Jack Whiting McGuire was born in Pensacola, Florida on September 13, 1905, according to an January 1, 1946 obituary in the Dallas Morning News (Texas). In the 1910 U.S. Federal Census, he was the second of four children born to John and Blanche. They lived in San Antonio, Texas at 415 Burleson. His father was a machinist at a railroad shop. Some time later his parents divorced according to the next census.
In 1920, the McGuires lived in Pensacola, Florida at 822 East Gadsden Street. His father was a machinist at a shipyard. The Dallas Morning Star said, “He came to San Antonio in 1922, and in 1925 was graduated from old Main Avenue High School. He attended the Academy of Fine Arts in Chicago, University of Texas and St. Mary’s University.” On May 3, 1925, the San Antonio Express said McGuire was the art editor of the Main Avenue yearbook El Sombrero. The June 27, 1926, Express article, “San Antonio Boys Aspire to Be Great Cartoonists; Talent Shown at Earl[y] Age” said:
Main Avenue High still “points with pride” to Jack McGuire as its leading artistic asset, although he has been out of school for two years past. Since leaving school he has done drawing and lettering for various firms and at present is employed in the art department of an engraving company. He insists that he has had no training at all so far, as, in school, they didn’t teach what he wanted to study in the way of drawing. He won a big poster contest in Main Avenue however, with three cartoons. He will go to the Academy of Fine Arts in Chicago in the fall. His home is at 309 Abiso Avenue.
The Morning News said, “In 1927 the artist established his own school of commercial art, first and largest such school in the Southwest. He maintained it until 1942.”
The 1930 census recorded McGuire and his wife Loarin (recorded spelling) in San Antonio at 1610 Rosewood. He married when he was 23. His occupation was commercial artist at an engraving company. According to the January 21, 1932 San Antonio Express, he taught life drawing classes at the San Antonio Public Night School. The Morning News said, “…McGuire created [sic: drew] the Jane Arden comic strip in 1932. He drew this strip for approximately six years.” The Express reported on July 28, 1935:
The Commercial Art School, under the personal direction of Jack W. McGuire, has enjoyed eight years of continued art classes for the art students of South Texas. It has helped place dozens of students in the advertising art services and engraving plants in San Antonio and other Texas cities….
…Cartooning under Mr. McGuire, who drew the Sunday comic strip “Jane Arden,” and now collaborates with John Welch on the cowboy strip, “Bullet Benton” which runs daily in the San Antonio Express, offers every boy or girl who is interested in comic illustration a chance to develop and produce professional work of their own….
…The services of G.L. [George Lee] Reynolds and T.C. [Thomas Connally, his younger brother] McGuire have been added as instructors. Both are well known in their respective fields of commercial advertising.
The San Antonio Light reported, on August 10, 1935, McGuire was “in the East to place a comic strip with one of the national syndicates. He will drop around to renew acquaintances with Norman Rockwell and Russell Patterson before he returns.” The McGuire brothers and Lee had an entry in the Catalog of Copyright Entries, Part 4, Works of Art, etc. 1936 New Series, Volume 31, Number 1
So, at least, finds Jack McGuire, 2424 Broadway, who draws a syndicated comic strip called “Bullet Benton,” an adventurous son of the West.
Ralph Briggs Fuller was born in Capac, Michigan on March 9, 1890, according to his World War I and II draft cards. The Art of the Comic Strip (1971), Who’s Who in American Art (1938), and World Encyclopedia of Comics (1983) said he was born in Michigan. Wikipedia said he was born in Boothbay Harbor, Maine, but that was where he died.
In the 1900 U.S. Federal Census, he was the oldest child of six children born to Arthur and Louise. They lived in Richmond, Michigan. His father’s occupation was recorded as “Dealer Drugs”. A profile of Fuller said:
…Fuller was 16  when he sold his first cartoon to the old Life for $8. The next mail, he received a Life letter saying, sorry, they had already used that joke and would he please send back the $8. He did. But he soon sold them another cartoon.
He attended the Chicago Academy of Fine Arts, and while working as a staff artist for the Chicago Daily News, he got $100 for the first colored picture ever reproduced by Life. That sold him on the magazine market. He decided to come to New York.
Fuller has not been found in the 1910 census, but evidently he lived in or near New York City. The World Encyclopedia of Comics (1983) said:
…Fuller’s first work in a major market was a drawing sold to Life magazine in 1910. It was incredibly crude and out of place in that journal, but editor J.A. Mitchell obviously had a sixth sense about latent talent….
In short order Fuller was the most published cartoonist in American magazines. His panel cartoons filled the pages of Puck, Life and Judge, as well as Collier’s, Harper’s, and, later, Liberty, Ballyhoo, College Humor, and occasionally the New Yorker. His work was so popular that in the early 1920’s Judge devoted a standing feature—Fuller Humor—to his work, an honor afforded dew others.
In the 1920 census, Fuller, his wife Alexa and year-and-a-half-old son Robert lived in Leonia, New Jersey at 170 Ames Avenue. His occupation was artist. He was recorded at the same address in the 1930 census and the family included daughter Elizabeth. His strip Oaky Doaks debuted on June 17, 1935. The Who’s Who in American Art entry had the New Jersey address, and his home address as West Boothbay Harbor, Maine.
He signed his World War II draft card on April 25, 1942. He lived at the same New Jersey address. He was self-employed and described as five feet eight-and-a-half inches tall, 145 pounds, gray eyes and hair.
Oaky Doaks ended its run in 1961. Fuller passed away on August 16, 1963, in Boothbay Harbor. The Omaha World-Herald (Nebraska) reported his death on August 17. Wikipedia said he died on August 17. He was survived by his wife and two children.
The 1910 census recorded W.B. McCaffery, Elton and his two sisters, Maud and Charlotte, in Philadelphia, Pennsylvania at 1611 Girard Avenue. The head of the household was McCaffery, a woman, with Elton and his sisters as her son and daughters. This was an error in the census. Perhaps the wrong name was given to the enumerator or maybe McCaffery belong to the preceding household but inadvertently replaced Nina Brownley. In any event, Nina was the head of the household and a widow caring for her three children, her father Frank, a widower, and his older sister Anna, an unmarried woman. Also, in the household were Hannah Bentley (misspelled “Bently” in the census) and her two sons Robert and Walter. According to the 1860 census, Frank had three younger brothers, William, John and Charles. From the census records, I believe Hannah married either John or Charles and one of them passed away before the 1910 census. Years later, Hannah and her sons would figure into Elton’s life. Frank passed away on May 26, 1911 according to the Philadelphia, Pennsylvania, Death Certificates Index at Ancestry.com.
Leslie Elton, the well-known cartoonist, who has contributed to the Philadelphia Record,Public Ledger, Motion Picture Magazine, Photoplay Journal and the St. Louis Globe-Democrat, has joined the forces at the Bray studio, and will contribute his comedy to the Paramount-Bray Animated Cartoons, the weekly animated cartoon released by the Paramount Pictures Corporation. The enlargement of the staff of cartoonists at the Bray Studio will enable the producers to give a great variety of subjects. Mr. Elton will work on variety of subjects.
In the book Before Mickey: The Animated Film, 1898-1928 (1993), Donald Crafton said, “…Elton, a newspaper sports cartoonist, joined in September 1916 and took over the ‘Heeza Liar’ series.” Elton drew himself inking at the drawing board in the November 1916,Cartoons Magazine.
…his first cartooning job was with the San Francisco Post in 1898. He was 15, and drew for $3 a week.
He also worked on the Los Angeles Herald and Los Angeles Times while still in his teens.
In 1906, he went to the Philadelphia Inquirer. He first gained fame when the San Francisco earthquake and fire struck [April 18]. Coffman drew sketches for the Inquirer from memory of downtown San Francisco buildings. He filled in details of the ruin from the wire reports.
Before coming to the Star-Telegram, he was on the staff of Hearst’s New York Journal & American for 27 years.
While working temporarily at the Chicago Examiner, he caught the fancy of the late famed columnist, Arthur Brisbane, and Coffman became cartoonist for the full page Brisbane editorials that were featured in all Hearst Sunday papers.
Brisbane became editor of the Examiner in 1918 then in the 1920s moved to New York.
The 1920 census recorded Coffman in Brooklyn, New York at 1722 Caton Avenue. His occupation was newspaper cartoonist. Ten years later, he remained in Brooklyn but at 60 Clarkson Avenue, and continued as a newspaper cartoonist. His daughter’s occupation was recorded as artist. In the late 30s or early 40s, he moved to Fort Worth, Texas and continued cartooning. The Dallas Morning News said, “For 16 years, Coffman’s cartoons were almost daily editorial page fare in the Star-Telegram. Failing health forced him to semi-retirement in 1955. His cartoons in the Star-Telegram have appeared only occasionally since then.”
He received a Freedoms Foundation award for his cartoon, “They Had Trouble, Too; Were Unafraid,” according to the Corpus Christi Times (Texas), February 22, 1955. Coffman passed away on August 31, 1958, in Fort Worth, as reported by the Dallas Morning News. He was survived by his wife, daughter and granddaughter.
Sylvia Sneidman was born in Maryland on November 16, 1909, according to a 1931 passenger list at Ancestry.com. In the 1910 U.S. Federal Census, she was the youngest of two daughters born to Maurice and Rose. They lived in Baltimore, Maryland at 2820 Parkwood Avenue. Her father was a traveling salesman. In 1920 they lived in Newport News, Virginia at 76 33rd Street. The Sneidmans moved again, to Pittsburgh, Pennsylvania at 5821 Phillips Avenue, according to the 1930 census. The Sun (Baltimore, Maryland) reported, on July 10, 1931, that Maryland Institute students, including Sylvia, had reached Europe. She returned from the trip on August 14, 1931, in New York City, as recorded on a passenger list.
Her marriage was reported in the Press on April 17, 1937.
The bride is a graduate of the Maryland Institute of Art, where she was winner of a traveling scholarship on which she toured Europe. Formerly a member of the art staff of The Pittsburgh Press, she is now an artist for Newspaper Enterprise Association, handling fashion drawings and such features as “Flapper Fanny,” used daily in The Press and other newspapers. Dr. Robbin is a graduate of Johns Hopkins University.
At some point she switched to the Associated Press. One of her fashion drawings was printed in the Evening Leader (Corning, NY) on July 3, 1946. She produced How Christmas Began for the AP. Sylvia was featured in an AP series of do-it-yourself projects. The December 20, 1953 Lewiston Morning Tribune (Idaho) showed how she used tiles to decorate a table top. The March 22, 1959 News and Tribune (Jefferson City, Missouri) featured her drawing of a table and various stools made of driftwood and stone. (Newspaper Archive download)
Editorial cartoons of particular interest in North Carolina and the South will be published regularly in The Dispatch, through arrangements with Henry McCarn of Charlotte. He is the operator of “State Cartoon Service” and his work has brought honors to the newspapers he serves and to himself.
McCarn developed the cartoon service while he was assistant manager of Belk’s, in downtown Charlotte. He sketches political and newsworthy events for editorial pages, designed to meet the needs of North Carolina editors and publishers.
“Editorial cartooning is a tremendous responsibility,” McCarn says. Keeping up with news developments, he spends many hours reading newspapers and magazines and listening to newscasts.
He draws with a happy combination of newsworthy ideas and unmistakeable evidence of deep conviction, plus delightful humor. “A cartoonist should be a good reporter, illustrating history in the making,” he says. “A cartoonist’s work is tied in with the stuff of life—politics, the needs, successes, joys and sorrows of people.”
Some of his cartoons have appeared in “Editor and Publisher” and in a number of other publications in addition to the newspapers he serves. In 1954 the Julius Mathews Newspaper Service of New York honored him with an award for his editorial cartoon on the cancer crusade, which appeared in the Raleigh News and Observer.
Mr. and Mrs. McCarn live at their country home known affectionately as “Pine Acres”. His studio is located at 428 Hawthorne Lane in Charlotte. The McCarns are members of Hawthorne Lane Methodist Church, where Henry, is close associated with the church school activities, and has a deep sense of Christian responsibility, and says: “With the help of God my best cartoons are in the future.” They have two sons, Ural and Robert Gabriel. Ural lives in San Fernando, California. Robert lives in Charlotte. Mr. and Mrs. McCarn have three grandchildren.
[A photo and an editorial cartoon are here. Henry McCarn was born in Belmont, North Carolina, on March 13, 1904, according to the North Carolina Birth Index and his World War II draft card at Ancestry.com. In the 1910 U.S. Federal Census, he was the sixth of seven children born to Jacob and Laura. They lived in South Point in Belmont, North Carolina. His father was a picker at a cotton mill. In the 1920 census the family remained in South Point.
In the early 1940s, Barrow produced the strip Things to Come.
The Lewiston Evening Journal (Maine) noted, on July 22, 1893, that, “Mr. Mark Fenderson, who has been visiting Farmington, returned on Friday to New York, where he is employed as one of the artists on the The Recorder.” A 1911 issue (from July to December) of Life magazine interviewed him; excerpts below:
“Mr. Fenderson, we desire to know where you were born.”
“And when did you first become an artist?” Mr. Fenderson was plainly embarrassed by this question, so we altered it in accordance with nature.
“I believe not. I just came up quite naturally. After being born in Minnesota I lived in Maine, and after arriving at the tea stage in my career found myself as far West as Chicago. It was then that I began to draw pictures.”
“And what were they like?”
“I wouldn’t dare tell you explicitly. It is sufficient to say that they came under the head of cartoons. I suppose I must have grown tired of Chicago, and so I found myself drifting East, and in the course of time I sought Pittsburg as a haven of refuge.”
“I continued to draw cartoons for the papers for some three years. Then once more the spirit beckoned.”
“And you came—?”
“To New York—”
“And to Life. Yes. I haven’t yet recovered from the crisis of having my first picture in Life.”
“…And now that we have you regularly installed as one of our best contributors, can you not tell us something more about yourself? You are too modest, and not explicit enough.”
Mr. Fenderson smiled.
“I can tell you of a thing that once happened to me, which it seems to me worth while recording. One day when I was a boy I called in Boston upon F.G. Attwood.”
“You mean the Life artist who used to delight as many of our readers.”
“Yes. Even at that time I had artistic aspirations, and I asked Mr. Attwood if he thought it paid to be an artist.”
“And what was his reply?”
“He said: ‘My boy, it is the only thing that pays, whether you get any money or not.’ And I have been thinking of that ever since.”
In the 1900 census, he lived in Manhattan, New York City at 54 Union Square. He had been married six years to Anna, who was not counted. The year of his birth was recorded as 1862. He drew the strip Mannikinland for the New York World beginning April 1900. According to a passport application, the couple traveled out of the country in September 1904; the destination was not stated. His address was 52 Union Square. In December 1904 he produced The Baby for McClure.
He lived in Manhattan at 2 West 18th Street, according to the 1910 census. He was a magazine illustrator and Annie was an artist. The American Art Directory, Volume 10 (1913) listed the couple at “4 West 18th St., New York, N.Y.” In American Art Annual Volume 12 (1915) their address was “144 West 23d St., New York, N.Y.”
The 1930 census listed Fenderson in Hastings on Hudson, New York at 423 Farragut Avenue. He was a college teacher and his wife made miniature paintings. The New York Times said he was an art instructor at the Townsend Harris High School in New York. A Richmond Times-Dispatch article, dated February 16, 1930, reported his artistic development in wood carving.
Fenderson’s point of view was of something totally different. Essentially an artist and illustrator, he is a skilled draftsman with an unusual feeling for perspective and proportion. With a complete disregard for the hoary traditions of wood carving, he considered its possibilities as a medium for the art that he knew. With wood as paper and tools for a pencil he took it up avidly, but with no idea of all that was to be learned: the preparation of the wood, the use of various tools, and the technique of getting on wood the effects that were in his mind.
Needing surfaces to decorate he built furniture of his own design; first chests, then tables, chairs, a bed, a desk, a desk-easel for Mrs. Fenderson’s miniature painting—all for the furnishing of his studio and apartment. With each piece there came greater facility in the use of tools, more insight into the possibilities of the medium, and a distinct advance over those that had gone before….
The Lewiston Evening Journal Magazine, February 10, 1945, profiled Fenderson.
In the 1920 U.S. Federal Census, the family of four lived in Detroit, Michigan at 336 Goodwin. The enumerator spelled the family as “Zekely “. The parents were Hungarian emigrants; Alex arrived in 1913, then Mary in 1914. Their youngest son was Fred, who was born in Michigan. The father was a machinist in the auto industry.
The family was recorded in Detroit at 1994 Clements Street, in the 1930 census. The family name was spelled “Szkly”. Zekley’s father was a plumber. On the National Cartoonists Society (NCS) website, Zekley said:
McManus, ever the storyteller, used his 1952 Collier’s article to serve up his own embellishment on Zeke’s early years: “My assistant, Zeke Zekley…says he began to draw because of a picture in a Detroit paper. It showed a yacht riding anchor at the Saint Clair River and the caption described it as the yacht of ‘George McManus, the cartoonist.’ Zeke says he figured if cartoonists could own yachts like that, cartooning was the life for him. So he began to draw, imitating my style.” After recounting the chance encounter between Zeke and brother Charlie, McManus served up this capper: “[Charlie] brought Zeke to me and I hired him. “But I never owned a yacht.”
The California Death Index said his parents and brother passed away in Los Angeles. It’s not clear if the family had moved together or if Zekley went first and the family followed.
On February 5, 1942 his father passed away. Zekley enlisted in the army on May 6, 1943; he had a year of college and was married. On the NCS website, Zekley said, “…WWII; in army, but luckily stationed nearby—was able to work on B.U.F., as well as cartoons for the military—1944, now collaborator!…”
On the NCS website, Zekley said, “…created Dud Dudley for McNaught—it didn’t fly—later, Peachy Keen and Popsie. I still had Sponsored Comics (McDonalds—Squirrel’s Club (10 yrs.), U.S. Army’s P.S. magazine—others—produced animated TV spots in partnership with Friz Freleng—many awards—Hobbies: collecting fine art and golf!