Stripper's Guide

The panel is mentioned in Mortison's obituary, so I assume it ran for a long time, but my only samples are from 1940. Based on the very flimsy evidence I have in my files, I think it might have been a replacement for a cartoon quiz feature Mortison did titled Lester G.'s Kartoon Kwizz, for which I have examples earlier that same year. 

Does anyone have access to online archives or the microfilm of this Waterbury paper to fill us in on Mortison's feature, or features?

Labels: Obscurities

# posted by Allan Holtz @ 7:00 AM 3 comments

Hey, that's not a postcard! We give a sideways skooch to Wish You Were Here this Sunday to bring you another form of mail communication, an envelope. This envelope from the collection of Mark Johnson was produced as a marketing gimmick specifically for wholesalers/distributors to shill their wares to retailers. To get those marks to pay attention they use (aka steal) the well-known Fred Opper characters Alphonse and Gaston to add eye appeal. Mark says this envelope was used by the William Cluff Company of San Francisco, a grocery wholesaler. The addressee, Winship-McQuarrie, was a wholesaler of produce based in Seattle.

Labels: Wish You Were Here

# posted by Allan Holtz @ 7:00 AM 2 comments

I'll be the first to admit that this isn't a particularly important work by Art Young, but in my humble opinion EVERYTHING Art Young does, even his tea stains on a placemat, are worthy of our attention. Here he is in an early colour comic section of the New York Journal, this the issue of January 17 1897. While the gags, all three of 'em, are nothing to write home about, check out the stylized action in the second panels of each two-panel series. There is a master class in these simple panels on how to depict restfulness and contrast it with activity.

Labels: One-Shot Wonders

# posted by Allan Holtz @ 7:00 AM 0 comments

Even Western Newspaper Union, probably the most prosperous of the syndicates that catered to weekly papers, started hitting hard times after World War II. Their comic offerings started bouncing around erratically, as opposed to before the war when they had maintained a mostly consistent and professional stable of features. 

Weekly Rib was one of their many experiments from this era. A panel cartoon with no consistent characters or setting, it was drawn by Roy Mathison, a decent enough cartoonist of whom I know nothing. The feature ran for just one year -- in other words, just 52 panels -- from April 15 1948* to April 7 1949**, and not many WNU clients used it. 

Given my bad track record on genealogical digging lately, I darent make any proclamations, but maybe this is our guy?

* Source: Pomeroy Herald

** Source: Graettinger Times

Labels: Obscurities

# posted by Allan Holtz @ 7:00 AM 2 comments

When E.C. Segar was battling leukemia and only sporadically able to work on Thimble Theatre the show had to go on, and other hands kept the franchise running. In much of 1938 someone other than Segar handled the Sunday much of the time, but Segar rallied and penned (or at least signed) the Sunday strip from July 17 to October 2. During this short period he came up with his last new contribution to the Sunday toppers, the Wiggle Line Movie. 

Unlike earlier activity panels like Funny Films that theoretically gave kids a moving picture but didn't really succeed, the Wiggle Line Movie actually offered a successful but extremely limited animation. In each installment you got a funny face and a wiggly line; put the two together in the prescribed method and you get a wacky face with moving eyes. Worth the effort? I dunno, but the feature didn't last long so maybe the syndicate wasn't too impressed. 

Wiggle Line Movie ran with the Sundays of September 11 through November 13 1938, during which time (on October 13), Segar died. After October 2, Segar's last signed Sunday, the art and writing may have been in the hands of King bullpenner Doc Winner, which seems to be the consensus opinion. But I wonder, given that the art and writing is a cut above what I would expect of Winner, if perhaps Bud Sagendorf or others were involved. In Sagendorf's book Popeye - The First 50 Years he says that he started working on the activity panels "after 1938," but maybe he jumped in a little earlier than he could recall many years later. Any Thimble Theatre scholars out there who can shed some light?

Labels: Topper Features

# posted by Allan Holtz @ 7:00 AM 0 comments

 The following post was originally written for the Cartoonist Cooperative newsletter, but I am allowing Allan to run it here as I am in need of help for the Arnold complete collection I am publishing. I have every daily published for the comic, and I have most of the Sundays, enough to cover the first two volumes of a 3-volume series, but I am having a hard time finding the Sundays that ran from June 1987 to April 1988 (when the strip ended). Most of the copies I have for those dates came from microfilm, but I would vastly prefer using newspaper clippings if possible.

If you have any leads on finding clippings of “Arnold” Sundays from those dates, I would love if you would get in touch. Alternatively, if there are leads on finding bound, printed copies of newspapers that ran the strip, that would be great as well. “Arnold” ran in vanishingly few papers towards the end, but among the papers that ran it to the very end are Detroit Free-Press, the Baltimore Sun, and (I presume) Chicago Sun-Times.

I can be reached at cbrubaker@gmail.com

Restoring Arnold by Charles Brubaker

I never expected to become a publisher. Oh, I’ve self-published my own comics many times through my Smallbug Press label (a name I registered because a printing company I used back in 2017 required I have one). But there’s a difference between self-publishing, where you print your own work, and publishing another creator’s work. That happened to me this past August, when I released Arnold: The Complete Collection Volume 1.

Arnold was a comic strip by Kevin McCormick that ran in a small number of newspapers from 1982 to 1988. The strip featured the bizarre antics of a middle-school boy and his friend, two weird characters in a world that's just as weird to match. Very few characters appeared on-panel. In addition to the titular Arnold and his friend Tommy, the only other character to appear prominently was Mr. Lester, their teacher. There were technically other characters, as well, like Heather (who disappeared like Lyman in Garfield), but they mostly just yelled from off-screen, never appearing on-camera.

Trade advertisement for Arnold comic strip

 

I didn’t grow up on the strip, having been born over a year after the comic ended its run, but I was (and still am) obsessed with newspaper strips. In addition to reading the ones in my local newspaper growing up, I also sought out any comics I could find online. I eventually found an old message board dedicated to comic strips (remember message boards?). One strip was mentioned by several members: Arnold.

The more I read about the strip, the more intrigued I became. Finding samples proved to be hard as the strip ended before the internet became commonplace, but I managed to contact someone who xeroxed newspaper clippings and mailed them to me. I was hooked by the bizarre strip that seems to defy common decency. Arnold frequently wrote letters to Miss Manners, asking questions such as whether it was rude to do an impression of an anteater during dinner (which involved inhaling meatloaf with his nose), resulting in him getting a response asking if he was ever dragged through a cactus. Arnold's antagonism towards the cafeteria ladies (who frequently refer to him as "Ratso") got to the point that the ladies grabbed Arnold and force-fed him mayonnaise, which he refers to as the "White Death".

That this was serialized in the 1980s also made it more hilarious to me. The strip came out when Berkeley Breathed’s Bloom County and Gary Larson’s The Far Side were taking off in the mainstream, so there was clearly a market for strips that pushed the envelope. Perhaps Arnold went too far for the editors as it never made a huge splash in the world of newspapers.

Proof sheet for a week of Arnold dailies

Not that readers didn’t notice. The newspaper strip gained a cult following among college students. It was especially popular in Detroit, where it ran in the Free Press until the bitter end, when a giant bird grabbed Arnold and flew off, never to be seen again. Kevin McCormick even acknowledged his Detroit audience by creating a special drawing for the paper and running a short letter thanking his readers.

Over the years I managed to track down more and more strips, through microfilms, newspaper clippings, and scans, but to my disappointment the strip never received a proper book collection. I contacted a few acquaintances with experience in reprinting complete runs of newspaper comics, but they all told me Arnold was such a niche title they didn’t feel it would be worth the investment. Well, as the saying goes, “if no one will do it, do it yourself.”

I had contacted Kevin McCormick before for an interview that ran on my blog, but getting his blessing for a book reprint took some repeated inquiries. I eventually got his attention on the matter after his daughter expressed support for the project. After consulting Nat Gertler, who specializes in reprinting obscure comic materials (including those by Charles M. Schulz), I put a contract together and we signed an agreement.

As it turned out, that was the EASIEST part of the project. The actual hard part was finding the comics. I was able to acquire scans of the proof sheets (a set of sheets containing a week’s worth of strips for newspapers to cut and paste into their page layouts) from King Features Syndicate for most of Arnold, but not for every single strip from the original run. They had most of the dailies, but half of the Sundays were missing, and some of the dailies had missing weeks as well. I also got lucky and managed to find original art for three of the strips from different collectors on eBay. With each original costing $100, it wasn’t the cheapest of investments, but collecting comic strip original art is already a worthwhile pursuit of mine. Those three strips (dated 1/6/1983, 2/16/1983. and 6/21/1983) have the sharpest reproduction among the weekday strips.

Finding the missing dailies was considerably easier, thanks to microfilm I was able to scan and sufficiently clean, using Photoshop to remove any dust and artifacts along the way. In extreme cases I had to Frankenstein a single strip together by stitching parts together from different sources.

The Sundays proved to be the hardest to track down. I found old newspaper clippings of the Sundays on eBay over a better part of the decade, and Kevin McCormick sent me camera captures of Sundays from his original pieces, but he didn’t have everything. He had given some originals away over the years, and others had been damaged by squirrels that had snuck into his attic.

Typical Arnold Sunday tearsheet sample with awful print quality and color

Luckily I was able to get in touch with comic strip historian Allan Holtz, who possessed many of the early Sundays in his own collection. But even that proved to be a challenge because, as Allan explained, “the printing of the Sundays was truly awful. The word balloon text always seemed to be washed out and full of printing losses, and the coloring was a sickening miasma.” I knew that very well, from my own experience dealing with newspaper clippings, and applied many of my own. Photoshop techniques, including redrawing missing lineart and manually erasing artifacts. There was one strip that I spent an entire week cleaning up. Thankfully later strips didn’t suffer from nearly as many printing issues and I was able to get them presentable relatively quickly.

The first of three volumes came out in the last week of August 2023, after five years of attempts,, marking my official debut as a “publisher.” The reactions have been favorable, with many writing they’d been waiting over 30 years for this book to happen. This production was very much a labor of love. As I noted earlier, I had always wanted to have an Arnold book collection and ensure that this strip was preserved, so I took the initiative to make it happen. There are a number of other forgotten comic strips I’d like to see reprinted, and I wonder if I have the drive to do this further while keeping my own comics going. Time will tell, but first I need to get the other two volumes out.

You can get the book on Amazon here: https://www.amazon.com/dp/B0CGSPS2LL. Here's the cover of book two, not yet published:

# posted by Allan Holtz @ 7:00 AM 2 comments

Here's another card in the Raphael Tuck series of Little Nemo Valentines Day postcards. Can you find the original McCay panel on which this image is based?

Labels: Wish You Were Here

# posted by Allan Holtz @ 7:00 AM 2 comments

This one-shot strip that ran in the World Color Printing Sunday comics section of December 4 1904 generates so many questions. Why does the wizard turn a snake into a watermelon? Why does he finger a mysterious case labelled "Goo-Goo From India"? Why does the wizard turn George Washington White into a chicken particularly? I'm so confused... 

This one-shot is signed Morris. He was not an artist in World Color's regular stable; in fact this seems to be the only strip he contributed to the syndicate. Nice art, but that gag needed some polishing.

Labels: One-Shot Wonders

# posted by Allan Holtz @ 7:00 AM 1 comments

I rarely get to feature Maurice Ketten* on the blog because he worked on his daily panel, often titled Can You Beat It?, for the New York World pretty much for his whole newspaper career. But that's a shame because though his later style lost most of its allure, in his early days at the World he was a pretty incredible stylist. His work was so distinctive that the World billed him as "the Angle and Curve Cartoonist." His style at that time was so highly stylized I tend to think of it as Art Deco, or perhaps Cubist, and that's well before either of those were even things. 

As Ketten settled in at the World in 1906 his style quickly became more conventional, and to imitate T.E. Powers over at the New York Journal. However, in his only series that predates Can You Beat It?, The Hurry Up New Yorker, the vestiges of his "angle and curve" days are still in evidence. This series makes fun of Big Apple denizens, who always seem to be scrambling to make time. Of course in Ketten's series this always backfires to comic effect. 

The series ran from October 19 to November 17 1906**, predating Ketten's decades-long series Can You Beat It?  by a few months. As you can see from the samples above, which ran in other papers, the original title was changed to suit the local paper, sometimes made generic like these, other times by substituting the name of the newspaper's city.

* Ketten's real name was Prosper Fiorini; he changed it when he came to the U.S. 

** Source: New York Evening World.

Labels: Obscurities

# posted by Allan Holtz @ 7:00 AM 0 comments

“I began life back of the North Station in Boston … precisely on the wrong side of the tracks! At fifteen [around 1933], my family came to New York, lived on the East Side and I began my professional career.”

After kicking around as errand boy in ad agencies, Frank, at the age of sixteen, came under the eagle eye of Edward Trumbull, well-known muralist. Trumbull was then color director of the Radio City project, and through him Frank met the architects and contractors for the buildings being erected. He immediately received commissions to do pencil portraits of all the architects and other personalities connected with the construction project. Upon completion of this lengthy and challenging job, Frank met the Rockefellers and received a grant from them to study and paint. A year later, in a studio given to him in the Graybar building, Frank was busy working on a series of mural sketches for the then proposed Children’s Broadcasting Studio in the RCA building. The sketches were approved when then NBC studios opened for a full schedule of broadcasting. Since the murals were to be painted directly on the walls this gave Frank the choice of working for three months in the wee hours between midnight and early dawn or forgetting the whole deal. Due to his health at the time Frank had to regretfully drop the project.

… the Thomas B. Clarke prize of $100 was awarded to Franklin Robbins’ “Sixth Avenue ‘L’.”

“I taught English there,” she said. “I met Frank while I was directing a play reading of Amadeus.”

“His wife had died two years before I met him … We were together for about five years. We had a wonderful marriage. It was a big loss when he died, let me tell you.”

Labels: Ink-Slinger Profiles

# posted by Alex Jay @ 7:00 AM 0 comments

Dumb Dora was on its third artist, or more like a hundred and third if you count ghosts and assistants, when her strip was retired in January 1936. Bil Dwyer was the final credited artist on the strip, taking over in late 1932 from Paul Fung, who in turn had taken over from Chic Young. 

Dwyer reportedly brought on a small army of helpers to get the Sunday and daily strip out on time, including Milton Caniff, who R.C. Harvey reports did much of the pencilling for the initial eighteen months of Dwyer's tenure, plus inking some of the girl characters. By the time Dumb Dora ended Caniff was long gone, but we can still easily see vestiges of his style on the dailies above, the last two of the series. 

Dumb Dora had begun as a me-too flapper strip in 1924, but had the additional hook that Dora acts dumb but usually turns out to have a bean firing on all cylinders by the end of each gag. The concept is fine, but awfully repetitive. By the time Dwyer took over the conceit was well and truly played out, and flappers were long gone, so the strip had turned into a more generic "teen boys chasing the pretty girl" feature, which left it drowning in a sea of its betters -- Tillie the Toiler, Harold Teen, Winnie Winkle, Etta Kett, etc. 

Mark Johnson supplied a scan of the last two rather rare dailies seen above, which offer no farewell or conclusion to the strip. So I went looking online to see if the Sunday, which ended the next day (January 5 1936), offered us some closure. Nope!

Labels: Firsts and Lasts

# posted by Allan Holtz @ 7:00 AM 4 comments

Here's a Grace Drayton postcard issued by Reinthal & Newman as #250. Drayton's cards in this series were generally quite humourous, but this one just tries to elicit compassion for the typical Drayton waif.

This card was postally used in 1914, sent from Great Britain to Portugal. Eventually it ended up in a Florida antique store, where I bought it and then brought it here to Nova Scotia, Canada. That is one well travelled postcard!

Labels: Wish You Were Here

# posted by Allan Holtz @ 7:00 AM 0 comments

Way back in 2012 Cole Johnson sent me this strip that he clipped out of the San Francisco Bulletin of January 20 1912. He wondered if this was a one-shot cartoon or part of a series starring this Danny Long fellow. 

I never looked into the matter until recently, but then I noticed that the Bulletin is now available at newspapers.com. Well, as it turns out, Danny Long isn't a cartoon character at all, but rather the manager of the San Francisco Seals. Thus the gag makes perfect sense, and additional review of the paper reveals that Will Sperry was their sports cartoonist, apparently just in 1911-12 based on a quick perusal. 

Sperry's early cartoons for the Bulletin are nothing to write home about, but by 1912 he had quickly developed into a pretty darn fine cartoonist as evidenced by our sample. What happened to Mr. Sperry, then? Well, I'm no expert at tracking but I found a few tidbits. Seems he went to Europe when World War I broke out and served valorously in relief of Belgium, being cited for bravery on several occasions. When the U.S entered the war, he took a commission with the expeditionary force. When the war ended he elected not to come back to the States but rather to live in France. After that I lose track of him. I wonder if he got back into art over there in Europe once his war hero days were over?

Labels: One-Shot Wonders

# posted by Allan Holtz @ 7:00 AM 6 comments

Here's a series by the ever-busy pen of Gene Carr that reminds us that "social media" is not a phenemenon limited to the current century by any means. Long before the internet, long before TV, even long before radio, people could still tune into cultural zeitgeists. Yes, fads and memes were with us in 1906 -- maybe they didn't travel at the speed of fiber optics, but they still worked their way through our society at an amazing speed. 

In 1905 a new song was published called "Everybody Works But Father", a comic ditty about a lazy father. A number of artists recorded it, and here's one of them:

It was a big hit and soon spawned postcards and other trinkets bearing the title. Soon there were also reply songs, like "Father's Got a Job", and various singers offered new and alternative lyrics. In the world of comics, Gene Carr took up the gauntlet and decided to defend poor father. His series Nobody Works Like Father debuted on January 28 1906*, offering new song lyrics featuring a father who slaves for his family only to be treated like dirt. 

Carr must have really relished creating this series because the strips are in my opinion some of his best work; funny, on point, animated, and smart. Coulton Waugh, on the other hand, singled it out in The Comics for what may or may not be a diss, "too reminiscent of the ancient days of Dickens and Cruickshank to last long in a modern world."

As with social media today, though, the world quickly tired of its memes even way back when. Gene Carr's Nobody Works Like Father ran its course in less than a year, last appearing November 25 1906*.

* Source: St. Louis Post-Dispatch.

Labels: Obscurities

# posted by Allan Holtz @ 7:00 AM 1 comments

Comics Scene: Give us a capsule history of your career and early background. You graduated from the Chicago Art Institute?

Burne Hogarth: No, I didn’t, as a matter of fact, I went to the Institute but it was only a kind of supplemental activity while I was really in the process of going to high school and at the same time doing art work.

I went to the Art Institute, started Saturday classes, at the age of 12 [1924]. My father thought that I had sufficient material to be able to enroll in classes like that and so he took down a bundle of stuff one day, on a Saturday, and said “Let’s go see what they will think about this.” And they accepted me—so that’s how my training began. Later I went to the Institute taking special courses, but I didn’t enroll in any formal classes. I couldn’t because we were not an affluent family and [the world] was headed into what was later to be known as the Great Depression.

CS: When did you know you had a talent for cartooning?

BH: Very early, when I was a kid, about four. My father would sit and design furniture and cabinets—he was a carpenter and cabinet maker—and I would ask for my own piece of paper and pencil. And when I would say, “What should I draw?” he would push a cartoon under my nose and say “Here, draw this.” So the cartoon became a kind of focus of attention.

CS: What happened after you left the Art Institute?

BH: I enrolled in the Academy of Fine Arts in Chicago. There I studied further drawing and then cartooning as another side of that. That’s when I met a cartoonist who was working for a syndicate and other people who were working for newspapers, and we used to get heavily into what syndication was all about…deadlines and magazines and doing samples and taking them around. I did gags and editorial cartoons, illustrations and that was all part of my portfolio.

I used to take this around and get some jobs in magazines and at the same time worked at odd jobs like driving a truck, selling newspapers and shoes—nothing was too high, too low, or too intermediate to do, because there was obviously an economic necessity.

One of the people I met at the Academy introduced me to one of the syndicates. I worked (for them) in his studio and I was his assistant. I was just an apprentice. I used to come in and sweep up. I learned lettering and I learned also there’s something about the craft of doing work on deadlines. And more than anything else I learned how to use pen, brush, different media and all sorts of things in a very professional way. Maybe two and a half, three years later I sold my first feature to Bonnet Brown.

…When I got to meet Bernie Hogarth, I went up to his studio, which was in his apartment. My brother [Dan Barry] had an apartment like that later on.

You would go into the main area of the apartment and it was one step down into the living room area, but there was also a staircase at the end of the living room that went upstairs to the bedrooms, in an apartment house, believe it or not. I don’t know how they designed this thing, but it was really remarkable. So you’d go up the staircase and there’d be a landing there and that landing would take you into the bedrooms. Then in one of the upstairs bedrooms was his studio. It was this beautiful, brightly lit studio and it was on Central Park West.

It was a beautiful apartment and of course he was very wealthy. He’d written anatomy books and he taught and of course they paid him very handsomely on the Tarzan daily. Trust me, he was very well paid, especially for those Sunday strips. He was a brilliant guy….

…By the mid-1950s she had met artist Burne Hogarth, famous as the man who drew the Tarzan comic strip. They soon married and had two children….

…In 1962, the Hogarths moved from their Queens apartment in search of more space for the boys and a studio for Burne. In Mount Pleasant [New York], they found a fortress of a house, resembling something out of Charles Addams…. 

…Her personal life has also become a testing ground. She and Burne were divorced last year….

Labels: Ink-Slinger Profiles

# posted by Alex Jay @ 7:00 AM 0 comments