Rod Ruth is by no means a well-known figure in the history of comic strips, but I, for one, find his work terrifically appealing. Ruth’s character designs are distinctive, and the expressions always appropriate to the action: look, for instance, at the way Ann’s expression changes from panel to panel in the first strip as she struggles to stand up for the man she loves in the face of her parents’ stern expressions of disapproval, and then retreats into sullen silence as her mother pointedly puts her father in his place. Ruth’s staging of the action is also first rate: in the first strip, notice how he changes from a three shot in the first panel, with the father on the left, facing right, to a closer two shot of mother and daughter, back out to a three-shot, with the father close on the right, facing left — which, taken together with the first two panels, I read as a sign that the father has been pacing back and forth while the women have been talking — and then ends with a lovely low reverse angle that not only maintains spacial continuity between the three but also places the now visibly weary Ann, both compositionally and symbolically, right in the line of fire between her domineering mother and her stuffed-shirt father; and I especially like the bits of business the artist gives to Ann in the second strip — panel one, she files her nails; panel two, she pumps a bit of moisturizer into her palm; and panel three, she absently rubs the moisturizer into her hands as she wistfully contemplates lost love. Finally, Ruth’s handling of clothing, furniture, props, etc., is always economical and convincing: notice, for instance, the way he uses little dabs and checkmarks of ink to give dimension to the quilting on Ann’s jacket in the second strip, or the way he suggests the folds on the nurse’s overcoat with a few deft strokes of the brush.

To see all three of the “Toodles” strips I’ve posted so far, click here.

BONUS LINKS:

The Haunted Closet: Baleful Beasts and Eerie Creatures (illustrated by Rod Ruth), posted by Brother Bill

The Haunted Closet: Baleful Beasts and Eerie Creatures: The Patchwork Monkey (illustrated by Rod Ruth), posted by Brother Bill

The Haunted Closet: Baleful Beasts and Eerie Creatures: Nightmare in a Box (illustrated by Rod Ruth), posted by Brother Bill

The Haunted Closet: The Rest of Baleful Beasts and Eerie Creatures (illustrated by Rod Ruth), posted by Brother Bill

The Haunted Closet: Album of Dinosaurs (Tod McGowen, Rod Ruth, 1972), posted by Brother Bill

Now, I am fully aware that many academically trained artists hate Mell Lazarus’s style of cartooning in Miss Peach, dismissing it as “childish” or worse, but as for me, well, I’ve always had a soft spot for the big-headed, big-nosed, sharp-tongued kids of the Kelly School. Modelled to a large extent on Charles Schulz’s beloved Peanuts, Lazarus’s Miss Peach combined economical but expressive and amusing drawings with witty and incisive social observation and punch lines that could make you laugh and squirm at the same time. The effectiveness of Lazarus’s visual shorthand is especially evident in his characters’ facial expressions, which in my experience always deliver more relevant and touching emotion than Lazarus’s (and Schulz’s) critics would have you believe possible.

In the first decade and a half of his career, Lazarus, who was never short on ambition, steadily worked his way up in the newspaper comics world, going from fledgling freelancer/comic-strip artist — his first, moderately successful strips were “Wee Women” and “Li’l One” — to an assistant position with Al Capp and Elliot A. Caplin’s Toby Press, to art director/comics editor at Toby Press, to nationally syndicated cartoonist. Following the success of Miss Peach, Lazarus, restless as ever, went on to create a short-lived humour-adventure strip, Pauline McPeril, with artist Jack Rickard, in 1966 — it was cancelled after three years — and then bounced back with a second comic-strip hit with Momma, in 1970. And for the next 30 years, Lazarus wrote and drew two syndicated strips, Miss Peach and Momma, until health issues caused him to reduce his work load by dropping Miss Peach in 2002. Momma, however, is still going strong!

But Mell Lazarus hasn’t only had success with readers; he’s also received the respect and approbation of his peers, winning the Best in Humour Strip Award from the National Cartoonists Society (NCS) in 1973 and 1979, the Reuben from the NCS for Outstanding Cartoonist of the Year in 1982 for his work on Miss Peach, and the Silver T-Square from the NCS “for outstanding dedication or service to the NCS or the profession” in 2000. And as if that wasn’t enough, Lazarus’s fellow cartoonists also elected him President of the National Cartoonists Society for two terms, 1989 to 1991 and 1991 to 1993.

Finally, in addition to cartooning, Mell Lazarus has found time to write television scripts, plays, two novels — The Boss is Crazy, Too and The Neighborhood Watch — and, well, you get the picture. He’s always been a busy guy. But not too busy to answer his own front door:

I also recently won an ebay auction for a “Miss Peach” daily by Mell Lazarus, and let me tell you, that thing is HUGE! I love it, and I intend post a picture soon.

BONUS LINK:

News of Yore: Profile of the Baers

(Click the images to enlarge them, as usual. I don’t own the cover artwork, but I’ve included a JPEG of the original comic, with cover by Stan Goldberg, for fun — and contrast!)

I bought the story on ebay a long time ago. It was in a lot with a complete Betty and Veronica story by Stan Goldberg. As I recall, the cost of the two stories together was less than US$100, shipping included. Maybe I’ll post the Goldberg another time… though I must admit, I’m not really a Goldberg fan…

When I was a youngster, my favourite “Archie” artists — even before I knew their names — were Samm Schwartz and Harry Lucey. In a corner of the comics world dominated by lacklustre DeCarlo clones, Schwartz and Lucey each took the seemingly inflexible “Archie” house style and made it his own. Schwartz’s work was cool, crisp, refined; Lucey’s, affable, energetic, theatrical. Jughead was never so self-assured, so unflappable, as when Schwartz brought him to life; Archie and the gang, never so determined, or so frazzled, as when Lucey fed them through the wringer. With Dan DeCarlo already in the Eisner Hall of Fame, and Bob Montana, the co-creator of Archie who drew the Riverdale gang for more than 30 years, named to the Hall of Fame for 2010, can Samm Schwartz and Harry Lucey be far behind? In my humble opinion, whether it happens sooner or later, it’s inevitable.

BONUS LINKS:

“It’s the Chicago South Side Choir Society! It’s their annual uplift cruise for Meditation Week!” — includes scans of “The Bad Old Days” and “In Search of Sanity,” both drawn by Samm Schwartz.

A Closer Look at Samm Schwartz — includes a scan of the story “Crowning Glory,” with art by you-know-who.

Samm Schwartz Addenda — further thoughts by Jaime J. Weinman, the author of “A Closer Look at Samm Schwartz.”

A Few Words about Samm Schwartz, My Father

Samm Schwartz Photo Album

A Loan and Blue — from 1963, with unusually hyper-kinetic art by Samm Schwartz; in later years, Schwartz’s Jughead never got out of control like this! It’s like watching Bugs Bunny melt down.

Little Archie by Samm Schwartz — wow!

Tippy Teen: “Sure Cure Go-Go” — with art by Samm Schwartz.

You can buy screen prints by Jordan Crane from the Reddingk.com site. Click here to see what’s currently available.

Finally, I just have to say: Jordan’s elaborately layered, wrap-around, die-cut dustjacket design for the hardcover edition of Michael Chabon’s essay collection, Maps and Legends (McSweeney’s, 2008), is gorgeous! Watch for it, currently remaindered at a Chapters near you!

Sorry the image is a bit soft, but the painting was too big for our scanner. Also, our digital camera is not the best.

Now, truth be told, before I decided to bid on the above drawing, I not only had never, to the best of my recollection, seen any editorial cartoons by Ed Hall, I had never even heard of Ed Hall. This has happened to me before. Many times over the years, I have bid on or purchased outright a drawing or a small painting not because I was already a fan of the artist and wanted a representative sample of his or her work but because I am an admirer of fine draftsmanship (with a special emphasis on figure drawing) wherever I find it and a collector of the same on those infrequent days when the opportunity to buy a work that has caught my attention arises at the same time as my extremely modest budget for original art allows for a purchase.

And yesterday, well… yesterday was just one of those days…

I might post a few specific observations about the drawing itself after it arrives and I have had a chance to peruse it in person, but I am happy to report here and now that my winning bid for Jessica Resting on Couch was US$21.97 (approximately CDN$23.05) and I paid US$10.00 for the drawing to be shipped from Florida, U.S.A., to Saskatchewan, Canada, via USPS First Class Mail International, for a grand total of US$31.97.

Who says one has to be wealthy to have nice things!

Fact is, most of the works in our collection of original art were purchased for less than CDN$100 a piece, and we have some terrific pieces — spot illustrations, comics pages, sketches, etc. — by artists such as John Buscema, Dave Cooper, Jordan Crane, DeWitt Hardy, Rudy Nebres (the all-Nebres “Rook” page I bought from a dealer for a very reasonable US$125.00 plus shipping is the exception that gently mocks the rule), Dave Sim (I bought an all-Sim Cerebus “High Society” page for CDN$50.00 directly from the artist in my first or second year of university), George Woodbridge, Chinese watercolourist Youqiang Zhang, and others.

So, if you would like to own a drawing of similar quality to the one I just bought, and you have a few bucks to spend on original art, you might want to bookmark the ebay auction page of seller halltoons2qr3 or keep an eye on the Halltoons Weblog, where the artist promotes his work and gives advance warning of upcoming ebay auctions. See, for instance, Ed’s blog post about his drawing of Jessica, My Sunday Best, or browse through today’s Sunday sketch results, at least one of which, I am told, will be up for auction this coming weekend.

But should you decide to bid, please be forewarned: if the drawing is first rate, and the price is right, you might have a little competition from me!

BONUS LINK:

Editorial Cartoon by Ed Hall, Artizans Syndicate

What I especially like about this piece, other than the fact that it is expertly drawn, is that the bracingly cynical satirical message shines through even though it doesn’t include any of the typeset text written by Tom Koch to accompany the illustration.

Miscellaneous info: The “Ain’t It Great!!” feature appeared in Mad #251 (Dec 1984). The image area of our piece of the main, as it were, is 7.5 x 6 inches. And the cost, shipping included, was US$45.95.

So now we have a grand total of three pieces of original art by the talented Mr Woodbridge in our collection.

Click here to see the last piece we purchased (which is still my favourite).

From the early 1970s to the present day, Rudy Nebres has worked, sometimes as a penciller, sometimes as an inker, and sometimes as both (see above), on comics of all kinds, including “adult”-themed comics, for a wide variety of publishers. He’s a skilled artist who has had a long and productive career, and that’s great for him! Not so great for the average, non-art-obsessed reader, however, is the fact that only a handful of the comics Nebres worked on are worth reading for any reason other than to marvel at the man’s amazing craftsmanship. It’s a pity Nebres never found the perfect project to harness his prodigious talent — if only he could have drawn nothing but Western comics! — but the same can be said for most comics artists of his generation and before who scrambled to make a living doing nothing but “work for hire.”

I don’t know which Warren comics magazine the page we now own is from; the dealer didn’t have the information. The only information he had on his site was “Rook Story p.8 Warren Art,” so it is possible this is a page from a Rook story that appeared in Eerie or one that appeared in the Rook’s solo magazine, entitled, what else, The Rook. From Wikipedia:

He [Restin Dane, the time-traveller known as "The Rook"] appeared in Eerie #82-85, 87-95, 98-105. He got his own Rook Magazine which ran 14 issues from 1979 to 1982 (after which he returned to Eerie and concluded the storyline in #132 and continued in 134 and 136). Warren Presents #2 reprints the stories from Eerie #82-85. Eerie isues #116 and 120 had stories staring his great-grandfather.

After perusing Richard Arndt’s index of Warren Magazines, I would venture to guess that the page appeared in The Rook #11 (or possibly #12). But that’s only a guess, so if you by chance recognize the page, and remember which Warren magazine and which issue the story was in, please post a comment, or send me a private message using the link at the top of the page, and let me know. I’d really appreciate the information.

p.s. If you’re wondering why there are no captions or word balloons on the page, it’s because all that is on a separate clear overlay, which thankfully came with the artwork.

UPDATE 03 OCTOBER 2008:

Acting on the basic research outlined above, I mosied on over to ebay and purchased the two issues of The Rook most likely to contain the story with our page in it. Well, the books arrived today, and I was right. Our Rudy Nebres page was printed in The Rook #11 (October 1981), page 12. The story, written by Will Richardson, is titled, simply, “The Rook.” Mystery solved!

Bonus Links:

The Comic Book Database: Rudy Nebres

Komiklopedia: Rudy Nebres

The Philippine Comics Art Museum: Rudy Nebres

[Copyright: Dave Cooper.]

The artwork, which is from the Hector Mumbly book entitled Bagel’s Lucky Hat, is 124 mm high x 127 mm wide, red and black ink over printed blueline. The featured character, Bagel, is a mere 25 mm from the tip of his nose to the tip of his tail.

The drawing was accompanied by an illustrated thank-you note on standard-size typing paper. Here’s a scan:

BONUS LINK:

davegraphics’ photostream – there’s lots of really good (and, sometimes, disturbing) work on display here, including some enlightening step-by-step documentations of paintings in progress.