Thursday, February 14, 2008

National Cartoonist Society Profile: Stan Drake



Continuing in my series of NCS members that are no longer with us is strip art sensation, Stan Drake, whose slick illustrative style inspired a host of artists including the work of Neal Adams. Studying at the Art Students League, Drake learned his mastery of figure-drawing from artist George Bridgman, before working his way into illustrating sports and detective magazines while also side-lining on comic books. After the war, the artist worked for the Perlowin advertising studios, before later teaming up with Elliot Caplin to create his signature strip, The Heart of Juliet Jones. He later created the strip Pop Idols, that highlighted current music celebrities biographies, before teaming up for the well received French trade paperback Kelly Green with Leonard Starr. This multi-talented artist, being able to draw either a lush soap opera strip or humorous gag feature landed Drakes his final strip taking over the artistic chores on one of America's favorite features, Blondie.


Born a Scorpio in New York in 1921 - raised in New Jersey. Career started at seventeen illustrating "pulp"magazines. Comic books in '39 and '40...nothing sensational. World War II for three and a half years then New York City advertising art. Turning point came in 1953 when King Features syndicate took on "Juliet." Our list was at five hundred worldwide. Former 1st Vice President of National Cartoonist Society, won NCS story strip category 1969 and 1970. Hobby: golf, presently taking Berlitz French.(tres difficile) Live in West Port, Connecticut past two years and have regularly illustrated golf instruction for Golf Digest magazine. Illustrated Bob Toski's new book "The Touch System for Better Golf." Invaluable help awards for my career must go to Gil Fox, Elliott Caplin, Bob Lubbers, Sylvan Byck and Tex Blaisdell, Secret shame: my lettering.

Wednesday, February 6, 2008

Some Super Sensational Seventies Strip Surprises!

I know strip collectors that purchase only certain examples that fit their "theme," such as their date of birth, or only night scenes, snow and rain panels, certain autos, and it looks like for the images selected here, you could also collect characters with sprained left arms if you so desired. But there are a lot of deals today on strip art, from those forgotten features that never found an audience. If you're lucky, you still might be able to get some seventies prices. The best pieces offered in the Comics Buyers Guide were by two dealers who joined together for one large collection. Cartoonist Representatives, Inc. of Long Branch, New Jersey, and Creative Services, in Costa Mesa, California had much of the greatest material of the time. They had discovered a huge collection of originals that had everything, adventure and story strips, gag panels, editorial cartoons, humor features, all the different genres were covered. Popular world renowned strips and totally unheard of lost gems were listed side by side, but don't take my word for it just look at some of these incredible prices!


Lets start off with a nice little daily like Ed Nofziger's amusing funny animal strip, Buenos Dias form 1965 offered for a mere $5, a favorite of mine since these cute little critters spoke in Spanish, with the English translation below. Or you could just get a wonderful 1957 Johnny Hazard action strip by Frank Robbins' for only fifteen bucks. Early Bob Montana Archie dailies ran $30, which was the same price for a Bob Lubbers' Tarzan, while his work on Long Sam or The Saint could be snapped up for $10 each. Alex Kotzky's Apartment 3-G dailies would also set you back a ten spot, but a Jack Kent King Aroo Sunday from 1953 would only be twice that small amount, still very cheep all around. And don't forget to pick up some Stan Lynde Rick O' Shay dailies for $15 dollars each, since in a few years they become much harder to find due to his studio fire that unfortunately destroyed most of the originals. Hindsight really is twenty-twenty.


A Fontaine Fox Toonerville Trolley piece from 1951 was $80, not a bad price at all, but I would take a Frank Godwin Rusty Riley Sunday for the same price any day over a single panel strip. Save up for something bigger and you might get an early Milton Caniff Terry and the Pirates daily from 1937 for $250, or perhaps another terrific daily from '46 with the infamous Dragon Lady for $150, or just pop for a Terry Sunday from 8-27-44 for $175. But don't forget the Steve Canyon dailies from the late sixties priced at forty dollars each from these dealers. Time for a real deal, how about a Frank Frazetta Johnny Comet Sunday from the mid forties for the whopping sum of $120, best thing I've seen so far. But you don't have to look very far to find the real "heavy hitters" including a 1940s George Herriman Krazy Kat Sunday for $500, or a zany 1937 daily for just $200! What about one of the greatest cartoonists ever, Harold Foster, on his signature strip Prince Valiant, a full Sunday from 5-6-56 was only $475, or pick up one from his talented successor, a John Cullen Murphy Val from 1973 for $120.


How about a wonderfully illustrated 1952 Cisco Kid daily by Argentinean artist Jose Luis Salinas for fifty bucks, or you could choose from three late sixties Al Williamson Secret Agent Corrigan dailies for $40 each. Chic Young Blondie strips were the same price, and an Al Capp Li'L Abner Sunday from 1938 would cost you $60! OK, here are the real big deals, you've all been waiting for. Anybody want an Alex Raymond Flash Gordon Sunday from 5-15-38 for $2900. Clearly the most expensive piece in the ad, but just a steal in today's strip art market. Jungle Jim Sundays were $325, and an absolutely gorgeous Rip Kirby could be yours for $90! A historic Windsor McCay Dreams of the Rarebit Fiend Sunday from 1907 was listed at $700. But the biggest deal by far would have to be the Charles Schultz Peanuts pieces, with a Sunday from 1955 for one hundred dollars. Dailies from the early fifties were shown @ $40 each, and some exceptional later sixties pieces for a mere $100 each. This solid 1951 Snoopy example below sold three years ago at auction for the grand sum of $40,250 for the 4 panel daily, that's $10,062.50 a panel! If you were lucky enough to buy this from these dealers,(if they had it for sale) it would have increased in value 1006% over the past thirty years. Too bad I was still reading my beloved comic strips, instead of collecting the original art for them.

Wednesday, January 30, 2008

National Cartoonist Society Profile: Jack Kent


Another favorite in my series of cartoonist from the National Cartoonist Society archives is the whimsical beloved strip King Aroo by Jack Kent. The artist's open loose-lined art style coupled with its many sophisticated puns and wonderful wordplay had many fans compare his work to classic strips like Pogo, Barnaby, Little Nemo, and Krazy Kat. Here is Kent's short from the NCS archives in his own words: Getting from 1920 to the present with a minimal loss of parts and faculties has been my most noteworthy accomplishment. Along the way I have drawn a few cartoons and magazine gags before and after my stint with the army in WWII (1st Lt, FA). The very comic strip King Aroo, which ran (or jogged) for fifteen years, beginning in 1950, made me world famous for blocks around. Since 1967 have been writing and illustrating children's book's. There have been over forty up to this time, (2:45 PM but my watch may be slow) and more are in the womb. I'm having more fun, my wife is an angel, my son is a genius, and I am thrice blessed.

Wednesday, January 23, 2008

National Cartoonist Society Profile: Harold Gray



The National Cartoonist Society was formed in the mid forties and over the years the became the largest and best know society of professional cartoonist in the world. With over five hundred members worldwide, the Society's home offices are in Winter Park, Florida, with an additional sixteen chartered regional chapters throughout the United States and one in Canada. Continuing in my series of favorite NCS members that are no longer with us today, is the talented artist Harold Gray and his sensational strip, Little Orphan Annie. How could a feature started in 1924 still be published eight decades later and inspire her own radio program, several motion pictures, and a hit Broadway show? The phenomenal success of the feature must be how Gray make us care about his charming characters with his wonderful stories he told that entertained one generation of readers to the next. Here is his short biography that he provided to their archives.

Born: away, way back podner, in Kankakee, Illinois on 20 January 1894 -- graduated Purdue University, 1917 -- rose in army to shavetail, bayonet instructor. Chicago Tribune art department -- then assistant to Sidney Smith on "Gumps" five years. Started "Annie" in New York News and Chicago Tribune, 1924. " Now appearing in numerous papers." As they tell it in "who's who" -- Home: Green Farms Connecticut -- West Coast base: La Jolla California. Doing business under firm name of Gray & Gray -- Drive average of 35,000 miles per year, trying to keep even with ninety million readers exposed to our lovable (?) little monster -- hope to carry on till Annie is elected president -- why not? Her "Daddy" is rich; and Annie wouldn't be the first "old lady" who ever made it!