Stripper's Guide

April 16 1910 -- Sam Langford and Jim Barry met in the ring again, and again, Mister Barry became closely and painfully acquainted with the business end of Mr. Langford's gloves. One hopes that Jim Barry was at least well-paid to take these repeated drubbings.

Labels: Herriman's LA Examiner Cartoons

# posted by Allan Holtz @ 6:00 AM 0 comments

Here are a pair of obscurities I've been meaning to post for years and years, hoping for some help on an IDing question.

In Darktown ran sporadically in the New York Evening World from September 12 to December 29 1904*, usually as a panel, sometimes as a strip. It's your typical distasteful stereotyping of blacks, the sort of thing that was quite commonplace in papers of the era. The art on this feature, though, has a certain quality that impresses me. The series was signed with the name "Dalg".

Also by "Dalg", Woman's First Thought is Man ran six times in the period January 13 to March 13 1905 in the same paper. It's nothing greatly memorable as a series -- just strips about how women, supposedly supportive of their men, can be anything but. Been done many times before and many times since. This strip, despite the less than original hook, is written and drawn with an appealing style as well. 

These are two of a total of three series, all from late 1904 to mid-1905, carrying the signature "Dalg" (or is it "Salg"?). There are plenty of aspiring cartoonists that came and went not having left us their full names, but in this case, the guy was actually pretty good, and I'd love to credit his full name.

Of "Dalg"s three series, these two were for the New York Evening World, and one was for the Evening Telegram, so he was obviously a New Yorker shopping his wares around. Beyond that I can offer no clues. I can find a few people with the surname Dalgleish popping up in New York City papers at the right time, but none is identified as an artist. 

~~~~~

* There was one additional panel using this title, run on January 2 1905, by R.E. Leppert. Since the series does not use continuing characters but just a common theme, hard to say if Leppert piggybacked on the series or just happened to use the same title.

Labels: Obscurities

# posted by Allan Holtz @ 6:00 AM 1 comments

The perfect woman, the American Venus, has been found. The discoverer is Hamilton Wolf, a New York artist and son of a New York artist, Henry Wolf. The American Venus is Miss Ethel Hays, the daughter of a Billings banker, and only three years out of school. She also is an artist with dreams of a career. Her discoverer is putting her on canvas and the painting is to be exhibited in the Paris Salon if the genius of the enthusiastic painter can win a place in the line.

Hamilton Wolf is living in Los Angeles just now, and here is his critical judgment of the American Venus:

“Every line, from the graceful wave of her hair to the curve of her ankle, is perfect. The broad shoulder, the broad, undulating waist, the long lines of arm and leg, all mark her as the prototype of the woman who posed for the Venus de Milo.”

Miss Hays was graduated from the Billings high school three years ago. She is now twenty-one years old, determined to make a name for herself. While in school she was the mainstay of the school publication's art department, and after graduating followed the advice of friends who saw possibilities in her work and decided on a career of art. As the scene of her work she selected Los Angeles.

That is how she became acquainted with Hamilton Wolf, how she became his pupil, and later his model.

Like other artists, Wolf long had cherished an ambition to find and paint the perfect woman. It was to be his masterpiece. Where was she to be found?

Then, one day, she came and work on “Woman” was begun. The artist settled down to a long grind, and in a few weeks or months, according as his temperament and physical power permit, “Woman” will be on her way to Paris.

“I hope to paint a picture which, before it is sent to the salon, will make our naturally beauty loving people realize how far from the great ideals of the masters they have strayed,” says the sanguine artist. “I have drawn Miss Hays from every angle in merciless black and white—and she stands the test.”

But Miss Hays herself takes her beauty less seriously than Wolf, and seems to regard the fact that she is hailed as the one perfect woman of less consequence than her work and progress in her chosen field.

“I feel art is the greatest of all things,” she wrote in a recent letter to a friend. “I believe an artist is at once the happiest and unhappiest person in the world. The happiness comes from the knowledge and indulgence of a creative power, and the unhappiness from knowing that absolute perfection is never attained.”

“Miss Hays might almost be called a genius,” declares Wolf. “She has everything at her command—love of beauty, humor and the quality of taking definite pains, which Carlyle says is genius. She can sketch for hours in a dusty studio, depicting the streams and hills of nature’s great outdoors; she can trace with wonderful exactness the lines of the human body, and can turn from that to evolve a cartoon possessing an instantaneous appeal.”

“Woman,” with which Wolf hopes to capture Le Grand Prix at the Paris Salon, will represent the utmost in femininity, according to its creator. Although idealistic in every line, it will but portray the perfection of Miss Hays.

“Miss Hays's body is almost inconceivably perfect in construction,” says Wolf. “It is just eight times the height of her head, her closely and delicately modeled ears are exactly even with the top and bottom of her nose, her neck is just the right proportion—every feature is in perfect harmony. Look at the space between her eyes—equal to the breadth of one eye! The fine line of her brows, the masculine strength of her chin, feminized by the soft moulding, the finely chiseled nostrils and the swelling of the throat recall visions of marbles seen in the great museums and galleries o the continent.

“Her superb physical condition can be attributed largely to the exercise she has taken in the bracing mountain air of Montana. She walked, where we of the more crowded centers ride. People today do not walk enough—even the doctor, preacher of health, if he has three blocks to go takes a car or cranks up his machine. We ride, ride, all the time, and some day we'll lose the use of our legs, like a fish in the waters of a cave loses its eyesight. Miss Hays walked, and as a result her body is absolutely symmetrical, strongly but gracefully muscled and suffused with the glow of perfect health.”

No bothersome rules of diet worry Miss Hays. She eats what she likes, in moderation—she has never followed any complex rule of diet, exercise or "beauty" culture. Early in life it was impressed on her that health is largely a matter of appetite, and about the same time her father impressed the value of moderation.

“These,” she says, "have been my governing rules—eat and exercise in moderation. I take long walks and practice deep breathing, but I believe every woman who has regard for her health now does that.”

Wolf went to Los Angeles about a year ago and since then has painted portraits of many prominent Los Angeles citizens.

Miss Hays will finish her present course next June. Later she will go east for a year’s work in New York and Boston before continuing her studies in Europe. 

Miss Hays is the daughter of George M. Hays, assistant state treasurer of Montana from 1897 to 1901 and state treasurer from 1902 to 1905.

The Easter hop was especially enjoyed because there have been so many weeks without any social pleasures whatever during the long quarantine. The beautiful weather over the weekend also added materially to the enjoyment of the many weekend guests who were here. The hotel was crowded, and there were many guests visiting officers’ families. ...

... Major and Mrs. Matheson’s guests for the hop and week-end were Miss Ethel Hays, of New York, and Miss Annabel Arnott, of the National Cathedral School at Washington; Miss Dorothy Chapple, who is a student at the same school and is spending her Easter vacation with Major and Mrs. Matheson. ...

... Then the war came. Ethel had suspected for a long time that there was something bigger in the world than painting blue iris in crystal bowls, and now she knew. She dropped her paint brushes, enrolled in a Red Cross course; passed her examinations, obtained her passport, and was all set for Europe. She went home to tell the folks good-bye. While home she saw a newspaper pica for art instructors for government hospitals.

It wasn’t because Ethel feared mal de mer, but because she saw here a chance to help win the war and also stay right on in her own field that she switched from Red Crossing to art instructor for Uncle Sam.

The Chuckle Girl

Then began her six years of work as aide to Uncle Sam. They called these girls who taught the soul-sick body-sick veterans how to draw and who made funny cartoon posters for hospital wards, “Uncle Sam’s Chuckle Girls.” And Ethel Hays’ “Chuckle Girl” was most famous of all. At Camp Lewis and government hospitals at Denver, Johnson City, Tenn., and Dayton, O., she taught and entertained sick soldier boys. And by the time this work was ended she knew without a doubt that she had found her line funny pen and ink drawings, featuring the modern American girl. Meanwhile she took a correspondence course in drawing. [Who's Who in Northwest Art (1941) said Hays took the Landon Course in cartooning.] 

The director of this correspondence art school knew the editor of The Cleveland Press. He showed some of Ethel’s drawings to him. Within an hour the editor had talked with Miss Hays on the phone at the government hospital in Dayton, where she was finishing up her war work, and asked her how soon she could begin work with The Press.

Months afterward Ethel confessed that she thought she was being offered a lay-but job, meaning a touching up of photographs and a making of borders for them.

But she came. Within a week the whole city knew Ethel. She and a girl reporter did a picture feature stunt a day. They interviewed and a “drew” every celebrity who came to town. They climbed church steeples and went down in diving suits. They rode speed boats and broke ice in the lake in order to go in swimming. Ethel’s girl drawings were a city fixture.

NEA Service realized that here was something more than a local stunt. This girl artist, they knew, had a universal understanding of human nature, its griefs and joys, its high spot’s and low spots, which is why today Ethel’s pictures, her “Flapper Fanny” and her larger drawing or some phase of human experience at its funniest, and her gorgeous color Sunday magazine pages are seen by millions of people daily.

Mesa—Mr. William C. Simms, 80, a retired insurance man who came to Mesa seven years ago from Santa Fe, died Friday at Mesa Lutheran Hospital. 

Mr. Simms. 5354 E. Dodge, was born in Kansas City, Kan. He was a World War I Army veteran and a Mason and Shriner. 

Survivors include his wife, Ethel, of Mesa; two sons, William and Preston, both of Santa Fe: two daughters, Mrs. William Spink of Cos Cob, Conn., and Mrs. Del Kath of Van Nuys, Calif.; a sister. Mrs. Huldah Simms of Phoenix, and another sister out of state; seven grandchildren and two great-grandchildren. 

Services will be at 2 p.m. tomorrow at M. L. Gibbons Mortuary, 9702 E. Apache Trail. Mesa. Private cremation will follow. 

Simms, Ethel Hays, 67—A resident of Santa Fe, passed away Sunday morning, March 19th at her home. She was born March 13, 1893 at Billings, Montana, the daughter of George and Jennie Hays. She trained at the Art Students League in New York, followed by a life long career in commercial art and as a syndicated newspaper artist for Hearst Publications.

During the 1920s she illustrated the “Flapper Fanny” cartoon series. Originally living in Kansas City, Missouri, she moved to Santa Fe in 1948. During her retirement years she painted numerous portraits of Indians of the Southwest. She was active in the Santa Fe Altrusa Club and served for several years as a volunteer at the old St. Vincent’s Hospital. She was preceded in death by her husband, William Coy Simms in 1972. 

Survivors include her two sons: Preston W. Simms and wife Marion of Santa Fe, and William C. Simms and wife Helen of Templeton, California; two daughters: Barbara Simms Spink and husband Bill of Santa Fe, and Dorothy Simms Kath and husband Delbert of Megilto, California; and 7 grandchildren and 3 great grandchildren. Cremation taken place in Santa Fe and a Memorial Service and burial will take place at a later date in Billings, Montana. Arrangements an under the direction of McGee Memorial Chapel, 1320 Luisa, 963-9151.

Labels: Ink-Slinger Profiles

# posted by Alex Jay @ 6:00 AM 0 comments

Per Ruse, who created comics under the Americanized pen name Pete Hansen, is one of my guilty pleasures. Even in the 1970s, when male bigotry was still a popular sport, I imagine even a chauvinist pig like Bobby Riggs would have flinched a little at Hansen's horribly sexist comic strip about a dippy blonde bombshell secretary, Lolly. But Lolly ran in my hometown paper, and I have to admit, though it sometimes made me almost as uncomfortable as Andy Capp's wife-beating episodes, something about the art and style was so darn appealing that I read it religiously every day. 

The same would not have been true of Flapdoodles, Hansen's first comic strip. The art style is already coming into focus, but the crushing boredom of domineering wife gags practically every day, over and over and over ... my gosh, doesn't Bringing Up Father pretty much have that subject sewed up? As best I can tell from the relatively small number of Flapdoodles strips I was able to force myself to read, this seems to be about the sum total of the strip.

Evidently the King Features salesmen knew dirty secrets about enough editors to nudge this stinker over the brink as a launchable feature. The title was originally going to be The Noodles, but was changed shortly before the launch to Flapdoodles. The launch was supposed to have been on September 12 1949*, but perhaps due to the name change, it was pushed back to October 10 1949**. It was a daily-only strip, giving readers a well-deserved day off from it on Sundays.

King Features is notorious for sticking with a strip to the bitter end, and they stuck by Flapdoodles for four years, which may qualify the syndicate editor for sainthood. The strip was finally put out of its misery on September 12 1953***. Less than a year later Hansen would launch the much more successful Lolly through a different syndicate.

* Source: Editor & Publisher, 8/27/1949.

**Source: Pittsburgh Sun-Telegraph

*** Source: Ottawa Evening Citrizen

Labels: Obscurities

# posted by Allan Holtz @ 6:00 AM 1 comments

Davidson Brothers, an English firm, put out a memorial series of postcards featuring works by the late great Phil May. The reverse says this is series #6076, but that number actually appears to be a code for this particular card in the series. 

This card was posted to a recipient in the town of Abertilly, Wales, by someone who was, based on the message, regularly trading postcards with a friend. Abertilly is today a village of about 4,000 residents, but back when this was posted (apparently around 1907) it would have been a booming mining town of 20,000 or more.

Labels: Wish You Were Here

# posted by Allan Holtz @ 6:00 AM 1 comments