Boxing Day

Today is Boxing Day, a day on which servants, tradespeople, and the needy are traditionally presented with gifts. It originated in the United Kingdom, and is primarily celebrated in countries formerly part of the British Empire.

It precedes Kevin the Bold, who might have celebrated it differently.

Panel taken from KEVIN THE BOLD’s third episode (October 15, 1950)

I learned of Boxing Day more as a day to share holiday leftovers and good cheer, and this post will follow that line of thinking. In my more freewheeling younger days, my brother (Brett) and I would often host Boxing Day parties where we’d encourage attendees to dress in boxer shorts and play a few rounds of Rock-em Sock-em Robots.

Brett and I are comics fans from way back but didn’t start throwing Boxing Day Parties until the late ’80s.

Brett was Kreigh Collins’s first grandchild and my brother’s namesake character was a major player in KEVIN THE BOLD from January 1952 until April 1965.

A character named Brian only appeared in a single 1961 sequence and although the characters Brett and Brian both preceded my brother’s and my existence, I can’t help but feel a bit jealous about the discrepancy in those characters’ roles—though I’d be smart to avoid mentioning this to my Uncle Glen (Uncle Kevin’s brother).

At least Brian, the Duke of Duval, was a bad guy and basically shared a name with a tasty Belgian beer.

Speaking of Belgian beer, the painting above, from the Grand Rapids Public Museum’s collection, with its unusual composition, is unlike any other I have seen by Kreigh Collins. Its date (5/14/31) indicates it was produced while Kreigh and his wife Theresa were summering in Europe, shortly after they were married.

Although there were no major characters named Brian in my grandfather’s comic strips, I was bestowed a cool nickname in the Christmas letter he and my grandmother sent out in 1964. (I was born three days before his third grandchild, my cousin Josh).

KTC xmas 64 150

With that, I wish you all a Merry Christmas, a gay holiday season, and that you look forward to 1965 2022 with as much anticipation as I look forward to all of the adventures the year promises to bring.

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

Brett in in the Lions’ Den

At each others’ throats just moments before, Kevin and Karl are now completely aligned.

The short chapter’s quick pace continues, and with Brett’s lion cub/baby switcheroo, the story begins to transition to Kevin’s next adventure.

Before Kevin’s lady friend gets a chance to share it, her story comes alive!

This story line would continue in the pages of the Monomonee Falls Gazette. KEVIN THE BOLD debuted in issue No. 109 (January 14, 1974), which featured Kreigh Collins’ artwork on the cover. For the next six months, KEVIN ran on the gazette’s back cover, and continued inside until the demise of the publication four years later.

In case you can’t get your hands on MFG issues 109–232, the next dozen or so KEVIN THE BOLD chapters are collected in the book Kevin the Bold: Sunday Adventures. The 154-page collection, about 97% of which was compiled from BW syndicate proofs, is available on Amazon.com.

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

The Mountebank’s Lions

This short chapter appeared at the tail end of 1954. Its five episodes were all taken from the Chicago Sunday Tribune, and although they are a bit past that newspaper’s prime years (as far as reproduction and printing of Sunday comics is concerned), they are beautiful examples nonetheless. This early chapter—KEVIN THE BOLD’s 17th—immediately precedes the episodes that ran in the Menomonee Falls Gazette.

As noted in the opening caption, the action is set in 1491. The year is somewhat arbitrary—my feeling is that it just serves to peg the action as occurring just before Christopher Columbus’ first voyage to the New World. It was a busy year for Kevin—the strip’s three previous chapters also took place in 1491. These were the first times a specific date was referenced for KEVIN THE BOLD’s action.

This sequence also kept Kevin busy—quite a bit of action was packed into its five episodes, which lacked the longer exposition normally found at the beginning of a chapter.

Having just arrived, Kevin makes immediate impressions on both the town’s law and order man and his pretty female friend. The jealous Swiss guardsman insults Kevin and moments later they square off to fight. Oh, and there are lions!

As quickly as it started, the fight ends, and the two combatants join forces in a common goal, finding the lioness’s cub. It’s all happened so quickly that I barely had time to look up the definition of mountebank—if he’s a charlatan, the townsfolk don’t seem to mind. Now back to the action!

In an odd form of payback, the lioness kidnaps a baby. Brett emerges as the voice of reason, the lion cub returns and… has Brett lost his mind?

To be continued…

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

Allas Veckotidning—1958

Allas Veckotidning (“Everyone’s Weekly”) is a Swedish weekly first published in 1931. Its general-interest content is typical for a weekly, and it also included several comic strips. Generally running in two colors, a Swedish translation of KEVIN THE BOLD (Falcon Stormfägeln), debuted circa August 1951 and ran for at least 15 years.

Actress Elsa Martinelli graced the cover of 1958’s issue No. 17. Defaced slightly by a bit of doodling from a blue ballpoint pen, at least the culprit didn’t give the young actress a mustache or a missing tooth. But as they say, it’s what’s inside that is important.

Inside was the explosive episode originally appearing on May 26, 1957. In 1958 issues of Allas Veckotidning, Falcon Stormfägeln often ran opposite CAROL DAY, by David Wright, a relatively new British soap opera comic strip. However, it wasn’t given as much space as Kreigh Collins’ strip, and although its title was printed in a second color, the artwork only appeared in black and white.

The original KEVIN episode is even more dramatic in full color, although its explosive subject is a bit incongruous for a late-1950s general interest women’s magazine.

Issue No. 23 featured a lovely lass enjoying an all-day sucker, and its cover beckoned its audience to read about Esther’s escapades.

Since the only word in Swedish that I remember is farfar (paternal grandfather), I’ll stick with what I know and skip right to page 39.

A better fit for the magazine, the episode shows a nervous Pierre Van Arden proposing marriage. The original episode, from July 7, 1957, is shown below. This episode is from a chapter whose villain is Count Noir.

Issue No. 27, with an attractive model enjoying some time at the beach, also featured some nice art direction—though if there was ever an occasion for a polkadot bikini, this was it.

Again appearing on page 39 was another episode in the sequence with Count Noir.

As it appeared in the Detroit News, here is the August 4, 1957 episode.

Issue No. 30 featured another beautiful cover model, and an even more attractive cover. I might be a sucker for polka dots, but I think this is stunning. But it’s something else that leads this to be my favorite issue of Allas Veckotidning.

For the only time in my limited collection of Allas Veckotidning magazines, Falcon Stormfägeln ran on the back cover, and in full color. The action from the Count Noir chapter continues.

The episode looks splendid. I don’t mean to badmouth these half-page examples from the Detroit News—after all, by this time, the Chicago Tribune was only running third-page versions—but the reproduction of Falcon Stormfägeln from Allas Veckotidning far surpasses the original episode (I guess using a paper stock better than newsprint is a bit of an unfair advantage).

(A sincere thank you to my friend Roger for sending me these copies of Allas Veckotidning).

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

The Deadfall

Mitzi continues to wander, realizes the great mistake she’s made, and starts to seek shelter.

Inches from certain demise, Mitzi is saved by Tim’s quick thinking.

Tim’s shouted warning has also put Mitzi in an eye-catching position! Seeing a familiar face seems to have brought her back to her senses, and Tim has landed a major scoop for the Freedom Clarion.

Mitzi was fortunate not to have gotten caught in the deadfall trap. Several years before turning up in MITZI McCOY, Collins illustrated one of the devices for the book “The Lone Woodsman,” by Warren H. Miller (1943). Though unfortunately printed on cheap wartime paper, the book contains numerous lovely illustrations and comes highly recommended.

MITZI’s introductory chapter ends with a humorous denouement. The dialogue brings a smile to my face due to a phrase my father often used in lieu of cursing—“Blankety Blank!” (sixth panel). Although Erik and Kreigh weren’t close, the two shared plenty of idioms. I think their estrangement is one of the main reasons I am so interested in my grandfather’s career. Growing up, iIt’s not like I was unaware of my grandfather’s work, I just wish there was more dialog about it when Kreigh and Erik were still alive. Of the few comments my father made on the subject was a bemused remark when I switched my college major from engineering to graphic design—“a commercial artist, that’s what my dad was.” Although Kreigh died young (shortly after his 66th birthday), my grandmother lived into her eleventh decade, and I’m proud that she lived long enough to see I had started collecting Kreigh’s comics, and had taken the first steps to start raising his profile. As his wife, muse, frequent model, and champion, I know she took pride in that.

To read more about the return of Mitzi’s ex-fiancé, and the other goings-on in the little town of Freedom, order a copy of “The Lost Art of Kreigh Collins, the Complete Mitzi McCoy.”

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An Overlooked Classic

The Lost Art of Kreigh Collins, the Complete Mitzi McCoy” features the entire run of Kreigh Collins’ first NEA feature, and is available for a limited time at a reduced price.

Mitzi McCoy Cover 150

MITZI McCOY ran from 1948 to 1950 and showcased Kreigh Collins’ skill as an illustrator and storyteller. His picturesque landscapes, lovely character designs, and thrilling action sequences brimmed with detail and charm, and the strip’s ensemble cast rotated in and out of the spotlight taking turns as protagonists in the dozen story arcs collected in this volume. The last story collected in “The Complete Mitzi McCoy” is the narrative bridge that set Collins and his characters off on a new journey, beautifully told for the next couple of decades in the much-lauded adventure strip Kevin the Bold.

The collection includes an introduction by Eisner Award-winning author Frank M. Young, an Afterward by Ithaca College’s Ed Catto, and previously unpublished artwork and photos. Longtime comics artist Butch Guice also provides a new pin-up of the character Mitzi McCoy.

The book is available for $30 ONLY $20! For domestic shipping, add $4; for international orders, please add $25 to cover first class shipping. To place an order, leave a comment below or email me at BrianEdwardCollins1[at]gmail.com, and I will give you PayPal or Venmo information.

______________________________________________________________________

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

Mitzi, You’re Lost

Meeting Pemican, Tim has lucked out. Mitzi too, but she is blind to her good fortunate.

Perhaps you could chalk it up due to stress, but Mitzi’s reaction to her benefactors certainly hasn’t aged well. Then again, bolting does seem second nature for Miss McCoy.

Appearing for the first time in MITZI’s seventh episode was a new title logo. It’s possible that this graphic was executed by an NEA staff artist, following Collins’ original. At this point, Collins still handled the lettering of all the balloons and captions. (Art Sansom would take over in episode number 25, on April 24, 1949).

OK, clearly I’m a Mitzi McCoy apologist. That’s a pretty vile thought running through her head, but remember—this is 1948. Sadly, many others besides Mitzi harbored such feelings. I’ve got my fingers crossed that Mitzi redeems herself before this chapter ends!

The final MITZI McCOY episode from 1948 was used as a promotion, sent to newspapers as an enticement to carry Collins’ strip. I’m lucky to have a copy of this slick reproduction, one of two in my collection. If I was the comics editor of a newspaper, the first panel would have sold me. And maybe that sweet visage would’ve distracted me from Tim mansplaining in the following two panels.

It’s s visually arresting episode—it even reintroduces Phil Rathbone. In a bit of foreshadowing, Mitzi’s ex-fiancé is razzed by some young ladies—Phil won’t appear again until MITZI’s second chapter, when he’ll play a more memorable part.

_________________________________________________________________________

An Overlooked Classic

The Lost Art of Kreigh Collins, the Complete Mitzi McCoy” features the entire run of Kreigh Collins’ first NEA feature, and is available for a limited time at a reduced price.

Mitzi McCoy Cover 150

MITZI McCOY ran from 1948 to 1950 and showcased Kreigh Collins’ skill as an illustrator and storyteller. His picturesque landscapes, lovely character designs, and thrilling action sequences brimmed with detail and charm, and the strip’s ensemble cast rotated in and out of the spotlight taking turns as protagonists in the dozen story arcs collected in this volume. The last story collected in “The Complete Mitzi McCoy” is the narrative bridge that set Collins and his characters off on a new journey, beautifully told for the next couple of decades in the much-lauded adventure strip Kevin the Bold.

The collection includes an introduction by Eisner Award-winning author Frank M. Young, an Afterward by Ithaca College’s Ed Catto, and previously unpublished artwork and photos. Longtime comics artist Butch Guice also provides a new pin-up of the character Mitzi McCoy.

The book is available for $30 ONLY $20! For domestic shipping, add $4; for international orders, please add $25 to cover first class shipping. To place an order, leave a comment below or email me at BrianEdwardCollins1[at]gmail.com, and I will give you PayPal or Venmo information.

______________________________________________________________________

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

Wild Goose Chase

A news item from Stub Goodman’s Freedom Clarion has reached the big city papers, and the little guys move quickly, trying to stay on top of the story of Mitzi’s disappearance.

MITZI’s third episode is again densely packed with figures and action as the narrative picks up speed. My knowledge of comics history is somewhat limited, but MITZI reminds me of CONNIE, an earlier strip by Frank Godwin. Like Collins, Godwin’s background was in illustration, and both strips’ protagonists were female aviators. A connection between the two artists first happened in the early 1940s, when the two produced illustrations for Hermann Hagedorn’s “The Book of Courage,” published by The John C. Winston Company in 1943.

Near the onset of his professional career (late 1920s), while summering in a rural northern Michigan cottage with his new wife Theresa, Kreigh Collins came across a discarded old birch bark canoe. He set about restoring it, and it became a frequently-used prop in his artwork. It first appeared in paintings, then as a magazine cover, and later as a part of the “Do You Know—” series (a 16-month, daily newspaper feature Collins illustrated from 1935–1937).

Eventually, the canoe made its way into the fourth episode of MITZI McCOY, reproducing beautifully in the nascent comic strip’s first splash panel.

The episode is packed with more arresting content—a racing canoe, a suggestively posed and unconscious Mitzi, her burning aircraft, and some stereotypically-depicted Indigenous people (whose conversation quickly brings Mitzi back to consciousness). Collins availed himself to his “Do You Know—” canoe reference material a second time for this episode. Having launched his career as the Great Depression began, Kreigh had learned the virtues of thriftiness.

Meanwhile, back in the jungle, er, Canada’s Great North Woods, Tim has made tracks in his pursuit of Mitzi. His 1,000-mile trip from Freedom, Michigan would likely situate him near the northern boundary of Manitoba, on the western shores of Hudson Bay. While the Great North Woods might be sparsely populated, folks tend to be friendly—lucky for Tim.

The chase continues (as do the plugs for my book).

An Overlooked Classic

The Lost Art of Kreigh Collins, the Complete Mitzi McCoy” features the entire run of Kreigh Collins’ first NEA feature, and is available for a limited time at a reduced price.

Mitzi McCoy Cover 150

MITZI McCOY ran from 1948 to 1950 and showcased Kreigh Collins’ skill as an illustrator and storyteller. His picturesque landscapes, lovely character designs, and thrilling action sequences brimmed with detail and charm, and the strip’s ensemble cast rotated in and out of the spotlight taking turns as protagonists in the dozen story arcs collected in this volume. The last story collected in “The Complete Mitzi McCoy” is the narrative bridge that set Collins and his characters off on a new journey, beautifully told for the next couple of decades in the much-lauded adventure strip Kevin the Bold.

The collection includes an introduction by Eisner Award-winning author Frank M. Young, an Afterward by Ithaca College’s Ed Catto, and previously unpublished artwork and photos. Longtime comics artist Butch Guice also provides a new pin-up of the character Mitzi McCoy.

The book is available for $30 ONLY $20! For domestic shipping, add $4; for international orders, please add $25 to cover first class shipping. To place an order, leave a comment below or email me at BrianEdwardCollins1[at]gmail.com, and I will give you PayPal or Venmo information.

______________________________________________________________________

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

The Runaway Bride

Seventy-three years ago today, Kreigh Collins’ first NEA-syndicated Sunday comic was published. After a short courtship by the Cleveland-based syndicate, and a one-off feature proposal by Collins (the unpublished TOM MATCH AND STUB), the two sides settled on a weekly serial named for a headstrong daughter of wealth, and featuring a cast of characters that took turns in the spotlight.

Elements of Collins’ proposed comic strip remained, but were reshuffled significantly. Much of the action revolved around the employees of a small-town weekly newspaper, but unlike TOM MATCH AND STUB, where a younger man was the boss of his older employee, in MITZI McCOY the employees operate under a more traditional arrangement, with the young reporter (Tim Graham) working for the grizzled publisher (Stub Goodman). These changes were no doubt strong-armed by NEA Features director Ernest “East” Lynn—and in hindsight, it seems to be a case of Lynn trying to remind the freethinking Collins of who was in charge.

Despite their differences, the pair worked well together, and the result was a long and fruitful relationship for Collins and the NEA. MITZI McCOY takes off immediately, with our heroine abruptly cancelling her own wedding. Before long, Mitzi is airborne too.

While the strip would continue to evolve over its short lifespan (23 months), it started strongly, featuring many elements typical of Collins’ style. There was action, scenes rendered from multiple viewpoints, beautiful illustrations, and lovely women. Collins modeled the strip’s titular character after Rita Hayworth, a lovely choice, but it is unclear if this was his decision or Lynn’s—TOM MATCH AND STUB had introduced a sultry brunette in its lone episode.

Rita Hayworth, circa 1940

Regardless, basing Mitzi on the woman who was arguably the most popular pin-up girl of the WWII era was a fine idea.

Collins worked hard on his new project, as MITZI’s expertly-composed and detailed panels make clear. Each one was packed with visual information; Collins initially handled the lettering as well. The Grand Rapids Public Library has a large collection of original MITZI McCOY artwork in its local history collection, and these oversized pieces of original artwork are a marvel to behold.

In the strip’s second episode, regulars Stub and Tim make several appearances, but so do Mitzi, her father, and a smattering of the small town’s residents. Also included are Stub’s jalopy, Mitzi’s convertible, Mr. McCoy’s Packard, a couple of the McCoy family’s boats, Mitzi’s seaplane, and different setting or viewpoint for each of the episode’s ten panels.

November 14, 1948. From the collection of the Grand Rapids Public Library

Nice details from this episode include the third panel, with Mitzi running down the dock to her seaplane (shown in the foreground, with her convertible parked up high in the background), the realistically-rendered printshop interior shown in the panel directly below, the body language shown by Stub as he takes an earful from Mr. McCoy bottom left, and the gossipy townsfolk shown in the final panel, all hunched over and peaking at the scene playing out on the street corner, as they learn the scandalous news of the McCoy family.

When in Grand Rapids, Michigan, I highly recommend paying a visit to the city’s main library in order to view the MITZI originals up close. If a visit to Beer City is not in your travel plans, a nice fallback option is to acquire a copy of the book, “The Lost Art of Kreigh Collins: The Complete Mitzi McCoy,” with details (you guessed it!) provided below.

An Overlooked Classic

The Lost Art of Kreigh Collins, the Complete Mitzi McCoy,” is available for a limited time at a reduced price; it features the entire run of Kreigh Collins’ first NEA feature.

Mitzi McCoy Cover 150

MITZI McCOY ran from 1948 to 1950 and showcased Kreigh Collins’ skill as an illustrator and storyteller. His picturesque landscapes, lovely character designs, and thrilling action sequences brimmed with detail and charm, and the strip’s ensemble cast rotated in and out of the spotlight taking turns as protagonists in the dozen story arcs collected in this volume. The last story collected in “The Complete Mitzi McCoy” is the narrative bridge that set Collins and his characters off on a new journey, beautifully told for the next couple of decades in the much-lauded adventure strip Kevin the Bold.

The collection includes an introduction by Eisner Award-winning author Frank M. Young, an Afterward by Ithaca College’s Ed Catto, and previously unpublished artwork and photos. Longtime comics artist Butch Guice also provides a new pin-up of the character Mitzi McCoy.

The book costs $30 ONLY $20! For domestic shipping, add $4; for international orders, please add $25 for first class shipping. To place an order, leave a comment below or email me at BrianEdwardCollins1[at]gmail.com, and I will give you PayPal or Venmo information.

______________________________________________________________________

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

Roland den Djärve

In Sweden, installments of KEVIN THE BOLD first appeared in the weekly magazine Allas Veckotidning. These tabloid versions, called FALCON Storm fägeln, started running in the summer of 1951. Two years later, Kreigh Collins’ Sunday comics feature found another Swedish outlet, this time as a component of the TOM MIX comic book series.

This incarnation, retitled ROLAND DEN Djärve, initially ran in full color, with three or four original episodes spread across six or seven pages. As was the case in some of KEVIN’s other comic book appearances, the panels’ sequence could be changed, and sometimes panels (other than the throwaways) were eliminated. These edits were necessary to squeeze the art into the smaller confines of the comic books’ pages. Additionally, the color schemes could change compared to he original Sunday versions, and panels originally rendered in a two- or three-color scheme now appeared in full color throughout.

The full-color reproductions are rather unique, as far as comic book presentations of Kreigh Collins’ comics are concerned. KEVIN THE BOLD would appear in color when reprinted in weekly magazines (e.g., Tit-Bits, Hjemmet, and Allas Veckotidning), but comic books from countries such as Australia, France, Italy, and Bosnia were all printed in black and white.

A huge “Thank you” to my friend Roger—all of this artwork originally appeared on his amazing site, RogersMagasin.com. TOM MIX No. 1, which would contain KEVIN’s first four episodes, is missing from that site but we can pick up the action in No. 2.

Here are the corresponding original Sundays.

The action continued in TOM MIX No. 3.

The covers generally featured Tom Mix, but occasionally new illustrations were commissioned referencing KEVIN THE BOLD .

Here are the corresponding original Sundays.

The action continued in TOM MIX No. 4.

Here are the corresponding original Sundays.

The action continued in TOM MIX No. 5.

Another ROLAND-inspired cover, illustrated by Camitz.

Here are the corresponding original Sundays.

The action continued in TOM MIX No. 6.

A compelling TOM MIX cover with a scene pulled from ROLAND, but without the illustrator’s signature.

Here are the corresponding original Sundays.

Next week, a special anniversary.

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

Turning the Tables

The chapter wraps with scans of three more black and white bromide proofs. Poor Pedro—he is facing death, yet what he fears more is facing his wife.

As Norfolk defies his Queen and sets his plot in motion, the episode ends as a donnybrook begins, with what looks like an ornate brass teapot situated prominently in the foreground of the final panel.

Queen Elizabeth springs into action, conking one of Norfolk’s henchmen with the flying brass teapot, Kevin is able to retrieve his rapier in the commotion, and the rebellion is quashed.

Pedro is fortunate to have a wife as forgiving as she is beautiful, and the action transitions to a new chapter. Look for the story of Cecil Rochester, musketeer, at some point in the future!

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