Showing posts with label Eagle. Show all posts
Showing posts with label Eagle. Show all posts

Monday, November 07, 2016

Howard Corn (1943-2016)

Howard Corn (left) with one of his favourite authors, Geoffrey Bond
I'm sorry to report that Howard Corn, Chairman of the Eagle Society and editor for nearly thirty years of the Eagle fanzine Eagle Times died in hospital on Wednesday morning, November 2.

Howard was a regular visitor for many years, first when I lived in a little flat in Chelmsford and later at various houses in Colchester. Although Howard lived in Duston, Northants., he drove around the country selling books to Christian bookshops for Bookwise and I always seemed to be on the route. I hope he welcomed the cup of tea I always provided him with; I know I always welcomed the copy of Eagle Times and was more than happy to help out with bits of information. "What do you know about so-and-so?" he'd ask. "Hang on, I'll go and have a look," I'd reply, and nip off to my office to look up so-and-so on my computer.

He was hugely knowledgable about the paper and its creators and penned many features for Eagle Times about Eagle and other contemporary papers, including Express Weekly and Lion. He wrote extensively on 'Riders of the Range' as Cowhand Horn. He was also a very good promoter of the Society, contacting and talking to many provincial papers over the years, which kept a steady trickle of new members coming in. He was involved heavily with Eagle Days get-togethers and the Society's annual dinner.

Howards interests extended to other areas of boys' fiction and I believe he was a member of the Cambridge Old Boys Book Club.

Howard was born in Crewe, Cheshire. He was married twice: to Sandra Berryman in 1972 and to Rosemary Inwards in 1992.

My sympathies to his family and my best to the team putting together Eagle Times hereon.

(* Photo from Eagle Times v23n1, 2010.)

Tuesday, March 31, 2015

The Cutaways of Bruce Cornwell - The Ship’s Crew

The Cutaways of Bruce Cornwell - The Ship’s Crew
by Jeremy Briggs


The cutaways that original Dan Dare artist A Bruce Cornwell produced for Eagle comic and its associated books were covered in Bear Alley here .

While the art that Bruce Cornwell produced for Eagle remains his best known work, it was just a small part of what he produced over the years. In 1953 he wrote and illustrated The Ship’s Crew, one of the Educational Supply Association’s series of books entitled People’s Jobs. While it is little known now this book proved surprisingly popular at the time and in 1955 a second edition was published that was reprinted at least three more times into the 1960s.


As a former merchant seaman Bruce was able to use his own experience to create a fictional passenger and cargo ship the TS Neptune which the book followed as it loaded passengers and cargo in London and set sail for the Tropics.

The book featured several cutaways including one of the Neptune itself for the book’s frontispiece, while the main body of the book include clear link cutaways of both the Captain’s cabin and the ship’s Radio Officer’s cabin and office.


Asked if he did any other cutaways for publications other than Eagle and this book Bruce’s answer was an emphatic, “yes, but who they were for I can’t remember, except one and that was Pilkingtons the glass firm. I worked through a PR agency and the work covered buildings, engineering projects, engines and whatever.”

(The original version of this article was published in Eagle Times v25 #1, Spring 2012. Since this article was first published it has been discovered that Bruce Cornwell’s work for Pilkington Brothers Ltd included cutaways for the Sea City concept that was first announced in 1968 and was featured in the TV21 annual cover dated 1971).

Monday, March 30, 2015

The Eagle Cutaways of Bruce Cornwell

The Eagle Cutaways of Bruce Cornwell
by Jeremy Briggs

One of the staples of Eagle comic over its nineteen years was the cutaway. These fascinating and educational illustrations weathered the changes to the comic throughout the 1950s and 1960s, running with few gaps from an electric train in the first issue to a truck in the penultimate issue. Both these cutaways were illustrated by Leslie Ashwell Wood who was by far the most prolific cutaway artist Eagle had, contributing almost two thirds of the near 960 cutaways published in the weekly title.

While not all the cutaways are signed and therefore attributable to a specific artist, there were at least 23 artists other than Wood who contributed cutaways, from the familiar names of J Walkden Fisher with 59, Lawrence Dunn with 48 plus Geoffrey Wheeler and John Batchelor with 44 each, to the less familiar names of Brian Watson, T C Renwick-Adams and Alan Crisp who provided one each. One familiar name not normally associated with the Eagle cutaways is Dan Dare artist A Bruce Cornwell.

Bruce Cornwell’s earliest published Eagle cutaways were of the Rotor Cruiser and the Theron Duty Cutter for the 1953 Dan Dare Spacebook, not done in the coloured half centrespread style of the comic at the time but as highly detailed full page black and white images in keeping with the rest of the Space Book. Ten years later he would also draw several more simplified cutaways as part of larger articles in the 1963 Dan Dare Space Annual with one, the Faroe Jet, signed with his ABC initials.

None of these black and white cutaways were in the style of those that the weekly comic was known for. However he did paint four colour cutaways for the weekly Eagle and, perhaps unsurprising for a former merchant seaman, they were all of ships. Bruce remembered that “the subjects were all chosen by the editor, but I always wrote the text and key.” As to whether the amount of detail in the illustrations required him to increase the size of his original artwork he recalled, “sometimes it was half up or one up but never any larger.”


The first of these colour cutaways appeared in Eagle v11 #37 (dated 10 September 1960) and showed the passenger/cargo ship, RMS Windsor Castle, which was then used by its owners, Union Castle Line, to sail between England and South Africa. The ship had a relatively tall superstructure and funnel in comparison to its length and to help overcome this within the confines of the requirement for a long, narrow illustration, he buried the lower bow well into the sea and effectively off the page to allow more room for the height required.


In v12 #4 (28 January 1961), at a time before communications satellites, HM Telegraph Ship Monarch, operated by the state run General Post Office, provided the means of worldwide communication by laying undersea cables. When asked if he had ever had the chance to see or visit any of the cutaway subjects before he began his work, Bruce remembered, “Only Monarch, I went on board when she was up the Thames loading cable. The design department were very helpful in supplying me with a roll of blueprints.”

Asked what the response if any there was to his cutaways in the comic, he recalled, “When Eagle published the Monarch work the GPO contacted me to produce another cutaway for them, of course it was a different angle but with the same detail. They wanted to send it to schools who were always requesting details.”


Rather closer to home in v13 #32 (11 August 1962) was the Woolwich car and passenger ferry which ploughed its trade on the Thames between Woolwich and North Woolwich. Of the four ships that he produced cutaways for Eagle of the Woolwich ferry was the one that had the best chance that Eagle readers would actually travel on. How then was he able to get enough information on the vessels to make the cutaways accurate and was there a need to make educated guesswork? “No guesswork ever,” replied Bruce emphatically, “there’s always some ‘clever’ individual out there waiting to pull you up.” However the Woolwich ferry did pose a different challenge, “I had to dig out information on the new Woolwich ferry only to find out that it had been ordered but not built. The agency supplied me with engineer’s plans and wished me luck!”


Bruce Cornwell’s final weekly Eagle cutaway was of the first of only four civilian nuclear powered cargo ships ever built, the NS Savannah. This ship was operated by the American State Marine Lines and the cutaway appeared in v13 #52 (29 December 1962). To modern eyes this is perhaps the most usual subject of the four cutaways but the Savannah was in service from 1962 until 1972 and still exists today berthed at Baltimore in the United States where she has been declared a Historic National Landmark.


There are a few other cutaways by Bruce Cornwell associated with Eagle that are worth mentioning. In 1952 he illustrated a short factual series entitled Ships Through the Ages and, as part of the 16th And 17th Century Craft section of this in Eagle v3 #8 (30 May 1952) he presented the sectional cutaway of a high-sterned Elizabethan warship in a large, signed panel.


However there was another Eagle cutaway that he did even before the first issue of the comic was published that was, ironically, his last cutaway to be published. The illustration was of Dan Dare’s Number 2 rocket ship from the Voyage to Venus story. “Frank requested it”, Bruce recalls, “even the layout and left the job to me. This was before we went to press. He was pleased with the finished job, but after that, I don’t know what happened to it.”

What happened to it was that it lay forgotten for decades until it was rediscovered and was finally published, along with a new key devised by Bruce himself listing its different sections, as the colour centrespread of Spaceship Away issue 22 in Autumn 2010.

His most detailed Eagle cutaways were his four ships. Asked if he enjoyed the challenge of painting his four main Eagle cutaways Bruce replied, “I did enjoy them; the sea and ships have always been a passion of mine.”

(I was fortunate to correspond with Bruce Cornwell for a year or so before he passed away on 2 March 2012 during which time he helped me in writing several articles on his non-Dan Dare work, articles that were written for Eagle Times, the journal of the Eagle Society. Bruce was generous with his time while his memory of events, people and his work from more than half a century beforehand was quite remarkable. This article on his cutaway work was the last one I completed with his help. The original version of this article was published in Eagle Times v25 #1, Spring 2012).

Saturday, March 21, 2015

Eaglewall Plastic Kits in Eagle Comic

Eaglewall Plastic Kits in Eagle Comic
by Jeremy Briggs

In Eagle Times v25 #3 (and reprinted here on Bear Alley) I reviewed Donald D Hood’s 2011 book Eaglewall's Table Top Navy on the history and products of Eaglewall Plastics Limited, the company that produced aircraft and naval plastic construction kits under the Eagle comic logo during the late 1950s and early 1960s.

The publisher of the book, Chris Daley Publishing, has since ceased trading however the book covered the company that began in the Surrey town of Dorking under the name Vulcan producing 1/96 scale kits of WWII planes before changing their name to Eaglewall and licensing the Eagle logo.


They re-released their aircraft kits under the Eagle logo and also began to produce the 1/1200 scale WWII naval ships that they are best known for. The book detailed the history of the company and focussed on the naval ships that they produced. Given that it was written by an American and published in the USA, it covered the history of the small British company that had ceased trading half a century beforehand in remarkable detail. As the book was written from an American plastic modeller’s point of view, references to Eagle comic were fleeting and Hood was unable to discover a reason for the licensing of the Eagle logo and the change of the company’s name from Vulcan to Eaglewall. He also missed the fact that Dan Dare artist Harold Johns painted, and signed with his standard “H JOHNS” signature, their box top illustration for HMS Orion.

As dating evidence for when certain kits were available, as well as when the company moved from Dorking to Brighton, the book gives some detail on the adverts that the company ran in RAF Flying Review magazine beginning with a Vulcan advert in December 1957. In the review I opined that it seemed to me that the obvious place for Eaglewall to advertise their Eagle kits would be in Eagle comic itself but Hood was apparently unable to access a collector with a large enough collection of comics to be able to do the same advert research for Eagle as he did for RAF Flying Review.


Since that review appeared Eagle Society member David Gould has come to my aid regarding Eaglewall advertising in Eagle itself and was able to point out they didn’t just run adverts in the comic but were also featured repeatedly in Eagle Window. Eagle Window was a mini-feature on the licensed merchandise associated with the comic that often appeared in the editorial page and is a handy reference for collectors for not only what merchandise was available but also when it was available. Eaglewall kits appeared five times in Eagle Window with each appearance featured their aircraft rather than their ships. It is notable that the first of these Eagle Windows does not mention the Eaglewall company by name while the rest of them do.
    
The five Eagle Windows and the kits that they featured are as follows –


Volume 9 Number 35 dated 30 August 1958: Hawker Hurricane Mk2


Volume 9 Number 41 dated 11 October 1958: Junkers Ju87B Stuka


Volume 10 Number 3 dated 17 January 1959: Messerschmitt Bf109G

Volume 10 Number 4 dated 24 January 1959: North American P-51C Mustang


Volume 10 Number 36 dated 24 October 1959: Hawker Typhoon 1B


In addition to these Eagle Windows, Eaglewall adverts appeared in four issues of Eagle. The same advert, with the punning strap line “In Formation (Information) For Collectors” featuring all nine of their aircraft kits, appeared in three issues (17 January 1959, 21 February 1959 and 28 February 1959 all with the company’s Dorking address) and this was followed much later by a single advert for their ships (18 June 1960 with the Brighton address).

The Eaglewall aircraft adverts were an eighth of a page in size while the single ship advert was a quarter of a page. It is interesting to note that other plastic kit manufacturers advertising in Eagle around the same time, including Airfix and Aurora, ran quarter page and half page adverts which would suggest that the Eaglewall company was running on a much smaller advertising budget than its larger rivals. It is also worth noting that the Eagle Window in the 17 January 1959 issue directly refers to the Eaglewall aircraft advert in the same issue.


In a similar fashion the ships advert in the 18 June 1960 issue which features the kits of HMS Cossack and the German prison ship Altmark makes mention of L Ashwell Wood’s cutaway in the next issue, Volume 11 Number 26 dated 25 June 1960, which shows Cossack’s discovery of the prison ship and which is entitled The Epic Of The Altmark. This shows that Eaglewall had some knowledge of the comic’s editorial schedule.
 

The pricing of the kits is interesting given that they are all 3/- (36 old pence) in the first four Eagle Windows as well as in the aircraft adverts which all appear in or before the 28 February 1959 issue of Eagle. By the time of the fifth Eagle Window on 24 October 1959 the Typhoon, which was included in the aircraft adverts, has the considerably lower price of 1/11 (23 old pence) which the ships advert of 18 June 1960 shows was standard across the naval ships range. Presumably by this point all the other aircraft kits had been reduced to this same price point as well.

David Gould was also able to point out that Eaglewall participated in two of the Boys and Girls Exhibitions at Olympia in London, those held in August 1960 and August 1961. These were both promoted in Eagle with mentions of Eaglewall’s 1960 appearance in Volume 11 Number 29 dated 16 July, and their 1961 appearance in Volume 12 Number 27 dated 8 July.


For the 1960 show the company laid on a display featuring the sinking of the German battleship Bismark and attendees were encouraged to enter a prize competition which required them to answer ten questions on the naval battle. As he attended both events, David was able to say that Eaglewall’s “special surprise feature” mentioned for the 1961 event was actually a plastic injection moulding press that allowed attendees to ‘manufacture’ their own kit.   

Given that the earliest Eagle Window in the issue dated 30 August 1958 suggests that the Hawker Hurricane kit that it is promoting is new (under the Eagle logo at least, given that it had already been released as a Vulcan kit), and that RAF Flying Review has a Vulcan advert in the December 1957 issue and an Eaglewall/Eagle advert in the September 1958 issue, we can assume that the licensing of the Eagle name must have taken place in the first half of 1958.

As to when the company dropped the Eagle license, Donald Hood’s book states that the last known Eaglewall advert mentioning Eagle (presumably in RAF Flying Review) was in January 1961 and the first known Eaglewall advert without Eagle was in May 1962. While this is quite a wide time period, given that Eaglewall attended the Olympia exhibition in August 1961 and were still mentioned in Eagle comic we can safely place the dropping of the licence to after August of that year.


While the Table Top Navy book inevitably concentrates on the naval ships produced by the company, it also details the other kits released under the Vulcan and Eaglewall company names as well as listing a set of kits of larger WWII aircraft, the “New Eaglewall Table Top Air Force”, that never made it to the shops before the company went into voluntary liquidation in March 1963.


What the book does not mention is the set of six 54mm Dan Dare figures that were released by the company under its Eaglewall name while based in Dorking and detailed by Ted Herbert in his article on Dan Dare Figures in Eagle Times v24 #4. These are the figures whose moulds passed to Kentoys and which continued to be produced under that company’s name after Eaglewall closed. Indeed the book does not mention Eaglewall producing any plastic toy figures, Dan Dare or otherwise, so this aspect of their manufacturing portfolio remains something of a mystery.

Could the licensing of the Eagle name for the kits have come about because of the dealings that the company had with Hultons over these Dan Dare figures? We may never know. Yet while there is still much to learn about the little Dorking firm of Eaglewall and their links to Eagle comic, David Gould has helped us fill in a few more of the gaps in their history.

(The original version of this article appeared in Eagle Times v27 #3 dated Autumn 2014.)

Wednesday, January 01, 2014

Dan Dare - Voyage to Venus animation

Russell Devlin posted this on YouTube almost a year ago, but if you have an hour and a half to spare, there are worse ways to spend it. According to Devlin, "This is the feature version of my earlier posted Dan Dare webseries for those of you who prefer it in that format. It is essentially the same, but with individual ep titles removed and editing to make the eps flow better together."

Saturday, August 17, 2013

Dan Lloyd

Dan Lloyd, for many years the chief sub-editor on Eagle, has for many years been an editor, compiler of crosswords and researcher into the paranormal.

Born in Newcastle upon Tyne on 28 March 1931, Joseph Daniel Lloyd's childhood was relatively uneventful up until the age of seven, when he was suddenly rushed off to The Royal Victoria Infirmary with a severe case of scarlet fever. Four weeks later, after numerous inoculations into his backside, he was allowed to go home. He still remembers with affection the doctor who gave him a penny on his birthday; the pleasure was, however, short-lived as, before being allowed to leave the hospital, Lloyd was obliged to surrender the penny on the grounds that it might be contagious!

At the outbreak of war he was evacuated along with his sister Margaret to Ellington in Northumberland, a pretty coastal village about 20 miles north of Newcastle. His brother, Alan was not so lucky, for although he too was evacuated, he’d become separated from his brother and sister and was sent to the Lake District, where he had to scour the hills for firewood before being allowed to have breakfast!

Dan Lloyd’s father, Joseph Daniel Lloyd, served as a policeman based in and around Newcastle during the war years. “My father was thrown out of the house on his ear by my mother when she found out that he was philandering with another woman. I don't think I ever saw him again,” recalls Lloyd. Meanwhile Dan’s mother, Margaret (nee Younger), kept the home fires burning while at the same time holding down a job in one of Newcastle’s sub-Postal Offices.

Leaving school at the age of 15, Lloyd began developing an interest in Morse Code and discovered that by stretching a cable that linked his house with the house of nearby friend, the two boys were able to send messages to each other (all pretty good Sexton Blake stuff!}. But these were the days when the Ministry of Information were advising people to be on their guard—“Careless Talk Costs Lives”—and that you never knew who was listening in. One of Lloyd’s neighbours had grown suspicious of the sudden appearance of this wire and thinking maybe that there were spies in the neighbourhood had cut it in half with a pair of scissors, thus ending their nightly communications.

By the time he reached the eligible age of 17, Lloyd joined the Royal Navy. It was now 1948 and to all intents and purposes, he’d said ‘goodbye’ to his family home for the very last time. Having avidly read magazines such as Champion, Hotspur and Rover, reading and writing was his forte and it was natural for him to take up the trade of writer for his seven-year enlistment. Lloyd’s chief aim was to travel and serve abroad and he quickly discovered that, to speed matters up, he should volunteer for a three-month intensive shorthand and typing course at the Royal Navy’s secretarial training school. Within a few months, Lloyd had set sail for Malta where he joined the staff of Admiral of the Fleet, Louis Francis Albert Victor Nicholas Mountbatten, 1st Earl Mountbatten of Burma—more commonly known as Lord Mountbatten. His tour of duty was aboard HMS Liverpool, but life at sea again had to be placed on hold while HMS Liverpool went into dry dock for an intensive refurbishment programme in Valletta lasting five months.

It was during the time he was Mountbatten’s personal stenographer that he learnt of the Admiral’s interest in Unidentified Flying Objects. Early in January 1950 the Admiral called Lloyd to his stateroom and dictated a letter that was to be sent to the editor of the Sunday Dispatch in Fleet Street. Several years later, Lloyd discovered that the Sunday Dispatch’s editor and Lord Mountbatten were firm friends, Charles Eade having served as Mountbatten’s Press Liaison officer during World War II. Lloyd also came to learn that during the late summer of that year, the Sunday Dispatch had been partly responsible for launching the flying saucer debate as part of a circulation battle between the Sunday Dispatch and the Sunday Express.

In May 1952, halfway through his seven-year commitment, Lloyd returned to the UK for a period of well-earned leave. With his tour of duty in the Mediterranean now over, he was posted to a land-based ship in Greenwich, South-East London, where from January 1953 to the early part of 1956, he completed his seven-year obligation.

Now that he was familiar with living in and around the boundaries of London, Lloyd spent the following three years taking on various forms of employment ranging from Reuters—the world renowned newspaper agency in Fleet Street—to a job with Amalgamated Press.

At this latter establishment Lloyd was part of a team that compiled prize crosswords for the magazine Everybody’s, where entrants had to abide by simple rules, one being that the applicant had to complete the puzzle without help from a second person. Part of Lloyd’s duties was to travel to the successful winner’s home and, if he or she had complied with all the rules, he was at liberty to announce that they would receive a cheque in due course.

It all sounded very simple, but when Lloyd went to one winner’s house, to his dismay, he discovered that the entrant was totally blind and it had been his wife who had filled in the answers. In theory, this act had broken one of the major rules. Excusing himself, he’d gone down to a nearby phone-box and on contacting head office, Lloyd had outlined the predicament he had found himself in, but then had gone on to point out that if the local newspaper learnt that the winner had been defaulted due to having been blind then Everybody’s would receive a large amount of adverse publicity. A few days later, the winner deservedly got his cheque.

During 1959, there had been a great deal of upheaval and unrest within the publishing and printing industry: in February, Amalgamated Press had been acquired by the Mirror Group (and had changed their name from Amalgamated Press to Fleetway Publications due to the publishing company having had their offices in a building called Fleetway House); there had been a six-week-long national printers’ strike during the summer; and in March, Dan Lloyd had joined Eagle.

It was a Catch 22 situation. Magazine experience was deemed essential in order to qualify for NUJ membership, but a job on a magazine was often open only to those who were already members. Out of the blue Lloyd had written to the Reverend Marcus Morris and was surprised to discover that there was indeed a vacancy for a sub-editor on Eagle. At the interview, when he was asked by Eagle’s Chief Sub-Editor Derek Lord as to how soon he could start, Lloyd’s response was “Would tomorrow be too early?” and they had all shaken hands, the deal done.

During the ten years that Lloyd worked on Eagle—first as a sub-editor, then later as Chief Sub-Editor—many changes were taking place within the publishing world. In the same year that Lloyd joined Hulton’s, through disagreements between the Rev. Marcus Morris and Lord Hulton, Morris had resigned to take up a position at The National Magazine Company group (where, after a five year gap, Morris became editor-in-chief and orchestrated the launching of Cosmopolitan); Hulton Press had been taken over by Odhams Press, who in turn were taken over two years later by Fleetway (the Mirror Group); and with the hierarchy of Fleetway Publications being given the right to take the reins of the four ex-Hulton comics, in a show of indignation, many senior staff had resigned, including Lloyds’ immediate boss, Derek Lord. In an undisputed cost-cutting exercise, the editorial offices that had once been home to Juvenile Publications—the umbrella heading under which Eagle, Girl, Swift and Robin were collectively known—now had to be vacated. In fact, they were moved twice—the first relocation to a building at the rear of Hulton House better known to the staff as “The Annex”, and then a second major move two years later when, during the weekend of Saturday, 23rd and Sunday, 24th November 1963, the staff were moved from 161-166 Fleet Street to  the old and obsolete Daily Herald Newspaper building at 96 Longacre.

Dan Lloyd during his days in the Navy

It was from events that took place over the following seven or eight months at Longacre that Lloyd's life took a significant turn, for it was his close encounters with two newly established individuals that gave rise to his greater interest in the paranormal. Of these, the first was Madge Harman.

The office Lloyd was allocated also housed two others, one being Eagle designer Brian (Benny) Green. In later years—and this may have been due to the influence emanating from the other person in that room—Green had taken over and run an occult bookshop in South London’s Crystal Palace. The other was Madge Harman, employed as secretary to a dapper “City Gent” whose office was just four doors down the lengthy narrow corridor from where Madge, Brian and Dan were sat.

Madge Harman was a closet ‘psychic’. An example of her extraordinary sixth sense was when one of Lloyd’s bachelor chums (drinking partners) called into the office late one morning to find out if Dan was “free for lunch”. These were the days when Lloyd regularly met with five others of a similar standing but from all walks of life. Lloyd introduced Harman to his flatmate Peter Henderson and, as they shook hands, Harman had suddenly gone quiet and in a disheartened voice murmured: “Oh dear, you’ve had some bad news this morning... I’m so sorry,”

Lloyd had no idea as to what on earth she was talking about, but Henderson soon made everything clear by admitting that, just that morning, he had received a letter from his fiancée in Paris with news that she was breaking off their engagement. The letter was tucked away in Peter Henderson’s inside jacket pocket. Perhaps Harman had also seen that Henderson was destined to die from the effects of alcohol poisoning in late 1979 while still middle-aged.

It was also during those early months at Longacre that a second strange occurrence had taken place.

The man for whom Madge Harman worked was Waveney Girvan. In a way, Girvan stood out like a sore thumb at Long Acre, mainly due to his austere attire. Although most staff were smartly-turned out, they were also for the most part dressed casually. Girvan, however, was never seen without his standard 'city business suit' of black jacket, trousers in narrow grey and black stripes, a bowler-hat, and a neatly rolled umbrella, Girvan was the editor of a magazine called the Flying Saucer Review. This quarterly journal—first established in 1955 by the former R.A.F. pilot Derek Dempster—had established itself as being one of the most influential journals serving the UFO community. Due to Lloyd’s own increasing interest into the paranormal, it became a regular event for Lloyd and Girvan to discuss matters relating to the latest paranormal findings.

While on holiday, Lloyd took with him a copy of Girvan's book, Flying Saucers and Common Sense, published nine years earlier in 1955. In chapter four, Lloyd was brought up with a start to read that Girvan had revealed a personal letter written to the editor of the Sunday Dispatch in 1950 by Earl Mountbatten. Girvan went on to say that this letter had followed an earlier article concerning a wave of UFO sightings in America, particularly one in the town of Orangeburg, South Carolina. The letter had said:
These extraordinary things have now been seen in almost every part of the world—Scandinavia, North America, South America, Central Europe, etc. Reports are always appearing and the newspapers generally try to ridicule them. As a result it is difficult for any seriously interested person to find out very much about them. I should therefore like to congratulate you on having had both the intelligence (and, incidentally, the courage) to print the first serious helpful article which I have read on the Flying Saucers. I have read most other accounts up to date, and can candidly say yours interested me the most.
Lloyd could hardly wait to return to his place of work and tell Girvan that he could confirm this story because it was he, who, fifteen years earlier, had typed out Mountbatten's words. Now it was then Girvan’s turn to be astounded. As a consequence, Waveney had born Lloyd off to his club near Whitehall where, as being the one and only person who could confirm all that Girvan had written in his book, Lloyd found himself obliged to make an impromptu talk in front of a large gathering of dedicated followers and believers!

Within a matter of weeks, on 22 October 1964, Waveney Girvan died. He too had had psychic powers and perhaps had known that the end was near, for whenever Harman had gone into his office, not only did he hide his hands by placing them onto his lap under the desk, but on passing something to her, he never allowed Harman to have any physical contact with him.

Despite having lost its key leader, the Flying Saucer Review continued without a break, now under the editorship of Charles Bowen, a long-time contributor to Juvenile Publications, with Dan Lloyd stepping into the breach as assistant editor. Much of the magazine’s content was put together in Lloyd’s Chelsea flat, with the aid of an invaluable proof-reader who conveniently lived one floor above in the same block. The proof-reader’s name was Eileen Linda Buckle (b. 27 April 1940), an attractive and intellectual long-time friend, to whom Lloyd eventually became married on 28 March 1980—his 49th birthday.

With the closure of Eagle in April 1969 Lloyd opted for a career of freelancing that enabled him to take on a wide range of editing work. Amongst other commissions, this included a series of small books for the Milk Marketing Board.

Early in 1971, with ex-working colleague Roger Perry now acting as Art Editor for Countdown, Lloyd was encouraged to take the opportunity to become the periodical’s Science Correspondent and writing a variety of weekly articles. Owing to the magazine’s fluid appearance—for Perry believed that “variety is the spice of life”—there was never a regimented size or shape that Dan was obliged to adhere to.

In January 1974 Lloyd once again worked alongside Perry at Purnell Books, whose offices had moved from Poland Street in the West End of London to Maidenhead, Berkshire. Owing to stringent measures introduced by the Conservative Government in an effort to conserve electricity by introducing a three-day-week, Editor Sue Hook—unable to cope with the workload—had sought help and not only had Lloyd been brought in on a temporary measure but at Lloyd’s recommendation, Eileen Buckle was also commissioned to carry out the proof-reading of manuscripts..

Between 1977 and 1989, Lloyd went on to work as a sub-editor for TV Times magazine. The Art Editor at TV Times was Bruce Smith, who, sixteen years earlier, had been one of the four designers working closely with Lloyd at Hulton House. This had been between the summer of 1960 (when Smith joined Juvenile Publications) and 1963 when he had left to take up the post of Art Editor on Homemaker, the first practical “how-to-do-it” monthly magazine that first saw light of day in March 1959. But for Lloyd, his life was being severely hampered by a relatively unknown condition that had become simply known as 'yuppie flu'. Following years of study, this affliction was officially recognised as a bona fide medical condition and given the grand title of Chronic Fatigue Syndrome (CFS). The symptoms of CFS include un-refreshed sleep, widespread muscle and joint pain, increased sensitivity to light and headaches of a type not previously experienced. After battling with this condition for a number of years, it seemed a good time for Lloyd to take early-retirement.

During his early years Lloyd had been a keen walker with holidays often taken up circumnavigating the Isle of Wight or simply striding along river banks of the Thames—many of these ventures in the company of Derek Lord. Lloyd has said: “Rain or shine, our small group of avid walkers would set forth on a Sunday to enjoy the countryside to the north side of London, and occasionally to the south,” He went on to say: “Rain never seemed to deter us, and if it rained, it was part of the adventure to remove our shoes, wring out our socks, and carry on tramping! Any hostelry we happened to encounter en route was greeted with glee and many a pub seat must have borne the signs of our visit by the telltale patches of dampness from our sodden rumps!”

Two of Lloyd’s other interests were astrology and homoeopathy. His interest in the former begun in the early-1970s while still bachelor-free and living in Chelsea. There had been a tight nucleus of five others—all in a similar-disposition—who regularly met. Out of the blue, one had requested Lloyd create his Birth Chart. With him knowing absolutely nothing about how to construct horoscopes, at the chum’s insistence, Lloyd researched the subject and had taught himself the art. But the odd thing was that having become proficient in the craft, the friend who had initially made the request now seemed to have little or no interest ... to the point of not even being able to recall having asked Dan to do it in the first place. Perhaps the powers that be had felt Lloyd needed a prompt in that direction.

During its compilation, although the author of this article has known Dan Lloyd for more than fifty-two years, he has learnt so much more about this quiet, good-natured, private man than he’d ever been able to glean before. For forty years, Lloyd has been heavily into astrology, not only erecting dozens and dozens of Birth Charts for a variety of friends and acquaintances and has carried out research on a number of notable personalities... and yet, it would appear that he has chosen to close his mind to all those he grew up with. During the late-'70s, Lloyd gave guidance to first Perry in the art, and also taught his wife-to-be.

Dan Lloyd and his wife now live in Leatherhead.

(* Biographical sketch compiled by Roger Perry, who also supplied the colour photos of Dan, taken in September 2009.)

Saturday, February 09, 2013

Eaglewall’s Table Top Navy : A Review

Eaglewall’s Table Top Navy : A Review
by Jeremy Briggs

The plastic kits released under the Eagle name and logo by manufacturer Eaglewall Plastics Ltd, are a side-line when it comes to fans of Eagle comic. However, for modellers of plastic ship kits, they represent something of a step change in their hobby and in 2011 the American small press publisher Chris Daley Publishing released Eaglewall's Table Top Navy about the company and its main products which was researched and written by Donald D Hood. For this review I will refer to the kits as Eaglewall to differentiate them from the comic, otherwise this could get terribly confusing.

You would not expect a book about a small, short lived, kit manufacturer in Dorking to be written in Florida and published in California but it goes to show just how much interest, and affection, there is amongst the modelling community for this relatively short lived range of kits. Hood’s book tells as much of the background story to the company as he has been able to track down.

Eaglewall started life in Dorking and released 5 WWII aircraft kits in 1/96 scale under the company's then name of Vulcan around 1957. They then became Eaglewall using the licensed Eagle comic logo and re-releasing the 5 Vulcan aircraft kits in Eagle boxes, plus a further 4 new WWII aircraft kits for a total of 9, around 1958/1959. Still with a Dorking address, they started releasing their naval kits in Eagle boxes on 1 September 1959 and continued for a total of 34 boxes until some point in 1961. It is easiest to refer to numbers of boxes as some kits were released under different names using the same moulds, while other boxes deliberately included kits of 2 different ships or, in the U-Boat box’s case, 5 different submarines. The book gives a detailed list of each of the naval kits with large colour photos of their boxes as well as many built and unbuilt models.

The Eagle license seems to have lapsed around mid-1961, interestingly about the same time that Mirror Group took over Odhams and hence Eagle, and the last new naval ship kit, Gniesenau, was released as an Eaglewall kit (as opposed to an Eagle kit) around November 1962 with an address in Brighton. Under the Eaglewall brand, the company went on to release a selection of kits in the last half of 1962 sourced from the US manufacturer Pyro including various rifles and an Eiffel Tower kit (Pyro having released some of the Eaglewall naval kits under the Pyro name in the US). The book tells us that the Eaglewall company ceased trading sometime in late 1962/early 1963.

The kits were small, and hence cheap for children to buy, and came with the option to display the ships on a stand with a full hull or to build them from the water line up which allowed them to be played with on the carpet or on, as the book title eludes, a table-top. The step change to naval modelling that Eaglewall introduced was the fact that all the kits were made to the same scale, in this case 1/1200, a concept that was common at the time with aircraft kits but not with ship kits.

Hood has enlisted the support of many British kit collectors for the book as well as the Dorking Museum which, remarkably, is based in the same building that spawned the Vulcan/Eaglewall company in the first place. In doing so he brings much needed facts to a subject that previously was the subject of much internet speculation and the vagaries of memory, but he is never slow to admit when he has not been able to locate information and when he is speculating. Unsurprisingly the book is written from a modeller’s point of view with lots of detail on the kits as well as plenty of photos of the boxes. Looking at it from an Eagle comic point of view, there are no details of why the company came to license the Eagle name and logo or why for that matter they changed their own name from Vulcan to Eaglewall. While the Eagle part could well be to do with tying in with the Eagle license, the "wall" is unknown although the book includes a suggestion that it might have been to tie in with Walls Ice Cream due to their early association with Eagle via the Tommy Walls strip. Personally I find that idea too much of a stretch.

However there is a direct link between the kits and Eagle comic that the book shows but fails to realise. One chapter is devoted to the artists who worked on the packaging and includes the three artists that signed the painted box illustrations. E. L. Blandford signed two while the majority of the boxes were illustrated by Charles Stadden signing his work as Chas Stadden. Stadden signed a total of 16 of the box illustrations which ranged from the lovely illustration for the HMS Prince Of Wales box to the awkward illustration of the HMS Duke Of York. While I had never heard of Stadden before, a quick check of the internet shows that he was a well known and highly respected artist, sculptor and author within the modelling community. The third artist signed only one box, that of HMS Orion, with a strong, clear, capitalised signature but whom, presumably due to the initial rather than a full first name, Hood was unable to locate any information on. That signature says H Johns and it is in the capitalised style that artist Harold Johns used. An Eagle Dan Dare artist painting an Eaglewall kit box? I don't remember ever having come across this piece of information before, either in articles about the artist or about the kits.

Due to its American origins there are a few oddities in the translation from English to American in the book such as Limited companies getting labelled as ‘LTD’ rather than ‘Ltd’ or the royal yacht being referred to as HMS (rather than HMY) Britannia, an unusual mistake given the naval theme of the book, but these are minor quibbles. While Douglas' writing style gives the impression of a long fan article rather that a more formal reference book, this gives the book a homely, familiar feel.

The previous best source of information on Eaglewall were the six pages on the company that were included in Arthur Ward’s Classic Kits book, published by Collins in 2004, so Eaglewall’s Table Top Navy is a big step forward for information on the company and its products. £40 for an A4 size, 136 page hardback book with over 100 colour photos may sound like a lot, and it is, but this is the definitive book on this range of kits and it is highly unlikely that it will ever be bettered – unless of course, as the author says, enough new information comes to light and the publisher can be persuaded that an updated edition is required.

Postscript:

In addition to knowing that H Johns was in fact Dan Dare artist Harold Johns, information that could go into an updated edition would be that the 9 April 1963 issue of the London Gazette, a journal of record of the British Government, tells us that an extraordinary general meeting of Eaglewall Plastics Ltd was held at Winchester House, London on 15 March 1963. At that meeting it was decided that the company could not continue its business and that it would be voluntarily wound up. That meeting appointed two liquidators, one from London and one from Brighton, to look after the affairs of the company and one of whom, Gerhard Adolf Weiss of the chartered accountancy firm of WH Cork Gully & Co, held the final meeting of the company on 5th August 1965.

Another piece of information that Donald Hood was unable to source was if Eaglewall ever ran any adverts for the kits in Eagle comic itself as he was unable to find a collector with a large enough set of the comics. It would seem to me that Eagle would be the obvious place for Eaglewall to advertise and, as the company ran Eagle kit adverts in the monthly magazine Royal Air Force Flying Review between September 1959 and January 1961, any adverts in Eagle could reasonably be expected to be around similar dates.

Eaglewall’s Table Top Navy by Donald D. Hood. Chris Daley Publishing ISBN 978-0-9841267-3-6, 25 April 2011, $60.

(This review was originally published in Eagle Times Volume 25 Number 3, Autumn 2012. For further information, visit the Table Top Navy Blog.)

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