News of Yore: E.W. Kemble

Edward Windsor Kemble
(The Book Buyer, July 1894)

…Edward Windsor Kemble was born in January, 1861, in Sacramento, California, and went to school in New York city. His first attempts at drawing are still preserved in an old copy-book, dated 1872, which is filled with sketches of Indians taken when traveling in the west with his father. Some of his western sketches from life have been accepted for publication, he began to think seriously of art as a profession, and in the winter of 1880-81 he joined the sketch class at the Art Students’ League.

“I don’t know what good it did,” he said to me in talking over his career, “for no one ever looked at what I did.”

Kemble’s first cartoon in Life, 1883

At all events this was all the art schooling he received. “The way to draw is to draw,” became his maxim, and he plunged into practical work, earning his living at once by what he did for the Daily Graphic. For three or four years he made pictures of whatever came before him. Art work for a daily journal admitted of no great refinement, but it made him quick to seize the graphic point in what he saw, and he put his apprehension to such purpose that when Life was founded, in 1883, his work was accepted, and for the next few years, in company with Mitchell, Atwood and Hyde, he was a constant contributor.


Although to-day Mr. Kemble is so closely associated in the public mind with negro sketches, this particular field is by no means his ambition. The negro was an accident with him. Among the Life contributions were the comic skits entitled “The Thompson Street Poker Club,” negro dialect stories. Kemble drew the sketches, which were deemed so good that publishers have kept him at them ever since. His negro successes brought him an order for the illustrations for “Huckleberry Finn,” his first book, in 1884, and soon after that the Century made him an offer for all his work outside of book illustrations. During the next six or eight years the negro still pursued him, as he puts it, or, to be more just, he still pursued the negro. Between 1884 and 1891, when he left the Century, the movement in recognition of the South in literature found its ablest artistic coadjutor in E.W. Kemble.”Uncle Tom’s Cabin,” in its luxurious two-volume edition full of his drawings, “Two Runaways,” Joel Chandler Harris’s “On a Plantation,” and R.M. Johnston’s “Widow Guthrie,” are among the books dealing with negro life that date from this period.

Huckleberry Finn


Kemble’s greatest ambition is to make a worthy record of the Dutch period of New York’s existence. He has a genuine enthusiasm for the Knickerbocker. He is indefatigable in gathering all that may be found in old prints relating to that period, and some day he will put it to excellent use. He has already made a capital beginning with “Knickerbocker’s History of New York,” published by the Putnams, but the mine has scarcely been opened, although this is an important work and a great achievement for so young a man. His “well-fed and robustious burghers” strut through the volume with delightful pomposity.

In recent years Mr. Kemble has drawn for the Scribners, the Harpers, for Life, and has done some book work. At his pretty cottage in Rochelle Park, on the outskirts of New Rochelle, he enjoys something of a country life and yet is near enough to run into town at a moment’s notice. Sitting in his studio the other day he showed me this dedication of a copy of “Uncle Tom’s Cabin”:


To Mr. Kemble, with grateful acknowledgement for his faithful and admirable work in illustrating “Uncle Tom’s Cabin.” With sincerest good wishes from the author.

Harriet Beecher Stowe.
May 16, 1892.


In a volume of Riley’s “Poems Here at Home,” the author has written:


Dear artist friend, this pen of mine
Strikes inky palm in that of thine.

James Whitcomb Riley.


The walls of Kemble’s studio are covered with sketches taken on the spot. The rapidity acquired in the old Graphic days serves him now. A trip of ten days south results in several hundred sketches, some of them of but a few lines, but all with a purpose. One page of his note-book is covered with the different hats seen upon a group of loungers at a courthouse door. And such hats no one could devise or remember. A two minutes’ sketch of a man or woman is a pretty accurate portrait. Kemble has used the camera somewhat, but prefers the pencil.

“The camera habit,” he said, “is a dangerous one. You get to trusting the camera instead of your own eyes. The vital line in a group, a face, or a figure may be just the one that the camera fails to bring out.”
P.G.H., Jr. [Philip G. Hubert, Jr.]

(The complete article is here.)
[Edward Windsor Kemble was born in Sacramento, California on January 18, 1861, according to Who’s Who in America (1901). The date of his family’s move to New York City is not known; Who’s Who said he had a public school education there. In the 1880 U.S. Federal Census, Kemble lived in New York City at 441 57th Street. He was the second of three sons born to Edward and Celia; his father was an operator in the telegraph industry. Kemble and an older brother worked in a telegraph office. According to the 1900 census, he married when he was 24, which was in 1885. Who’s Who identified his wife as Sara Briggs of New York.

In 1900 Kemble and Sara had four children and lived in New Rochelle, New York at 31 Boulevard, Rochelle Park. His occupation was artist. Ten years later the family remained in New Rochelle but at 19 Boulevard. He was an artist making cartoons, and his oldest son, Edward was an illustrator. (Note to researchers: For some inexplicable reason, Kemble’s name in the 1910 census was recorded as “Windsor, Edward”; the enumerator did not record his surname as Kemble. In the 1900 and 1910 censuses, the family’s first names match and almost all their ages are ten years apart.) The Century Magazine, in its July 1913 issue, profiled the artist Frederick Remington and wrote of his friendship with Kemble. On May 17, 1914 the New York Times reported on the Lambs Club, a professional theatrical club, and their upcoming extravaganza at the Metropolitan Opera House; it included “a ‘contest’ between four cartoonists, Winsor McCay, R.F. Outcault, Hy. Mayer, and Ed Kemble, who will try to outsketch each other, all working at the same time….” He also produced cartoons for advertising.

Gravely’s Chewing Plug Tobacco

In 1920 Kemble, his wife and youngest daughter lived on a farm in Patterson, New York on Railroad Avenue. He was an artist and author for a newspaper. He has not been found in the 1930 census. He passed away on September 19, 1933 in Ridgefield, Connecticut. The New York Times reported his death the following day; most of the obituary had the same information found in the Book Buyer profile you just read, so just the first two paragraphs are shown below:

Edward Windsor Kemble, illustrator, cartoonist and author, who made his widest reputation thirty years ago as a delineator of Negro characters, died suddenly at 3 o’clock yesterday afternoon in Ridgefield, Conn., at the home of a daughter, Mrs. Kemble Widmer. For two days he had remained in bed. On Sunday morning he was walking in the garden. He was 72 years old.

Four children survive Mr. Kemble, two sons, Schuyler, a real estate man, of Jackson Heights, Queens, and Edward B. Kemble, an artist of Ridgefield, Conn., and two daughters, Mrs. Widmer and Miss Frances Kemble, also a resident of Ridgefield, as was their father. The funeral service will be held at 3 P.M. Friday at Mrs. Widmer’s house.]

News of Yore 1908: R.F. Outcault Interviewed in Los Angeles

Buster, Mary Jane, Mrs. Brown and Brown pater, all the family save Tige, have been staying in Los Angeles at the Alexandria Hotel.

I know of no more dramatic people in the boundaries of the world of imagination.
Fra Elbertus, who is the tutor in philosophy of Buster, is quoted in a “resolution” as saying “the imagination is the only real, sure enough thing in the world,” and Buster had proceeded since then to prove that as creatures of a sane, hard-working imagination, he and Mary Jane are among the only other really sure enough things.

Further, as there are four theatrical companies playing Buster; and as bread, cigarettes, whiskey, pills, stockings, hats, shoes, wagons, race horses, and a few hundred other articles, are named after him, it would seem that Buster and all those about him are of proper theatrical interest.

You will grieve to learn that Buster himself is no more. He has grown out of the Russian blouses and banged hair that made him famous. When I met the real Buster, I found myself facing a husky youth of about 20 who would make a fine football player or a stroke oar.

His father, R. F. Outcault, the creator of the Buster cartoons, compensated for Buster’s evolution into a man by calling in Mary Jane! She is still real; still the dainty, elfish sprite of a girl with a face like a smiling daisy, black hair that seems to carry merry little giggles in its waves, the saucy big bow on one side of her head and the black stockinged, slim little leg. All just like the pictures; all the sweet, childish type of a kindergarten soubrette.

Mr. Outcault, like many, in fact most, of the notables in life, has achieved greatness because of his versatility. He began life as a mechanical draftsman; became a reporter; studied law; dipped into psychology; drifted into the more solid and grateful philosophy of Marcus Aurelius, Socrates, and Plato; did sensational story stunts with Nellie Bly in New York; stopped work and discovered Europe; lectured; wrote Buster and Mary Jane and Tige into a play; composed eleven books about Buster; went into vaudeville for a couple of seasons and draws dividends yearly to the extent of somewhere about $100,000, because he has a wit and a pencil that knows how to seize and perpetuate his humor.

Buster Brown’s grandfather is Thomas A. Edison, for it was Edison who gave Outcault the tendencies and opportunities which lead to Buster’s creation.

“I was a reporter” said Outcault, “on the Cincinnati Enquirer when the exposition of ’88 was given, and Edison made his first exhibit. I was drawing $25 a week doing stories. I got that large salary because I illustrated my own stuff. You remember the chalk plates? Draw a line and then blow away the chalk dust? I had been trained as a mechanical draftsman and I drew sketches of the Edison exhibit, and he saw them.

“Someone sent him the papers, and he telegraphed me to come on to Llewellyn Park, and there he kept me at work for a year. He sent me to the Paris Exposition in ’89.”

Then Mr. Outcault told me how he finally got back into newspapering and did team work with Nellie Bly.

“At that time she got the pitiful salary nowadays of $12,000 a year doing sensational stories. One of the stunts we pulled off together was begging on 5th Avenue and making stories of the notables and millionaires when asked for help by two apparently starving people. Then we did slum stories, and it was then I stored the material which was to come to the front later with the Hogan’s Alley series and the Yellow Kid.”

All the time Mr. Outcault was a jokesmith and soon found he could add from $15-$20 a week to his income by making quips for the funny paper. These brought him according to quality, from 50 cents to $2.00 each.

Then the comic supplement feature began to shake up the New York journals, and the one which employed Outcault commissioned him to create fun for it.

He found that no comic artists could be hired, so he set to work himself and he drew and made up the first comic supplement in colors printed in the this country, and “Hogan’s Alley” with The Yellow Kid was it.

“And the rest of the story,” he said, “is easy, just like that of the young lady from Joppa in the Limerick.”

“I made a lot of money and my head swelled. I decided to stop work and went to Europe. It was very lovely, and we had a royal time and enriched several impoverished noble servitors, and came home looking for work.

“When I came back I found I had drifted out the mood and atmosphere for The Yellow Kid and that I had wisely dropped him while he was still popular.

“I went back to editorial work, but kept thinking about a new comic. I discussed this, as I do all important subjects, with my wife. By the way, I may write a book sometime on the immense value it is to a wise man to take his wife’s advice. Fools needn’t follow that example. In fact, they could hardly do it, as they seldom have the luck to have a wife.

“We both came to the conclusion that there was no good reason why all comics should be grotesque creations of the imagination. I had my boy, Dick Jr., on my knee at the time, and he had the haircut, the clothes and at his feet the dog which were afterward merged into the Buster series.

“What could be better for a subject than a good, clean, joyous American boy, a boy with The Star Spangled Banner waving all over his little body? I wanted to create a comic that had some worth besides the bringing of the ready smile. To meet the demands of the little girls I took Mary Jane here (and Mary smiled winsomely at us, more so even than she does in the Sunday supplement in this paper), and the result is, I believe, a success that appeals alike to the old-young people and the young-old people, to girls and to boys, and to those who think and to those only see.

“Before that I had gone in heavily on psychology and philosophy. Haeckel, Nietschke [sic and sic], Marcus Aurelius and Epictetus were always at my hand, for I had always loved the beautiful world and I wanted to know all the best there was about it. I expect it is to this system of reading that the ‘Resolutions’ of Buster have won some recognition.

“I believe I can frankly say that Buster and Mary Jane are remarkable commercial successes. Alan Dale, Acton Davies, Aronson and myself were talking in the Lambs’ Club one day about what judgment would be had that was reliable on new plays or on actors. We all agreed that the critics, as a rule, were governed too much by their desire to write bright, striking matter, and that their intimate relations with the managers deprived their decisions of judicial worth. Aronson summed the whole matter by saying that the only final dictum was that made by the box office.

“It is so with newspapers; the value of the paper can be had better from the circulation manager than the editor.

“On that basis I think that Buster is a success. He is in demand. I have four theatrical companies playing him. I have an advertising business in Chicago which advertises everything called by his name and which is one of the largest of the kind in the country. Why, there were 1,000,000 dozen of Buster’s stockings sold last year, and that is only one item. So don’t you think I have a right to assume that the public loves Buster? I know I do,” and he gave a quick look of affection at the sturdy youth by his side, the young man whose boyish traits created all this happy tangle of art, philosophy and commercialism.

“You can say for me,” interrupted Mrs. Outcault, “that Mr. Outcault is a great deal more funny and entertaining to his family than he is to the public. And that he is the best —.”

Mr. Outcault, I think, blushed; I am certain that he began the operation but he broke in quickly with his philosophy.

“I try to give my family the very best there is to life. We have a beautiful home at Flushing, but the missus got tired of keeping a hotel for our friends, and we closed it up and now spend our time in Europe and wherever fancy calls us. I do my work wherever I happen to be, and we enjoy life. I suppose you might call us fun-hunters, and we get it.

“I do not mean by hunting fun what some might imagine I consider fun.

“You have spoken of enjoying some of Buster’s resolutions. I will read you one that contains my creed of work, of life, and of the future. Here it is:

Resolved–That when I die, and go to face my Maker, I shall have only one thing to make me hang my head in shame. NOT that I sinned. ‘To err is human.’ (And my poor little sins hurt no one, save, perhaps, myself.) But I shall be ashamed to think that God put me in this lovely world of His, where everything is sweet and beautiful, and I have spent so many idle hours when I might do like all the birds and flowers: be happier and realize the [text missing] are mine. –Buster.

“That is all,” said Mr. Outcault.

That’s about enough for anyone.

News of Yore 1934: Chic Jackson Dies Suddenly

Chic Jackson, Cartoonist, Is Heart Victim

Creator of “Bean Family” Is Fatally Stricken When Leaving Office.

Indianapolis, June 3—(AP)—Chic Jackson, who created “The Bean Family,” cartoon strip for the Indianapolis Star nineteen years ago, died suddenly today. He was 57 years old.

He was stricken with a heart attack a few feet from his office door as he left his office this afternoon, and died a few minutes later.

The activities of the “Beans” had spread in recent years to other middle western and eastern newspaper comic pages, but they remained a typically Hoosier family. One feature of the strip drew especial notice—the characters grew older as the years passed. “Woodrow Bean,” a foundling on the Bean doorstep in 1914, now is a freshman in college.

Chic Jackson was born Dec. 31, 1876, in Muncie, Ind., where he attended school and was employed on the Muncie News when it was absorbed by the Muncie Star.

There he met Margaret Wagner of Springport, also employed on the newspaper, and they married on 1902. He was an illustrator and front page cartoonist.

Jackson and his bride went to Chicago, where he studied at the art institute, and then came to Indianapolis in 1907 to become artist on the Star. At first he did Sunday feature illustrating, later developing the Bean family.

Mrs. Jackson survives, with two sons, William Charles Jackson of Indianapolis, and Richard Wagner Jackson of South Bend. Two brothers are Dr. Frank Jackson and Warren Jackson, both of Muncie.

Funeral arrangements had not been complete tonight.


Kokomo Tribune (Indiana), June 4, 1934


[According to the 1880 U.S. Federal Census, Charles Bacon Jackson was the youngest of four sons born to William and Sarah, whose name was not recorded; her name was found in the 1870 census. The Jacksons lived in Muncie, Indiana. He and his father were recorded in the 1900 census; they resided at 1100 East Main Street in Muncie. Jackson married on September 17, 1902 (Indiana Marriage Collection, 1800-1941 at Ancestry.com). His father passed away on November 20, 1902 (Muncie County Health Office). In 1910, Jackson, his wife and two sons lived in Indianapolis at 924 Hamilton Avenue. His comic strip Roger Bean began in the Indianapolis Star on April 22, 1913. Jackson signed his World War I draft card on September 12, 1918; this document had his middle name. The family remained in Indianapolis at 3029 Broadway Avenue in the 1920 and 1930 censuses. Lastly, there was a Roger Bean Coffee advertised in the Indianapolis Star.]

News of Yore: Death of Walter R. Bradford

The Camera, July 1925

Walter R. Bradford, the creator of those inimitable cartoons of the “Pickleweights,” “Scow,” “John Dubalong” and “Jingling Johnson,” which featured for so many years in the daily pages of the North American, died at his home in Philadelphia, June 4th, of tuberculosis, against the inroads of which he had courageously fought for months, arousing the admiration of his associates by his heroic cheerfulness and unabated flow of humor.

The closing down of the North American, however, was a severe blow to him, as it seemed like a separation from all that he had so delighted in for years. His desk had become his playground as much as his workshop. When his newspaper passed to the hands of the Public Ledger, Bradford was the radio editor, and his creations in that role were of the same subtle humor which characterized his exploits in other roles.

Walter Bradford was 53 years old. He was born in Dayton, Ohio, and began work in the Studebaker Carriage Works, at South Bend, Ind., but his inherent talent for sketching led him to attend the night classes for instruction in drawing and inadvertently to the [missing text] John T. McCutcheon [missing text].

He worked for some time on the Chicago Tribune and the North American, shifting to theBaltimore Herald, finally settling down again with the North American. Bradford’s whole soul was in whatever he undertook and he enjoyed the children of his own brain probably as much as those who eagerly waited for their performance in the daily issue of the paper.

Leary and his Wonderful Tomato Can


Mr. Bradford said he loved his work and got fun out of his characters as if they had actuality. Enoch, Maria, Dill Pickleweight and Scow, the black cat. Walter Bradford’s cartoon-sketches had an individuality. His characters remind us of the characters of Charles Dickens. They not only were intensely humorous, but they had that touch which made them real, reflecting the traits and frailties of human nature with geniality and sympathy, which made them more than comic representations, for Bradford had a fine mental organization and a subtle apprehension for the best in human nature, which he reflected in his cartoons. There was never anything cynical, for his sympathetic, kindly nature was foreign to anything pessimistic. Bradford was well read in English literature and could discourse on authors and analyze in a way that would have given him renown as a literary critic. He was an expert photographer and a pictorialist and his work possessed individuality of treatment, reflecting his peculiarity of temperament and his judgment in selection. He contributed papers to The Camera, written in his humorous style and illuminated by most original photographs, and arrangements were being made for his connection with the editorial staff when the sad news came of his death.

Walter Bradford’s ability as a critic in art rendition by the camera gave occasion frequently for invitation to serve on jury awards, and his decision evinced sane judgment in analysis.

While insistent on the necessity of conformance to the time-honored rules and principles of art, he was broad in his views and appreciated all the advances made by the new photography, and was unbiased in his estimation of individuality of expression. Although he never put his own work in competition, it was characterized by possession of taste and originality and emphasized by the personal equation.

His literary contributions to the photographic journals were instructive, though instruction was conveyed in an Aristophanic way, which was most delightful, accompanied by illustrations intensely funny, but hitting off to perfection the idiosyncrasies of pictorial cults.

He is survived by his widow, who was born in England, and his son, William Bradford.

Mrs. Rummage

[Walter R. Bradford was born in Dayton, Ohio in May 1872, according to the 1900 U.S. Federal Census and numerous obituaries. In the 1880 census, Bradford was the youngest of five children born to Harry and Sarah. They lived in South Bend, Indiana at 46 General Taylor Street. His father was a painter.

In 1900 Bradford lived in Chicago, Illinois, at 301 Osgood Street, with his wife Sara, of six years, and son William. His occupation was recorded as typewriter. (Bradford’s playful sense of humor at work!) At the Chicago Tribune, he produced Animal Land and Languid Leary and his Wonderful Tomato Can, and helped out on the strip Alice’s Adventures in Funnyland. Some of his strips for the Philadelphia North American were Doctor Domehead, Tommy Tuttle, The Geteven Youngsters, and Fitzboomski the Anarchist.

In 1910 they were recorded in Philadelphia, Pennsylvania at 1245 56th Street. Bradford was a newspaper cartoonist, and ten years later, he was still cartooning but in Willistown, Pennsylvania on Monument Road. Bradford passed away on June 4, 1925, in Philadelphia. Cartoons & Movies published an obituary in its June 1925 issue, which has some of the art training information that is missing in The Camera article.]

News of Yore: Walt McDougall

M’Dougall, the Caricaturist.
Bismarck Daily Tribune (North Dakota), 11/27/1891


Walter McDougall and His Artistic and Literary Labors.


New York, Nov. 23,—Pictures in the daily papers are of comparatively recent date, but they have been used for a time so long that Mr. Walter McDougall, the cartoonist of the New York World, who joined the staff of that paper a few weeks after this phase of journalism had been inaugurated—and The World it will be remembered was the pioneer in this new department—finds himself today older in service than any other man in Mr. Pulitzer’s employ. The effort to print pictures in daily papers did not promise well in the start, and the portraits of the men and women, when the names of the individuals were added, were absolutely libelous.


Mr. Pulitzer was determined to do something novel with The World, and he persisted in the illustrations, bad though they were. One day a young man sent up by the elevator boy a cartoon of Mr. Blaine, who was then running for the presidency. In a few days the cartoon appeared and the young artist called to see how much he was to be paid for the work. When the elevator boy heard his name he took him at once to Mr. Pulitzer, who there and then engaged him to work for The World on a liberal salary. This was Walter McDougall, who has since explained that the cartoon had been rejected by Puck and Life, and he left it at The World office because he did not know what else to do with it. It appears that The World printed the cartoon just as the young artist had made it, without any reduction, and the bold lines proved to be just what was needed, so that there should be a clear impression printed in the paper.


Since then there have been vast improvements made in the art of printing illustrations, but to Mr. McDougall belongs the distinction of having drawn the first cartoon which appeared in The World clear in its lines and not besmirched with ink in the printing. Since then Mr. McDougall has worked steadily on The World, and every reader of that paper is familiar with his name and work. He was the first man to make what might be called view illustrations, that is pictures of occurrences of one day to be printed in next day’s paper.


Perhaps, however, Mr. McDougall is known to a wider public than even The World reaches as the illustrator of Bill Nye’s letters, which week by week for many years have provoked the laughter of a continent. When I met Mr. McDougall recently I asked him how he managed to always hit off Nye with exactly the same smile. He said that he made a sketch of Nye when he first met him, and while listening to a case in court which they were reporting together, and that Nye as he appeared then had become fixed in his memory and he could draw him now without thinking of what he was doing. Even while he talked Mr. McDougall had drawn a head of the gentle humorist on the back of an old envelope and the picture was as natural as life.


“By the way,” said McDougall, “I once drew a head like this on an envelope, inclosed a letter in the envelope and dropped it in the New York post office. The next day it was delivered to Mr. Nye at his home on Staten Island, there having been added in the post office in red ink, ‘Try New Brighton, Staten Island.’ ” This shows how well known Mr. Nye has become as depicted by McDougall’s pencil.


Previous to Mr. McDougall’s employment on The World he had made pictures and written for the comic weeklies, and also for more serious publications. He had been also an engraver and designer, and had been the artist of a survey of the Colorado canyons. He is not content to let his work in drawing cartoons absorb all of his time, and he frequently does work of a greater finish and of a more ambitious nature. For awhile he contributed most of the sketches for a very nice illustrated paper, The Suburban, of which he was part owner and which was published in his native town, Newark, where he still lives.


Mr. McDougall is proud of the work he did for The Suburban, but he is very sorry that he was a part owner of that now defunct weekly. Only quite recently Mr. McDougall has appeared as an aspirant for serious literary laurels, and in a novel, “The Hidden City,” published by the Cassells, he throws down the gauntlet boldly and bravely. The idea of his story is new and bold, for he tells of life in a city of the stone age, placed in the world during what might be called its electrical periodic. This is not done in the humorous way in which Mark Twain took his Connecticut Yankee inventor to the court of King Arthur, but it is told with all seriousness and gravity.


Mr. McDougall has just passed thirty-five, but he is one of those blond men with pink and white complexion who will always look younger than he is. This does not mean that he is at all effeminate. That is not the case by any means, for he is essentially a manly man. His manner is quick and responsive; his smile is easily provoked and his eyes twinkle at all the funny things to be seen in this all too sad and serious world.


— John Gilmer Speed.




[Walter Hugh “Walt” McDougall was born in Newark, New Jersey on February 10, 1858, according to Who’s Who in America, 1901-1902, Volume 2 (1901). In the 1860 U.S. Federal Census, McDougall was the fifth of six children born to John and Elizabeth. The family lived in Newark, New Jersey. His father was an artist. They remained in Newark in the 1870 census. According to Who’s Who, he was “educated at military academy until 16, later self-educated”; “began artistic work, 1876”; and married in “Newark, N.J., April 24, 1878, F.M. Burns.”


McDougall has not been found in the 1880 census. The Newark, New Jersey Directory 1891 listed him at 39 East Kinney; he was an artist for the New York World. The Jersey City, New Jersey Directory 1893 recorded him at 1254 Garden.

In the 1900 census McDougall was a newspaper artist boarding in Manhattan, New York City at 2420 7th Avenue. The head of the household was Alice Graham. Who’s Who said his address in 1901 was 1131 S. 46th St., Philadelphia. The Artists Year Book (1905) said his office was at The North American, Philadelphia, Pennsylvania, and home in Atlantic City, New Jersey. Two of his strips, this decade, were Peck’s Bad Boy and his Country Cousins and Mister Makepeace.


Ten years later McDougall was married and had a son in Montclair, New Jersey at 106 Claremont Avenue. Not only was he was counted in 1910 federal census, but also in the Pennsylvania state census; the head of the Philadelphia household was Alice Graeme. Hmmm. By 1920 he was a widower and lived alone in Middletown, New York at 10 Union Street.


McDougall’s autobiography, This Is the Life, was published by Alfred A. Knopf in 1926. The Syracuse Herald (New York) published “Funniest Memories of a Famous Cartoonist”, a full-page of anecdotes from the book, on August 22, 1926; included were a self-portrait (above right) and photo of McDougall (top).


His life came to a tragic end, by suicide. He was last seen alive on March 4, 1938 and found dead at his home in Waterford, Connecticut, two days later. The Washington Post obituary can be read here.]

News of Yore: E. Simms Campbell





(Famous Artists & Writers, King Features Syndicate, 1949)


In a manner of speaking, whatever E. Simms Campbell is today, he owes to women. Not to a woman. To women.


These days, Simms is generally recognized as one of the greats of the cartoon and illustrating trade; his Cuties comic panels syndicated by King Features are a daily feature in newspapers throughout the nation.


But a decade or so ago, he was just another good artist—selling his share of drawings, raking in enough commissions to keep body and soul together, and getting a small share of recognition. Then he met Russell Patterson, the famous and fabulous cartoonist—and Patterson promptly took him to task.


“Look,” the veteran artist told the young Negro from St. Louis, “you’re a good cartoonist—but you draw everything under the sun…men, women, cats, dogs, landscapes…everything. Why don’t you specialize, my boy? You might stick to women. If there’s one thing I’ve learned in this screwy business over the years, it’s that you can always sell a pretty girl.”


Ever since that lesson from Patterson, it is doubtful if Simms has drawn ten cartoons that didn’t include a pretty wench somewhere in the picture. And has it paid off? Well, today he lives on a lush four-acre estate in White Plains, N.Y., and has acquired an international reputation for his work in pen and ink and water color.


Campbell, one of the few Negroes ever to reach the top in this profession, was born in St. Louis on Jan. 2, 1906, son of Elmer and Elizabeth Simms Campbell. Both of his parents were schoolteachers; Campbell Sr., was assistant principal at Sumner High School in St. Louis and had been one of Howard University’s great track and football stars.


His father died when Simms was four, and the boy was taken to Chicago by his mother, who wanted to finish her schooling at the University of Chicago. So Simms was schooled both in that city and St. Louis, being graduated from Englewood High School in Chicago and then spending a year at the U. of Chicago.


It was at Engelwood High, incidentally, that Simms became cartoonist for the weekly school paper—edited by nobody else than Seymour Berkson, now general manager of International News Service.


After a year of university life, Simms switched to the Chicago Art Institute, and on graduation went to work—as a waiter in a dining-car on the New York Central Railroad.



He finally hooked up with the Triad Studios, one of the midwest’s largest advertising art agencies, and remained there for two years, until 1929, when he came to New York at the start of the celebrated depression. After month of pavement-pounding, he hooked on with the Munig Studios, a small advertising studio, went to the Academy of Design in his spare time—”I don’t think any cartoonist can be really good unless he knows all the fundamental principals of art”—and began branching out as a magazine artist. The old Life, Judge, College Humor—most of the big slick-paper periodicals of that day soon were using his work. Simms lived with a maiden aunt, Miss Alice Simms, during these early days.


“I guess you might say I really got started in 1933, however,” Simms says now. “That was when Esquire was starting. Dave Smart, the publisher, came to my apartment and asked me to contribute to the magazine—and in those first two years of Esquire’s existence, I drew many cartoons a month and contributed heavily as a gagman…forty or fifty ideas monthly.”


He came with KFS in 1939, and it was the late Joseph V. Connolly who dubbed his panel, Cuties.


Proud of never having missed a deadline, Simms works from 9 or 10 a.m. daily until 11 p.m.—six days a week. It wasn’t until four years ago that he stopped working Sundays. He is a perfectionist—and that trait keeps him glued at his drawing board until late into the night.


The original booklet in its entirety, can be seen here.


[In the 1910 U.S. Federal Census, Campbell and his mother lived with her father, two sisters and a female boarder in St. Louis, Missouri at 3307 Arsenal Street. His name was recorded as “Elmer C. Campbell.” In the 1920 census they lived next door at 3309; his name was recorded as “Elmer S. Campbell.” After his time in Chicago, Campbell was recorded, in the 1930 census, in St. Louis at 4223 Enright Avenue, Apartment 401. He lived with his maternal grandfather and a boarder. According to African Americans in the Visual Arts (2003), “he moved in with an aunt in the Harlem section of New York City in 1932. He studied at the Art Students League, where his mentor was German-born artist and caricaturist George Grosz.” One of his strips for the Amsterdam News was Did you Know. African Americans in the Visual Arts said, “When Playboy…began publication in the early 1950s, Campbell drew cartoons for it too. His work also appeared in such leading magazines as The New Yorker, The Saturday Evening Post, Redbook, and Cosmopolitan. During his most productive years he turned out as many as 500 cartoons and other pieces of art a year….In the mid-1950s, tired of racial prejudice he experienced in the United States, Campbell and his wife moved to the tiny village of Neerach, Switzerland. ‘Out here in this little off-the-wall village we don’t have to prove nothin’ to nobody,’ he said in a 1966 interview. Campbell remained in Switzerland until his wife’s death in October 1970. Then he returned to the United States…” Campbell passed away on January 27, 1971 in White Plains, New York. His death was reported in the New York Times on the 29th.]

News of Yore: The Chronicles of Russell Henderson





The Charlotte Observer (North Carolina) covered Russell Henderson’s early cartooning career.


9/7/1909
Mr. Russell Henderson, the talented young cartoonist of The Charlotte Chronicle, leaves this morning for Durham to enter Trinity College. Those interested in his work will be glad to know that he will continue his contributions to the paper….


3/11/1912
Mr. Russell Henderson leaves tomorrow night for Pittsburg, Pa., where he has accepted the position of sporting editor and cartoonist of The Pittsburg Post….


2/26/1913
Mr. Russell Henderson, who for the past year has been cartoonist on The Pittsburg Post, arrived here yesterday to spend a while. He has resigned his position there after achieving much success. He is considering a number of offers.




3/16/1913
…By special request Manager Gidley has secured as one of the features for the first half, Mr. Russell Henderson, well known in Charlotte and Pittsburg, for his ability as a cartoonist. Mr. Henderson will present a delightful act entitled, “Chalk and Talk.”


3/18/1913
The center of attraction at the Piedmont Theater for the first three days is Mr. Russell Henderson, a Charlotte product who has won a reputation for himself as a cartoonist. Mr. Henderson is doing lightning cartoon work….His work is done on black crayon, and is creating considerable praise. The young man has talent, and works with the ease and swiftness of professional cartoonists of the stage.


5/4/1913
The only school of illustrative work in the South Atlantic States has been opened in Charlotte. It is known as the Southern School of Cartooning and Illustrative Drawing. The studio is located on the third floor of The Observer building on South Tryon street. Mr. Russell Henderson…will be in charge of the teaching, being president and general manager….


12/26/1913
Mr. and Mrs. William Crittendon Scott
request the honor of your presence
at the marriage of their daughter
Gladys Freeman
to
Mr. Russell Spain Henderson
on Tuesday evening, January the sixth
nineteen hundred and fourteen
at eight o’clock
Saint Peter’s Episcopal Church
Charlotte, North Carolina.
Reception
immediately after the ceremony


3/1/1914
Mr. Russell S. Henderson, formerly of the staff of The Evening Chronicle but now connected with The Chicago Record-Herald as cartoonist, has been highly honored in that he has been put in charge of the cartooning department of the Chicago Academy of Fine Arts.


12/18/1915
Mr. and Mrs. Russell Henderson and son, Billy, of Westerville, Ohio, will arrive in the city next week to spend Christmas with Mr. Henderson’s parents….Mr. Henderson is cartoonist for The National Anti-Saloon Magazine of America.


6/5/1917
Russell S. Henderson, cartoonist for the National Anti-Saloon League, has resigned his position with that organization and will become cartoonist and feature writer for The Richmond Virginian, the daily organ of the Anti-Saloon League of Virginia….


4/19/1918
…Mr. Henderson is connected with the American Issue Publicity company of Columbus. He has met with splendid success.


His cartoons of political nature have been reproduced frequently in Review of Reviews, Literary Digest, Cartoons Magazine and other publications during the past three years. His cartoons for “dry” publications at national anti-saloon headquarters have been reproduced in various publications in eight different countries. He is now drawing a page of cartoons each week for The Richmond Virginian and two cartoons a week for American Issue. He will be in Charlotte about a month and will then go to Black Mountain, where he will spend a year illustrating two books.


3/5/1920
Russell S. Henderson, well-known cartoonist, has recently gone with the N.W. Ayer & Son advertising agency in Philadelphia….


2/2/1921
…dinner given by the North Carolina Society of Pennsylvania, at the Manufacturers’ club in Philadelphia…This was the first annual dinner tendered by the Society after its inauguration in Philadelphia in 1920.…Russell Henderson…is now holding a splendid position as cartoonist with the Philadelphia papers.


[Russell Spain Henderson was born in Summerton, South Carolina on September 21, 1890, according to a family tree at Ancestry.com. In the 1900 U.S. Federal Census, he was the second of five children born to James and Ida; they lived in Spartanburg, South Carolina at 86 Oakland Avenue.


In 1910 they lived in Charlotte, North Carolina at 804 West Trade Street. The census recorded Henderson’s occupation as newspaper correspondent. He married Gladys Freeman Scott on January 6, 1914; they lived in Chicago. A sample of his work on The Adventures of Ziggy and Zim is here. From the June(?) 1914 issue of Cartoons Magazine:




When The Cyclone Struck


With the consolidation of the Chicago Inter Ocean and the Chicago Record-Herald, Russell S. Henderson, the sport cartoonist of the latter paper, began looking for new worlds to conquer. The coming in of the new management is referred to by Henderson as a cyclone which swept him, together with others, overboard.


During his connection with the Record-Herald Henderson had gained a wide following, mainly through his “Poker” series, picturing various phases of the national pastime. Before joining the staff of the Chicago paper he was connected with the Pittsburgh Post and the Sun. He filled the vacancy on the Record-Herald left by Ed Mack, who went with the Hearst syndicate in New York.




Henderson signed his World War I draft card on June 5, 1917. He was a cartoonist for the American Issue Publishing Company. His address was 92 University Street in Westerville, Ohio. His description was tall height, slender build, with brown eyes and black hair.


The 1920 census recorded Henderson, his wife and three sons in Blendon Township, Ohio at 92 University Street. He was a cartoonist for a newspaper. His wife passed away on December 1, 1929, as recorded in the book, Cowherd Genealogy (1962). Henderson has not been found in the 1930 census. According to the family tree, he passed away in 1959 at Winnsboro, South Carolina.]

News of Yore: Charles Lederer


Newspaper Illustrators—Charles Lederer.

by F. Penn.
(Inland Printer American Lithographer, December 1893)

One of the most brilliant of the newspaper cartoonists of Chicago, Mr. Charles Lederer’s sketches in the Herald, have been a strong attraction in that handsome sheet for a period of over six years. Mr. Lederer was born in Lowell, Massachusetts, thirty-four years ago. Lederer père was an artist of repute, and imparted to the son that artistic temperament and appreciation notable in the best artists. At the age of fourteen the subject of our sketch was apprenticed to George D. Hammar, a wood engraver, then located at 208 Broadway, New York, the site of the Evening Post building, but a year’s application was sufficient—he struck, and took a studio room jointly with Henry Lovie, one of the most prominent artists in the illustrated weekly line in New York; and his first work was in drawing comic valentines for Fisher & Dennison.

His genius developed early, for while a mere boy from fifteen to twenty years old, he did very good piecework for Harper’s, Leslie’s, Graphic, Hearth and Home, Irish World, Christian at Work, and other publications. At an early age he showed a marked talent for caricature. He was ambitious, and this led him to dabble in the publishing business, at which, according to his own accounts, he was “invariably unsuccessful,” although at one time, when only eighteen years old, he was doing a business of $75,000 a year.

In 1877 Mr. Lederer appeared in Chicago, and again tried his hand at publishing an illustrated weekly, at which he struggled with varying success for six months. Then he designed for book publishers, illustrated stories, made occasional cartoons, and for two years helped the National Printing Company paint the bill posters’ board red. In 1883 he began making pictures for the daily papers of Chicago, working first on one and then another. Nearly every paper in town had a chance at him, but did not appear to know how to make the most of his talents. When he joined the Herald he found himself in his element. He was not repressed, but was given full latitude and encouraged to higher flights. Apart from the management of James W. Scott, and the editorship of Horatio W. Seymour, it is said that no man has done more than Mr. Lederer to advance the Chicago Herald to its present position. His work at first was solely on the Sunday edition, which he succeeded in popularizing to an unprecedented degree, and as a consequence his services were demanded on the paper every day in the week.

Mr. Lederer is one of the few men who can write entertainingly as well as draw, and the articles published in the Herald over his signature have attracted much attention, and been widely copied. He is a member of the Press Club, and of several other clubs in Chicago. He is unmarried, and one of the most popular young men in the city, his personal friends being numbered by the hundreds.

In his work Mr. Lederer is prolific and versatile. He makes pictures of all sorts, sad, satirical, humorous and attractive. He is quick to perceive the strong points in an article for illustrative purposes. Let a proofsheet be given him, and in an incredibly short time he will find the wit, and with a rapidity truly admirable will fill in a graphic situation to illume and emphasize it. His work is characterized by a vigor and a boldness with a delicacy of touch peculiar to himself.

It has been said that a man is a genius who can take the suggestions of others and make more of them than the originators ever dreamed, and who can, with equal facility, suggest ideas to others, not in words, but with a few quick strokes of a pencil. Lederer is this sort of a genius. He is great when he works with a proofsheet, he is greater when he makes pictures for an article to be written to.

Years ago, it is said, a pretty woman dubbed the subject of our article “Champagne Charley,” and “Champagne Charley” he still is—sparkling, effervescing, cheery.


[Charles Lederer was born in Lowell, Massachusetts on December 31, 1856, according to Who’s Who in America 1910-1911 and The Book of Chicagoans 1911. In the 1860 U.S. Federal Census, he was the youngest of two children born to Jacob and Bettina; his father was a designer. The family lived in Lowell. in 1870 he and his parents resided in Brooklyn, New York; he was in school. The Book of Chicagoans said he was a “cartoonist and illustrator since 1875 for Frank Leslie’s, Harper’s, New York World, [and] New York Herald….” He has not been found in the 1880 census.

The 1900 census recorded Lederer in Chicago, Illinois at 514 North Avenue. His stepmother and a servant lived with him. His occupation was artist. The Book of Chicagoans said he was a “cartoonist and illustrator…for…[the] Chicago Herald and Record-Herald, [and] Chronicle“…and later “married Bertha Adele Mitchell, of Chihuahua, Colo., Sept. 29, 1907”. They spent some time in Europe. According to a New York passenger list, they returned from Genoa, Italy to New York City on December 5, 1907. For a brief time, he and his wife performed together; a brochure for their performance, Fun with Chalk, can be viewed at the Iowa Digital Library. In 1910 the couple lived in Chicago at 1115 East 61st Street; his wife was 26 years old. He was an artist in newspapers of his “own account”. He has not been found in the 1920 census. The Catalog of Copyright Entries, Part 1, Group 1, Books, March 1920 has an entry for him:
Lederer, Charles, 1856-
The Lederer art course; a complete, simplified system of drawing, design, cartooning and color work, by Charles Lederer. New York, Independent corporation [1920] 34 pt. illus., plates. 23cm.
© Mar. 31, 1920: 2c. and aff. Apr. 8, 1920; A 565500; Sam S. Gerstle, Chattanooga. (20-6655) 1476

The art course was advertised in periodicals such as Popular Science Monthly and Everybody’s Magazine. The Chicago Daily Tribune reported Lederer’s passing on December 14, 1925; a snippet from the article, “Charles Lederer veteran newspaper cartoonist dies in county hospital at age of 70”. If anyone has access to ProQuest, please help us with details of his death.]

News of Yore 1915: Stuart Carothers, His Rise and Fall





Carothers Making Good as Cartoonist
[Daily Fayetteville Democrat (Arkansas), 8/21/1915]


Stewart Carothers, of Chicago, formerly of Fayetteville, is the author of the Charlie Chaplin [sic: Chaplin’s] Comic Capers, which are now appearing daily and Sunday in sixty metropolitan newspapers in the United States. Besides the daily Charlie Chaplin comic strip, Mr. Carothers has a full page in colors in each Sunday issue of the Chicago Herald, portraying the antics of the movie comedian of international fame, Charlie Chaplin, and another of his creations, The Haphazards of Helene [sic: Movies of Haphazard Helen].


The Chicago Herald has the copyright for the Charlie Chaplin Comics, and is said to be deriving a handsome profit from the sale of exclusive rights to the feature. Mr. Carothers is now well up on the salary list of the Herald staff, being second only to the sporting editor, the city editor and the managing editor.


Mr. Carothers attended the public school of Fayetteville and was later a student in the University. His cartoons have appeared in a number of issues of the Cardinal, the University Annual. His brother, Neil Carothers, is Associate Professor of Political Economy and Sociology in the University of Arkansas.




Cartoonist Falls to Death at Loop Hotel
[Chicago Daily Tribune (Illinois), October 4, 1915]


Stewart W. Carothers, Herald cartoonist, who drew the Charley Chaplin pictures, was killed early this morning by falling out of a window at De Jonghe’s hotel.


His body was found at 3:30 o’clock by Policeman Fisher, who was walking through the alley in the rear of the hotel.


R.A. Skinner of 4441 Walden street and H. Bergum of 912 North Mozart street were with Carothers during the night. They went to De Jonghe’s about 1 o’clock, where Skinner and Bergum registered. Carothers accompanied them to their room on the fifth floor.


Carothers was invited to remain in the room on account of the lateness of the hour.


Skinner and Bergum occupied the bed, and Carothers laid down on a couch.


How he happened to fall from the window is not known. Skinner and Bergum did not know of his death until informed by Lieut. James McMahon.


Policeman Fisher said he walked through the alley at 2:30 o’clock and the body was not there at that time. On his next trip he stumbled against the body that lay on the cement pavement at the north end of the hotel.




Will Be Buried in Mississippi.


Mrs. Neil Carothers Goes to Starkville to Attend Son’s Funeral.
[Dallas Morning News (Texas), 10/5/1915]


Austin, Texas, Oct. 5—Mrs. Neil Carothers, director of the woman’s building of the University of Texas, accompanied by her daughter, Miss Katherine, left today for Starkville, Miss., to attend the funeral of her son, Stuart W. Carothers, who was killed yesterday by falling from the fifth story of a hotel in Chicago. Mrs. Carothers was advised by telegraph yesterday of the accident and instructed that the body of her son be taken to Starkville, Miss., for internment.


At the time of his death Mr. Carothers was employed on the Chicago Herald as a cartoonist and was making rapid headway in his profession. While a student in the Austin High School he gained distinction among the students for his ability to do free hand drawing. Finishing his high school course, he attended the University of Arkansas at Fayetteville, where his brother, Neil Carothers, was teaching and who is now a teacher at Princeton. Going to Chicago three years ago he took a course in the Chicago Art Institute.




Stuart Carothers Buried.
[Times-Picayune (Louisiana), 10/9/1915]


Starkville, Miss., Oct. 8.—The body of Stuart Carothers, whose death occurred in Chicago early Monday morning resulting from a fall from a fifth-story window of his hotel, reached Starkville Wednesday night and was taken to the residence of Prof. A.M. Maxwell, his uncle.


His mother, who is in charge of the Woman’s Building of the University of Texas, arrived early Wednesday.


The funeral service was held at the residence of Prof. Maxwell. Rev. F.Z. Browne, pastor of the Presbyterian Church, assisted by Rev. W.A. Jordan and T.H. Lipscomb, officiated. The interment was in Odd Fellows cemetery.




[Stuart Wallace Carothers was born in Tennessee in February 1893, according to the 1900 U.S. Federal Census. He was the third of three sons born to Neil and Carrie, whose maiden name was Wallace, as recorded in the Lineage Book (Daughters of the American Revolution, Volume LIV, 1905). The family lived in McNeil, Arkansas. In 1910 Carothers lived with his mother and sister in Austin, Texas at the University Woman’s Building; his mother was the head of the household and a widow. He was unemployed. (I believe “Stuart” was the preferred spelling based on both census records, the Dallas Morning News, and Times-Picayune articles.) Eventually Carothers found work at the Chicago Herald newspaper where he did a comic strip based on Charlie Chaplin, and originated Movies of Haphazard Helen (Billy DeBeck claimed he created this feature, but that’s untrue — Allan). Both strips were continued after Carothers’ death; one especially bright light who got his big chance was a very young and raw E.C. Segar, who turned in some really amateurish work on the Chaplin strip. A photo of Carothers can be viewed at Popeye’s Thimble Theatre Homepage.]

Carothers’ last Charlie Chaplin strip.

News of Yore 1940: Death of Harry Homan





Harry E. Homan, News Cartoonist

Brooklyn Eagle (New York), July 21, 1940:
Harry Elmer Homan, editorial cartoonist for United Feature Syndicate and a resident of Hempstead, died of a heart attack yesterday in the home of his brother-in-law, Edward C. Crumlish, at Townsend, Del. He was 51.


Mr. Homan, who was on vacation when he died, was with United Feature Syndicate for six years, a job which resulted from a series of political cartoons which he did in behalf of Judge Frederick Kernochan during the electoral campaigns of 1933.


For years he was a leading member of the art staff of the Barron Collier organization and previously was art director of the Odets Advertising Agency. He was also connected with the Handel Company as a designer of ornamental metals.


During the war he enlisted in the Coastal Artillery of the New York National Guard and was later transferred to the Topographic Mapping Service of the 472d Engineers.


During his life he studied under Dean Cornwell and became his assistant, and learned painting with Charles Rosen and Charles Hawthorne. He was born on Feb. 18, 1889.


Surviving are his widow, the former Miss Marguerite Crumlish; four sons, Robert, Edward, Richard and David, and a daughter, Ann. He lived at 117 Pennsylvania Ave. in Hempstead.


Funeral services will be held at 3 p.m. on Tuesday at his brother-in-law’s home in Delaware. Burial will be in the Wilmington-Brandywine Cemetery, Wilmington.
According to the 1900 U.S. Federal Census, Harry Elmer Homan was the only child of Frank and Emma; they lived in Meriden, Connecticut. In 1910 his mother was the head of the household; his occupation was designer at a novelty factory. They remained in Meriden. On June 5, 1917 Homan signed his World War I draft card which had his middle name. In 1920 he lived in Brooklyn, New York at 407 Adelphi Street. The census recorded his occupation as “Art League School.” Homan had a wife and three children at the time of the 1930 census; he had married around 1922. They lived in Hempstead (Long Island), New York at 100 Albemarle Avenue. He was a commercial artist. His Sunday strip, Billy Make Believe, started on July 22, 1934.