Olac the Gladiator episode 7 page 2 (Original)
Artist: Ruggero Giovannini
Medium: Pen & Ink on Board
Size: 14" x 18" (350mm x 450mm)
Date: 1968
Code: GiovanniniOlac03
This is the unique original Pen & Ink drawing by Ruggero Giovannini.
A rare original page of art from the comic strip Olac the Gladiator as featured in Tiger and Hurricane in 1968.
- Artist Biography
Ruggero Giovannini (1922 - 1983; Rome, Italy)
The word that most accurately describes the comic strip work of Giovannini is "rugged"; peculiarly apt for an artist whose Christian name is "Ruggero". His Western work for Thriller Picture Library, Cowboy Picture Library and for Top Spot is first class, his style eminently suitable for the hard-bitten subject matter. Paradoxically, however, perhaps his very best work was not a Western strip but a superb, action-packed version of The Three Musketeers (from a first class script by Leonard Matthews) for Look and Learn. Printed in full colour, this is one the most resplendent versions of Dumas' story ever to appear in comics, Giovannini's unusual "tough" style modified by a new swashbuckling grace.
Born in Rome, he began working as a strip artist in the pages of the celebrated comic journal, Vittorioso, in 1945. His first strip for the British comics was a wildlife adventure series based on the true-life exploits of Armand and Michaela Denis for Junior Express Weekly in 1955, followed by Red Devil Dean for the same paper. The following year, he was given the front page strip of the comic (now renamed Express Weekly), drawing Freedom is the Prize, set in Ancient Rome and introducing the character of Wulf the Briton, later to be made famous by Ron Embleton. His longest running strip for British comics was another story set in Ancient Rome: Olac the Gladiator for Tiger. He drew many more Historical strips for Ranger and for Look and Learn, including a fine version of Ben-Hur for the latter. It must be admitted, however, that, like so many European artists, Giovannini was not comfortable drawing English historical subjects as can be seen by his work for Dick Turpin and the Double Faced Foe (TCL no. 149) where the lack of authenticity is glaringly apparent.
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