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Obscurity of the Day: Fun with Fenwick

 

Ian Fenwick was an accomplished British cartoonist who in the 1930s was published in Punch and other top flight venues. When Britain went to war Fenwick went all in, campaigning in North Africa and Italy while still producing wonderfully droll cartoons now on mostly military subjects. 

His fame didn’t really spread to the U.S., but somehow the editor of Hearst’s Pictorial Weekly got wind of his work and liked it very much. The Sunday magazine insert began a series of weekly cartoon pages featuring his work, titled Fun With Fenwick, debuting in their August 6 1944 issue. 

Tragically, Fenwick never got to enjoy his new notoriety across the pond. At the time Pictorial Weekly was preparing to show off his work he was behind enemy lines assisting the French resistance. He was killed in action one day after his first appearance in the magazine. 

Due to the circumstances of his death, the news took awhile to filter through to the Hearst people in New York. The weekly Fun With Fenwick ended with the September 3 1944 issue, and perhaps due to wartime secrecy, there was no explanation offered for the feature’s disappearance. 

Here is a good capsule bio of Fenwick which highlights his lovely covers for some P.G. Wodehouse novels. It also provides links to more detailed information.

Wish You Were Here, from Harry Hershfield

 

Harry Hershfield did only one postcard series that I know of, and it featured his famous creation Abie the Agent. Each card offered a cartoon of Abie along with a gag using his trademark New York Jewish argot. For reasons unknown these cards are quite hard to find. Maybe because they fail to offer a copyright to International Feature Service?

The “Kabibble Kard”s were published by the Illustrated Postcard and Novelty Company of New York. The cards are undated, but based on the cartoon of Abie, I would definitely place them in the 1910s, as Abie’s look changed a bit by the 1920s. This particular card is marked “658/2” whatever that means. Series 658 card 2 perhaps?

One-Shot Wonders: A Frank Nankivell Page Border, 1897

 

The inside pages of 1890s newspaper comic sections were often full of written jokes with the comics artfully, or inartfully, scattered about the page. This example is an interior page from an early New York Journal Sunday comic section, January 3 1897. Frank Nankivell offers an impressive page border with dozens of cartoon figures cavorting about. The large upper middle strip is by someone who, I swear this is what I see, signing himself Badfish. The middle two panel strip is unsigned. The panel cartoon at the bottom is quite badly printed, but I think it might be by E.W. Kemble. 

As was normally the case with these interior pages, only limited colours were used. In this case it seems to be two – green and red. Not using black as one of your colours might have seemed like a good idea, but I doubt that even when hot off the press with nice white paper that pages like this were easy on the eyes. Having yellowed over the century plus since, I had a heck of a time teasing out the detail from this page to make it even somewhat legible, so apologies for it being hard to read.

Obscurity of the Day: What’s The Use?

 

Hard for me to believe that we’ve not offered George Westcott a moment in the spotlight yet. He penned a goodly number of series for the New York Evening Telegram from 1905 to 1911. Oh, well, I suppose that would be the reason … finding tearsheets of Evening Telegram material is like discovering a double-yolk egg — it happens, but it’s a mighty rare occurrence. The paper’s material was offered in syndication, but it is so rarely seen I’d guess that there was little effort put into marketing. 

I don’t know much about Mr. Westcott. A few tidbits have surfaced, though — in 1905 when he debuted with the Telegram he was supposedly just 19 years old. He graduated from Yale with honours. He claims to have penned and published a duplicate of Charles Dana Gibson’s famed “The Eternal Question” before Mr. Gibson did his. All these factoids come from a promotional piece done for Evening Telegram features in 1907, the only bit of marketing I’ve ever seen. 

Today we look at What’s The Use?, an inspired bit of off-the-wall slapstick and wordplay that should whet anyone’s appetite for more of Mr. Westcott’s offerings. Sadly, this is the only decent sample I have to show — the rest in my files are blurry microfilm prints. In each installment the unnamed fella in the stove-pipe hat corners some unlucky mark and proceeds to rhyme his way into their bad graces, generally ending up physically assaulted. The feature ran on occasional weekdays from April 25 to September 12 1910.

Selling It: National Health Agencies PSAs for 1964

 

The National Health Agencies was an umbrella organization for medical charities. It was created in the mid-1950s along with several other umbrella organizations to raise money from government employees. It was created to simplify fundraising from these employees, who had before been bombarded with many campaigns for many different organizations. In practice, of course, it just created a new layer of bureaucracy in which money intended for charitable purposes was swallowed by middlemen. Unlike the more familiar United Way, which was eventually disgraced by financial scandals, as far as I know the NHA was never outed for hinky finances. The NHA was eventually renamed Community Health Charities, and then all these organizations were further conglomerated as Combined Federal Campaigns.

Cartoonists and their syndicates were sometimes tapped to do PSA art for charitable organizations, and in the 1964 NHA fund drive many contributed panel cartoons. Above are some of the panels produced for that drive.

Here’s an easy quiz for you — just name all the characters above. I can’t imagine Stripper’s Guide readers not acing this quiz, but in case you’re stumped just hover your cursor over the image that has you beat, and read the file name, where all will be revealed.

Obscurity of the Day, Revisited: Terry and Tacks

 

Well, once again your senile ol’ Stripper cleaned up some mouldy oldies for Obscurity of the Day only to find out that it already got featured here, in the case of Terry and Tacks a decade and a half ago. Oh well, as the popular saying goes, a happy life depends on a new dose of Terry and Tacks every decade or so.

So let’s see if I can tell you anything about the strip that wasn’t covered back when my blog was just a wee little infink. Hmm…

Okay, here’s sumthin … Joe Farren pretty much disappears off my radar after the 1910s, and it turns out that’s because he got a job in the New York Times art department in the 1920s — no series comics coming out of there of course. And a decade later I found a sports cartoon penned by his kid, Joe Farren, Jr. Who he was working for I dunno, looks like a grade-Z syndicated thing, an evergreen panel about Joe Louis. 

Factoid the second … I think I’ve now nailed down the reprint runs of Terry and Tacks in the World Color Printing sections. How about July 15 1923* to March 15 1925**, and October 6 1929 to June 22 1930***. Dates have been ‘normalized’ to Sundays as some of these papers printed their Sunday sections on other days.

* Source: Pomona Progress

** Source: San Luis Obispo Tribune

*** Source: Mexico Intelligencer

Wish You Were Here, from Rose O’Neill

 

Here’s another Rose O’Neill card, published by Gibson Art Company. As usual, no copyright dates on these cards. This one was postally used in 1922.

One-Shot Wonders: Professor Jyblitts by Walt McDougall, 1903

 

Walt McDougall, one of the greatest of the pioneering American newspaper cartoonists, was a bit of a one-shot wonder factory. After his very productive 1890s work in New York, most of it one-shots, he left for Philadelphia where he began a long run of one-shot comics for the Philadelphia North American. Here is one from 1903, appearing in syndication at the St. Paul Dispatch

The book text can be hard to read on this smallish image. In panel one it says “Animal Curiosity”. In panel two “They will pry into things in which they have no concern.” In panel three the back of the book has the title “Animal Curiosity Vol. 2.” In panel four, “…become intrusive at times.” In panel 5 “…this proved by facts.”

Obscurity of the Day: The Clown Folks

 

Perhaps the most daunting job you could ever have as a newspaper cartoonist is to be chosen as the  replacement for Winsor McCay. And that’s the thankless task tackled by Ap Adams* when Winsor McCay jumped ship from the Cincinnati Enquirer. McCay had drawn the minor classic A Tale of the Jungle Imps for the Enquirer for a little less than a year before the inevitable happened and he was summoned to the big time in New York City. 

Faced with an empty page of their Sunday comics, which were a combination of syndicated and local content (two pages versus one page), the Enquirer picked “Ap” Adams out of the art bullpen and handed him the reins to the local page on November 15 1903.  Initially he collaborated with “Felix Fiddle”, the writer of the Jungle Imp tales, whose real name was George Randolph Chester. The first few episodes of The Clown Folks were very prose-rich productions, just like the Imps tales. Then ‘Fiddle’ decided to change over to a more normal comic strip approach, with one line descriptions under each panel. 

I’m guessing that Adams decided that Mr. Fiddle’s services were of dubious use when he was writing just a few short captions, and on the Sunday page of January 24 1904 the name Felix Fiddle is dropped for the remainder of the series. Neither Fiddle nor Adams was at this point very adept at comic strip writing, so Enquirer readers probably didn’t notice much difference. 

What Adams lacked in writing chops he made up for with lovely art. It wasn’t good enough to make anyone forget McCay, but it was delightful on its own terms. While The Clown Folks didn’t last long, ending on April 19 1904, Enquirer readers would enjoy the delightful art of Adams on a succession of Sunday strips lasting until late 1908.

* I have seen Mr. Adams’ full first name given as Apworth, Anthorp, and Apthorp. I have no idea which is correct.

 

 

Firsts and Lasts: Kitty Higgins Less Than Dramatic Entrance and Exit

 

Comic strip fans like to talk about records, and the discussion of the longest lasting series is a favourite. We tend to ignore toppers when having these discussions, though, and of course there’s a good reason for that — without the main strip there’s no need for a topper, so they are automatically disqualified from being the longest running series. 

But what is the longest running topper? this can be a tough question in and of itself, because the longest running series were still being produced into the 1960s and even 1970s, but they appeared in vanishingly few papers. Some, I’m convinced, were produced but never ended up being printed anywhere. 

By the 1960s the third page strip was the de facto standard, and that format almost never included a topper. By then you would generally only see a topper on some tab or half-page formats. So few papers used these formats, especially for strips that used toppers, which practically begged to be cut down, that tracking the toppers becomes next to impossible. In fact, for my research I’ve often had to base my end dates on original art, which is often the only place you’re going to see toppers of these late years. 

The Sunday strip of Moon Mullins added its topper Kitty Higgins* around the same time as the other Chicago Tribune strips. The first strip, seen above, ran on December 14 1930. The strip was quite obviously an afterthought, with the gags (even the very first) being real mouldy oldies. No doubt production of this strip was by Frank Willard’s assistant Ferd Johnson, and neither of these guys wasted too much brain juice on the feature. Although the first strip was done in a two-tier format, it would quickly settle down into a one-tier affair for its many years underneath the main strip (yes, they’re still called toppers when they run at the bottom of the page). 

The Chicago Tribune-New York News Sunday strips hung onto their toppers much longer than the products of other syndicates. Most of their A-list strips kept doggedly including toppers into the early 1970s, even though they were used by maybe one out of a hundred papers that ran the main strip. For the longest time I thought Kitty Higgins ended in 1973, because that was the last year that it appeared in the Editor & Publisher Syndicate Directory. It wasn’t until recent years that I saw the original art for the May 26 1974 strip, which included the topper and so upgraded the end date to sometime after that. 

Finally I found a newspaper online that actually ran Moon Mullins consistently as a tab in 1974, the Elizabethton Star. The last Kitty Higgins I can find is the release of September 1 1974. The September 8 issue, sadly, is missing the comics section, but on the 15th the topper is gone, and Kitty is co-starring in the main strip — perhaps she had an appearance contract? 

What is either the final or penultimate Kitty Higgins is here, from digitized microfilm:

That gives Kitty Higgins a forty-four year run, a very impressive accomplishment, especially considering that no one, including the creators, really cared much about the strip for that whole time. Does Kitty get the crown as longest running topper? I can think of one or two toppers which might just possibly edge it out. What do you think?

* Technically that was not Moon Mullins’ first topper, but that’s a tale for another day.

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