Sunday, September 17, 1950

Presenting a Sunday comic section from the New York Sunday Mirror. Paging through it, I’m struck by the large number of different syndicates represented—by my count, eight.

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As usual, Ham Fisher’s “Joe Palooka” (distributed by McNaught Syndicate, Inc.) ran on the front page, followed by Milton Caniff’s “Steve Canyon” (King Features) and “Mickey Finn” by Lank Leonard (McNaught). Next up are “Kerry Drake,” drawn by Alfred Andriola and written by an uncredited Allen Saunders, and “Rex Morgan, MD” by Bradley and Edgington (both distributed by Publishers Syndicate). Harry Hanand’s silent comic “Louie” (Press Features, Inc.) and  “Superman,” by either Stan Kaye or Wayne Boring (McLure Newspaper Syndicate) are followed by a half-tab version of “The Flop Family” by Swan (King Features), an advertisement for Ben Gay, and Carl Anderson’s “Henry.”

Because the comics came from different syndicates, they had different dimensions, and in some cases filler was needed at the bottom of a page. Trading cards for “Captain Easy” and “Joe Palooka” were hawked beneath the “Mickey Finn” episode, and tiny bills of play money ran beneath  “Henry” ($10) and “Kerry Drake” ($2). “Rex Morgan,” “Louie,” and “Dixie Dugan” had customized footers featuring characters from their strips, and a couple other pages had more generic footers with characters from all of the Mirror‘s lineup.

Next up in the Sunday Mirror section was Kreigh Collins’ “Mitzi McCoy.” Before I bought this section, I owned a couple versions of the September 17 episode, but they were third-page versions—one in color and the other a black and white version from the Saturday edition of the Grand Rapids (Michigan) Press. Despite the awkward spaces added between its frames, I prefer the BW version in large part because the earring Stub finds in the sixth frame is more obvious. (When I first saw this episode I was confused as to what had happened).

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When I was putting together my book, The Complete Mitzi McCoy, I was stymied by a half dozen episodes like the one above—I only had third-page versions. Eventually, I found a tabloid example from the Free Press Weekly Prairie Farmer (a newspaper from Winnipeg, Manitoba). As a tabloid, it was missing its throwaway panel—which in this case, was not to be missed. So I splurged an bought the entire Sunday Mirror section.

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I think it’s an attractive little panel!

Accompanying Kreigh Collins’ “Mitzi McCoy” (NEA) was Marty Links’ “Bobby Sox,” (about a year before she changed its title to the better-known “Emmy Lou” (distributed by Consolidated News Features).

Most of the remaining comics are more NEA features, Merrill Blossar’s “Freckles and His Friends” (plus the topper “Hector”), Roy Crane’s “Captain Easy,” probably drawn here by Walt Scott, V.T. Hamlin’s “Alley Oop,” “Boots” by Martin, “Out Our Way featuring the Willets,” by J.R. Williams, and “Our Boarding House”. The other strips rounding out the section were McEvoy and Strieber’s “Dixie Dugan” (McNaught), ads for Colgate toothpaste and Philip Morris cigarettes, and “Lil’ Abner” by Al Capp (United Features Syndicate).

 

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Catch Her if You Can!

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I’m sorry to report that purchasing a copy of The Lost Art of Kreigh Collins, The Complete Mitzi McCoy, can be a bit of a challenge. I’d heard there were problems with orders placed on my publisher’s website; sadly, I can confirm that this is true (I’m still waiting for the copy I ordered in November <frown emoji>) .

I would recommend checking out other vendors: Amazon, AbeBooks.com, or Alibris.com.


For more information on the career of Kreigh Collins, visit his page on Facebook.

Sunday, May 22, 1949

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When I was working on my book, The Lost Art of Kreigh Collins, Vol. 1, The Complete Mitzi McCoy, a late stumbling block was finding replacement comics for episodes of which I only had third-page examples. Ironically, after searching far and wide for several years, I located them in a comic book shop about a dozen miles from my home. The catch was that I had to purchase them in complete comic sections. I left the shop with five 16-page New York Sunday Mirror Sunday comic sections and while I spent far more than I hoped to, my quest was over. The Mirror carried “Mitzi” for the duration of its run—usually in a half-tabloid format, but occasionally as a full tabloid page. I chose this particular section because its 70th anniversary is imminent.

Flipping through it reveals both big name features and comics now forgotten.

As usual, Ham Fisher’s “Joe Palooka” ran on the front page, followed by Milton Caniff’s “Steve Canyon” and “Mickey Finn” by Lank Leonard. Next up are “Henry” by Carl Anderson, “Kerry Drake,” “Superman” (neither credited, but by Alfred Andriola/Allen Saunders and Stan Kaye/Wayne Boring respectively), “The Flop Family” by Swan, an advertisement for Rinso, and Frank Miller’s “Barney Baxter in the Air.”

What was the main event for me likely falls into the category I mentioned earlier, “comics now forgotten.” This early episode, “Mitzi” ‘s 29th, is at the beginning of the strip’s fourth story arc. Half-tabloids are pretty small, but at least they include the throwaway panel, which full-page tabloid versions do not.

As a young man, Kreigh Collins worked as an illustrator at an ad agency in Chicago. This gig lasted about a year, and the primary reason it ended is that Collins despised having to produce commercial illustrations like the one in the Pepsi ad. At this point in time, I find the the ad’s style quite charming, but maybe I’m just biased because I drank so much Pepsi as a kid. On the facing page, Frank Godwin’s “Rusty Riley” has a style similar to “Mitzi” —leaning more toward illustration than cartooning. In fact, illustrations by Godwin and Collins appeared in Hermann Hagedorn’s The Book of Courage, published by the John C. Winston Company six years earlier.

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Now back to the comics… and advertisements.

Roy Crane’s “Captain Easy,” drawn here by Walt Scott, and V.T. Hamlin’s “Alley Oop” face a couple of nondescript advertisements for Dr. Lyon’s Tooth Powder and Danderine. Next up are “Bobby Sox” by Marty Links, “Rex Morgan, MD” by Bradley and Edgington, “Boots” by Martin, and Merrill Blossar’s “Freckles and His Friends” (plus the topper “Hector”).

The last full spread in the section features Harry Hanand’s silent comic “Louie,” “Out Our Way featuring the Willets,” by J.R. Williams, “Our Boarding House,” and an ad. The ad might be my favorite part of the entire section. It features the type of male chauvinism so common of the era, but it’s quite hysterical (in my reading, anyway).

Taking its usual spot on the back cover is “Lil’ Abner” by Al Capp.

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Patience Is a Virtue

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According to recent reports, there continues to be occasional delays with order fulfillment, but eventually your book will come, that is, if you order The Lost Art of Kreigh Collins, Vol. 1: The Complete Mitzi McCoy. This first-ever collection of Kreigh Collins’ debut NEA Sunday comic strip can be ordered here.


For more information on the career of Kreigh Collins, visit his page on Facebook.