Friday, December 25, 2015

To the little children of Belgium – Christmas 1914


The Tale of a Belgian Hare 
Frances Ebbs-Canavan 
Lillian Clarke Sweeney.

“To the little children of Belgium
deprived of their homes and their birth-right,
this favorite story of some of her little children 
is lovingly dedicated.

Victoria, B.C.    Christmas 1914.”
Images courtesy of Jaleen Grove

Thursday, December 17, 2015

The Importance of Mr. Peewee

[1] Mr. Peewee by MacGill, September 16, 1903.

MR. PEEWEE. The American-Journal-Examiner, Hearst’s San Francisco newspaper, was the first newspaper to publish consecutive daily newspaper strips. On January 31, 1903, appeared a one-shot gag strip called The Importance of Mr. Peewee by Ed Flinn. Harold Arthur MacGill (1875-1950) revived the character Mr. Peewee as a daily from September 9, 1903 and it ran until at least September 23, 1904, under a variety of artists including Fred Long and a cartoonist who signed visually with a bulldog in a tiny frame. This is based on following the cartoons in the New York World so might not be entirely accurate. The last strip I found was a cartoon drawn by MacGill in the Salt Lake Herald titled The Whole Peewee Family on March 1, 1908. So, did the strip run until 1908 or was the 1908 cartoon just a one-shot nostalgic remembrance by MacGill?

[2] H.A. MacGill, May 25, 1919.
Harold Arthur MacGill was born in Canada, in an as yet unidentified city, on November 5, 1875. His September 1918 draft registration card identifies him as a declared alien and states his present occupation as a cartoonist in the employ of Frank Munsey of New York and his next of kin as Agnes MacGill. He resided at Bayside, Queens, New York. 

[3] Percy and Ferdie, March 14, 1916.
“Cupples & Leon sold nearly 6,000,000 copies of the Percy and Ferdie series by H.A. MacGill and issued Bud Fisher’s Mutt and Jeff in a first printing of 1,000,000. Bringing up Father, by George MacManus, also sold in the millions.” — Fifty Years of Bestsellers
[4] Percy and Ferdie, April 21, 1922.

H.A. MacGill’s title The Hall-Room Boys, later titled Percy and Ferdie, his second comic strip, was copyrighted June 10, 1905; the next two strips appeared June 14 and 15, 1905. To discover if it appeared daily and consecutively or sporadically, the newspapers were not available. March 2, 1915, was the last available copyright date on that title, Percy and Ferdie began March 14, 1916. Just previous to this he had been drawing the daily title The 2nd Mrs. Mack.

[5] Mr. Peewee by Bulldog (a visual signature), January 19, 1904.
[6] Dozens of New York cartoonists and caricaturists pictured at their Beefsteak Dinner. Photo from The Fourth Estate, October 10, 1908.

Tuesday, December 15, 2015

Merkl’s DINOMANIA – McCay – Dinosaur Monsters – New York – King Kong

[1] 1905 — Git App! McCay’s very first dinosaur — drawn as ‘Silas’ with respect for the ‘paleontological facts…’ Dinosaur-jockey panel from Dream of the Rarebit Fiend, 4 March.
by Huib van Opstal

WORSHIP. For five years Ulrich Merkl has been chiseling away at his second book about Winsor McCay — Dinomania; The Lost Art of Winsor McCay, the Secret Origins of King Kong, and the Urge to Destroy New York — available now.

Ulrich Merkl (b.1965) is a German historian, a tireless researcher, writer and designer who lives and works in eastern Germany near Chemnitz, in the Bundesrepublik Deutschland. This large-sized book in words and images is about much, much more than dinosaurs and comic strips alone. Many full-page newspaper pages are reproduced in it. It certainly is the book for McCay worshipers.

[2] 1910-11 — The lines of McCay (as Silas) in close-up.
LINE DRAWN. Winsor McCay (1869-1934) did not have a particularly well-drawn line. Seen in close-up his lines were rarely singular and clearly drawn in hurried fashion. He manically scratched on in multifold-line mode. Outlines in his comic strips he often made thicker, giving panels and pages the look of lead framework in stained glass. 

For the period around 1911 when he made his pioneering animated movies — films for which he made all in-between drawings himself, in pen on paper, thousands and thousands of them, for once inking in an even singular line to ensure the best registration — Merkl describes McCay’s working method as:
‘…Religiously adhering to a schedule of seventeen working hours a day, and drawing in lightning fashion…’
[3] 1910-11 — The Giant Hand. A regular nightmare in the Dream of the Rarebit Fiend series, 2 February 1913. A strip actually drawn 2 or 3 years earlier.
A GIANT. What made McCay a real giant in the American comic strip field though, in the early 1900s, was his mastery of other vital aspects of the comic drawing trade. His mastery as a composer of giant newspaper strip designs in beaux arts styling, or his beautiful colouring and page layouts, or his giant editorial cartoons. His zany dream and nightmare subjects and various other absurdities make you nearly forget the plotless aspect of the larger part of his strips. 

Merkl’s two visual McCay books (this is his second) automatically stimulate your viewing because McCay absorbed many influences from many sources, and Merkl attempts to find them all. Dinomania has a glossary, an index, a bibliography and notes, and is chockfull of annotation and inspiration. Bless you Ulrich, for your dandy finds, although the design and reproduction choices made in it gave me nightmares.

PICTURE RHYME. Here’s some lovely picture rhyme proof I found last month of the similarities between a real mining machine as seen by photographer Lewis Hine (b.1874), and a machine-like dinosaur as drawn by Winsor McCay.

[4] 1908 — PICTURE A. Mining machine photo by Lewis Hine who noted: ‘Machine used in Gary, West Virginia, mine that digs the coal and loads it on the car. With it 3 men can do the work of 50 in the old way. Yet they use boys to drive and trap.’
[5] 1933 — PICTURE B. ‘Frightened By A Word — Technocracy,’ pagewide drawing by McCay, in San Francisco Examiner, Sunday 2 April, illustrating an Arthur Brisbane editorial.
[6] 1905 — Disaster comic. Watching a circus parade, the eternally sneezing Little Sammy destroys half a New York city street. Large comic book cover.
[7] 1934 — DINO. McCay’s long lost Dino strip, a cut out panel of original art.
[8] 1928 — THE ŒUVRE. The cover of Frans Masereel’s L’Œuvre; Soixante Bois Gravés, a story in sixty woodcuts with nearly no text.
[9] 1928 — THE ŒUVRE. Masereel’s story begins with a man who chisels away at a giant statue; a full-page woodcut.
[10] 1928-33 — THE ŒUVRE vs KING KONG. Ulrich Merkl’s picture rhyme proof of the similarities between Masereel’s Belgian book L’Œuvre (1928) and the American monster movie King Kong (1933), produced by Merian C. Cooper.
[11] 1928-33.
[12] 1928-33.    
[13] 2015 — At present Ulrich Merkl is working on his third McCay book: the biography of Winsor McCay.

DINOMANIA is published by Fantagraphics Books, 674 numbered illustrations, 296 pages, 40 x 30 cm (16 x 11.75 inch), hardback with dust jacket, ISBN 978-1-60699-840-3.

See and read more of Ulrich Merkl’s Dinomania in his own article last year in Yesterday’s Papers HERE.

Read Huib van Opstal’s review ‘Dreams and Obsessions on Shelf and Screen’ of Ulrich Merkl’s first McCay book plus CD from 2006 — The complete Dream of the Rarebit Fiend (1904-1913) by Winsor McCay ‘Silas’ HERE.

See the Dinomania book for: [1] on page 77, [2] on 162-163, [3] on 174, [5] on 158-159 and the flyleaves, [6] on 171, [7] on 4 and 16 and the dust jacket, [10] [11] [12] on 208. The pictures [4], [8] and [9] are added here by Yesterday’s Papers.

Saturday, December 12, 2015

Looking for Bud Fisher!

Bud Fisher is the John D. Rockefeller of newspaperdom, the highest-paid man who ever drew a picture and perhaps the most envied and most misrepresented fellow in his line. He has made Mutt and Jeff the two best-known comic characters in the world.” Hugh S. Fullerton, The Highest Paid Newspaper Contributor in the World, in The American Magazine, May 1920
by John Adcock

  A. MUTT    I always thought the most notable influence on George Herriman’s (b.1880) drawing style in his daily strips Baron Mooch, The Family Upstairs, and Krazy Kat was Bud Fisher (b.1885). Now I’m not so sure, perhaps it was the case that Fisher was imitating George Herriman.

1915 [1] The Dingbat Family by George Herriman, Oct 31.
“They have been in several of the revolutions in Mexico. They have dallied with the dandies of Paris and Ostend. They attend all the big prize fights for championships, and they never miss a world’s series for the baseball championship.” “Bud” Fisher – His Life Story, Chapter IV, in Idaho Statesman, July 30, 1915
Bud Fisher’s A. Mutt hit the starting line on November 15, 1907, in the San Francisco Chronicle, and from December 11, 1907, on moved to The Examiner in the same city. There sporting sidekick Jeff made his first appearance (as “Jeffries” after the famous pugilist) on March 27, 1908. Comic strips were never expected to be profound or thought-provoking, they were ephemeral and expendable, primarily designed to sell newspapers. A. Mutt introduced a recurring character and was the first popular daily comic strip to bring in shovel-loads of money to the coffers of the newspapers’ proprietors.

1907 [2] A. Mutt by Bud Fisher, Nov 16.
“There were Bud Fisher playing cards, and Mutt and Jeff statues, and Mutt and Jeff cigarettes, and Mutt and Jeff books, and vaudeville engagements for Fisher.” As his personal wealth piled up Fisher spent much of his time in court protecting his characters from infringement on his proprietary rights by burlesque operators and commercial merchandisers.

1908 [3] Mutt and Jeff by Westover, Jan 27.

  MISSING IN ACTION    The sad truth is that Bud Fisher was not much of a comic artist; his sporting cartoons had been nicely drawn but he had little interest in the comic strip once his pockets were bulging with dough. By February 1908 Fisher was missing in action and for a long period the strips were signed by Russ Westover who would later have a successful comic strip of his own, Tillie the Toiler. Fisher returned to the strip but got wanderlust once again. On August 17, 1910, the last panel of the strip showed Mutt and Jeff rushing for a train to take a vacation. Then on August 18 the comic strip disappeared from the daily newspapers altogether. August 19 it was back under a new title Mutt and Jeff Secure Mr. O. U. Boob to Keep the Space Warm for Them by Peter (possibly Wonder Woman artist Harry G. Peter). Mutt and Jeff vanished and O. U. Boob took over eventually having a fantasy adventure undersea with King Neptune and his daughters. A “critical office boy” comments at the bottom of one panel “Who makes this bum series?”

1910 [4] Mr. O. U. Boob by Peter, Aug 19.
Mutt and Jeff make the best comic ever put out – my readers never tire of it. Every time a picture is not published in the paper, my desk is buried under letters demanding why we failed the writers and declaring that they had bought the paper just to get this comic.” Unnamed newspaper editor, July 30, 1915
1910 [5] Inspector Stew by Ed Mack, Sep 12.
The last Boob replacement was on August 26 and Mutt and Jeff were still missing in action. September 3, 1910, a strip by cartoonist Ed Mack appears with a caption reading Pipe! Alphonse and Gaston Join Der Captain in Search for Mutt and Jeff. Next day Jimmy Swinnerton’s characters and Tad’s Bunk join the search. Next day Swin’s dog Violet and Der Captain. Next day Swin’s Laughing Sam. The next day, September 10, Mutt and Jeff were discovered and Fisher signed the strip from Newport. Then on September 12, 1910, Mack is drawing Tad and Swinnerton characters again, in a new search for Mutt and Jeff. September 17 titled Mutt and Jeff on the Job Again, Now that the Big Vacation is Over. I missed Mack and his parade of Hearst characters.

1910 [6] The Hearst Family by Ed Mack, Sep 14.
Ken Kling,  got his start as an unpaid Fisher assistant before the start of World War I. Looking back, LIFE magazine (of July 29, 1946) noted that “Fisher was anxious to reduce his two-hour working day to even less arduous dimensions, and it was not long before Kling was doing all the lettering and all the backgrounds as well as the shadows.” Kling drew in a style based on Bud Fisher’s but was twice the artist Fisher was. His first strip was Katinka, followed by Joe Quince and Windy Riley. His last was Joe and Asbestos.

1923 [7] Joe Quince by Ken Kling, May 7.
Aggressive hustling men win; and they sacrifice much popularity to win. Being afraid that people will not like you is the next worse thing to false modesty in business.” Bud Fisher, Seven Tips I Have Picked Up on the Way, in The American Magazine, May 1920
  THE INSIDE    Historian Bill Blackbeard noted in The Forgotten Years of George Herriman (in Nemo – The Classic Comics Library, No. 1, pp.50-60) that he had found that the second daily comic strip had its beginnings in the sports section of the Sunday Examiner on December 8, 1907, in a one-shot strip titled “The Race Track Bug is with Us Once More” which became a daily on December 10, 1907, under the title Mr. Proones the Plunger until its conclusion on December 26, 1907. Blackbeard then notes the “striking similarity between Herriman’s bald, rotund, heavily-moustached, top-hatted Mr. Proones and Fisher’s later Little Jeff of Mutt and Jeff. They are simply ringers for one another.”
“It has been said that the idea of Mutt and Jeff was suggested to Bud Fisher by two characters he knew in San Francisco.

‘Nothing to that,’ he stated, Mutt and Jeff are no one in particular except themselves. They were merely created for amusement purposes and in time came to be fixtures. They ‘growed’ in other words
The Story of “Bud” Fisher, in Duluth News Tribune, June 16, 1912
1915 [8] Bud Fisher.
Blackbeard’s intuitions were correct however; in fact the similarities were noted in a long Godwin’s Weekly (Salt Lake City, Utah) article on January 25, 1919, The Inside on Mutt and Jeff —
Discussion is renewed as to who was the creator of these supposedly humorous characters. Newspaper men from Chicago have told local newspaper artists that A. Mutt was a direct adaptation from A. Piker, one of the creations of Claire Briggs, once of Chicago, but now with the New York Tribune. Briggs is said to have run A. Piker for several months, twelve or thirteen years ago. In the same circles the original of Little Jeff is credited to George Herriman of Los Angeles, now on the Hearst Syndicate payroll as the parent of the entire Dingbat family. Herriman, I am told, ran a Little Jeff series which he later abandoned and Fisher adopted the character as a companion to Mutt. Herriman has never taken credit for Jeff, telling his friends ‘Bud got away with Jeff and I didn’t, so he deserves all the credit he can get out of it.’ I understand Herriman declined the drawing of a substitute Mutt and Jeff series for Hearst.” 

  A. PIKER CLERK    Tad Dorgan (1877-1929), George Herriman (1880-1944), Rube Goldberg (1883-1970), Bud Fisher (1885-1954) and Harry Hershfield (1885-1974) were all making a living as sporting cartoonists in 1904 when Clare Briggs (1875-1930) was drawing a comic strip called A. Piker Clerk for the sporting page of the Chicago Evening American. Moses Koenigsberg, city editor of Hearst’s Chicago-American in 1903, dated the strip to 1904, consisting of “eighteen connected episodes – three weeks’ releases,” however, for unknown reasons; Bill Blackbeard date the strip’s first appearance occurring in December 1903.

R.C. Harvey dates it to late 1903, “short-lived and, in its last manifestations, only sporadic rather than daily.” Eddie Campbell researched the Chicago-American and did not get the idea that it appeared daily, “the sports pages just didn’t work that way.” Generally A. Piker Clerk was published about three times a week in between the Tad Dorgan and Bob Edgren sporting comic imports. Clare Briggs must have thought little of the strip, there is no record of him ever mentioning A. Piker Clerk.

1904 [9] A. Piker Clerk by Clare A. Briggs, Feb 6.
Series of cartoons are largely accidental. Mine, The Days of Real Sport, originated back in 1910, and When a Feller Needs a Friend started about 1912. The series by which I suppose I am best known is the kid pictures.” Clare Briggs, May 25, 1919
Briggs started his career in 1896 on the St. Louis Globe-Democrat. “Coming east after the Spanish American War I spent two years looking for a job, but eventually hooked up with the New York Journal in 1900.” He was sent to the Chicago American and Examiner and stayed there seven years. In May 1907 he went on to the Chicago Tribune where he remained until 1914 when he was invited back to the New York Tribune. Briggs remained there under the consolidation of the New York Herald-Tribune until his early death at 54 on January 4, 1930.

  STAYING POWER    While Fisher’s swiping of Herriman’s character appears to have been deliberate, few people recall Mr. Proones the Plunger today. It was Mutt and Jeff who had the staying power, a continual 75 years of daily and Sunday publication. Mutt and Jeff ended Sunday, June 26, 1983, and strips from the past are still in online syndication. At the end it appeared in about fifty newspapers, twenty in the United States. George Breisacher, 41, at that time an artist for the Charlotte Observer, was told the comic was losing money; to be considered successful a strip had appear in 100 newspapers — 75 at the least.

1907 [10] Bud Fisher sporting cartoon, Aug 4.

Thanks to Eddie Campbell who is currently finishing off a lavishly illustrated book of comic history titled The Goat-Getters — A new angle on the beginnings of comics, casting a bright spotlight on the Fight of the Century and reserving a few mellow sidelights for The San Francisco Graft Trials, Harry Thaw’s Murderous Crime of Passion, The Story of the Lemon, and featuring art by Jimmy Swinnerton, Tad Dorgan, Robert Edgren, Bud Fisher, Rube Goldberg, George Herriman and a host of early sporting cartoonists.

Friday, December 4, 2015

Wash Tubbs – Twenty-one Damned Dailies by Roy Crane

by Huib van Opstal

WASH TUBBS. Plenty lip service nowadays for good old Roy Crane (1901-77) and plenty reprints of Crane’s Wash Tubbs comics in bold black and white — in bad covers and cramped interior designs.

See here Yesterday’s Papers’ 21 tear sheets of some great Crane dailies. Suspenseful daily comic strips which a nationwide American public devoured from December 1929 to January 1930 when his Wash Tubbs was at its nicest. In the 1930s Crane would take on larger full-page full-colour adventure strips too, his Captain Easy and Buzz Sawyer series, but
‘I got the feeling Roy Crane took greater delight in his Wash Tubbs work. Perhaps he felt that in the early days the comics looked their best in six- or seven-column wide format.’Bob Zschiesche, cartoonist

JUST CALL ME EASY. Since its launch on April 21, 1924, Crane’s daily Wash Tubbs strips were designed and syndicated in ‘split’ or ‘break’ format, with a fixed gutter in the middle. The newspapers that ran it could retain the single row of panels, or split it up and print it as a square box, in two rows of panels placed on top of each other. His little hero George Washington Tubbs II, a boyish shop clerk becoming an adventurer, was soon nicknamed Wash Tubbs and turned into the sidekick of a stronger, more adult more mysterious hero — ‘Easy, Just call me Easy’ or Captain Easy‘formerly chief of the Kandelabran Intelligence Service (…), beach-comber, boxer, cook, aviator, seaman, explorer, and soldier of artillery, infantry, and cavalry.’ — whose name would eventually become the strip’s title.

1929 [1] 27 DecFriday!
1929 [2] 28 DecSaturday!
1929 [3] 30 DecMonday!
1929 [4] Dec 31Tuesday!
1930 [5] Jan 1Wednesday!
1930 [6] Jan 2 — Thursday!
1930 [7] Jan 3 — Friday!
1930 [8] Jan 4 — Saturday!
1930 [9] Jan 6 — Monday!
1930 [10] Jan 7 — Tuesday!
1930 [11] Jan 8 — Wednesday!
1930 [12] Jan 9 — Thursday!

‘In Crane’s hands, letters did not merely combine to form words. The very style of lettering suggested a mood; their display revealed a voice; even their size conveyed actual emotions.’Richard Marschall, 1989

1930 [13] Jan 10Friday!
1930 [14] Jan 11 — Saturday!
1930 [15] Jan 13 — Monday!
1930 [16] Jan 14 — Tuesday!
1930 [17] Jan 15 — Wednesday!
1930 [18] Jan 16 — Thursday!
1930 [19] Jan 17 — Friday!
1930 [20] Jan 18 — Saturday!
1930 [21] Jan 20 — Monday!
PAGEWIDE OR BOX. In the 1910s and 20s huge page-wide or near-page-wide strips and cartoons in daily newspapers in the US were no exception, some to stunning effect. But judging by the Crane Wash Tubbs strips in box-format layout I’ve seen, the effect is even better. I’d really like to see a square Wash Tubbs book published — fat, large, soft, and definitely not in hardcover — with just one daily strip per page, just two per spread. Not as single rows of panels as shown here, but as a box in two rows of panels on top of each other — as a boxed double-decker strip. It would be a lovely page-turner and bring present-day readers decidedly closer to the daily rhythm and suspense that Crane delivered in endless succession since the mid-20s.

NOSTALGIA PRESS. The bad example set by Woody Gelman’s oblong books from 1977 (with old Scorchy Smith dailies by Noel Sickles, Nostalgia Press reprints, 3 daily strips per page) still wreaks havoc in our modern reprint business. Reprinted Wash Tubbs dailies continuously end up in unpleasant books, with too little horizontal space on the page, and with a nefarious split in the middle killing their overall design.

DOWNSIZED. Roy Crane himself, during his long career, already witnessed the sad shrinking in size of US newspaper comics.

A DAILY DOSE OF CRANE. Analyse the 21 samples above, originally published from December 1929 to january 1930. Only three-and-a-half weeks of a five months-long story. A veritable Daily Crane Theatre, with — besides comical characters — strong shots of suspense and realism, action, adventure, loud sounds, virtual voice-overs in newspaper headline-style, courtroom drama, night scenes, tough guys, lying dames, a crashing plane, fistfights, pistol shots, killings, mayhem, shouts, nightmares — all told in pen and ink and crayon, completely drawn, written and hand-lettered by the author himself, and filled to the brim with graphic and typographic effects. 

DAMNED STRIPS. Unbelievable but true: this particular sequence of strips by Roy Crane was one of several thrown-out sequences in a 1974 Luna paperback reprint — a book titled Roy Crane’s Wash Tubbs; The first adventure comic strip. A book with more damned sequences — simply served off in mid-story under the banner ‘A minimum number of strips are omitted.’ With no reason given.

GEORGE STORM. A label with ‘first’ in it stays tricky. In a reprint of two daily comic strip series by George Storm, the adventures of Phil Hardy (1925-26) and Bobby Thatcher (1927-37), historian Bill Blackbeard documented how the ‘grimmer aspects of realism’ entered the American adventure strip with Storm’s work in the mid-1920s. Storm was from 1893, Arkansas, Crane from 1901, Texas. Both artists had a soft spot for swashing pen lines and grainy crayon-line effects. The first 19 episodes of Phil Hardy had rounded panel corners too, but Storm’s earliest strips could not be split in the middle. This oblong Hyperion Press reprint of 1977 based on Blackbeard’s tear sheets of Phil Hardy and Bobby Thatcher is still unique. And a great eye-opener — George Storm in his seemingly comical strip style could be wondrously realistic. A more complete series of Wash Tubbs reprints began in 1987, based also on Blackbeard’s collection. 

1920s, 40s, 70s [22] Roy Crane in photos and self-portraits.
1929 [23] Nov 29 — Tuesday evening! An earlier scene from the same story; Crane’s Wash Tubbs among the other large-sized strips and cartoons in the Greensboro Daily Record.
1970s [24] Roy Crane self-portrait.
‘Have wife [Ebba], 2 daughters, 2 grandsons, 2 orange groves, 3 assistants and ulcers. If I had to do it over, I’d never do a Sunday. It’s the straw that breaks backs.’ — Roy Crane

FURTHER ANALYSIS. Nineteen of these strips are taken from five mysterious, large oblong sheets, numbered 1 to 10, in greyish offset, from the 1970s. Sheets that were probably printed privately by an American collector. Reproduced from tear sheets of an unknown newspaper that around 1930 maltreated syndicated source material. Pictures are partly cut off or repasted into badly redrawn frames, strips were in the wrong order, and one was missing altogether. Halfway this sequence the strips carry daily titles. Crane’s consistent rounded panel corners at the time could be dissimilar too. For our analysis we corrected some corners and gutters and pepped the whole lot up a bit, but some details were beyond saving. Two of these strips, [1] and [14], are taken from volume 4 of The Complete Wash Tubbs and Captain Easy, with comments by Bill Blackbeard, a reprint series of publishers NMB in 18 volumes (1987-92).

A SCENE A DAY. One of the first conclusions, based on just this batch, is that the following order of Roy Crane’s Wash Tubbs daily strip episodes — sometimes consisting of just one stand-alone scene a day — can be changed without damaging plot, story or continuity. Some strips can even be left out.

1920s [25] Roy Crane self-portrait

Rob Stolzer,
Alex Jay,

Ron Goulart,
Richard Marschall,
R.C. Harvey,

Lucy Shelton Caswell,
John Adcock,
Cyril Koopmeiners,
Bill Blackbeard,
NCS National Cartoonist Society,
NEA Newspaper Enterprise Association

For a 2015 Fantagraphics Wash Tubbs reprint see HERE.