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[The Australian Panther]

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.

[Electricmastro]

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:

[mopee167]

Larry Riley also did animation on Ralph Bakshi's Fritz the Cat (1972).

https://www.imdb.com/name/nm0727105/

[mopee167]

Larry Riley also did some of the basic animation for Douglas Leigh's animated light signs in New York City's Times Square.

[crashryan]

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.

[Robb_K]

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.

[The Australian Panther]

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.       

[Electricmastro]

John Walworth:

Unsigned:



Signed:

[Electricmastro]

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:

[Robb_K]

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.

[Electricmastro]

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.

[Electricmastro]

Another Larry Riley cover:



Goofy Comics #2:

[Robb_K]

Another Larry Riley cover:



Goofy Comics #2:

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).

[Electricmastro]

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:



Louis Golden:





Tom Golden:

[crashryan]

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.

[Electricmastro]

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:



Tom Golden:



Louis Golden:



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.

[Electricmastro]

What I?m pretty sure is Frank Frazetta?s art from Monkeyshines Comics #19
(March 1948):





The duck, dog, and pig characters from Frazetta?s signed work in Barnyard Comics #19 (August, 1948):

[Robb_K]

What I?m pretty sure is Frank Frazetta?s art from Monkeyshines Comics #19
(March 1948):





The duck, dog, and pig characters from Frazetta?s signed work in Barnyard Comics #19 (August, 1948):



 

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.

[Electricmastro]

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.

[Electricmastro]

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.

[Electricmastro]

Prize art Im pretty sure was drawn by Gil Kane (Headline Comics #20-22, 1946):













Cover I get the feeling was drawn by Kane, but am not as sure:

[The Australian Panther]

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.   

[mopee167]

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.

[The Australian Panther]

I believe he remained heavily influenced by Jack Kirby.

[mopee167]

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!