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Golden Age Collection
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Started by BangZoom,

18,204 posts in this topic

Doctor Svord

Doctor Svord

Posted
Posted

 

I also found an ad for the Comet at the end of the book. The scan is from fiche unfortunately and someone else might have shown this before. I mentioned in a previous post that Centaur and the Comet pulp were related but I didn't have the advertisement available. (Maybe the relationship is less secure since they also advertise Silver Streak but I will ignore that.) And some nice panels from Reef Kinkaid. Lubbers art looks good. He did a lot of work for Fiction House but I don't know what else he worked on.

 

bb

 

Thanks BB!

 

No idea when he started, but by '52 Lubbers was working on Tarzan.

 

tarzan083152ahg8.th.jpg

 

 

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BangZoom

BangZoom

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and BZ: very cool pulp ad for AMAN comics... any issues of COMET that actually have covers for comics in the ads?

I looked through all five issues of Comet recently and I didn't see any ads that pictured the cover of any comics.

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TheEyeSees

TheEyeSees

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Posted

and BZ: very cool pulp ad for AMAN comics... any issues of COMET that actually have covers for comics in the ads?

I looked through all five issues of Comet recently and I didn't see any ads that pictured the cover of any comics.

 

Thanks for checking! (thumbs u

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buttock

buttock

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Posted
Oddly enough, I have this ad in two comics: one is SILVER STREAK #9 (no big surprise there), and the other is AMAZING MAN #22 ( :o totally different publisher!)

 

can anyone explain this?

 

I can try b/c I read it said by Joe Simon. It's highly possible (I would have to check) that both companies would have the same distributor. The distributor would win cross-advertising because 1) they need to up volume for profits and 2) it was not uncommon for the distributors to be major partners in the publishing houses, that is, distributors were in essence vertically integrating to make sure that they had a pipeline of products to put on the stands. The same scenario applied to the appearance of some ads for Prize books in late '40's DC books.

 

Scrooge

Actually, I think it has to do with both books being put together by Lloyd Jacquets "shop", Funnies, Inc. Silver Streak 1 has an ad for Marvel Mystery #2 as well. The output of Centaur, Timely and the early incarnation of Lev Gleason (pre-Biro and Wood) were all provided by Jacquet.

 

True, Richie, but from a "Follow the Money $$$" angle, why would Funnies, Inc. place cross-ads like this? What was their incentive? The publisher would have rather wanted to sell an actual ad than include a page advertising another line's product. If the publisher really was there only to provide capital and had no editorial control, the question folds back to: why would Funnies do that? Cut down on work (stick an ad recycling artwork instead of a new page)? or Promoting sales of its portfolio of products? ... the latter being the most plausable alternative all the more so since once the production left the shops and went in-house / freelance, those types of ads disappeared.

 

The Ad was from the Amazing Man 22 issue. I was suprised to see it and I am glad that people took the time to explain why it was there. I still like Bob Wood's work on Silver Streak.

 

I also found an ad for the Comet at the end of the book. The scan is from fiche unfortunately and someone else might have shown this before. I mentioned in a previous post that Centaur and the Comet pulp were related but I didn't have the advertisement available. (Maybe the relationship is less secure since they also advertise Silver Streak but I will ignore that.) And some nice panels from Reef Kinkaid. Lubbers art looks good. He did a lot of work for Fiction House but I don't know what else he worked on.

 

2384281978_93dc46b5ac.jpg

2383402801_fa4ed21430_b.jpg

2384233984_f306e8c8b5_b.jpg

bb

 

Don't leave me hanging...what happens!?!?!?

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MrBedrock

MrBedrock

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Posted
Oddly enough, I have this ad in two comics: one is SILVER STREAK #9 (no big surprise there), and the other is AMAZING MAN #22 ( :o totally different publisher!)

 

can anyone explain this?

 

I can try b/c I read it said by Joe Simon. It's highly possible (I would have to check) that both companies would have the same distributor. The distributor would win cross-advertising because 1) they need to up volume for profits and 2) it was not uncommon for the distributors to be major partners in the publishing houses, that is, distributors were in essence vertically integrating to make sure that they had a pipeline of products to put on the stands. The same scenario applied to the appearance of some ads for Prize books in late '40's DC books.

 

Scrooge

Actually, I think it has to do with both books being put together by Lloyd Jacquets "shop", Funnies, Inc. Silver Streak 1 has an ad for Marvel Mystery #2 as well. The output of Centaur, Timely and the early incarnation of Lev Gleason (pre-Biro and Wood) were all provided by Jacquet.

 

True, Richie, but from a "Follow the Money $$$" angle, why would Funnies, Inc. place cross-ads like this? What was their incentive? The publisher would have rather wanted to sell an actual ad than include a page advertising another line's product. If the publisher really was there only to provide capital and had no editorial control, the question folds back to: why would Funnies do that? Cut down on work (stick an ad recycling artwork instead of a new page)? or Promoting sales of its portfolio of products? ... the latter being the most plausable alternative all the more so since once the production left the shops and went in-house / freelance, those types of ads disappeared.

My thinking was always that the publishers might have placed those ads as an incentive/kickback/cost reduction to Funnies Inc. to help promote their other output. My only basis for this is the fact that Marvel 2 and Silver Streak 1 had ads for each other, and both were prominent in the files of Jacquet in that both had notated Pay Copies. There were no specific notes in the Silver Streak 1 on the ad page (every story had notations on the splash with check numbers, amounts and payees info), but the ad is significant in its placement. Now it is possible that the distributors might also have had so input into lining up Funnies Inc with the publishing money and therefore had a hand in the cross-promotion as well.

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Scrooge

Scrooge

Posted
Posted
And some nice panels from Reef Kinkaid. Lubbers art looks good. He did a lot of work for Fiction House but I don't know what else he worked on.

 

bb

 

I will say that's some of the best looking early Lubbers art I've seen. Did you know that Reef Kincaid was created (or "cooked up" as Lubbers says) while he was still in high school!! The first strip he did he sold to George Weaver at Centaur for $ 6 for the whole 6 pages lol That experience begat his Amazin Man work and most notably of course his Arrow covers as well as some illos for one of their slick magazines. This last comment is interesting. What slick magazines was Centaur putting out?

 

The way Lubbers went over to Fiction House is also funny. As he relates it (all this from his interview in CBM # 90 - April 2002. I remember this since I read the interview at my wife's aunt's wedding. Funny how one remembers this), "Fiction House owner and publisher Thurman T. Scott lived but a few blocks away from our home in Manhasset, Long Island, and would occasionally walk to our railroad station for the NYC commute. So did my father, and one day they got to talking about my work. The next day I took samples to Fiction House and they hired me on the spot. My freelance days were over!"

 

Quickly, then 1943 war, then back to FH in 1946. Work winding down in FH in 1949, goes over to freelancing: St John, Standard, ACG, DC ... then 1950 gets the Tarzan gig ...

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adamstrange

adamstrange

Posted
Posted
farm4383402801_fa4ed21430_b.jpg

 

beautiful first panel

 

Indeed...the waves have an almost Flessel-esque quality.

 

Yeah. And I say the second panel is quite Barksian...

 

I would go look at Foster's Prince Valiant as a very possible source of Lubbers' inspiration. Barks leaned on Foster on a couple occasions as well when needing to depict waves and shoreline.

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BB-Gun

BB-Gun

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Posted
and the sea monster, esp. 2nd page fifth panel, quite like kubert

 

I think the Lubbers' sea monster looked like Barks' but predated it. Raymond seemed to be an influence but there were other sci fi artist producing similar material. Swipe from the best if you are going to swipe but I don't think that the position and perspective were swiped. And these are the things that make a cartoonist good in my opinion.

 

bb

 

2384335333_839b276eff_b.jpg

2385166008_04c0aff1f3_b.jpg

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Flee-Marquette

Flee-Marquette

Posted
Posted
and the sea monster, esp. 2nd page fifth panel, quite like kubert
I am sorry but "like kubert" and "Raymond influenced" is not going to fly. We need snazzy name/adjectives. A precedent has been set with Flessel-esque and Barksian. I would suggest that descriptions like Kubert-y, Raymond-ant, Foster-ial, Shuster-ous, etc. be used in order to give the appearance of intellectual discourse. :baiting:
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BB-Gun

BB-Gun

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Posted

I posted a Platinum Age Book with Freckles and mentioned that the art inside looked better than the outside but this one is good on the outside too. I would post it on the Schomburg thread but I have never been sure.

2386594662_39c360e365_b.jpg

 

And some of his friends that looked good.

bb

2385761653_ecd55511e5_b.jpg

Unfortunately there is some restoration due to the water damage on that one.

This one has a little damage but not restored. Two S and K stories are inside and one of them is a western. The latest Alter-Ego features Joe Simon and his buddy Jack. Go buy one. I enjoyed the article.

2385762003_4b568718cb_b.jpg

 

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