Tag Archives: Roy Newby

Jinty & Lindy 22 November 1975

Slaves of the Candle – artist Roy Newby

Golden Dolly, Death Dust! – Phil Gascoine

Finleg the Fox – artist Jim Eldridge

The Jinx from St. Jonah’s – artist Mario Capaldi

Ping-Pong Paula – artist Jim Baikie, writer Alison Christie

Tell Us – problem page

Poparound! – pop gossip

Barracuda Bay (final episode) – artist Santiago Hernandez

Do-It-Yourself Dot – artist Alf Saporito

Too Old to Cry! – artist Trini Tinturé

Hettie High and Mighty – artist “B. Jackson”, concept and partial writer Terence Magee

The Haunting of Hazel – artist Santiago Hernandez

Song of the Fir Tree – artist Phil Townsend

Barracuda Bay ends this week. The villainous Kane gets caught in his own explosion, and our heroes barely manage to escape the tidal wave caused by it. Susan, who had started her story all thirsting for adventure and getting out of the office, now decides she’s had more than enough adventure.

In Slaves of the Candle, Lyndy manages to stop Mrs Tallow spotting the evidence of an escape, but the cost is Mrs Tallow’s revenge for getting dye all over her clothes. This takes the form of forcing Lyndy to go into hives for beeswax and risking stings. What’s more, the bees are in a very nasty mood. Talk about killer bees!

Just when Janie thought she’d got rid of that horror Hettie High and Mighty – their parents take it into their heads to get married. Now Janie’s got Hettie for a stepsister. Arghh!

Talk about double disaster. Solveig and Per, freshly liberated from a Nazi concentration camp, are forced to take shelter in an abandoned one. Trouble is, their old enemy Sergeant Strang from their own camp has the same idea, and then Grendelsen catches up again. So now the children are up against both Grendelsen and Sergeant Strang! 

Ping-Pong Paula gets revenge on Myra Glegg, the spiteful girl who’s been playing tricks on her. She beats Myra in a table tennis tournament, and then Myra gets kicked out of the boarding house when the landlady catches her ripping up Paula’s photos. So that’s one problem less for Paula, but there is still the matter of how to sort out her quarrelling parents. So far that looks like achieving world peace – hopeless.

The next ingredient required for the antidote to Miss Marvell’s death dust is damask roses. As usual, Miss Marvell throws obstacles in the way of Yvette and Lucy, and she isn’t through when they finally reach the roses. There’s an angry bull bearing down on them!

In Finleg the Fox, the evidence is mounting up that the unpleasant Mr Dray was involved in a train robbery and the money Una found is the stash. Meanwhile, Dora hatches a nasty plan to poison Finleg!

Hazel’s mountaincraft course is in a real mess. She was so distracted by whatever’s haunting her that she left her mountain climbing party on the mountain. Ooops!

Katie the Jinx is the hobby horse in a Morris dancing charity event. She would find herself being chased by a showjumping horse who wants her toffee apple and end up straight in the lake. At least the hijinks are so hilarious they make a lot of money for the event. 

Nell’s search for the woman who might be her mother leads her to a beauty academy, but she is stuck on how to introduce herself. What’s more, she isn’t exactly a beauty. At least the horrible Mrs Arbuthnot doesn’t know she’s escaped from the orphanage and the police aren’t searching for her yet, but it can only a matter of time…

Dot’s back and trying her hand at juggling. She ends up as the one being juggled, by dolphins.

Jinty & Lindy 15 November 1975

Slaves of the Candle – artist Roy Newby

Golden Dolly, Death Dust! – Phil Gascoine

Finleg the Fox – artist Jim Eldridge

The Jinx from St. Jonah’s – artist Mario Capaldi

Ping-Pong Paula – artist Jim Baikie, writer Alison Christie

Great Fun Contest!

Poparound!

Barracuda Bay – artist Santiago Hernandez

Penny Crayon – cartoon

Too Old to Cry! – artist Trini Tinturé

Hettie High and Mighty – artist “B. Jackson”, concept and partial writer Terence Magee

The Haunting of Hazel – artist Santiago Hernandez

Song of the Fir Tree – artist Phil Townsend

The Jinty & Lindy merger is in its second week. Lyndy Lagtree is determined to escape from Mrs Tallow’s House of Candles despite being framed by her for theft and now the most wanted person in London. Her first attempt fails, but she picks up a vital clue about the racket. Unfortunately Mrs Tallow is on the verge of discovering this, so Lyndy has to think of something fast! Meanwhile, Nell’s escape from Mrs Arbuthnot’s horrible orphanage is more successful. So far, no problems, and she’s landed on her feet in a cake shop. Can Nell keep one step ahead Mrs Arbuthnot, the cruel matron who can lie her way out of anything?

In “Song of the Fir Tree”, Solveig and Per have made their way to a more savoury orphanage, but they are forced to go on the run again when Grendelsen catches up. Unfortunately this causes another missed opportunity to reunite with their father.

Hazel’s just about reached the end of her rope with her haunting, but now it’s taking another turn in a churchyard. Will it be for the better or worse?

Miss Marvell breaks the hearts of everyone in the community when she uses her death dust to destroy valuable trees that were memorials to fallen soldiers. The water lily is next on the list for the antidote to Miss Marvell’s death dust. Easy to find, but not easy to obtain with her around! 

In the two running stories that came over from Lindy, Hettie High and Mighty is proving herself just as slick as Mrs Arbuthnot. She is playing so foully on the hockey field that poor Janie has taken a nasty crack on the head. Then Janie finds out Hettie is doing it all on purpose after switching their names with the reporters watching the match. So she will get the blame for what Hettie did! In the other story, Finleg the Fox, Una finds a stash of money in his den. It could only be stolen money, but who stole it, and what does it have to do with the stranger who’s been found dead?

In “Barracuda Bay”, our heroes escape the villainous Kane’s underwater base thanks to a timely earthquake. But now they face a tidal wave set off by the explosives he set to destroy his base. This move has also rebounded on Kane, whose getaway submarine got jammed in the door from the quake.

Myra Glegg has been playing rotten tricks on Ping-Pong Paula, but at least Paula now knows why – Myra is her latest ping-pong rival. Showdown time. 

You would think babysitting a pot plant couldn’t be any trouble. Not when the damn thing is so big it reaches the ceiling, has very fussy demands, and the Jinx from St Jonah’s is in charge of it! 

Sandie 28 July 1973

Sandie cover 28 July 1973

  • Slaves of the Eye (artist Joan Boix)
  • Cinderella – Superstar (artist Joan Boix?)
  • Wyn and the Witch (artist A. E. Allen)
  • Connie Courageous (artist “B. Jackson”) – last episode
  • Sink or Swim, Sara! (artist Eduardo Feito)
  • The Captives of Terror Island (artist Juan Escandell Torres, writer Terence Magee) – last episode
  • Dancing to Danger (artist Tom Kerr)
  • Bridie at the Fair (artist Leslie Otway)
  • All Against Alice (artist Miguel Quesada?)
  • Sisters in Sorrow (artist Desmond Walduck?)

“Slaves of the Eye” features another sinister teacher (Miss Krell) who exerts a strange, sinister influence over pupils, and it’s up to our protagonists (Kate Saunders and her friend Heather) to unravel how and why. Plus what lies under that veil Miss Krell always wears and what lurks in her laboratory. Kate has now discovered Miss Krell used a transmitter inside a netball to make the girls foul her during the match. Once she gets hold of the transmitter, it leads her and Heather to prison cells that were empty earlier but are now full of…whom?

 

“Cinderella Superstar” is an aspiring ballerina, Ellie Villiers whose road to her dreams is being blocked by uncooperative relatives who treat her like dirt. Now they’ve taken her gramophone to stop her dancing to her ballet music and given it away. But the blurb for next week says Ellie’s about to get some help.

 

Wyn is an ill-treated drudge at Pinchbeck Hall, but has a good friend in the form of the witch Grizelda “Grizzy” in the attic, whose magic helps Wyn get comeuppance on her horrible employers. This week Lord Pinchbeck is challenged to a duel but there’s a problem – Grizzy has turned him into a pig, so how the heck is he going to duel?

 

It’s the final episode of “Connie Courageous”. Connie Cartwright has jealous rivals in addition to learning to jump while being blind. And she needs the prize money to restore her sight, but her enemies have blocked the path to her getting to the event. Can she and her horse find a way to get there in time?

 

“The Captives of Terror Island” also ends this week. Madame Soong of Terror Island has kidnapped an entire hockey team in order to claim the National Hockey Championships for her country, and her training methods are “barbaric”. It looks like she has finally got what she wants and is a national heroine, until our heroine finally manages to expose her in front of the spectators. Madame Soong quite literally destroys herself – and Terror Island – with the very bomb she had set for her enemies.

 

In “Sink or Swim, Sara”, the two snobby headmistresses of St Agatha’s should have thought twice before making Sara Dale’s life so miserable. This caused her to change schools when they badly needed her to win an inter-school swimming gala. Now the same thing has resulted in two of Sara’s friends being expelled. Now they’ve transferred to Sara’s school and are happier – then Sara informs them that the expulsion is all part of some dirty trick the headmistresses are playing, which won’t be revealed until the final episode next week.

 

“Sisters in Sorrow” is also on its penultimate episode. Layla and her friend Pat have been forced to become thieves, but the story takes the unusual step of having an aristocrat, Lady Maggins, as the Fagin. They have been forced to impersonate two others in order to infiltrate a household so they can rob it. Layla manages to rescue the real McCoys, but they get cornered by Lady Maggins. Meanwhile, Pat has been exposed as an imposter, so they’re both in a corner now.

 

“Dancing to Danger” and “Bridie at the Fair” look like they have been reprinted from elsewhere, perhaps School Friend or June. In the former, Pat White uses ballet as her cover for undercover work against the Nazis in World War II. She manages to worm her way into Gestapo HQ to find information on a prisoner, Professor Duval, under pretext of her ballet troupe staging a performance there. However, her Nazi nemesis, Herr Staub, gets suspicious and is going to arrange a special watch on them. In the latter, Bridie Donovan has joined a fair in the hope of regaining her memory. But the fortune-teller Madame Rosa tells Bridie she can do anything she wants with her.

 

“All Against Alice” has been fostered out to a former Wimbledon champion who is coaching her in her beloved tennis, but shows her no affection. Then a Mr and Mrs Tyler claim to be Alice’s parents but lose the custody battle in the interim. Just as well, because they are clearly out to make money out of her, which they finally succeed in doing by destroying Alice’s amateur status through a dirty trick, and with it, her career.

Jinty & Lindy 3 January 1976

cover jinty 19760103

  • Slaves of the Candle (artist Roy Newby)
  • The Jinx from St Jonah’s (artist Mario Capaldi)
  • Friends of the Forest (unknown artist – Merry – “B Jackson”)
  • Golden Dolly, Death Dust! (artist Phil Gascoine)
  • Ping-Pong Paula (artist Jim Baikie)
  • Too Old to Cry! (artist Trini Tinturé unknown)
  • Wanda Whiter than White (artist Ana Rodriguez)
  • The Haunting of Hazel (artist Santiago Hernandez unknown)
  • Song of the Fir Tree (artist Phil Townsend)
  • Do-It-Yourself Dot

This post is inspired by a number of creator attribution discussions from recent months, not all of which have made it onto the blog yet (and some of which are hot off the press!). Yesterday I had a lovely, fun meetup with the daughter of Trini Tinturé, who is very delightfully based in the same city as me for at least some of her working time. I dug out some old issues to show Maris Tinturé some of her mother’s Jinty stories in situ, and this was the first one where I spotted a story attributed to Trini.

Maris leafed through it once, twice, and couldn’t find any art of her mother’s. Was it just too much of a skim-read to spot it after all this time? No – I pointed out the specific story I had in mind, “Too Old to Cry!”, and the immediate reaction was, ‘but that’s not hers!’ – and a quick cameraphone piccy and email confirmed it. This story looks enough like Trini’s art for me to never have questioned the attribution that came handed down to me, probably from David Roach originally, but to the most familiar of eyes it is as unlike her art as one face is like another. Below is the episode of the story from this issue – compare it to a piece of definite Trini artwork like the sample pages of Creepy Crawley. (But I think that you will be likely to have to look very closely to be sure, unless you are very familiar with her artwork.) [Edited to add – Trini now says that this story is hers after all! This is upon reflection and, especially, her review of the second and third pages of the story. Here are her own words about it (translated by her daughter Maris): “I would much rather say that this bad work is not mine, and it would be easier for me to do so. But, unfortunately, I have to admit it is. Shame, shame! It looks like the main character had to have a ‘special’ feel, and special indeed I made her! She looks horribly tuberculose. I don’t remember the story or the characters at all. (And at the bottom of the last page the texts points to the continuation in the following week, meaning it’s a serial: no clue at all.) But there are traits in the other characters that give me away mercilessly. Nobody can copy certain kinds of folding and line… The way of drawing stones, the backgrounds… the older people… (Or maybe it was a cooperation between me and Dracula, who knows!)

But the date 1976 certainly does not fit. It is quite possible that they originally put aside the story and only published it years later, who knows why. There was a lot of entanglement [with] publishers. These bad pages smack of my earliest works for Scotland’s schoolgirl series, for example. Fortunately my style changed very soon.

There’s nothing more I can add. It is bad work, but it is mine.”]

 

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This issue also includes an episode of “The Haunting of Hazel” which we have likewise previously attributed to Santiago Hernandez. However, on looking at the 2017 post on “Santiago Hernandez or José Ariza” Trini has this to say: “Barracuda Bay” is definitely Hernandez. “Golden Shark” possibly, but much earlier work perhaps. “The Haunting of Hazel” is unlikely to be Hernandez.” So I have likewise changed the attribution of that story on this post, in order not to confidently show it as being by Santiago Hernandez.

Finally, one other story in this issue is from an artist that we have long referred to as unknown – the unknown artist who drew “Merry at Misery House”. A sighting by “Goof” on the UK Comics Forum gave us a valuable reference to the name “B Jackson” as the artist credit accompanying the illustration for a text story in the ‘Daily Mirror Book for Girls” 1971. Further detective work by David Slinn (a contact of David Roach’s) and by David Roach has given a long list of stories and titles that “B Jackson” seems to have worked on. This will follow as a blog post on this site, with apologies for the delay in getting to this denouement.

But will the attribution of B Jackson prove long lasting, or could it be falsified or proved inaccurate in some way? All that I’ve seen on the blog so far goes to show that there is no 100% guarantee of anything – the word of an expert is very valuable but there’s nothing to compare with a direct line from the creator themselves, if at all possible.

Tammy & Sally 1 January 1972 – first New Year issue

Tammy cover 1 January 1972

  • Gina – Get Lost (artist Miguel Quesada)
  • Beattie Beats ‘Em All! (artist John Armstrong)
  • Halves in a Horse (artist Eduardo Feito)
  • Lulu (cartoon)
  • Skimpy Must Ski! (artist Tom Hurst)
  • The Four Friends at Spartan School (artist “B. Jackson”, writer Terence Magee)
  • Maisie’s Magic Eye (artist Robert MacGillivray)
  • The Secret Ballerina (artist Roy Newby)
  • Bernice and the Blue Pool – final episode (artist Douglas Perry)
  • Talk It Over with Trudy (problem page)
  • Alison All Alone
  • Cinderella Spiteful (artist Jose Casanovas)
  • No Tears for Molly (artist Tony Thewenetti, writer Maureen Spurgeon)

This is Tammy’s first New Year issue. The girl on the cover has a nice touch of mystique with her mask at a New Year’s party. Molly Mills finishes her current story with a Christmas party for all the orphanage kids, despite Pickering’s attempts to ruin things for them. Heck, he even tried to tie up the kids’ dog and leave it on the roof to freeze to death! Anyway, Molly will have a new story in the New Year.

Gina – Get Lost must be wishing she could get lost. A phoney child welfare officer has sent her to a sadistic children’s home where, among other things, she has been forced to crop her own hair. And their idea of punishment is to leave her in a freezing room all night with a vicious dog barking and snarling at her all the time.

“Bernice and the Blue Pool” ends this issue, so there will be a new story for the New Year. “The Four Friends at Spartan School” is on its penultimate episode, so there will be another new story helping to kick off New Year in two weeks. The four friends have successfully escaped Spartan School, but now they find an avalanche is threatening the school. Well, an avalanche may the best thing for the most horrible school in the world, but let’s face it – there are lives at stake up there, after all.

“Halves in a Horse” is near its end too. Pauline’s cruelty goes too far. She sends Topper bolting and now he’s in danger of drowning in a river. The Major, who had figured out Pauline’s bullying and tried to get Pauline’s victim Kay to stand up to her, is the only one on hand to help, but he doubts the horse can be saved. When Pauline hears this, she is suddenly struck with conscience.

Skimpy is determined to show her grandfather she is not an invalid anymore and can tackle skiing. By the end of the episode he has got the message and decides to help her with skiing. Excellent! Now the story can move more smoothly, though we are sure there are still bumps in the road ahead, and not just the tumbles Skimpy will take on the ski slopes.

Beattie has been cribbing lessons in secret at the school she has been squatting in while keeping up her athletics. Now she has a chance to be properly enrolled, but she has to pass exams.

Maisie tells a fat, gluttonous girl that she’s an awful pig. She never learns to watch what she says while wearing that damn brooch, does she? The girl instantly turns into a pig. Needless to say, she isn’t so greedy after Maisie finally gets her back to normal.

In “The Secret Ballerina, Karen finally makes it to the locked room – only to find nothing but Aunt Edith crying over someone named Karen, but Karen realises it’s not her. So who is this other Karen? Everything begins to point to Karen’s mother, but what’s it got to do with Aunt Edith not allowing Karen to dance?

Alison seems to be having more success in unravelling her own mystery. The clue she has uncovered leads her to Fengate Hall and she is going in. But the boys who have accompanied her are worried she is going to desert them once she finds out her true identity. Oh, surely not? After all, none of them really know what is waiting inside for Alison.

“Cinderella Spiteful” tries to ruin cousin Angela’s party. But in the end she is glad she failed to do so as she misjudged Angela over who she was going to invite, and she likes the look of the guests.

Tammy & Sally 25 December 1971 – first Christmas Tammy issue

Tammy 25 December 1971

Cover artist: John Armstrong

  • Gina – Get Lost (artist Miguel Quesada)
  • Beattie Beats ‘Em All! (artist John Armstrong)
  • Halves in a Horse (artist Eduardo Feito)
  • Lulu (cartoon)
  • Skimpy Must Ski! – first episode (artist Tom Hurst)
  • Bernice and the Blue Pool (artist Douglas Perry)
  • Talk It Over with Trudy (problem page)
  • The Secret Ballerina (artist Roy Newby)
  • The Four Friends at Spartan School (artist “B. Jackson”, writer Terence Magee)
  • Maisie’s Magic Eye (artist Robert MacGillivray)
  • Cinderella Spiteful (artist Jose Casanovas)
  • Alison All Alone
  • No Tears for Molly (artist Tony Thewenetti, writer Maureen Spurgeon)
  • A Tammy Outfit Idea for Christmas (feature)

 

This is Tammy’s first Christmas issue. Beattie Beats ‘Em All! (John Armstrong’s first Tammy story) does the honours on the cover. The back cover has a Christmas how-to-make. In Molly Mills, Lord Stanton wants to bring Christmas cheer to orphanage children, but he has reckoned without the cruel butler Pickering. The issue also advertises Tammy’s first-ever annual. Lulu is trying to find Christmas presents for Dad but keeps getting foiled.

You’d think this week’s episode of Maisie’s Magic Eye would be Christmassy too, but no. It’s a regular episode, where Maisie and her friend Lorna try to break bounds and sneak off to the circus. Hijinks with the brooch ensue, with a lot of monkey business when Maisie unwittingly turns the circus strong man into a gorilla and the brooch stops glowing before she can change him back.

Normally new stories are reserved for New Year, but one does begin in the Christmas issue,  “Skimpy Must Ski!” Skimpy Shaw, a convalescent girl, is sent to live with her grandfather who looks a real sourpuss. Time will tell if he has a heart under there. Meanwhile, Skimpy is inspired to ski, and she thinks she has a natural talent for it.

Gina – Get Lost has been left to look after herself when her parents emigrate, which is not going down well with the welfare authorities. And it sounds like there is worse to come. She has already fallen foul of blackmailers and it looks like she will fall foul of potential guardians out to exploit her.

Before Bella Barlow, John Armstrong drew “Beattie Beats ‘Em All!” for Tammy. Beattie Brown is a promising athlete. Unfortunately she has no fixed abode either, so she and her stray cats live in a boiler room at a girls’ college.

In “Halves in a Horse”, two cousins are left with half shares in a horse, Topper. The cousin who wins the most prizes with him will acquire full ownership. As might be expected, one cousin (Pauline) is not playing fair and making the other cousin (Kay) suffer. Now the cousins have almost equal shares, Pauline is using blackmail against Kay.

Bernice and the Blue Pool was Tammy’s first swimming story and also the first story Douglas Perry drew for Tammy. It was the start of a regular Tammy run for Perry that lasted into 1981. The Blue Pool has a supernatural theme, which ranges from beneficial (curing our protagonist of her fear of water) to ominous – wearing Victorian swimming costumes that were worn by a pioneering Victorian swimming team that drowned.

The Secret Ballerina, Karen Jones, has to practise in secret because her aunt is against ballet for some reason. This is, of course, the mystery that needs to be unravelled. Compounding the mystery is a locked room in auntie’s house. But now Katie has discovered the room has been unlocked and someone is inside. She is heading to the attic to investigate. Will she find the key to the mystery next week?

Surprise, surprise – Miss Bramble’s henchman, er girl, Siddons helps the four friends at Spartan School to escape from the school where sadism is the rule. But of course they should have known it would be a setup. Mind you, they didn’t expect Siddons to actually attempt to kill them! When they survive that, they discover Miss Bramble and Siddons have concocted a plan to get them arrested instead.

Cinderella Spiteful – now that’s a very unusual title for a Cinderella story, you think. Actually, the story has nothing to do with Cinderella. Emma is jealous of her cousin Angela because Angela is good at everything while Emma is not. Next week it sounds like it will be more spiteful than Cinderella, because Emma reaches her limit in this episode.

Alison All Alone is on the run after being imprisoned by her guardians for many years. The question is: why did they keep her locked up like that? The three runaway boys who helped her escape are helping her to find out. This week they uncover a clue about her past – a crook who says he will be finished if Alison finds out who her true parents are!

 

 

 

 

Christine Ellingham – Interview

With many thanks to Christine Ellingham for sending through such detailed and interesting answers to the interview questions below – and of course also thanks to her for getting in contact in the first place!

Question 1 – Can you please give a bit of background context to your time in comics – when did you start doing work for picture strips / comics titles, and what got you into them in the first place? You say that your time as a strip artist was short – what led you to cut it short, if there was anything specific?

As with a lot of the jobs I have done over the years, I arrived at IPC, then Fleetway Publications, purely by accident and good luck.

I had been a staff layout artist plus fashion illustrator on a girls’ teenage magazine called, Go Girl! (This is where I first met Malcolm Shaw.) Go Girl! was part of City Magazines, the magazine division of The News of the World. This was in 1968.

Unfortunately, Go Girl! folded after a very short life and it was suggested that I approach Leonard Matthews, the then Director of Juvenile Publications, not sure of his correct title, at Fleetway. I did, and was offered a job there. In those days it was relatively easy to move around from one job to another.

Initially, I was placed in a department with several other people, not a specific title, where we did odd jobs for different papers, i.e. illustration, lettering, pasteup and, in the case of Alf Saporito, cartoons. I remember John Fernley being one of us, possibly Tony Hunt, though I’m not sure.

After a short period I was moved to the Nursery group, under the managing editor, Stuart Pride, and there I worked on a new publication called Bobo Bunny. This had come from Holland and needed adjusting size wise and certain content adaptation making it suitable for the UK market.

By now John Sanders was the overall editor of the juveniles. I have a feeling I wasn’t the first to be offered the position of art editor of a new girls’ paper called Tammy but I accepted it nevertheless and moved from juvenile to teenage. John Purdie was the editor and Gerry Finley-Day and Iain MacDonald made up the editorial team.

Under John, we gathered writers and artists and the aim was to compete with D.C. Thomson’s Bunty and maybe other titles of that type. I remember John and I made a trip to Rome to talk to the Giorgetti stable of artists and we were wined and dined by Giorgio Giorgetti and his American wife. We also attracted all the relevant artist’s agents, Danny Kelleher and his son Pat of Temple Arts, Linden Artists and Bardon Art for example, and collected together a group of strip artists, writers and balloon letterers.

Eventually, Tammy was launched and did very well. I was able to contribute a small amount of artwork, the back cover of the first edition is mine, but really my job was to get it all together, see the agents and in one case, the artists themselves (I remember Roy Newby used to deliver his own work) but usually the agents would deliver the artwork.

I have to admit, I was not entirely happy in the role of art editor. I had studied illustration at Hornsey College of Art and that was what I wanted to do. I left Fleetway 1971/72. Barry Coker and Keith Davis of Bardon Art represented mainly Spanish strip artists. I thought that maybe I could ‘have a go’ at doing this as a freelance and doing it from Spain. Barry and Keith took me on and my then partner and I moved to Spain. Just like that! This was 1972. Amazing really.

Christine Ellingham, 1973/74
Christine Ellingham, 1973/74

First of all my work was for D.C. Thomson; they waited for a whole series to be complete before publishing so as I was a novice and slow, this suited me. Fleetway needed an episode completed in a week, too much for me then. I am hazy about the titles, there may have been something called, “Warning Wind Bells” and another with an Egyptian theme with a character or a cat called Nofret, or these could have been later for IPC. I have a few old diaries of that time and one story I worked on I have only the initials of the title, S.O.S. I wonder what that stood for! 1972. There was “Topsy of the Pops”, “Vet on the Hill” and “Lindy Under the Lake”, all for Thomson’s circa 1973. (This is the date that I drew them, not necessarily of publication.)

As agents, Barry and Keith were superb. They made sure I was never without work, one story followed immediately after another, that I was paid promptly and they gave me such good advice regarding page layout, technique and story interpretation.

While I was still working on Tammy I started to have problems with my right hand (I am right handed), it not functioning properly. This continued to get worse when we were in Spain and instead of speeding up and refining my style the opposite was happening, my work deteriorated. Bardon Art kept me going but eventually we had to return to England in 1974, where I continued to struggle depressingly.

During the Spanish time I illustrated at least two Annual covers, Tammy 1972, including the front endpapers depicting National Costumes and Sandie Annual 1973, plus various spot illustrations. I still have these annuals. Or I could have done these before Spain.

After inconclusive tests that found nothing terribly wrong with my hand or me generally, the GP at the time suggested I learn to use my left hand. After thinking initially, he doesn’t know what he’s talking about, I realised this was my only option. I remember one ten-part story for Thomson’s started with me using my right hand and gradually with training, ended using my left hand. I can’t remember which story that was.

From then on things got better. I speeded up and developed my style. Bardon got me the first IPC job.  I’m not one hundred percent sure but it could have been, Cove of Secrets or Secret Cove, something like that, for the Jinty Annual possibly 1974. Also The Whittington’s Cat Princess, DCT, around the same time. To this day, I draw, paint and write using my left hand.

“Concrete Surfer” came later. That particular story stands out for me because it was such fun to do. It was all action with hardly any background, it was very modern and I love doing figure work. I remember we bought a skate board so that I could see what it looked like from all angles, a helmet too, still got them!

I cannot remember how many strip stories I worked on after “Concrete Surfer” but at some point I felt the need to move on, that I wasn’t being stretched any more. Bardon Art were no longer able to represent me, as strip was their speciality, and sadly, we parted company. I started contributing illustrations to Oh Boy, Loving and other IPC papers for older teens.

After a few years I moved on again and, as an illustrator, contributed to national newspapers, women’s magazines, house magazines, mail order publications, coin design, greetings cards and so on.

The work was still there after my retirement but the need to move on again got the better of me and now I paint, back in Spain.

 

Question 2 – On the blog we are always very keen to try to establish any creator credits for artists and writers, as these are otherwise very likely to get lost in the mists of time. As far as we can tell from the art style, it looks like you drew three stories for Jinty (“Race for a Fortune” (1977-78), “Concrete Surfer” (1978), and “Dance Into Darkness” (1978) plus some covers and spot illustrations, as well as a story in the Lindy Summer Special (1975) and in the Jinty Annual 1978. It may be asking too much at this distance in time, but what other work do you recall doing and in which publications?

I would have to look at these stories that you mention to verify that I actually drew them! As I have said, Concrete Surfer stands out because for me it was a joy to do. The others, some I have managed to see on line and they do look vaguely familiar. At the time I used my partner as a model. I found men more difficult to draw than women and girls and I have noticed him in certain frames even though I tried hard to make them not look like him! When I see him I know that I did that one!

Cover 19780708
Jinty 8 July 1978: cover shows “Dance Into Darkness”

Question 3 – At the time it was very usual for artists and writers to work quite separately from each other, particularly freelance creators. Was this the case with you, or did you know others working in the same area? I ask partly in case there are any interesting stories or anecdotes that you can relate at this distance in time, but also in case you remember any names of people on the creative or publishing side that can feed in to our information of who did what.

Yes, this was the case for me. Artists do lead a solitary life and being freelance meant I would be at my desk not wanting to be interrupted. The deadlines, especially for IPC, were pretty tight. In my case the work would be delivered to Bardon Art and they would take it to the publication in the case of Fleetway, a few minutes walk away. Though in Spain I posted it directly to DCT. Nevertheless, Barry and Keith were very much involved and would add their comments sometimes.

While we were in Spain the work was rolled into a tube and posted. The tubes had to be open at both ends, some string threaded through and tied and a description of the contents had to be stuck to the outside, or left with an official at the post office.

I did meet one artist in Spain, Miguel Quesada. It was he who told me how to send artwork to England. He and some of his very large family, (a lot of mouths to feed), visited us unexpectedly. He was one of Bardon’s and a contributor to Tammy. I never met any of the other artists apart from Roy Newby, but that was before I was a contributor myself.

I did meet John Jackson when he was the art editor of Jinty and of course, Mavis Miller.

Question 4 – I am keen to understand more about the creative and publishing processes of the time. Presumably the writer supplied a script, and the editor chose the artist, but I don’t know how everything interacted. Did you get any guidance (say as part of the written script) or conversely any interference from the editor or art editor, or was the published page pretty much under your design control including the composition of the page?

Yes, the editor would choose the artist, art editors didn’t have much say in the matter, (Though this is just from my experience of working on Tammy.) And I think the editorial team would have suggested an idea for a story to the writer, again, this is how it happened on Tammy.

The artists were given a lot of guidance. Before even starting, we would be briefed on the content and theme of the story, to get to know the main characters. In the case of IPC the scripts would come one at a time, having only just been written, probably. The artist would receive a document containing the dialogue for each balloon and the positioning of the balloons had to be in that same order in the frame, also, there would be instructions on the action and mood in the frame, i.e. the heroine to look sad, the bad girl to look vindictive; a closeup and so on. The composition of each frame would be influenced by the order and size of the balloons and the overall design of the page would have had input from the editor. Quite a lot to work out, now I come to think of it! [An example of a script has been previously sent in by Pat Davidson, wife of Jinty story writer Alan Davidson: see link here.]

I always had to submit pencil roughs that would be shown to the editor for his/her comments. In Spain there were many visits to the post office, pencils going off to Stan Stamper in Dundee, coming back with comments, a finished, inked episode flying off, the two passing each other on the way. Also, we artists had to work ‘half up’ so there was a lot of ground to cover. [‘Half up’ means using a larger piece of art paper – half as much again as the finished size, so that for instance if the finished publication is 10 inches by 12 inches, half up would be 15 inches by 18 inches – with the artwork being photographically reduced in size during the production process.]

 

Question 5 – A slightly self-indulgent question but with a point to it – how did you come across the Jinty blog? Was it a case of happening to suddenly remember something you worked on years ago and searching for it, or being sent to it? (I ask because I would love to hear from other creators from the time, and if there is anything I can do to increase the chances of someone posting a comment saying that they wrote or drew a story from the time, I will certainly consider it.)

I’m trying to think. How did I find it? I get carried away on the internet sometimes. I think  I was looking up an old friend of my now husband’s, the two of them used to work together on Eagle, Swift, Robin and Girl papers, as balloon letterers and layout artists. I started looking at Girl artwork as I do have a couple of Girl Annuals, No.3 and No.5. I noticed that the writers and artists all got a credit; one name I recognised was the artist Dudley Pout, I wonder if he contributed to any of the Jinty stories? Though he was probably of another generation.

The friend of my husband had died but in reading his obituary I found links to other sites and by then I was interested to see if any of my work was featured anywhere, the only title I could think of was, “Concrete Surfer”!

First episode of the 1978 story “Concrete Surfer”

Roy Newby (1912-2011)

Roy Newby is thought to have drawn only only a few stories in Jinty, but he was certainly a long-running artist in other girls’ comics titles, particularly Girl, where he drew “Robbie of Red Hall” for many years. I do not yet have a fuller comic bibliography to list in this post, but on the UK Comics Forum, mention is also made of a story in the second Girl Annual which is specifically credited to him as artist: “Late For Dancing”, written by George Beardmore. Additionally, comics newssite Down The Tubes states that Newby worked on stories that appeared in other titles such as Tammy, Poppet, Judy, and Valentine.

Newby died relatively recently, having lived to the age of 98; the obituary in the Guardian, written by his son Mike, can be seen here. Mike Newby has likewise created a dedicated site showing his work (though not including many examples of comics, unfortunately for us). Finally, the Lambiek Comiclopedia has a little more on him here.

List of stories attributable to Roy Newby in Jinty:

Stories in Tammy:

  • The Secret Ballerina (1971-72)
  • Tina on a Tightrope (1972)
  • Minions of the Mine (1972)

Stories in Lindy attributable to him:

  • Nina Nimble Fingers (1975)
  • Poor Law Polly (1975)

Stories in Girl: many, including:

  • Robbie of Red Hall
  • Late for Dancing

When researching this post, I got in contact with Mike Newby and his sister Clare, who shared some memories with me. Mike told me that “…Dad’s original artwork for his comics was destroyed by the publishers as soon as they’d done the necessary for a print-run. (What a shame!) But Dad kept pretty much everything in printed form. He’d go and buy that week’s edition of whatever comic he’d drawn and stick it in a scrapbook.”.

Clare told me more details of her father’s time as a comics creator and her time as a reader of comics: “Through the late 50s and 60s, Friday afternoon was comic day! After school, I got School Friend, Girl’s Crystal and one other; Jackie/Tammy/or whatever.  I saw Dad’s stuff free! Whenever I was ill in bed, I used to look at the scrapbooks of mostly Girl. Dad said he preferred girls papers as they didn’t have as many technical, fiddly buttons and switches (spaceships) as boys. Also, he used to get any scripts set in dancing schools as he could use me for reference (I studied ballet which I went on to do professionally). He particularly liked historical costume stories.  As I got older, he worked on Valentine and Roxy. I was about 13 and wasn’t allowed to read them, so I would sneak into his studio when he was out and read about teen life. I put everything back and thought I’d got away with it, but he told me years later, he always knew!”

Courtesy of Clare Newby, here are two images of her father’s work – a photograph of some of the scrapbook pages, and a beautiful little sketch of herself reading them in bed, when ill at one time. Many thanks indeed to her for sending those in!

Little Lady Nobody (1972)

Sample Images

(from Sandie 18 March 1972)

Published: Sandie 12 February 1972 – 1 April 1972

Episodes: 8

Artist: Desmond Walduck?

Writer: Unknown

Plot summary

Elaine Moresby is the daughter of a rich Yorkshire businessman. While her father is away on business she is sent to Miss Pettifor’s Academy for Young Ladies, where she soon shows how spoilt and selfish she is. Even her fellow rich young ladies are fed up of Elaine’s complaints and meanness towards the servants. But before the first episode is up, Elaine has been told by her uncle that her father has been drowned, leaving her an impoverished orphan; and Miss Pettifor takes the opportunity to ask for the payment of 150 guineas for the last six months’ fees (even though Elaine knows that it was paid at the time). The final indignity – Elaine is forced to work as a servant to pay off the debt that wasn’t really incurred  – and all the other servants are cruel to her apart from Mary, who is kind. (This is partly because Elaine caught Mary looking at a posh dress of hers and was going to denounce her to the headmistress, but was stopped from doing so by the arrival of her uncle – so it’s only by luck that she has even one friend on her side.)

It is difficult for Elaine to adjust to the life of a servant, but her main challenge is that Miss Pettifor and the head servants are clearly out to get her. Mary helps her to get used to the tasks but Elaine is firstly nearly suffocated when Mrs Rutherford lights a fire underneath her after sending her up the chimney, and then is thrown down the well by a mystery assailant. Mary helps Elaine to climb out but of course Mrs Rutherford comes out almost immediately and sees that her ploy has failed. She tells Elaine to climb back down the well to find the bucket, and of course she is terrified at the thought – and says that Mary was the one who knocked it in, and Mary has to climb down instead. Mary understands that it was fear that drove Elaine to say that, but that forgiveness means little when Mary gets very ill as a result of her ducking. Elaine sticks up for Mary and helps to nurse her during her illness, so the other servants think better of her after all.

Miss Pettifor is still out to kill her if possible, though – her next attempt is to run her over with a horse and cart. Some of her fellow servants stick up for her, but in retaliation Mary is once more driven to illness by Miss Pettifor and Mrs Rutherford. When Elaine spots her uncle coming to visit, she thinks that he will be her way out, and escapes to find him. However, a panel set back at Miss Pettifor’s Academy has the uncle explaining that it was he who set up the series of murderous attacks, because ‘with her out of the way, I am the sole heir to her dead father’s fortune’.

Elaine has escaped from the Academy, along with Mary, but her erstwhile friends don’t believe that the tattered escapee is really Lady Elaine Moresby, who they have been told has ‘been dead these past three weeks!” And when she reaches her old home of Moresby Hall, her uncle shoots at them, sets the servants on them claiming they are ‘gipsy thieves’, and makes Miss Pettifor and Mrs Rutherford go after them to fetch them back to the academy. Not content with that, her uncle has the school set on fire, with the two girls trapped inside! So it is all a real giveaway that they have serious enemies who will stop at nothing.

They manage to make it back to Moresby Hall, where Elaine finds some papers written by her father’s lawyer, Mr Murchison. Her father wasn’t penniless at all, and her uncle is claiming the estate as his. They try to see Murchison to plead Elaine’s case, but he is ill and they aren’t allowed in – and when they are taken up by the Bow Street Runners, Uncle Ned tells the magistrates that Elaine ‘suffers from the delusion that she is my niece Elaine’. He also threatens her friend Mary. Defeated, Elaine can only plead guilty to imposture – and Uncle Ned, now clearly revealed as a black-hearted villain, sends her to a dreadful quarry where kids are made to work until they drop. However, a death from overwork isn’t going to be quick enough for Uncle Ned – firstly because Mary is making a nuisance of herself, asking questions (so off to the quarry she goes, too), and then because the father’s ship turns out to have survivors after all. So the head man in charge of the quarry is enticed into locking the two girls in a burning shed full of gunpowder… Miraculously, they escape once again, and this time are taken in by a shepherd who recognises Lady Elaine for who she is.

Biddy, Elaine’s old nurse, also knows who she is, but the real test is whether Lawyer Murchison will do so or not. He is nearly convinced, until Uncle Ned shows him Elaine’s hands, coarsened by weeks of work. It was all for nothing, and Elaine is tried and sentences to be transported for life. Mary proves her worth once again as a true friend, though- she forces her way into the place where Uncle Ned and Miss Pettifor are bamboozling the father with spurious stories of Elaine’s last days before succumbing to pneumonia. All’s well that ends well as her father turns up at the transportation ship to rescue Elaine just as she is trying one last escape – this time by plunging into the water to swim away. The last half page shows the faithful companion Mary and the reformed character Elaine drinking tea at Moresby Hall, and planning to enrich the lives of these who have less than she does.

Further thoughts

“Little Lady Nobody” is a slave story with strong redemption narrative elements. It is as over-the-top as most slave stories tend to be – of course the protagonist faces hard work, lack of food, and lack of sleep, but matters quickly escalate from the hard life of a normal skivvy to multiple threats of violent death. This cruelty is the main focus of the story, though Lady Elaine’s transformation from spoiled uncaring rich girl to compassionate champion of the poor is also a thread running through the first few episodes or so.

Elaine is quite a sympathetic character as she is very determined and tries very hard not to be beaten. Of course she is not perfect – as well as having to learn how hard a servant’s life is, she is also understandably affected by the various frights she’s had, and it leads her to some disgraceful actions that she is ashamed of later. For instance in an early episode she lies and says that it was Mary who dropped the bucket down the well, though of course it was Elaine herself who did so, because she was being pushed down the well by an unseen hand. But her lie is because she is so scared, she can’t face climbing down the well to retrieve the bucket as the cruel slavedrivers demand, so although it is wrong of her, we understand that this is not a real relapse into being an uncaring rich girl.

Even after asking David Roach and others on Facebook, it is not clear to me who the artist is. Catawiki credits this story to Desmond Walduck. who drew “Slaves of ‘War Orphan Farm'”, and there is certainly a lot of similarities. However, the later Sandie story “Sisters in Sorrow”, drawn by the same artist and with a very similar theme, was previously identified by David Roach as being by a female artist called Broderick. And when I looked at this story, my immediate feeling was that it looked like the work of Roy Newby, who is credited with drawing “Slaves of the Candle” and “Bound for Botany Bay” in Jinty, and “Nina Nimble Fingers” in Lindy. All three of these were historical stories set in the 18th and 19th centuries, featuring slavery, severe injustice, hard times, and danger of death – so again very thematically similar to the current story under discussion. However, on further consideration, I think I will withdraw that identification. Roy Newby’s work is much smoother than the rather scratchy line used by the artist on “Little Lady Nobody” and the figure drawing and the faces are not quite the same either, though there are a lot of similarities in elements like noses and chins. Roy Newby’s children also do not think that this is by their father, though they again can see the similarities. Perhaps we will find that there are three artists with very similar styles – Newby, Walduck, and Broderick.

Site announcement – small reorganization

As I have been lucky enough to get a run of 69 issues of Sandie, and am now posting about each issue in consecutive order, it seemed sensible to tweak some of the elements of the blog to reflect the wider range of titles included.

The page that previously was just called ‘Issues’, which listed all the issues of Jinty which we’d posted about, is now called Indices of issues and annuals. The aim is to mention the key titles covered on this blog, with a link to the separate page where the index of each title is held.

Below this in the menu there are currently links to the following pages:

  • Index of Jinty issues and annuals (the same information as before, just re-titled)
  • Index of Sandie issues (links to my recent posts and a few earlier posts on Sandie)
  • Index of other titles (the same information as before but with the Sandie links moved onto that index)

I’ve also updated the posts on the first three Sandie issues to list a couple of additonal artist credits. I checked on Catawiki and I see that Sleuth on that site has credited “Wee Sue” to the artist Vicente Torregrosa Manrique, and “Bonnie’s Butler” to artist Julio Bosch. She also credited “Little Lady Nobody” to Desmond Walduck (artist on “Slaves of War Orphan Farm”) but I feel like the art is a better match to Roy Newby, per my original credit. Anyone have an opinion on this? I will post some scans later on to help with this identification, if need be. Edited to add: I now think this is not a match with Roy Newby’s work and am taking back this identification.