AusReprints documents Australian comics, focusing on the neglected reprints from the 1940s to the 1980s.

The site has been developed with generous contributions of scans and information from many collectors. Click here for information on how you can help.

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Unusual cover sources 10

By usually-vibrant US pulp artist Edwin Georgi (1896-1964), this surprisingly bland image first saw print in Redbook, October 1951.

6 Nov 2017

Cover 23,000 has dual citizenship...

An issue of Classics Illustrated published in Europe for Australia and imported by Ayers and James brings AusReprints to 23,000 covers.

31 Oct 2017

Does Fastest Gun #41 exist?

This series is well documented, but there's no #41. Did Murray lose track toward the end and skip a number? Or can you fill the gap?

31 Oct 2017

Is there more love?

I've long wondered if Love 1976 was printed. Now with Love 1971 confirmed, was there also 1972 and 1973? And what of 1978?

31 Oct 2017

Mailbox Previously

Guest Comment on Australian Playgirl Pinups for Men (Federal, 1984? series)
Sunday, 26 November 2017 6:05 AM
spiros xenos Comment on Marvel Super-Heroes Featuring: Captain Marvel (Yaffa/Page, 1982 series)
Sunday, 12 November 2017 8:12 PM
James Response: Comment on Jolliffe
Saturday, 11 November 2017 9:44 AM
Guest Comment on Jolliffe
Thursday, 9 November 2017 6:06 AM
Guest Response: Comment on Jolliffe
Monday, 6 November 2017 2:26 PM

Who is Terry Powis? Beyond the NSW Bookstall Comics

Who is Terry Powis?

Terry Powis is credited with nearly half of the comics published by the NSW Bookstall Company when it established its ground-breaking line of Australian comics. Yet there is virtually no information about him.

John Ryan in Panel by Panel acknowledges Powis and Will Donald as 'real pioneers of Australian comic books', before largely dismissing Powis' work:

"Powis shared Donald's ability to produce dramatic covers but if there was a gap between the promise of Donald's covers and their contents it was even more accentuated in the work of Powis. He specialized in comics with a war background…While his sombre renderings may have reflected the mood of the wartime years the effects were negated by his use of text boxes to describe actions in the panels and his minimal use of speech balloons."

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