|Title ||Forty Seventh Series|
|Original Price ||£3.95|
|Date Cartoons Start ||//||Date Cartoons End ||//|
Introduction by - Joanna Lumley
We have been giving the
Giles annual to my father at Christmas for the past thirty five years. He
invariably receives it with the same amazed cry: 'Giles! How splendid'. He
knows it's as much for all the family as it is for him.
What I love best about
Giles' work is the way he marries the stupendously drawn backdrops with
the cartoon characters which occupy centre stage. With the long-perfected
skill of the animator, he shows that two quite separate styles of drawing
thrive one on top of the other.
From Giles' backdrops I
have developed a passion for his England in summertime: hot empty suburban
streets shadowed by wonderfully drawn trees; sodden cricket pitches,
fly-ridden picnics and seedy boarding houses. Giles draws winters like
no-one else, thick snow settling on ledges and railways, dark skies over
rain-lashed harbours and empty railway stations, Whitehall in a blizzard.
Hordes of people have come to life through Giles' pen, each one a complete
individual drawn with acute observation. Distant figures are treated in
extravagant detail, and all his pictures reward closer scrutiny.
The Giles family is now
legendary: Mother bogged down with the housework, Vera's dripping nose,
Dad's laconic asides, anarchic children, baleful dogs filching food and
the immortal Grandma, mouth snapped shut like a turtle, coal-sack body
clutching padlocked handbag. She and the skull-headed Chalkie are my
favourites (as children we used to practice doing Chalkie's cadaverous
leer), but I have a special affection for George Junior, the anxious
ping-pong ball of a baby to whom all manner of dreadful things happen.
Salutations, great Giles!
and thank you for another year of your incomparable wit and artistic