Comic Book Plus Forum
Comic And Book Related => Comic Talk => Topic started by: Electricmastro on September 23, 2020, 09:12:02 PM
-
A thread for anyone wanting to identify which artists drew what comic art that was left uncredited, as is what tended to happen in and around the 40s, whether they be covers or comic stories.
-
A thread for anyone wanting to identify which artists drew what comic art that was left uncredited, as is what tended to happen in and around the 40s, whether they be covers or comic stories.
As a "normal" thread, this will get buried quickly, and members who want to contribute to it won't be able to find it. You'd better send a private message to Mark to have him make this into a "sticky" thread, which will have a bolded title and be placed among the other "stickies" with bolded titles staying above the current threads.
-
Thanks Robb. Anyway, I suppose I
-
For Action comic art, as opposed to funny animal, I can visually identify distinctives in the way artists draw Anatomy. I can't always verbalize what it is that helps me identify an artist, it seems to involve an automatic memory or 'instinctive' function. I can identify many artists instantly, others who are more generic, takes longer. The artists who are most distinctive and identifiable are usually the most creative and original thinkers.
There are also two types of Artists in comics. Those who are illustrators, whose strength is in just telling a story visually and those who are innovators and creators. These are the true 'Comic Strip' or 'Comic Book' Artists who saw the drawn visual narrative as a new medium and devised new approaches to it. So Jack Kirby and Will Eisner fall into this category. Burne Hogarth, [Early Tarzan] genius tho he was, is an illustrator.
And here is a gift for any budding artists who read this, A PDF on Dynamic Figure Drawing by Hogarth.
https://docs.google.com/viewer?a=v&pid=sites&srcid=dWNwLmVkdS5jb3xqdWFuZGF0dXxneDo0NmIxN2MzNGViZjgyMTkx
Great thread. More later.
-
Speaking of Kirby, it
-
Was looking over some Fox art and I think I was able to make a reasonably educated guess of one of the Flame stories as possibly having been drawn by Larry Antonette, the one in question being from The Flame #6 (August, 1941), under the pen name of
-
Speaking of Kirby, it
-
Speaking of Kirby, it
-
Just noticed a
-
Possibly drawn by Ken Battefield (A Feature Presentation #5, April 1950):
(https://i.imgur.com/7bXwf2n.jpg)
-
Eagle 4 credited at GCD https://www.comics.org/issue/1926/
Feature 5 is also https://www.comics.org/issue/8209/
You can always check www.comics.org to see known art ID. If you believe they are wrong, or have unknown artists you can spot, please index them there
-
Eagle 4 credited at GCD https://www.comics.org/issue/1926/
Feature 5 is also https://www.comics.org/issue/8209/
You can always check www.comics.org to see known art ID. If you believe they are wrong, or have unknown artists you can spot, please index them there
Yeah, I actually mentioned those observations to them and they evidently agreed that my observations were educated enough to warrant edits.
Some feel say there was an artist named Ramona Patenaude, and that she
-
https://www.comics.org/issue/294355/
Nikkey Gnome (signed as Guarnier) in Hollywood Comics #1 (Winter 1944).
This was drawn by was Lucifer Guarnier, born 21 July 1914 and died 29 December 2007. His father, apparently, had a strange sense of humor when he came up with the name. Lu Guarnier started his career at Warner Brothers in the 1930
-
Sorry. I am on the wrong thread! Gremlins (or, maybe Nikkey Gnome) have taken me off the thread I intended, and placed me on this one when I was not looking for a second! ::)
-
Lightning Comics #v3#1 (June, 1942) shows a signature signed as
-
Born in Sac City, Iowa, Bruce Currie was a figure and still-life painter in modernist styles. He was long-time active in New York state, where he lived in Woodstock with his artist wife, Ethel Magafan, and daughter Jennie. They plus extended family were regarded as part of the "old guard" of the Colony. Ethel's twin sister, Jenne, and Jenne's, husband, Eduardo Chavez, also lived there and both were artists. Years later, the family members living near each other and working together were described by Ray Steiner from childhood memories as being a "clan---a special group of people who shared not only a love of art, but also a love of life and nature." Their work are classic examples of Mid-Century Modernism in American art of the 20th century.
-
The Magafan & Currie Clan
https://www.arttimesjournal.com/art/reviews/Jul_Aug_06_online_Raymond_J_Steiner/Magafan_Currie_Clan_waam.htm
-
Born in Sac City, Iowa, Bruce Currie was a figure and still-life painter in modernist styles. He was long-time active in New York state, where he lived in Woodstock with his artist wife, Ethel Magafan, and daughter Jennie. They plus extended family were regarded as part of the "old guard" of the Colony. Ethel's twin sister, Jenne, and Jenne's, husband, Eduardo Chavez, also lived there and both were artists. Years later, the family members living near each other and working together were described by Ray Steiner from childhood memories as being a "clan---a special group of people who shared not only a love of art, but also a love of life and nature." Their work are classic examples of Mid-Century Modernism in American art of the 20th century.
-
Yes, she even has a Wikipedia entry: https://en.wikipedia.org/wiki/Ethel_Magafan
-
There's another blog post about Bruce Currie here:
https://rjsteiner.wordpress.com/2011/03/12/passing-of-another-woodstock-legend/#comments
-
There's another blog post about Bruce Currie here:
https://rjsteiner.wordpress.com/2011/03/12/passing-of-another-woodstock-legend/#comments
Thanks! Also, at GCD, it was pointed out to me that there was a Bruce Currie credit referenced in a humor cartoon mag from 1940: https://www.comics.org/issue/1525710/
And that it
-
For what
-
Perhaps not necessarily a story whose art not as many people are curious as to who drew it in the first place, though for some reason it has still made me wonder who exactly the
-
Somewhat eligible signature from Boy Loves Girl #53 (August, 1955), which I think reads something like
-
Seems to me to be "B--de(r)myer". Pretty sure of the "myer" part. Wish I had a printed copy to put under the Atomic VizoSpaceagraph for analysis. I couldn't come up with comics artist names that fit the template.
-
I have to wonder if there are in fact, two signatures there. The script for the one above is almost perpendicular, straight up and down. The one below is a script that slants noticeably to the right. That's quite unusual for a signature.
I don't think the top one reads, 'Bob' It may be a surname.
-
Page from Giggle Comics #13 (October, 1944) signed by
-
Page from Giggle Comics #13 (October, 1944) signed by
-
Interesting! I hadn't heard of any women working for The Sangor Studio. Did Dolores Carroll work in animation, for one of the major studios?
Dunno, the suggestion was made to me based on her vague credit for Funnies Inc. Other Carrolls drawing for comics in 44 include Les Carroll and J. Carroll Mansfield. Carl Wessler apparently used Carroll as a pen name as well.
-
Interesting! I hadn't heard of any women working for The Sangor Studio. Did Dolores Carroll work in animation, for one of the major studios?
Dunno, the suggestion was made to me based on her vague credit for Funnies Inc. Other Carrolls drawing for comics in 44 include Les Carroll and J. Carroll Mansfield. Carl Wessler apparently used Carroll as a pen name as well.
We've solved it! Looking back on the page, it's clear that that is Carl Wessler's work. That is especially obvious in Panel 3 (bottom right). The turtle's facial expression is how Wessler draws eyes when they are looking straight on, and how he makes small animal people's heads. And he drew a lot of stories for Sangor in 1943-45. Carroll and Carl are very close. My guess is that he was born "Carroll Wessler, and went mainly by "Carl" in school and with his friends. A quick Google check revealed that my guess was correct. I never liked his comic book artwork, and now Ive learned that in the 1950s he changed from being a finishing artist to a storywriter/scenarist with Stan Lee's Atlas (probably drawing storyboards, as well). He also did some editing under Lee. He had started as an animator at Fleischers' Studio during the 1930s. He remained a comic book writer and editor until 1980 (almost 50 years in the business!).
-
Interesting! I hadn't heard of any women working for The Sangor Studio. Did Dolores Carroll work in animation, for one of the major studios?
Dunno, the suggestion was made to me based on her vague credit for Funnies Inc. Other Carrolls drawing for comics in 44 include Les Carroll and J. Carroll Mansfield. Carl Wessler apparently used Carroll as a pen name as well.
We've solved it! Looking back on the page, it's clear that that is Carl Wessler's work. That is especially obvious in Panel 3 (bottom right). The turtle's facial expression is how Wessler draws eyes when they are looking straight on, and how he makes small animal people's heads. And he drew a lot of stories for Sangor in 1943-45. Carroll and Carl are very close. My guess is that he was born "Carroll Wessler, and went mainly by "Carl" in school and with his friends. A quick Google check revealed that my guess was correct. I never liked his comic book artwork, and now Ive learned that in the 1950s he changed from being a finishing artist to a storywriter/scenarist with Stan Lee's Atlas (probably drawing storyboards, as well). He also did some editing under Lee. He had started as an animator at Fleischers' Studio during the 1930s. He remained a comic book writer and editor until 1980 (almost 50 years in the business!).
Yeah, thinking about it further, it does have a rhyme and reasoning with his other work, as I recall that Wessler
-
Interesting! I hadn't heard of any women working for The Sangor Studio. Did Dolores Carroll work in animation, for one of the major studios?
Dunno, the suggestion was made to me based on her vague credit for Funnies Inc. Other Carrolls drawing for comics in 44 include Les Carroll and J. Carroll Mansfield. Carl Wessler apparently used Carroll as a pen name as well.
We've solved it! Looking back on the page, it's clear that that is Carl Wessler's work. That is especially obvious in Panel 3 (bottom right). The turtle's facial expression is how Wessler draws eyes when they are looking straight on, and how he makes small animal people's heads. And he drew a lot of stories for Sangor in 1943-45. Carroll and Carl are very close. My guess is that he was born "Carroll Wessler, and went mainly by "Carl" in school and with his friends. A quick Google check revealed that my guess was correct. I never liked his comic book artwork, and now Ive learned that in the 1950s he changed from being a finishing artist to a storywriter/scenarist with Stan Lee's Atlas (probably drawing storyboards, as well). He also did some editing under Lee. He had started as an animator at Fleischers' Studio during the 1930s. He remained a comic book writer and editor until 1980 (almost 50 years in the business!).
Yeah, thinking about it further, it does have a rhyme and reasoning with his other work, as I recall that Wessler
-
I probably was overthinking it. Thanks Robb. I suppose another artist that conflicted me, for Krazy Life in particular, was Frank Little, whom I had seen draw that sort of exaggerated figure of character design. I could entertain the possibility that Ellis and Little worked on it together for Fox, but that
-
I probably was overthinking it. Thanks Robb. I suppose another artist that conflicted me, for Krazy Life in particular, was Frank Little, whom I had seen draw that sort of exaggerated figure of character design. I could entertain the possibility that Ellis and Little worked on it together for Fox, but that
-
Thanks.
Also, yet another artist I
-
Electricmastro,
Go to GDC
https://www.comics.org
look up Planet comics and see if they have a listing for the artist.
Cheers!
-
Electricmastro,
Go to GDC
https://www.comics.org
look up Planet comics and see if they have a listing for the artist.
Cheers!
I did, and it didn
-
All I've ever been able to find out about A. Albert is that he/she worked for Fiction House between 1951 and 1955. I've never seen him anywhere else. Fiction House went reprint for about a year circa 1951-52 and returned with a completely new look. Some old hands were there, like Maurice Whitman, but many new artists appeared including A. Albert, John Belcastro ("Johnny Bell"), Bill Discount, and Bill Benulis.
The "new look" comics' indicias list Jerry Iger as art director. At least two of these guys (Belcastro and Whitman) appear on the Who's Who list of Iger Shop personnel in the early 50s. Around the same time the Shop also supplied material to Superior and later to Ajax-Farrell. I haven't found Albert in any of their books but I admit I haven't looked very hard. Albert doesn't show up on the Shop roster but this may be an omission. Iger hired a heckuva lot of artists between 1940 and 1961.
-
All I've ever been able to find out about A. Albert is that he/she worked for Fiction House between 1951 and 1955. I've never seen him anywhere else. Fiction House went reprint for about a year circa 1951-52 and returned with a completely new look. Some old hands were there, like Maurice Whitman, but many new artists appeared including A. Albert, John Belcastro ("Johnny Bell"), Bill Discount, and Bill Benulis.
The "new look" comics' indicias list Jerry Iger as art director. At least two of these guys (Belcastro and Whitman) appear on the Who's Who list of Iger Shop personnel in the early 50s. Around the same time the Shop also supplied material to Superior and later to Ajax-Farrell. I haven't found Albert in any of their books but I admit I haven't looked very hard. Albert doesn't show up on the Shop roster but this may be an omission. Iger hired a heckuva lot of artists between 1940 and 1961.
Bill Discount works on the cheap! He'd have been a good bet to have worked for Fox! ;D I bet the name "William Discount" is NOT on that guy's birth certificate! ;D
-
All I've ever been able to find out about A. Albert is that he/she worked for Fiction House between 1951 and 1955. I've never seen him anywhere else. Fiction House went reprint for about a year circa 1951-52 and returned with a completely new look. Some old hands were there, like Maurice Whitman, but many new artists appeared including A. Albert, John Belcastro ("Johnny Bell"), Bill Discount, and Bill Benulis.
The "new look" comics' indicias list Jerry Iger as art director. At least two of these guys (Belcastro and Whitman) appear on the Who's Who list of Iger Shop personnel in the early 50s. Around the same time the Shop also supplied material to Superior and later to Ajax-Farrell. I haven't found Albert in any of their books but I admit I haven't looked very hard. Albert doesn't show up on the Shop roster but this may be an omission. Iger hired a heckuva lot of artists between 1940 and 1961.
Bill Discount works on the cheap! He'd have been a good bet to have worked for Fox! ;D I bet the name "William Discount" is NOT on that guy's birth certificate! ;D
It
-
All I've ever been able to find out about A. Albert is that he/she worked for Fiction House between 1951 and 1955. I've never seen him anywhere else. Fiction House went reprint for about a year circa 1951-52 and returned with a completely new look. Some old hands were there, like Maurice Whitman, but many new artists appeared including A. Albert, John Belcastro ("Johnny Bell"), Bill Discount, and Bill Benulis.
The "new look" comics' indicias list Jerry Iger as art director. At least two of these guys (Belcastro and Whitman) appear on the Who's Who list of Iger Shop personnel in the early 50s. Around the same time the Shop also supplied material to Superior and later to Ajax-Farrell. I haven't found Albert in any of their books but I admit I haven't looked very hard. Albert doesn't show up on the Shop roster but this may be an omission. Iger hired a heckuva lot of artists between 1940 and 1961.
Bill Discount works on the cheap! He'd have been a good bet to have worked for Fox! ;D I bet the name "William Discount" is NOT on that guy's birth certificate! ;D
It
-
This art from Wings Comics #22 as well as several other Captain Wings stories from 1942 have been attributed to either Rudy Palais or Maxwell Elkan. I feel that Palais is an underappreciated artist, but I
-
Bill Discount signed his name to much of his work. He was quite good too. We have a collection of his work on CB+.
Discount Bill - Artist Showcase.
https://comicbookplus.com/?dlid=38787
Another one who doesn't show up on Lambiek. I would hazard that William Discount was in fact his real name. Either that or a deliberate pseudonym.
GCD lists a large number of comics he drew, most are on this site. It suggests his real name may have been
Steve Kirkel - but nothing definite.
https://www.comics.org/penciller/name/bill%20discount/sort/alpha/
Cheers!
-
Artists of Fiction House
http://highest-standard.de/
DISCOUNT, WILLIAM A was born 01 July 1929; received Social Security number xxx-xx-xxxx, which corresponds to New York; and died 27 February 2007.
KIRKEL, STEPHEN B was born 29 April 1921; received Social Security number xxx-xx-xxxx, which corresponds to New York; and died 2 April 2003.
Don
-
Artists of Fiction House
http://highest-standard.de/
DISCOUNT, WILLIAM A was born 01 July 1929; received Social Security number xxx-xx-xxxx, which corresponds to New York; and died 27 February 2007.
KIRKEL, STEPHEN B was born 29 April 1921; received Social Security number xxx-xx-xxxx, which corresponds to New York; and died 2 April 2003.
Don
-
Artists of Fiction House
http://highest-standard.de/
DISCOUNT, WILLIAM A was born 01 July 1929; received Social Security number xxx-xx-xxxx, which corresponds to New York; and died 27 February 2007.
KIRKEL, STEPHEN B was born 29 April 1921; received Social Security number xxx-xx-xxxx, which corresponds to New York; and died 2 April 2003.
Don
-
mopee167, Well Researched. Once again CB+ is one up on GCD.
Robb,
BOTH the latter's first and last names were "Albert"? So, his name was "Albert, Albert"?
Some people have very peculiar parents.
Cheers!
-
Covers which I haven
-
From Coo Coo Comics #10 (March, 1944), having a signature which could belong to Disney animator Paul Busch.
(https://box01.comicbookplus.com/viewer/ac/ac24e7d2463a91223424a93c22fe5a79/13.jpg)
-
Here
-
Here
-
Page with a signature belonging to ?Jim,? followed by an illegible last name (Giggle Comics #1, October 1943):
(https://i.imgur.com/i5EWIvO.jpg)
-
Page with a signature belonging to ?Jim,? followed by an illegible last name (Giggle Comics #1, October 1943):
(https://i.imgur.com/i5EWIvO.jpg)
I would guess Jim Davis. The facial expressions look a LOT like Davis' "Adam The Chimp". The last name might look too long to be Davis, but, the drawing style fits and I can also make out the name "Davis" at the beginning of the word. So his trail is a bit "lumpy". But, If I had to be right (yes or no) in a game of Russian Roulette, I'd still guess Davis, who was brought to my mind before I looked at the signature.
-
From Coo Coo Comics #10 (March, 1944), having a signature which could belong to Disney animator Paul Busch.
(https://box01.comicbookplus.com/viewer/ac/ac24e7d2463a91223424a93c22fe5a79/13.jpg)
I'll be curious to find out if "Billy Goat's" artist was Paul Busch, or whoever it turns out to be. A lot of the beginning of The 1940s Funny Animal artists' work looked fairly similar. I think that 1910s-1920s style, vertical, tall-stand pipe ashtray, with pipe holder is interesting. One of my uncles had one like that. They disappeared from use by 1950. My German, finishing artist/business partner would love to have one of those. He's a 1920s-1930s Kitch collector, and been a pipe smoker for 55 years.
-
Page with a signature belonging to ?Jim,? followed by an illegible last name (Giggle Comics #1, October 1943):
I would guess Jim Davis. The facial expressions look a LOT like Davis' "Adam The Chimp". The last name might look too long to be Davis, but, the drawing style fits and I can also make out the name "Davis" at the beginning of the word. So his trail is a bit "lumpy". But, If I had to be right (yes or no) in a game of Russian Roulette, I'd still guess Davis, who was brought to my mind before I looked at the signature.
It did cross my mind if Jim was attempting to somehow creatively incorporate ?PV,? as in like the army ?Private.?
-
Yes, I meant PAUL Busch.
-
Page with a signature belonging to ?Jim,? followed by an illegible last name (Giggle Comics #1, October 1943):
I would guess Jim Davis. The facial expressions look a LOT like Davis' "Adam The Chimp". The last name might look too long to be Davis, but, the drawing style fits and I can also make out the name "Davis" at the beginning of the word. So his trail is a bit "lumpy". But, If I had to be right (yes or no) in a game of Russian Roulette, I'd still guess Davis, who was brought to my mind before I looked at the signature.
It did cross my mind if Jim was attempting to somehow creatively incorporate ?PV,? as in like the army ?Private.?
Wouldn't "Private" alone, be abbreviated as "Pvt." Maybe "P.V." is "Private" ......with "V" standing for an additional classification. In any case, the signature now looks like an "inside joke", of "Jim P.V.(Private) (additional classification) Davis, Esq. (Esquire). Jim was the "foreman" of Sangor's West Coast Studio. So, maybe that was his "nickname" among the "regulars" - a friendly making fun of his "fancy" status.
-
Tarzan covers from Tip Top Comics that I think are all by Paul Berdanier:
Signed covers for comparison:
(https://i.imgur.com/o21eJg7.jpg)
(https://i.imgur.com/WvC5dbu.jpg)
(https://i.imgur.com/j0SIQwj.jpg)
(https://i.imgur.com/KBW5pI6.jpg)
(https://i.imgur.com/8kJJ5v5.jpg)
Unsigned:
(https://i.imgur.com/kQTGz0Z.jpg)
(https://i.imgur.com/936T9R2.jpg)
(https://i.imgur.com/RZYZ1ms.jpg)
(https://i.imgur.com/HDEbfym.jpg)
(https://i.imgur.com/9ICmtwJ.jpg)
(https://i.imgur.com/vNEdzIT.jpg)
(https://i.imgur.com/IQj00mi.jpg)
-
Paul Frederick Berdanier, Sr. (1879-1961) was an engraver before he started working in comics and it really showed in some his linework.
-
Paul Frederick Berdanier, Sr. (1879-1961) was an engraver before he started working in comics and it really showed in some his linework.
Great action, line detail. and colouring in those Tip Top covers.
-
Paul Frederick Berdanier, Sr. (1879-1961) was an engraver before he started working in comics and it really showed in some his linework.
Great action, line detail. and colouring in those Tip Top covers.
Agreed, he?s not just great with visualizing scenery, but anatomy as well. Probably one of the more unsung comic book artists of his time.
-
Good as this appears, he's not necessarily original.
The Artists who set the template for Tarzan illustration were Hal Foster and Burne Hogarth.
Covers 36, 37, 39, 45, 47 and 50 all look like Hogarth swipes to me.
The interior art in these books is most likely Hogarth.
A prodigy and classically educated illustrator who found work during the Great Depression with King Features Syndicate, Hogarth became the principal artist on the "Tarzan" Sunday newspaper comic strip in 1937. Over a 12-year period, he would bring his unparalleled sense of classicism and dynamic mastery of anatomy in motion to pump new life into the hero's adventures. In the 1970s, after authoring books that would become definitive texts on artistic rendering that have never been out of print, Hogarth would return to the character for a series of acclaimed, handsomely-crafted and definitive Tarzan graphic novels.
He in turn influenced Russ Manning, for one.
Foster and Hogarth would also have been an influence on Alex Raymond.
Here is a selection of Tarzan Art for comparisons.
The Art of Tarzan: Celebrating The Iconic Ape-Man's Most Influential Artists
https://www.cbr.com/the-art-of-tarzan-celebrating-the-iconic-ape-mans-most-influential-artists/
If you are not aware of Hogarth, you are missing something.
Cheers!
-
Good as this appears, he's not necessarily original.
The Artists who set the template for Tarzan illustration were Hal Foster and Burne Hogarth.
Covers 36, 37, 39, 45, 47 and 50 all look like Hogarth swipes to me.
The interior art in these books is most likely Hogarth.
A prodigy and classically educated illustrator who found work during the Great Depression with King Features Syndicate, Hogarth became the principal artist on the "Tarzan" Sunday newspaper comic strip in 1937. Over a 12-year period, he would bring his unparalleled sense of classicism and dynamic mastery of anatomy in motion to pump new life into the hero's adventures. In the 1970s, after authoring books that would become definitive texts on artistic rendering that have never been out of print, Hogarth would return to the character for a series of acclaimed, handsomely-crafted and definitive Tarzan graphic novels.
He in turn influenced Russ Manning, for one.
Foster and Hogarth would also have been an influence on Alex Raymond.
Here is a selection of Tarzan Art for comparisons.
The Art of Tarzan: Celebrating The Iconic Ape-Man's Most Influential Artists
https://www.cbr.com/the-art-of-tarzan-celebrating-the-iconic-ape-mans-most-influential-artists/
If you are not aware of Hogarth, you are missing something.
Cheers!
Hogarth seemed even more detailed with the Tarzan work, having circular patterns with his muscle and even drawing a ?bump row? pattern for the ribs.
(https://i.imgur.com/ykoDHFY.jpg)
-
Nix nix! Hogarth was influenced by Hal Foster, who preceded him on Tarzan. I'd argue that the majority of the Berdanier covers are based on Foster's work rather than Hogarth's. Foster's figures were more compact with less "noble" faces. A few years ago Dark Horse put out a nice collection of Foster's Tarzan. When you look at Hogarth's earlier Sundays you can see how closely he followed Foster's staging and posing. It took him a while to develop his own style: elongated figures, Michelangelo faces, and extreme poses. Even so in his early days Hogarth often botched the foreshortening, something The National Lampoon poked fun at in one of their comics sections. I learned a lot from Hogarth and still respect his accomplishments on Tarzan, but I'm less fond of him now than I was in the 70s . The fancy Watson-Guptill Tarzan hardback (1972) dulled some of my enthusiasm. The coloring was garish and the figures were too mannered for my taste. Every one looked like an anatomy diagram, and the poses seemed more bizarre than dynamic. But I still keep his anatomy books on my reference shelf.
-
Crash,
Nix nix! Hogarth was influenced by Hal Foster, who preceded him on Tarzan.
While I didn't make that clear, for which I apologise, I didn't argue othewise.
I wrote -
The Artists who set the template for Tarzan illustration were Hal Foster and Burne Hogarth.
The colouring was garish and the figures were too mannered for my taste.
I don't disagree. I would use the term static. Looking at his work can be like looking at a series of paintings rather than reading an energetic action story.
None-the-less, its undeniable that Hogarth has been hugely influential.
Of the artists on the link that I supplied, my preference would be for John Coleman Burroughs and Roy Krenkel - as spot illustration. I don't favour Jesse Marsh - who is not represented here but as you wjill know did a lot of Tarzan, strip and dell and gold key.
https://www.cbr.com/the-art-of-tarzan-celebrating-the-iconic-ape-mans-most-influential-artists/
Cheers!
-
A more direct comparison:
Berdanier:
(https://i.imgur.com/O22Gf2l.jpg)
Hogarth:
(https://i.imgur.com/XAC103d.jpg)
Berdanier seems to focus less on giving detail on Tarzan?s muscles, in contrast to Hogarth giving him a six-pack chest and bumpy ribs, and appears to focus more time on giving backgrounds more detail like with flowers and plants in general, likely as a result of his time drawing landscapes more so than people for paintings. Berdanier does give more detail to Tarzan?s eyes though, including a white dot in the middle so as to convey an iris more. Berdanier also gives Tarzan a more rounded face with a bit of a cleft chin, emphasizes on his dimples, as well as a slightly bulgier nose. Hogarth?s face for Tarzan is relatively less smooth due to giving him more details with the bumps, though has even less of a cleft chin.
Based on that analysis, I think this cover I was particularly interested in identifying was indeed drawn by Berdanier, if only based on him being inspired by Hogarth:
(https://i.imgur.com/IQj00mi.jpg)
-
We are all, to some extent, influenced by what has gone before. Even Joe Kubert's Tarzan was influenced by Hal Foster's.
-
We are all, to some extent, influenced by what has gone before. Even Joe Kubert's Tarzan was influenced by Hal Foster's.
It?s fun trying to see the differences and similarities in art, at least if one knows where to start and look from there. I did some identifications for Charles Coll, Roland Patenaude, and E. C. Stoner on GCD, and I feel pretty confident in them. I was thinking of looking into identifying some of Rolland Livingstone?s art too.
-
Art from Science Comics #6 (July, 1940) I previously attributed to Rolland Livingstone based on his style from Classic Comics:
(https://i.imgur.com/vwBdJGJ.jpg)
(https://i.imgur.com/pSRCs6g.jpg)
Other art from Fox I think is by him:
Fantastic Comics #6 (May, 1940):
(https://i.imgur.com/qMwQxZJ.jpg)
Fantastic Comics #7 (June, 1940):
(https://i.imgur.com/3cHq6Jf.jpg)
Mystery Men Comics #11 (June, 1940):
(https://i.imgur.com/UoCbI3I.jpg)
Science Comics #5 (June, 1940):
(https://i.imgur.com/QENAhiy.jpg)
Mystery Men Comics #12 (July, 1940):
(https://i.imgur.com/FG5LYKc.jpg)
Fantastic Comics #9 (August, 1940):
(https://i.imgur.com/zxq4I7X.jpg)
Science Comics #7 (August, 1940):
(https://i.imgur.com/TiwwfsD.jpg)
Wonderworld Comics #16 (August, 1940):
(https://i.imgur.com/dU2oF7V.jpg)
Mystery Men Comics #14 (September, 1940):
(https://i.imgur.com/zs8gWaA.jpg)
Fantastic Comics #11 (October, 1940):
(https://i.imgur.com/vZqnG9v.jpg)
Fantastic Comics #12 (November, 1940):
(https://i.imgur.com/aiEGoR3.jpg)
Mystery Men Comics #16 (November, 1940):
(https://i.imgur.com/H6ataIR.jpg)
-
I?m inclined to agree on those Rolland Livingstone art id?s, with the possible exception of Captain Savage, Sea Rover in Mystery Men Comics #12 (July, 1940). Or maybe he just inked it with a pen instead of a brush?
https://www.findagrave.com/memorial/95427429/rolland-howard-livingstone
-
I?m inclined to agree on those Rolland Livingstone art id?s, with the possible exception of Captain Savage, Sea Rover in Mystery Men Comics #12 (July, 1940). Or maybe he just inked it with a pen instead of a brush?
https://www.findagrave.com/memorial/95427429/rolland-howard-livingstone
I?m pretty at a loss when it comes to inks, as opposed to pencils. Some may not care for his art out on the dismissal of it being too crude, but there?s still something about it that resonated with me somehow. I noticed that Livingstone also liked to draw the men as burly, somewhat like cavemen, and it carried over into his Classic Comics work, though in a more organized manner. I?d share more here, though I?m not sure to what extent I?m allowed to share Classics Illustrated interiors on here.
-
I?m inclined to agree on those Rolland Livingstone art id?s, with the possible exception of Captain Savage, Sea Rover in Mystery Men Comics #12 (July, 1940). Or maybe he just inked it with a pen instead of a brush?
https://www.findagrave.com/memorial/95427429/rolland-howard-livingstone
I?m pretty at a loss when it comes to inks, as opposed to pencils. Some may not care for his art out on the dismissal of it being too crude, but there?s still something about it that resonated with me somehow. I noticed that Livingstone also liked to draw the men as burly, somewhat like cavemen, and it carried over into his Classic Comics work, though in a more organized manner. I?d share more here, though I?m not sure to what extent I?m allowed to share Classics Illustrated interiors on here.
I would guess that we'd be limited to one single story page at a time to compare artwork with a PD page by the same or another artist. But, we shouldn't end y\up with a full story or near-completed story EVEN if the individual pages of that story are strewn around in several different threads made months apart. But, you should probably ask Mark that question.
-
I?m inclined to agree on those Rolland Livingstone art id?s, with the possible exception of Captain Savage, Sea Rover in Mystery Men Comics #12 (July, 1940). Or maybe he just inked it with a pen instead of a brush?
https://www.findagrave.com/memorial/95427429/rolland-howard-livingstone
I?m pretty at a loss when it comes to inks, as opposed to pencils. Some may not care for his art out on the dismissal of it being too crude, but there?s still something about it that resonated with me somehow. I noticed that Livingstone also liked to draw the men as burly, somewhat like cavemen, and it carried over into his Classic Comics work, though in a more organized manner. I?d share more here, though I?m not sure to what extent I?m allowed to share Classics Illustrated interiors on here.
I would guess that we'd be limited to one single story page at a time to compare artwork with a PD page by the same or another artist. But, we shouldn't end y\up with a full story or near-completed story EVEN if the individual pages of that story are strewn around in several different threads made months apart. But, you should probably ask Mark that question.
Didn?t think to post full pages either. I just thought to post like five small panels for comparison purposes at most, but good idea, I?ll go ask him.
-
I?m inclined to agree on those Rolland Livingstone art id?s, with the possible exception of Captain Savage, Sea Rover in Mystery Men Comics #12 (July, 1940). Or maybe he just inked it with a pen instead of a brush?
https://www.findagrave.com/memorial/95427429/rolland-howard-livingstone
I?m pretty at a loss when it comes to inks, as opposed to pencils. Some may not care for his art out on the dismissal of it being too crude, but there?s still something about it that resonated with me somehow. I noticed that Livingstone also liked to draw the men as burly, somewhat like cavemen, and it carried over into his Classic Comics work, though in a more organized manner. I?d share more here, though I?m not sure to what extent I?m allowed to share Classics Illustrated interiors on here.
I would guess that we'd be limited to one single story page at a time to compare artwork with a PD page by the same or another artist. But, we shouldn't end y\up with a full story or near-completed story EVEN if the individual pages of that story are strewn around in several different threads made months apart. But, you should probably ask Mark that question.
Didn?t think to post full pages either. I just thought to post like five small panels for comparison purposes at most, but good idea, I?ll go ask him.
Five small panels from different non-PD stories, used for comparison analysts, should be no problem at all.
-
I?m inclined to agree on those Rolland Livingstone art id?s, with the possible exception of Captain Savage, Sea Rover in Mystery Men Comics #12 (July, 1940). Or maybe he just inked it with a pen instead of a brush?
https://www.findagrave.com/memorial/95427429/rolland-howard-livingstone
It can be a little tricky since I?m comparing work done at different publishers a few years apart with deadlines potentially different enough to result in different art, so some flexibility can be needed in willingness to believe that there can be difference in rushed art and patiently-made art by the same art. There can still be consistencies though from what a I?ve understood, like how Livingstone tends to draw the faces of female characters being more similar to each other than the men?s faces. I?m definitely willing to believe another artist could have drawn the story, though I wouldn?t be sure what other artist could have drawn Captain Savage more similarly:
(https://i.ibb.co/FsFnrQF/02-EDE29-E-4-E6-C-4-E4-E-998-B-EC970-EA73806.jpg)
(https://i.ibb.co/CVD3C6f/EFD793-FD-6-B70-4-BDE-993-F-C17219104490.jpg)
-
Identifying some of these Golden Age artists can be very difficult because many of them drew in a very generic way, with limited individual characteristics to the work. So, good luck to you.
-
Identifying some of these Golden Age artists can be very difficult because many of them drew in a very generic way, with limited individual characteristics to the work. So, good luck to you.
Thanks. After much of what I?ve seen, of course with some exceptions, I think it can be reasonable to say that artists showed off more interesting art in the late 40s and early 50s than in the 30s and early 40s, not just because of how deadlines are carried out, but also due to some of the best artists getting drafted away for World War II, as well as how the horror and sci-fi boom of the early 50s encouraged much distinctive and ambitious art. I?ve very much come to think that the sci-fi genre tends to encourage interesting art, even if the art is poorly done, probably to due with sci-fi artists like Alex Raymond I suspect.
There?s also the funny animal genre, and in speaking of which, I?ve come to think that these covers from American Comics Group were drawn by Larry Riley. He liked to draw furry animals, at least with cats, as short, a little chubby, and with tufts of fur sticking out from the sides of their face. He also went as far as drawing characters with irises:
(https://i.ibb.co/BszHd6Q/58-C900-A6-C802-4-AC1-92-F2-F451-A7-D09-B17.jpg)
(https://i.ibb.co/qBXWKD4/934-B6-B0-B-CC9-C-4-DCE-A8-B3-F4-E5-F9-D2212-E.jpg)
(https://i.ibb.co/qRw1r2B/4045-B42-E-D7-C0-4-D11-85-E2-61451-C61-D63-C.jpg)
(https://i.ibb.co/vLWg8MB/2-A553248-1-B3-E-41-A4-9692-CF9-E76-C34-C5-F.jpg)
(https://i.ibb.co/py1kB8Z/D11147-E5-D986-454-A-B158-4-AF8811-A5-D25.jpg)
-
Larry Riley also did animation on Ralph Bakshi's Fritz the Cat (1972).
https://www.imdb.com/name/nm0727105/
-
Larry Riley also did some of the basic animation for Douglas Leigh's animated light signs in New York City's Times Square.
-
I agree the draft played a big part in shaping American comic books during the Golden Age. It wasn't just the good artists who were drafted. Plenty of lousy ones were drafted, too. Other artists chose to enlist. The ones who stayed in the industry were mostly those who were too young or too old to be draft eligible, or those with a disability or physical difference that got them categorized 4F. Some examples I've seen include the famous "flat feet," partial deafness, very poor eyesight, and extremely short stature (one 5'1" artist was rejected for being too short).
Some of the more skilled wartime artists were pulp magazine veterans who were too old for the draft and already had experience and training. Harry Parkhurst and Clem Gretta come to mind.
It's also interesting that a handful of drafted artists were assigned to non-combat jobs and managed get in a little moonlighting for the comics.
-
I agree the draft played a big part in shaping American comic books during the Golden Age. It wasn't just the good artists who were drafted. Plenty of lousy ones were drafted, too. Other artists chose to enlist. The ones who stayed in the industry were mostly those who were too young or too old to be draft eligible, or those with a disability or physical difference that got them categorized 4F. Some examples I've seen include the famous "flat feet," partial deafness, very poor eyesight, and extremely short stature (one 5'1" artist was rejected for being too short).
Some of the more skilled wartime artists were pulp magazine veterans who were too old for the draft and already had experience and training. Harry Parkhurst and Clem Gretta come to mind.
It's also interesting that a handful of drafted artists were assigned to non-combat jobs and managed get in a little moonlighting for the comics.
Stan Lee, Bob Clampett, and many of the Disney artists were in service informational magazine/pamphlet-producing units.
-
I have often thought that its often overlooked that the 'Silver Age' of US comic books was spearheaded by many who had done Military service, and who generally were older and often married men and women.
The invasion of those who were younger and who were originally fans, came later.
-
John Walworth:
Unsigned:
(https://i.ibb.co/2jh3GgT/0-B0-C7-C59-EED7-4-AF9-9-F4-A-4-E3649065691.jpg)
Signed:
(https://i.ibb.co/FDXJWYQ/FA589-DA9-08-A6-4-BC6-BD58-BFA331-D31-D8-E.jpg)
(https://i.ibb.co/f8PLBdh/5-EECB0-A3-9114-4179-98-D4-3-F6-C61-E03-FDD.jpg)
-
Another unsigned pre-46 ACG cover, which I think was drawn by Dan Gordon. The incisors on the cat, bent up nose on the mouse, and expressive faces point to Gordon, though the top of the cat?s head seems a little too small:
(https://i.ibb.co/SBjMhv5/D02-AFE9-E-EBB6-4134-84-FC-0-F10-F53-B1-BC0.jpg)
-
Another unsigned pre-46 ACG cover, which I think was drawn by Dan Gordon. The incisors on the cat, bent up nose on the mouse, and expressive faces point to Gordon, though The top of the cat?s head seems a little too small:
(https://i.ibb.co/SBjMhv5/D02-AFE9-E-EBB6-4134-84-FC-0-F10-F53-B1-BC0.jpg)
I'm not convinced this is Dan Gordon. Neither the cat nor the mouse look like his cats (Superkatt, Puss from "Puss & Boots"), or his mice.
-
Another unsigned pre-46 ACG cover, which I think was drawn by Dan Gordon. The incisors on the cat, bent up nose on the mouse, and expressive faces point to Gordon, though The top of the cat?s head seems a little too small:
I'm not convinced this is Dan Gordon. Neither the cat nor the mouse look like his cats (Superkatt, Puss from "Puss & Boots"), or his mice.
It?s strange, because to me it looked like it was using Dan Gordon elements while lacking as such in others. I can?t think of another artist that fits better though.
-
Another Larry Riley cover:
(https://i.ibb.co/7VP0bhH/D9-AD3-A34-9401-4-D4-E-9-B50-63-A81-C7-E94-AF.jpg)
Goofy Comics #2:
(https://i.ibb.co/2v1zXgp/910278-F3-B1-F5-4-D73-BD22-7259211-F2-F38.jpg)
(https://i.ibb.co/z2mdC0g/2-EDD0-C54-7-C79-4-A5-E-8198-499552-FA67-E7.jpg)
-
Another Larry Riley cover:
(https://i.ibb.co/7VP0bhH/D9-AD3-A34-9401-4-D4-E-9-B50-63-A81-C7-E94-AF.jpg)
Goofy Comics #2:
(https://i.ibb.co/2v1zXgp/910278-F3-B1-F5-4-D73-BD22-7259211-F2-F38.jpg)
Great cover! I hope Conan gives us an extra Christmas present, with an upload of the next installment of 10 mint Ha Ha Comics (roughly 59-70).
-
It appears that Blue Beetle (and evidently Jungol) artist Louis Golden and his signatures were mistaken to be animator Tom Golden, as the signatures using ?R. L. Golden,? as in Robert Louis Golden, resemble the signature in Jungol more.
Jungol:
(https://i.ibb.co/xG6krz0/5-D5895-BF-5-EAC-4065-972-F-3770-D7-CD0-E4-C.jpg)
Louis Golden:
(https://i.ibb.co/tCYWMqG/B179-EC37-6281-409-B-B922-7-C27-E8-AF4319.jpg)
(https://i.ibb.co/ZWctP8G/D0290-FB1-EAC4-48-FE-89-D1-5491-D68-D0-AE5.jpg)
Tom Golden:
(https://i.ibb.co/vmPs3P4/DDAA1-F76-1-F3-F-42-D3-BAF6-AC9688-C150-A8.jpg)
(https://i.ibb.co/gJZqGZs/A595817-E-1-F06-4-B47-B892-7-CE857-A8-E62-B.jpg)
-
I'm not sure. The Jungol signature seems to read: "ART--T. Golden," which is similar to the other "T. Golden" sigs. The shape of the "G" is consistent in these samples even when the "T" is not.
-
I'm not sure. The Jungol signature seems to read: "ART--T. Golden," which is similar to the other "T. Golden" sigs. The shape of the "G" is consistent in these samples even when the "T" is not.
Might as well shownthe signatures I gathered altogether:
Jungol:
(https://i.ibb.co/sb0vrxg/8-F14-E31-D-F449-4-AF3-9024-C5-C24-DA65-A31.jpg)
Tom Golden:
(https://i.ibb.co/Px6hnyD/4-C3-A05-D5-5-EF3-412-F-8-A9-E-B379167-EBEE6.jpg)
Louis Golden:
(https://i.ibb.co/wSWWSsY/ADCA3608-2-C52-4-F1-F-9-F04-3-EC20-A19-FC0-D.jpg)
I do think that Tom writes the ?G? similarly to how Louis writes it. Two main differences I noticed though is that Tom usually writes it standing straight-up, even when stylized as completely closed, while Louis tends to ?squish? the ?G? into an oval and slightly tilt it sideways. The other difference is that Tom never really leaves anything inside the ?G,? while Louis usually leaves a little bit of line inside, at least when there?s enough room. Basically, Tom is ?tidier? with the ?G? than Louis.
-
What I?m pretty sure is Frank Frazetta?s art from Monkeyshines Comics #19
(March 1948):
(https://box01.comicbookplus.com/viewer/26/2695e69ada9ecfe17c0ed5737f8c29bb/22.jpg)
(https://box01.comicbookplus.com/viewer/26/2695e69ada9ecfe17c0ed5737f8c29bb/25.jpg)
The duck, dog, and pig characters from Frazetta?s signed work in Barnyard Comics #19 (August, 1948):
(https://box01.comicbookplus.com/viewer/cf/cfdb3ccad3b436beabccf96e0d95f9c3/3.jpg)
(https://box01.comicbookplus.com/viewer/cf/cfdb3ccad3b436beabccf96e0d95f9c3/9.jpg)
-
What I?m pretty sure is Frank Frazetta?s art from Monkeyshines Comics #19
(March 1948):
(https://box01.comicbookplus.com/viewer/26/2695e69ada9ecfe17c0ed5737f8c29bb/22.jpg)
(https://box01.comicbookplus.com/viewer/26/2695e69ada9ecfe17c0ed5737f8c29bb/25.jpg)
The duck, dog, and pig characters from Frazetta?s signed work in Barnyard Comics #19 (August, 1948):
(https://box01.comicbookplus.com/viewer/cf/cfdb3ccad3b436beabccf96e0d95f9c3/3.jpg)
(https://box01.comicbookplus.com/viewer/cf/cfdb3ccad3b436beabccf96e0d95f9c3/9.jpg)
Yes, the two examples look reasonably similar. Upon first glance, I thought your theory was correct - that those characters looked too much like Frazetta's to be a coincidence. I didn't know that he worked for Ace at all. I wondered if this was when he was with Sangor, or that he worked (moonlighted) for another studio during his Sangor period? Ace got their artwork from a variety of New York comics studios: Jason, Baily, Cartoon Art, Ferstadt, and Fago (essentially ALL BUT Sangor). So, maybe Frazetta moonlighted for one of the others while he was still with Sangor. But, looking again, carefully, I rather think that someone simply copied Frazetta's style (perhaps an artist who hadn't drawn funny animals before (only human characters). And rather than spend time trying to develop a new style, he would just copy one that had worked well, and was to his liking. It just doesn't have the sparkle and life that Frazetta's work has, and the backgrounds are much less detailed. Also, Alberto Becattini's book mentions that an unknown artist copied Frazetta's style to draw that one story. So Frazetta may have been asked if he drew that and said that he had not.
-
Yes, the two examples look reasonably similar. Upon first glance, I thought your theory was correct - that those characters looked too much like Frazetta's to be a coincidence. I didn't know that he worked for Ace at all. I wondered if this was when he was with Sangor, or that he worked (moonlighted) for another studio during his Sangor period? Ace got their artwork from a variety of New York comics studios: Jason, Baily, Cartoon Art, Ferstadt, and Fago (essentially ALL BUT Sangor). So, maybe Frazetta moonlighted for one of the others while he was still with Sangor. But, looking again, carefully, I rather think that someone simply copied Frazetta's style (perhaps an artist who hadn't drawn funny animals before (only human characters). And rather than spend time trying to develop a new style, he would just copy one that had worked well, and was to his liking. It just doesn't have the sparkle and life that Frazetta's work has, and the backgrounds are much less detailed. Also, Alberto Becattini's book mentions that an unknown artist copied Frazetta's style to draw that one story. So Frazetta may have been asked if he drew that and said that he had not.
Interesting. Thanks for the info.
-
The *Smith* from Goofy Comics #2 (September, 1943), whom Ive seen suggested to be Frank Smith, Paul Smith, or Hank Smith. I suspect it might be the *E. Smith* from Complete Book of Comics and Funnies, possibly Edward Smith, whom worked as an animator for 1939s Gullivers Travels alongside Frank Smith, but I dont have access to a copy for comparison.
(https://box01.comicbookplus.com/viewer/4e/4ea60442ca97763bf15175a201dde42b/8.jpg)
-
Prize art Im pretty sure was drawn by Gil Kane (Headline Comics #20-22, 1946):
(https://i.ibb.co/M80RDGx/56-F0-C723-AEA9-4-E8-A-BEA4-95-F5-B057-B99-F.jpg)
(https://i.ibb.co/dsTCkcr/4-FC082-B8-E47-D-40-C7-8638-BBD8-E86-B3876.jpg)
(https://i.ibb.co/brfBpZy/C069-B4-F9-8718-4337-9-C0-D-89404-C741008.jpg)
(https://i.ibb.co/Gx062NJ/F77771-EB-DD72-452-D-A147-489-BB277-D157.jpg)
(https://i.ibb.co/mH8PHGz/62169-BAD-D45-E-47-EA-9-F7-D-6-E5942666461.jpg)
(https://i.ibb.co/SrF9m3V/1-D7-FA4-FE-F2-D1-4-D48-B5-AD-FA003-F081-EF6.jpg)
Cover I get the feeling was drawn by Kane, but am not as sure:
(https://i.ibb.co/R4v5P6X/033-D5-CD5-99-C3-48-FB-AE80-595-F0-AEF5-D78.jpg)
-
Prize art I'm pretty sure was drawn by Gil Kane (Headline Comics #20-22, 1946):
Well identified. I would think you are quite right.
-
Gil Kane swiped the Atomic Man figure from Headline Comics V2#9 (#21, September-October 1946, Prize) from Jack Kirby?s Manhunter splash in ?Beware of Mr. Meek? from Adventure Comics #75 (June 1942, DC)..
Gil Kane was 19 or 20 when he did these pieces and heavily influenced by Jack Kirby.
-
I believe he remained heavily influenced by Jack Kirby.
-
Yes. One con see the influence of Jack Kirby, Reed Crandall, and Lou Fine on Gil Kane?s art throughout his career. Kirby?s influence is especially evident in the fight scenes. When Green Lantern hit someone, the victim is sent flying backwards off the page!
-
Prize art I'm pretty sure was drawn by Gil Kane (Headline Comics #20-22, 1946):
Well identified. I would think you are quite right.
Thanks! I felt that the art was consistent with Kanes Wildcat art from Sensation Comics #70-72 (1947). Kanes art, at least from the mid-1940s, can be identified by his tall and burly characters with lanky arms and the antihelix of the ear drawn as a crescent shape. I also got to better familiarize myself with Charles Voight, August Froehlich, and Munson Paddock while looking through the Prize art, making GCD corrections where I felt I was confident enough while using signed art to back the attributions up.
-
It's a learned skill, isn't it? And its not always easy, you are often comparing early work with more refined and mature work and also in many cases there is an inker who distorts the pencilled work and who is also hard to identify.
But you are doing great.
Cheers!
-
It's a learned skill, isn't it? And its not always easy, you are often comparing early work with more refined and mature work and also in many cases there is an inker who distorts the pencilled work and who is also hard to identify.
But you are doing great.
Cheers!
Once you know what to look for, like with identifying faces and recurring visuals, and the ears in particular, then it tends to get easier in more things coming together in the identification from there. I remember looking at The Magnificent Epod from Triple Threat Comics earlier last year and not being able to tell the difference between August Froehlich and Charles Voight. And it wasnt until later I noticed that Froehlich tends to draw a sideways *L* inside the ears, while Voight draws a *J*, that it started to come together more for me that it was Froehlich.
(https://box01.comicbookplus.com/viewer/ff/ffea42b3fe047202607ea56e04839747/40.jpg)
Headline Comics #14:
(https://box01.comicbookplus.com/viewer/d2/d2f139b276a5341c14c0e511eea0f1b5/12.jpg)
-
Re; The Junior Rangers splash on page 4 signed "BEKAY"
I admit it it looks like Gil Kane pencils, but the signature leads me to suspect it was inked by Bernard Krigstein (BK).
-
Re; The Junior Rangers splash on page 4 signed "BEKAY"
I admit it it looks like Gil Kane pencils, but the signature leads me to suspect it was inked by Bernard Krigstein (BK).
Wouldnt doubt that Kane worked with Krigstein at least once, similar to how Kane used PEN STAR with Pen Shumaker, yeah.
-
Yank and Doodle art I?ve helped identify:
Maurice Del Bourgo (Prize 39):
(https://box01.comicbookplus.com/viewer/4f/4f2ecaaf115cbf136545e06b6e19a9db/2.jpg)
Jack Alderman (Prize 54):
(https://box01.comicbookplus.com/viewer/1f/1fdab126261cfa4287819e09aedf2650/27.jpg)
August Froehlich (Prize 58):
(https://box01.comicbookplus.com/viewer/7d/7ddedad6d7b269fb524f2f862667b957/25.jpg)
Gil Kane (Prize 59):
(https://box01.comicbookplus.com/viewer/33/338a70e872aef91b4ee3f32f3df6863c/40.jpg)
Ann Brewster (Prize 67):
(https://box01.comicbookplus.com/viewer/40/400f39e4898d201a2721f884a41c78de/40.jpg)
-
Seems that the Edward Poucher listed as drawing for features like Man O?Metal, Silver Streak, and the Shadow is the Edward Adolph Poucher born in 1882. I haven?t seen any specific comic stories attributed to him, though there is his work from the 1910s and 1920s which perhaps could be used for comparison, including from St. Nicholas, Collier's, and the Ladies' Home Journal:
http://www.americanartarchives.com/poucher.htm
-
I have to wonder if there are in fact, two signatures there. The script for the one above is almost perpendicular, straight up and down. The one below is a script that slants noticeably to the right. That's quite unusual for a signature.
I don't think the top one reads, 'Bob' It may be a surname.
-
I have identified the artists for all but 2 stories in The unnumbered ACG/LaSalle 1945 130-Page Merry-Go-Round Giant Comic. Those 2 stories are Oscar, The Ugly Duckling, and Mortimer Mutt. I'm placing 2 pages from each story here to see if anyone can identify those 2 artists for me. First, Mortimer Mutt:
(https://i.ibb.co/10q5Jwc/Mortimer-Mutt-artist.jpg)
(https://i.ibb.co/6F1gdY1/Mortimer-Mutt-2-Artist.jpg)
-
Now the 2 Oscar, The Ugly Duckling pages:
(https://i.ibb.co/Y3WVsx4/Oscar-The-Ugly-Duckling-Artist.jpg)
(https://i.ibb.co/Q87jsY1/Oscar-The-Ugly-Duckling-2-Artist.jpg)
Any ideas? The were both working for Sangor Studios in late 1944 when they did this work. The Mortimer Mutt artist's drawing style is quite unique, and should be easily recognisable. It looks a bit like Carl Wessler's style, but doesn't have any signiture with his name or any of his aliases, or, indeed, ANY signature or initials. I don't think Wessler would have allowed that, considering he had made a signature deal with Sangor. The Oscar artist's style is very common among Sangor's artists, and so, should be a lot more difficult to discern the likely artist.
-
As far as I can tell, Walter Frehm drew the Green Mask (Michael Shelby) stories in Mystery Men Comics #1 (Aug. 1939) to Mystery Men Comics #9 (April 1940). The Walter Frame byline continues to be used, but none of the art looks like Walter Frehm to my eyes.
*****
Unlike most of the other pen names/pseudonyms appearing in Fox Publications, I am inclined to suspect Jack Fiske, who wrote the Green Mask (Johnny Green) stories in 1945, was a real person.
https://boxrec.com/media/index.php/Jack_Fiske
I also suspect Fiske wrote the One-Round Hogan stories attributed to Jo Logan (byline).
Jacob Finkelstein was born on July 15, 1917, his father, Charles, was 36 and his mother, Grace, was 28. In 1940, at the time of the census, he was 22 years old and lived at 1929 50th Street, New York City, Kings County, New York, with his father, mother, brother, and 2 sisters. ?Ancestry.com, April 02, 2012
-
RODNEY THOMSON
This topic spins off from the Reading Group discussion of Detective Picture Stories #4. The Australian Panther provided strong evidence that Rodney Thomson, who drew the centerspread, was the same person as a magazine illustrator and printmaker who favored wildlife and Western themes. Though Internet info on Thomson proved scant, here's a brief sketch of his career compiled from the Panther's and my own research.
RODNEY F. THOMSON (1878-1941)
American visual artist Born in San Francisco. As a young man, he prospected for gold in California. He later studied art in San Francisco. He moved to New York in 1906, where he worked as an illustrator for magazines including Life, Puck, and Vanity Fair.
The earliest illustration I could find is from Life magazine. It dates from 1913 and ridicules suffragettes.
(http://santacruz.indymedia.org/usermedia/image/3/large/devil.jpg)
(Note: Orson Lowell was a well-known pen-and-ink illustrator from whom Thomson swiped the classical heads.)
About the same time he drew this cartoon, apparently from Puck.
(https://www.archelaus-cards.com/store/archives/images/1913-02-06.gif)
In 1915-1917 Thomson illustrated two or three (?) books for New York publishers. I found one online, Battleground Adventures edited by Clifton Johnston (Houghton Mifflin 1915). He did many fine illustrations for this book. Most of them are available in large size at Wikimedia Commons. Here's a sample:
(https://upload.wikimedia.org/wikipedia/commons/f/f4/The_sharpshooter_after_the_battle%2C_by_Rodney_Thomson.jpg)
One art dealer says, "[Thomson] illustrated many Children's and Young Adults' books including The Texas Flag Primer, The Open Road to Reading - Fifth Reader, The Field Fourth Reader, and my Indian Boyhood by Luther Standing Bear."
Here is a fine illustration from 1920:
(https://photos1.blogger.com/blogger/8043/614/1600/Toil%20not.0.jpg)
Thomson is best known today for his drypoints. He exhibited them at the Chicago Society of Etchers in 1928. The subjects were primarily wildlife and scenes from the American West. Here's an example:
(https://s3.amazonaws.com/assets.saam.media/files/styles/x_large/s3/files/images/1935/SAAM-1935.13.346_1.jpg?itok=2mBgYueq)
Thomson exhibited a painting in a big show at the 1932 Los Angeles Olympics It was titled "Hurdles." I haven't found a reproduction.
In 1935 the Chicago Society of Etchers donated five Thomson prints to the Smithsonian American Art Museum. The link below shows all five. Click a thumbnail to go to that print's page. Then click on the picture there to see a beautiful (downloadable) high-resolution version.
https://americanart.si.edu/artist/rodney-thomson-4797
In or about 1937 Thomson drew the centerspread for Detective Picture Stories #4.
Rodney Thomson died in 1941.
I saved the best for last: a remarkable piece from circa 1915, "The Enlightenment Machine." Heritage sold the original last year for $1560. Satan, wearing his If the Devil Could Talk outfit, sits at a typewriter with authors and artists instead of keys, causing them churn out "vulgar songs," "filthy plays," and "suggestive pictures."
(https://upload.wikimedia.org/wikipedia/commons/c/c5/The_Enlightenment_Machine_%28Thomson%29.jpg)
There is a delicious irony here because about the same time Thomson drew this department header. Not only does it feature a gratuitously bare-breasted maiden, it was drawn for Vanity Fair, a lifestyle magazine (1913-1937) which celebrated the very music, literature, and fashions the cartoon decries.
(https://dyn1.heritagestatic.com/lf?set=path%5B1%2F7%2F3%2F1%2F8%2F17318171%5D&call=url%5Bfile%3Aproduct.chain%5D)
It still annoys me that Thomson's illustration signature and his comic book signature are so different. But I note that Thomson used different illustration signatures at different times. I guess he was just a guy who liked to change his signature occasionally.
In the Reading Group I speculated that Thomson may have drawn the Detective Picture Stories text story illustration using a different style. After looking at so many Thomson illustrations I think this is pretty unlikely. Also the more I peer at the artist's initials the more they look like "RA" rather than "RT." It also appears that the date reads "31," not as I previously thought, "37" with a European-style crossed "7."
-
When I started this post I still a question mark about it.
I note that the Signature of 'Edge of prosperity' the one on the Western Illo and the one on 'they toil not, neither do they spin' are all different and the art styles on these are also quite different. Obviously a very versatile guy. The first letter on Radio Car Patrol, for mine, looks just like a stylized T. Just looked at it through a magnifying glass. Yep, a stylized T.
https://comicbookplus.com/?dlid=76355
Been looking around for a few minutes.
Oh boy! Sometimes you [Plural] can't see the wood for the trees.
The contents page clearly reads.
Drawn especially for this magazine by Rodney Thompson.
But that's not all folks!
Right at the bottom we read:- Cover by Rodney Thompson!!!
That seals it for me!
Cheers!
-
I am staggered. I blush with shame. I cannot believe I missed that cover credit line. Back to the optometrist.
-
And Crash, Thanks for the research and those lovely illustrations.
-
Here's an interesting find. The Buster Brown Shoe Company (one of the bigger players in Children's shoes in USA during most of The 20th Century) published a few series of giveaway comic books for entertainment for them, and, especially their siblings, while the sales people were fitting one of the parent customers' kids, from the late 1940s through the 1950s. I liked a lot of the artwork in their giveaway comics, but never really noticed the artwork of any of the artists whose work I would readily recognise, until now. This first page of the short-lived series, "My Dog Tige", featuring both Buster, and, especially, his dog, caught my eye, as being drawn in 1957, too much in the style of ex-Disney animator, Al Hubbard, who first worked on comic books for Ben Sangor's Studio on stories for Sangor's ACG comics and Better/Nedor/Standard Comics, owned by his son-in-law, Ned Pines (from 1943 to 1951), and then, for Western Publishing (Dell Comics) (from 1950-1977). As Western, in addition to producing comic books for Dell, also produced promotional giveaway books for several different companies, including The Brown Shoe Company, I assume the following page (and remainder of its book) were, indeed, drawn by Hubbard. Those of you who know Hubbard's work, please comment as to whether or not you agree with me that it must have been drawn by Hubbard:
(https://i.ibb.co/8DP7mTF/Buster-Brown-s-Dog-Tige-By-Al-Hubbard.jpg)
-
Robb,
I think you are absolutely right.
The panel edges, The expression on the dog, particularly panel 1 and panel 7, and the lettering, all say Hubbard!
-
The bulk [all?] of The Flame stories between Wonderworld Comics #12 (Apr 1940) and Wonderworld Comics #22 (Feb 1941, Fox) are drawn by Charles A. Winter (2 October 1896 - 27 June 1967). Charles A. Winter is probably best known for the Liberty Belle stories he drew for DC Comics.
https://www.pulpartists.com/Winter,CA2.html
-
Tentative Ann Brewster art credit from Jim Vadeboncoeur Jr. on Buck Sanders and his Pals in Prize Comics v3#5 (29, Mar 1943). If this is correct (and I believe it is) then Ann Brewster drew all the Buck Sanders stories in Prize Comics v2#12 (24, Oct 1942) through Prize Comics v3#8 (32, Jul 1943), including the story in Headline Comics v1#1 (1, Feb 1943).
https://www.pulpartists.com/Brewster.html
-
Here are some pages drawn by Dearfield Publishing's artists after Art Director (and main artist) Harvey Eisenberg, and Editor, Joe Barbera left the company in 1949:
Li'l Tinker, by Bill Newton:
(https://i.ibb.co/sWWtcdF/3-D-Funny-Movies1-Li-l-Tinker1-copy.jpg)
Pete&Tweet by Stan Louis:
(https://i.ibb.co/KFmfLVh/3-D-Funny-Movies1-Pete-Tweet1-copy.jpg)
Red Rabbit by Etta Parks:
(https://i.ibb.co/GMbyT2H/Red-Rabbit19-Red-Rabbit1.jpg)
-
SAUL ROBBINS. Artist: Cappy Can in Shadow Comics V1 #7-8 (Nov 1940-Jan1941, Street & Smith). –Jerry Bails, The Who’s Who of American Comics Books, 1975
https://www.comics.org/credit/name/Saul%20Robbins/sort/chrono/
Saul Robbins Obituary
Mr. Saul Robbins, 88, of Verona, N.J., died Sunday, June 13, 2010, at home. Services will be held Wednesday, June 16, at 9:30 a.m. in the Bernheim-Apter-Kreitzman Suburban Funeral Chapel, 68 Old Short Hills Rd., Livingston, N.J. Born in Brooklyn [on February 16, 1922],, Mr. Robbins lived in Linden, N.J., and then West Orange, N.J., before moving to Verona over 20 years ago. Prior to retiring in 1971, Mr. Robbins had co-founded the Remco Toy Company with his cousin, Isaac Heller [July 23, 1926 – March 7, 2015[, in Newark, N.J., back in 1949. The business was later located in Harrison, N.J. A graduate of Rutgers University in Newark, Mr. Robbins had served in the U.S. Army during World War II. He was a past president of the Toy Manufacturers Association of America and the YM-YWHA of Metrowest. He also had been a founder of the original Occupational Center in Orange and the Albert Einstein College of Medicine. He was the beloved husband of Ruth (nee Fern); the devoted father of Ralph and Dr. Marcia R. Wilf; the dear brother of Sylvia Gindin; the cherished grandfather of three and great-grandfather of five. Contributions may be made to your favorite charity. Published by The Star-Ledger on Jun. 15, 2010.
https://obits.nj.com/us/obituaries/starledger/name/saul-robbins-obituary?id=24638417&_gl=1*1l5flyz*_gcl_au*ODA1MzM5NjM2LjE3MDc4MzM0OTQ
-
Nice find, Mopee. Saul Robbins was a fairly obscure comic book artist. I knew of him only for his few Street & Smith funny animal stories, and I think he also drew a few stories for one of the New York comic book production studios. Surprising to find out that he was co-founder of RemCo Toy Co., which any boy growing up in USA or Canada during the 1950s would know very well. Here's Page 1 from his Cappy Can story in The Shadow #8:
(https://i.ibb.co/nD218c7/Cappy-Can-2-1.jpg)