip was deemed not contemporary enough and was ended. Oliver went to work for IPC Magazines Ltd, creating comic strips including Buster’s Master Mind (1980-1983), Cliff Hanger (1983-1987) and Vid Kid, as well as drawing The Champ in Whizzer and Chips from 1979 to 1981. Many of his strips included puzzles and games. In 1984, Oliver also wrote the words for a musical called Swan Esther which was performed at London’s Young Vic and on BBC radio.

When Buster ceased publication at the beginning of 2000, Oliver was the last artist left, and drew the only non-reprint material in the comic’s final issue (“How It All Ends”, which looked back at how all the Buster characters ended). With Buster gone, Oliver investigated other work, including newspaper strips and first day covers. In 2000, with his cousin [Steve Oliver], and together they created Phil Stamp Covers for stamp collectors. Other work included promotional art for a single by Terry Dactyl and the Dinosaurs.

Among Oliver’s trademarks in his strips were little signs reading “Abolish Tuesdays” and regular sightings of a tiny cube with a crank handle attached. The latter was never explained. Oliver also had something of an obsession with the British actress Madeline Smith, drawing several appearances by her into his work, which she later complained about. Oliver reacted characteristically, producing a strip about her complaint.

In 2000, a website about Oliver’s work revived interest in it. The site was originally created as a celebration of JEO’s work in Disc and Record Mirror but JEO contributed new material, as well as obscure historical stuff and a new, e-mailed (and free) weekly strip involving Fresco-Le-Raye, which eventually had hundreds of subscribers and ran for several hundred episodes, eventually developing from black-and-white to colour.

In 2007 Oliver announced he was suffering from cancer, but he continued to create new material. In March 2007 he married his girlfriend of many years, Liz Hales. He died peacefully on 26 May 2007.

JEO’s website continues, with much unpublished material finally seeing the light of day.

A rare collection of early Middle Bronze Age (c. 13th century B.C.) tools and weapons was discovered by John Oliver whilst digging the footings of an extension to his home in Tredegar Road, Dartford, in 1986. The four implements comprised two axe-heads, a knife and a tanged shaving razor and are known as the Leyton Cross Bronzes. The items were purchased by and are on display in Dartford Museum.

Petrie, Jim

JIM PETRIE was born in Dundee, Scotland, and worked for DC Thomson and its magazine The Beano for forty years.
He was an art teacher at Dundee’s Kirkton High School when he took over the ‘Minnie the Minx’ comic from its creator Leo Baxendale in June 1961.
Petrie drew over 2000 stories with this rebellious girl until his retirement in January 2001, and thus defined the character for generations of readers. ‘Minnie the Minx’ is currently continued by other artists.

Crocker, Jim

JAMES “JIM” CROCKER is a prolific artist whose work has appeared in many IPC funnies since the 1970s. He created among others the two neighbors ‘Smarty Pants and Tatty Ed’ for Whizzer & Chips in 1974.
Crocker has also drawn ‘Ivor Lot and Tony Broke’ (created by Reg Parlett), ‘Ad Lad’ and ‘Sweet Tooth’ (both created by Trevor Metcalfe), as well as ‘Jack Pott’ in Buster.

Hansen, James

I’m very sorry to hear of the passing of the artist JAMES HANSEN (often known as Jimmy Hansen) who died on Tuesday 19th June 2018.

In a career spanning more than 40 years, Jimmy Hansen drew thousands of pages for British comics, working on strips such as The Bumpkin Billionaires, Ricky Rainbow, P5, a stint on Dennis the Menace, and Buster amongst others. He was the cover artist on Buster for the last several years of the comic, bringing a great sense of energy and fun to the strip, as he did with all his pages.
Some of his early work was The Winners…Crybaby Jackpot… the Skateboard squad Cheeky comic
He said his first comic work was for whizzer and chips Hot Rod the dragon…must of been for a summer special… my guess he started mid 70’s at Fleetway..
Apparently he was only in his late 60s. Gone far too soon.

Clayton, Jack

Jack Clayton drew for Cheeky, Jackpot and Buster comic.

He did the wonderful joke page Hit the Jackpot!

Where so much detail was put in the backgrounds…that sometimes the backgrounds were funnier than the jokes.

He liked drawing little mice (Mickey types), cats, dogs and snails …small animals.

He was also great at drawing the over reaction the groan from a character. Almost falling backwards. Paddywack had this effect a lot.

His first work was in Cheeky late 70’s where the kids recreate a scene for there home video.

You can see how the kids did it with home made props and costumes. Again lots of funny details.

Paddywack came later in Cheeky and even became when the comics merged the cover star of Whoopee!!.

Jack Clayton is an artist from East London who has spent the last four years travelling.

His inspiration for his art work is drawn from his experiences around the world and a representation of his environment.

Jack Clayton was the artist of Paddywack. Irish cartoon character that was supposed to be drawn by Doodle Doug that use to bribe Cheeky to see his work or tell his Dad about his comics.

Knox, Ian

IAN KNOX (born 4 May 1943, Belfast, Northern Ireland) is a political cartoonist for the Irish News, and also drew cartoons for the BBC Northern Ireland political show Hearts and Minds.
Knox trained as an architect at Edinburgh College of Art (1963–67) and Heriot-Watt University (1967-68), and worked as an architect before establishing himself as a cartoonist. He worked in animation from 1970 to 1975 for Halas & Batchelor in London, Potterton Productions in Montreal, and Kotopoulis Productions in Toronto. He then joined Red Weekly and Socialist Challenge as a political cartoonist, as well as contributing to various children’s comics for IPC from 1975-88.
In the 1970s and 80s he drew various humour strips for IPC comics, including “Dreamy Den”, “Strawbelly” and “Terror TV” for Buster, “Major Jump, Horror Hunter” for Monster Fun, “The Krazy Gang” and “Pongalongapongo” for Krazy, “Funtastic Journey” and “6 Million Dollar Gran” for Cheeky, “Lucky Dick”, “Winnie the Royal Nag”, “Starr’s Wars” and “Grim Gym” for Whizzer and Chips, “Gran’s Gang” for Whoopee!, and “Exercises” and “Roger Rental” for Oink.
He signed much of his political work “Blotski”, and he and Republican News cartoonist Cormac worked together as “Kormski”, drawing the anti-clerical strip “Dog Collars” for Fortnight Magazine. Since 1989 he has been the editorial cartoonist for The Irish News, a nationalist newspaper based in Belfast. Since 1996 he has contributed the “As I See It” feature to Hearts and Minds on BBC2 Northern Ireland. From 1997-98 he was political cartoonist for Ireland on Sunday.
Knox has cited Ronald Searle, Low, John Glashan, Vicky, Steve Bell, Pat Oliphant and Charles Addams among those who have influenced him.

 

IAN KNOX

“If you’ve got the issue right, victims don’t generally criticise you”
For 25 years he has shown that the artist’s pen can be mightier than the sword, by challenging paramilitary and state violence, while remorselessly mocking the hypocrisy and corruption of the powerful.
While the impact of Ian Knox’s penmanship may petrify even the most hardened politician, the artist himself cuts an almost shy figure.
Born in south Belfast in 1943 he quickly immersed himself in a lifelong fascination with cartoons and later satire.
“I can never remember a time when I wasn’t obsessed with drawing, particularly comics,” he said, in an interview with The Detail.
“The Beano was the one I wanted, but my mother had come home from New York and thought Disney was better, so I was the only one person who occasionally got Mickey Mouse comics.
“Everyone else wanted to read it. I wanted to read the DC Thompson comics which were far more anarchic and far more interesting I thought.
“In comics terms I was a Brit but everyone else were Americans.”
After studying architecture in Edinburgh for five years Knox started his professional career in London in 1968.

However he quickly became frustrated with the “soul destroying” monotony of life as a draftsman and eventually sought out salvation in the unlikely location of one of the capital’s more notorious hotspots.
“I went around Soho Square which I was told was the centre of the animation industry to a pub called the Dog & Duck, which is where I heard where animators hung out.
“I saw two guys that looked in my impression what animators might be and I approached them and they were.
“They told me the animation companies to try and eventually I talked my way in.”
For the next five years he worked as an animator in London and Canada but quickly realised once again that he had not yet found his artistic niche.
Throughout the late 1970s he worked for a combination of socialist magazines and children’s comics.
Knox attributes his interest in left wing politics to a Scottish history teacher, Archie Douglas.
“He didn’t actually bother much with the teaching. He just handed us out bound volumes of Punch from the 19th Century.
“It’s easier actually to get a 19th Century volume of Punch than it is to get a 20th Century volume. They are much rarer than the 1950s when Ronald Searle, Antonia Yeoman and all those fantastic artists were drawing.
“They had marvellous pen technique; there was vibrancy and malice.
“It wasn’t as wild as James Gillray and Thomas Rowlandson from the 18th Century, but it was still great stuff.”

In 1989 the Irish News’ then acting editor Terry McLaughlin agreed to allow Knox to work as a weekly cartoonist.
“I started doing cartoons for the Irish News on Saturdays and then eventually persuaded them to let me do it for the rest of the week.”
For the next 25 years Knox, adopting the pseudonym ‘Blotski’, used the power of his cartoonist’s pen to satirise the hypocrisy and double standards of countless public figures.
Ian Knox’s take on finding a replacement for Nuala O’Loan as Police Ombudsman for Northern Ireland
But how did he deal with the sensitivities of the latest atrocities and the pain of grieving families?
“It always hovering behind my shoulder. But it didn’t need to, because the kind of cartoon I did dealt with issues.
“If you’ve got the issue right, victims don’t generally criticise you. They want the truth. They did then and they still do. The truth is more important than anything else to them.
“If you’ve got it right, even if it’s horrible, the victims don’t object.
“I never shrank from any issue. The day I have to shrink from an issue I’ll pack it in.”
Through the Troubles ‘Blotski’ had one self-imposed rule which he refused to waiver or compromise on.
“The big guiding thing for me is anti-violence.
“Violence I think is the worst sin there is. I’m not religious, but nothing else comes near to violence.
“I mean fraud or anything is nothing like violence, there is no need for violence unless the only way to save your life is to use force.
“I was very suspicious of any violent action. I still am and that’s the one guiding thing for me – violence is wrong.”
He dismisses any suggestion that his role as a cartoonist was unique in that he was constantly under pressure to be topical and had to push the boundaries by challenging paramilitaries over the latest atrocity or politicians over the next political bun fight.
“Everybody in journalism was dealing with it (pressure). What I like is the realpolitik, to try and find out what is the motive of the person doing it and why are they being thoroughly dishonest and doing something atrocious for reasons which are quite false. My job is to show that up, really that’s it.”
Despite having publicly ridiculed virtually every well known Northern Ireland politician at one time or another, he says that very few of his subjects ever criticised his work.
“Hardly ever at all. I mean they may be seething quietly, but most people are far too polite to say anything, and never by victims, I’ve never been criticised by victims.
“Funnily enough all the political flack started flying after the Troubles and the atrocities stopped.
“Cartoons about financial things and such like have produced far more writs than any act of violence.”
He added: “I’ve never been to court in my life. I look forward to it when it happens.”
Knox remains his own worst critic, insisting that his early cartoons “weren’t very funny”.
“They are much better now, even if the situation is grim.
“If you can be funny about the issue the point gets over much better.
“Now, whatever the issue is, I try to make it look slightly funny.
“I think New York Jewish humour is very good like that and Glaswegian humour, grim but funny.”
Has his work become harder and issues now more difficult to find since the ceasefires and the establishment of the Stormont Assembly?
“It’s much easier, far easier. I’ve got the whole world now. I don’t have to deal with something awful. It’s 1,000 times better.
“Bread and butter politics are basically real politics.
“It’s so depressing that people, like the dissidents, want to use violence.
“They think it’s okay to use violence but inside their heads, what are they at?”
He said they should be constantly challenged: “They should be hauled before a television camera. Of course they wouldn’t come, but they should be made to justify what they’re doing or to try and explain.”
But in today’s age of wireless broadband and instant demand for news, is the cartoon still relevant in 2014?

“I think it is. It’s been going for centuries. Satire should be analytical, it’s not fiction. It should be about the truth.”
When asked if he has ever been threatened for his work he is matter of fact in his reply: “Not really.”
He remains conscious that fellow artists in other parts of the world have not been so fortunate.
“In 1993 as the Soviet Regime was collapsing in Russia, the creators of Spitting Image, Peter Fluck and Roger Law, tried to take satire to Moscow. It was all ready to be set up but one of the directors was assassinated the night before it went out. That was a warning and it never happened.
“There are Palestinian cartoonists in Israel. People who do decide to make it truth (are at risk). I am very fortunate here. I did a series recently here about the fantastic life, about Lord Castlereagh and people who were prepared to put their necks above the parapet in those days didn’t last very long. I’m living in fortunate times comparatively.”
But is the pen mightier than sword?
“I’ve never tried the sword. Certainly it’s the sword of my choice. It certainly gets to a lot more people.”
With a wistful grin Knox admits that there is an inner devil constantly striving to challenge and subvert the accepted norm.
“I love shoving my views down other people’s throats, but it’s much better if you slip it in without people realising it.
“It’s safer for me as well.”

Ian Knox

Giorgetti, Giorgio

The artist GIORGIO GIORGETTI (1920-1982) who was the creator/artist of Catgirl and left some of his original Catgirl work..given to his son Riccardo Giorgetti by the then CEO of IPC following his death.
His dad was Italian, but moved to England in 1950. He had his art studio at his home in Margate, Kent.
Hopefully the above info helps…
email address is riccardogiorgetti454@btinternet.com if anyone would like further info!
So many of those old IPC pages were destroyed or sold off, so it’s good to know those Cat Girl pages are with someone who deserves them.

Quitely, Frank

Scottish artist FRANK QUITELY is best known for his work on such series as ‘JLA: Earth’ and ‘Authority’. He began his career drawing for the Scottish underground magazine Electric Soup. He has worked on numerous titles since 1988, starting with the self-published ‘The Greens’.
This was followed by ‘Blackheart’, ‘Missionary Man’, ‘Shimura’, ‘Inaba’, and ‘The Kingdom: Offspring’. He drew for Judge Dredd and Fleetway since 1993, and did short stories for the ‘Big Book of…’ series of graphic novels for DC’s Paradox Press.
He illustrated the graphic novel ‘Batman: the Scottish Connection’, as well as several stories for DC’s Vertigo imprint, including Neil Gaiman’s ‘The Sandman’ and Grant Morrison’s ‘Flex Mentallo’. Marvel credits include ‘Captain America’ and ‘New X-Men’.

Minnitt, Frank

FRANK MINNITT (3 September 1894 – 12 May 1958) was a comic artist for the publications of D.C. Thomson and Amalgamated Press, and is best known for his work on the ‘Billly Bunter’ comic. During World War I, Minnitt served in the Coldstream Guards in France, where he suffered injuries from mustard gas. After the war, he held several jobs, before turning to an artistic profession. A completely self-taught cartoonist, Minnitt began to freelance joke drawings to newspapers. By 1927 he had successfully taken over several other artists’ strips, and his work was published in AP comics like Butterfly, Comic Life, Joker, Merry & Bright, Jolly and Sparkler.

In 1930, Minnitt tried his luck with DC Thomson, drawing ‘Peter Pranky’, ‘Smiler Smutt’ and ‘Jimmy and Jumbo’ for Adventure Comics. He also drew for the Fun Section of the Sunday Post, and The Dandy. At AP, he contributed ‘Stainless Stephen’ and ‘Will Hay’ to Pilot. He later drew among others ‘Kiddo the Boy King’, ‘Bob’s Your Uncle’ and ‘Merry Margie the Invisible Mender’.

These strips became so popular that Minnitt was asked to take over the ‘Billy Bunter’ strip the Knockout comic in 1939. This strip made Minnitt’s reputation, and was drawn by him until shortly before his death in 1958. His other serials for Knockout included ‘Merry Marjie’, ‘Kiddo the Boy King’ and ‘Ali Barber’. After World War II, he worked for several publishers on short-lived titles like Comicolour, Jingo Comic, Swell Comic and Big Laugh. In the final years of his career, several AP editors didn’t care for Minnitt’s old-fashioned style, and he found himself out of work, except for the ‘Billy Bunter’ comic.

McDiarmid, Frank

FRANK McDIARMID was a British, originally from Glasgow, comics artist best known for his work on Roger the Dodger in the Beano and on IPC humour titles such as Whizzer and Chips, Cheeky Weekly, Krazy Comic, Whoopee!, Wow! and Monster Fun. Strips he drew include Cheeky (for which he created an extensive supporting cast including Lily Pop, Yikky Boo!, Baker’s Boy and Constable Chuckle), Kid Kong, Boy Boss, Frankie Stein and Willie Bunk. He has since moved into the field of fine art.

I worked first of Dc Thomsons, who were responsible for the Beano and Dandy, they were masive. They had some great talent working there. I spent my time from 1955-1966 working for them. The first strip of any consequence I worked on was following on from Ken Reid at the Dandy, it was a story called ‘Big Head and Thick Head’, from 1962-1966. I followed in the footsteps of many well known artists Douglas Phillips, who drew ‘I flew with Braddock’ and Fred Sturrock who was well known for his Illustrations.
At the same time as working on Comic Characters back then, I also managed to get into the straight art market, in titles such as Rover, Hotspur, Wizard and Adventure, spy stories for Thomsons then… in those days there was a block illustration followed by two or three pages of prose. I did quite a few covers in those Boys papers.

Working at Thomsons the mentality was that it a job for life, and if you stayed with them you’d never need to work for anyone else. But I had to spread my wings, I knew there was so much more I could do…
So after eleven years I got a bit restless, and asked if I could work at home, which quite a few artists did. They gave me that short shrift, and said they prefer the idea to come from them.
I decided to go to London with some samples in my Spring holiday, just to see what the response was. In those days, Fleetway were just taking off with a whole stable of comics, and they loved what they saw. They gave me every encouragement and they had a lots of work for me.
The fleetway comics covered all sorts of titles … Lion, Tiger, Valiant, and the funnies such as Wham, Pow, Buster and eventually Whoopee and Whizzer and Chips…
I became a freelance artist, and in 1973 did Roger the Dodger. I worked on a lot of Characters through the years. I did four years of Texas Kid in TV Comic and a year and a half on Eagle in the early 1970’s. I worked on Boy Boss, Mustapha Million, Chruncher, The Gasworks Gang, Frankie Stein, and war comics such as Battle and many others.
But I am best remembered for Cheeky. I came on the scene when Cheeky was singled out for stardom. Bob Paynter, fleetway’s Group Editor asked me to do it. Bob’s idea when Cheeky emerged was that they’d use as much as my stuff as they could, seven pages a week.
Bob said I should drop Roger and concentrate on working for them. I said no. I had worked hard and I didn’t have to put all my eggs in one basket. This overlapped the Cheeky period, and occasionally artists would stand in for me. At least two thirds of Cheeky was drawn by me.
It was hard to have a favourite character. There was Posh Claude, Lilly Pop. They were all dear to me. My favourite strip was Cheeky by a mile, we were encouraged to be anarchic and mild. I still can draw most of the characters from memory … and there was a lot of them!
There also was the Snail. That was my idea. I was given a free hand – in fact was encouraged to come up with this stuff. Those characters Bubble Gum Boy, Libby, Disco Kid, Auntie Daisy and Walter Wurx. They were all good fun!
Who came up with the Jokes? In the strips he was referred to as Willie Cook, but in fact he was a character from Thomsons – full name of Gordon Cook – he came up with all the bad bones. I was in charge of coming up with all the scenes and things that were going on, the rubbish written in between-anything that would make it look different.
The pages were one and half sizes bigger than the comic, and was mechanically reduced down in London. The strips were drawn in pencil and then inked – but given the pressure of the work I was given a free hand and to go straight ahead, there was no requirement to show them. The Captions and Speech Bubbles was done down there by whoever. I never really did find out who did them. it was weird drawing a strip without seeing the text Bubbles! But what is weirder: I only met Bob Paynter about three times in my life. And yet he was the fountain head for all this nonsense that I was producing and having a great time!
I felt gloriously happy at the time seeing my work on display in newsagents up and down the country!
Ha Ha! Cheeky was my favourite to work on – a particular pleasure to draw because of the freedom I was given, I still have a slim volume of fan mail from back then.
I had my own art gallery in Arbroath when I started to work from home until 2000.

Frank McDiarmid

Solano Lopez, Francisco

FRANCISCO S0LANO LOPEZ (26th October 1928-12th August 2011) was a comics artist from Buenos Aires, Argentina, who entered the field in 1953 with the series Perico Guillerma. Acknowledged as one of the most influential Argentinian comic artists (at one point, he had to flee to Spain in order to avoid arrest, as his series El Eternauta touched on Argentina’s volatile political situation), he also worked extensively for Britain’s Fleetway comics such as Valiant, Buster, Smash!, Knockout (IPC), Score ‘n’ Roar, New Eagle and Lion, on strips including Adam Eterno, Kelly’s Eye, Janus Stark, Master of the Marsh, Nipper, Pete’s Pocket Army, Jet-Ace Logan, The Drowned World, Battler Britton and Galaxus: The Thing from Outer Space. In the 1990s he branched out into the field of erotic comics, proving that his range really was pretty much unlimited.

Bradbury, Eric

The great ERIC BRADBURY began his comic career at Knockout, working on such humour strips as Blossom and Our Ernie.

He moved onto the adventure western Lucky Logan, sharing art chores with Mike Western (Bradbury would go on to ink Western’s pencils on The Leopard from Lime Street).

High profile work on Mytek the Mighty (Valiant & Vulcan), the House of Dolmann (Valiant), Von Hoffman’s Invasion (Jet!), Death Squad (Battle), Hook Jaw (Action) and Doomlord (The Eagle) followed.

Bradbury has been described as an ‘unsung hero’ of 2000 AD, having contributed to many popular strips in the long-running sci-fi comic. His credits in the ‘Galaxy’s Greatest comic’ include Rogue Trooper, Tharg the Mighty, Invasion and The Mean Arena.

Dexter Watkins, Dudley

DUDLEY DEXTER WATKINS (27 February 1907 – 20 August 1969) was an English cartoonist and illustrator. He is best known for his characters Oor Wullie and The Broons; comic strips featuring them have appeared in Scottish newspaper The Sunday Post since 1936, along with annual compilations. Watkins also illustrated for comics such as The Beano, The Dandy, The Beezer and Topper, and provided illustrations for Christian stories.
Watkins was born in Prestwich, Lancashire, England, although the family moved to Nottingham while he was still a baby. His father was a lithographic print artist who noted the boy’s early artistic talent and ensured that he received extra art classes at the Nottingham School of Art. By the age of 10 the local newspaper declared him a “schoolboy genius.” He studied at Nottingham School of Art, and while working for Boots Pure Drug company in the early 1920s, Watkins’ first published artwork appeared in Boots’ staff magazine, The Beacon.

In 1924 Watkins entered the Glasgow School of Art. In 1925 the school principal recommended Watkins to the thriving publisher D.C. Thomson, based in Dundee. Watkins was offered a six-months employment with D. C. Thomson, so he moved to their Dundee base and began providing illustrations for Thomson’s “Big Five” story papers for boys (Adventure, Rover, Wizard, and later Skipper and Hotspur). The temporary employment turned into a full-time career; for several years he was just another illustrator, supplementing his small salary by teaching life drawing at Dundee Art School. In 1933 Watkins turned his hand to comic strip work, and soon his editor noticed that Watkins had a special talent as a cartoonist. In 1933 he drew The Rover Midget Comic and in 1934 he drew The Skipper Midget Comic. In 1935 Watkins’ first regular comic strip, Percy Vere and His Trying Tricks appeared; the titular character was an inept magician whose tricks usually backfired on him. The strip ran for nearly two years, finally being replaced with another Watkins creation, Wandering Willie The Wily Explorer (Willie’s hard-boiled characteristics would later re-appear in the form of Desperate Dan). While Percy was still appearing in Adventure, Watkins co-created, with writer/editor R. D. Low, what would become his most famous characters, Oor Wullie and The Broons. They were part of the first issue (8 March 1936) of a weekly eight-page pull-out ‘Fun Section’ of The Sunday Post. He was soon illustrating the Desperate Dan strip for The Dandy comic, launched in December 1937.

His workload was further increased when D.C. Thomson created The Beano, an eight-page comic booklet, with Watkins being responsible for drawing the Lord Snooty strip. The Beano’s first edition was dated 30 July 1938. When the Beezer and Topper were launched in the 1950s, Watkins was responsible for illustrating the Ginger strip (based largely on Oor Wullie, but unlike that strip the text was written in standard English and not in Scots vernacular) and the Mickey the Monkey strip for the two comics.
Watkins’ most enduring adventure strip was Jimmy and his Magic Patch, which debuted in the 1 January 1944 issue of The Beano and ran for 18 years.
Watkins was one of only two D. C. Thomson cartoonists who signed their work (beginning in June 1946), which was known for its intricate detail and unique style. The other brilliant cartoonist to sign his work was Allan Morley and he was the first to do so.
Watkins and his wife built a substantial house in Broughty Ferry, which he named Winsterly. He continued working with D. C. Thomson for the rest of his life. On 20 August 1969 he was found dead at his drawing board, victim of a heart attack.
It is a testament to Watkins’ work that D. C. Thomson continued to reprint Oor Wullie and Broons strips in The Sunday Post for seven years before a replacement was found. Watkins’ Desperate Dan strips were reprinted in The Dandy for fourteen years.
In a 2006 BBC documentary marking 70 years of Oor Wullie, it was claimed that, due to his frequent mocking of Axis leaders in his comics before and during World War II, Watkins’ name was on a list of enemies of the Third Reich.

Millington, Dick

DICK MILLINGTON is best known for his Fleetway comics in the 1960s and 1970s and for the comic strip ‘Mighty Moth’ in TV Comic. He attended St. Martin’s School of Art and began his career in 1947 as a letterer for the Daily Mirror. He became a freelance cartoonist for the United Feature Syndicate in the US in 1963. For Fleetway, he created many comics during the 1960s and 1970s, including ‘Ray Presto’ (for Krazy), ‘Happy Families’ (for Whizzer & Chips’), ‘Jolly Roger’ and ‘Hover Boots’.

In 1966, he became editor of children’s comics like TV Comic, Pippin and Playland. One of his best known creations is ‘Mighty Moth’, that ran in TV Comic from 1959 to 1984. He also scripted ‘The Telegoons’ (art by Bill Titcombe, 1963-67) and ‘Barney Bear’. Other comics he drew for the magazines he edited were ‘Basil Brush’ (TV Comic) and ‘The Moonbeams’ (Pippin, 1967-84). In later years, Millington has been working on ‘The Guinness Book of Records’ for the Mail on Sunday and on the ‘I Don’t Believe It’ strip cartoon in the Daily Mail. He passed away at the age of 81 at his home in Kent after an illness on 4 February 2015.

Gifford, Denis

DENIS GIFFORD (26 December 1927 – 18 May 2000) was a British writer, broadcaster, journalist, comic artist and historian of film, comics, television and radio. In his lengthy career, he wrote and drew for British comics; wrote more than fifty books on the creators, performers, characters and history of popular media; devised, compiled and contributed to popular programmes for radio and television; and directed several short films. Gifford was also a major comics collector, owning what was perhaps the largest collection of British comics in the world.

Gifford’s work in the history of film and comics, particularly in Britain, provided an account of the work in those media of previously unattempted scope, discovering countless lost films and titles and identifying numerous uncredited creators. He was particularly interested in the early stages in film and comics history, for which records were scarce and unreliable, and his own vast collection was an invaluable source. Gifford produced detailed filmographies of every traceable fiction, non-fiction and animated film ever released in the UK, and of early animated films in the US.
He compiled the first comics catalogue attempting to list every comic ever published in the UK, as well as the first price guide for British comics. His research into the early development of comics and cinema laid the groundwork for their academic study, and his reference works remain key texts in the fields.

Gifford was also a cartoonist and comic artist who worked for numerous titles, mostly for British comics in the 1940s, 50s and 60s. Although these were largely humour strips, he worked in a range of genres including superhero, Western, science fiction and adventure.
Gifford was born in Forest Hill, London, the only son of William Gifford, a printer, and Amelia née Hutchings. He grew up in the prosperous South London suburb of Sydenham, but was evacuated during the war to Tonbridge, Kent.

Gifford attended the South London private school Dulwich College (1939–44), and while a pupil there was an avid comic collector and cartoonist. He produced a comic, The Junior, using heated gelatine and hectograph ink, which he sold for 1d around the school, but had published comics art by the time he was 14 (1942).
Gifford became friends with Bob Monkhouse, a Dulwich schoolmate, fellow schoolboy cartoonist and later TV comedian and presenter, who studied in the year below and also had cartoons published while at the school. Gifford and Monkhouse collaborated on comics writing and drawing, a partnership that was to continue for many years in various forms, including as radio scriptwriters. The two toured together as a comedy act in the south east of England in the late 1940s with Ernie Lower’s West Bees Concert Party, giving charity performances with Monkhouse as the ‘straight man’. Gifford continued drawing during National Service in the Royal Air Force (1946-8), in which he served in the clerical position of ‘AC1 Clerk/Pay Accounts’, and went on to draw the Telestrip cartoon for the London Evening News.
Comic art and comic writing: 1942–82
Gifford’s prolific career as a cartoonist included both newspaper strips and comics, almost entirely for British publishers. His first published work was Magical Monty for All-Fun Comics (1942) at the age of 14, with a contribution to The Dandy the same year, and briefly worked as junior cartoonist for the newspaper Reynold’s News (1944–45). He collaborated on comics writing and drawing with school friend Bob Monkhouse while they were still pupils at Dulwich College together.
After his National Service, Gifford drew the Telestrip cartoon for the London Evening News, continuing in Rex magazine (1971–72), and on bubblegum and cigarette sweet packets. Other newspaper strips were produced by Gifford for Empire State News and Sunday Dispatch.
Gifford’s early work was with D.C. Thomson and the majority of his work was for humour strips, but he went on to cover various genres and styles, including adventure, detective, science fiction, Western and superheroes.

Gifford was most productive as a comics artist in the 1940s, 50s and 60s. By the early 1970s Gifford’s writing career, mainly on the subjects of comics and film history, began to take over from his work as a cartoonist in his own right.
Gifford had a distinctive, simple drawing style with a light-heartedness evident even in more action-orientated strips. Panels were often bustling and dynamic, with individual characters vying for attention. His humours strips were dense with conspicuously labelled puns and ‘sight gags’, the “visual conventions” of comic art, informed by an intense awareness of the cultural heritage of the medium.
In the period Gifford drew for them, D.C. Thomson and most British comic publishers had a strict policy that artists could not sign their work but exceptionally, he was allowed to clearly sign his art.
Golden Age superheroes: 1945–49
Gifford created at least three of the earliest British Golden Age superheroes, Mr Muscle for Dynamic Comics (1945), Streamline, whose #1 tagline proclaimed him “The speediest fighter in the world”, co-created with Monkhouse for Streamline Comics (1947) and Tiger-Man, debuting in Ray Regan #1 (1949). Gifford himself credits “the first British superhero in the American comic book style” to Derickson Dene by Nat Brand in British anthology comic The Triumph in 1939, but both Mr Muscle and Streamline were early attempts to introduce British characters in a characteristically American genre, prompted by severely limited imports or reprints of US superhero titles due to wartime paper rationing and import restrictions. Gifford and Monkhouse set up their own publishing company, Streamline, in the early 1950s which published reprints of other Golden Age superheroes such as Captain Might and Masterman.
Only Streamline Comics #1 had story and art by Gifford, although he contributed the one-page humour strip Inky the Imp of the Inkpot and the adventure strip Search for the Secret City in #4.
Mr Muscle should not to be confused with the later DC character Mister Muscle of Hero Hotline, created by Bob Rozakis, or the Charlton Comics character Mr. Muscles, created by Jerry Siegel. Tiger-Man should not be confused with Tiger Man, the Street & Smith Golden Age hero, Tigerman, the Fiction House Golden Age hero, or Tiger-Man, the Atlas/ Seaboard character.
Gifford projects: Ray Regan, Star Comics, Panto Pranks: 1946–50s
Gifford created, wrote and edited several comics in the 1940s and 1950s. These included detective title Ray Regan (1949), with art by Ron Embleton, the pantomime-themed Panto Pranks (1949), which Gifford wrote and drew, Fizz Comics (1949) and Star Comics (1954), which he drew and edited with Monkhouse, featuring strips of contemporary entertainers Morecambe and Wise, Bob Monkhouse himself, Jill Day and movie character Tobor The Great. These titles created by Gifford often ran for just a single issue, to take advantage of a loophole in postwar paper rationing, but the succession of short projects suited Gifford’s diverse interests as it enabled him to flit from genre to genre.
Western strips: Roy Rogers and others: 1946–61
Gifford drew and often wrote a number of Western comics strips in the 1940s, 50s and 60s, including ‘Ace High’ Rogers versus Redmask (1946),[16] Bill Elliott in Republic’s Old Los Angeles in The Sheriff #3 (1948) and strips for Annie Oakley (1957–58)[18] and Gunhawks Western (1960–61).
Gifford provided art for movie adaptation strip Roy Rogers in Western comic The Sheriff Comics (no date, 1950s), signing himself ‘Gus Denis Gifford’ and offering a drawing style [in which] “[h]is likenesses could approach very close to the American ones produced by Harry Parks”, consistent with Gifford’s busy, comical style in other genres.
Humour strips: Knockout, Whizzer & Chips and magazine strips: 1946–71
Gifford and Monkhouse contributed cartoon strips to various magazines in the 1940s and 1950s, including Galaxy magazine (1946) (not to be confused with Galaxy Science Fiction).
Gifford drew the cover for Classics Illustrated #146 (British series), Adventures of Baron Munchausen (1962), a more comedic and cartoon-like rendering than was conventional for the title’s covers, which tended to be classically heroic and often painted.
Gifford went on to produce several strips for the highly popular humour comic Knockout, including Our Ernie (1950), Stoneage Kit the Ancient Brit and his own creation, the gags and puzzles strip Steadfact McStaunch. He later revived Steadfast McStaunch for a run in IPC’s new title Whizzer and Chips[22] (1969), which itself merged with Knockout in 1973.
Anglo Studios: Marvelman, Captain Miracle, Super DC, TV Tornado: 1954–71
After working with Mick Anglo on the ABC science-fiction title Space Comics (1953–54), Gifford began work for Anglo Studios when it was set up in 1954, including a long stint writing and illustrating early Marvelman, the superhero reinvented in the 1980s with a darker vision by Alan Moore. Gifford worked on a number of strips in several titles in the Marvelman stable, and created the light-hearted backup features Flip and Flop and The Friendly Soul. He also wrote an editorial piece, Founding a Family, on the history of Marvelman Family for a 1988 reprint of the strip in Miracleman Family #2.
When Anglo took on US reprint series Annie Oakley, Gifford was one of the staff of British and Spanish artists used to create new strips (1957–58). Gifford went on to provide Western strips for Anglo Features title Gunhawks Western (1960–61) and humour strip Our Lad for Anglo’s Captain Miracle (1961) contributed several humour strips for Anglo’s anthology of Silver Age DC reprints, Super DC (1969–70),[23] as well as reprints of his humour strip The Friendly Soul from Marvelman in Superman Bumper Book (1970) and Super DC Bumper Book #1 (1971). Later in the 1960s, Gifford also produced the one-off News of the Universe Television Service and regular humour strips Dan Dan the TV Man and the collection of one or two-panel gags, Jester Moment for TV Tornado (1967–68) where Mick Anglo was editor.
Although Gifford did not have an academic background, he was an acknowledged authority on film history who is respected by academics in film studies, media studies and social and cultural history. Much of his reference work is recommended reading in these disciplines. Along with several other pioneering film archivists, Gifford’s ‘encyclopaedic work’ was recognised by the Institute of Historical Research as having “provided thoroughgoing maps of British film personnel and production histories”.
Gifford compiled a comprehensive reference work of British-made films, The British Film Catalogue, 1895-1970: A Reference Guide, listing every traceable film made in the UK, including short films generally omitted by film catalogues, with detailed entries including running time, certificate, reissue date, distributor, production company, producer, director, main cast, genre and plot summary. It was a labour of many years, as Gifford tracked down retired industry professionals and researched back issues of trade publications, fanzines and directories. The Catalogue’s third (1994) edition revised all entries and was published in two volumes, The Fiction Film, 1895–1994 and The Non-Fiction Film, 1888–1994. It became a seminal work for British film historians, acclaimed by The British Film Institute (BFI)’s curator of Moving Image in a Sight & Sound magazine shortlist of the best ever film books: “The nearest we have to a British national filmography was created not by any institute or university but by one man.” Gifford’s popular work A Pictorial History of Horror also made the shortlist.
All editions of the Catalogue omitted animated films, but Gifford’s British Animated Films, 1895–1985: A Filmography provided a similarly completist approach. Over 1200 films were detailed, attempting to include every British animated film of the period with a cinema release, whether full-length feature, short, public information film or advertisement. Gifford also provides an historical overview, giving particular attention to the pre-World War II era. As he was to attempt with the history of comics, Gifford sought to correct inaccuracies in cinema history that gave undue credit to the US industry, citing Dudley Buxton “who [in 1915] first animated the sinking of the Lusitania in all its terrifying drama, three years before Winsor McCay tackled the same subject in the United states. Yet according to film history, McCay’s version was the world’s first dramatic cartoon film!”
Gifford’s writing also included biographies of cinematic figures, including Karloff: The Man, The Monster, The Movies and The Movie Makers: Chaplin, with his meticulous research and detailed knowledge well suited to the form.
Gifford was a judge at the Sitges 1977 International Festival of Fantasy and Horror.
The BFI holds an extensive archive of interviews recorded by Gifford of various figures in the film, television and comics industries. The Denis Gifford Collection is held as part of the BFI National Library. The BFI ran a Denis Gifford Tribute Evening at the National Film Theatre in January 2001 to mark his work on film history.]
As well as vintage comedy, Gifford had a particular interest in genre films, favouring the origins of those genres and the lower-budget B-movie output. He had written for science fiction fanzines since the 1950s, which he regarded as the period in which the genre gained maturity in the cinema: “it was the 1950s before sci-fi really got started, first with George Pal’s astounding semi-documentary Destination Moon pipped at cinematic post by Robert L. Lipert’s B-movie Rocketship X-M. Where the cinema led, comics followed.” He had attempted to spur early science fiction ‘fandom’ with his 1952 Space Patrol Official Handbook, an introduction to science fiction that included an index of ‘films of future fantasy’ from the 1902 French ‘trick’ film A Trip to the Moon by Georges Méliès and the 1918 Danish A Trip to Mars up to contemporary films such as the 1951 The Day the Earth Stood Still, screen shots from recent science fiction films The Man From Planet X, Rocketship X-M, The Day the Earth Stood Still and When Worlds Collide. Astronomical facts and diagrams of imagined spacecraft and spacesuit, drawn by Gifford, were also included.
Horror held a special fascination for Gifford: he was an active figure in horror fandom of the 1950s, 60s and 70s, including the Gothique Film Society, and in the 1970s he had regular columns in Dez Skinn’s House of Hammer magazine, first a serialised Golden History of Horror and later History of Hammer. However, Gifford had been deeply critical of Hammer Studios, especially the productions of its later years, preferring the more understated examples of early British and Hollywood horror. He found Hammer’s relatively explicit use of blood-letting and sexuality to be cynically exploitative, noting in his 1973 A Pictorial History of Horror that “The new age of horror was geared to a new taste. Where the old films had quickly cut away from the sight of blood, Hammer cut in for a closeup.” A Pictorial History of Horror was an influential work for a generation of film and horror enthusiasts, described in The Paris Review by author and journalist Dave Tompkins as “the most important book of my childhood”.
Gifford was a lifelong fan of Laurel and Hardy, and founded ‘Film Funsters’, the first British branch of the Laurel & Hardy Appreciation Society, as well as writing several articles on the duo. He was also a keen Sherlock Holmes enthusiast, and was a member of the Sherlock Holmes Society and wrote various reviews and articles on films featuring the detective.
Gifford wrote numerous articles on film and popular entertainment, both professionally and for fanzines.
Although a highly respected film historian, Gifford’s professional involvement in cinema was relatively limited. However, in the 1950s and 1960s he directed and photographed a number of short films, most of which were publicity and public information films commissioned by the British Government. He also produced and directed the Pathe newsreel Highlight: The Singing Cinema (1964), a compilation of extracts from British musical films from 1929–64.
While at Pathe, Gifford married Angela Kalagias, a fellow Pathé employee. The couple, who later divorced, had one daughter, Pandora Jane, born in 1965.
Gifford scripted the Space Race spoof Carry on Spaceman in 1962, but although scheduled the film was not shot.
Gifford was regarded by many as the UK’s pre-eminent comics historian, particularly of early British comics. The British Library provides catalogues and reference works written by Gifford as assistance to researchers of its British Comics Collection, and indeed most of the reference works on the subject provided by the British Library were written by Gifford.
Comics scholarship, still relatively undeveloped in comparison to other media, was almost non-existent in 1971, when Gifford published his first book on comics history, Discovering Comics. At that time, no comprehensive archive of British comics existed, no fully researched cataloguing had been attempted, the mass pulping of comics in Britain in the 1940s meant that many issues and even titles were lost without effective records, no university courses were dedicated to the study of the medium, and serious research and debate had not taken place into the origin and development of the comic as a form. Gifford was determined that the comic should gain a credibility in mainstream culture and academia which it already possessed in continental Europe, and to a lesser extent the US: “Curiously, only Great Britain, where the comic paper was born, takes its comics for what they superficially seem – ephemera to be discarded as soon as read.”Although enthusiastic about comics of every era, Gifford had a particular passion for vintage comics, “earlier in the medium’s evolution, when it was a chaos of one-offs, irregular schedules, and a comic historian’s nightmare of inept publishers operating from the back rooms of run-down bookshops on a shoe string budget.”
Gifford provided the first reliable, detailed account of early comics in works such as Victorian Comics (1976) and The British Comics Catalogue, 1874–1974 (1974), with a detailed overview in his International Book of Comics (1984). He also advanced debate on the origins of comics, including what the first comic and comic characters were, arguing that “there is no point [in the history of comics] where we can pick up a paper and declare it Comic Number One.” He identified the first comedic narrative periodical, as an antecedent to the comic as The Comick Magazine (1796) which although all text included a single William Hogarth print per issue, which Gifford suggested when combined formed a “narrative sequence … [so that] they could be described as an early form of comic strip.” Gifford identified the significant stage of “the first continuing cartoon hero” as Rowlandson’s Dr Syntax in the serial The Schoolmaster’s Tour in The Poetical Magazine (1 May 1809). He argued that “in Europe, perhaps the world” the first caricature magazine, an important prototypical form of the comic, was Hopkirk’s The Glasgow Looking Glass (11 June 1825).
Gifford located the origin of the modern graphic narrative in the late nineteenth century, tracing development through various stages that included Judy – The London Serio-Comic Journal (1 May 1867) featuring Ally Sloper, the first recurring character in a text and picture serial. He observed in Victorian Comics that Sloper “was the first to appear in comic book format … a paperback reprint collection … the first to have his own comic paper … and was the longest lived [character] in comic history.” He suggested a key contender as the first comic as being the paper Funny Folks (12 December 1874), which had an unprecedented half-picture, half-text per page layout. Sloper’s debut was certainly a series of panels, but it lacks “interdependence as a sequential narrative strategy” with images each relaying a single joke without forming a narrative with other panels, and it lacked some key features of the form, such as the speech bubble, while it had accompanying text for each image. Debate continues, but Gifford’s research and conclusions into the origins of comics as a medium have gained considerable academic acceptance.
Ally Sloper was championed by Gifford as the world’s first ever comic character, and became a totemic figure for him, being revived and sometimes drawn by him in a number of comics and other publications that sought to ensure a modern readership had an awareness of early comic history. The Ally Sloper magazine was not a commercial success and lasted only four issues, but the innovation of Gifford’s tone in the title was acknowledged by one cultural historian as “[w]ith his accurate spoof of the style of traditional British humour comics … anticipat[ing] Viz by nearly three years.” He produced artwork for advertisements for an Ally Sloper T-shirt, which was published in several Alan Class Comics titles in 1976, to promote the Ally Sloper magazine. Gifford also initiated the Ally Sloper Awards in 1976, an annual prize for veteran comic artists.
At a summit on comics history convened by the 1989 Lucca Comics Festival in Italy, Gifford was invited to be one of the eleven ‘international specialists’ to sign a declaration that The Yellow Kid was the first comic character having been first published in 1895. Gifford signed, but pointedly did so in the name of Ally Sloper, first published in 1867.
Gifford sought to draw a distinct definition for British comics history, as the Golden Age and other historical eras of comics were first defined to describe US comics history. These eras relate to UK comics only as a result of American influence on the UK market and creators, and do not acknowledge key differences in British comics of the period, notably the preponderance in Britain of humorous anthologies rather than the genre titles, most especially superheroes, that predominated in the US. Gifford observed that the “Thirties were the Golden Age of British comics” due to the profusion of successful, high quality and specifically British humour comics beginning in the 1930s, including D.C. Thomson’s The Dandy (4 December 1937), The Beano (30 July 1938) and Magic (22 July 1939) and Amalgamated Press’s Jingles (1934), Jolly (1935), Golden (23 October 1937), Radio Fun (15 October 1938), Happy Days (8 October 1938) and Knockout (4 March 1939). The start of the Second World War in 1939, and the resulting paper shortages, marked the end of many of the titles, a definable end to the era and the beginning of what Gifford termed the “Dark Age”.
Gifford’s Ally Sloper #1, his 1976 attempt to find a modern audience for the character he argued was the world’s first in comics
Gifford’s The British Comics Catalogue, 1874–1974 (1974) was the first comprehensive index of British comics, and his later British Comics, Story Papers, Picture Libraries, Girls Papers, American Reprints, Facsmilies, Giveaways Price Guide (1982) the first attempt to offer a price guide for British comics (US comic books had been covered by The Overstreet Comic Book Price Guide since 1970). It was the antecedent of works such as the Official Comic Book Price Guide for Great Britain (1989).
Gifford had a particular interest in children’s comics. Although his collection included 1960s underground comics, the alternative comics of the 1970s as well as the more experimental mainstream of comics’ Modern Age, he was not initially convinced by changing conceptions of comics as a medium suited to addressing adult themes such as sexuality, violence and storytelling techniques influenced by literary fiction, cinema and art. He recognised that the growth in adult readership of comics since the 1970s was due to nostalgia, but did not foresee the potential for a development of the medium. “And nostalgia is escape. The comics – the best of them – represent wholesome innocence, a marvelous sense of fun and a pointer to current times perhaps, the triumphant overcoming of all sorts of difficulties.” When children’s comics began to reflect changes in cinema and mass culture, he was unafraid to speak out, even where this might involve constraints on the comics industry and creators.
After media outrage at the 1976 Look Out for Lefty strip about football hooliganism in the IPC comic Action, Gifford controversially drew parallels with the Wertham censorship of the US comics industry in the 1950s, remarking that “Perhaps its time we had another outcry against products like Action. Action is a new kind of comic geared to the lowest form of behaviour in children. Just as pornography caters for a mass market for adults, stuff like this provides violence for a mass market of children. As far as the people who produce Action are concerned, the children are simply a market and moral considerations do not apply.” Despite 2000 AD (#1 published in 1977) producing iconic characters and innovative and critically acclaimed stortelling and art, Gifford had similar reservations about its violent content: “Whether children would actually enjoy living in [the future] … is another matter, for as depicted … the future is a world of unrelieved violence.” Gifford was clear that his preferences in comics writing and art were informed by his nostalgia for UK comics of the 1930s, reflecting that “I look back to the days of my youth … when comics were things of joy and pleasure, rather than blood and guts.”
However, Gifford’s concerns were limited to comics intended for children and adolescents, and he was well aware of a development of the medium for an adult audience. He collected and was able to appreciate the content of underground and Modern Age comics, offering sophisticated and sometimes sympathetic analysis. Gifford’s own Ally Sloper comic (1976) offered a combination of vintage and alternative strips for an adult audience, although the nostalgic strips were his primary interest.
Working for the Guinness Book of Records as a comics expert, Gifford had to qualify his recommendation that The Dandy be regarded as the world’s oldest comic (first issue December 1937) after the entry was challenged in 1999. The first issue of Italian comics magazine Il Giornalino was cover dated 1 October 1924, US comic book Detective Comics (March 1937) began nine months earlier, and the Belgian comic magazine Spirou had more issues. Gifford admitted that “[i]t may be that we will have to insert the word British into the Guinness Book of Records to clarify the position.”
Gifford’s work The Golden Age of Radio was the first reference guide to programmes, broadcasters and catchphrases of radio of the 1930s and 1940s, and remains an important source for researchers in radio history.
Gifford was working on a filmography and history of 1930s British television, but died before its completion.
Gifford wrote extensively for comedy and light entertainment in both television and radio, his work often reflecting his fascinations of radio and film nostalgia and cartoon art.
Gifford wrote the first television series of comedy stars Morecambe and Wise, Running Wild (1954), having been brought in with fellow cartoonist, comic enthusiast and film buff Tony Hawes to save a series which was initially panned by critics. He also provided material for the opening night of ITV (1955) and co-wrote the first comedy show to be screened by BBC2, the TV movie Alberts’ Channel Too (1964) for the launch of the channel, although the whole evening’s broadcasting was lost due to a power blackout. He wrote for Junior Showtime (1973), devised the nostalgia panel show Looks Familiar (1970–87) for Thames TV, presented by Denis Norden, its radio counterpart Sounds Familiar and the Thames quiz show Quick on the Draw (1974–1979) featuring drawings by cartoonists and celebrities, with presenters including Bob Monkhouse, Rolf Harris and Bill Tidy. He also wrote scripts for the ITV children’s puppet shows Witches’ Brew (1973) and The Laughing Policeman (1974). Gifford also designed stunts for the popular BBC1 game show The Generation Game.
The scriptwriting partnership with Hawes began in radio, for weekly BBC concert party The Light Optimists (1953) and continued with stunt devising for the US-bought game show People Are Funny for Radio Luxembourg.
A broadcaster in his own right, Gifford featured in numerous television and radio programmes as an expert in the history of film, radio and comics, as well as appearances in a variety of documentary and news magazine programmes over several decades. Appearances included editions of BBC’s On The Braden Beat (1964) commenting on comics, Granada’s Clapperboard (1974) and a review of forthcoming horror films for BBC1’s Film 1973 (1973), Goon but not Forgotten, a radio history of the Goon Show as part of the Laughter in the Air: The Story of Radio Comedy (1979) and twice as guest panellist for Radio 4 panel show Quote… Unquote (1985).
Gifford and Monkhouse reprised their partnership with BBC radio programmes on the history of the comics, Sixpence for a Superman (1999) on British comics and the two-part A Hundred Laughs for a Ha’penny (1999), a history of comic papers.
Gifford also regularly wrote obituaries of notable figures in comics, film and entertainment history for British national newspapers The Independent and The Guardian and posthumously for the Oxford Dictionary of National Biography, drawing on his specialist knowledge and often personal familiarity with the subject. His output was prolific and constant, with his own obituary in The Guardian noting that “[h]is last commission was phoned in from his home in Sydenham, south London, to his editor on Thursday, May 18; it is thought he died the same day.”
Gifford’s most valuable research resource was his own collection, as in over sixty years he had accumulated what is generally recognised as the largest comic collection in the UK and the largest collection of British comics in the world, including the only known complete runs of all comics published in the UK in the 1940s. He collected the first and last issues of all comics published in the UK, as well as Christmas issues and other special editions, and also collected first issues of US comics. To a lesser extent, first issues of comics from other countries were also collected. Gifford was also a collector of other ephemera, including pulp books, popular magazines, theatrical programmes, film and comic fanzines, original film scripts and sheet music, as well as pop culture memorabilia, describing himself as “the keeper of the nation’s nostalgia” and with a collection that included periodicals not to be found in the British Library.
It was an obsession which dominated both his life and his South London home, once described in a colour supplement interview as the den of “a boy who had run away from home” and never returned. A reliable figure was never established for the size of his collection, but its scale constrained movement throughout the house and extended into every room, even the kitchen: “There are comics on the stove, on the fridge, on the floor. Denis Gifford can still use his grill, but roasts are a memory for he can no longer open his oven. The fridge filled up years ago, for Denis is fascinated by the free gifts that come with some comics … There are lollipops in the fridge now, and Desperate Dan nougat.”
Unusually for a collector, Gifford’s interests were defined by their eclecticism, including comics, radio recordings and film from throughout the world and spanning from the origins of the media up to new releases. His own ‘biog’ for a 1975 book calculates his collection “extends to some 20,000 issues” but is careful to limit the estimate to the particularly British form of ‘comic papers’ which excluded his vast collection of American comic books, and in any case accumulated many more in the next 25 years of his life. He had certain specific interests, notably British horror films of the 1930s to the 1960s, early cinema and radio, Laurel and Hardy movies and memorabilia, British comic papers of the late nineteenth century and British and US comics of the 1920s, 1930s and 1940s, especially those which featured personalities from contemporary radio. However, the parameters of his interests and collection broadened substantially throughout his life.
Gifford’s collection had suffered an early setback, an anecdote related by Bob Monkhouse: “You cannot begin to imagine his grief when he completed his National Service to return home to find that his mother had thrown away his huge collection of Film Fun, The Joker, Merry and Bright and a dozen other titles … Denis was to spend the rest of his life trying to replace those lost copies.” Gifford’s mother was later to express deep regret at their destruction.
Despite his hopes that his vast collection might form the basis of a national museum of comics, through an archive such as the Victoria and Albert Museum National Art Library Comics and Comic Art Collection, it was broken up and auctioned off after his death, “leaving 12 tons of paper at his home to be cleared and sorted.” Monkhouse reflected in the foreword to auction catalogue of The Denis Gifford Collection on how one “whose researches were so meticulous have allowed this vast gathering of treasures to have swollen into such unruly and uncatalogued confusion”. The sale was described in the auction pamphlet as “surely the largest private collection of annuals, books, cartoons, cinema history, comics, ephemera & original artwork ever to come on the market. The collection, housed in some 600 boxes and weighing ten tons, arrived on a groaning lorry and took five men nearly three hours to unload. We expect sales to run to some 4000 lots.”
Gifford’s collection was the product of his lifelong passion for comics and popular culture, and his highly prolific research work was an attempt to provide a comprehensive history of the ephemeral. Particularly in the early decades of his writing on the subject, pop culture drew little attention from academic research and Gifford was particularly passionate about the most obscure examples of vintage comics, film, television and radio, and determined that they should be recognised, chronicled and remembered before extant copies were lost.
Gifford was a pivotal figure in the development of comics “fandom” in the UK, first through his writing and publishing of early fanzines in the 1950s. In the 1970s he helped introduce comics conventions to the UK, events where creators and industry figures could meet and respond to comics fans. It was a significant progression of the already established comics marts where comics were simply sold, and in which Gifford was a key figure, providing the introductory presentation at the Comic Mart Summer Special 1974 and other UK events.
In 1974 he was the only comics industry guest at an early meeting of Britain’s major comics convention, Comicon 74. Gifford organised Comics 101 in 1976, the first convention dedicated to British comic creators, with guests including celebrated figures in British comics including Frank Hampson, Leo Baxendale, Frank Bellamy and Ron Embleton, Marvelman creator Mick Anglo and Garth creator Steve Dowling, Gifford conducting an on-stage interview with Dowling. The name of the convention was a reference to the 101 years since the first issue of Funny Folks (1874) which Gifford regarded as the first comic.
In 1977 Gifford co-founded the Society of Strip Illustration, a network for all those involved in any stage of the creative process of comics production which later became the Comic Creators Guild. In 1978 he established the Association of Comics Enthusiasts, whose newsletter Comic Cuts ran for 14 years proper and, as a section of UK comics fanzine The Illustrated Comics Journal, until his death. Gifford also wrote extensively for comics magazines and fanzines, particularly Comic Cuts, and it was here that he wrote some of his most specialist work on comics history and criticism.
Prizegiving of the first Ally Sloper Awards for comic creators also took place at Comics 101, with Bob Monkhouse presenting.
Gifford continued to organise, guest and attend comics conventions throughout the 1970s, 80s and 90s in the UK, USA and throughout Europe, including regular guest appearances the Lucca International Comics Festival, was an official guest at the first UK Comic Art Convention (UKCAC) in 1985 and was a guest speaker at the 1st UK Paperback and Pulp Bookfair in 1991.
Gifford created the Ally Sloper Awards, a series of awards to recognise veteran British comics artists. The award was first presented in 1976, but no longer runs.

Sutherland, David

DAVID SUTHERLAND is a prolific and longtime contributor for DC Thomson’s children’s comic The Beano. Among his early features were ‘Danny on a Dolphin’ (1960), ‘The Great Flood of London’ (1960-61), ‘The Cannonball Crackshots’ (1961) and ‘Lester’s Little Circus’ (1962-63). In 1963, Sutherland took over the ‘Bash Street Kids’ in Beano from the departing Leo Baxendale. In 1967 he additionally created the well-liked adventure strip ‘Billy the Cat’ and, following the death of Dudley D. Watkins, Sutherland took over ‘Biffo the Bear’ in 1969.

Then, in 1970, he was chosen as a permanent replacement for David Law on ‘Dennis the Menace’. He also drew the spin-off strip about Dennis’ pets Gnasher (1977-86) and Rasher (1984-95), and also from the combined strip ‘Gnasher and Gnipper’ from 1986. Sutherland retired from Dennis, after 27 years, in 1998. He continued to draw the occasional strip for the comic, as well as drawing most of Dennis’ adventures for the annuals and summer specials. Sutherland remains the main artist for the ‘Bash Street Kids’, and has worked on many more features, including ‘The Germs’ (1988-92), ‘Korky the Cat’ (1999-2000) and ‘Fred’s Bed’ (2008-2012).

Law, David

DAVID LAW worked for Scottish editor D.C.Thomson since about 1945, drawing cartoons for local papers. One of these was a young version of ‘Dennis the Menace’ entitled ‘The Wee Fella’. During the mid-1950s, David Law also drew ‘Dennis the Menace’ strips for the Weekly News and the Beano. (This strip is not to be confused with the American ‘Dennis the Menace’ by Hank Ketcham, which was independently created around the same time.

The difference between the two is that the American Dennis finds himself in trouble without meaning to, while the British Dennis voluntarily seeks out mischief). Law’s other well-known creation is ‘Beryl the Peril’, whose adventures appear weekly in the Topper. Law drew ‘Dennis the Menace’ until his death in 1971.

Sullivan, Cat

In addition to several years as a regular cartoonist for the staggeringly sophisticated British magazines Zit Comic and Spit, CAT SULLIVAN has also provided artwork for textbooks, Internet sites, T-shirts and print advertising. Cat Sullivan also draws for VIZ and 2000 AD, where he does the comic strip called ‘Droid Life’.

Walker, Brian

At the age of sixteen, BRIAN WALKER applied for an art job at the Bristol Evening World. He drew war maps and gag cartoons. After service in the Royal Air Force from 1944 to 1947, Ward returned to the College of Art. In 1967, he illustrated the humorous book ‘How To Be A Motorist And Stay Happy’. The Scottish publishing house D.C. Thomson offered Walker trial work on several strips. He drew the popular series ‘I Spy’ in Sparky for almost three years.

A friend introduced him to the Thomson rival Amalgamated Press (IPC), for which he drew ‘Three Story Stan’ in Whizzer & Chips, ‘Fun Fear’ in Whoopee!, and ‘Plane Jane’ in Buster, among others. His most popular work was ‘Sream Inn’, which he drew in Shiver & Shake for about six years. After that, Walker produced ‘Box-a-Tricks’ in Buster and ‘Ar Little Uns’ in the Bristol Evening Post. In the 1980s, he returned to the comics of D.C. Thomson.

Paynter, Bob

Cor!! was a children’s humour weekly launched by IPC (International Publishing Corporation), on 6 June 1970, their sixth new comic in just over a year. Cor!! was edited by BOB PAYNTER. It ran until 27 June 1974, when it was merged into Buster. Annuals and summer specials continued to be published intil 1986.
“Calculator Kid” was a strip that ran in Cheeky Weekly from July 1978 to February 1980 before moving to Whoopee!. It was drawn by Terry Bave.

It was originally conceived as a strip about a boy and his radio; After further consideration, this idea was changed to feature a boy and his CB radio. Fleetway’s Group Editor Bob Paynter, looked at both ideas and suggested that the strip instead showcase that quintessential seventies piece of kit: a pocket calculator.
The strip starred Charlie Counter, a boy with a talking calculator named Calc. The general formula was that Calc would make various seemingly nonsensical suggestions which would always turn out for the best – for example, throwing a pie into a man’s face, causing him to chase Charlie and thereby avoid a car that was about to hit him.
Bob Paynter, then of IPC magazines comics division, gave Nigel Parkinson his first break. So he’s the guilty man. Nigel first met him in 1978. In 1980 Bob Paynter offered him a job. After Nigel for Two years begging for work and they eventually give in.
For some reason in those days people were trying to get Nigel to do ‘adventure’ strips, or ‘half and half’, semi-straight stuff. Nigel did a couple of things for Bob but they weren’t very good.
In 1982, over lunch in the IPC canteen (it was Italian Week- they treated their staff very well at IPC in those days!) Bob Paynter eventually suggested Nigel to approach DC Thomson again, who Nigel had drawn a six week run of a girls’ comic strip for by that point.

This time, Bob Paynter said, why not try Ian Gray, who was putting together a new line, ‘Comic Libraries’, and needed ‘ghost artists’. Nigel knew what a ghost writer was – someone who did all the work and got minimal recompense and zero notice, and Nigel thought “I’m not sure I want to be that sort of artist!” But needs must, as ever, and Nigel gave it a try. Turned out that wasn’t quite how a ghost artist worked. But it was Bob who Nigel on to it.
Nigel was able to thank Bob Paynter for giving him a start when he worked with him again in 1989 on Scouse Mouse comic for Fleetway, and Bob Paynter was as enthusiastic as ever. Bob Paynter has often been maligned for ‘playing safe’ and indeed was always aware of his responsibility towards young readers, but Bob Paynter managed to produce some excellent comics anyway, originating Whizzer and Chips , Cor!!, Monster Fun, Shiver and Shake and more.

In March 1997 a company called Nexus Media ventured into the traditional British humour comics market with a fortnightly called Fun and Games. It was a twist on the ‘two-in-one’ format originated by Whizzer and Chips in that Fun and Games were separate titles. In this instance, Fun was a 24 page A4 size comic and Games was a 24 page half-size A5 mag wrapped around the parent comic.
It may come as no surprise that the editor of Fun and Games was Bob Paynter, who had been the original editor of Whizzer and Chips (and the group editor of the IPC humour comics).

Lacey, Bill

BILL LACEY was with the RAF during World War II, and after the War he became a technical artist at the Ministry of Aircraft. He did his first comics work in 1951, taking over the ‘Robin Alone’ story in Mickey Mouse Weekly. While continuing this comic until 1956, he also began to work for Cowboy Comics Library and Super Detective Library. In the latter, he took over the ‘Blackshirt’ comic in 1957, followed by ‘Rick Random’, ‘Inspector Chafik’ and ‘John Steel’. He also did illustrations in Express Weekly and Valiant, as well as comics with ‘Bill Hanley and Rick Slade’ in Lion.

From 1966 to 1970, he drew ‘Mytek the Mighty’ in Valiant. Afterwards, he took on comics in Look and Learn, such as ‘Jason January, Space Cadet’, ‘The Maze Master’ and ‘Space Ranger’. His most notable work for this magazine was ‘Eagles Over the Western Front’, ‘Man Who Searched for Fear’ and ‘No. 13 Marvel Street’. In 1975 he joined Battle Picture Weekly, where he did ‘Y for Yellow Squadron’, ‘The Eagle Flies Fast’, ‘Rat Pack’ and ‘The Black Crow’. Three years later, he joined DC Thompson, illustrating the ‘Tasker’ comic in Bullet. He did his final comics work in Buddy in 1981, including ‘The Wilde Boys’ and ‘The Q-Bikes’. His son Mike is also a comic artist.

Appleby, Barry

BARRY APPLEBY (30 August 1909 – 11 March 1996) was a British cartoonist famous for creating The Gambols for the Daily Express. The strip premiered on 16 March 1950. The script was written by his wife Dobs, and was based on their own lives.
Appleby’s father, E J. Appleby, was in the 1940s the editor of Autocar, a leading British motor magazine, and one to which Appleby himself contributed his first illustration in 1931. Later Appleby also wrote for the magazine edited by his father, using the alias “Helix”.

Mitchell, Barrie

BARRIE MITCHELL is an artist of UK action, sports and adventure comics. He drew for romance titles like Bunty, Mandy and Diana, as well as action titles as Pow, Wham, Sparky and 2000 AD. He was the final artist of the soccer comic ‘Roy of the Rovers’. He drew the strip from October 1992 until its cancelalion in March 1993. Mitchell then went to work for Marvel UK. In 1997, he returned to the revived ‘Roy of the Rovers’ series. Mitchell also cooperated on the The Mirror’s ‘Scorer’ strip in 1989-1990. In the early 1990s, he was also the artist of ‘Playmaker’, another comic in the Roy of the Rovers comic book.

Appleby, Barrie

Suffolk-based artist BARRIE APPLEBY has been working for British comic books the 1970s. Coming from Barnsley, Yorkshire, he began his career at age 17, working as an art assistant for the Walt Disney Company in London. He later spent a couple of years in Canada, where he served as art director with a Toronto-based book publisher. He eventually returned to the UK and started working for comic books published by IPC Magazines, Marvel UK and especially DC Thomson.

Among his 1970s features are ‘Terror TV’, ‘Teddy Scare’ and ‘Starr Tour’ in IPC’s Monster Fun and Buster (1976-79). He is probably best-known for creating the two toddler brothers ‘Cuddles and Dimples’ in DC Thomson’s The Dandy from 1986 to 2004. The characters originated in two separate strips, with ‘Cuddles’ appearing in Nutty, Hoot and Dandy (1981-86), and ‘Dimples’ in The Dandy (1984).
He has been a regular in The Beano since the 1970s as one of the artists of ‘Dennis the Menace’ and ‘Roger the Dodger’ (both with intervals), and also with ‘Pirates of the Caribeano’ (2006), ‘London B412’ (2007), ‘Gnasher and Gnipper’ (2014) and ‘Fun Kids’ (2014). Appleby has additionally drawn several strips for Marvel’s ‘The Get Along Gang’ starting in 1985, and the ‘Bananaman’ feature in both the BEEB comic and The Dandy, succeeding John Geering. This is not the Barry Appleby who drew ‘The Gambols’ in the Daily Express.

Morley, Alan

ALLAN MORLEY (Scarborough, North Yorkshire, Great Britain, 29 April 1895 – Thanet, Kent 5 September 1960) was a British comic artist. He first worked for DC Thomson in 1925, drawing a number of comic strips for the Sunday Post and for DC Thomson’s story papers including The Wizard, where he drew Nero and Zero. He also drew a number of strips for both The Beano and The Dandy from the late thirties until the early fifties. He drew Keyhole Kate, Hungry Horace and Freddie the Fearless Fly, three long-running strips which first appeared in the first issue of The Dandy. He also drew a number of strips for The Beano, including Big Fat Joe, which appeared in the comic’s very first issue. The last time he drew for The Beano was the last strip of The Magic Lollipops in issue 475 (25 August 1951). Allan Morley died in Kent on 5 September 1960.

Allan Morley was held in such high regard by DC Thomson that they said the comics might close without him. Along with Dudley D. Watkins, Allan Morley was one of the first artists allowed to sign his work, which he did from January 1947. His strips even survived after his death with reprints of Waggy the Shaggy Doggy continuing in the Dandy until the 1970s.