Sunday, November 3 1907 — Herriman brings down the curtain on the 1907 Pacific Coast League season with a cartoon about the league champion Angel players’ winter plans. A large group are off to Hawaii on a barnstorming tour (lower right corner) while another group has taken their families to Laguna on the co-op plan for winter hibernation. Bernie Bernard has his sights set on studying to be an osteopath (upper left). Delmas (lower left) apparently has a berth with one of the Boston clubs, and the answer to his query is “apparently not.” I can find no indication that he played with any major league club.
Much like another favorite of mine, Then the Fun Began (samples here, here, here and here), this panel on its better days makes the reader work a little to discover the gag. The setup is that our hero is depicted suffering from one setback and is about to suffer another one that’s even worse.
And the Worst is Yet to Come was created by C.H. Wellington for the Associated Newspapers cooperative syndicate, whose logo, rarely seen, is found at the lower right of these panels. I don’t know why, but some syndicates just didn’t care to include copyrights or syndicate stamps on their material, and Associated is one of the worst for that.
The panel began on September 16 1913 and may have ended on April 26 1915. I say “may have” because it’s not uncommon to see these panels later on — I think they’re reprints but it takes a lot of meticulous research to know for sure. Certainly by the 1920s they are definitely reprints, and I’ve seen samples of this feature running in backwater newspapers as late as the mid-1930s.
A.T. “Crite” Crichton wasn’t generally known for trying to educate in his comic strip series (see Swapping Silas Comes to Town and The Giddy Goblins), but evidently Indian lore was a subject near and dear to his heart. His Little Growling Bird in Windego Land offers up a pretty serious primer on the Ojibwe Native American language and mythology. Was Crichton himself perhaps a member of the tribe or was this just a subject of interest to him?
The strip ran from June 10 1906 to August 25 1907 in the Philadelphia North American. Each episode is an eccentric mixture of standard comic strip fare and stories from Ojibwe mythology; the long, long captions make the journey from first panel to last a considerable trip — if you stop to work through the pronunciation guides to some of the tongue-twisting words you might want to pack a lunch.
This was obviously a labor of love for Crichton, and it shows in both art and story. If you read the strip purely looking for a laugh you’ll consider it a failed experiment, but if you are willing to meet Crite on his own terms it is a pretty impressive piece of work.
Coachwhip Publications obviously thinks a lot of the series — they published a book of it, then made it available as a free PDF that you can download here. It’s a huge file, so don’t even think about tackling it if you’re on dial-up.
Thanks to Cole Johnson and Steven Stwalley, each of whom provided one of the samples above.
Danish cartoonist Werner Wejp-Olsen, who goes by the pseudonym “Wow”, gained his initial entry into the U.S. newspaper comics market with Granny and Slowpoke. The strip was about a cigar-chomping grandmother who lives with her kids and grandkids in something slightly less than familial bliss. Slowpoke is her dog, who provides an interesting fantasy element on occasion (see strip 2 above).
The Sunday and daily strip was distributed by Field Enterprises starting on July 12 1976. The strip got very few takers and the Sunday seems to have been dumped very quickly — latest I’ve found is October 31 of that year. The daily seems to have hung on longer, ending on an unknown date sometime in 1977.
The strip shares a lot in common with the current hit feature Crankshaft, both in characters and tone, so perhaps where “Wow” went wrong was in the sex of his irascible senior. Certainly the art is good, and the gags were serviceable if not wildly inventive. I guess America prefers their cranky oldsters on the spear side.
(from Editor & Publisher 1/11/1930)
Clare A. Briggs, creator of “When a Feller Needs a Friend,” “Ain’t It a Grand and Glorious Feeling?” and “The Days of Real Sport,” and undoubtedly one of the greatest comic artists that American journalism has ever produced, died Jan. 3 at the Neurological Institute, New York City, following an operation necessitated by an illness of several months. Mr. Briggs, who was 54 years old, was afflicted with an illness that threatened him with blindness and last August was sent to Johns Hopkins Hospital in Baltimore for treatment. He returned to New York, somewhat improved, but about six weeks ago contracted bronchial pneumonia and was removed to the Neurological Institute. Although his illness from the first was considered critical, he had successfully passed several crises, and was believed to be on the road to recovery.
The body of Clare Briggs lay in state in Campbell’s Funeral Church, Broadway and Sixty-Sixth Street, New York City, over Saturday and Sunday, preparatory to funeral services which were held Monday morning. During that time, hundreds of his friends, fellow artists and admirers visited the church to pay their respects to his memory, and numerous floral pieces blanketed the coffin, which rested in the Gold Room.
The services on Monday morning were conducted by Rev. Dr. Nathan A. Seagle, rector of St. Stephen’s Protestant Episcopal Church. Scores of Briggs’ associates, well-known personages of the arts and professions, filled the chapel to overflowing and delegations were present from the Lambs, the Dutch Treat Club, the Newspaper Club and the Illustrators’ Society.
A quartet from the Lambs, composed of Frank Croxton, Scott Welsh, Douglas Dumbrille and John McCloskey, sang “Lead Kindly Light” and “Abide With Me.” Years ago Briggs sang bass in a Kansas City quartet and later he immortalized the theme in one of his cartoons.
The pallbearers were Arthur Byron, actor; A.O. Brown, former Shepherd of the Lambs; Lieutenant Gitz Rice, composer; Rube Goldberg, cartoonist; Frank Belcher; and A.M. Briggs, advertising man. Later the body was cremated.
Members of the family who attended the services were: Mr. and Mrs. Reuben A. Lewis, Jr., daughter and son-in-law; Miss Ruth Clare Briggs, his second daughter; Mr. and Mrs. John O. Briggs, son and daughter-in-law; Clem W. Briggs and Harry Briggs, of Scranton, brothers; and Mrs. Clem W. Briggs. Others present were:
Winsor McCay, Charles R. Macauley, Gene Byrnes, Arthur S. Draper, Ray Schooley, Oscar Riegel, Judge William F. Handley, Frederic W. Hume, William R. McLaughlin, Russell Patterson, Floyd Gibbons, W.J. Enright, T.E. Powers, Raymond Anthhony Court, George F. Kerr, Jack Hines, Leo Donnelly, Ted Brown, C.W. Carroll, Miss Peggy White, Wallace Morgaan, Vet Anderson, Miss Katherine Gridland, Harry Conway, Arthur C. Clarke, Ray Greenleaf, Grantland Rice, A.R. Holcombe, Philip Dunning, Miss Emma Bugbee, A.M. Cortell, Fred G. Lewis, Robert McGrath, Geoffrey Parsons, William H. Rankin, Howard Davis, Albert Headley, M.B. Aleshire, Ralph F. Robertson, R.J. Woodbury, J.J. Keegan, Mrs. Mary Kalven, Mrs. M. Densmore, Arthur H. Folwell, Vincent J. Pursell, Howard T. White, Harry Staton, Hector Fuller, John Cassel, Mrs. William Rossetti, A.H. French, Paul Parks, Denis Tilden Lynch, Charles Voight, H.T. Webster, C.D. Williams, Edward Gallagher and Mr. and Mrs. Willard Fairchild.
Mr. Briggs after a varied career in the East and Middle West joined the New York Tribune in 1914, and remained with this paper and its successor, the Herald Tribune, until his death. His Sunday page, “Mr. & Mrs.,” and daily cartoons were widely syndicated by the New York Herald Tribune Syndicate, being published in hundreds of papers.
Born in 1875 in Reedsburg, Wis., the son of Mr. and Mrs. William Pardee Briggs, he spent his boyhood days until the age of nine in that town, when in 1884 his family moved to Dixon, Ill. There at the age of ten he started his newspaper career as a newsboy, delivering the local paper to village subscribers for 40 cents a week and the privilege of wearing a red, white and blue cap, inscribed with the name of the newspaper. For five years, between the happy ages of 9 and 14, Briggs lived in Dixon, and at the end of that time moved with his family to Lincoln, Neb.
He lived in Lincoln until he was 21, in 1896, and for two years studied at the University of Nebraska, where John J. Pershing taught mathematics. At the University he took up stenography, which enabled him to earn $6 a week, when work was available. During this time he also studied drawing, for which he had shown a talent since boyhood, at normal school, and his first published drawings appeared in the Western Penman, one of the editors of which was his instructor.
He had had hopes of becoming a newspaper cartoonist before he entered upon his course in drawing, and there crystallized, he once said, after an embarrassing comment from the then Lieutenant Pershing during a mathematics class.
“If ever a fellow needed a friend, I did in mathematics,” Briggs said. “It happened that Lieutenant Pershing was my instructor, and I believe he will testify that it was easier to conquer Germany than to teach me ‘math.’ One day he ordered me to the blackboard to demonstrate a theorem, and while I was giving the problem a hard but losing battle, he remarked: ‘Briggs, sit down, you don’t know anything.’ Right then and there I decided to become a newspaper man.”
From Lincoln, with a portfolio of drawings, Briggs went to St. Louis, in 1896, where Joseph McCullagh gave him a job with the St. Louis Democrat. Informing McCullagh that he was accustomed to receiving $12 a week, whereas he had never received more than $8, Briggs snapped up an offer by McCullagh for $10 weekly, and always recalled the incident as one of the smartest deals he ever put over. Shortly after this his illustrations of the famous St. Louis cyclone of 1896 won commendations throughout the state.
As a successful and much relied upon sketch artist, who at that time were depended upon for practically all illustrations appearing in the daily papers, Briggs was kept busy and for a time he thought he had found his place in life. About a year later, however, the half-tone process of reproducing photographs was perfected and the estate of the sketch artist considerably lessened.
For this reason Briggs studied cartooning and when the Spanish-American War broke out he joined the St. Louis Chronicle at $25 a week, specializing in political cartoons with a war-time angle. When the war ended, however, his job did also, and he left for New York in search of work and to enter a class at Pratt Institute. It was at this time that he came to know the meaning of hard times and struggle. He managed to obtain a job as an apprentice workman to a sign painter, but was doomed to the disappointment of being fired, with a lecture on the art to which he had aspired, when his employer, coming around to inspect his work, found his apprentice using a rule to keep his lettering straight.
Following this he was employed for two weeks, at $10 a week, by a catalogue publishing house, where he made drawings of clothing designs. At the end of that time another artist with what Briggs thought to be a fine disregard for money, or a keen determination to have some, offered to do the same job for $6 a week.
Briggs returned to his home in Lincoln in July of 1900 and married Ruth Owen and then returned to New York with his wife. Work was still hard to find, but at last, through Dr. William J. Kinsley, hand-writing expert, he secured a job on the New York Journal, which started him on his real career.
Almost as soon as he had joined the Journal, he was sent to cover a sensational trial. He turned in his sketches to a night editor, who appreciated such work, and having examined them told Briggs, “You’re no sketch artist — you’re a cartoonist.” The night editor devoted a full half-page to the drawings and a few weeks later William Randolph Hearst sent Briggs to Chicago, where for the next seven years he served on the Chicago American and Examiner.
From that time onward, Briggs’ future was assured and his popularity increased. His drawings for more than a quarter of a century, while later connected with the Chicago Tribune, from 1907 to 1914, and the New York Tribune, from 1914 until its consolidation with the New York Herald, and with the merged papers until his death, have provided the American people with a good clean wholesome type of humor. His work was handled by the New York Herald Tribune Syndicate since 1914.
While Briggs has inspired many of the cartoonists of today to follow his style, generally in another field, however, they have nevertheless only added to his prestige. While they depicted the race track, the factory or the office, he remained faithful to the domestic scene. His cartoons have been of the home, the family, the parents or the children, with perhaps an occasional dip into a small group of individuals known to everybody, such as the “Male Quartet.”
He had the ability to recognize immediately the little customary things that were typical of humanity as a whole and these were the things which he put in his cartoons. He illustrated the utter ridiculousness of people, all with the same petty emotions and reacting in the same way. He exposed the little faults and weaknesses of people, yet in a gentle way, which left them acknowledging them with a smile.
Briggs took his work seriously, yet it was often that he would stand back from a sketch, while at work, and roar with laughter. While he always painted the lighter side of life, once a year he drew an appeal for the Tribune Fresh Air Fund. The response from this yearly appeal was so great that it was considered larger than any other single contribution.
As he himself declared, draftsmanship was the least requisite of his calling, the capacity for ideas being everything. With an added ability to devise apt captions for his work, which would express his ideas, he brought to the language expressions which remain after him. Almost unconsciously people utter his phrases to convey the same ideas which he did. Some of them used so frequently include “Someone is Always Taking the Joy out of Life,” “Oh, Man,” and “Ain’t It a Grand and Glorious Feeling.”
As Briggs could always cause his readers to smile so too, on occasion, he could cause them to act in response to his drawings, such as he did yearly by his Fresh Air cartoon. Another example of this was his famous cartoon, “Wonder What the Flag Thinks About,” which appeared in June 1922. This cartoon caused a nationwide controversy on the improper way in which the American flag was used and resulted in the calling of the National Flag Conference in Washington in 1923. Members of 67 of the largest patriotic organizations of the country participated in the conference and formulated a set of regulations for proper civilian use of the flag. Briggs was always credited with the greater part in causing this action.
When the American Association of Cartoonists and Caricaturists was founded in 1926 Briggs was made a member of the advisory board, and he was a member of the committee which was in charge of the association’s dinner in New York in March 1927, which was the greatest gathering of cartoonists ever held. In 1928 he was elected secretary of the Artists and Writers Association. He was a member of the Forty Club of Chicago, the Calabash Club of Bermuda, the New York Newspaper Club, the Lambs, the Coffee House, the Dutch Treat, the Buccaneers, the Illustrators Society, the Wykagyl Country Club, the Bailey Park Country Club and the Cold Stream Country Club.
His home in New Rochelle, N.Y., close to the Wykagyl Country Club golf links, in the building of which he had taken a keen interest, utilizing old ship timbers to give one room the appearance of a ship’s interior, was sold recently and he had been living at 1 West Sixty-seventh street, New York City.
Truly Briggs was representative of the time, as certainly as he could recall others. In the space of ten years, from 1919 to 1929, his characters were adapted to films, have appeared in book form, and only last summer they were presented on the radio. Responding to thousands of letters asking the question, he wrote “How to Be a Cartoonist” in 1926.
Following are a few of the many tributes which were forwarded to the Herald Tribune on the occasion of the cartoonist’s death —
Jack Lait, writer and editor — Clare Briggs was a recognized outstanding genius on the Chicago Evening American when I started my newspaper career there more than a quarter century ago. He grew greater as he grew older and mellower until he became the beloved interpreter of life’s common denominators, always kindly, always keen.
J.N. “Ding” Darling, cartoonist — Clare Briggs was one of the most delightful craftsmen in his generation. His death robs the world of one of the greatest human commentators of the day and to his friends and the profession which he honored the loss is irreparable.
Harry Hershfield, cartoonist — Clare Briggs’ genius was beyond technical discussion. One whose creations were so much a part of the layman’s daily life comes under the heading of a world’s loss.
John T. McCutcheon, cartoonist — Clare Briggs, as the faithful pictorial biographer of the people of his times, has rendered a service of inestimable value to future historians who wish to study the American young and old of the last quarter century. I know of no cartoonist whose work has a greater right to live.
Booth Tarkington — I greatly regret to hear such news of a true humorist. His passing will lessen American happiness.
George Ade — I did not wait for Briggs to die in order to discover his greatness and praise him. For years I have followed his work with unfailing enthusiasm. Of all the comedy artists doing newspaper work he was the one who knew most about small town life and boyhood and the human weaknesses of adults and the turbulent joys and sorrows of domesticity. I knew him a long time and every time I met him I praised him right to his face. He always appeared puzzled and unconvinced by my fulsome compliments. He knew human nature. His batting average was very high. He was never dull, never vulgar, never going through the motions. He always delivered. He was one of the large men of his generation. No one in sight can duplicate his delightful output.
Herbert Johnson, cartoonist — Briggs was a man utterly without guile or venom. He was one of the most talented caricaturists America has produced. His work at its best possessed genuine artistic merit of a high order in a difficult field. Plenty of comics but only one Briggs.
Franklin P. Adams — I feel acutely the loss of a cartoonist whose work I have enjoyed hugely for thirty years. I enjoyed it so much that I got him to leave Chicago so that his work could appear in the New York Tribune with mine. It helped the paper so much that Clare stayed there for fifteen years, seven years longer than I did. To my notion he drew no dud cartoons. I never knew anyone who so enjoyed working. Often while drawing a cartoon I have seen him laugh uproariously at it. He was a sweet and merry boy, if a rotten poker player, and the public, poorer for his leaving it, is a big winner in having him at all.
Chief Justice William Howard Taft — I’ve very much enjoyed his cartoons and am very sorry to hear of his death, because he was one whose wit was not at the expense of anybody but calculated to make everybody feel happy.
Alfred E. Smith — I learned with deep regret of the passing of Briggs. We lost a rare personality with a talent for gentle criticism of the common weaknesses of human nature. He had a genuine love and understanding of the American child and the American family. I shall miss his cartoons in the morning paper. His particular place will be hard to fill.
Senator Arthur Capper of Kansas — I am greatly shocked to hear of the death of Clare Briggs. I desire to pay tribute to his very wonderful talents. I have long regarded him as one of the greatest artists in his field that the world has everr known, and his death is a great loss alike to art and to journalism.
Frank R. Kent, political writer, Baltimore Sun — The humor of Briggs’ series “When a Feller Needs a Friend” was most delightful. He was a great cartoonist and in a class by himself.
Among the legion of Ripley imitators is this one from the Christian Science Monitor. Facts and Figures ran from December 7 1938 to December 5 1944, appearing an average of 1-3 times per week in that time.
The feature was originated by someone with the initials H.E.T. That cartoonist last produced the feature on March 4 1940. Starting on April 1 K. Parris took over and produced it until the end date.
Tuesday, October 29 1907 — Tonight’s the featherweight bout between champ Abe Attell and young phenom Freddie Weeks, the Colorado boy. Since Herriman will not provide any further cartoon commentary on the fight I’ll go ahead and tell you that Attell beat Weeks by a TKO in four rounds. Weeks took a one-year layoff after this fight and never was a serious contender again. So much for the phenom.
I get a kick out of Herriman treating the Coloradans as a rough-tough uncivilized bunch, as if California was quite the dandified cosmopolitan place in 1907.
Wednesday, October 30 1907 — And speaking of dandies, Herriman attends the opera and provides ‘ringside’ sketches of the proceedings. Maestro Agide Jacchia seems to have captured his interest.
Richard Outcault’s Gallus Coon was a feature that he did for the New York World from June 3 to July 1 1900. Outcault was jumping around between syndicates at this time, and this strip seemed to be just a throw-away, though I confess that I like the style of this one more than Outcault’s more fussily-drawn productions. I also like the original use of Ah Dope’s ponytail as a sort of word balloon. I don’t know if that was a recurring theme in this short-run strip, but it certainly is a neat idea, much as Outcault’s other innovation, writing on the Yellow Kid’s smock, was.
Perhaps most interesting about this strip is the use of the word gallus. I had never heard of this term before, but it turns out that it’s Scottish slang meaning self-confident, cheeky, and stylish, all of which describe the nattily dressed title character. Everything I need to know I learned from comic strips…
Thanks very much to Cole Johnson who provided the sample of this rarity.
Hix Cartoonist at 22
Starting as a carrier boy on the Greenville (S.C.) News when he was 18, John Hix, “Strange As It Seems” artist, at 22 is a full-fledged syndicate cartoonist. With the announcement this week by the McClure Newspaper Syndicate that the feature will be extended to include a full Sunday color page early in February, Hix enters upon another phase of his youthful career in newspaper work.
Hix began his feature two years ago, and, according to Harold Matson, editor of the syndicate, it is now being used by 80 newspapers.
Hix took a three months’ correspondence course in cartooning while he was a carrier boy in Greenville, his home town, and then at 20, set out to find other fields to conquer. He landed a job on the Washington (D.C.) Times as a combination office boy and cartoonist. For a short time he did a daily feature “Hicks by Hix,” which was syndicated by King Features Syndicate. He joined McClure two years ago to start “Strange As It Seems.”
[anybody seen “Hicks by Hix”? — Allan]
New Story Strip
“The Adventures of Aimee” having as its central character a French peasant girl is a new story strip obtained by Ledger Syndicate. It is drawn by Alan Dailey and the balloons are by L.L. Henson Jr.
[anybody seen this one? – I haven’t — Allan]
NEA Has New Features
Werner Laufer, NEA sports artist, is doing his feature, “Brushing Up Sports” six days a week now instead of three days a week as formerly. Joe King, sketch artist, is back at the Cleveland office of NEA after a three-month tour of South America.
Bell Service Sells Kay Features
Kay Features, Inc., has concluded an agreement with the Bell Syndicate, Inc., providing for an expansion of selling facilities it was announced this week. Under this arrangement Bell has taken over the sales agency for the Charles W. Storm Financial Service … and Charles H. Forbell’s comic strip “Cuddles, An American Flapper at King Arthur’s Court.”
[another strip I haven’t found, but then I’ve found very few Kay products — Allan]
Youngest Strip Artist
Herbert Donald Stockton, whose juvenile comic strip, “Hick Hayes in High,” is now being distributed by King Features Syndicate, is credited with being the youngest featured comic artist in the United States. He is 21. The foundation for his strip was made when he attended San Jose (Cal.) High School, where, according to the story, James Swinnerton, the celebrated cartoonist, recognized the boy’s ability and induced him to enter art school.
At the age of 12 Stockton was a “hoofer,” playing vaudeville houses in the West. Later he obtained employment on the San Francisco Examiner from 1925 to 1928, and has since been with the Oakland Post-Enquirer. His strip has been syndicated on the Pacific coast for several years.