Saturday, May 17, 2014

Sanfeliz [Ricardo Sanféliz Permanyer]

Sanfeliz is credited with 41 covers for Commando in the 1960s and 1970s, beginning with Bale Out (Commando #73) in June 1963. He contributed very irregularly: two covers in 1964, one in 1965, three in 1966, one in 1967 and three in 1968. Eleven cover paintings appeared in 1969 and then nothing until the summer of 1971, followed by three covers in 1972 and 1973 and one cover in 1974, 1975, 1976 and 1977 and two in 1978, one in 1979, two in 1980, one in 1981, 1983 and 1986.

Although his contribution to British comics was fairly small, Sanfeliz was much admired in his native Spain. He was born into a military family on 27 April 1921 in the northern Moroccan harbour town of Larache, which had become a Spanish Protectorate ten years earlier. Ricardo Sanféliz Permanyer was educated at the Academia Militar in Zaragoza, in north east Spain, but had also began painting and drawing from a very young age, which led him away from a military vocation. He was able to turn professional in 1939 as an illustrator of juvenile novels for Editorial Molino.

He entered the Academia General Militar—the academy of higher education for the Spanish military—in 1942. His military career took him back to Africa serving with the Dirección General de Promoción de Sahara, formerly the Dirección General de Marruecos y Colonias. He continued to draw whilst based at Ceuta, on the African coast near the Strait of Gibraltar, where he created paintings inspired by the desert and nomads of the Sahara, which were very well received in Madrid, where he sold almost all his paintings during two exhibitions. He was also drawing foot soldiers, tanks, trucks and military equipment which led to him becoming a  regular contributor to the magazine Ejército [Army], which he continued to draw for throughout his career.

Sanfeliz researched the history of Spanish military uniforms and contributed to various publications before joining the Escuela de Estado Mayor—a military staff college—which limited his time for painting. He was still able to win various awards in competitions, including those held by the City of Barcelona and the military museum at the Castle of Montjuïc.

Completing his course at staff college, Sanfeliz worked for the newspaper ABC as an illustrator, following in the footsteps of his uncle, Federico Xaudaró, a cartoonist for the same daily paper. For Barcelona-based Ediciones Toray, he produced covers for Hazañas Bélicas [Feats of Battle] and Rela­tos de Guerra [Stories of War], which led him to seek out the agency Selecciones Ilustradas run by Josep Toutain. Sanfeliz later recalled that he arrived at the door of the agency to find Toutain busy with a broom in hand as teh offices had just been renovated and painted. Toutain told him to call back a few weeks later, and began representing him.

Sanfeliz concentrated almost exclusively on cover illustrations, first in Spain and then for Artima in France; in the UK he produced covers for both 'Chick' Checkley, the editor of Commando, and for Fleetway; and in Italy he drew for Corriere dei Piccoli. When work began to slow down, Sanfeliz returned to painting—horses and riders being a particular subject.

He was commissioned to produce a set of stamps for the Mexico Olympics in  1968 and, between 1973 and 1978, a series of 45 illustrations of military uniforms. He went on to draw collections of postcards and illustrate the book Tres siglos de caballería española [Three Centuries of Spanish Cavalry] (Madrid, Ediciones Enebro, 1978), with text by Luis Martin Prieto. 

In later years he enjoyed painting for relaxation but continued to exhibit and sell his works (primarily in gouache) at the likes of the Museo del Ejercito in Toldedo and the Grifé & Escoda in Barcelona. 

Sanfeliz died at a military hospital in Barcelona on 23 August 1989, aged 68. He was survived by his wife, Isabel Zurita, and children Ricardo, Isabel, Maria Jose, Pilar, Manolo, Cristina and Alfredo.

(* The photograph of Sanfeliz meeting dictator Francisco Franco is from this blog.)

Friday, May 16, 2014

Comic Cuts - 16 May 2014

I had an interesting message from Gary Russell, who was editor of Doctor Who Magazine way back in the days when I was editing Comic World. Gary put me in touch with John Ainsworth, who has written extensively about Doctor Who and been heavily involved in the Big Finish Doctor Who audio stories. After talking to John, I learned that he had a tape-recording of an interview he conducted with Dennis Hooper. This was one of a series of interviews used by John to produce 'Beyond the Frame', a series of articles published in Doctor Who Classic Comics, edited by Gary.

I received a copy of the recording on Wednesday and spent the whole day trying to clean up the sound with a sound editor that cost me $15 many years ago. And it actually worked pretty well. Dennis's very quiet voice was almost swamped by hiss and a regular knocking sound—which I believe was the microphone picking up the sound of the tape revolving!—but I've managed to pick it out of the background so that his words are mostly discernible.

So that has taken up a chunk of the week. I had intended to concentrate solely on layouts, but that didn't quite work out as I was doing little bits of rewriting on Monday. But I put together some pages that I was happy with on Tuesday, so we're about twenty pages in as of Thursday mid-day, which is when I'm writing this, taking a break from listening to the still hissy but slightly more listenable interview, looking for anything that will add value to the Countdown story.

I was sad to hear of the death of H. R. Giger, famous for his work on the Alien movies. I interviewed him back in the 1990s but I have absolutely no memory of where the results appeared.

Giger's death has rather overshadowed that of Patrick Woodroffe, who died in the early hours of Saturday, 10 May, following a brief illness. Woodroffe was a prolific artist around the time I started reading SF in a big way in the mid-1970s. He did some beautiful covers for Quartet, including novels by Michael Moorcock, Harry Harrison, Futura, notably their reprints of A. Merritt, Panther, Pan Books, Sphere and Corgi.

Being a long-time rock / prog rock fan, I also began seeing his covers on LPs by Pallas, Budgie, Judas Priest and Greenslade. He also did a cover for The Strawbs Burning For You which was also used on the Corgi paperback edition of Brian Aldiss's SF history, Billion Year Spree—and it took me only forty years to realise.

Next week sees the continuation of our little series of mysterious Commando artists. Any help from our European or South American readers would be very welcome in identifying these creators.

Thursday, May 15, 2014

Roux

Our last mystery Commando artist is possibly a South American rather than Spanish. My research uncovered two artists named Roux. The first is Raul Roux, who is famous in Argentina as a comic strip artist who worked on El Tony—Argentina's first comic magazine—way back in 1922. His last comic appeared in 1949, which I think puts him out of the picture as far as contributing to Commando in 1964.

The second is Guglielmo Roux, the son of Raul, born in Bueno Aires in 1929. He worked as a decorator and restorer in Rome before returning to Argentina to teach. In the early 1960s he also drew comicsfor various magazines, later concentrating on painting and illustration. He is, to my mind, a solid candidate to have drawn the two titles listed below.

However, I might be barking up the wrong tree, so if anyone recognises Roux, please let me know.

 
 
Mission Most Secret (Commando 99, Jan 1964)
Green for Danger (Commando 145, Dec 1964)

Wednesday, May 14, 2014

Chaco

Chaco was a regular cover artist for Commando for some time. I haven't been able to track down any information on the artist, whom I presume is Spanish. However, this prompts the thought, could this possibly be Chacopino who painted covers for Spanish pulp novels? There are some examples of his work for the Spanish SF series Megaton here. He worked regularly for the publisher Editorial Ferma in the 1960s, producing covers for books in the early 1960s and for the comics El Santo (based on The Saint, 1965) and Extra combate (1965-67). His full name was Joaquin Chacopino Fabre... but is he our mysterious "Chaco"?

Update: 16 August 2015
The answer to the above question is "Yes". I received a note from Jordi Chacopino, who tells me that his father was indeed "Chaco". He worked extensively for publishers in Germany and Italy as well as the UK in the 1960s. Working through Bardon Art, he lived for some time in England, but missed his family – his wife and three sons, who had remained in Barcelona – and returned to Spain.

"Chaco" died in 2014.

 
 
 

Tuesday, May 13, 2014

Castro

Another little known Commando artist who illustrated a handful of issues. There's a strong chance that there were actually two artists of the same name who contributed. I have a copy of Big Guy (Commando 92, Nov 1963) but I haven't managed to find any of the later issues.

Whether these are all by the same artist or not, my question is: "Who was Castro?" or, maybe, "Who were the two Castros?" Anyone?

 
 
The following issues are possibly by another artist. If anyone has any scans from these issues, I'd love to see them.
The Last Flight (Commando 1097, Jan 1977)
Trial by Combat (Commando 1124, May 1977)
Never Too Late (Commando 1136, Jun 1977)
Wings Over the Desert (Commando 1157, Sep 1977)
Man on the Run (Commando 1172, Nov 1977)
The Black Pagoda (Commando 1190, Jan 1978)
Jungle Secret (Commando 1213, Apr 1978)
Mystery from the Past (Commando 1229, Jun 1978)
A Game of Chance (Commando 1253, Sep 1978)
Enemy Territory (Commando 1271, Nov 1978)
No Way Back (Commando 1293, Feb 1979)

Sunday, May 11, 2014

William Cate - Printer

WILLIAM CATE  –  PRINTER AND PUBLISHER
by
Robert Kirkpatrick

William Cate was a well–known London printer in the late 1800s, perhaps best–known for his takeover, in 1881, of Hogarth House, the remnants of the boys’ story paper and penny dreadful business established by the Emmett brothers in the 1860s. But while the company he established lasted well into the 20th century, he has otherwise been virtually anonymous  –  he is rarely mentioned in any of the studies on 19th century publishing or literature.  And even though his business became a limited company, there are no records of its incorporation or demise in the National Archives or at Companies House.  However, it is possible to put together a picture of Cate’s life and career from other sources.
William Cate was born in 1829 and baptised on 29 December 1829 at St. Dunstan’s, Stepney, the second child of William Cate, a milkman, and his wife Ann.  (Their other child was Mary Ann, baptised at St. Dunstan’s on 11 March 1828).  The first trace of him other than this in online genealogy records is in 1851, when he was living with his father, now a labourer, and mother in Limehouse, where he was described as a Barrister’s Clerk.

On 25 December 1851 he married Ellen Trattle at the parish church of St. Matthew, Bethnal Green.  His father was now a carpenter.  Ellen was born around 1830 in Shadwell, her father, William, being a greengrocer.

They went on to have six children:  Jessie (born 22 July 1856, died 1858), William Henry (born 5 May 1858), George (born 28 December 1859), Charles John (born 24 March 1861), Alfred (born 21 January 1863), and Henry (born 30 June 1865).  Jessie and William were both baptised on 26 May 1858 at St. Andrew’s, Holborn, with their father recorded in the baptism records as a law stationer living in Quality Court, Holborn.  The remaining four children were all baptised in Islington, with the baptism records showing William Cate as a publisher, living in Hornsey Rise (1860), a publisher living in Highgate (1861 and 1865), and a publisher at Quality Court in 1863.

In the 1861 census the family was living at Springfield House, North Hill, Hornsey, the household including Ellen’s widowed mother, Margaret, employed as a servant, alongside William’s 10 year–old niece, Ellen Cate, also employed as a servant.

Ellen died in 1866 in Edmonton, and was buried in the churchyard of St. James’s Church, Camden, on 27 October 1866.

William Cate moved out of Springfield House and the property was taken over by James Stickley, a goldbeater, and his family.  It appears that William had taken up with Ann Brooks, a widowed licensed victualler who was living at and running the Falcon Tavern in Pemberton Row, Gough Square, Fleet Street.  (Interestingly, in the 1840s this had been the meeting place of the London Society of Compositors).  William was recorded as living there in the 1871 census as a boarder, alongside Ann’s children Annie (aged 12) and Ernest (aged 4), her sister and three staff.  At the same time, his sons William, George and Charles were boarders at Stafford House, a school in East End Road, Finchley;  while Alfred and Henry were still living at Springfield House, boarding with the Stickley family.

William Cate and Ann Brooks (who had been born in Bewdley, Worcestershire, around 1829 and whose first husband, Alfred Brooks, had died at the Falcon Tavern on 25 November 1865) married on 3 December 1872 at St. Bride’s Church, Fleet Street.  Some time after this they moved to Brook House, Bury Street, Edmonton, where, in the 1881 census, William was shown as a master printer employing 50 men and 6 boys. Also living with William and Ann was their daughter Florence, born in 1875, Ann’s daughter Ann Brooks, and two servants.  His sons William, George and Alfred were also living with him and presumably working for him, as all three were recorded as being Printer’s Clerks.  His son Henry, then aged 15, was a Stockbroker’s Clerk.  Charles, then aged 20 and an apprentice engineer, was living at the Falcon Tavern alongside his brother–in–law, Alfred Brooks, who was the licensee.

At the time of the 1891 census the household at Brook House had expanded and comprised William, described as a Printer and Publisher;  Ann;  Annie E. Smith (William’s daughter–in–law, aged 32);  Harry A. Smith (son–in–law, a timber merchant aged 34);  Constance Smith (granddaughter, aged 9 months);  Ernest E. Brooks (son–in–law, aged 27, a mercantile clerk;  Henry Cate (stockbroker’s clerk);  Florence Cate (daughter);  Minnie Alston (niece);  and three servants.

Charting William Cate’s career as a printer and publisher is rather harder than tracing his personal life.  While he was described as a publisher as early as 1860, it is not known what he published in his early years.  Neither is it known what he printed until the 1870s, other than that in 1867 he became the printer of circulars for the National Association of Trade Protection Societies.  He also launched the Commercial Compendium, a periodical which specialised in publishing financial information, around the same time.  Both activities continued into the 1890s.  His first known business address, other than Quality Court (which was, and still is, just off Chancery Lane, Holborn) was at 21 Cursitor Street (which was, and still is, off Chancery Lane, midway between Fleet Street and Holborn), from where, on 5 February 1876, he advertised in The Times for “a partner with £1,500” to help him extend his business.

His printing business, clearly a substantial concern as evidenced by the 1881 census, was still at Cursitor Street in 1882, although by then he had moved his publishing activities from Quality Court to 17 West Harding Street, and then adding 9 & 10 St. Bride’s Avenue, Fleet Street, to his addresses in 1881, from where he published Little’s Anglers Annual, in partnership with Little & Co. of 15 Fetter Lane.
As a printer, Cate had a long association with boys’ story papers, possibly beginning with Lads of the Village, launched in July 1874 by Henry Williams, and which ran for 40 issues until April 1875.  Cate subsequently began working with the Emmett brothers, who had begun their career with the Young Englishman’s Journal in April 1867 as a riposte to Edwin J. Brett’s highly successful Boys of England, launched the previous November.  For example, it is known that Cate took over the printing and publishing of the Emmetts’s Young Briton (launched in 1869) in September 1877, although only for a handful of issues until its closure in October 1877.  Similarly, Cate took over as printer of the Young Englishman (launched in 1873) towards the end of its run in 1879.

In 1881, Cate took over the publishing business of Hogarth House, which was synonymous with the penny–part serials published by the Emmetts and Charles Fox.  Hogarth House had been established in 1871, at 8 Fetter Lane, Fleet Street, by George Emmett, following on from the Temple Publishing Company established at 45 Essex Street, Strand, by George’s brother, William Emmett (then trading as William Eustace Laurence), and from where penny–part serials and boys’ story papers such as the Young Englishman’s Journal had been issued.  George Emmett and Hogarth House moved to 9 & 10 St. Bride’s Avenue, Fleet Street, in September 1872.  Round about 1877 the company was taken over by Charles Fox, although George Emmett’s name remained as the occupier of the Bride Street premises in the Post Office Directory until 1881, when William Cate’s name first appeared.

Cate remained at 9 & 10 St. Bride’s Avenue until 1885, when he moved to 32 Bouverie Street.  He then began issuing many of the Hogarth House complete novels  –  bound volumes of penny–part serials  –  carrying the William Cate imprint and the Hogarth House, Bouverie Street address.  This was simply a case of Cate putting new covers and title pages on old stock.

Cate also continued printing boys’ papers for other publishers, including Young Britannia, which was published by H.J. Brandon and ran between April and December 1885;  and Boys of Britain, published by Samuel Dacre Clarke at 7 Bolt Court between April and September 1886.

In 1883 Cate was admitted as a freeman of the City of London, giving his address as 21 Cursitor Street, which is where he had his printing presses.  In 1880, Cate had opened premises at 17 West Harding Street, and in 1884 he was working out of Cursitor Street, West Harding Street and St. Bride’s Avenue.

Cate’s other activities as a publisher were limited to a handful of specialist books and periodicals.  These included The Commercial Law Annual (1873 onwards), Food for Thinking Christians (1881), The Bankruptcy Act 1883, and Schedules of Rules etc. (1883), Book–keeping Simplified (1884?), and Hints Upon the Law Relating to Bills of Sales (1887).  Most of these reflected Cate’s interest in financial and legal issues, probably inspired by his early career as a law stationer.  His Commercial Compendium specialised in publishing lists of Bills of Sale and County Court judgements, and in December 1887 he, along with two other publishers of similar material, sought an injunction against a fourth publisher for allegedly copying their material for which they claimed copyright.  (Times, 3 December 1887).  Cate again went to court, in Edinburgh, in 1898, seeking an injunction against the Scottish Trade Protection Society for similarly breaching his copyright.  A local newspaper noted that Cate “was in the habit of publishing and arranging contracts for the supply of various periodicals containing information as to the financial position of traders in so far as such information was obtainable from public sources...” (Edinburgh Evening News, 6 July 1898).

In 1896 Cate was sharing his Bouverie Street premises with his son, William Henry Cate, who was working as a Law Stationer.  In 1897, Cate’s business became William Cate Limited.  One of his last publications was Power Locomotion on the Highway:  A Guide to the Literature Relating to Traction Engines (1896),  As a printer, Cate had printed the 59 numbers of Crombie’s Stories for the Crowd, published by Andrew Crombie, between 1892 and 1897.

By 1901 Cate had retired and had moved to Marie Lodge, Oxford Road, Teddington, where he lived with his wife and two servants.  He died there on 10 May 1902, leaving an estate worth £3,549 (£336,000 in today’s terms), and naming his son William as executor.  Ann died at 46 King Edward’s Grove, Teddington, on 26 January 1914, leaving an estate worth £1,070.

Cate’s printing and publishing business was presumably continued under the stewardship of his son William Henry, who began his career in the late 1870s as a printer’s clerk, presumably working for his father.  There appears to be no trace of him in the 1891 census, but in 1901 he was recorded as a visitor at an address in Walthamstow, described as Secretary to a company of Law Stationers. In the 1911 census he was described as Secretary to a Printing Company (presumably the Cate business), living at 27 Walpole Road, Strawberry Hill, Twickenham.

However, he was still operating independently as a Law Stationer, and remained as such until 1922 (Post Office Directory).  He had earlier, on 10 April 1907, married Rosa Lizzie Boulton, born in Edmonton in 1865, and the daughter of Joseph Boulton, a publisher, at St. Saviour’s Church, Paddington. 

The Cate printing business was still operating out of Hogarth House, Bouverie Street in 1908, when it published Picturesque Donegal:  Its Mountains, Rivers and Lakes.  Two years earlier, Cate had suffered a fire at Bouverie Street, fortunately not serious, which was investigated by the City Coroner.  The fire apparently started in a canvas bag which was used to accommodate waste paper, oily rags and other rubbish.  The London Fire Brigade claimed the fire was the result of spontaneous ignition, although Cate argued that that bag had been used for 15 years without mishap.  The coroner’s jury agreed with the Fire Brigade.  (Times, 7 January 1907).

In 1914 Cate moved to 140–150 Great Saffron Hill, Charterhouse Street (between Holborn and Clerkenwell), and began operating largely as a printer  –  the company’s last work as a publisher appears to have been a 63–page essay Mr Lloyd George’s Future:  The Liberal Party’s Great Peril, published in 1920.  One of Cate’s last roles was as the printer of the Electrical Review, until at least 1922. 

In December 1926 the Hutchinson Printing Trust Limited was established by a group of publishers, headed by Walter Hutchinson of Hutchinson & Co., to acquire not only William Cate Ltd. but also several other printing and bookbinding businesses.  (Times, 6 December 1926).  The Trust, operating out of 34 Paternoster Row, reported that it had acquired all the shares in the companies it had planned to take over in April 1927, although William Cate Ltd. remained listed in the Post Office Directory at Great Saffron Hill until 1929, when its name had disappeared.  The company of William Cate therefore ceased to exist, although it was not struck off the Companies Register for another 30 years. (London Gazette, 5 November 1957).

William Cate the younger lived in Walpole Road until around 1926, when he moved to 15 Meadway, Southgate, and where he died on 18 April 1928, leaving an estate worth £5,239 (£275,500 in today’s terms).  Rosa died at the same address on 1 January 1934, leaving £4,325, naming Ernest Victor Boulton, a newspaper representative, as her executor.

Of William Cate’s other sons, George and Alfred appear to have spent only a short period in the printing trade.  George, a printer’s clerk in 1881, died in 1890.  Alfred was shown in the 1891 census as a Printer’s Picker (whatever one of those was).  He had earlier, on 12 May 1884, at St. Philips Church, Lambeth, married Harriet Charlotte Jones (born in Lambeth in 1865, the daughter of John Jones, a cook).  Both Alfred and Harriet were living at 7 Wynyard Terrace, Esher Street, Lambeth at the time.  Alfred died in West Ham in 1897.

Charles John Cate became an engineer.  In 1891 he was living with his brother Alfred, at 31 Ady’s Road, Clerkenwell, working as an engineer’s fitter.  He married Harriet Cate  –  his sister–in–law  –  on 11 December 1898, just over a year after Alfred’s death, at St. Andrew’s Church, Stockwell, and the couple subsequently moved to 110 Ridley Road, West Ham.  They later moved to Leeds, and then to Bury, where Harriett died in 1924 and Charles died in 1943.

Finally, William Cate’s youngest son, Henry, born in 1865, began his working life around 1881 as a stockbroker’s clerk.  He remained living with his parents until he married Lilian Maude Dale (born in Edmonton in 1869) in 1895.  Six years later they were living at 2 Latymer Road, Edmonton, Henry still employed as a stockbroker’s clerk.  He died in Edmonton in 1904, as did his wife in 1941.

Saturday, May 10, 2014

John William Hancock

(Originally published 2 March 2013 after I had been dropped a line by Jess Nevins (gatherer of Fantastic Victoriana and annotator of The League of Extraordinary Gentlemen), who asked whether I could find some information on Hancock).

John Hancock was a contributor to the Clifford Bax/Austin Osman Spare magazine The Golden Hind, contributing a Blakean pen-and-ink sketch to the January 1923 issue.
God of Israel. The first God creating from his own body Adam & Eve. Thrusting them away from him that he may continue his inward turning search for his God, who in the form of a winged soul is flying into the beyond.
The same issue contained a small, three sentence biographical sketch, which revealed: "This artist drowned himself in Regent's Canal, London, aged only 22. It was found after his death he had been suffering from Bright's Disease for two years. He spent his boyhood in Canada and his teens in the East Midlands."

John William Hancock was actually born in Cape Colony, South Africa, in 1896. His father, William John Hancock had been born in Camden Town, Middlesex, on 24 February 1864, the son of a clerk in the General Register's Office. In 1881, William John was working in London as a wholesale draper's assistant but, within the next few years had moved to South Africa where he married Susannah Davidson – born in Honington, Warwickshire, in 1863 – in Cape Town in 1892.

John William was the second of two children; his elder sister, Berta Elizabeth Hancock, was born in Cape Town in 1893 and in 1901 was to be found living with her grandmother in Putney, London. Her brother was supposedly raised in Canada, returning to England at the age of 12 (c.1908).

The next sighting of John William is in the 1911 census when the family are reunited and living at 3 Royal Terrace, Northampton. John is now 15 and an art student, whilst his father is a secretary and agent for the Unionist Political Association. His sister was married in Hampstead in 1917 to Charles Scriven, a 2nd  Lieutenant in the Northants Yeomanry. Berta was said to be living at All Souls, London, at the time and it seems likely that the whole family had moved down to London. (William John Hancock died in Hampstead, London, in 1934, aged 70; Susannah, his wife, was living in Watford, Herts., when she died in 1946, aged 83.)

John William Hancock's activities over the next few years are unknown. Whether he managed to convert his art training in Northampton into commercial success in London is unknown, although given his obscurity it seems unlikely. Living at 29 Alexandra Road, South Hampstead, Hancock was last seen on 2 November 1918. On 17 November, his body was discovered in the Regents Canal.

His death was described as a tragedy of Bohemia. He apparently left behind a heap of manuscripts of allegorical stories and poems and a great many drawings, described as "remarkable in a sustained and inventive vein of high symbolism". In November 1922, an anonymous correspondent for the Manchester Guardian noted: "This week a number of water-colours and drawings have been taken to Birmingham for exhibition in the foyer of the Repertory Theatre." A memorial volume of Hancock's drawings, poems, and essays was said to be in preparation for publication but nothing more was heard. His appearance in the January 1923 issue of The Golden Hind may well have been his last.

Update: 10 May 2014.
Three examples of John Hancock's work appeared in the short-lived Colour magazine in 1918-19.

Hancock also illustrated the children's book Come Unto These Yellow Sands by Margaret L. Woods (London, John Lane The Bodley Head, 1915), a copy of which was sold on eBay recently (for £74.99)—from which sale the images below were derived.

With thanks to Lesley Heming of transpontinebooks (via Abebooks or eBay) for scans of Hancock's artwork from Colour.

Friday, May 09, 2014

Comic Cuts - 9 May 2014

I mentioned last week that I'd completed the introduction to the Countdown to TV Action index. Thanks to the bank holiday, I didn't really do much over last weekend—we made some inroads into watching the first season of Grimm, which I've had sitting amongst a pile of unwatched DVDs for some weeks. It's pretty good, although very much a "monster of the week" series with a Basil Exposition character involved to explain things to the main character, who has just learned that he is from a long line of monster-hunters. It follows in the footsteps of Supernatural with the spin that Nick Burkhardt is a police officer.

Mel is a big fan of another fantasy/detective drama, Sleepy Hollow. I've only seen the first couple of episodes but I'd say it looks pretty good. There seems to have been a shift towards fantasy/horror and away from science fiction, although I recently picked up the first season of Defiance, which is set in the near-future frontier town of that name, built on the ruins of St. Louis after aliens attempt to transform the planet to their needs. The pilot seemed pretty good, but I've yet to see the rest of the series, although I gather it has been picked up for a second season. I've yet to see Falling Skies, but that, too, has survived for some time now and is almost certainly worth a look-in.

I miss Battlestar Galactica! Can anyone suggest any other good SF shows that might be worth catching up with?

I've managed to stray wildly from what I was intending to write. What I meant to say was that the text for the introduction has gone out to a couple of people for checking and I'm very pleased with the response I've had back. This arrived at the perfect time as my self confidence was taking a bit of a battering as I tried to start on the next task—designing the book. I had a notion for the opening pages that looked a lot better in my imagination than it did when I put it together on Monday. I revamped it on Tuesday and it looked better... but it still wasn't right. I had another go on Wednesday but the results were still too floaty and just not right.

Thankfully, I think I nailed it on Thursday. As I write this I've put together a dozen pages that I'm happy with. It's a painfully slow process because it takes so long to clean up the illustrations to a reasonable standard.

Our random scans today are in memory of the late Leslie Thomas, who died on Thuesday (6 May) aged 83. Thomas is best known for his novel The Virgin Soldiers, published in 1966 and filmed in 1969, which had a number of sequels, including Onward Virgin Soldiers (1971) and Stand Up Virgin Soldiers (1975). Thomas' other novels include Tropic of Ruislip (1974), which was made into the TV series Ruislip, Ormerod's Landing (1978), The Loves and Journeys of Revolving Jones (1991) and the Dangerous Davies series of four novels, illustrated below. Dangerous was subesquently filmed with Bernard Cribbins in 1981 and also made for TV—as The Last Detective—with Peter Davison and Sean Hughes (2003-07).

Further information about Thomas and his career: Wikipedia, The Guardian (8 May), Daily Telegraph (8 May), The Independent (10 May).

Dangerous Davies The Last Detective (London, Eyre Methuen, 1976)
Pan 0330-25173-2, 1977, 238pp, 80p. Cover photo
Arrow 0099-43617-5, 2001, 269pp, £5.99. Cover photo by Rob Ebden

Dangerous in Love (London, Methuen, 1987)
Penguin 0140-10964-1, 1988, 239pp.
---- [7th imp.] n.d., 239pp, £5.99. Cover by Chris Brown

Dangerous By Moonlight (London, Methuen 1993)
Mandarin 0749-31339-0, 1994, 344pp, £4.99. Cover by Peter Mennim

Dangerous Davies  and the Lonely Heart (London, William Heinemann, 1998)
Arrow 0749-31916-X, 1999, 323pp, £5.99. Cover by John Dawson

I don't have anything planned for next week, but I do have a piece by Robert Kirkpatrick on penny dreadful publisher William Cate to run over the weekend.

Thursday, May 08, 2014

Paul Temple and Project Deep Plunge part 36

(* © Evening News)

Commando issues 4703-4706

Commando issues on sale 8 May 2014

Commando No 4703 – Attack In Artois

On the morning of the 28 June 1914 two pistol shots fired in a Sarajevo street had plunged the world into war and pitched men of all nations against one another.
   As shells ripped ground and air apart all around, a small ceasefire was called in No-Man's-Land while two men traded stories instead of lead for one had saved the other's life. Both had similar tales to tell, yet one was British, the other German…

Introduction
As a tribute to those who served during the years 1914-1918 — on the Home Front or at Front Line — Commando has produced a series of stories of characters caught up in the tumult of the First World War. None of them are real people but we’d like to think that the experiences they have will not be a million miles from what actually happened to so many.
   In the previous issue, our heroes were from the ANZAC and the Royal Navy, battling away in Gallipoli. As that campaign ground on, new offensive started on the Western Front in France — The Battle Of Loos in the Artois and Champagne region. The Tommies might have had tin hats now but that was the only improvement to their lot, for even the British were now using the dreaded poison gas.
   I hope you enjoy this and the other stories in the series as much as we have.—Calum Laird, Commando Editor

The series continues in four weeks with Firestorm In Flanders, Commando No 4711

Story: George Low
Art: Keith Page
Cover: Ian Kennedy

Commando No 4704 – Desert Hero

The “Phantom Major”…the “Battling Major”…every man in that company had a different name for him, and when he led them every man would fight to his last drop of blood.
   Not one knew that under his tunic with its Major’s crowns was plain Jack Steel, corporal. They wouldn’t have believed it. But then Napoleon was once a corporal…

Introduction
Here’s another slightly misleading Commando cover. Not that there’s anything wrong with Ken Barr’s mighty illustration it’s just that…well, this isn’t the air story you might expect. Ah, but what a story, Mr Skentleberry! Classic Commando fare — a man who pretends to be something he’s not (despite the consequences) plus action, action, action. And what superb action illustrations, too, the pen and brushes of Alonso were seldom so well employed. Check out those faces, too — masterful stuff.
   Oh, and be prepared for a little twist at the end.—Calum Laird, Commando Editor

Story: Skentleberry
Art: Alonso
Cover: Ken Barr
Originally Commando No 144 (December 1964), re-issued as No 731 (April 1973)

Commando No 4705 – Battler Hastings

Augustus “Gus” Hastings was the strict-but-fair headmaster of St. Sebastian’s school — an institution that had educated those destined for high military rank or government appointment for generations.
   With the Second World War raging, Gus and his pupils were packed off to the safety of Newfoundland. En route, however, they were caught up in a hair-raising adventure, tangling with Germans all the way.
   As time went on, the boys realised there was more to Gus than met the eye. And just where did he learn to fight?

Story: Alan Hebden
Art: Rezzonico
Cover: Janek Matysiak

Commando No 4706 – Seek And Sink

This is the story of the Fairey Swordfish torpedo dive-bomber…an out-dated biplane at first glance, yet still a very powerful weapon in the arsenal of the Fleet Air Arm. For, unlike many other planes, they could take a lot of punishment and still fly. Their crews scoured the seas, their mission to seek out and sink enemy shipping — often with spectacular results!

Introduction
In Commando we always have fictional characters but, for authenticity, they can be placed in real-life military organisations. The Royal Navy’s Fleet Air Arm gives us double the usual amount of scope — for a yarn that can encompass both a sea tale AND an aircraft story, in this case the Fairey Swordfish torpedo bomber.
   Author Ian Clark does this skilfully and delivers a script that manages to be thoughtful and thrilling. It’s dynamically illustrated by Ibanez, whose rain-drenched, stormy scenes on pages 9, 10 and 11 are not for the faint-hearted!—Scott Montgomery, Deputy Editor

Story: Ian Clark
Art: Ibanez
Cover: Jeff Bevan
Originally Commando No 2252 (February 1989), re-issued as Commando No 3779 (January 2005)

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