Saturday, August 18, 2012
The other two bouts (Rube Smith vs. Russell Van Horn and Jimmy Austin vs. Joe Riviera) are most notable in that they represent the very first time I've been let down by the boxrec website. Although most of the fighters are listed these bouts are unrecorded.
Labels: Herriman's LA Examiner Cartoons
Friday, August 17, 2012
Ink-Slinger Profiles: Carl Pfeufer
Ad in the Brooklyn
Daily Eagle, 11/27/1935.
It appears Pfeufer produced the material and it was shopped around. I have not found any information on Lisiecki Associates. Moore's name was not mentioned; maybe he was brought in later, when the Daily Eagle picked it up. In December 1936 Moore and Pfeufer were teamed up on Gordon Fife. The birth of comic books provided another outlet for Pfeufer; his credits can be viewed at the Grand Comics Database. His time in comic books and strips spanned about three decades. Wikipedia covered his comics career. (Surprisingly, what is missing from the list of references is Maurice Horn's World Encyclopedia of Comics.) Who's Who of American Comic Books, 1928–1999 has an excellent overview of his career.
Two of his strips from the fifties were The Bantam Prince and The Chisholm Kid.
Labels: Ink-Slinger Profiles
Thursday, August 16, 2012
Obscurity of the Day: A Flight of Fancy
Ferd Long before, and here's another one of his many strips for the New York Evening World. Ferd's comic strips were often topical, but in A Flight of Fancy, which he produced sporadically from November 8 1908 to August 31 1909, he let his imagination run wild.The strip had no continuity or recurring characters, the only thread holding the concept together was simply that the gags were all absurdly silly. I particularly like this series because it is generally pantomime, which highlights Long's mastery of cartooning.
Wednesday, August 15, 2012
Ink-Slinger Profiles: Albert Bloch
Bloch was in Europe when the 1910 and 1920 censuses were enumerated. A 1919 passenger list, at Ancestry.com, recorded his first son, Bernard, with a June 18, 1907 birth in New York City, and second, Walter, with an April 13, 1916 birth in Munich, Bavaria. Bloch’s art endeavors in Europe were not wholly embraced as reported in the Philadelphia Inquirer (Pennsylvania), January 12, 1913:
Radical Exhibit at Sketch Club
Small Pieces by Albert Bloch, Brought Here by Gordon M. McCouch, From Munich, Give Philadelphia First Glimpse of New Movement
While the galleries of the Pennsylvania Academy are hung with two of the safest and sanest exhibitions in the world, and while the Corcoran Gallery exploits as the latest novelty in exhibitions a collection of pictures for pictures’ sake, it remains for the Philadelphia Sketch Club to bring to our starving vision its first authorized glimpse of the new movement which is agitating the whole world, and whose message must sooner or later be accepted by the public and the profession, be it ever so reluctant….
The Sketch Club’s little offering comes through one Gordon Mallet McCouch, a member recently returned from Munich, who brings with him a few sketches by his friend, Albert Bloch. And the effort is a mere tentacle. The sketches do not amount to very much, either for Mr. Bloch or for the movement. Better things are hidden away right here in Philadelphia, but what is admirable is that the Sketch Club, hating these pictures with a good old fashioned hatred, should yet be broad-minded enough to offer to young Mr. Bloch a forum—to give him, as it were, a hearing.
“We’ll show it, but we don’t have to like it,” one of the older members remarked. But everybody is curious about it, and this little entering wedge will have its effect.
Cartoons Magazine, November 1915, noted Bloch’s artist development.
Excerpts from a University of Kansas Relations press release (January 24, 1997), and web site, “Rediscovering Albert Bloch at the University of Kansas”:
…Albert Bloch was trained in a local art school….Bloch began his career as a newspaper illustrator. He drew cartoons, caricatures and cover illustrations for the literary weekly The Mirror from 1905 to 1908. In 1908, Bloch went to Europe to continue his artistic training. In 1911, Kandinsky, along with his friend Franz Marc, visited Bloch’s studio and soon invited Bloch to join them in their new venture, the first exhibition of Der Blaue Reiter (The Blue Rider), which opened in Munich in December 1911. Bloch showed six canvases in the first Blue Rider exhibition. Thereafter Bloch participated in other major avant-garde shows in Europe. Following his return to the United States, Bloch taught for a year at the Academy of Fine Arts in Chicago (1922-23) before accepting the position of head of the department of painting and drawing at the University of Kansas in the fall of 1923. For the next twenty-four years, Bloch taught art and art history at the University….
|1913 Bloch Painting, Das Gruene Gewand|
Bloch’s opinions on an art event were published in the World Herald (Omaha, Nebraska), November 24, 1927:
Raps Art Exhibits
Closing Speaker at Lincoln Meeting Strikes Discordant Note.
Lincoln, Neb., Nov. 23 (AP).—The atmosphere of sweetness and light which had marked the three-day session of the western section convention of the American Federation of Art was disturbed by the closing speaker at the Wednesday afternoon meeting, Albert Bloch, of the University of Kansas, who first criticized the extensiveness of the exhibits sent out by the federation, and next the quality of some of the paintings.
“The public is helpless,” said Mr. Bloch, “and will take anything you feed it.” He then criticized the quality of pictures sent out from the metropolitan museum of New York through the American federation.
In the 1930 census, Bloch, his wife Hortense and son Walter lived in Lawrence, Kansas at 1015 Alabama Street. He married when he was 23 years old and his occupation was artist teacher at Kansas University. The Wyandotte Echo, (Kansas City, Kansas), December 18, 1931, reported an exhibition at Bloch’s school.
University of Kansas Views Work of Negro Artists
Lawrence, Kans. (By L. Bluford for A.N.P.)—The work of twenty-eight Negro artists is on display during the month of December at the Spooner-Thayer Museum of Art at the University of Kansas. The exhibit, which includes 39 paintings, was loaned by the Harmon Foundation of Art at New York, an organization which encourages individual artistic pursuits.
Prof. Albert Bloch of the University painting department says of the exhibition:
“The American Negro in his cultural activities compares on the whole very favorably with his white neighbors, and in many instances the work of these artists is distinguished by a straightforward boldness and honesty which is not always to be found in the work of their accepted white contemporaries.”
He had the same residence and occupation in the 1940 census. According to the Social Security Death Index, Bloch passed away in December 1961, in Lawrence, Kansas. A selection of Bloch’s paintings can be viewed here.
Labels: Ink-Slinger Profiles
Tuesday, August 14, 2012
Obscurity of the Day: The Camera Fiend
Brownie camera was introduced in 1900, and all of a sudden we became a nation of shutterbugs. And one of the wonderful properties of newspaper comics, then and now, is that they comment with such immediacy on all the latest fads and fashions. The social history angle of newspaper comics is one of the aspects that, after all these years immersed in them, keeps them endlessly fascinating to me.
And today our lens into the past focuses on the camera itself. In 1902 Albert Bloch, a green kid drawing Sunday strips for the St. Louis Star, turned his attention to the new fad and came up with a comic strip about a guy who takes 'shot-snaps' (!) with his Brownie. The concept was novel enough that he could title the strip simply The Camera Fiend. Now the gags aren't very funny, and the art is painful to look at, but isn't it neat to see Albert's perspective on this amazing new product that was taking the world by storm? And how precious is it that the term 'snapshot' seems not to have yet taken hold to the point that Bloch apparently misremembered the slang -- or is it that he's making a (bad) gag? Hard to say...
Thanks to Cole Johnson, who supplies us with the entire two-strip run of this series. It ran on November 30 and December 7 1902.
Thanks for the later end date on Willie Lumpkin! I see no indication on your blog what paper you found that in -- I'll need that for the source reference.
As for the start of the Sunday, I have as early as January 1960 in my own collection.
Monday, August 13, 2012
Obscurity of the Day: Bears in Love
Charmers, Bears in Love gives it a run for its money.
Eric Meese first came up with the ursine characters as a spoof on his sister's lovey-dovey antics with her fiancee. The spoof cartoons, shown to his family and friends, seems to have been received without recognizing the ironic intent, and his audience oohed and aahed over the romantic bears and begged for more. Meese's brother then took some of the drawings to an agent in New York. The next thing he knew, Meese had a contract with Universal Press Syndicate to produce the feature seven days per week.
Based on an interview at the time, Meese seems to have been on a very short leash. He had to submit two weeks worth of strips each week, and the syndicate picked out seven from each batch, and sent notes on how to improve the chosen ones. That's pretty standard during the development stage for a strip, but rather unusual for one that is actually being syndicated.Considering that Meese, even in his interviews, gives off a vibe of being in way over his head, I think it safe to say that Universal might have been a little too anxious to bring this strip to market.
Bears in Love seems to have debuted on March 28 1983, and lasted until sometime in 1986. Having solved the world's saccharine shortage, the strip was retired and the bears went to their final endless hibernation.
Sunday, August 12, 2012
Jim Ivey's Sunday Comics
Labels: Jim Ivey's Sunday Comics