Terry Doyle

Nice McCay! (thumbs u

I managed to dig-out one of three paintings I got from Hugh Stanley White: Far as I'm aware, it's an unpublished piece intended as a paperback cover. I've uploaded this into my CAF, with an additional image of the artwork at his drawing board. A few other pieces, too. I know I have another painting somewhere, but need to do more searching! A third painting I gave away to a close friend. He always loved that particular one, so I made it a birthday present to him (he has the painting on display in his front room and keeps telling me, over the years, how much he enjoys it!).

Thanks . . . I think!

Funnily enough, an internet search found an advert for the first issue of my 1980s fanzine, Shadow play. The artwork, as awful as it is, is by yours truly. At the time (which hasn't changed) I was a huge fan of the 1960s anthology TV series, The Outer Limits. My favourite teleplay of the show was Harlan Ellison's Demon With a Glass Hand. For someone else's fanzine, prior to all this, I had been doing my own adaptation of the story. A couple of months into doing this, DC Comics pulled the rug under my feet by doing their own version of the story (which basically made my sh*tty version look like the cr@p it was), and I pulled the plugs on what I was doing (instead, for Shadow Play # 1, I wrote a review of the episode). Felix Lu has been sent scans of my own cr@ppy version of the powerhouse Outer Limits 'Demon' teleplay . . . but he's sworn to secrecy by never to embarrass me by making these private communications (and scans of awful artwork) made public . . . Only claim to fame, as far as I'm concerned, is that I proceeded to adapt Demon With a Glass Hand as a graphic novel just before DC did so!

I see evidence that indicates otherwise! And not the Terminator head either. Whereabouts? I am guessing that it is Conan's broadsword lying there. Subtle . . . very subtle.

And if you were a member of CFA-APA you could tell us all about it. (Which is another ways of saying I wish you were and I wish you would!) But if that's not your cup of (English) tea... Maybe do it here instead in a new thread? I'm interested. All of it too, including your fanzine. (And for once not negative or grouchy!) I've been invited to join CFA-APA, by people like Ray Cuthbert and Benno Rothschild over the years. A good friend, Chris Killackey, even sent me a copy of the last issue (which I advised on his contribution to). Excellent fanzine that blew me away with the scope and wealth of material . . . only problem I have with it is that's it's intended for a small audience of contributors. Something so good should be reaching out to a wider fan-base, imho. If you go to all the trouble of researching and writing something, surely you want maximum exposure . . . why be writing for a handful of people? I don't necessarily think you're negative or grouchy . . . you just say things as you see it, which may not exactly pander to what people want to hear. Sure, I can do some future threads along the lines of what you suggest. Not always possible at present (not enough hours in the day), though I'll be going the route of early retirement in a fortnight's time so will have more free time on my hands when my life of leisure kicks-in . . .

Neat. I like it the same way I like Wolverton and Matt Fox Thanks. It's an antiquated style, for sure, though the work reminds me of Al Feldstein. I corresponded with the artist up until his death and he contributed some illustrations to my fanzine, Shadow Play, that I self-published in the early 1980s. He even paid me a surprise visit one weekend! A real gentleman with a fascinating background history.

I see evidence that indicates otherwise! And not the Terminator head either. Whereabouts?

Going through some of my filing cabinets to have a tidy up and I came across some pages by UK veteran, Hugh Stanley White (who is likely to be unknown, here). I've opened-up a gallery for the ten pages I found (I have a couple of his paintings somewhere, so will try to unearth those later). Here's a sample page (go to my CAF Gallery if you want to see more): Hugh Stanley White (1904 - 1988) Hugh Stanley White was born in Kilburn, North London, on 6 October 1904, son of Hough White, a sanitary engineer, and his wife Ethel May. He studied at Islington Park College School, Hastings Art School and Chiswick Art School, but his first job was as a heating engineer. In 1926, while sketching at the Natural History Museum, he met Walter Booth, who was already an established comic artist, and became his assistant, working on strips like "Rob the outside-affiliatelinksnotallowed". By 1929 he was drawing comics in his own right, working on the nursery comic Bo-Peep and Little Boy Blue. Strips he drew for the title include "Ranji's Ruby" (1932) and "In the Days of Drake" (1933). He also drew strips for The Boy's and Girl's Daily Mail, and "Jimmy in Java", "Peter in Pygmy Land" and "Rosalind and Tommy's Adventures Among the Chinese" for the South Wales Echo & Express in the 1930s. From 1936 he worked for Mickey Mouse Weekly, drawing "Ian on Mu" (1936), the first British science fiction strip, "Ginger Nick the Whaler" "The Phantom City", "Flashing Through" and "Oil and Claw". In 1938 he drew "Into Unknown Worlds" for Butterfly, and "John Irons, Lone Fighter", for an Amalgamated Press title. After the war he worked for small publishers, starting his own title, Merry Maker, which also featured art by Walter Booth and Basil Reynolds. He drew two comics in American style, Xmas Comic and Atomic Age Comic, as well as "Tornado" for Bob Monkhouse's Oh Boy!. In 1951 he drew some episodes of Young Marvelman. Other titles he worked for included Happy Times, Top Notch, Space Comics and Adventurer. His last work in comics was in the 1960s. After that, his spent a few years as an advertising illustrator in Kenya, before retiring. He died in Banbury, Oxfordshire, on 21 September 1988, aged 83.

Reckon Arnie could kick his azz . . . How about an Arnie trophy room?

Thanks, Chris. Incidentally, captioned material (the blank coloured boxes you see in most of the panels) had wording mechanically inserted during the printing process. The speech balloons were all hand-lettered. You see a lot of this happening with painted British artworks of the time . . .

Thanks.

Actually, I've had this one for a long time, but because of its huge size have had to take a digital photo of the art: LAST OF THE SAXON KINGS by Patrick Nicholle Painted strip published, I think, in the Eagle magazine during the 1960s (UK).

Not someone I've heard of, but I really like the art. (thumbs u

Big brother is watching you! Cool . . .

Nice! (thumbs u

The Matt Fox stuff is strangely compelling. Nice example! (thumbs u

Maintainance Musts . . . "Use leather oil on thongs"

Am I drunk (been out drinking this afternoon), or is that wall curved?

Thanks, Alex. I always enjoyed reading the Sea Devils titles during the 1960s. Those are great Russ Heath re-creations you got there! Russ always does a wonderful job on these re-dos. (thumbs u

Not something I'd place a great deal of value on, but it's what the published cover was printed from and, as such, has historical interest and would make a nice display piece (if you can live with the fact it's mostly stat). The asking price is absurd, so I doubt this will sell any time soon.

Oh, wait, all the clues are present in the cover image to indicate what's happened here. Looking at the cuts in the stat (and subsequent art extentions), as originally illustrated, Thor and Iron Man were further up and obscured most of the Vision's face and (I guess to preserve Buscema's original drawing) were cut out of the stat and lowered slightly. Cap and the other Avengers (at bottom of the cover) were likely to have been lowered too. Wouldn't surprise me if Buscema's original (intact) drawing exists separately (as was the case with the Tales of Suspense # 85 cover).

Yes, there's no guarantee that Buscema was involved with the new bits added to the statted cover - which may well be the work of a production staffer.

I think the likelihood is that that Stan Lee requested alterations on the all-original cover art (as initially illustrated by Buscema). The stats may well be slightly reduced in size from the original drawings as part of Stan's instructions for a re-do. It's something that happened with the Gene Colan cover for Tales of Suspense # 85 (the one where Iron Man is suspended in chains in front of the Mandarin). For that particular cover, both the original cover illustration (unpublished as such) and the altered stat cover (image reduced slightly, with new art extensions) both existed and were sold separately. There's also an early Colan Daredevil cover where Stan had the cover image reversed (Daredevil # 25, Leap Frog). For this particular original, the reversed stat was glued directly over the original artwork.