Tuesday, October 15, 2019
Ink-Slinger Profiles by Alex Jay: Frank Crerie
Frank Leighton Crerie was born on December 26, 1881 in Worcester, Massachusetts, according to his World War II draft card. The Massachusetts, Town and Vital Records, at Ancestry.com, listed the Worcester, Massachusetts birth of “Frank L Crierie” in 1881. It should be noted that Crerie’s Social Security application had his birth year as 1884.
In the 1900 U.S. Federal Census, Crerie was the oldest of two sons born to Edward, an insurance agent, and Sarah. They resided in Worcester at 64 Coburn Avenue. Worcester city directories, for 1903 and 1904, listed Crerie at the same address and as a student in Boston, where he graduated from the Massachusetts Normal Art School in 1905.
Th 1906 Boston city directory said Crerie was an artist who boarded in Somerville and had a studio at 408 Sears Building. The 1907 Worcester directory listed him at 64 Coburn Avenue.
The May 1907 register of Bradley Polytechnic Institute, in Peoria, Illinois, said Crerie was on its staff.
Frank L. Crerie, Assistant in Drawing.The same listing appeared in May 1908 register.
Graduate Massachusetts Normal Art School, 1905; Student under Philip Hale, Art Museum, Worcester, Mass., 1897–9, 1901–4; Graduate Boston Evening Drawing School; Student under Laurin Martin in Arts and Crafts Work, 1904–5; Teacher, Boston Public Schools, 1905; Illustrator for Richards Publishing Co., Boston, Mass., 1906.
The 1907 and 1908 Peoria city directories said Crerie resided at 115 Callender Avenue.
The Daily Nonpareil (Council Bluffs, Iowa), August 6, 1908, published a travelogue and said
Glasgow, July 12— … Frank Crerie, art instructor at Bradley institute, Peoria, has joined the party temporarily and will travel as far as London. He was a passenger on board the Columbia and performed yeoman service in rescuing steamer rugs and suit cases during the confusion of the first two days. …On August 15, 1906 Crerie departed Boulogne-sur-Mer, France and arrived in New York City on August 25.
Manual Training Magazine, April 1909, published Crerie’s sketches from Guernsey and St. Malo.
The 1909 Peoria directory had Crerie’s address as 813 St. James. The May 1909 Bradley Polytechnic Institute register included Crerie’s resume with an asterisk that indicated he had resigned. In 1909 Crerie moved to Des Moines, Iowa where his address was 1439 7th Street.
The 1910 census said magazine illustrator Crerie was at the same address in Des Moines. He was one of two lodgers at the Moulden’s residence. The other lodger was Julia Higgins, a stenographer at a printing office.
On March 6, 1911, Crerie and Higgins obtained a New York City marriage license in Manhattan.
On September 12, 1918 Crerie signed his World War I draft card. He lived in Bergen, New Jersey at 544 Undercliff Avenue. Crerie worked for Charles Tebbs. Crerie’s description was tall, medium build with blue eyes and brown hair.
Newspaper Feature Service had a long-running series of romantic cartoons, from late 1913 to 1931, which were credited to many artists. Crerie was a contributor in 1917.
The New York Tribune, September 12, 1919, mentioned Crerie’s purchase of a house, “Bowles & Co. have sold for A.A. Lincoln a house on Westview Avenue, Leonia, to Frank Crerie, of Edgewater, N.J. …” In the 1920 census, the self-employed artist, his wife and month-old daughter, Lucille, lived at 325 Westview Avenue.
Crerie produced the cover art for Shipper and Carrier, August 1923.
Generations Before Us has a collection of diaries from Leonia. One diary mentioned Crerie on March 28, 1937, “Very windy morning so clothes were dry before noon. Mr. Frank Crerie made quite a call. Miss Eaton here too. I polished all my furniture, scrubbed hall floor, etc.”
According to the 1940 census Crerie’s new home was in Teaneck, New Jersey at 1328 River Road. He was a commercial artist. The Hackensack Record (New Jersey), October 17, 1956, said he moved to Teaneck in 1936.
On April 27, 1942, Crerie signed his World War II draft card which had the address, 1328 River Road, West Englewood, New Jersey. The artist was described as six feet one inch, 192 pounds with blue eyes and gray hair.
Paul H. Mattingly wrote about Crerie in his book, An American Art Colony (2019), and said in part
Crerie loved open country and his reading included history, travel, and nature lore. He had a log cabin on Lake Michigan in northern Wisconsin. He specialized in black and white, also water colors and oils. Later in his career he became known for his portraiture. He had exhibited in Worcester Art Museum, Boston Art Club, Des Moines Art Museum and New York galleries. Books he illustrated included Ring Larder’s Treat ’Em Rough (1918).Crerie’s son submitted a Sons of the American Revolution membership application dated June 4, 1942.
Crerie passed away October 13, 1956, in Worcester, Massachusetts, according to an obituary in the Hackensack Record, October 17, 1956.
Frank L. Crerie; Commercial Artist
Teaneck Man Succumbs While on Visit to Worcester, Mass.
Worcester, Mass., Oct. 17 Frank L. Crerie of 1328 River Road, Teaneck, died here while visiting Saturday. For the past 30 years he had been a well known commercial artist in New York.
Crerie lived for 20 years in Leonia, before moving to Teaneck in 1936. He was graduated from the Boston Art School and was for years a member of the Art Students’ League of New York.
He had art studios in Teaneck and in New York.
Surviving are his wife, Julia; daughter. Miss Lucile Crerie of Teaneck; son, Frank H. of Houston, Tex., and two grandsons.
Funeral services were held in Worcester yesterday at the Putnam Funeral Parlor. The Rev. Frank H. Kennedy officiated. Burial was in Hope Cemetery, Worcester.
Labels: Ink-Slinger Profiles
Monday, October 14, 2019
The Newspaper Feature Service Romantic Cartoon Series, Part 3 (1917 - 1918)
Unfortunately our dearth of good papers in 1916 and early 1917 leaves us with no history of Annette Bradshaw's contributions during this time (the El Paso Times seemed to have had no interest in printing her cartoons). That gives us no exact idea of when Bradshaw decided to transition away ever so slowly from her continuing title Feminine Foibles (FF) to Feminisms (F). If she saw these as covering different subject matter I cannot vouch, as they both seem to me like the same sorts of gags. I do notice, though, that sometimes the gag is dispensed with in favor of some fashion advice. That makes it essentially just a fashion illustration and outside our purview, but I draw the line at reading the caption to each Bradshaw panel to make judgment calls.
We also can't say when exactly she added her second continuing title, Her Problems (HP), which was already running when we pick up the thread in February 1917. This series too does not really have a specific focus, but the gags do tend to have a sarcastic bent to them, often making fun of the overblown problems that are complained of by upper-class women.
Now that we are with the Harrisburg Evening News, which printed the magazine page with almost perfect regularity, we can see that the romantic series has settled down to a regular schedule. Will Nies (WN) on Mondays, Wednesdays and Saturdays, Annette Bradshaw's cartoons on Tuesdays and Thursdays. This is actually pretty much how it would continue for years, except that only Bradshaw would remain true; a practically endless parade of other cartoonists would make appearances, some long-term, some short-term, on the other weekdays.
At the beginning of 1918 just such a shake-up occurs. Will Nies starts to be replaced by the cartoons of Tim Early (TE), who brought a lovely formal style to his contributions. Then starting in April Dan Smith (DS) starts popping up on a few occasions. Smith, of course, was one of Hearst's premier Sunday magazine cover artists. Nies is gone entirely by early May.
In May another new artist makes his debut, Gene Kay (GK). His style was stiff and illustrative, and he only contributed seven panels over three months. I know nothing about him.
In June we get a single cartoon by "Calvert" (C). The style is nothing special, in fact it looks a lot like Gene Kay's style to me. We also get a single appearance by Clyde Ludwick (CL). Frank Crerie (FC) bursts onto the scene with ten quick appearances over the next two months, only to drop off to a few times per month through October. Crerie gets a capsule bio in Paul Mattingly's "An American Art Colony", but it mentions nothing about newspaper work.
Also debuting in June is Charles "Doc" Winner (DW), who later went on to work on high profile properties like the Katzenjammer Kids, Elmer, even a short stint on Thimble Theatre. He manages seven appearances over three months and shows us a considerably different style than the bigfoot cartooning for which he's known.
The musical chairs approach to the romantic cartoon settles down starting in August with the first appearance of Juanita Hamel. Hamel would quickly become a three times per week regular on the panel, a position she would hold for almost a decade.
1917Sun Mon Tue Wed Thu Fri Sat
Jan (El Paso Times)
1918Sun Mon Tue Wed Thu Fri Sat
Jul Su M Tu W Th F Sa
Saturday, October 12, 2019
What The Cartoonists Are Doing: July 1914, Vol.6 No.1
[Cartoons Magazine, debuting in 1912, was a monthly magazine devoted primarily to reprinting editorial cartoons from U.S. and foreign newspapers. Articles about cartooning and cartoonists often supplemented the discussion of current events.
In November 1913 the magazine began to offer a monthly round-up of news about cartoonists and cartooning, eventually titled "What The Cartoonist Are Doing." There are lots of interesting historical nuggets in these sections, and this Stripper's Guide feature will reprint one issue's worth each week.]
CARTOON PLEASES DANIELS
So pleased was Josephus Daniels, Secretary of the Navy, with the cartoon on the abolishment of the wine mess in the navy, drawn by G. R. Spencer, cartoonist of the Omaha World-Herald, that he wrote to the artist, requesting the original copy.
The Spencer cartoon pictured John Barleycorn walking the plank, while a horn pipe-dancing sailor sang "Yo, ho, ho, and a bottle of soda pop."
Another cartoonist to win the approbation of a cabinet officer is Luther C. Phifer of the Worcester (Mass.) Telegram. Franklin K. Lane, Secretary of the Interior, has been decorating a room in the Home Club at the National Capital with original cartoons, and has asked Mr. Phifer, together with other artists, to send representative drawings.
SUES THE BALTIMORE SUN
Thomas Parran, formerly Representative and recently appointed a member of the Maryland State Roads Commission, has instituted an action for damages against the A. S. Bell Company and Charles H. Grasly, president and general manager of the Baltimore Sun.
The claim for alleged libel is based on a news article, an editorial, a cartoon and a news item, all of which were published in the Sun. These publications criticised the naming of Mr. Parran as a member of the State Roads Commission.
Richard Outcault, creator of "Buster Brown," was among the entertainers at the annual banquet of the Pulp, Sulphite, and Papermill Workers, at the Marlborough-Blenheim hotel, New York.
IRELAND HAS AN IDEA
"Billy" Ireland, cartoonist of the Columbus Dispatch, returned recently from an alligator-shooting trip to the Florida Everglades, with Governor Cox of Ohio and a party of friends on the yacht of R. F. Wolfe, proprietor of the Dispatch. The Everglades did not impress Ireland particularly. He writes:
"The Everglades are the most barren and hopeless stretch of the world's surface that I have ever seen, and in my opinion will never be turned into a commercial proposition, yet we ran into camps of land agents selling this hopeless stuff to tourists from the West. I wouldn't give my back yard for all of it." Meeting John Burroughs, Thomas A. Edison and Henry Ford in Florida impressed Ireland more than the scenery did. And somewhere along the route he picked up a thought that is worth considering seriously. Let him tell it:
"What will be the fate of the cartoonist when the woman in politics commences to hold office? At present we are surrounded with this suffrage thing, which is merely an offshoot of the big feminist movement. Surely we cartoonists have something to consider here. My thought is this — no woman can stand caricature! This is an absolutely established, fundamental inside formation of a woman's get-up. Just imagine our turning up a little further the already pugged nose of the good lady mayor, or making the embonpoint of the lady president of council, who is really putting in all of her spare time banting, more noticeable. Can't you see what we cartoonists are up against? The lady mayor bursts into tears and the president of council, who is surely no lady, introduces an ordinance prohibiting cartoonists from handling political subjects! I know what I am talking about. Only twice in my life have I had to make a cartoon of a woman, and upon both occasions there was h*** in camp and I lost two friends. I tell you, they can't stand it, and here they are fairly 'bustin' ' into our public life and we cartoonists sit idly by thinking we are secure in our position. Can't Cartoons Magazine start a discussion on the question: 'Will the woman in politics be able to stand caricature?' I say, 'No!'"
There is the basis for a lively interchange of opinion in Ireland's suggestion. Cartoons Magazine would be glad to hear from other cartoonists on the subject.
A NEW FIELD FOR CARTOONS
Frank Hammond, cartoonist of the Wichita Eagle, has drawn a series of cartoons to be used on the cover of the Official Bulletin published by the International Circulation Managers' Association. Sidney D. Long, circulation manager of the Eagle, and president of the association, writes:
"In striving to make the Bulletin more attractive, we looked about for features that would furnish the desired effect. We decided to use a cartoon for the cover, and the idea was a winner from the start. The cartoons served not only as a diversion, but gave at a glance the trend of the contents of the Bulletin, and emphasized the salient point made therein. I am convinced that in almost any line of publication the cartoon can be used to enhance the clarity of the printed word."
One of Mr. Hammond's cartoons is herewith presented. The circulation managers held their annual convention in June this year on a lake steamship.
Clare Briggs, of the New York Tribune, has furnished the illustrations for Charlotte Hay Meredith's recent book, "Mrs. Linthicum and Mary Jane." The volume, which is a collection of newspaper sketches, is published by the Donohue Company, Chicago.
Al Demaree, pitcher for the New York Giants, is drawing a series of cartoons for the Chicago Tribune, of which this is a sample.
CARTOONS IN PUBLIC SERVICE
Sponsors of various public betterment and uplift movements have begun to realize the fact that the cartoon can be used to great advantage. The appeal of a single cartoon that tells its story at a glance is wider and more striking than that of entire pamphlets of printed matter. Clare Briggs' cartoon for "Baby week" in Chicago was one that touched a universal chord.
In the "Safety first" movement that has spread across the country lately, the cartoon has been playing an important part. A rather gruesome but nonetheless telling cartoon is that of the "Pointing hands" drawn by Tom Vidor of the Grand Rapids Press. This cartoon, calling attention to the need of safety appliances, has been published widely throughout the United States, and is being sent out with the literature of the National Council for Industrial Safety.
STARRETT IN A NEW FIELD
After chewing up a box or two of cigars a day, pulling out his hair in tragedy-queen fashion, doing Marathons around the office while in quest of an idea, and bending for hours over a drawing board in the editorial rooms of the Knickerbocker Press, W. K. Starrett has for several months been paddling his own canoe as a free lance.
The accompanying sketch of Col. Henry Watterson, Kentucky's grand old editor, clipped from a recent issue of "The Editor and Publisher," will give erstwhile followers of Starrett an idea as to the kind of work he's doing now.
A series of color cartoons has been drawn by A. S. Harkness of Springfield, lll., to be shown in the Topeka social-survey exhibit. Walter Storey of New York provided sketchy outlines, which were developed by Mr. Harkness into unusually clever and attractive cartoons, emphasizing important suggestions or criticisms of the survey reports.
One of the featured acts in the recent Lambs' Gambol was the lightning crayon work of four cartoonists. They were Winsor McCay, R. F. Outcault, Hy Mayer, and George McManus. The exhibition of their skill was said to be one of the most pleasing bits on the program.
"PROF." DONAHEY NOW
James H. Donahey, cartoonist of the Cleveland Plain Dealer, has been appointed lecturer in cartooning and caricature at the new School of Journalism established by the Western Reserve University at Cleveland.
Mr. Donahey went to Cleveland eighteen years ago from West Chester, where he had been a printer. He became cartoonist on the Cleveland World when he was only twenty years old. Mr. Donahey has been cartoonist on the Plain Dealer for the past fifteen years. In addition to his work there he has for years been instructor in the Cleveland School of Art, and has drawn extensively for magazines and other publications.
Mr. Hearst has stopped his cartoon brigade from appearing in vaudeville. It seems that some of the cartoonists had more of a liking for the plaudits of the theater than real work, and Mr. Hearst politely informed the booking agents he was displeased. Result — canceled contracts.
Clifford Knight, cartoonist of the Hartford Post, appeared on the same bill with Governor Baldwin of Connecticut at the annual banquet of St. John's Club at the Hartford Golf Club. Mr. Knight told stories about cartoonists and drew pictures.
OBJECT TO "OLD GLORY"
A protest against the use of the American flag in cartoons was voiced recently at a meeting of the American Flag Day Association at Chicago. Mrs. Katherine Swikard, president of the association, contended that so long as the federal laws prevented the use of the national emblem for commercial purposes, it should be unlawful to employ the Stars and Stripes as a cartoon subject. If the Department of Justice, which has been asked for a ruling on the matter, should decide in favor of the flag enthusiasts, it is to be presumed that Uncle Sam, who for so many years has been before the public in his familiar "Old Glory" costume, will disappear forever from the prints. How the cartoonists could manage to get along without him is a problem which the Flag Day Association doesn't undertake to solve.
RESENTED THE CARTOONS
Because certain cartoons appearing in the Lynn (Mass.) Telegram, directed against Ralph S. Bauer, "made life unpleasant for his son" to such an extent that the latter refused to attend school, Mr. Bauer recently obtained a judgment against Frederick W. Enright, publisher of the newspaper in question. Mr. Bauer was one of three plaintiffs, all of Lynn, who contended that the cartoons were malicious.
Mr. Enright pleaded guilty in the Superior court at Salem, Mass., and paid a fine of $300.
WHEN THE CYCLONE STRUCK
With the consolidation of the Chicago Inter Ocean and the Chicago Record-Herald, Russell S. Henderson, the sport cartoonist of the latter paper, began looking for new worlds to conquer. The coming in of the new management is referred to by Henderson as a cyclone which swept him, together with others, overboard.
During his connection with the Record-Herald Henderson had gained a wide following, mainly through his "Poker" series, picturing various phases of the national pastime. Before joining the staff of the Chicago paper he was connected with the Pittsburgh Post and the Sun. He filled the vacancy on the Record-Herald left by Ed Mack, who went with the Hearst syndicate in New York.
Labels: What The Cartoonists Are Doing
Maybe a reader who can afford to penetrate the newspaper archive paywall can discover how this "sensational story" turned out.
Friday, October 11, 2019
Wish You Were Here, from Rudolph Dirks
Here's a Magic Slate card issued by Hearst's New York American, a freebie given away with the Sunday paper. This one is a better quality image than most, featuring the Captain from the Katzenjammer Kids.
What I wonder about these gimmick hidden picture cards is this: do any exist that still have the hidden picture actually hidden, or do the images eventually appear even if they aren't 'activated'? Of course in this case we can plainly see that the original owner put water on it, as the edges are all water-stained.
Labels: Wish You Were Here
After collecting these cards for years I can say I have never seen one of the Magic Slates that hasn't been used. When the cards were interactive, such as the earlier sets where you'd iron it or hold it up to a flame, (I believe the image was covered in a thin veneer of parafin), and the cutout "mechanical" ones, they proved mostly irresistable to use. I have an uncut mechanical sheet, and have seen some unheated (or, unburnt) ones. I think that the slate series,( it's vegtable dye that one washes off) are generally rarer because they came out in 1907, when interest in the freebie cards seemed to wane. Hearst had issued other card sets in 1906, such as, morbidly enough, disaster and destruction of the San Fransisco Earthquake.It would seem the slate cards were the last ones.
Thursday, October 10, 2019
Ink-Slinger Profiles by Alex Jay: Max Newberry
Max Wilford Newberry was born on July 13, 1868, in Rochester, Michigan, according to the Michigan, Births and Christenings Index at Ancestry.com. His father was Francis D. Newbury and a family tree said his mother was Fannie Ellsworth Stone. Newberry was baptized in Oakland, Michigan.
In the 1870 U.S. Federal Census, Max and his parents resided in Union, Michigan, where his father was a school teacher.
The 1880 census said Newberry was the oldest of four children. The family of six lived on Washington Street in Coldwater, Michigan.
Information about Newberry’s education and art training has not been found.
In the 1880s Newberry moved to Chicago, Illinois. The Daily Inter Ocean (Chicago, Illinois), March 20, 1890, published an article about the stockholders of the 1892 World’s Exposition and listed Newberry’s investment of twenty dollars.
On July 11, 1891 Newberry married Elinor Wallis in Cook County, Illinois.
The Chicago, Illinois, Voter Registration, at Ancestry.com, said Newberry was registered in 1892.
Newberry’s wife, Elinor, was a member of the Illinois Women’s Press Association. The Daily Register-Gazette (Rockford, Illinois), June 20, 1895, listed her as “Mrs. Max W. Newberry, artist, Chicago Evening Mail”.
The 1896 California Voter Register, at Ancestry.com, said Newberry was in San Francisco, California. The Los Angeles Herald (California), April 24, 1896, noted the newspaper people, who registered at the press headquarters in the Hollenbeck hotel, including Newberry of the San Francisco Chronicle. The Los Angeles Herald reported Newberry and his wife stayed at the Hollenbeck in December 1896.
An 1897 San Francisco city directory listed Newberry at 515 Turk. He was an artist at the San Francisco Examiner newspaper.
The New York Herald hired Newberry to supply drawings for the newspaper’s Klondike expedition. The August 30, 1897 New York Herald said
With the Herald’s special expedition to the Klondike gold region aboard and followed by the shouts and good wishes of five thousand persons, the steamer Excelsior sailed from San Francisco for St. Michael on July 28. She carried one hundred and ten passengers, among whom were Mr. John D. Gillivray, a mining expert employed by the Herald to personally investigate and write of the wealth of the Northwest, and Mr. Max Newberry, an artist and writer, also a member of the Herald’s special expedition. …Below are some of Newberry’s drawings.
The New York Herald, January 6, 1898, explained how documents were sent to the newspaper.
From Klondike in a Can.
Despatches and Pictures for the Herald Come Through Safely.
The Herald to-day prints a picture of a tin can which came all the way from Dawson City over the pass to Juneau, and by registered mail to the Herald in New York. The can, which contained despatches, sketches and photographs, is about twelve inches long and two inches in diameter.
John D. McGillivray and Max Newberry, the Herald’s correspondent and artist respectively in the Klondike, adopted this means to protect their despatches and pictures from the snow and rain while on the way to Juneau. The can was made by a tinsmith in Dawson City, and the letters and sketches were put inside. Then the tinsmith soldered the can so tight that water could not get in.
The can was given to an Indian courier, or runner, who carried it over the trail to Juneau, six hundred miles distant.
The Herald’s correspondent in Juneau received the can from the courier and sent it by registered mail to the Herald.
The cut will show evidence of the rough treatment the can received on its way out. When the tin envelope was opened with a can opener in the Herald’s office its contents were found to be in as good condition as when they left Dawson City.
The San Francisco Chronicle, March 1, 1898, hired Newberry to return to Klondike.
The Oregonian (Portland, Oregon), April 2, 1898, said “Max W. Newberry, the newspaper artist, who was sent to Dawson last fall by the New York Herald, has sold his claim, No. 97 above discovery, on Bonanza Creek, for $5000.”
Below are some of the San Francisco Chronicle drawings by Newberry from August and September 1898.
The 1899 San Francisco directory said Newberry resided at 525 Ellis Street. His address was unchanged in the 1900 census. The 1900 directory said Newberry was the manager of the Examiner art department.
Newberry was a member of the artists and writers group known as the Nyght Byrds. The San Francisco Call, January 21, 1900, named the Nyght Byrds members of the Examiner: “Herbert Igoe, Max Newberry, B. March Hare, R.E. Edgren and wife, L. Samish, C.W. Ronrhand, W. McKinnon, Henry Nappenbach and George Aspden, George Murphy and wife.”
City directories for 1901 and 1903 listed artist Newberry at 1683 Post Street.
The Daily Nevada State Journal (Reno, Nevada), July 21, 1903, broke the news of Newberry’s second marriage.
Newberry of “Examiner”At some point Newberry moved to Boston, Massachusetts, where he headed up the art department of the Boston Herald. Boston city directories from 1908 to 1910 listed his address as “80 Summer boards at Scituate”.
Gets Married and No One Heard It
The Boys That Work with Him Won’t Know a Thing About the Wedding Till Newberry Tells Them
Who of The Journal readers has not noticed at the lower right hand corner of the handsomest illustrations that appear in the Examiner the familiar signature, “Newberry.” Max W. Newberry is the man who used the pencil that produced those pictures and the hand that held the pencil with all firmness trembled a trifle last evening when he went to the county clerk’s office in this city and signed the application for a marriage license.
Mr. Newberry is chief of the art department of that paper and rather than be joshed by the boys on the Examiner, all of whom are paid up subscribers of The Journal, he came to Reno to wed Elizabeth Hay Wiley, a fair San Franciscan. Mr. and Mrs. Newberry will spend today in this city and leave for San Francisco this evening, where the fly couple will be met at the ferry by Count dePeanut’s swine band.
Mr. Newberry was taken somewhat by surprise last night when a Journal representative asked him to make a drawing of himself and bride for publication this morning.
The Newspaper Feature Service produced a long-running series of romantic cartoons, by several artists, beginning in 1913. Newberry contributed at least one drawing in 1915.
The 1915 New York state census recorded Newberry, his wife and daughter in Tomkinsville [Staten Island], New York at 71 Central Avenue.
A 1918 Yonkers, New York directory said Newberry was at 127 Cassilis Avenue.
Chicago was Newberry’s home, at 4760 Lake Park Avenue, in the 1920 census. The whereabouts of his family is not known.
Newberry was living alone in 1930 census. The illustrator was lodging at 37 Madison Avenue in Manhattan, New York City.
Newberry found work in his childhood home town of Coldwater, Michigan. He was living with his brother, Roy, the managing editor Daily Reporter newspaper. Also in the household was their mother. Their names and address, 11 East Chicago, were found in Coldwater directories from 1932 to 1936.
Newberry passed away June 10, 1938 according to the Detroit Free Press
(Michigan), June 12, 1938.
Max W. Newberry, 69, for several years associated with Hearst newspapers as a commercial artist, died of a heart attack at his home here Friday night. Surviving him are his widow, Fay, a daughter, Mrs. Robert Foster, the former Barbara Newberry of the Ziegfield [sic] Follies, of London, England; his mother, Mrs. Fannie Newberry of Coldwater; a sister, Mrs. Grace Kitchel, one of the owners of the Coldwater Daily Reporter, and two brothers, Roy Newberry of Coldwater and Perry, of Carmel, Calif. Funeral services will be Tuesday.Newberry was laid to rest at Oak Grove Cemetery.
Labels: Ink-Slinger Profiles