Saturday, November 19, 2011
Herriman also keeps the Hen Berry weasel-skin hat story moving along, now clearly off in the realm of fantasy.
Labels: Herriman's LA Examiner Cartoons
Friday, November 18, 2011
News of Yore: John Paul Arnot
John Paul Arnot, native of Markleeville, and former resident of Reno, died in San Francisco, recently after a long and successful career as a cartoonist, an funeral services were held in that city early this week.
Mr. Arnot's career as a cartoonist started soon after he left the University of Nevada in 1907, and during the intervening years it covered a wide variety of activities.
He was born at Markleeville, where his father, N.D. Arnot, was an attorney, and the family later moved to Placerville when the elder Mr. Arnot was named judge for that district. John Paul Arnot came to Reno to attend the University of Nevada, where two sisters and a brother already had graduated. Another brother, Percy A. Arnot, attended college in California, and is now a physician and obstetrician in San Francisco.
In his college days, Mr. Arnot's skill with pencil and pen were recognized. He and Silas E. Ross were chosen to publish the 1908 Artemisia, with Mr. Arnot making the cartoons and art work, and Mr. Ross writing most of the text and supervising the editorial work.
Surviving are his widow, Mrs. Hope Beach Arnot; a son, John Philip Arnot; two sisters, Mrs. May Arnot Rice, who graduated from the Nevada university in 1900, and now resides in Berkeley; Mrs. Laura Arnot Leavitt, member of the Nevada class of 1904, and now living in San Francisco where she operates a women's wear store; three brothers, Stanley L. Arnot of Sonora, Calif., Nathaniel D. Arnot and Dr. Percy Arnot of San Francisco. Another brother, the late Edwin P. Arnot, graduate of the University of Nevada in 1902, was a mining engineer.
On August 18, 1915, Arnot married Hope Beach, according to the Mountain Democrat on August 21. The newlyweds moved to New York City, where he worked for King Features Syndicate. Later, he registered for the draft. According to Lambiek Comiclopeida, his strips, this decade, included Old Doc Gayboy (1913-1914), And So It Goes (1916), Sinned-Against Samuel (1916), Miss Pippin (1917), That Squares It (1918-1919), How Do They Do It? (1917–1927) and The General (1919–1922).
Arnot signed his World War II draft card on April 26, 1942. He lived in San Francisco at 385 Moncada Way. He was employed at the Eastman Kodak Company. His description was height and build, 5' 8.5", 190 pounds, with gray eyes and brown hair. Arnot passed away on December 1, 1951, in Agnew, California, according to the California, San Francisco Area Funeral Home Records, 1895-1985 at Ancestry.com. He and his wife were buried at Cypress Lawn Memorial Park in Colma, California.]
Labels: News of Yore
Thursday, November 17, 2011
Obscurity of the Day: Miss Pippin
Arnot's strip didn't make fun of this working woman the way most did. The typical jokes about women having no head for business, being too frail of spirit and too tender of heart to survive in the world of men were seldom used in Miss Pippin. Arnot's protagonist was portrayed as an intelligent and resourceful woman who effortlessly turns aside male chauvinism with her demure good manners and wit.
Perhaps newspaper readers in the 1910s weren't ready for this 'foremother' of Brenda Starr, because the strip didn't run for long. Hearst strips from the latter half of the teens are devilishly hard to track, but I believe the strip began on September 29 1917 and seems to have sputtered out by December of that year. I have yet to find a paper that printed the strip on a consistent daily basis, so it may have been one of the last of what I term 'weekday strips', daily-style strips that were not issued on a regular 6-day per week basis. If anyone has located a true daily run of it, please let me know.
Wednesday, November 16, 2011
Obscurity of the Day: Mr. & Mrs. Pippin
What does shine through on these samples very clearly is that Frank Willard, long before Moon Mullins, was already fascinated with the comic possibilities of the lower classes and the seamy underbelly of life. These strips are very raw-boned and tough-minded, with Willard giving no quarter to the miserable and most likely cuckolded Mr. Pippen. His wife is a tart, a brat and a harridan with no redeeming qualities. The cops, who figure large in their misbegotten marriage, are arrogant and moronic. In short, the strip is uncomfortably realistic -- played for laughs like a funhouse reflection, but leaving the reader with the troubling sensation that Willard knows whereof he speaks.
Mr. and Mrs. Pippen ran in the Chicago Herald starting on April 1 1917, and ran through April 28 1918. The title changed to Mrs. Pippen's Husband on July 1 1917. The strip was sold by some outfit in reprints, as I've found it running in the Ogden Standard in 1919.
Thanks to Cole Johnson for the samples!
The final date must have extra significance as the J.Keeley syndicate and the Chicago Herald only had a few weeks left when the Herald was merged with Hearst's Chicago morning paper to form the Herald and Examiner.
Tuesday, November 15, 2011
Ink-Slinger Profiles: Jim Navoni
In the 1910 census, the Navoni family lived in Napa on Berryessa Road. The September 15, 1910 edition of The Call reported the following:
Berkeley, Sept. 14.—Editor G.J. Adams of the Pelican, the comic paper of the students, has announced his staff for the publication, which on Friday will make its first appearance for the term replete with cartoons and satires. Adams will be assisted by H.E. Mills and James Navoni as associate editors….
Navoni found work at the The Call; he was one of several artists to work on the local strip Alonzo. The paper promoted its children's section, The Junior Call, with a party, as reported on April 11, 1912.
...Artist Jim Navoni, who draws Alonzo and the Pup and their funny doings in The Junior Call every Saturday, will be there with large sheets of paper and plenty of charcoal pencils. And between Mrs. Olsen's great stories Artist Navoni will make motions on the paper with his charcoal, and lo! there will be Alonzo and the Pup smiling at the youthful audience.
It will be worth a whole lot just to see Navoni make the two famous dogs come to life before your eyes. After the audience has seen him do it, all the boys and girls will able to draw Alonzo and the Pup—maybe!...
…there were two interesting features, one being the piano solo by Stefan Vucosavlievich, the boy pianist. The other was furnished by James Navoni, the clever Junior Call artist, whose pictures of Alonzo and The Pup are known from one end of the juvenile San Francisco to the other. Navoni, in the interests of Alonzo and his small brother, who unfortunately were unable to attend in person, presented their regrets and drew their smiling faces on an improvised board, much to the delight of the assembled audience….
Cartoons Magazine, March 1916, published news of Navoni's whereabouts.
"During my travels," he writes, "it has been my good fortune to come into contact with people of all types and classes. You can't deny that Mr. Knock-about-a-bit is quite a valuable teacher. At any rate, he has helped me toward a better understanding of human nature, the cartoonist's greatest assets."
The 1920 census recorded Navoni, a lodger, in Chicago at 61 Delaware Place. His occupation was cartoonist. A cartoon of his was published in The Judge. He is credited with Charley the Chump and Looney Land (1926 Wheeler-Nicholson dailies) [Allan's note: Charley the Chump has not yet been found appearing in any newspaper; Looney Land has, but just barely, with a little over a week's worth printed in Lowell Sun].
Navoni returned to his roots. In the 1930 census the cartoonist lived with his parents in Napa at Rural Route 3. Eventually he gave up cartooning and opened a tavern. The Oakland Tribune reported this incident on September 27, 1939:
Police Sergeant J.J. Reichel said he found Fava on top of the tavern roof, with the skylight removed and a knotted length of rope stretching through it from the roof to the floor. Fava wore socks on his hands as gloves and admitted, the officer said, he had intended to rob the tavern.
Labels: Ink-Slinger Profiles
Monday, November 14, 2011
Ink-Slinger Profiles: Herbert Morton Stoops
In the 1900 census, Stoops was the oldest of five children born to Philip Dexter Stoops and Eliza (Lila G. Morton). His father, a ranch employee, was doing home missionary work in Utah since 1881, according to the Biographical Record of the Alumni of Amherst College, 1821- (1901). The family lived in Kilgore, Idaho. Some time after the census, his mother moved the children to Logan, Utah. The Salt Lake Herald (Utah) reported, on May 12, 1903, that Stoops had graduated from the New Jersey academy of Logan. The budding cartoonist was noted in the Deseret Evening News (Utah) on November 28, 1903, "Prof. Stutterd…is…developing a cartoonist in the person of Herbert Stoops. Some very credible work from the pen of Mr. Stoops appeared in the last issue of Student Life."
On June 9, 1906, the Logan Republican said, "…Stoops, who has been one of The Republican force between college hours, left for the Stoops ranch in Idaho yesterday." The Ogden Standard Examiner (Utah) reported in its October 15, 1922 edition, "Herbert Stoops received his early art training at the Utah Agriculture college where he showed marked ability while still a boy. At this time his talent was so noticeable that he daily attracted groups of students to the studios to watch him work." (The college was renamed Utah State University in 1957.) The Republican edition of November 27, 1907 reported:
Herbert M. Stoops leaves today for San Francisco, where he will probably be employed by the Pacific Construction Co., with which Mark Pendleton, formerly of Logan, is now associated. Young Stoops, who undoubtably has marked ability as a cartoonist, goes to San Francisco that he may have opportunity to attend an art school there at spare times. He is a fine young fellow with many friends here who wish him well.
An update was published on December 7, "Herbert Stoops is located at Berkeley, Cal., rather than San Francisco as originally intended. He is employed in a book store, attends a night school for art students, and is living with the Stovers, formerly of this city." It continued to chart his progress in this March 14, 1908 report.
His first newspaper staff job, in California, was with The Call (San Francisco), beginning sometime in 1908. The front page, of the September 2, 1908 issue, of The Call published his photographs; the caption credit said, "Photos by Artist H.M. Stoops of The Call staff." On November 21, 1909, The Call's art reviewer wrote:
There are two different dates for his move to Chicago. He moved in 1914, according to the Society of Illustrators, "where he took classes at the Art Institute while working as a staff artist for the Chicago Tribune." Arts Magazine said, "In 1916 he became part of that great Chicago group that included, among others, McClelland Barclay, Ben Hecht and Charles MacArthur." In American Art Analog: 1874-1930, Michael David Zellman said 1916 was the year Stoops moved. He signed his World War I draft card on June 5, 1917. He lived at 4950 Kenmore Avenue and worked as an artist for the Daily Tribune. His description was medium height and build with blue eyes and light brown hair. The Society of Illustrators said, "…the…artist enlisted in the Army, serving in France as First Lieutenant in the Sixth Field Artillery of the First Division. Stoops sent drawings from his sketchbook back to the home front…."
The World War I version of this patch has the same color combination but the numeral, worn on the left sleeve, extended from the shoulder almost to the elbow.
Lieutenant Herbert Stoops of Battery C, Sixth Field Artillery, saw the oversized numeral on his commanding officer's shoulder and remarked that it looked like the colonel's red underwear showing through a wire-rip.
The colonel had a sense of humor and gave his junior officer no rebuke other than to tell him to come with a better design—or shut up. The lieutenant did.
Clipping a piece of red piping from a German infantry officer's cap, he fashioned a "one" and placed it against the gray mass of the cap. The design was approved with the substitution of olive drab for the German gray. The only source of the gray cloth would be German uniforms and no one imagined that Germans were going to surrender just to provide First Division patches.
The division's distinctive emblem was officially recognized on October 28, 1918. However, the first "members" of the outfit to wear the "BIG RED ONE" were the trucks, not the men. In February, 1918, some unknown doughboy put the numerals there to distinguish U.S. Army from British vehicles in the same area.
Stoops served as president of the Artists Guild in New York, was a member of the Salmagundi Club, the Society of Illustrators, The American Artists Professional League, and highly prized his honorary membership in the New York Association of Veterans of the French Foreign Legion.
More profiles can be read at AskArt.com, Pulp Artists (photo of Stoops), and Arts Magazine. In American Illustration, 1890-1925: Romance, Adventure & Suspense (1986), Judy L. Larson wrote, "He signed his work either 'Raymond Sisley' or 'Jeremy Cannon.' "
Labels: Ink-Slinger Profiles
Sunday, November 13, 2011
Jim Ivey's Sunday Comics
|The Cartoon Museum in 1967|
Labels: Jim Ivey's Sunday Comics