Today’s Matt Baker is Pictorial Romances #5 (Jan. 1951). I really like the details in the background: the scarf draped across the back of the couch, the wine jug, etc. Interestingly, the only Baker-drawn interior story in this issue was a reprint of the story he drew for Pictorial Romances #4. Though, to be fair, a whole year had passed between issues 4 and 5 for some reason. From #5 on, the book was a bi-monthly.
Today’s Matt Baker romance cover comes from Teen-Age Romances #16 (June 1951). I love the posture of the guy on the bench; just looking at him, you know he’s trouble. And is it just me, or does the woman standing in the yellow dress look a lot like Katharine Hepburn?
True Love Pictorial #11 (Aug. 1954) was the last issue of the series, and one of Baker’s best. It features quite possibly the most daring outfit of any romance comic from that time period. It’s almost enough to make you want to take up painting, huh?
Today’s Matt Baker romance cover comes from Teen-Age Romances #16 (June 1951). I love the posture of the guy on the bench; just looking at him, you know he’s trouble. And is it just me, or does the woman standing in the yellow dress look a lot like Katharine Hepburn?
Today’s Matt Baker romance cover comes from Teen-Age Romances #16 (June 1951). I love the posture of the guy on the bench; just looking at him, you know he’s trouble. And is it just me, or does the woman standing in the yellow dress look a lot like Katharine Hepburn?
Gorgeous. Masterful. But...
Those are some old-ass teenagers.
Sweathog old.
The blonde could possibly be 18 or 19, but yeah, the others look to be at least mid-20s. Baker didn’t do many covers where the people actually looked to be in their teens. Though he did better with that in his interior work. Perhaps it was something in his inking that aged the characters. Some of it may have to do with how he dressed the characters too.
On that note, today’s Baker romance cover features characters who do look more age-appropriate: Teen-Age Romances #34 (Nov. 1953).
Wartime Romances #10 (Oct. 1952) may be my favorite Baker romance cover, mainly because of the girl’s expression and the way Baker drew her hair. Her head is tightly framed by the soldier’s face and arm and by her thought balloon, which adds to the feeling that she is trapped and in danger—plus, her face is positioned in the dead-center of the page. The reader’s eyes are immediately drawn to her, and the reader sees without even reading the text that the girl is in trouble. Then the eye is led down the soldier’s arm and girl’s elbow to the suspicious couple watching her. Will they save her from the jaws of the wolf? A great composition with beautiful execution.
I’m going back-to-back with Wartime Romances today, just because there are so many good covers he did for the series. Today’s is issue #11 (Nov. 1952). Again, great posing by Baker here. The figures have a sense of life and movement, even though they’re standing in place. The colorist did a really nice job here. The two women in their primary colors really stand out from the grays and browns of the rest of the image, so that you are almost forced to compare and contrast the women just as the soldier seems to have done.
As Black History Month comes to a close, so too do my Matt Baker romance cover posts. This last entry in the series (collect them all) is Teen-Age Romances #39 (Sept. 1954). Again, great acting on Baker’s part. The body language of the girl is just fabulous. There are a ton more Baker romance covers out there—I barely scratched the surface. Maybe I’ll revisit the topic next February.
I haven’t done a From the Stack post in a while, so why not now. This one goes out to @LibraryBoy. It’s Dennis the Menace Bonus Magazine Series #129 (1974), which is a reprint of Dennis the Menace Bonus Magazine Series #84 (1970), which is a reprint of Dennis the Menace Giant #50 (1967). There are two top-notch cartoonists who did the majority of work on the plethora of Dennis the Menace comics (three if you count Dennis creator Hank Ketcham, who did a few stories early on and on occasion thereafter): Al Wiseman and Owen Fitzgerald. I think the majority of Dennis fans prefer Wiseman (calling him, much like Carl Barks, “the good Dennis artist”). I really like both artists. This cover (as well as the interior pages) appears to have been done by Fitzgerald. I say “appears” because while there are many faces that I would swear were done by Fitzgerald, there are many panels and background figures that just aren’t up to his usual standard. It could very well be someone imitating Fitzgerald’s style and swiping faces and figures for the main characters, and I’m inclined to think that is the case.
Now, I’m not much of a fan of the Dennis the Menace newspaper strip. I enjoy the art usually—the early strips are gorgeous—but that’s about it. The comics, however, are for the most part highly enjoyable. This particular issue isn’t one of the better ones, I’m afraid. But if you come across them for a reasonable price in the back issue bins, I recommend checking them out.
After yesterday’s post, I thought I’d go more into Owen Fitzgerald. He began his career in 1937 at the age of 21 working as an assistant animator for Walt Disney. In 1939 he moved on to Fleischer Studios, where he worked as an animator on Gulliver’s Travels and various Popeye shorts. He wasn’t there very long before he went to Warner Bros. as a layout artist. The earliest credit I’ve found for him was on the 1940 Elmer Fudd short “Confederate Honey.” One of his best efforts (in my opinion) for Warner was as a layout artist on “Little Red Riding Rabbit” (1944). With the War going on, Fitzgerald went into the Army Signal Corps, where, among other things, he did presentation art for the Dr. Seuss-directed Private Snafu instructional cartoons.
After the War (or perhaps during) he entered the comics industry. Naturally, given his background, he began penciling funny animal stories, eventually moving on to other humor books as well. The first cover credit I can find for him is Starlet O’Hara in Hollywood #1 (Dec. 1948). As with most humor artists of the day, Fitzgerald inked his own work. More to come tomorrow.
One of those fascinating bits of comics synchronicity (cw Swamp Thing/Man_Thing) is that the UK version of Dennis the Menace debuted in the Beano just 5 days after the US version in 1951, Weird.
One of those fascinating bits of comics synchronicity (cw Swamp Thing/Man_Thing) is that the UK version of Dennis the Menace debuted in the Beano just 5 days after the US version in 1951, Weird.
The UK Dennis was created by editor Ian Chisholm and to a lesser extent its first artist Davey Law (the above cover was drawn by the strip’s second artist, Dave Sutherland), who drew the strip until 1970. The character was reportedly inspired by the music hall song, “Dennis the Menace in Venice.” It took him a few years to catch on, but he eventually became one of publisher DC Thomson’s most popular characters, scoring his first annual in 1956, as shown below—cover by Davey Law.
I haven’t really read much of the UK Dennis, but I would say he’s much more aggressively a menace—to the point of being something of a bully—than his US counterpart. And I would definitely give the edge in artwork to US Dennis. UK Dennis’ artists, from what I’ve seen, have all been solid cartoonists, but none of them seem to have the talent of Ketcham, Wiseman, or Fitzgerald.
And speaking of Fitzgerald, by 1949 he was working for DC, where he would be a mainstay on a variety of their humor books throughout the ’50s. His first cover credit for them was Ozzie & Harriet #1 (Oct.-Nov. 1949), featuring the singing couple of stage, radio, and later TV. As with most humor artists of the day, Fitzgerald always inked his own work.
He soon began work on the series he would become most closely associated with at DC, The Adventures of Bob Hope, where he was given ample opportunity to draw pretty girls. His work appeared in the first issue, and in most issues thereafter, including most of the covers.
The Adventures of Bob Hope #29 (Oct.-Nov. 1954).
He also did a fair amount of work on The Adventures of Dean Martin and Jerry Lewis/The Adventures of Jerry Lewis—where, from the mid-’50s on, Bob Oksner was the main artist—before leaving the company in 1959.
The Adventures of Dean Martin and Jerry Lewis #30 (July 1956).
After a brief return to animation and Warner Bros. at the close of the ’50s to provide layouts for The Bugs Bunny Show and a few shorts, Fitzgerald picked up the reins as the main Dennis the Menace artist, taking over from the equally talented Al Wiseman. His first issue was Dennis the Menace #55 (Nov. 1961), and he remained the cover and feature artist until issue #91 in July of 1967 (the title would continue on through issue #166 (Nov. 1979).
Fitzgerald’s first issue.
Dennis the Menace #81 (Nov. 1965).
The next year would see him back in the world of animation for good, working as a layout artist on such shows as Hong Kong Phooey, Scooby’s Laff-a-Lympics, SuperFriends, The Smurfs, and Tiny Toon Adventures. He did make a handful of uneventful returns to comics though, including this, which makes sense, since he worked on the show:
Hanna-Barbera’s Laff-a-Lympics #3 (May 1978).
He did interiors for two issues of the series as well, but his natural style wasn’t put into play, and he kept on-model most likely at the licensor’s insistence. It’s a shame, but at least there are plenty of other great stories, including his Dennis the Menace, still out there.
Wrapping up, I should point out that Fitzgerald helped mentor Mort Drucker early in Drucker’s career. Drucker, of course, is the famed Mad artist, and was in turn a big influence on Neal Adams. And I have to assume that, if not a direct influence, Fitzgerald must have made some impression on Bob Oksner as well. While Fitzgerald was drawing Bob Hope, Oksner was providing back-up strips for the title, and eventually Oksner would take over the title himself. A lot of people have trouble telling the two apart at times in fact, and I think it may be because Oksner was incorporating some of what he saw in Fitzgerald’s work into his own.
During the 60's, the Blackhawks had fallen into an era of campy silliness and were forced to wear terrible, gimmicky costumes. All fallout from the success of the Batman TV show. With this issue, Dick Giordano took over as editor and attempted to steer the team back to their former greatness, with help from writer Bob Haney and artist Pat Boyette. (Love this cover by Boyette.)
Alas, it was too little, too late; the book went one more issue before being canceled, and the 'hawks weren't seen again for most of a decade.
In honor of what would have been Will Eisner’s 96th birthday, here are a few of his covers. First up is his first professional cover, done when he was only 19: Wow—What a Magazine! #3 (Sept. 1936).
Wow only lasted four issues, but Eisner and his partner Jerry Iger hatched a plan to form a studio to create and package comic book material for other publishers. His first cover as part of this effort was Jumbo Comics #3 (Nov. 1938) for Fiction House. I see a little Winsor McKay (Little Nemo) in Eisner’s inking approach of the main figure, but maybe that’s just me.
Then, of course, there’s the infamous Wonder Comics #1 (May 1939), where publisher Victor Fox instructed Eisner and Iger to create another Superman for him. DC took exception, sued Fox, and Wonder Man was seen no more.
Eisner’s natural style was cartoony, but he adapted well to the superhero genre. Here’s his take on The Flame for Fox’s Wonderworld Comics #7 (Nov. 1939). As an aside, “The Flame” was one of the best drawn strips of the ’30s with Eisner-Iger Studio hand Lou Fine handling the pencils.
I’ll pick this up tomorrow with Eisner’s work in the ’40s.
Comments
Those are some old-ass teenagers.
Sweathog old.
On that note, today’s Baker romance cover features characters who do look more age-appropriate: Teen-Age Romances #34 (Nov. 1953).
and the reference material
And it wouldn't surprise me if Quentin Tarantino had seen the last one.......
Now, I’m not much of a fan of the Dennis the Menace newspaper strip. I enjoy the art usually—the early strips are gorgeous—but that’s about it. The comics, however, are for the most part highly enjoyable. This particular issue isn’t one of the better ones, I’m afraid. But if you come across them for a reasonable price in the back issue bins, I recommend checking them out.
After the War (or perhaps during) he entered the comics industry. Naturally, given his background, he began penciling funny animal stories, eventually moving on to other humor books as well. The first cover credit I can find for him is Starlet O’Hara in Hollywood #1 (Dec. 1948). As with most humor artists of the day, Fitzgerald inked his own work. More to come tomorrow.
I haven’t really read much of the UK Dennis, but I would say he’s much more aggressively a menace—to the point of being something of a bully—than his US counterpart. And I would definitely give the edge in artwork to US Dennis. UK Dennis’ artists, from what I’ve seen, have all been solid cartoonists, but none of them seem to have the talent of Ketcham, Wiseman, or Fitzgerald.
He soon began work on the series he would become most closely associated with at DC, The Adventures of Bob Hope, where he was given ample opportunity to draw pretty girls. His work appeared in the first issue, and in most issues thereafter, including most of the covers.
The Adventures of Bob Hope #29 (Oct.-Nov. 1954).
He also did a fair amount of work on The Adventures of Dean Martin and Jerry Lewis/The Adventures of Jerry Lewis—where, from the mid-’50s on, Bob Oksner was the main artist—before leaving the company in 1959.
The Adventures of Dean Martin and Jerry Lewis #30 (July 1956).
Fitzgerald’s first issue.
Dennis the Menace #81 (Nov. 1965).
The next year would see him back in the world of animation for good, working as a layout artist on such shows as Hong Kong Phooey, Scooby’s Laff-a-Lympics, SuperFriends, The Smurfs, and Tiny Toon Adventures. He did make a handful of uneventful returns to comics though, including this, which makes sense, since he worked on the show:
Hanna-Barbera’s Laff-a-Lympics #3 (May 1978).
He did interiors for two issues of the series as well, but his natural style wasn’t put into play, and he kept on-model most likely at the licensor’s insistence. It’s a shame, but at least there are plenty of other great stories, including his Dennis the Menace, still out there.
Wrapping up, I should point out that Fitzgerald helped mentor Mort Drucker early in Drucker’s career. Drucker, of course, is the famed Mad artist, and was in turn a big influence on Neal Adams. And I have to assume that, if not a direct influence, Fitzgerald must have made some impression on Bob Oksner as well. While Fitzgerald was drawing Bob Hope, Oksner was providing back-up strips for the title, and eventually Oksner would take over the title himself. A lot of people have trouble telling the two apart at times in fact, and I think it may be because Oksner was incorporating some of what he saw in Fitzgerald’s work into his own.
Michael Golden... I must've stared a hole in this one back in the day.
1972
Wow only lasted four issues, but Eisner and his partner Jerry Iger hatched a plan to form a studio to create and package comic book material for other publishers. His first cover as part of this effort was Jumbo Comics #3 (Nov. 1938) for Fiction House. I see a little Winsor McKay (Little Nemo) in Eisner’s inking approach of the main figure, but maybe that’s just me.
Then, of course, there’s the infamous Wonder Comics #1 (May 1939), where publisher Victor Fox instructed Eisner and Iger to create another Superman for him. DC took exception, sued Fox, and Wonder Man was seen no more.
Eisner’s natural style was cartoony, but he adapted well to the superhero genre. Here’s his take on The Flame for Fox’s Wonderworld Comics #7 (Nov. 1939). As an aside, “The Flame” was one of the best drawn strips of the ’30s with Eisner-Iger Studio hand Lou Fine handling the pencils.
I’ll pick this up tomorrow with Eisner’s work in the ’40s.