Stills from Jason by Camilla Mickwitz
Gustav Peichl (“Ironimus”), Osterreichische Illustrierte
Jean Pennes (“Sennep”)
Once again from the The World Encyclopedia of Cartoons from which this came:
“ALBERTO HUICI (1929-?) exhibited a love from drawing at an early age, and he sold his first cartoon in 1945, while still going to school. From then on he worked as a freelancer, contributing a number of cartoons to various Mexican newspapers and publications.
“In 1952 Huici went to Los Angeles and tried to break into the U.S. market. While submitting cartoons to various magazines (most of which sent back rejection slips), he worked as gas station attendant, dishwasher, and garbage collector in order to support himself. Coming to New York in 1954, Huici again was turned down more often than not, and he went back to Mexico City the following year. With the experience he had acquired in the United States, he soon rose to the top of his profession, having gag cartoons regularly published in the magazine Ja-Ja, and his political cartoons distributed by Editorial Excelsior. He also occasionally contributes cartoons to Los Angeles and New York publications.
“Huici’s style is simple, almost stark, with weird characters cavorting in strange surroundings. His humor is mostly visual, and he uses captions sparingly. His cartoons have earned awards in the United States, Europe, and Central and South America, as well as in his native Mexico.”
Rube Goldberg‘s I’m The Guy
Ted Key, This Week
Walt Kuhn in 1903.
WORLD ENCYCLOPEDIA OF CARTOONS D-G
Gus Dirks, 1901
Rose O’Neill, The Kewpie Korner
Kukrynisky, The Big Three Will Tie the Enemy in Knots. The top was cut off like that.
Orla Getterman (“Get”)
Albert Blashfieldin 1908
Design for Destination Magoo by Pete Burness
Giampolo Cheis for Editoriale Corno
Again, according to the World Encyclopedia (keep in mind it was written in 1980):
GIAMPOLO CHIES (b. 1947) Italian cartoonist born in Bologna, Italy. Giampolo decided to go into cartooning after finishing his high school studies. He started his career in 1966, drawing Virus Psik, a comic strip about a somewhat extravagant woman scientist, on texts by”Max Bunker (Luciano Secchi). He then drew a great number of cartoons and illustrations for the monthly magazine Eureka.
In 1971 Chies moved to Milan and briefly worked as an animator forGamma Film. Later that year he resumed the Virus Psik strip and also created the monthly cartoon panel Monodia. In these somewhat disquieting cartoons,strange objects float in the air, mechanical women nurse real-life babies, and robots weep or bleed. The air of eerie unreality is further enhanced by the total absence of captions or dialogue. Chies [was] working on a comic book adaptation of Pinocchio, scheduled for publication in 1979.
Campbell Cory in 1919
CAMPBELL CORY (1867-ca. 1925) American cartoonist born in Waukegan, IL, J.C. Cory was educated in Waukegan and began cartooning in New York in 1896. His style was breezy, with slashing, thick-and-thin pen strokes held together by by beautiful areas of precise, old-fashioned crosshatching; he and Fred Morgan of the Philadelphia Inquirer were probably the last great crosshatch political cartoonists. Throughout his career the doctrinaire Democrat drew for many of America’s largest newspapers and magazines, including New York World and Harper’s Weekly
Cory’s significance lies in his enterprising approach to cartooning, however. He was a self-starter, almost a vagabond, who worked in many formats, experimented with the business end and was a pioneer syndicator. As a publisher, he put out the Great West monthly in 1907-08 and the Bee, an oversized chromolithographed humorous weekly during the Spanish-American War. In 1912, beginning a practice that was to continue for two decades, he became a paid cartoonist for a political party; the Democrats supplied Cory cartoons to any paper that could use them. Soon afterward, in the days of large-scale syndication, Cory started a syndicate, distributing his own cartoons and those of others. He ran a correspondence school and published books containing the elements of cartooning, including Cory’s Hands, and The Cartoonist’s Art. Active in other spheres as well, Cory was a prospector, miner, champion balloonist, pioneer aviator, big game hunter, sportswriter, and athlete.
Cory was responsible for helping many youngsters into professional cartooning careers. Charles Kuhn was one, and Cory’s niece,Fanny Y. Cory was another; just after she had her first work published in St. Nicholas, she became a featured contributor to the Bee, and her uncle boosted her early work through syndication as well.
Louis Dalrymple, 1898
Eduardo Del Rio (Rius) for Ja-Ja.
Michel Demers in L’Aurore
MICHEL DEMERS (b.1949) Cartoonist born in Quebec City, Canada. After studies in Quebec and Montreal, Michel had his first cartoon published in the French language weekly Sept-Jours; since that time he has been contributing one cartoon to the magazine every week.
Michel Demers is [was] now busily engaged in a promising and prolific professional career. His political and gag cartoons have appeared in such publications as Forum, Perspectives, and the daily Le Jour. He has also produced several comic strips, the most notable being Célestin for Le Jour, but none have proved long-lived.
Michel has been influenced, in his graphic choice as well as in his choice of themes, by Tomi Ungerer and Jean-Jacques Sempé: his drawings have a dry, sparse look, while his themes lean heavily toward surrealism, social protest, and black humor.
A. B. Frost in 1883.
Peter Arno was one of the few people in the mainstream media to acknowledge non-marital sex, as seen in this cartoon for the New Yorker.
Cyril Keith Bird a/k/a Fougasse.
Gus Dirks in Judge
James Montgomery Flagg‘s caricature of Theodore Roosevelt from either Judge or Life.
A Dire Threat, 1904, by A. Z. Baker, who has no link anywhere, at least not one I feel like finding, so let’s look at his entry in the encyclopedia I took these cartoons from.
“ALFRED ZANTZIGER BAKER (1870-1933) American cartoonist born in Baltimore, Maryland. “Baker-Baker” (as he became known from his monogrammed signature of two Bs back to back) was co-educated in private schools and studied art at the Charcoal School in Baltimore the Académie Julian and the Ecole des Beaux-Arts in Paris.
“Baker pursued serious art and was exhibited at age 23 in the National Academy (later exhibitions were sponsored by the Société des Artistes Français and the Salon des Artistes Humoristes), but he joined the staff of Puck in 1898. As a cartoonist he did not confine his work to one outlet, and at the turn of the century he was appearing in Puck, Judge, Life, Scribner’s, Harper’s, Century, andSt. Nicholas. His books include The Moving Picture Book (1911), (1912), and The Torn Book (1913). His innovations—such as die-cutting and 3-D drawings with glasses—are surpassed in the children’s book genre only by those of the imaginative Peter Newell.
A.Z. Baker stated that he was influenced by French and Japanese cartoons (indeed, he often worked Japanese motifs into his drawings), but whatever the influences, it must be recorded that his work was among the freshest and cleverest of American cartooning at the turn of the century—and retains these characteristics even under modern scrutiny. He rejected the fine-line illustrator’s then threating to stifle freedom of line and rendered his cartoons—which were almost exclusively animal gags—with a lush brush line, shaded with crayon on a coarse board. He had a delightful and visually agreeable sense of design and anatomy; his funny animals romped with animation among the solid society of drawings in the magazines. In this sense he helped forge a new spirit of amiable looseness in American magazine cartooning and was soon in the company of such men as Art Young, Leighton Budd, and Hy Mayer.”
Perry Barlow for The New Yorker, who also doesn’t merit a link.
“PERRY BARLOW (1892-1977). American cartoonist born in McKinney, Texas, near Dallas. Perry Barlow, who was famous for his many New Yorker cartoons and covers, was raised on his family’s farm and spent his boyhood in Texas. He traveled to Illinois to attend the Art Institute of Chicago and there was part of a remarkable class that included Helen Hokinson andGarrett Price, also destined to be New Yorker greats. He met his wife, Dorothy Hope Smith, at the art school; she later became a famous portraitist of children best known for her drawing of the baby on the Gerber Trademark.
“Around 1920 the Barlows moved to New York, and he began a career of freelance cartooning and illustrating. At the Art Institute of Chicago he discovered that he was color blind, so his color work, featuring soft muted pastels, was done by his wife (and after her death by the watercolorist Catherine Barr). As success came the family joined the growing artists’ community of Westport, Connecticut.
“James Geraghty, art editor of The New Yorker from 1939 to 1973, Has commented that Perry Barlow was “a shy, aloof man” but still a great artist with children.” The New Yorker‘s [then current] editor, William Shawn, regarded Perry Barlow as ‘one of our three or four most prolific people.’ Ironically, although he had an opportunity to publish an anthology of his cartoons, Barlow was always lukewarm on the project, and no anthology exists. From the 1920s until the early 1970s, however, his cartoons appeared in a variety of magazines, including Saturday Evening Post and Collier’s. Fortunately the general anthologies of such magazines contain generous samplings of his works.
“Barlow’s cartoons have a loose, sketchy style and soft, understated wash. Children were a favorite theme in his cartoons, which were usually geared more for a chuckle than a belly laugh and always displayed a refined, sophisticated sense of humor. His accomplishments as a New Yorker cover artist helped set the style for the magazine, along with covers by Peter Arno, Helen Hokinson and others. A Barlow cartoon was a humorous cartoon that needed no caption and captured some of the joy of living that appears to a cartoonist with an eye for it. Today, when the New Yorker‘s covers are often devoted to design sans humor, one can appreciate Perry Barlow’s gentle cartoon covers all the more.”
Roland Berthiaume, for La Patrie
Again, no information about him online, so…
“ROLAND BERTHIAUME (1927-?) French-Canadian cartoonist born in Montreal, Quebec. Better known as “Berthio”, Roland Berthiaum attended Ste. Marie College (now known as the University of Quebec) in Montreal before embarking on a commercial art career. After attending night classes at Montreal School of Arts, Berthiaume spent a year in Paris (1951-52).
“In 1953 Berthiaume started his career with editorial cartoons in the weekly L’Autorité du Peuple, also contributing occasionally to such publications as La Semaine à Radio-Canada and Le Travail. He finally found his métier with the political cartoons he published in the political weekly Vrai. There Berthiaume was responsible for two pages of cartoons, usually four in number, dealing mainly with city problems. Berthiaume collaborated on Vrai from its inception in October 1954 to its demise in May 1959. He then went to the Montreal dailyLa Presse, where until 1967 he contributed Drôle de Journée(“Some Funny Day”), a column in the form of caricatural drawings and cartoons commenting on daily happenings.
“In 1967 Berthiaume returned to editorial cartooning, first for the daily Le Devoir, then for the pro-independence daily Le Jour (1974-76) and finally for Montréal-Matin. He has also worked for several magazines (Time,MacLean’s). Two collections of his caricatures have been published: Un Monde Fou (“A Mad World”, 1961) and Les Cent Dessins du Centenaire (“The One Hundred Drawings of the Centennial”, 1967.
“Like Robert LaPalme, Berthiaume has always been concerned with form as well as with content. He was the first Canadian cartoonist to engage in character with a social thrust. Twice a winner at the International Salon of Caricature in Montreal (1964 and 1966), Berthiaume was the recipient of theOliver Asselin Journalism Award in 1973.”
More old-timey stuff from 1980′s The World Encyclopedia of Cartoons
The Arkansas Trapper’s Mistake by Caran D’Ache circa 1875, also featured in one of the early issues of Mad
The Tail Maketh the Dog ca. 1880, by Frank “Chip” Bellew.
by A. B. Frost , 1884. A collection of his stuff recently came out from Fantagraphics.
I couldn’t find a link to the strip, but the encyclopedia had this to say about it:
“AIN’T IT A GRAND AND GLORIOUS FEELIN’ is among Clare Briggs’s most fondly remembered slice-of-life newspaper panels. It appeared in sequential form (usually six panels o the page) on an irregular basis, alternating with other Briggs creations such as When a Feller Needs a Friend and <a href="http://www.amazon.com/Skin-Nay-Briggs-Verses-Wilbur-Nesbit/dp/B000SSN984;The Days of Real Sport. There was no continuing cast of characters.
“Ain’t It a Grand and Glorious Feelin’? started appearing in the New York Tribune around 1917 (although the concept had undergone a dry run as early as 1912 under another title in the Chicago Tribune). The panel celebrated those small, everyday moments of serendipity that come as a sharp relief after a moment of fright, embarrassment, or frustration. Thus “ain’t it a grand and glorious feelin’” when some housewife discovers that her lost wallet was found at the grocer’s, or when some poor bookkeeper goes to bed with a clear mind after the errors in his books has been rectified? The feature addressed itself directly (“When you’ve been reading about a terrible kidnapping…”, Briggs would intone in the beginning, for instance) and always concluded on an upbeat note. Grand and Glorious Feelin’ was tremendously popular during the 1920s, a decade it seemed whose mood it seemed to match perfectly, and the title became a popular catchphrase of the time.
“After Briggs died in 1930 the panel was discontinued, although some newspapers would reprint it occasionally. Long runs of the feature have been republished regularly over the years in cartoon anthologies, as well as in collections of Briggs’s works.”
Sounds like “Ain’t It a Grand and Glorious Feelin’?” was the “Yeah, baby!” of its time, which begs the question, what’s the current “Yeah, baby!”?
Oskar Andersson a/k/a “O.A.”
When I can’t find any links to the artists I feature, I consult this book. It was written in 1980 but that’s okay because the artist either died before the book was published or didn’t do much since then. I’ve had it since I was a teenager. It’s 676 pages. The editor, Maurice Horn, did all kinds of cartoon and comics history books like The World Encyclopedia of Comics, Sex in the Comics, 100 Years of Newspaper Comics, etc. Most of the art in this book is excerpts and stills from animated films, or in my copy, poor reproductions. However, there are lots of complete cartoons worthy of showing. Here are some which I’ll be showing off each Friday.
The syndicated daily panel Citizen Smith by Dave Gerard.
Political cartoon from 1906 by Frederick Opper of Happy Hooligan fame.
The Cow That Watched Trains Go By, a cartoon from 1875 by Caran D’Ache
The Duel with the Fashionable Pointed Shoes by Adolf Oberländer, from 1885
Love Story ca. 1885, by Alexandre Steinlen
Carl Rose>, Collier’s 1942
Helen Hokinson, Collier’s 1942
Jefferson Machamer, Cartoon Humor 1942
More of the best of this 400+ page tome…
Two-pager by Gluyas Williams , Fellow Citizens 1940
William Steig,Collier’s 1941
Crockett Johnson, Collier’s 1940
Ed Nofziger, Saturday Evening Post 1939
Larry Reynolds, Collier’s 1941
As per The World Encyclopedia of Cartoons in 1980:
Larry Reynolds (1912-?) American cartoonist born in Mount Vernon, NY. Larry Reynolds went into advertising and illustration work after graduating high school. He sold his first cartoon to Collier’s in 1932. His work subsequently appeared in most major publications of the time, including the New Yorker, the Saturday Evening Post, and the New York daily PM.
Reynolds was drafted into the army during World War II and subsequently created his famous weekly panel Butch, for Look magazine (his first cartoons there were signed “Corporal Larry Reynolds”). Butch was a burly but lovable burglar who helped little old ladies across the street, kept apologizing to intended victims, and generally made a mockery of the profession of robbery, much to the disgust of his diminutive accomplice, Slug. Butch was Reynolds’s most enduring feature, lasting until the demise of Look in 1971.
In recent years Reynolds has been freelancing with mixed success. He prefers to use wash for his cartoons, and his style is clear and airy. His humor, soft in tone and with malice toward none, has made him a favorite of many.
Paul Webb, Collier’s 1941
As the Encyclopedia said:
Paul Webb (1902-?) American cartoonist and illustrator born in Towanda, PA. Paul Webb grew up wanting to be an illustrator and greatly admiring the work of Wallace Morgan. He took his art training in the 1920s at the School of Industrial Arts and the Academy of Fine Art, both in Philadelphia. While in school he won scholarships that allowed him two summer-long trips to wander throughout Europe. His art training was interrupted by a time at home caring for his ill mother. During this time he began freelancing magazine cartoons to the old Life, the New Yorker, Judge, Collier’s, and <College Humor magazines Once The Mountain Boys, which Webb had created in 1934, became popular, the feature took all the cartoonist’s time.
In the 1930s, Esquire syndicated the feature to newspapers. Two Collections of The Mountain Boys were published in that period: Comin’ Around the Mountain (1939) and Keep ‘em Flying (1941). In the mid-1960s, Paul Webb briefly drew the hillbillies for Columbia Features Syndicate. A paperback collection of The Mountain Boys was published at the time.
Here’s more from this 1943 book I have.
Ralph Barton, Liberty 1929
J. Norman Lynd, Vignettes of Life 1930
Otto Soglow, Wasn’t the Depression Terrible? 1932
Alain Dunn, Collier’s 1937. I believe this is a different person than the “Alan Dunn” in The New Yorker. Those cartoons were all done in charcoal and wash.
C. W. Anderson, Ballyhoo 1937
Syd Hoff, Collier’s 1937
Ed Nofziger, Saturday Evening Post 1939