Thursday, November 15, 2018

Sunday with the Chicago Examiner

of the 
Chicago Examiner
July 24, 1910

Friday, November 9, 2018

A Crowded Life in Comics – Bob Lubbers

A special drawing by Bob Lubbers following the ExpoCartoon festival
 in Rome, Italy, 1998, that honored him with the Yellow Kid Award.
“When In Rome…”

By Rick Marschall

I have attended the comics festivals in Lucca since 1978 (and, in fact, those in Rome, ExpoCartoon; and Angouleme, Prague, and elsewhere – and the American rep, at one time or another, for Lucca, Angouleme, and Rome) and the friendships I made at those salons is precious to me. The cartoonists, scholars, and fans who attend these have yielded some of the closest friendships I have formed over the crowded years.

There will be stories from each, but one of the most special was ExpoCartoon, a complicated offshoot of Lucca, in 1998. I took each of my children, separately through the years, to one symposium or another, and that year it was my eldest daughter Heather.

She has said she was surprised at the tomfoolery among the otherwise august and dignified scholars from around the world. Gulio Cesare Cuccolini from Bologna was representative – clipped beard, Saville Row suits, a pedant. When we got together aside from roundtables and speakers’ lecterns, we could be the Katzenjammer Kids. That year (excuse me if I forget some of the guilty parties) but Carlo Chendi. Luca Boschi, Feliciano Rovai, Bartolo Bartolomei, Andrea Felice, Alberto Beccatini, and a few others – just to name the Italians! – were pranksters in our free time.

Hey… it’s comics. One thing I did to crack Heather up was, during some evening’s award presentations, or something, I was lined up before the stage, a few feet in front of the first row, where Heather sat next to her new best friend Bob Lubbers (who I shall get to in a moment). On the back of every page of the papers I was supposed to be looking at I wrote words of a continuing nonsense-message to her. She could see it, but people in the back of the room and balcony could not. I am sure they wondered, however, why that American college student was laughing like crazy all evening.
We arrived in Rome a couple days early because I was to serve on the awards jury and I had to go through submissions from around the world. Bob Lubbers was a special American guest. He was given two tickets but his wife could not make the trip; he invited a lifelong friend and neighbor from Long Island whose name I forget right now.

Al Capp and Bob Lubbers, 30 May 1954
None of those three had been to Rome before. And there they were. Strangers in a strange city with two days to kill. So they decided between themselves to be accidental tourists, armed with maps, curiosity, and a bit of confidence.

Success! The teenaged college girl and two white-haired gents conquered the Eternal City. They visited monuments, got lost, tasted snacks, had great meals… and even found their way back each evening.

A few days later, during the conference, I encountered Bob Lubbers leaving out hotel to walk the few blocks to the Fiera di Roma, where the salon was held and which I was leaving for a break. He “had to tell me” while he had the chance what a fine daughter I had, mature and funny and kind. Of course I was prouder than any other things that week could have made me, even the outrageous practical jokes with my Italian friends.

Bob Lubbers received the Yellow Kid Award (which was a “fix,” but surprised him) and that evening I asked him if he would draw a sketch – maybe of his three famous “girls,” Daisy Mae, Long Sam, and Robin Malone – for me. He demurred, assuring me that he would send something to me after he got home.

This color sketch of those famous characters, in Rome, with a nice inscription, arrived in the mail soon thereafter. A treasure.

The sentiments he offered about my daughter on Rome’s shady streets, and the compliments in the inscription, could be said about Bob Lubbers – dignified, sincere, friendly… and one of the great talents of the comic-strip field.


Tuesday, November 6, 2018

Monday, November 5, 2018

The Journal Kinetoscope

The Lady And The Mouse
by Carl Anderson

New York Journal


Taken At The Rate of A Million A Minute

The Journal Kinetoscope

Sept 5, 1897



Sunday, November 4, 2018

A Crowded Life in Comics – National Cartoonists Society

Rick Marschall

My One Evening As the NCS Attorney



            Another anniversary just passed. For me, anyway; my personal Crowded Life. October 25 was my parents’ birthday and will always be tattooed on my “brain.” This year I flew to New York City on Oct 25 to deliver a speech to the Theodore Roosevelt Association’s annual symposium. The next evening, on TR’s birthday, the keynote banquet speaker was Conan O’Brien, Harvard history grad and enthusiastic Theodore Roosevelt acolyte – a true Ted-Head – whom I had been helping over the past couple months with research and images. For this little work he called me “the brilliant Rick Marschall” in his speech.

Rick Marschall & Conan O'Brien, TRA Symposium
We all know that comedians like Conan are always kidding, and historians like me are always desperate for attention, hence this shameless self-promotion. I returned from New York with a deadly head cold, but actually I think it was a swelled head. Hashtag-Confession-Is-Good-For-The-Soul.

Back to the past. October 25 will always be preeminent in my mind because it was the date, in 1961, of the first National Cartoonists Society meeting I attended. I was 12, and Al Smith invited me. He was the artist of Mutt and Jeff, lived in Demarest NJ, the next town from ours, and briefly attended our Lutheran church. I always suspected that he was chased away by the pastor’s requests for drawings for church publications and posters, but anyways he introduced the young cartooning nut, me, to the legendary cartoonist in the fullness of time.

I subsequently visited Al enough times, seeking drawing tips and peppering him with questions about comics history, that he was convinced I was some sort of true-blue aspirant, or little freak, or something in-between, safe enough to be exposed to the pros. Or vice-versa.

He picked me up early in the afternoon because, as NCS Treasurer, his attendance was required at the Board meeting before drinks and dinner. The monthly meeting was as big as any other chapters’ around the country, because New York, New Jersey, Connecticut, and Long Island was still the nexus of American cartooning. The meetings were held in the Lambs Club, ancient and old-world elegant clubhouse of the legendary actors’ association. Wood-paneled rooms, overstuffed leather chairs, and cigar smoke presented me a picture of Heaven; several old actors (I believe I spotted Brian Aherne) snoozed in easy chairs and corner sofas.

Al Hirschfeld, Algonquin Round Table
The Lambs dignified clubhouse is on East 44th Street – and in a pleasant coincidence, the Harvard Club is on the same block, and that where the Theodore Roosevelt Association met, and I delivered my speech almost exactly 57 (gulp) years later. The Algonquin Hotel and Restaurant – home to many celebrities in ages past, and bon mots first uttered at the Round Table – and I lunched there last week too, a matter of obeisance. Holy ground, West 44th Street.

Al Smith took me up to a meeting room in an otherwise dark upper floor, and one by one Board members filtered in. Emerging from the darkness was a white head with absurdly large ears and a large cigar to match. I knew it was Rube Goldberg and I felt in the presence of royalty. He was kind enough to engage me in conversation, and spontaneously invited me to visit his studio off Central Park, when and if (as if not!) I could make it back to Manhattan. Before the evening was over, he asked for my address, if (as if not!) I would like an original drawing. Before the week was out I received an inscribed Inventions and Mike and Ike from the ‘teens.

One of the agenda items for the Board meeting was to meet, or vet, a new legal representative for the NCS. He never showed, so for the remainder of the Board meeting, and the entire dinner and program downstairs, I repeatedly was introduced as the New Lawyer. I sat on the dais for the dinner, between Al Smith and Dik Browne. I watched Dik, later a great friend who attended my wedding, for clues on dinner etiquette… but eventually noticed he didn’t touch his food. I gobbled my salad, and don’t remember whether he actually ate or not.

Bill Holman
          Bill Holman was president, or anyway presided, as only he could – yes, everything you would imagine from him was delivered. He actually asked me to the microphone; I answered some questions; and I demurred when invited to say something on my own. Believe it or not I had anticipated this crazy eventuality, and prepared some lame joke about a missing cocktail at the bar, and guessing that “Bob Dunn it,” and I thank God that my tongue hath cleaveth to the roof of my mouth in such moments.

Meetings in those days – I wound up attending a fair number of meetings till I went off to college, the guest of Al, again, and Harry Hershfield, Vern Greene, and others – featured “Shop Talks,” which were panel discussions rather sophisticated. Business and tax topics, cartoon history, interviews, were fodder of the excellent sessions. I think Jerry Robinson conducted them; and I think Stan Lynde was the guest that evening.

Many cartoonists were stewed to the gills, a rite of passage in those days. I somehow knew that would be the case (hence my prepared Bob Dunn pun). I was unable to have a rational conversation with Walt Kelly, for instance, despite hopes to engage him about T S Sullivant (what a ridiculous scene, actually); on the other hand I was an impromptu audience for one of the funniest men I ever met, Al Kilgore.

I met Mell Lazarus and Mort Walker and Jay Irving and Irwin Hasen and Allen Saunders and legends like Frank Fogarty and editorial and sports cartoonists I admired. And – as much of a legend as Rube – the iconic cartoonist, illustrator, designer, muralist Russell Patterson. Like a face from Mount Rushmore, with longish silver hair (then marking men as actors or artists) and clipped moustache.
Al Smith, flanked by Mac Miller and Fred Waring, holding the NCS self-caricature jam.
After dinner Al Smith unrolled a large sheet of Strathmore. Back in his studio he had inscribed greetings to “the Richard Marshall Comics Club,” a weekly gathering of my friends who liked to draw. And at the bottom he drew Mutt and Jeff saying “Carry on, m’lads! The future of NCS may one day rest in your hands!” Among the cartoonists who signed and drew their characters (or caricatures of me) were Holman, Greene, Patterson, Saunders, Fogarty, Irving, Hasen, Lynde, Mell, and Dunn; and Jack Tippit, Bill Lignante, Bill Crawford, John Pierotti, Al Liederman, Jack Rosen, John Lehti, Matt Murphy, Mac Miller, Irma Selz, and Tom Gill.

I could have floated home, but Al Smith drove me through the late night out of Manhattan, over the George Washington Bridge, and along Route 9W to my house. My parents had waited up, of course; and I think their best anniversary present ever was seeing that poster and hearing my stories. My father was a lifelong comics fan, and he ate up the stories about some of his own favorite names.

Eventually many of these cartoonists became better friends; others besides Dik attending my wedding; and I became Comics Editor to more than a few at three syndicates several years later. In a “crowded life” in comics… that October 25th was one crowded evening.

Saturday, November 3, 2018

Sporting Cartoonist Homer Davenport (1867-1912)

[1] Davenport cartoon of Bob Fitzsimmons-NY Journal-Mar 16 1897
SAN FRANCISCO. The first newspaper sporting cartoonist in San Francisco to achieve fame was Homer Calvin Davenport. Davenport was born in Silverton, Oregon on March 6, 1867 and his first introduction to newspapers was at the Portland Oregonian.  He arrived in San Francisco on Feb 2, 1892 and was “taken on trial” by the Examiner at $10 a week. The Chronicle, which also employed Solly Walters a former Wasp cartoonist, hired Davenport at $20 to supply crude but funny pictures of baseball games, the players and the fans. 

[2] NY Journal-Mar 15 1897
The “irresistible” drawings caught the eye of Samuel Chamberlain, editor of Hearst’s Examiner, who enticed the young artist to switch his allegiance to the offices of the Examiner. Davenport’s sporting cartoons were mostly caricature illustrations resembling his single-panel political cartoons. Soon Davenport moved to Chicago and the Herald for $35 a week. He was discharged and back in San Francisco in 1894 employed by the Chronicle. “All that I had been asking an outlet for found vent, and my cartoons began to attract attention.” Hearst noticed and hired him on the Examiner at $45 a week. When Hearst bought the New York Journal Davenport was one of the first Californians hired and brought east by Hearst.

[3] James Corbett, NY Journal-Mar 17 1897

Sunday, October 28, 2018

A Crowded Life in Comics – Li’l Ricky

by Rick Marschall

A Stir Is Born

“The child is father to the man,” and all that.

I recently unearthed a clipping from the Bergen Record, August of 1962. It was, and still is, the major daily newspaper of north Jersey, across the George Washington Bridge from New York City.

At age 13 I was already a comics fanatic, amateur historian, and collector. For some reason I loved the older comics from the start. A pattern – I like roots music better than contemporary forms of country and jazz. Older women, too, but that’s another column…

Anyway, for any of my friends and neighbors, or current readers, who doubted my love for the old-timers, in the photograph, li’l Ricky is reading a 1905 Hearst section with Happy Hooligan on the front page.

Hooligan is still my favorite comic strip, and F. Opper my favorite cartoonist. It is fun, sometimes, not to grow up.


Thursday, October 25, 2018

Sunday with Happy Hooligan


Chicago Examiner
May 2, 1909


Saturday, October 20, 2018

A Crowded Life in Comics – Dwig and Billy Marriner

by Rick Marschall

1– Book illustration by Billy Marriner, from Billy Burgundy’s Letters (1902)

Dwig’s Rime Of the Ancient Marriner

(Clare Victor Dwiggins and Billy Marriner)

“Dwig” is a signature that was commonly seen in American comic strips, book illustration, and other cartooning venues during the entire first half the 20th century.

Clare Victor Dwiggins (1874-1958) drew magazine cartoons for Judge; a multitude of Sunday funnies for the New York World, Ledger and McNaught Syndicates, and various McClure syndicates; serious book illustrations and humorous drawings for books of aphorism and poetry; hundreds of comic postcards; a Tom Sawyer and Huck Finn feature that was licensed by the Mark Twain Estate; color strips for the Farm Journal and Ford Times; poster designs and sheet music covers; comic-book work, including in Supersnipe; and several children’s books written by August Derleth.

Some of his book illustrations and postcards (with his version of Gibson Girls) were racy for their day, but the consistent flavor of his work bespoke “native humor” – insouciant themes, freewheeling lines, and casual compositions. His top strip Footprints On the Sands of Time predated the birds-eye views and dotted passage lines of Bil Keane’s Family Circus.

2– Photo of one of the 17 x 20 inch letters from Clare Victor Dwiggins. 
As his work was figuratively all across the comics landscape, so were the places he hung his hat through the decades. He was born in Pennsylvania, and spent the formative years of his career, and those of the comic strip itself, in New York. He spent his last years in Pasadena (where he lived near the ranch of his friend, cartoonist J R Williams) and he died in North Hollywood. A fine treatment of Dwig and his work can be found by Jay Rath in Nemo magazine number 11.

During his time in New York he admired the work and became the friend of a fellow World cartoonist, Billy Marriner (1873-1914). Marriner, who earlier had drawn for Puck, was a public favorite and influential with other cartoonists. His wispy lines and  big-headed, good-natured characters, particularly kids, were trademarks of his style. Among his many strips for the World and the McClure syndicates were Foolish Ferdinand; Mary and her Little Lamb; Wags, the Dog that Adopted a Man; and Sambo and His Funny Noises.  

Responding to a fan letter in the 1950s, Dwig remembered Marriner: “Billy Marriner was tops. He tried to refine my ‘line’ and was responsible for the style I used in [the book] Crankisms, and the several books, similar, which I did at the turn of the century. The delicate line. I worked out of it, however, as I rolled along, to wind up with a heavy, black treatment, more like the beloved Zim [Eugene Zimmerman], who is my Hero No, 1. McManus, too, was influenced by Marriner’s light line. And he stuck to it.”

3– Portion of letter by Dwig, and two caricatures of Billy Marriner – full, pie-eyed, face; and at drawing board.
Dwig’s letters were as peripatetic as his his drawing style. He seemingly reached for, and wrote on, any paper nearby. One letter, also from the 1950s, was scribbled in  pencil on an enormous sheet of newsprint – 17 x 20 inches, then folded to fit an envelope.

I will trust to the miracles of new scanning technology, and the skills of YP’s good John Adcock, and hope that the images and scrawl of two “captures” are clear and legible. I share three drawings by Dwig of Marriner: a face and Billy at the drawing board; also a sketch of the diminutive Marriner trying to get his arms around his latest “big woman.” A photo of a wall-to-wall letter is on the subject of pen nibs, pencil types, and brushes he preferred through the years.

In the caricature of Marriner at his drawing board, you will notice that Dwig drew a bottle or flask on the floor. He was, unfortunately, as addicted to booze as he was to gargantuan wimmen. Unlike the innocent and friendly characters he drew, Marriner met a violent and horrible end. In Harrington Park NJ (the next town to where I grew up) he was in a frenzy about his missing wife, and was heard by a neighbor threatening to burn down the house and himself. Apparently drunk, he fired gunshots as his house indeed burned to the ground.

4– Dwig’s sketch from memory of Billy Marriner trying to get his arms around one of his large girlfriends – having fun at her expense.
Marriner’s strips were continued, in his approximate style, by the neophyte Pat Sullivan, a few years before Felix the Cat was created.

Them was the happy days, all ways around, as Dwig wrote.

5– The original artwork for one of Dwig’s glamour girl postcards.


Friday, October 19, 2018

Sunday With Dick Tracy

Dick Tracy
Chester Gould

Chicago Tribune
February 10, 1935
November 11, 1942

"I don't like (Bob)Fletcher's drawings at all. 
He hasn't captured Tracy's character. I'm very
disappointed." - Chester Gould

Ray Gould (L) brother of Chester Gould (R) helped with the lettering
 and story ideas for Dick Tracy using FBI and police text-books. 
Dick Tracy's Boss by Robert M. Yoder, 
Saturday Evening Post, December 17, 1949