"Ching Chow" (1938) - Stanley Link Pen And Ink

A number of early animators expanded upon the characters and humor from the strips. Stanley Link was one of those great, early cartoonists.  This piece is from his Ching Chow strip that probably would not be published today....

Stanley Link's "Ching Chow"

Here's some background from Lambiek.Net:

Stanley J. Link (1894 - 24/12/1957).  As a teenager, Stanley J. Link took a correspondence course in cartooning. At age sixteen he found his first cartooning job with a Chicago-based animated cartoon company. After freelancing for some time in the early 1920s, Link was hired as an assistant on 'The Gumps'. In the meantime he introduced the popular panel 'Ching Chow' as a daily feature for the News-Tribune group and started his own strip 'Tiny Tim' in 1933. 'Tiny Tim' began as a Sunday feature and was about a boy shrunk to minuscule size. It became a great favorite, especially with children. Stanley Link got into serious trouble with his syndicate however, when he refused to continue 'The Gumps' after Sidney Smith's death in 1935. 'Tiny Tim' eventually folded and Stan Link started a family strip called 'The Dailys', which he drew until shortly before his death in 1957, at the age of 63.

----- DATABASE NOTES -----

“Ching Chow” (1938) by Stanley Link.  Probably printed 12/5/1938.  Pen and ink.  Copyright 1938 by the Chicago Tribune-N.Y. News Syndicate.  Note: "12-5" on strip; “475”  [Item: 5"W x 7.5"H]  Acquired 1998.  SeqID-0357

http://lambiek.net/artists/l/link-stanley.htm

"Cinderella" (1950;1973) [Series] - Cinderella 'Slipper' Sunday

Part of a series of postings of "Cinderella" items in the Cowan Collection.

A very nice 1973 Sunday pen and ink of Cinderella where she tries on the shoe and lives "happily ever after."

I've often talked about collecting pivotal moments in film and comic art. This is a good example of one of the significant moments in the Cindy story...

Cinderella "Slipper" Sequence

----- DATABASE NOTES -----

From “Cinderella” strip (1973). A large pen and ink from the Sunday paper. The last in the series, where she tries on the shoe and lives happily ever after. Includes Cinderella, the Duke and the Prince. Notes: “6-24”; “copyright 1973” [Image: 25-3/8"W x 17-5/8"H; Frame: 31-13/16"W x 24"H] Acquired 1990. SeqID-0032 Updated: 5/18/2008

5/18/2008: This looks like the 1973 version of Cinderella. It ran between April 1 and June 24 1973. Script by Frank Reilly and art by Mike Arens. /Joakim Gunnarsson. http://sekvenskonst.blogspot.com

"Snow White" (1937;1983) [Series] - Snow White Sunday

A series of postings of "Snow White" items in the Cowan Collection [click Here to see the contact sheet of items in the postings]

Let me start the posting of "Snow White" material in the collection with a piece that left for auction a couple of days ago...

This is really a great scene to have -- the sequence where the Huntsman pulls the knife to kill Snow White, but has a change of heart. From a character standpoint, you have the Queen with the great "Silence" line, a great evil look, the Hunstman's evil and ashamed looks, Snow White with her innocent look, the loss of innocence and the final despair as she runs to the woods not knowing what she will find...

It is interesting that you have this kind of dramatic scene so early in the film. From my perspective, many of the Disney films have the "edge of the seat" moments later in the film. Frankly, having this unexpected near-death experience for Snow White take place early in the film probably heightened the overall dramatic nature...

There isn't a year on the sheet, but it would appear that it was scheduled to run on April 3rd. I just don't have the reference material to figure out the year of publication...

NOTE: I received a note from Joakim Gunnarsson on the date:

Hi!
Actually this is from 1983. It ran from March 13 to June 26.
Probably written by Carl Fallberg with art by Richard Moore.

Joakim Gunnarsson

Thanks, Joakim...

Snow White and the Huntsman Sequence (click to enlarge)

----- DATABASE NOTES -----

From “Snow White” comic strip (unknown date). Original pen and ink of “Snow White” Sunday page. Disney and King Features started syndication BEFORE the film was in general release to promote attendance. In this Sunday edition, the Hunter takes Snow White to the woods. Date is unknown, but could have been in the 1950’s. Notes: “4-3”; “Walt Disney’s Treasury of Classic Tales”; “Distributed by King Features Syndicate”; “Walt Disney Productions World Rights Reserved.” [Image: 22-11/16"W x 15-11/16"H. Frame: 29"W x 22"H] Acquired 1990. SeqID-0131 5/5/2008

Toonopedia: Snow White had its world premiere on December 21, 1937. It was preceded by a serialized version in the Sunday comics, written by Merrill deMaris and drawn by Hank Porter, which King Features Syndicate began distributing on December 12, 1937.

----- Selling Comic Art -----

We've decided to sell our collection of Comic Art. The auction house will be picking up the art next week. If there is an item of interest, please email me at rcowan@mywdo.com by Monday.

Here are some items of note and the estimated hammer price: One of the earliest known Flash Gordon (60-90k); Little Nemo (30-60k); Peanuts (18-35k); Superman (8-12k); Prince Valiant (3-5k); Mandrake (3-8k); Tiny Tim (2-5k); Snow White (1-5k); Newlyweds (1-3k); Tarzan (1-3k); Cinderella (1-2k).

Alex Raymond "Flash Gordon" (1935)

From “Flash Gordon” Sunday strip by Alex Raymond (1935). A pen & ink Sunday section and the matching color printed page. One of the oldest known “Flash Gordon” strips remaining. Characters include: Witch Queen, Flash Gordon, Khan, Dale, Zug, Azura - Queen of Magic, “Syk” [Item, pen & ink: 19”W x 29”H; Frame: 27”W x 37”H; Item, color page: 10”W x 14”H; Framed: 16”W x 21”H] Acquired 2004. SeqID-1265 Updated: 8/7/2005

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Windsor McCay "Little Nemo" (1906)

From “Little Nemo” (1906). From “Little Nemo” (1906) by Windsor McCay. An early pen & ink strip produced only 14 months after the strip's introduction. After 1909, McCay became districted by other projects and the quality of the strip weakened. The strip is unusual in that it has Little Nemo and in Princess in every panel of the page. In addition, this strip includes an "Eternal Theme" -- Santa Claus in his Toyland with his Elves, lists of 'good boys and girls' and getting ready to depart for his annual Christmas deliveries. [Image: 2 @ 22”W x 16”H; Frame: 30”w x 38”H] Acquired 2004. SeqID-1267 Updated: 7/26/2005

Seller’s Comments: The first thing you want from an original McCay is an early Sunday Page -- you know the early artwork is 'pure' McCay. After 1909 it generally starts to get a little weaker. This is only 14 months into the Strip. The other thing you want is graphics -- this has that as well and big time. That full top panel with the Sleigh and Reindeer is just amazing, as is the artwork in every panel on this (almost) 100 year old Sunday page. Look at the bottom panel -- incredible detail. This strip has 'Little Nemo' and the 'Princess' in every panel of the page. Plus, it has something more that I know you'll appreciate -- an Eternal Theme -- ''Santa Claus'' in his Toyland with his Elves and lists of 'good boys and girls' and getting ready to fly-off to do his annual Christmas deliveries. And a great image of 'Santa' and of both of 'Nemo's' Parents. It's a "KEY" page.

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Charles Schulz "Peanuts" (1990)

From “Peanuts” (1990) by Charles Schulz. An original pen & ink done by Charles Schulz for a Sunday cartoon. Image shows Sally and Snoopy, with a general discussion of food. Signed by Charles Schulz. "Good Grief -- I almost forgot…" was the title. Copyright United Features Syndicate/Charles Schulz. [Image: 24.25"W x 17"H; Frame: 32.5”W x 25”H] SeqID-0529 7/28/2005

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Joe Shuster Signed Oversized "Superman" (1943)

From Siegel & Shuster’s “Superman” (1943) -- Pen & Ink Sunday page signed by artist Joe Shuster a few years before he became blind. Matching color printed page. Jerry Siegel & Joe Shuster “Superman” Sunday page. This not only has Superman, but Lois Lane, Perry White and Clark Kent in it as well. [Frame: 29”W x 37”H; Images: 2 @ 20”W x 13.5”H -- Sunday color: Frame: 16”W x 20”H; Image: 9.5”W x 13.5”H] Acquired 2004. SeqID-1147 Updated: 7/27/2005

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Harold Foster "Prince Valiant" (1958)

From “Prince Valiant” (1958) by Harold Foster. A Sunday pen and ink with brush on paper of Prince Valiant signed in the lower right panel by the artist, for the partial Sunday dated 11/16/58, with some dust soiling, blue lines to margins, some whiteout otherwise in very good to near fine condition. Bottom right hand panel has most of the main characters showing. King Arthur and Guinivere are rarely seen together. 1958, King Features Syndicate. Acquired 2000. SeqID-0700 8/3/2005

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Lee Falk & Phil Davis "Mandrake the Magician" (1944)

From “Mandrake the Magician” (1944) by Lee Falk & Phil Davis. Characters on the page: Mandrake, Sylvia, Sam Jones, Carlo (the Ringmaster), Spike, Gombo (the Giant Gorilla), and Lothar. Seller’s Notes: “Original artwork for a Mandrake Sunday page. 1944, King Features Syndicate, pen and ink with brush on paper, for the Sunday page dated 6/25/44, with slight dust soiling, blue lines to margins, some whiteout otherwise in very good condition.” [Image: 14.5”W x 22.5”H] Acquired 2000. SeqID-0699 11/11/2008

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Stanley Link "Tiny Tim" (1935) [Flash Gordon parody]

From Stanley Link’s “Tiny Tim” (1935). From Stanley Link’s “Tiny Tim” (1935). Original pen & ink Sunday page from 1935. This was a 'takeoff' by Stanley Link of “Flash Gordon” that started in mid-1934 by Alex Raymond. Originals from this early story are rare but more then that, there is that great Rocket Ship, the robots and a 'Ming' parity, ETC. Copyright July 21, 1935 Chicago Tribune. Back: Received 1935 May 27 PM 6 27; Publishing date July 21, Cut down by Link, Left art department May 27, checked L.M. Nosse [Item: 20”W x 13.5”H; Frame: 29”W x 22”H] Acquired 2004. SeqID-1181 Updated: 8/3/2005

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Contact Sheets of Items

"ZIM" (1897 & 1928) - Eugene Zimmerman Cards

Here are some of the oldest items in the collection.

These items are a little different than the standard animation stuff in the collection, but the animation industry owes much to the early cartoonists who developed new ways of looking at the human form. Those early cartoons, most of which were political, did not have much room for textual explanation, so the visual really needed to be worth "a thousand words" to get the point across. While a realistic drawing of a political figure might not be quickly recognized by the vast majority of readers, finding an unusual physiological characteristic and exaggerating it made the character immediately identifiable. And Eugene Zimmerman was a major influence on how characters were rendered.

While the effort of the cartoonists at the turn of the century might not be apparent when drawing a mouse, films that included human characters (like "Autograph Hound") certainly demonstrated the exaggeration techniques borrowed from the political cartoon genre.

Eugene Zimmerman was one of the best known cartoonists at the turn of the century. Known for this grotesque caricatures (called the Grotesque School), Zimmerman worked for both Puck and Judge. He created one of the first correspondence schools for cartoonists and was the founder and first president of the American Association of Cartoonists and Caricaturists.

This first card is from 1897 and shows a fairly rough characterization of himself.

1897 Eugene Zimmerman Card

The card below is from 1928 and was drawn about 7 years before he died in 1935. The character is drawn in color and is more refined.

1928 Eugene Zimmerman Card

----- DATABASE NOTES -----

ZIM by Eugene Zimmerman Card. Eugene Zimmerman (1862 - 1935), forever known by the block scrawl signature ZIM, was the developer of the Grotesque school of caricature and one of the nation's most respected and original cartoonists of the late nineteenth century. During his career, ZIM worked for both Puck, in the leading American humor magazine, and Judge, which eventually surpassed Puck in circulation and influence. A prolific and energetic artist, ZIM also did formal portraiture, wrote newspaper and magazine articles, drew a newspaper comic strip, illustrated books, created a cartoonist correspondence course, and was the founder and first president of the American Association of Cartoonists and Caricaturists. [Item: 3”x4”] SeqID-0859, SeqID-0860

"Buck Rogers" - Dick Calkins Signed Drawings

For those interested in Science Fiction (kind of...), Buck Rogers is one of those "must have" items for a collection.

Getting comic art from Dick Calkins is always fantastic, but it is even nicer when you can pick up some one-off items. These two are great examples.

The top item was drawn for a fan in the 1930's and was drawn on hotel stationary. It is amazing that Calkins would care enough about his fan base to draw something as detailed as this while on the road.

Dick Calkins Sketch circa 1930

The second item is from 25+ years later. The lines are bolder. Striking use of color. There is nothing shy about this piece. It certainly shows the change in Calkins' art.

Dick Calkins Sketch 1957

----- DATABASE NOTES -----

From Dick Calkins’ “Buck Rogers” (circa 1930). Note: “To Stuart Nelson Regards from Buck Rogers and Lt. Dick Calkins”; “Battle of Minneapolis 2432 A.D.”; “There’s one down, Stuart! You get the other!” [8”W x 11”H] SeqID-1452

Seller: Bob, I've been offered this early 1930s 'Buck Rogers' pencil on paper drawing. The 3 lines at top center are 'whiteout' over some stationary heading. The price is 3.5k but to me that seems a bit strong. It's 8'' x 11''. LB: The Buck Rogers piece is something that I think is REALLY, REALLY SPECIAL! I don’t know of any other piece of original Calkins Buck Rogers art like it! It represents some of the earliest original Sci-Fi “Space Art” ever done. The one man open cockpit space ship and the ray gun are fabulous details.

From “Buck Rogers” (1957) by Dick Calkins. Dick Calkins’ Image of Buck Rogers and Wilma Deering (1957). Note: “To Eldon ‘Don’ Everett Regards Dick Calkins 7-24-57”; “Buck Rogers”; “Wilma Deering” [Item: 10.5”W x 13.5”H; Frame: 15.5”W x 18”H] Acquired 2005. SeqID-0292 Updated: 8/3/2005

Palmer Cox "Brownieland" Card (1907)

Over the years, I've picked up a few items relating to the emergence of "comic art" around the 1900's. Here is an interesting card drawn by one of the larger-than-life names: Palmer Cox.

While Palmer's name is generally unknown and the "Brownie" character seems unfamiliar, these little characters were extremely popular at the time. So popular, Eastman Kodak called one of his first small cameras a "Brownie."

1907 Palmer Cox Card

Palmer Cox information from Wikipedia:

Palmer Cox (April 28, 1840 – July 24, 1924) was a Canadian illustrator and author, best known for his series of humorous verse books and comic strips about the mischievous but kindhearted fairy-like The Brownies. The cartoons were published in several books, such as The Brownies, Their Book (1887). Due to the popularity of Cox's Brownies, one of the first popular handheld cameras was named after them, the Eastman Kodak Brownie camera.

He was born in Granby, Quebec, son of Michael and Sarah (Miller) Cox, and became a carpenter and car builder. He moved to San Francisco via Panama as a railroad contractor. He lived in San Francisco from 1863 to 1875. In 1874, he began to formally study drawing and contribute illustrated stories to such publications as Golden Era and Alta California. After 1875, Cox lived in New York (Pine View House, East Quogue, Long Island). During this time he regularly contributed editorial cartoons to Oscar Hammerstein's United States Tobacco Journal.

The earliest publication of Brownie characters took place in 1879, but not until the February, 1881 issue of Wide Awake magazine were the creatures printed in their final form. In 1883, Brownie stories appeared in St. Nicholas Magazine and as their popularity rose, they were covered in publications such as the Ladies' Home Journal.

Cox's Brownies were little men who had mischievous adventures together. Each Brownie had a distinctive physical appearance: for example, one, Cholly Boutonnière, wore a top hat and monocle, another was dressed as a stereotypical Chinese peasant, yet another was dressed as a Red Indian chief in war bonnet. Cox's text was quite crude, and did not develop individual personalities for the Brownies, aside from the "ethnic" ones speaking in stereotypical dialect. Cox's illustrations tended to show a crowd of Brownies jumbled together, with specific Brownies recurring from one illustration to the next, but with no Brownie occupying a predictable location in the picture.

Cox died in his home, Brownie Castle, on July 24, 1924. His tombstone, decorated with a Brownie figure, reads: "In creating the Brownies he bestowed a priceless heritage on childhood."

----- DATABASE NOTES -----

“Brownieland” by Palmer Cox (1907). Early American Cartoon Artwork by the creator of Brownieland. Condition is Very Good Plus to Near Fine for all twelve cards. Watercolors are bright and unfaded, inks are clean and undamaged, card stock is creamy white and some with tanning. [3"H x 4"W to 4.5"H x 3.5"W ] SeqID-0849 10/17/2005

"Winnie Winkle" - 1927 & 1930 Martin Branner Pages

When I first saw these strips created by a former vaudeville star, Martin Branner (1888-1970), I was unaware that there were strips centered around women in the late 1920's. Not only that, but this was a working woman who was strong and independent.

Branner's strip first appeared in 1920 and lasted until Branner died in 1970, which places it in the "Top 10 Longest Running Strip of All Time." During its run, it became the role model for strips like "Brenda Star" and "Kathy" and is credited as the beginning of all "working woman" strips.

Martin Branner's "Winnie Winkle"

We decided to frame all three of the strips in one frame so the viewer could read all three of the pages and get an appreciation for the unique aspects of Branner's effort.


----- DATABASE NOTES -----

From Martin Branner’s “Winnie Winkle” (1927-1930). Three Winnie Winkle strips. (Top) “Winnie Winkle: Wrong number" (1927). Done by Martin Branner (1888-1970). "6-15" Copyright 1927 by Chicago Tribune. "June 5th (92)" (Middle) “Winnie Winkle: Ready - Set - Go” (1930). Typewriting endurance contest. Done by Martin Branner. "Tues Oct. 21" Copyright 1930 Chicago Tribune. "OK KH" (Bottom) “Winnie Winkle: Out of Print" (1930). Done by Martin Branner. "Oct. 23" Copyright 1930 Chicago Tribune. "OK KH" [3 @ Item: 23-1/8"W x 6 15/16"H] Acquired 1998. SeqID-0353 Updated: 7/25/2005

"Tarzan" [1 of 2] - 1939 Burne Hogarth Fan Card

This is one of my favorite Tarzan pieces: a fan card signed by Burne Hogarth. Hogarth is probably the most popular Tarzan artist.

I have a number of these artwork cards drawn by the artists to fans. It seems that this form of fan appreciation (a note, a drawing and a signature) was most popular from the mid-1930's to the mid-1940's. After this period, the artists simply sent autographs out.

Burne Hogarth Fan Card

Here is some additional background information on Tarzan from Tarzan.com:

In 1927 Joe Neebe, an advertising man, approached Edgar Rice Burroughs with the idea of adapting Tarzan for the newspaper comics. At this time the "funnies" were just that ~ humorous cartoons like Barney Google or Mutt and Jeff. Others, like Little Orphan Annie, were similar to serials, with each day's adventure continuing on to the next day's installment. This is what Neebe had in mind for Tarzan.

Neebe hired Hal Foster to adapt Tarzan of the Apes for the daily newspaper strip. Foster would achieve his greatest fame as the creator of Prince Valiant, but at the time he started with Tarzan he was an advertising illustrator. The Tarzan strip debuted on January 7, 1929 (the same day as the first Buck Rogers strip). Foster managed to cram the first Tarzan novel into ten weeks (sixty daily strips altogether). Eventually this strip was published in book form, technically making it the first Tarzan comic book.

Foster's dynamic retelling of the Tarzan story was a welcome change from the usual comic fare, and soon newspapers across the country were clamoring to carry the strip. But if Tarzan in a black-and-white daily strip was something ~ wait until Tarzan hit the Sunday color comics! This debuted in March of 1931. First illustrated by Rex Maxon, after six months (and a lot of pressure from Burroughs) he was replaced by Foster, who quickly made Tarzan the first thing America wanted to read Sunday morning. All the wild adventure that Hollywood couldn't get into a movie was in full display in Foster's pages.

When Hal Foster left Tarzan in 1936 in order to work on Prince Valiant, he handed the reigns over to Burne Hogarth, who quickly made Tarzan into one of the most vivid and action-packed comics ever seen. His mastery of human and animal forms, the unconventionality of his layout, and his ability to make the images leap off the page earned Hogarth the title "The Michaelangelo of the Comics."

----- DATABASE NOTES -----

Description: Original Artwork on Card Stock BURNE HOGARTH Tarzan signed "Dear Caspar: Glad you like the Tarzan Page. Here he is close up - and he signs his name -Hogarth- Best of Luck! December 1939," Note: The Burne Hogarth inked sketch is exceptional, and rare. Condition: Condition is Near Fine. [Item 6”W x 3”H] SeqID-0827 Updated: 5/21/2008

"Tarzan: Return to the Apes" [2 of 2] - 1946 Ruben Moriera Sunday Page

Ruben Moriera ("Rubimor") is not considered as good an artist for the Tarzan artist as Burne Hogarth, but his storyline was more interesting.

I thought this Sunday page was extremely interesting. In this page, Tarzan returns to the jungle and most of the frames provide some small insight into the elements of the environment he missed. The page also introduced "Ke-Lak," the leader of the Apes, that played a pivotal role for much of Moriera's tenure doing Tarzan.

Rubimor's 1946 Sunday "Tarzan" Page

Here's some additional background from Lambiek.com:

Rubimor: (Ruben Moreira) (6/27/1922 - 5/21/1984, Puerto Rico) Ruben Moreira moved from his native Puerto Rico to the USA. Here, he took over the 'Tarzan' Sunday page from Burne Hogarth. He drew the strip from 1945 to 1947 under the pseudonym "Rubimor." His style was less spectacular then Hogarth's, yet his storytelling had a resemblance to the writing of Tarzan's creator, Edgar Rice Burroughs. In the 1950s he drew for DC Comics, working on titles such as 'Wonder Woman' and 'Roy Raymond'. He retired from comics in 1962 and returned to Puerto Rico.

----- DATABASE NOTES -----

From “Tarzan: Return to the Apes” by Edgar Rice Burroughs & Ruben Moriera (1946). Original artwork for Tarzan Sunday page by Ruben Moriera (or Moreira) and signed “Rubimor.” 1946, United Features Syndicate, pen and ink with brush on heavy paper, for the Sunday page dated 3/3/46; with slight dust soiling, some chips in outside margins, otherwise in good condition. NOTE: "Copr 1946, Edgar Rice Burroughs, Inc. Distr. by United Features Syndicate, Inc."; A "Vandercook" sticker. [Item: 19.75"W x 26.5"H] Acquired 2000. SeqID-0698 Updated: 7/31/2005

"The Newlyweds" - 1908 George McManus Watercolor (Signed)

Here is an interesting piece by George McManus. McManus was a good friend of Windsor McCay and McCay's film "Gertie the Dinosaur" (1914) may have been a result of a bet between the two. McManus evidently went on tour with McCay as he presented his new film. There has been some talk that McCay and McManus passed their time on the tour drawing the first animated porn film -- but I have not seen any specific evidence of this... But, it's an interesting thought.

The framing is unusual. The original 1908 frame was saved by a re-framing done in the 1940's.

"The Newlyweds" by George McManus

Here are some comments by the seller:

Here’s an interesting piece by George McManus of Maggie & Jiggs fame. These 3 signed watercolors by McManus are Specialty pieces he did of the 3 main characters from his ''Newlyweds'' strip in 1908. They are still in the original frame and in excellent condition. As you know, watercolors by strip artists are tough to come by. Thought you might like it. You know, one of the interesting things about it was how remarkably popular the strip was and that it only lasted for about 18 months! Using the idea of the remarkably beautiful woman married to the rather plain (or down right ugly) husband was a VERY unique thing at the time. It was a "gag" that became so integrated into American culture that you don't even think of it as a gag any more. but McManus did it first. The taste of the American public was growing and maturing at a fantastic rate. The measure of what was considered "beautiful" was changing almost alarmingly fast. McManus was one of the first artists in America to see the trend moving away from the "well rounded" woman to the more modern ideal of the slim, intelligent "backbone of the family" image. This basic theme carried through to his Maggie & Jiggs strip, who's instant popularity caused the demise of the earlier effort. Historically it's important because it was his first major success and it put McManus in the "right place at the right time" to develop the later strip. The actual art done for "The Newlyweds" was probably the best pure art McManus ever produced and the three paintings.

Here is the Wikipedia entry on McManus:

George McManus (January 23, 1884 – October 22, 1954) is an American cartoonist best known as the creator of Irish immigrant Jiggs and his wife Maggie, the central characters in his syndicated comic strip, Bringing Up Father. Born in St. Louis, Missouri of Irish parents, McManus had an innate gift for drawing and a sense of humor. He dropped out of school at age 15 to join the art department of the St. Louis Republic, where he created his first comic strip, Alma and Oliver. In 1904, after winning some money, he headed for New York City and a job with the prestigious New York World, where he worked on several short-lived strips, including Snoozer, The Merry Marcelene, Ready Money Ladies, Cheerful Charlie' and 'Nibsby the Newsboy in Funny Fairyland, Panhandle Pete and Let George Do It. In 1904, when McManus created the first American family strip, The Newlyweds, about an elegant young couple and their baby Snookums, the popularity of the strip prompted The New York American to invite McManus to join their paper, which he did from 1912 on. Renaming The Newlyweds as Their Only Child, he continued that strip and launched other daily strips: Rosie's Beau, Love Affairs of a Mutton Head, Spareribs and Gravy and Bringing Up Father. Syndicated internationally by King Features Syndicate, Bringing Up Father achieved great success and was produced by McManus from 1913 until his death, when Vernon Greene and Frank Fletcher took over. In 1995, the strip was one of 20 included in the "Comic Strip Classics" series of commemorative United States postage stamps. McManus died in 1954 in Santa Monica, California and was interred in the Woodlawn Cemetery in The Bronx, New York.

----- DATABASE NOTES -----

From George McManus’ “The Newlyweds” (1908). From George McManus’ “The Newlyweds” (1908). 3 signed watercolors by McManus are specialty pieces he did of the 3 main characters from his ''Newlyweds'' strip in 1908. Artwork is mounted in two frames: the original art and 1908 frame were placed in a larger frame in the 1940’s. [Images: 3 @ 8.5”W x 10.5”H; Frame: 31.5”W x 15”H] Acquired 2004. SeqID-1192 Updated: 7/16/2005

"Nancy" - 1947 Pen and Ink by Ernie Bushmiller

I saw this piece when I had my company and was working through the issues of customer service. I thought it was an odd-ball piece that seemed to strike a cord with me at the time.

Nancy Pen & Ink

Here's some information on Bushmiller from Wikipedia...

Ernest Paul "Ernie" Bushmiller, Jr. (1905 - 1982) was an American cartoonist, best known for creating the long-running daily comic strip Nancy. Bushmiller's work has been repeatedly addressed by other artists: Andy Warhol made a 1961 painting based on "Nancy"; the artist and poet Joe Brainard made numerous works based on Nancy; and many cartoonists have produced work directly inspired by or commenting on Bushmiller's art, including Art Spiegelman, Bill Griffith, Mark Newgarden and Chris Ware. The American Heritage Dictionary uses a Bushmiller "Nancy" strip to illustrate its entry on "comic strip."
He was born in the Bronx on August 23, 1905 of immigrant parents. His father was also an artist. Bushmiller quit school at 14 to work as a copy boy at the New York World newspaper. At night, he took art classes at the National Academy of Design. Bushmiller married Abby Bohnet in 1930. They had no children.
In 1925, cartoonist Larry Whittington, creator of the comic strip Fritzi Ritz, left to produce another strip, Mazie the Model. Bushmiller then took over Fritzi Ritz, ghostwriting it, before eventually taking over officially. Bushmiller's name would not appear on the strip until May 1926. In 1933, Bushmiller introduced the character of Nancy, Fritzi's niece, to the strip. The character proved popular, and her appearances became more frequent and Aunt Fritzi's less frequent, so much so that the strip was renamed Nancy in 1938. Bushmiller also created the comic strip Phil Fumble, which ran from 1932 through 1938. Bushmiller worked briefly for film comedian Harold Lloyd in 1931, writing gags for the film, Movie Crazy.
Bushmiller was one of the founding members of the National Cartoonists Society. He received their Humor Comic Strip Award, and their Reuben Award in 1976 for his work on Nancy. In 1979, Bushmiller was diagnosed with Parkinson's disease, but continued to produce the strip with the help of assistants Will Johnson and Al Plastino. On August 15, 1982, Bushmiller died of a heart attack.

----- DATABASE NOTES -----

From “Nancy” (1947) by Ernie Bushmiller. A pen & ink of Nancy and customer service. Dated 9/2/1947. "Complaint Department." [Image: 18 5/8"w x 5 1/8"h. Frame: 24.5"w x 11"h] Acquired 1992. SeqID-0093

"Superman" (1943) [1 of 3] - Pen and Ink Signed by Joe Shuster

This is a fantastic Superman pen and ink signed by Joe Shuster. There are a couple of unique elements here.

First, the size. By 1976, Shuster was almost totally blind but his blindness started many years earlier. Shuster compensated for has failing eyesight by drawing his boards quite large. Here, his Sunday page was drawn on 2-20"x14" boards instead of one.

Second, the strip includes one of the most famous Superman quotes -- Perry White: "Sometimes I almost think Clark Kent is Superman -- But of course that's ridiculous... Isn't it?"

Third, it's signed by Joe Shuster. As the story goes, Shuster tended to shy away from the public (due to his desire to keep his failing eyesight private). Evidently, there was a contest won by a young Superman fan andFirst Prize was this Sunday page. The youngster actually went to Shuster's office and was able to get Shuster to sign it for him.

Fourth, it has all many of the prime characters in it: Superman, Lois Lane, Perry White and Clark Kent.

Two 20"x14" Panels Signed by Joe Shuster

Here is what the finished product looked like in the Sunday Mirror.

The Sunday Mirror Sunday Page

Here is how the two pages were framed...


I've always been struck by the story of Superman's development and how Superman's creators failed to realize any significant financial reward for their efforts -- was was the case with many of the early cartoonists.

Here's some of the story about Shuster from Wikipedia:

Joseph Shuster was born in Toronto, Ontario, the son of Jewish immigrants. His father Julius, an immigrant from Rotterdam, South Holland, the Netherlands, and his mother Ida, who had come from Kiev in Ukraine, were barely able to make ends meet. As a youngster, Shuster worked as a newspaper boy for the Toronto Daily Star and, as a hobby, he liked to sketch. He had one sister, Jean Peavy. One cousin is comedian Frank Shuster of the Canadian comedy team Wayne and Shuster.

When Joe Shuster was 10, his family moved to Cleveland, Ohio. In Cleveland, Shuster attended Glenville High School and befriended his later collaborator, writer Jerry Siegel, with whom he began publishing a science fiction fanzine. The duo broke into comics at Major Malcolm Wheeler-Nicholson's National Allied Publications, the future DC Comics, working on the landmark New Fun — the first comic-book series to consist solely of original material rather than using any reprinted newspaper comic strips — debuting with the musketeer swashbuckler "Henri Duval" and the supernatural crime-fighter strip Doctor Occult, both in New Fun #6 (Oct. 1935).

Siegel and Shuster used an early version of the character that would become Superman in short stories and in a 1933 comic-strip proposal. In 1938, after that proposal had languished among others at National, editor Vin Sullivan chose it as the cover feature for National's Action Comics #1 (June 1938). The following year, Siegel & Shuster initiated the syndicated Superman comic strip.

When Superman first appeared, Superman's alter ego Clark Kent worked for the Daily Star newspaper, named by Shuster after the Toronto Daily Star, his old employer in Toronto. According to an interview he gave a few months before his death, he modeled the cityscape of Superman's home city, Metropolis, on that of his old hometown. When the comic strip received international distribution, the company permanently changed the name to The Daily Planet.

In the same interview, Shuster stated that he modeled the look of Clark Kent after both himself and movie star Harold Lloyd, and that of Superman after Douglas Fairbanks Sr. He modeled Lois Lane after Joanne Carter, the woman who would later marry Jerry Siegel

Shuster became famous as the co-creator of one of the most well-known and commercially successful fictional characters of the 20th century. National Allied Publications claimed copyright to his and Siegel's work, and when the company refused to compensate them to the degree they believed appropriate, Siegel and Shuster, in 1946, near the end of their 10-year contract to produce Superman stories, sued National over rights to the characters. They ultimately settled the claim for $94 000 after the court ruled against them — but that the rights to Superman had been validly purchased by the publisher when they bought the first Superman story. After the bitter legal wrangling, Shuster and Siegel's byline was dropped by DC comics.

In 1947, the team rejoined editor Sullivan, by now the founder and publisher of the comic-book company Magazine Enterprises where they created the short-lived comical crime-fighter Funnyman. While Siegel continued to write comics for a variety of publishers, Shuster largely dropped out of sight.

Shuster continued to draw comics after the failure of Funnyman, although exactly what he drew is uncertain. Comics historian Ted White wrote that Shuster continued to draw horror stories into the 1950s. In 1964, when Shuster was living on Long Island with his elderly mother, he was reported to be earning his living as a freelance cartoonist; he was also "trying to paint pop art — serious comic strips — and hope[d] eventually to promote a one-man show in some chic Manhattan gallery". At one point, his worsening eyesight prevented him from drawing, and he worked as a deliveryman in order to earn a living. By 1976, Shuster was almost blind and living in a California nursing home.

In 1967, when the Superman copyright came up for renewal, Siegel launched a second lawsuit, which also proved unsuccessful.

In 1975, Siegel launched a publicity campaign, in which Shuster participated, protesting DC Comics' treatment of him and Shuster. In the face of a great deal of negative publicity over their handling of the affair (and due to the upcoming Superman movie), DC's parent company Warner Communications reinstated the byline dropped more than thirty years earlier and granted the pair a lifetime pension of $20,000 a year plus health benefits. Joe Shuster died in Los Angeles, California in 1992.

----- DATABASE NOTES -----

From Siegel & Shuster’s “Superman” (1943) -- Pen & Ink Sunday page signed by artist Joe Shuster a few years before he became blind. Matching color printed page. Jerry Siegel & Joe Shuster “Superman” Sunday page. This not only has Superman, but Lois Lane, Perry White and Clark Kent in it as well. [Frame: 29”W x 37”H; Images: 2 @ 20”W x 13.5”H -- Sunday color: Frame: 16”W x 20”H; Image: 9.5”W x 13.5”H] Acquired 2004. SeqID-1147 Updated: 7/27/2005

"Superman" (1941) [2 of 3] - Stat Model Sheet Ok'd by Dave Fleischer

This early stat Superman model sheet is a little different because it's focus is only the head positions. The large head positions makes it a very striking piece.

If you have had a chance to watch any of these early Superman cartoons, the images along the bottom page are wonderful examples on Superman's "almost smile" that shows up in all the films.

Superman Model Sheet OK's by Dave Fleischer

----- DATABASE NOTES -----

From Fleischer/Famous Studios “Superman” (1941). A Fleischer Studios Superman stat model sheet showing the head sizes for Superman signed by Dave Fleischer. "Aug. 1941" "OK Dave Fleischer" [Item: 12"W X 11.25"H] SeqID-0527

"Superman" (1985) [3 of 3] - Wayne Boring Pen and Ink

Here's a nice Superman piece by Wayne Boring from 1985.

What makes the piece unique is the post-publication drawing of superman that Boring drew on the board. Mr. Boring signed the piece (lower right). I think Boring was a very gifted artist and I've always felt it was sad that he ended his career as a bank security guard...

Wayne Boring Pen & Ink from 1985

Here's the write-up on Boring from the Wayne Boring website:

Wayne Boring (who also used the pseudonym of "Jack Harmon") was born in Minnesota in 1905. His early flare for drawing led him to enroll in art schools, including the Minnesota School of Art and the Chicago Art Institute.

He began in the comic business in 1937 by ghosting detective strips by mail such as Slam Bradley, Spy and Dr.Occult for the studio of artist Joe Shuster and writer Jerry Siegel, who had joined DC (then called National Periodical Publications), the year before they created the character that would be known as Superman.
Boring was one of the earliest ghosts to work on the Superman comic strip, and would eventually take it over completely. He left Shuster's shop in 1942, after he was hired by DC to work for them directly. The following year Stan Kaye started inking Boring's pencils on a regular basis, which began an historic team-up that lasted almost two decades.

In 1948, when Siegel and Shuster had quit DC and launched a copyright lawsuit against them (which they would ultimately lose), the door was swung wide open for Boring. Siegel and Shuster's departure from National also coincided closely with editor Mort Weisinger's taking control of the Superman series back from Jack Schiff.

Also being one of the first artists to ever do a ghost job on the Superman comic itself, Boring's work soon grew so popular with the fans that he took over the character, drawing it throughout the decade of the late '40s, and '50s. In the early '60s most Superman duties were handed down to new Superman artist Swan.
While Boring's '50s version of Superman was being printed, the first run of The Adventures Of Superman TV series (1951-1957) began airing, which starred George Reeves, the greatest actor who will ever portray the Man Of Steel.

Boring's work is easily recognizable, being composed of well-applied influences of artists like Alex Raymond of Flash Gordon fame, meshing with his own highly stylized sci-fi oriented artwork.

He was still working at DC in 1967 when he was dismissed during an all-out purge of several "old school" artists. That purge also included George Papp (creator of Green Arrow) and Sheldon Moldoff (creator of Green Lantern).

However, he still wasn't done yet, as he embarked upon more syndicated strip work, such as ghosting backgrounds for Hal Foster's epic Prince Valiant Sunday page from 1968 until 1972, as well as ghosting Sam Leff's Davy Jones strip.

For a short period after 1972, Boring even worked at Marvel on a few titles, ironically including Captain Marvel, which had once been embroiled in a lawsuit over its resemblance to the Superman comic (Captain Marvel's publisher, Fawcett, had lost).

But eventually Boring decided that was enough, and he left the comics field entirely. In his golden years he could still be found working, though, part-time as a bank security guard, before a heart attack claimed him in 1987.

His incredible decade-plus run on the Superman comic rivals even the great 1960s decade run by Jack Kirby on Fantastic Four for Marvel comics. His style easily managed to rise above the more cartoonish look of Superman co-creator Shuster and the more calculated and conservative line work of Swan.

As a result, Boring's work on Superman still remains the best version of the most popular character in comics history.

----- DATABASE NOTES -----

From “Superman” (1985) by Wayne Boring. A prison sequence, with Clark Kent dated 1/13/60 on reverse. On the front “Week 6”, “1-30” and “8150.” No syndicate indicated. Wayne Boring signed the strip and hand drew the additional Superman into the strip (“Wayne Boring Pampano Beach ‘85”). [Image: 19 7/16"W x 7-9/16"H. Frame: 28"W x 16.25"H] SeqID-0133 7/27/2005

Brenda Starr Artwork (1976) - Signed By Dale Messick

I'll throw in something different...

When I was growing up, Brenda Starr was the real deal. And, come to find out, so was her creator. Dalia Messick used the pen name "Dale" because it was very difficult for a woman to get a strip published at the time. A great coming of age story.

This piece has all the essential elements that any Brenda Starr fan would find necessary to tell Brenda's story...

Brenda Starr Artwork Signed by Dale Messick

----- DATABASE NOTES -----

Original artwork of Brenda Starr. Signed by Ms Dalia “Dale" Messick (artist for Brenda Starr). Signed and dated 1976. This was the original. Reproductions were made of this item and were sold around. Messick signed under "Dale" to reduce the discrimination against women in comic art. [Item: 8-3/16"W X 10-1/8"H] Acquired 1998. SeqID-0278 Updated: 5/20/2005

"Krazy Kat" (1921) - George Herriman Sunday Page

Since it was too hard to keep up several different blogs on the collection, I closed down the aerospace and comic blogs.

So, here's one of our favorite comic items -- a great Krazy Kat. My wife, who is from Kansas, liked the image for its treatment of tornadoes and sunflowers... I uploaded a somewhat larger than normal image so you could enlarge the image and read the frames.

George Herriman "Krazy Kat" Sunday Page (1921)
(Click to Enlarge)

----- DATABASE NOTES -----

From “Krazy Kat” by George Herriman (1921). Original artwork to Krazy Kat Sunday Page by George Herriman. Appeared 6/12/1921. King Features Syndicate, pen and ink with brush on paper, signed by the artist lower panel, for the Sunday page unidentified by date, with slight blue lines to margin, otherwise in near fine condition. Text includes references to Wottapottami, Kansas and the "Cyclone Cellar"; "Ben Day -- Stipple" on top Pen & ink with blue pencil shading. [Item: 17.25"W x 19.25"H] Acquired 2000. SeqID-0710 Updated: 8/1/2005

"Little Nemo" (1906) - Winsor McCay Sunday Pen and Ink

Merry Christmas and Season's Greetings!

Since I will be away for part of December, I thought this would be a good opportunity to post some Christmas/Holiday related art. To see other holiday related items, select "Category-Holiday" from the "Content by Category" list on the right.


Winsor McCay's work is VERY striking! If you look at the frames, the characters appear to be almost identical -- a template-oriented to drawing. This Christmas page is a great example of McCay's unusual style.

"Little Nemo" (1906) - Winsor McCay Sunday

I picked up this, a McCay drawing from "Gertie the Dinosaur" (1914) and some work by George McManus ("The Newlyweds" and his iconic "Maggie & Jiggs"). At about the same time, I remember hearing that McCay and McManus were good friends. As the story went, McManus made a bet with McCay that he couldn't produce an "animated" film within a certain amount of time -- I understand that McCay won the bet. What I found unusual was that McCay's combination of live-action and film -- like today's multi-media presentation. In "Gertie," McCay interacted with the animated Gertie to create a very unique program that wasn't repeated for many years.

IMDB:

Like many pioneers, the work of 'Winsor McCay' has been largely superseded by successors such as Walt Disney and Max Fleischer but he more than earns a place in film history for being the American cinema's first great cartoon animator. He started out as a newspaper cartoonist, achieving a national reputation for his strips 'Little Nemo in Slumberland' and 'Dreams of a Rarebit Fiend'. Inspired by his son's flick-books, he spent four years and produced four thousand individual drawings in making his first animated cartoon 'Little Nemo', completing it in 1911. But his biggest cartoon success was 'Gertie the Dinosaur' (1913), which was the centrepiece of a vaudeville act in which the live McCay would interact with his cartoon character. For this, he single-handedly produced ten thousand individual drawings, laboriously re-drawing the background every time. It is often wrongly cited as the first animated cartoon, but it was certainly the first successful one, and influenced dozens of imitators. His 1918 production 'The Sinking of the Lusitania' was even more ambitious: comprising 25,000 drawings, it was the first feature-length American cartoon, and the second one made anywhere. He retired from film-making in the 1920s, but would subsequently describe himself as "the creator of animated cartoons". This honour, strictly speaking, belongs to the Frenchman Emile Cohl - but McCay was certainly the first to bring them to a wide audience.

----- DATABASE NOTES -----

From “Little Nemo” (1906). From “Little Nemo” (1906) by Winsor McCay. An early pen & ink strip produced only 14 months after the strip's introduction. After 1909, McCay became districted by other projects and the quality of the strip weakened. The strip is unusual in that it has Little Nemo and in Princess in every panel of the page. In addition, this strip includes an "Eternal Theme" -- Santa Claus in his Toyland with his Elves, lists of 'good boys and girls' and getting ready to depart for his annual Christmas deliveries. [Image: 2 @ 22”W x 16”H; Frame: 30”w x 38”H] Acquired 2004. SeqID-1267 Updated: 7/26/2005

Seller’s Comments: The first thing you want from an original McCay is an early Sunday Page -- you know the early artwork is 'pure' McCay. After 1909 it generally starts to get a little weaker. This is only 14 months into the Strip. The other thing you want is graphics -- this has that as well and big time. That full top panel with the Sleigh and Reindeer is just amazing, as is the artwork in every panel on this (almost) 100 year old Sunday page. Look at the bottom panel -- incredible detail. This strip has 'Little Nemo' and the 'Princess' in every panel of the page. Plus, it has something more that I know you'll appreciate -- an Eternal Theme -- ''Santa Claus'' in his Toyland with his Elves and lists of 'good boys and girls' and getting ready to fly-off to do his annual Christmas deliveries. And a great image of 'Santa' and of both of 'Nemo's' Parents. It's a "KEY" page.

"Mickey's Christmas Carol" (1982) - Sunday Pen and Ink

Since we are coming up on Christmas, I thought I'd post this Sunday pen & ink from Walt Disney's Treasury of Classic Tales Mickey's Christmas Carol (1982).

Scrooge Meets Marley For First Time

----- DATABASE NOTES -----

From "Walt Disney's Treasury of Classic Tales Mickey's Christmas Carol" (1982). Dated "October 17, 1982" Marley visits Scrooge for the first time. [Unframed Item: 23-1/8"W x 16-1/8"H] Acquired 1998. SeqID-0295 Updated: 8/16/2005

"Mandrake The Magician" [2 of 2] - 1998c NCS 29-Inch Poster Signed by Falk and Fredericks

As long as I'm talking about "Mandrake the Magician," I'll post one of the posters in a limited edition series (run of 100) published by the National Cartoonists Society circa 1998. All of them are 21"W x 29"H and signed. They are all fantastic items. Unfortunately, I've never had the real estate to frame and hang all of them!

"Mandrake" 29-Inch National Cartoonists Society Signed Poster Signed by Falk & Fredericks

Historical Notes

After posting the above, I did a search on "Mandrake the Magician" and found some interesting hits. Here are two of them...

From "Ask Yahoo" 5/3/2007:

Dear Yahoo!:
Who was the first superhero?
Kevin
Indianapolis, Indiana

Dear Kevin:
Definitions of superheroes vary widely. One person's hero is another person's Hercules. For the sake of simplicity, we're going to define a superhero as someone who fights crime in disguise and is blessed with superior strength, powers, or (in the case of Batman) gadgets.

This excellent blog entry from kottke.org offers up plenty of theories about who the first superhero was. The author concludes that "Mandrake the Magician" may have been the first true superhero. Toonpedia agrees, calling Mandrake "the first super-powered, costumed crime fighter in comics." [Bob: Bolding is mine] Created by Lee Falk, Mandrake made his debut in 1934, approximately four years before Superman landed on Earth.

So what sort of powers did Mandrake have? King Features Syndicate explains he was a master of hypnotism and illusion. Like all the great superheroes who followed him, Mandrake used his powers to combat evil. But unlike other superheroes, Mandrake appears to have been based on a real person, a stage magician named Leon Mandrake.

Eat your heart out, Superman (and David Copperfield).

From Wikipedia:

Mandrake the Magician is a U.S. comic strip created in 1934 by Lee Falk (also creator of The Phantom) and mainly appearing in syndication in newspapers. Falk soon gave the job of drawing the comic strip to artist Phil Davis, while continuing to write the storylines. Davis worked on the strip until his death in 1964 [Bob: see next posting for Falk & Davis]; Falk then recruited current artist Fred Fredericks. On Falk's death in 1999, Fredericks took over writing the strip as well. Mandrake is widely believed to have been the first bona fide superhero.

Mandrake was an illusionist whose work was based on an impossibly fast hypnotic technique. As the narrator informed us: "Mandrake gestured hypnotically" and the subject or subjects of this hypnosis would suddenly see the illusions he wanted. Mandrake fought criminals and other villains in his spare time. This would include common gangsters, mad scientists, and aliens from outer space or other dimensions.

After the series existing in cartoons, radio plays, and serials, a movie based on Mandrake with magician Criss Angel is set to start filming in 2008.

----- DATABASE NOTES -----

From “Mandrake The Magician,” a National Cartoonists Society poster by Lee Falk & Fred Fredericks (circa 1998). A National Cartoonists Society L/E signed Lithographs -- 93/100 (Circa 1998). Signed by Lee Falk & Fred Fredericks [Unframed Item: 21-1/8"W x 29-1/8"H] Acquired 1998. SeqID-0303 8/4/2005