Back in 2008, Mike Lynch posted a bunch of cartoons that he had scanned from Ever Since Adam and Eve, edited by Alfred Andriola and Mel Casson, who dedicated the book to the National Cartoonists Society. Here are the links:
Featured artists include Alfred Andriola, Stan and Jan Berenstain, Walter Berndt, Milton Caniff, Irwin Caplan, Al Capp, George Clark, Chon Day, Gregory D’Alessio, Harry Devlin, Rube Goldberg, Harry Hanan, Al Hirschfeld, Hank Ketcham, Frank King, George Lichty, Marty Links, Kate Osann, Russell Patterson, Alex Raymond, Carl Rose, Charles Schulz, Ronald Searle, Barbara Schermund, Noel Sickles, Otto Soglow, Henry Syverson, J. W. Taylor, Hilda Terry, and Mort Walker.
Quite a few heavy hitters in there, I think you’ll agree. But of all the cartoons and drawings from Ever Since Adam and Eve that Mike posted, here’s the one that interests me most:
[CLICK IMAGE TO ENLARGE]
The artist is Gregory d’Alessio, and the model is his wife, cartoonist Hilda Terry, whose work has been featured several times here at RCN:
In addition to being a syndicated cartoonist, a painter, and an influential guitar music enthusiast, Gregory d’Alessio was vice-president of the Art Students League in New York from 1937 to 1944 and was an instructor in drawing at the League from 1960 until his death in 1993 at the age of 88. D’Alessio’s wife of 55 years, Hilda Terry, also became a regular instructor at the League in the 1980s (after her “retirement”), teaching a class in drawing twice a week, and continued in that capacity, near as I can tell, pretty much right up until her death in 2006 at age 92.
“David Boswell’s classic counterculture icon is collected here in an oversized hardcover format. This volume collects the first Reid Fleming comic and the mini-series, Rogues to Riches, as well as Heartbreak Comics.”
If you’ve never read David Boswell’s Heartbreak Comics, you’re in for a real treat!
Since I’ve never read most of the other Reid Fleming comics, but have always wanted to, this is my chance to get them all in one fell swoop, and at CDN$19.75 for a 224-page hardcover collection via Amazon.ca, I simply can’t resist.
Follow this link, and if you have very good eyesight, you will able able to read the first 32-page issue of the original series, Reid Fleming: World’s Toughest Milkman, for free.
David Boswell’s Official Web Site includes examples of his photographs, comics, cartoons, and illustrations. He also has various prints and other merchandise available for purchase.
Since August 2008, Joe Bloke over at the “Grantbridge Street” blog has posted a dozen stories with art by Howard Chaykin:
UPDATE (28 November 2014):
Earlier today, I noticed that all of the stories with art by Chaykin that were posted at “Grantbridge Steet” have been deleted, but I see now that all but three of the old stories — the first three in my list below — have since been re-posted on Joe Bloke’s BIFF! blog, along with three new ones. Therefore, in order to preserve the utility of this post, I have taken the time this afternoon to update the links below to reflect the new locations of the old stories and have added links to the three new stories.
“The Mark of Kane” (part 1 of 2) by Roy Thomas and Howard Chaykin, from Marvel Premiere #33
“The Mark of Kane: Fangs of the Gorilla God” (part 2 of 2) by Roy Thomas and Howard Chaykin, from Marvel Premiere #34
“Red Sonja: Day of the Red Judgment” by Roy Thomas, Christy Marx, and Howard Chaykin, from Marvel Comics Super Special #9
“The Fire Bug” by Paul Kupperberg and Howard Chaykin, from Weird War Tales #76
“Rattle of Bones” by Roy Thomas and Howard Chaykin, from Savage Sword of Conan #18
“Seven Moons’ Light Casts Complex Shadows” by Samuel R. Delany and Howard Chaykin, from Epic Illustrated #2 (June 1980):
I remember thinking when I first read “Seven Moons’ Light Casts Complex Shadows” back in 1980, when I was still in high school: “Samuel Delany is my favourite writer, and Howard Chaykin is one of my favourite artists, so why is their work together merely okay, I mean, why is it not great?” Though I didn’t know it at the time, the answer, in the case of Chaykin and Delany’s 1978 “visual novel,” Empire, was, essentially, editorial interference from the project’s “producer” Byron Preiss (see “Appendix” below); with “Seven Moons’ Light,” however, I just don’t know…
Six issues later, in October 1981, a painting by Howard Chaykin was featured on the cover of Epic Illustrated #8. Now that was killer!
“To develop a visual novel, we wanted a design system, a framework in which the entire story could be told. I developed a horizontal/vertical axis spread design which could be consistently varied over every two pages of the book.” — Byron Preiss, from his “Foreword” to Empire: A Visual Novel
Was Preiss’s “design system,” which not only placed arbitrary formal constraints on the layout of the pages but also incorporated an unusual format for the captions and dialogue, really the ideal framework for a long-form comic, or was it a procrustean bed? As much as I admire Chaykin’s work in Empire, I would argue that the storytelling — especially the visual storytelling — was often hamstrung by Preiss’s system, which, among other things, made it more difficult than it needed to be for Chaykin and Delany to control the focus, rhythm, and pace of the action.
“When I did Empire with Howard Chaykin, which was 1980 or 1982, Byron Preiss was the packager, and that was a strangely ill-fated project. After we did it, I was very happy with what we did, and Byron was very unhappy with the ending, and just took it upon himself to completely rewrite it, and cut up the art, so that there’s no way to put it back in its original shape. It just doesn’t exist any more, and he’s dead now of course. So nobody will ever see the way it was originally supposed to end. I’ve written about it in at least one interview. I think it’s [in] my book Silent Interviews.” — Samuel R. Delany, in answer to a question from a fan