EXTRACTS: Pirates! Illustrators Special Edition © 2020 The Book Palace (128 PAGES in Full edition)

124 HenryMatthewBrock (1875-1960). The youngest of four brothers, three of whombecame successful illustrators (Charles and Edward), H. M. Brock studied at the Cambridge School of Art and, before he was twenty years old, was receiving commissions fromMacmillan& Co., to illustrate classicnovels.Duringhis lifetimehe illustratedevery type of printed matter, from classic novels and school stories to humorous magazines and boys’ periodicals and annuals; from ad‐ vertisements, posters and cigarette cards to adventure picture strips for comics such as Knockout and the Thriller Comics Library . Graham Coton (1926-2003). After completing his art training at Goldsmith’s School of Art, Coton began freelancing for the Amal‐ gamated Press, his first work being Kit Carson adventures for the CowboyComics Library in1950. He alsodrew for the Thriller Comics Library and for the Super Detective Library as well as such strips as ‘The Swiss Family Robinson’ and ‘Captain Phantom’ for Knockout . He painted numerous covers for War Picture Library and Air Ace Picture Library before becoming amainstay of Look and Learn , con‐ tributingmany scores of painted covers and illustrations. Charles Exeter Devereux Crombie (1860-1967). Although trained as an artist and sculptor, Crombie soonbegan specialising in cartoon work. His collection of humorous postcard cartoons, ‘The Rules of the Game’, ‘The Rules of Cricket’ and other sport-themed cards became bestsellers in the early 1900s. Crombie produced illustra‐ tions for books and magazines throughout the U.K. and the U.S. throughout the 1920s and ’30s, including the DoddMead edition of Thackeray’s novel, ‘Vanity Fair’, in 1920, and eleven of P. G. Wode‐ house’s short stories featuring his famous character, Jeeves, for the StrandMagazine between 1920 and 1930. Cecil Langley Doughty (1913-1985). From an early age, Doughty admired the work of the Brocks, Hugh Thomson and Fortunino Matania and their influence can be clearly seen in his work. His earliest picture strips appeared in P.M. Productions’ Starflash and Challenger comics and in adaptations of Oliver Twist and Lorna Doone for Amex's A Classic in Pictures . Doughty drew many strips featuring the highwayman, Dick Turpin, for the Thriller Comics Library and historical strips for Top Spot . He later contributed countless paintings and illustrations of historical subjects for Look and Learn . Ronald Sydney Embleton (1930-1988). Having studied under the artist, David Bomberg, at the age of 17 he wrote and drew fifteen different titles for the small comicpublisher, Scion. In1951Rondrew and scripted a serial, ‘The Mohawk Trail’, for Comic Cuts and a number of Kit Carson strips for Comet . Soon Ron’s work was to be found in the Cowboy Comics Library and the Super Detective Library as well as contributing some action-packed illustrations for the text- based Western Library . In 1957, he drew and scripted the strip, ‘Don o’ the Drums’ for Odhams’ Mickey Mouse Weekly . In the same year he contributed his best-known strip, the long-running ‘Wulf the Briton’ for Express Weekly . Embleton’s artistic output included book illustrations, newspaper strips, ‘adult’ full-colour strips for Penthouse , fairy tale strips for Once Upon a Time and historical paintings for Look and Learn . DerekCharlesEyles (1902-1974). The sonof anartist, Eyles contrib‐ uted illustrations and book covers to numerous novels, magazines, annuals and storypapers all through the 1920s, ’30s and ’40s. In1939 he painted full-colour covers and interior illustrations for the superior British boys’ story paper, WildWest Weekly before contrib‐ uting spot illustrations andpicture strips for Knockout comic and the Cowboy Comics Library . Noted for his depiction of horses, he was mostly used for Westerns and painted covers and colour plates for the Kit Carson’s Cowboy Annual as well fifty or so covers for the picture libraries. Cecil Glossop (1889-1949). He first made a name for himself as a humorous artist but, in 1921, was asked to contribute black and white illustrations to Newnes’ new weekly, the Black Bess Library , featuring stories of highwayman, Dick Turpin. This was followed by moreDickTurpin stories in another boy’s weekly, The Popular . Soon after, Glossop was asked to work for the noted boy’s paper, Chums , where he became famed for both his internal black and white illus‐ trations and his colourful painted covers. Richard Hook (1938-2016). Since a child, Hook was fascinated by two things: history and drawing. After training at the Royal College of Art, he became, in 1962, art editor of Purnell’s educational magazine, Finding Out. After the magazine’s demise, Hook became one of the leading contributors to Look and Learn , Bible Story , Treasure and Once Upon a Time . In the 1970s he began illustrating for theOsprey series of books, becoming best known for his pictures of American Indians. Peter Jackson (1922-2003). Jacksonhadhis firstwork, an illustration in True Story, published in 1945. His big break came in 1949 when his serial documentary/historical strip entitled ‘London is Stranger than Fiction’, was published in The Evening News . This long-running strip led to other similar work for the paper, many of which were compiled into book form. His strip version of ‘Treasure Island’ was the first of four full length adaptations of classic adventure stories drawn for United International Features, who syndicated them and sold them around the world. In the ’50s he contributed a number of strips based on English classics to The Children’s Newspaper , a full- colour serial strip to the comic Express Weekly set in Regency London, and a painted version of R. L. Stevenson’s ‘Kidnapped’ for Look and Learn . For the latter magazine he contributed scores of splendidly painted illustrations covering all periods of history.

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