The weather couldn’t be better in New York City for this year’s Comicon—comfortable temperatures in the mid-70s outside, and all 70,000+ of us are having a grand time inside the Javits Center. Here’s the Library’s “Mutt and Jeff” (a.k.a. Dean and Bruce) at the IDW booth (#2115). We spent most of Friday talking classic strips and Alex Toth with fans, bloggers, reporters, librarians, retailers, and fellow professionals. “Talking Toth” is one of the big topics — we had a blast chatting with superscribe James Robinson and super-everything Jim Steranko about the upcoming GENIUS, ISOLATED: The Life and Art of Alex Toth tome we’re preparing. And, naturally, we’re looking forward to another two full days of the same. So don’t forget to come see us if you’re in the neighborhood.
Here’s but one example of the literally hundreds of pieces of Alex Toth original art that you’ll find in the upcoming GENIUS, ISOLATED: The Life and Art of Alex Toth. The bonanza ranges from complete stories to unpublished works to his justly-famous doodles. If you’re at NYCC this weekend, stop by the IDW Booth #2115 and talk to Bruce Canwell and me about the amazing treasures we’ve uncovered for what will be the ultimate Alex Toth collection.
Alex Deuben has written a loving tribute to Al Williamson at Comic Book Resources. Definitely worth checking out. Our first volume of Al’s amazing collaboration with Archie Goodwin on X-9: Secret Agent Corrigan is now on sale. This not-be-be-missed collection is the first comprehensive edition of the series, reproduced from Al’s personal syndicate proofs. Above is the cover for the second volume, which will be published next February.
Chris Marshall at the Collected Comics Library is one of the most articulate and well-read interviewers around. On his latest podcast, he turns his attention to The Library of American Comics. Check it out, as we discuss the whys and wherefores of our books, our general philosophy about archival work, and what new projects are on the horizon!
The Library of American Comics is leavin’ Dogpatch and headin’ for Noo Yawk Comic Con, October 8-10 at the Javits Center. Come to IDW’s Booth 2115 and meet Creative Director Dean Mullaney, Associate Editor (and author of the forthcoming Alex Toth biography!) Bruce Canwell, plus assorted friends and sundry acquaintances. We look forward to talking to you about our favorite classic comic strips, and to show off our new releases. Get the exclusive first looks at Li’l Abner 2, Blondie, and the amazing Polly and Her Pals.
See you there!
Chris Marshall at the Collected Comics Library is one of the most articulate and well-read interviewers around. This week on his podcast, he turns his attention to The Library of American Comics. Check it out, as we discuss the whys and wherefores of our books, our general philosophy about archival work, and what new projects are on the horizon!
The Library of American Comics is headin’ for New York Comic Con, October 8-10 at the Javits Center. Come to IDW’s Booth 2115 and meet Creative Director Dean Mullaney, Associate Editor (and author of the forthcoming Alex Toth biography!) Bruce Canwell, plus assorted friends and sundry acquaintances. We look forward to talking to you about our favorite classic comic strips, and to show off our new releases. Get the exclusive first looks at Blondie and Polly and Her Pals.
See you there!
I never set out to collect original art, but over the years I’ve amassed a couple dozen pieces, all of which I’ve had matted and framed for display. I have my share of other, mass-produced items hanging, as well. The Graffiti Designs poster of James Bama’s cover for the Doc Savage supersaga The Monsters was a must-have, as was the Mike Kaluta poster, “The Shadow Ablaze.” And how could I pass up this classic shot of The Kid, smacking a home run in his first at-bat of the 1947 season:
(Sorry, all you fans of Barry Bonds, Josh Hamilton, Alex Rodriguez, Albert Pujols, or any other masher you can list – four decades after he hung up his cleats, the incomparable Ted Williams remains the greatest hitter who ever lived.)
First-time visitors to my humble abode acknowledge the posters and photos, yet they linger over the originals. Some sketches were bought strictly out of fan appreciation – a Gil Kane Green Lantern; a color head shot of The Thing from “Mr. FF,” Joe Sinnott; a magical, mystical Doctor Strange by that painter with a pencil, Gene Colan.
Two big frames in my living room contain mementos from my own comic stories. In the late 1990s, some might recall, I spent several months writing freelance for DC Comics, arriving on the scene just in time for the business to take a major nosedive (the speculator bubble popped; Marvel Comics filed for bankruptcy protection), but before the work dried up underneath me I teamed with my old friend, Lee Weeks, on the graphic novel Batman: The Gauntlet and had my “Huntress” short story for the Batman Chronicles anthology title illustrated by Jim Aparo. I’m pleased to own two pages from each of those stories and am proud to have worked with both those talented gentlemen.
Some too-generous friends have given me several originals, including a very wonderful Olive Oyl profile shot rescued from a waste paper basket at the Fleischer Studios by a member of the production staff and later sold at an Atlanta Fantasy Fair. Color notations around the edge of the piece lend one to believe this was put together for one of the three Fleischer two-reelers, the only color Popeye work they produced.
As LOAC was building up its head of steam, I decided to keep my eyes open for select originals from some of our books. I wasn’t about to break the bank (my prudent Scots heritage at work again), but for the right price I was willing to dabble in the original market.
The few Scorchy Smiths I found were priced well beyond the amount I was willing to pay, meaning I still have no original Noel Sickles piece. Yet I was lucky enough to snag a daily from his artistic stable-mate’s greatest creation:
Yes, that’s the March 11, ’39 Terry and the Pirates, as the “Indo-China” sequence rushes to its climax. Milton Caniff had been hospitalized at the start of this storyline; many believe Sickles assisted his close friend throughout, to help him get back on schedule. Look at the foliage in the background of that last panel and judge for yourself, but some of my friends believe I own both Caniff and Sickles work in this one strip …
While Rip is nowhere to be seen, I’m a Honey Dorian fan, so owning a daily featuring Honey is fine by me. Raymond’s exacting, confident rendering continues to delight.
If you’ve read my text in King Aroo Volume 1, you’ve likely figured out I’m a big fan of the strip (and you are, too – right?). It was a red-letter day when I was able to land this January 30, 1960 Aroo original:
The seller told me he was a Jack Kent fan, parting with the strip only reluctantly in order to raise money that would help him in a financial pinch. I sent him a copy of King Aroo when it went on sale – perhaps the seller having Kent strips in quantity at least partially counterbalanced his having parted with this original? I can only hope so.
I’m mighty happy to have added this to my handful of original art. There’s Jiggs – there’s Maggie – there’s the Deco motif – there’s the surreal little background figure cutting capers. A neat, representative sampling of the best elements of this long-running strip.
As you might expect, I’ve become a familiar figure at my local framers over the fifteen years I’ve lived at my current residence. Here’s a heads-up, Brian and Sally, if you’re reading this – I’ll soon be coming through the door to ask you to work your magic so I can add Bringing Up Father to the other pieces of art on my walls!
It was a great honor to have our Bringing Up Father: From Sea to Shining Sea nominated for a 2010 Eisner Award. There can be only one winner in each category, and BUF did not take home the trophy (Bloom County, our other entry in the awards, did win—yay!) but we gained a lot of satisfaction from the Eisner committee’s recognition of the fabulous work of George McManus and his long-time assistant, Zeke Zekley.
As usual, our research into the history of the strip and its creators blended details from well-known sources with newly-uncovered information and rare photographs. In studying the life of George McManus for BUF: FStSS, I bought all three issues of the early 1950s Collier‘s Magazine that featured the artist’s autobiographical musings. My research also uncovered birth records from the City of St. Louis that provided, for the first time, clear-cut proof of the date McManus came into this world (Geo. McM. himself often played fast and loose with that information). I was also fascinated to find McManus remained in the news after his passing – wire services and several newspapers followed the story Zeke Zekley going to court to contest McManus’s will. This was fresh information to even some of the art form’s most erudite scholars.
From Sea to Shining Sea also brought what is, to my knowledge, unprecedented (but much deserved) attention to the accomplishments of Zeke Zekley. It was the cooperation of comics historian and Zekley acquaintance Chris Jenson, as well as interviews with Zekley’s descendants, that made possible this coverage.
Now, presented for your viewing pleasure, here are a half-dozen additional photographs of George and Zeke. They came to us courtesy of David Folkman, of Hogan’s Alley fame, who was very close to Zeke for many years.
First up, McManus and the Zekleys chow down Hollywood-style, accompanied by actress Renie Riano, who played Maggie in five Bringing Up Father motion pictures:
If this next photo is any indication, McManus gravitated toward the lovely ladies as much as did his strip’s hero, Jiggs. Though surrounded by fellow cartoonists, notice George is chatting with Zeke’s wife, Anita Zekley.
Cartoonists have a long and notable history of doing their bit for Uncle Sam. Here’s Zeke (third from left) standing next to Dennis the Menace’s Hank Ketcham at a U.S. Savings Bond event that included cartoonists Chic (Blondie) Young, Gus Edson (Dondi), Milt Gross, Ferd Johnson, Dan (Hopalong Cassidy) Spiegle, and several others.
McManus moved in the same circles with artist Jimmy Swinnerton, another favorite of William Randolph Hearst (the newspaper mogul who was the prime mover and shaker behind King Features Syndicate). Here, George and Swinny share a laugh:
And here they participate in a U.S. Treasury event. Two things to call to your attention:  at far-right is George’s brother, Leo McManus, who worked for many years at King Features.  Notice with whom George is shaking hands – none other than Walt Disney, himself!
Zeke and Otto (The Little King) Soglow appear to be massaging Popeye’s flaccid right arm muscles while McManus gives the squinky-eyed sailor a pep talk. Fred Lasswell (Barney Google and Snuffy Smith) may be wondering if even a can of spinach would be enough to help this guy whip Bluto.
You may also want to take a look at Popeye’s pants. Could it be that E.C. Segar’s inspired creation invented the “low-riders” so prominently worn around today’s schools and malls?
One of the absolute truisms of studying comics history: no matter how much we uncover, there is always more to be learned!