News of Yore: Kemp and Henrietta Starrett

Artists Who Wed Upset Popular Ideas
By Lawson Paynter
Brooklyn Daily Eagle, 8/31/1930

Artists are supposed to be such very queer people. The popular conception of an artist is apt to be a temperamental eccentric who starves in a garret along with several lower class rodents. His nights are spent in ultra-bacchanalian orgies, popularly known as studio parties, his afternoons dedicated to his favorite model.

The Starretts—Kemp and Henrietta McCaig—are likely to upset the conventional idea. A bombshell, as it were, in the popular fancy.

Henrietta McCaig Starrett is the very same Henrietta McCaig Starrett whose delightful illustrations you find several times a month in the Saturday Evening Post. And Kemp Starrett’s pencil furnishes Life, the New Yorker and the Saturday Evening Post with many of their sophisticated satiric sketches.

They are Brooklynites, now living in Forest Hills. It is in the charming living room of their red-brick, much bewindowed home that we find ourselves.

“Why do you think that the private life of the Starretts should make interesting reading? asked Kemp, as he sank still further back into his chair. “We are not leading especially thrilling lives at the moment. We haven’t the time. We are too busy to indulge in flagpole sitting or iceberg exploring—the stuff that current reading matter is made of. Of course, there may be Richard Halliburtons among artists as there are among writers; but you can’t swim the Panama Canal in the morning and draw pictures in the afternoon. At least I wouldn’t care to try.”

“I wouldn’t even swim the Gowanus Canal in the morning,” said Mrs. Starrett.

“The life of a creative worker is always interesting,” I said. “So many of us are artists at heart and we would like to know how real artists live. Besides, Brooklyn is always glad to hear of a local boy who has made good.”

“But what about local girls?” asked Mrs. Starrett.

“Local girls, too,” I assured her.

“One of the most prevalent fallacies about artists,” observed Mr. Starrett, “is that they never work hard. It is true, of course, that some—myself, for instance—follow art to avoid going to work, but it usually turns out that they work harder than they might have if they had become traveling salesman for, let us say, a deep-sea divers’ outfitting concern. Drawing requires an infinite capacity for taking pains, as well as an innate sense of the significant that is really nothing but good taste. Every line should have some thought behind it. One stroke may make or ruin a picture. For the work that seems the most casual is often the most careful.

“A similar mistaken idea is that drawing is easy because the artist can daydream. It should be obvious that one is not creating when working mechanically. You cannot do anything important while you are wool-gathering in New Zealand or Montana or wherever it is that wool is gathered. Let’s see, what else does the popular mind believe about artists?”

“Well, you people are supposed to be very temperamental,” I ventured timidly.

“Personally,” said Henrietta Starrett, “I have tried so hard to be temperamental but it just doesn’t seem to work out. Yesterday I had almost roused myself to a perfectly swell nervous breakdown, but then all of a sudden it sploshed out and I was feeling fine. I doubt if I will ever be able to faint like other women. I have tried but nothing happened.”

So one more illusion was shattered.

“There is another thing,” said Henrietta. “People are always asking me whether an artist must read the stories she illustrates. Anybody with the horse sense of a reasonably intelligent horse ought to know better. I am having Kemp invent some sort of bomb that will blow up those persons all at once.”

“When I was seventeen,” said Mr. Starrett in reply to a question, “I wanted to be a newspaper cartoonist and I wanted to get on the Eagle.”

“The best I could get was a position in the advertising department at six dollars a week. But while there I submitted several cartoons almost anonymously, and they were printed. So when I was fired downstairs, which didn’t take long to happen, I revealed my identity and was taken into the art department. I stayed with the Eagle until I had to leave to make way for Nelson Harding. I worked for out-of-town papers for some time after and didn’t return to Brooklyn to live until after I had married my first wife, who died in 1918.”

“Kemp and I set up housekeeping in a duplex studio on Willow Street, on Brooklyn Heights,” said Mrs. Starrett. “And speaking of housekeeping, the dinner dishes are piled high on the drain board. “Would you care to help with them?”

As we splashed around in the dishpan I became much better acquainted with the Starretts.

Kemp was born in New York City, the son of Dr. Heydon Starrett of Brooklyn. Henrietta was born on South Oxford Street, the daughter of the actress, Jane Burby.

Her father was a theatrical manager, Charles Collins; her stepfather, Charles Treavathan, a writer and newspaperman (he wrote, among other song hits, “The New Bully,” for May Irwin). And her guardian was C.B. Smith, Sunday editor of the North American. So she should have been well taken care of.

She spent most of the first seventeen years of her life in a convent. She went from the convent to the stage (to play with James K. Hackett in “the Prisoner of Zenda”), then back to the convent. Twenty-four hours after she left the convent permanently she was in a life class in the Art Institute of Chicago.

She used to save her pennies to bet on horses recommended by her stepfather. Then she bet nickels till she had dimes, and dimes till she had dollars. Then she would have to start all over again.

She did fashion drawings for a while. But frocks and hats and doodads didn’t enthuse her, for no imagination was allowed. So when she had been fired by practically every department store in town she decided to give up.

She has been illustrating for the Saturday Evening Post for three years and is gaining in popularity with every issue in which she appears.

Both Henrietta and Kemp have been married before. Mrs. Starrett’s first husband was Robert McCaig, who also used to illustrate for the Post.

Kemp is forty, but not fat.

He has been on two other papers beside the Eagle which are now owned by Frank Gannett, the Rochester Democrat and Chronicle and the Albany Knickerbocker Press.

In Philadelphia he has worked on Munsey’s (now defunct) Times, the Public Ledger and the Evening Ledger. At twenty-five he became cartoonist for the New York Tribune.

He has never had a lesson in his life and never expects to take one. He likes humorous
illustration best of all, although for some years he did serious illustrating for theSaturday Evening Post, Cosmopolitan, Red Book, Good Housekeeping, and we could go on and on.

In selling his stuff to Judge and Life, ten years ago, he used to visit the offices with the artist Norman Anthony, who later became editor of each of those magazines in turn and is now writing stories for Cosmopolitan.

The toughest break in his life occurred when one of his magazines discovered it was overstocked, another dropped illustrated fiction, and two others failed, all in one week.

When he married Henrietta McCaig he had a check for sixty dollars from a well-known magazine in his pocket. When he cashed it, it was worth twenty-five cents on the dollar. Henrietta says that Kemp ought to have gone to the bank that day instead of The Little Church Around the Corner. She could have waited.

They work in the same house, but in separate studios. (So they won’t get their paint brushes mixed.) Henrietta has only one. It’s as sacred as her toothbrush.

And the only place they have ever been homesick for is Brooklyn Heights.

[William Kemp Starrett was born in New York, New York on October 6, 1889, according to his World War I and II draft cards. In 1900 U.S. Federal Census, he was the oldest of three children born to Heydon and Emma. They lived in Brooklyn, New York at 805 Herkimer Street. His father was a doctor.

In the next census, they remained at the same address. Starrett was a newspaper cartoonist. He signed his World War I draft card on June 5, 1917. He was a self-employed cartoonist and illustrator who lived, with his unnamed wife, in Brooklyn at 54 East 17 Street. His description was tall, slender with gray eyes and black hair.

He was part of his father’s household in the 1920 census. They lived in Brooklyn at 30 Midwood Street. Starrett, a widower, was an illustrator and cartoonist. He remarried to Henrietta McCaig in the early 1920s. A passenger list, at, recorded them, having returned from Bermuda to New York City, on November 8, 1923. Their address was 30 Willow Street, Brooklyn.

In the 1930 census they lived in Forest Hills, New York at 27 61st Drive (Pilgrim Street). Both of them were magazine illustrators. A list of some of their work is at The FictionMags Index. His mother-in-law lived with them. The January 10, 1932 Brooklyn Daily Eagle noted their move to Connecticut: “Mr. and Mrs. W. Kemp Starrett of Pilgrim St. have taken up their residence at their new home at Comstock Hill, Norwalk, Conn.” He was the first artist on the 1937 strip, Roy Powers, Eagle Scout. (The first weeks are here 1 2 3 4 6 6a 7 8 9 10 11) In 1939 he took over Vignettes of Life from J. Norman Lynd.

Times-Picayune, 8/6/1939

Kemp’s final Vignettes of Life, Times-Picayune, 9/28/1952

Starrett signed his World War II draft card on April 25, 1942. He lived in Phoenixville, Pennsylvania on Ridge Road, R.D. #2. He was a self-employed cartoonist. He was described as six feet tall, 151 pounds, with gray eyes and hair. He passed away July 9, 1952, in Phoenixville. Editor & Publisher published news of his death July 13, 1952.

Phoenixville, Pa.—Cartoonist W. Kemp Starrett, 62, died July 9 at his farm, “The Grindstone”, near here. His first cartoon was published in the Brooklyn (N.Y.) Eagle when he was 18. He drew the “Vignettes of Life”, a feature which has appeared in many newspapers. He started his career as a political cartoonist on the Philadelphia Times about 1916. Later he held similar positions on the New York Tribune and on papers in Albany, N.Y., and Providence, R.I.]

News of Yore: The Life and Times of C.E. Toles

1880 U.S. Federal Census
Home: Elmira, New York [327 Center Street]
Name / Age / Occupation
Adolphas Chidester(?) 64 Carpenter
Elizabeth Chidester(?) 54
Estella Toles 24 Dressmaker
Claude Toles 4
(His maternal grandfather was the head of the household.)

Childhood Photo

United Friends Entertainment.

The Elmira Telegram, 1/12/1890

They Aquit Themselves Proudly in Welcoming the State Grand Counsellor.
The six local councils of the order of United Friends gave an entertainment at Odd Fellows hall last evening in honor of the official visit of Grand Counsellor Dr. Eli H. Long, of Buffalo….Master Claude Toles did himself proud in his recitation “Adam and Eve.” He was decidedly a feature of the entertainment….

The Pupils of School No. 2 Grandly Observe Arbor Day.
The Elmira Telegram, 5/4/1890

…A chorus forest song by the entire school and the audience was invited to witness the dedication of the trees out of doors. The school children marched out to the inspiring martial music of two piccolos, two snare drums and a bass drum. An open air chorus, “Plant the Trees,” was sung, and then the first tree was dedicated…Claude Toles and Louis Uttrich, of the sixth grade, dedicated an elm tree to J.T. Trowbridge….

Class Graduation Photo

Williams’ Directory of Elmira City 1891
Toles Claude E., clerk, 311 E Water, bds 1306 Maxwell av

Williams’ Directory of Elmira City 1892
Toles Claude E., clerk, 311 E Water, bds 330 E Centre

Williams’ Directory of Elmira City 1893
Toles Claude E., artist Telegram, bds 324 E Centre

Elmira Telegram
The Telegram was a Sunday newspaper and Toles was on the staff in April 1893, if not earlier. Old Fulton New York Postcards has copies of the 1893 Telegram from April 30 to December 31; the April 30 issue has seven spot illustrations featuring portraits and column headings by him. He illustrated events like train wrecks, factory explosions and executions, plus portraits of politicians, performers and buildings, and, of course, editorial cartoons. Below are samples of his artistic versatility.


11/19/1893; original art is here.

Original art is here.

Williams’ Directory of Elmira City 1894
Toles Claude E., artist Telegram, bds 416 Mathews

And We Appreciate the Fact.

The Elmira Telegram, 1/21/1894

[From the Horseheads Reporter.]
The Telegram last Sunday contained an excellent cartoon, representing President Cleveland endeavoring to solve the mysteries of the Hawaiian puzzle. The picture was a palpable hit, the idea being very pat and the delineation first class. The sketch was designed and drawn by Claude Toles, a bright young artist of the Telegram force, and proves conclusively that he possesses both talent and originality—essential elements of success in his peculiar field.

Cartoonist of Much Promise.

The Elmira Telegram, 2/18/1894

[From the Elmira Star.]
The Observer has noted with increasing pleasure the work of young Claude Toles, who of late has been doing some of the caricaturing on the Telegram. The writer learns that Manager Brooks found him one day in the rear part of a dry goods store marking boxes with a brush and black ink. He was struck with the deft manner in which the youth handled the brush, and told him to come up to the Telegram office and he would do something for him. The result was that C.E. Toles is now drawing good pay for doing one or two funny pictures a week. The Observer notes that the caricaturist has a very wide and clear conception of the political situation and does his work so that it speaks for itself, and the Observer desires to observe that if this young man perseveres and studies, sticks to Mr. Brooks and does not allow his head to get too large, he will in short time make his mark in the profession he seems to have such a cinch upon.


Elmira Daily Gazette and Free Press, 8/23/1894

C.E. Toles, the Telegram staff artist, has resigned his position with that paper, having been with the Telegram for nearly two years. Mr. Toles accepted a position with a southern firm and will do his work at home hereafter.


Elmira Daily Gazette and Free Press, 11/27/1894

Claude Toles, formerly of the engraving department of the Elmira Telegram, now of New York city, is in town.

Williams’ Directory of Elmira City 1895
Toles Claude E., artist Telegram, bds 503 Baldwin


Elmira Daily Gazette and Free Press, 4/25/1895

Claude E. Toles, the caricaturist and cartoonist, is recovering from a six weeks illness of grippe and typhoid fever and will soon be able to be upon the streets.

Has Recovered.
The Elmira Telegram, 6/30/1895

C.E. Toles, the well-known newspaper artist, has nearly recovered from a long illness of pneumonia.

Hanford’s Elmira City and Elmira Heights Directory 1896
Toles Claude E., artist, h 503 Baldwin

Miss High Kick

Trenton Sunday Advertiser, 9/27/1896

Miss High Kick to the Rescue
Panel 1
Miss High Kick—What’s the matter, little boy?
Little Boy—Kite’s caught in tree. Boo hoo—can’t get it. Boo hoo!

Panel 2
Miss High Kick—Don’t cry, I’ll get it for you!!!$$???

Panel 3
Little Boy—Oh, thank you, ma’am.

Hanford’s Elmira City and Elmira Heights Directory 1897
Toles Claude E., artist, h 503 Baldwin

Why They Are Thankful.
The Elmira Telegram, 11/21/1897

Claude E. Toles—”That he is still the whole ‘Comic Sketch club.’ “

Outshines All Others.

The Big Bazaar-Carnival Opens on Thursday.
The Elmira Telegram, 2/6/1898

…The greatest art exhibit of its kind ever seen in this part if the state will be at this fair. The exhibition contains the collections of cartoons and caricatures of Eugene Zimmerman, of Horseheads, known the world over under the name of “Zim.” This collection embraces eighty-four of Zim’s original pen drawings and his collection of pictures by other artists loaned by him to the bazaar-carnival. Claude E. Toles, the well-known Elmira artist, has loaned forty of his pen drawings, including the best examples of his work in portraiture of up-to-date bicycle girls, piquant soubrettes, airy summer girls, shapely ballet girls, also his broadly humorous drawings, as well as his collections of pictures by other artists. The gallery will contain drawings by Phil May, the famous caricatures of London Punch, Bernhard Gillam, Joseph Keppler, E.W. Kemble, F. Opper, Fithian, A.D. Rahn, Hy Mayer, and twenty-seven others, the best known magazine artists in the country. The gallery will be put in shape under the direct supervision of Mr. Toles….

Why Elmirans Would Enlist
Elmira Daily Gazette and Free Press, 3/2/1898

Claude Toles—”To make war sketches.”

Artists Wanted.
Elmira Daily Gazette and Free Press, 3/8/1898

Claude Toles, the artist, has gone to Baltimore, where he was called by a telegram from the president of the Baltimore Sketch Club, asking him to come to that city and be in readiness to sign a year’s contract.

Struggling in the Water
Bohemia Was All Excitement Last Night.
The Occupants of a Boat Were Thrown into the River—Thought They Were Drowning in Three Feet of Water—Brave Men to Rescue.
Elmira Daily Gazette and Free Press, 6/13/1898

…Yesterday afternoon there were four occupants in the two boats, the party going out for a spin on the river. The Grit was manned by Editor John R. Joslyn, who was a visitor at Meneyata [sic] cottage, and Claude E. Toles, while the new boat had as its occupants Attorney Charles Marvin and Roy B. Delo. The two boats pulled away by sturdy oarsmen pointed out to the middle of the stream and then began a battle for supremacy.

The Dasher…capsized and two forms were seen struggling in the water….

…Editor Joslyn forgot all the rules he had ever learned about rescuing drowning people in his eagerness to get an item and hastily taking out his note book began to take down the frightened utterances of the now almost exhausted young men. Claude Toles was also glued to the boat without power to render assistance. His artistic abilities did not leave him for an instant however and he was soon sketching the scene for the next issue of the Police Gazette….

…the two young men in the water had demonstrated to their own satisfaction that they could not swim they began to sink only to find that the water was only a little above their knees and that they in reality had been in no danger at all. They waded to shore…

…The incident illustrates the need of a life saving station and it is probable that Mayor Bundy will call the attention of the common council of Bohemia to the fact at the next meeting, also to adopt suitable resolution and prepare a leather medal for Messrs. Joslyn and Toles who by leaving the young men alone allowed them to reach the shore in safety.

Hanford’s Elmira City and Elmira Heights Directory 1899
Toles Claude E., artist, h 503 Baldwin

A Great Team.
Elmira Daily Gazette and Free Press, 8/10/1899

For several years Claude E. Toles of this city, a well known artist, has been connected with the Baltimore Comic sketch club, which furnishes illustrations and articles to newspapers and magazines—syndicates them. Recently C.B. Lewis, known to the reading public as “M Quad,” joined forces with the sketch club and Mr. Toles has been assigned to illustrate his article in the future. These two will make a pretty strong team and ought to greatly enhance the popularity of the sketch club.

A Wedding of Two Popular Elmirans That Occurred Wednesday Last.
Elmira Daily Gazette and Free Press, 9/25/1899

The marriage of Miss Maude O. Drake, daughter of Dr. and Mrs. E.G. Drake, to Claude Eldridge Toles occurred Wednesday, September 20th, the Rev. W.T. Henry officiating. Mr. Toles is an artist of ability, whose work is in demand by the best publications, and his bride is a young woman of accomplishments. The good wishes of a host of friends go out to the happy couple.

1900 United States Federal Census
Home: Elmira, New York [503 Baldwin Street]
Name / Age
C E Toles [blank]
Maud Toles [blank]
J T White 41 [Boarder]
Mrs Estella Toles [blank]

Philadelphia Sunday Press
1900 and 1901 panel cartoons

Exhibition of Drawings.
A Large Number of People Were Present Last Evening and Viewed the Collection—Interesting Paper by Mrs. Jabin Secor.
Elmira Daily Gazette and Free Press, 2/22/1900

…The display of sketches by Claude Toles occupies one entire side of the room. The variety shown in his sketches called forth much comment from the visitors, all of whom praised his drawings highly. A number of sketches of pretty girls drawn by him were myth admired, while the caricatures included in the series of “Caricature Portraits of Men in the Public Eye,” comprised all the well known personages famous in many lines. A number of sketches on political themes were also noticed in Mr. Toles’ exhibit. A drawing of the Meneyata cottage, the home of the Pine Cliff club of Bohemia on the Chemung, attracted the attention of many familiar with the scene of the sketch.

Elmira talent was well represented by the work of Mr. Toles and a drawing by Edward A. Wader, while the display of Zim’s drawings reflected much credit upon the village of Horseheads.

Early in the evening Mrs. Jabin Secor read a paper giving a brief sketch of the many artist represented. The following paragraphs relative to the three best known in this city are selected from her paper:

…”A very attractive and interesting collection of pen drawings is the work of Claude E. Toles, which well shows his talent and versatility. Mr. Toles is a member of the International syndicate, which has its headquarters in Baltimore. This distributing bureau sends electrotypes of sketches to the newspapers subscribing to their service throughout the United Sates and to some portions of Europe. Ex-Vice Consul Wildman wrote that he found several of Mr. Toles’ sketches in a Hong Kong paper and at several English ports. The artist is not a specialist, although he has a distinct and very attractive type, but draws pretty girls, also grotesques, high society—gutter snipe society, political cartoons, animal life, under the signature of ‘Dix;’ war scenes, in both the army and navy, portraits, legitimate and caricature, and general newspaper illustrations. Well worth study are his series of present day caricatures of people now in the public eye. Many of these have not been published. Elmira may well be proud of this young artist, who has his home among us. He was born here and received his education in our schools. He belongs to the army of young illustrators who have come to the front of late by virtue of great talent and industry.”

With reference to several other artists and their work, Mrs. Secor closed by saying:
“I ought not to stop speaking without adding that the success of this exhibit is due largely to the co-operation of Mr. Toles, who from the first has given a great deal of his time to the details of the work, and without him the exhibition could never have been.”

Elmira Daily Gazette and Free Press, 3/31/1900

Claude E. Toles, Elmira’s talented artist, and his wife, will move to Baltimore, Md., Monday, where they will reside in the future.

Claude and Maud lived at 1620 Madison Avenue in Baltimore. Their daughter was Virginia Neilson Toles, born 1900 in Baltimore.

Hanford’s Elmira City and Elmira Heights Directory 1901
Toles Claude E., artist, h 503 Baldwin

Comics Page

Duluth News Tribune, 6/30/1901

Art by Toles dominates the page which includes Jean Mohr, “Midget”, and another.

Hugh Morris pseudonym

Duluth News Tribune, 7/28/1901

Panel 1
Mr. Bobbin—”Young man, do you smoke cigarettes?”
Little Boys—”Oh! no, sir. Tobacco contains nicotine, one drop of which will kill a dog. Cigarettes cause organic disturbances of the brain, stomach, heart, lungs and liver, ending in St. Vitus’ dance, epilepsy, dyspepsia, apoplexy, bronchitis, consumption, insanity and death.”

Panel 2
Mr. Bobbin—”Oh! well, if you feel that way about it I’ll just throw away this box of cigarettes I was going to give you.”

The Rev. O. Shaw Fiddle, D.D.
A selection of strips is here.

Elmira Daily Gazette and Free Press, 10/30/1901

Word comes from Baltimore that Claude E. Toles, formerly of this city, is the winner of a billiard tournament recently finished in that place. Twelve crack Baltimore players contested for four prizes and Mr. Toles won first place and a beautiful billiard cue.

Claude E. Toles
Death of the Well Known Artist Who Formerly Resided in This City.
Elmira Daily Gazette and Free Press, 12/17/1901

Claude E. Toles, a former well known resident of this city died last evening at 6 o’clock, at the home of his father-in-law, Dr. E.G. Drake, at Cornwall-on-the-Hudson. A telegram to that effect was received in the city last evening by the deceased’s mother, Mrs. Estelle M. Toles, widow of the late Wallace Toles, who resides at 503 Baldwin street. The particulars of the unexpected demise of the young man have not been learned. For a couple of years past he has resided in Baltimore.

Claude E. Toles was twenty-five years old. He was born in Elmira and was educated in public schools here, later being engaged as clerk in Harris’ dry goods store. For several years past he has been widely known for his exceptional talent in drawing and cartoon work. He began his artist’s career with the Elmira Telegram. In a short time he was able to conduct his work independently, until he received an offer from the New York Herald which he accepted at the same time contributing considerable work to other illustrated periodicals.

Mr. Toles’ ability was widely recognized and he became connected with an art syndicate publishing company in Baltimore, which position he occupied at the time of his death. He secured the high place in his work not alone through ability, though that was exceptional, but his indefatigable energy and perseverance were always noticeable and worthy of emulation.

The deceased was a few years ago married to Miss Maude Drake, daughter of Dr. E.G. Drake, a former West Church street physician. He is survived by an infant daughter besides his wife and mother. The remains will be brought to Elmira for interment.

Claude E. Toles.
Elmira Daily Gazette and Free Press, 12/18/1901

The body of the late Claude E. Toles arrived in the city over the Erie this morning at 3 o’clock and was taken to the home of his mother, 503 Baldwin street, where the funeral will be held at 2:30 o’clock Thursday afternoon. The interment in Woodlawn will be private. Rev. Dr. Henry will officiate.

Saturday’s Column of Fact, Fancy and Gossip.
Elmira Daily Gazette and Free Press, 12/21/1901

When Claude E. Toles the artist, whose untimely death this week came as a severe shock to his friends, first entered business life it was as a cash boy in a dry goods establishment in this city. In that capacity he failed to reach the degree of excellence attained by the model cash boy who rises step by step until he becomes a member of the firm and hires boys himself. Young Toles, on the contrary, spent most of his time at the counter where the wrapping paper was stored and there were few customers who did not carry home evidence of the genius that was in a few years to make him one of the best known newspaper illustrators in the land. The proprietors of the dry goods emporium decided at various times to discharge Toles, but they would run across some humorous sketch he had drawn and laugh and give him a new lease of life, which showed, perhaps, that they were human but not good business men. About the time that Toles business career hung in balance his work came to the notice of “Zim,” the famous cartoonist of Judge, who, with other friends, started the young man in the right direction. He did work for various publications until the goal was apparently reached when he had a page in colors in an Easter number of the New York Herald. Shortly thereafter came a cablegram signed by James Gordon Bennett asking the young artist to go to New York and live and become a member of the Herald‘s staff of artists. The offer was declined and Toles associated himself with a Baltimore syndicate, later retiring to form a similar organization of his own, at the head of which he remained to the time of his death. His work made the service of the syndicate eagerly sought after. It was marked by bold originality and many preferred it to that of Gibson or Wenzell. When the casket was lowered into the ground at Woodlawn this week, after a few comforting words had been said by a good minister, the loss was almost as great to lovers of good, clean drawing as to the bereaved family of the young man.

[A photo of Toles and other cartoonists is here. A look at his talent is here. The Claude Eldridge Toles Collection (1875-1901) is here. A family tree at said his wife’s full name was Maud Ophelia Drake. She remarried to W.G. Muldoon (mentioned in the June 30, 1903, Elmira Daily Gazette and Free Press), and passed away in 1978. A photo of her is here.]

News of Yore: Dan McCarthy’s School

The National School of Caricature

(Printer’s Ink, 4/23/1902)

A representative of Printers’ Ink recently had an interview with Mr. Daniel McCarthy, the director of the National School of Caricature, which has a suite of offices in the Pulitzer Building, Park Row, New York City. Mr. McCarthy told an interesting story about the way in which he had built up a business by means of advertising in the short space of one year.

“I commenced by advertising among the ‘Help Wanted” columns in the Herald and other papers,” said Mr. McCarthy, “using only five or six lines. I advertised to teach drawing by mail, and I soon began to get quite a number of replies, a fair percentage of which later turned out to be regular pupils. My plan was to send out a prospectus with all particulars of the tuition and and costs to every person who answered the ad. I guarantee instruction by mail, in newspaper caricature work, which is the principal and, I may say, the unique feature of this school. I am not aware that there is such another school in existence.

“I will tell you about my advertising first, then about my methods of instruction. Finding that the business grew, my partner, Mr. Burger [this would be Mort M. Burger — ed.], and myself decided to extend the advertising still further. We took the same small space in the leading dailies of the country, and even in the British metropolis we use the four principal newspapers. We get on an average from 80 to 100 letters of inquiry daily, and we have over 400 regular pupils whom we teach by mail. The course consists of 35 lessons, and for this instruction we charge $25 if paid in advance, $30 if paid in installments. Our pupils are in the United States. Canada, Great Britain and even France and Germany. We arrange the course of 35 weeks so that the 17 weeks of summer shall be for vacations, as most people go away during some part of the heated term.

“By reason of our original method of instruction, we positively guarantee that any young man or woman with a natural talent for drawing, can, by following all the instructions carefully, conscientiously and accurately,become a competent illustrator and prepare for earning a good income. We write letters of criticism and advice to our pupils, and then, if after conscientious trying, they fail to benefit by our teaching, the amount paid for tuition is cheerfully refunded.

“The course of 35 lessons includes caricaturing, cartooning, sketching from life , the study of original action, decorative designing, lettering, process paper drawing and landscape sketching, newspaper and commercial designing and all branches of illustrating, including wash and crayon drawing. The first lessons are naturally rudimentary—the making of lines, for that is the first step towards learning how to draw correctly. Each lesson, after being done by the pupil, is mailed to us for criticism, and I personally examine it, marking in red ink my comments, adverse or otherwise, so that the pupil may see exactly where he or she is right or where wrong.

“We have only been in business one year, yet there are very many of our pupils who are now drawing for the newspapers and magazines and are on the way to making good incomes. I place a profession in their fingers and they learn it at very little cost. We have men and women of mature years and also boys and girls as pupils.

“Lately we have started a school in our class rooms where pupils may study in person by day or evening and our school is rapidly growing. Here we teach caricaturing from the model—from life itself. We have an average class of twenty-four of both sexes, and while they are at work Mr. Burger and myself walk around and see how the students are progressing, giving advice here, criticising there, and so on. It is our intention to form another class shortly, one that shall be devoted more to mechanical draughtsmanship, water color work, advertisement designing and show card writing and illustrating.


(Printer’s Ink, 5/7/1902)

Send for free lesson No. 14 and terms to the
National School of Caricature. We teach by
mail also. Day and night classes from model.
The only school of its kind in the world.

DAN McCARTHY, Director,
Studios, 87 World Building, New York City.

[George Carlson’s obituary in the Bridgeport Telegram, September 27, 1962, said, “…He studied in the National School of Caricature, started by Dan McCarthy, political cartoonist for the New York World…”]

Cartoonist Dead
(The Meriden Daily Journal, 2/17/1905)

Daniel M’Carthy Was Well-known Newspaper Artist.
New York, Feb. 17.—Daniel McCarthy, one of the best known caricaturists in this country in his prime, died yesterday at his home, 58 West 116th street. (more)

[Gay Gazoozaland contributor]

News of Yore: Edward D. Kuekes

Edward D. Kuekes Is Named Cartoonist of Plain Dealer
Cleveland Plain Dealer, 6/14/1949

Edward D. Kuekes, an artist on this paper since 1922, yesterday was named Plain Dealer cartoonist by Editor Paul Bellamy, succeeding to the post left vacant by the death of Hal Donahey June 1.

Kuekes, known familiarly to his associates and countless admiring readers as “Ed.” will not be facing a new task in concentrating his facile technique on editorial cartoons. On and off since 1926 he filled in for Donahey when the senior cartoonist was on vacation, away on trips or out because of ill health.

Kuekes’ artistic leanings were first discovered when as a child he snipped a folded piece of paper with his mother’s scissors and fashioned a bird and a horse. His parents encouraged the ability, and study at art school came later.

Drawing Like a Golfer

The new cartoonist holds to the theory that a drawing should be like a golfer—”the fewer the strokes the better.”

Seldom one to ask friends for comment on his work, Kuekes feels acceptance is sound praise or unfounded criticism come from such requests.

Once, when Kuekes had placed a pastel he had done of a dog on the mantel in his home, the artist received the “sincerest form of flattery.” His cocker spaniel bounced into the house, spotted the picture and barked.

After attending Baldwin-Wallace College, the cartoonist studied at the Cleveland School of Art and the Chicago Academy of Fine arts before coming to this paper.

Features Include “Kernel”

Plain Dealer features of the artist which have brought him acclaim over the years have included “The Kernel,” one-column fixture of the comic page; “Closeups,” movie page feature done with W. Ward Marsh; “Cartoonist Looks at the News,” published on the Sunday editorial page; “Funny Fables,” popular feature from 1933 to 1937 which was later published, and “Alice in Wonderland,” a series done with Miss Olive Ray Scott, which was carried in 20 papers in the United States and several European publications before the war.

Interest in magic brought the birth of “The Kernel” in 1942. Kuekes first sketched the likable little rabbit as a trade-mark on the drawings sent from a magicians’ convention he helped cover for the Plain Dealer in Kenton, O.

An ardent hobbyist, Kuekes is an mature orchid grower, is widely known for his skill in playing bells and is active in doing pastels and etchings in his remaining spare time.
The cartoonist, his wife, Clara, and two sons, Edward G. (Pat) and George C., both seniors at Baldwin-Wallace College, live at 112 East Center Street, Berea.

[Edward Daniel Kuekes (KEY-kess) was born in Pittsburgh, Pennsylvania on February 2, 1901, according to Current Biography Yearbook (1954). In the 1910 U.S. Federal Census, he was the third of four children born to Otto and Elizabeth, both German emigrants. They lived in Pittsburgh at 525 Jackson Street. His father was an employment office agent. The Encyclopedia of Cleveland History said, “…Kuekes moved with his family from his native Pittsburgh, Pa., to Berea [Ohio] in 1913. There he graduated from Berea High School before pursuing art studies at the Cleveland School of Art…and the Chicago Academy of Fine Art.”
In 1920 the family lived in Middleburg, Ohio at 128 East Center Street. Kuekes was a salesman at a notion store. According to the Encyclopedia of Cleveland History, “In 1922 he married Clare Gray of Berea and began his career at the Plain Dealer as understudy for cartoonist James H. Donahey.” He has not been found in the 1930 census.

He was awarded the Pulitzer Prize in 1953 (see photo) for the cartoon “Aftermath”, published in the Plain Dealer on November 9, 1952. The cartoon can be viewed here. The original art is at the Library of Congress.

Current Biography Yearbook said, “Kuekes has hazel eyes and light brown hair. He stands five feet nine inches tall and weighs 148 pounds. His hobbies include raising orchids, taming wild ducks, doing pastels and etchings, and playing a set of twenty-five to thirty musical bells.”
In 1964 Kuekes gifted a collection of his cartoons to Syracuse University.

Kuekes passed away on January 13, 1987 (Social Security Death Index), in the Baptist Retirement Home in Oklahoma City, Oklahoma (Encyclopedia of Cleveland History).]

News of Yore: George Swanson

Comic Strip Artist ‘Kidded’ Into Profession

George Swanson Creator of ‘Flop Family’ Calls Wife Severest Critic

Herald Statesman (Yonkers, New York) 8/1/1962

by Susan Rohan

George Swanson, the cartoonist who does “The Flop Family” strip, is the only comic artist who was “kidded” into the profession.

In the years just before World War I, Mr. Swanson left Curtis High School in Chicago and worked as an office boy for the Pullman Car Company in suburban Chicago. The Pullman organization published a house organ monthly and a regular contributor to it was a man by the name of Ralph Swanson, no relation to George.

The youthful Swanson was regularly kidded by the 100-odd men in his department when they’d say, “Now there’s a Swanson who’s done something, he’s got initiative. At least one Swanson around here will get somewhere some day.”

Novice At Drawing

The jibes hit home with the young man and he went home and grabbed a sheet of paper and a pencil. In his 16 years, he never had so much as drawn a resemblance of a straight line. Drawing pictures had never entered his mooned before this episode. What he had in mind at the time was to ultimately become president of Pullman.

He sent his first two cartoons to the company paper and was startled a month later to see one of them in place of Ralph’s cartoon.

From then on the paper had a new cartoonist named George Swanson and he was on his way to a new career.

Born in Chicago, the son of Nel’s and Anna Swanson, George’s mother wanted him to be a violinist. This failed to arouse any interest in the young man, and he tried being an electrician, a wish if his father. This didn’t work out either, and then he went to Pullman.

Mr. Swanson attended the Academy of Fine Arts in Chicago after starting his new career. He later went to the Carlson Studio doing movie animations.

His first syndicated strip was “Salesman Sam,” which had a seven-year tenure. His next was “High Pressure Pete,” also syndicated.

Mr. Swanson and his wife, the former Victorine Turgeon of Cleveland, met while both worked for the same syndicate in Cleveland. Mrs. Swanson was with the bookkeeping department of the syndicate. They have lived in Yonkers since 1940, now at 294 Bronxville Road.

Mr. Swanson works at his drawing board at his home and sends in each week’s work to his syndicate. He must work 10 weeks ahead o his daily strip and six weeks ahead on the Sunday strip. He reports that there is no let-up even on vacation, because he must keep up and ahead of schedule.

Ideas From Life

In order to get new ideas for his strip, Mr. Swanson resorts to good, plain, deep concentration. He sometimes sits and thinks for a good long time before he gets the idea he wants to portray. He tries not to look at other cartoons and strips because it is possible to unwittingly use someone else’s ideas for his own strip. He also gets other material from extensive reading and from real-life episodes.

Sometimes Mr. Swanson has an idea of what he wants but can’t get to the point. When this happens, he draws or sketches the last picture first and then works from there in a backward sequence.

Another difficulty which arises is the fact that his cartoon strip is carried abroad. What may be very humorous here is not always so in foreign lands….

…Besides “The Flop Family” strip which keeps him very busy, Mr. Swanson rounds out his activities as a member of the National Cartoonist Society and the Banshees, an honorary, invitation-only organization.

Mr. Swanson names his wife as his severest critic. “If she says a joke is good, I think she’s clever. If she doesn’t think it is good, well, we just don’t speak for a week.” The Swansons are currently on speaking terms.

[George O. Swanson was born in Chicago, Illinois on August 16, 1897, according to the 1900 U.S. Federal Census and the Social Security Death Index. He was the second of three children born to Nils and Hannah, both Swedish emigrants. They lived in Chicago, Illinois at 1342 North Artesian Avenue. His father was a carpenter. In 1910 the family of six lived in Chicago at 17 East 112 Place. He signed his World War I draft card on August 24, 1918. At the time he lived at 41 West 111 Place in Chicago. He worked for the Pullman Company. His description was medium height, slender build with gray eyes and light brown hair.

The 1920 census recorded Swanson, his mother and youngest sister in Chicago at 417 West 111 Place. His occupation was recorded as bookkeeper. The date of his move to Ohio is not known. In 1930 he lived in Lakewood, Ohio at 11727 Lake Avenue. He married Victorine, around 1923, and worked as an artist for a newspaper syndicate. His mother-in-law lived with them.

Swanson passed away in December 1981, in Bronxville, New York, according to the Social Security Death Index.]

News of Yore 1914: Winsor McCay Screens Gertie the Dinosaur Cartoon to Fellow Cartoonists


“High Jinks” at Beefsteak Aid Atmosphere Somewhat Jarred After Refreshments by Some of Winsor
McCay’s Antediluvian Creations.
(New York Tribune, 2/23/14)

If Winsor McCay, the prominent vaudeville acrobat, hadn’t announced at the newspaper illustrators’ dinner yesterday morning that he was about to Introduce his latest freak, the dinosaurus, and if Arthur Hammerstein, the Broadway Adonis, hadn’t walked in just at that moment, surrounded by perfume and ten little “High Jinks” girls, one illustrators’ party would have gone down in history as having been held without police interference.

As it was, the sound of the applause reach the ears of the ever alert town constables, Luke Geeghan and Henry Rausch, who keep the peace o’ nights in Columbus Circle, and they just had to lope over to Reisenweber’s to find out what it was all about.

They were immediately placated, however, for Clive Weed, who is well known to the police, and Clare Briggs, who is rapidly becoming acquainted in the effete East, were determined that nothing should prevent the dinner from being what Mr. Hammerstein calls a “Chief Doover,” and nothing did. The two officers got what they came for and departed some time after, chanting a song that Briggs picked up in the Latin Quarter of Chicago. Outside of a few minor details like the above and the fact that there was little white space in the dining room, the dinner was a huge success.

Everything that could be done was done. Beefsteak was strewn about the floor in neat mosaics; Mrs. “Bud” Fisher threw herself into the spirit of things and taught Arthur Hammerstein the “Artists’ Amble”; “Hal” Coffman wrote his autograph on everybody’s hat; little Miss Barnett defied her manager and said that she would dance with.any fellow she liked after working hours, and the waiters were well dressed.

When everybody had met everybody else, and when the “High Jinks” ladies had become used to the artistic atmosphere, some one—it couldn’t have been a press agent—began showing moving pictures of Winsor McCay’s latest creation. He, being a shy fellow, only prefaced the views with a speech of about an hour’s length, but the pictures were good, even with that handicap. Even a moving picture critic from “The Mount Vernon Bee” admitted this fact. He said this, says he, not because he was a friend of Mr. Hammerstein, who is going to put them on in vaudeville, but because he couldn’t witness an artistic piece of work and withhold due praise. After the artistic pictures there were some regular moving pictures, but nobody looked at them at all. Someone attacked the piano and some one else cleared the beefsteak from the floor, so that those who were awake could dance.

Contributors to Illustration: (top left to bottom right): Percy Crosby, Walter Hoban, Cliff Sterrett, Clare Briggs, Oscar Cesare, Winsor McCay, Frank Fogarty, Clive Weed, Vic Forsythe, Lou Hanlon, Darata?, A. Weil, Cesare again, Reginald G. Russom, Frank Moser.

Thanks to Alex Jay for discovering this article!

News of Yore: Luther D. Bradley

Photo from Cartoons by Bradley

Entry in The Book of Chicagoans (1911)

BRADLEY, Luther Daniels, cartoonist; born New Haven, Conn., Sept. 29, 1853; son Francis and Sarah Beaman (Ruggles) Bradley; ed. Evanston pub. school, 1865–6; Northwestern Preparatory Acad., 1867–70; Northwestern Univ., 1870–3; Yale Coll., 1873–5; married Evanston, Ill., Oct. 31, 1901, Agnes Floyd Smith; children: Francis, John Freeman, Elizabeth, Margaret. Upon leaving Yale, 1875, entered business in employ of Baird & Bradley, real estate, Chicago; went to Australia, 1882; cartoonist for Australian Tid Bits, 1884; later cartoonist and editor Melbourne Life; cartoonist Melbourne Punch, 1888–93; returned to Chicago, 1893; cartoonist Chicago Journal, 1894, Inter Ocean, 1894–8, Chicago Daily News and head of art dept. since 1899. Independent Republican. Episcopalian. Residence: 822 Michigan Av., Wilmette, Ill. Office: The Daily News.
1914 (British wartime security)

The Philadelphia Inquirer (Pennsylvania), 1/11/1917

Luther D. Bradley
Chicago, Jan. 10—Luther D. Bradley, for many years cartoonist of the Chicago Daily News, died of heart disease at his home last night [January 9]. Mr. Bradley’s political and war cartoons have attracted international attention. Some of his original drawings hang on the office walls of foreign Cabinet Ministers.

Bradley was born in New Haven, Conn., in 1853. After a course in Northwestern University, and graduation from Yale in 1875, he entered his father’s real estate office in Chicago. In 1882, however, his ambitions underwent a change. After traveling extensively he became interested in newspaper work in Australia. He drew cartoons for Australia Tid-Bits, Melbourne Life and Melbourne Punch. Bradley was fond of athletics and was of athletic build. While at Yale he was a member of the rowing team. He is survived by a widow and four children.

(In the 1860 U.S. Federal Census, Bradley was the oldest of two children born to Francis and Sarah. They lived in Chicago, Illinois. Ten years later he was the oldest of seven children. They lived in Evanston, Illinois. In 1880 the family remained in Evanston; Bradley’s occupation, like his father, was money loaner. In 1900, Bradley’s mother, a widow, was the head of the household. They lived in Evanston at 1624 Hinman Avenue. Bradley’s occupation was artist. The 1910 census recorded Bradley, his wife, three children, sister and two servants in Wilmette, Illinois at 822 Michigan Avenue. He was a newspaper cartoonist. Four months after Bradley’s death, Cartoons by Bradley was published. The book, an appreciation with a biographical sketch, includes seven photos and a wide selection of his cartoons from Australia and Chicago newspapers. You can download the book here. A Bradley profile is here.)

Bradley was eulogized in Cartoons Magazine in their March 1917 issue:

News of Yore: John Paul Arnot

John Paul Arnot, Formerly of Reno,
Dies in S.F. After Long Career as Cartoonist

Nevada State Journal, 12/6/1951

John Paul Arnot, native of Markleeville, and former resident of Reno, died in San Francisco, recently after a long and successful career as a cartoonist, an funeral services were held in that city early this week.

Mr. Arnot’s career as a cartoonist started soon after he left the University of Nevada in 1907, and during the intervening years it covered a wide variety of activities.

He was born at Markleeville, where his father, N.D. Arnot, was an attorney, and the family later moved to Placerville when the elder Mr. Arnot was named judge for that district. John Paul Arnot came to Reno to attend the University of Nevada, where two sisters and a brother already had graduated. Another brother, Percy A. Arnot, attended college in California, and is now a physician and obstetrician in San Francisco.

In his college days, Mr. Arnot’s skill with pencil and pen were recognized. He and Silas E. Ross were chosen to publish the 1908 Artemisia, with Mr. Arnot making the cartoons and art work, and Mr. Ross writing most of the text and supervising the editorial work.

Started WIth Hearst

Mr. Arnot did not graduate from Nevada, but went to San Francisco where he became a cartoonist on the Hearst newspapers. Later he and some of his workers formed their own feature syndicate. In 1913 he worked for the San Francisco Chronicle as sports cartoonist, then returned to the Hearst organization by joining the King Features syndicate, working in the east for a number of years. He returned to the west coast in 1933 as sports cartoonist for the San Francisco News, and a year later became associated with Eastman Kodak Co. in San Francisco.

Surviving are his widow, Mrs. Hope Beach Arnot; a son, John Philip Arnot; two sisters, Mrs. May Arnot Rice, who graduated from the Nevada university in 1900, and now resides in Berkeley; Mrs. Laura Arnot Leavitt, member of the Nevada class of 1904, and now living in San Francisco where she operates a women’s wear store; three brothers, Stanley L. Arnot of Sonora, Calif., Nathaniel D. Arnot and Dr. Percy Arnot of San Francisco. Another brother, the late Edwin P. Arnot, graduate of the University of Nevada in 1902, was a mining engineer.

[John Paul Arnot was born in Markleeville, California on September 16, 1887, according to his World War II draft card. In the 1900 U.S. Federal Census, he was the fourth of eight children born to Nathaniel and Anna. The family lived in Markleeville. His father was a superior court judge. In 1910 the family lived in Placerville, California on Nob Hill. Arnot was a miner. The Mountain Democrat (Placerville, California) reported Arnot’s cartooning success on February 14, 1914.

Some Cartoonist.

John Paul Arnot, son of Judge and Mrs. N.D. Arnot, is making quite a reputation as a cartoonist on the San Francisco Chronicle, where he has been employed for some months past. In the issue of the journal of Sunday Feb. 8th, young Arnot presented a full front page with cartoons summing up in comic style various news features of the week, and it was certainly a cleverly worked out scheme of burlesque and pointed criticism. Placerville is proud of the young genius—who claims this as his “home town.”

On August 18, 1915, Arnot married Hope Beach, according to the Mountain Democrat on August 21. The newlyweds moved to New York City, where he worked for King Features Syndicate. Later, he registered for the draft. According to Lambiek Comiclopeida, his strips, this decade, included Old Doc Gayboy (1913-1914), And So It Goes (1916), Sinned-Against Samuel (1916), Miss Pippin (1917), That Squares It (1918-1919), How Do They Do It? (1917–1927) and The General (1919–1922).

San Diego Evening Tribune 2/26/1917
In 1920 the couple lived in Placerville at 66 Mill Street. He was a cartoonist. In a couple of years they returned to New York City. Arnot produced Helpful Henry from 1925 to 1926. The 1930 census recorded them and their son in Manhattan at 220 Northern Avenue. Arnot’s occupation was newspaper cartoonist. A few years later they made their home in San Francisco.

Arnot signed his World War II draft card on April 26, 1942. He lived in San Francisco at 385 Moncada Way. He was employed at the Eastman Kodak Company. His description was height and build, 5′ 8.5″, 190 pounds, with gray eyes and brown hair. Arnot passed away on December 1, 1951, in Agnew, California, according to the California, San Francisco Area Funeral Home Records, 1895-1985 at He and his wife were buried at Cypress Lawn Memorial Park in Colma, California.]

News or Yore: Charles L. Bartholomew

By Alfred Colle.
(History of Minneapolis, Gateway to the Northwest, Volume III, 1923)

“Charles Lewis Bartholomew” is the notation entered on the records of Lucas county, Iowa, indicating the birth of a son to Colonel Orion Alexander Bartholomew and Mary (Smith) Bartholomew. The entry was made on the 10th of February, 1869.

To the reader of the daily newspaper and the political magazine, however, the man who has been the creator of so many striking political cartoons is known at “Bart.” But Bart is not known alone to those who find a happy flash of humorous treatment in a picture editorial. Hundreds of audiences have listened to his famous chalk talks. And many hundreds of men and women, acquiring the fundamentals of illustrating, recognize the well known signature at the end of kindly letters of instruction and criticism which they receive from him as dean of the Federal School of Illustrating and Cartooning.

Bart went to the Iowa State College long enough to take all the mathematics that But writs of replevin and restraining orders held no interest for Bart. When his mother read to the family group, Bart would illustrate the action of the story with charcoal sketches. In the school room when the going became too slow for his active mind he relieved the tedium by drawing pictures.

Bart’s idea of doing something, however, was running a newspaper, and at the age of seventeen, his father, having acquired the Chariton Herald, gave him the chance to be its editor and guiding genius. It is said of him that in the full burst of his editorial dictatorship he slammed a story of the local discovery of a coal mine into the back page and ran the first page full of locals. In other words, he played up the human element.
Editorial cartoon, May 2 1912

Bart went to Iowa State College long enough to take all the mathematics that an engineering course could give, acquired a Bachelor of Science degree, a captain’s commission in the Iowa National Guard, Henry Wallace, secretary of agriculture as a roommate, and the acquaintance and good will of Miss Ella Louise Henderson of Monticello.

Miss Henderson and Bart were married on the 17th of June, 1890. Three sons have been born to them: Orlo Alf, Robert Henderson and Charles Lewis, Jr.

Shortly after graduation Bart began newspaper work as a reporter in Minneapolis; he became staff correspondent and later cartoonist. For a score of years he was in active management of the art department of the Minneapolis Journal, with front page cartoons on political subjects and current events. Bart has the distinction of being a pioneer in the newspaper cartoon field, not only in the Northwest but in the country at large, the Journal being one of the first papers in the United States to use the daily cartoon feature. Bart literally created the department in which he has made a name. His idea met with immediate success and has grown from year to year until today Bart’s cartoons are known around the world, and the Journal and Minneapolis are familiar names to many abroad who otherwise might never have heard of them.

A contemporary writer, James Gray, at one time mayor of Minneapolis, said of Bart: “In this long period of twenty-five years he has drawn daily cartoons, missing very few days of publication, an enormous drain upon the invention of any man, no matter how prolific. Bart draws cartoons as the editorial writer writes articles, from the news of the day. He is an editor in outline. His cartoon is a first-page editorial, couched in the most telling phrases and simplest grammar.” Bart’s cartoons in the Journal have been reproduced in every part of America and in England and European countries, by many daily papers and magazines. Even in far-off Australia they are frequently reproduced. In his book, “The Americanization of the World,” W.T. Stead says: “One of the most capable cartoonists in the United States is Mr. Bart of the Minneapolis Journal.” In this book and also in Mr. Stead’s magazine, The European Review of Reviews, Bart’s cartoons have appeared more frequently even than in the American Review of Re­views, whose editor, Dr. Albert Shaw, says: “The esteem in which the Review of Reviews holds the political cartoons that appear in the Minneapolis Journal is sufficiently shown by the frequency with which it has reproduced them. Mr. Charles L. Bartholomew of the Journal, whose work is signed ‘Bart,’ has not merely a very ingenious and ready pencil, but he has a remarkable political instinct that makes his drawings to a very unusual extent valuable as elucidating the situation or reenforcing an editorial position or point of view.”

For a period of fifteen years, the American Review of Reviews, Literary Digest, Current History, and leading metropolitan magazines used more cartoons from Bart’s pen than from that of any other artist. His cartoons were compiled annually in “Pictorial History of World Events” for a similar period. Rand McNally & Co., published six books of juvenile caricature illustrated by Bart. Of the wonderful advertising value of Bart’s cartoons, B.O. Flower, the editor of the Arena, has said: “We doubt if even the management of the Journal fully appreciated the enormous value of Bart’s work in familiarizing the reading world at large with the name of his paper. In the 1922-1923 edition of “Who’s Who in America,” Mr. Bartholomew is credited not only with ten volumes of current cartoons for the Journal and illustrating six juvenile books by W.A. Frisbie, published by Rand McNally & Co., Chicago, but also with twelve textbooks on “Illustrating and Cartooning” for the Federal Schools, Incorporated, Minneapolis, and his new book on “Chalk Talk and Crayon Presentation,” published by Frederic J. Drake & Company of Chicago and the Bart System and Basic Stunts issued by Bart Supplies.
Anti-Hearst editorial cartoon, Sept 27 1906

Bart has used his crayon continuously for high school and college audiences and in lecture work and entertainment. He is the editor of a complete and com­prehensive system which has served as the basis for many a chalk talk artist and lecturer using crayon presentation. In compiling information for student use in illustrating and cartooning, he puts in practical form, information from the highest sources among the modern illustrators and cartoonists, using his ability as reporter and editor, rather than depending alone upon his own individual experience. His strength in educational work lies in his ability to secure from these practical sources, latest methods used in the reproductive art. He is recognized among members of his profession for originality in clear presentation of practical requirements of the illustrator and cartoonist.

In his political views Mr. Bartholomew is a stanch republican and through his cartoons has wielded great influence in party affairs. His religious faith is that the Congregational church. He is identified with Plymouth church of Minneapolis, where he holds the office of church clerk. In an address given at a banquet in Bart’s honor by Minneapolis business men, at the end of twenty-five years of editorial and cartoon work, Dr. Harry P. Dewey, pastor of Plymouth church said that if Mr. Bartholomew’s services were available he would choose him as assistant pastor because of Bart’s able assistance in popularizing the vesper services conducted by the church. His chalk talks before factory workers, business organizations, schools and colleges have brought him, throughout his career as cartoonist and editor, into personal contact with his readers. Mr. Bartholomew is Dean of the Federal School of Illustrating and Cartoon­ing and at the present time is devoting his entire attention to editing textbooks and conducting instruction in the course in Illustrating and Cartooning, in which some ten thousand students are studying practical drawing by correspondence. The students are from every English speaking community in the world.

Bartholomew portrait from A Half Century of Minneapolis (1908)

[Charles Lewis Bartholomew was born in Chariton, Iowa on February 1, 1869. He was recorded in the 1880 U.S. Federal Census, the 1885 Iowa State Census, and the 1895 Minnesota State Census. His father was a lawyer and farmer. In the 1900 census he, his wife, three sons, brother, sister and a boarder lived in Minneapolis, Minnesota at “623 18th Street East.” Bartholomew was a cartoonist. He contributed several Saturday series cartoons to the Minneapolis Journal in the 1900s; one of them was the Shanghai Twins. Ten years later they lived next door at number 625; he continued his newspaper cartooning. In 1920 he lived at 2809 Irving Avenue. His occupation was editor for an engraving company. He remained at the same address, as recorded in the 1930 census, with his wife and servant. He was the dean of an art school. Bartholomew passed away on February 15, 1949 in Minneapolis, according to the Minnesota Death Index at Two collections of his editorial cartoons can be viewed and downloaded at Google Books: Cartoons of the Spanish-American War and Expansion, Being Bart’s Best Cartoons for 1899.]

News of Yore: Charles F. Batchelder

Entry from Batchelder, Batcheller Genealogy:
Descendants of Rev. Stephen Bachiler, of England (1898)
with illustrations from the book

Charles Fletcher Batchelder (Janies L., Jeremiah S., Nathaniel, Samuel, Nathaniel. Nathaniel. Stephen), b. Cincinnati, Ohio, March 29, 1853; [married] Feb. 8, 1885, Harriet Pottle, b. Jan. 3. 1858. Charles Fletcher Batchelder was born in Cincinnati, O.; was associated with his father in the book business until the fire of 1871; went west to Clyde, Kan., where he aided in the conduct of a weekly print; was appointed postmaster and captain of a military company. Returned to Chicago in 1879-80; was reporter on the Chicago Tribune and Times; participated in an advertising agency; subsequently went to St. Paul, Minn., as an artist on the Globe of that city and illustrated for a pictorial print; took the prize for a design commemorative of the Haymarket massacre by Anarchists in Chicago; has been an artist on the Chicago Daily News from 1891 to 1896, and later the leading one on the Times-Herald of Chicago, whose designs daily appeared on the first page of said print. He now occupies the same position on the Daily News.
The Haymarket monument was erected to the memory of the policemen murdered by Anarchists. The foundation was commenced December, 1888. The cost of the pedestal and everything complete in readiness for the figure aggregated $5,000. The railings, electric lights and supports, together with the expense of placing the figure in position, added another $1,000. The figure itself increased the value of the monument to $10,000. From the foundation, the height of the pedestal is seven feet six inches. The designer of the figure was Charles F. Batchelder. Res. Ravenswood, Ill., Paulina st.

(Batchelder has not been found in the 1860, 1870 and 1880 U.S. Federal censuses. The Lakeside Annual Directory of the City of Chicago (1876) had the following listings.
Batchelder Charles F. (Batchelder & Co.) r. 817 Wabash av. [residence]
Batchelder James L. (Batchelder & Co.) r. 817 Wabash av. [his father]
Batchelder & Co. (James L. and Charles F. Batchelder) bookbinders 119 5th av.
On October 25, 1892, he had registered to vote in Chicago. He lived at 2819 Paulina Street; the same address as his father. In 1900 he lived in Chicago, Illinois at 2713 Winchester Street. He and his wife Harriet had two children. His occupation was pen and ink artist. In the book Cartoons by Bradley (1917), Luther Daniels Bradley worked at The Daily News in Chicago; his first cartoon published on July 5, 1899. “…in 1900, he was made director of the art department…he had efficient help in the routine of the art department, especially from Charles F. Batchelder, his assistant and friend…”
Ten years later, the Batchelders remained in Chicago, having moved to 656 Sheridan Road. He worked as a newspaper artist. In 1920 the family was at the same address. Retired from newspapers, he was recorded as a librarian in the advertising illustration business. In the 1930 census, he and his wife lived with their youngest daughter, a widow, and her son, in New Trier, Illinois at 120 Woodbine Avenue. The Chicago Tribune reported the passing of his wife on June 17, 1944. Batchelder passed away on September 3, 1947. The Cleveland Plain Dealer published the news on the fifth.
Cartoonist Dies
Chicago, Sept. 4—(AP)—Charles F. Batchelder, 94, newspaper cartoonist many years and retired head of Chicago Daily News art department, died last night. He was a native of Cincinnati. Batchelder began his newspaper career in 1880, working at various times on the Chicago Tribune, the old Chicago Times-Herald and the St. Paul Globe. He joined the Daily News staff in 1893 and retired in 1918.
A link to four Chicago Daily News photos of Batchelder is here. A photo of the Haymarket Moument is here.)