GGA_Fan

Thanks Craig! Dibble deserves far more public admiration, highly overlooked. I really can not get enough of his saucy, wild and creative work, and can find very little information about him on the internet. Glad I'm not the only one that sees something special in his artwork and stories.

Here's a small list of some my top favorite Comic Book Artists. My criteria is skillful, illustrative drawing and inking talent, amongst other creative skills used to draw beautiful women in believable context of their given environments. 1/. Matt Baker 2/. Frank Frazetta 3/. Wallace Wood 4/. Will Eisner 5/. Jack Kamen 6/. Roy Crane 7/. Alex Schomburg 8/. Reed Crandall 9/. Paul Gustavson 10/. Bill Ward Kudos to the following artists for their own styles which I also appreciate greatly: Dan Decarlo Al Hartley L.B. Cole Basil Wolverton (though he did not draw a lot of GGA) Al Feldstein Zack Mosely Ray Moore Klaus Nordling Bob Powell Syd Shores Ogden Whitney Joe Shuster Bernard Dibble This list is non-binding, and non-inclusive and may change or expand depending on other artists I forgot to mention

I know whatcha mean about that 'speechless' piece. I am curious as to the size of the original art on that image, and how many hours of work he must have put into it. But it was worth every second, because he really created an amazing world, one in fine dimension, and one that was constructed in pencil and ink. Many artists can learn a lot from Williamson's art.

Cool thread and info.

Researching comics at the DCM, I came across something that may be of interest to L.B. Cole art appreciators. While it is not a cover per say, it is the inside front cover of 4 Most Comics V7 #4, in which the Editors offer a small, cute interview with Cole (that issue's front cover artist). I mention cute, because 4 Most was targeting more of a juvenile demographic. I hope this has not been posted before.

Don't forget, Bryant created some nice covers for Feature Comics too. Thanks a lot G.A.tor for the reply. It definitely confirmed what I was thinking. I just implemented a new 'Better Known' category. Of course, classifying artists in such categories is subjective I suppose, and no one will agree with them all. There's some GA artists that are difficult for me to classify because they may fall close to boundaries of other label categories, like Al Bryant. But I believe your experienced opinion is representative of most GA comic scholars, and I respect that. Thanks again. (thumbs u

Normally, it's hard to trust raw grades on eBay, for VF's generally arrive as F+ etc. I was looking at a bunch of books by that seller because he was offering a vast amount of GA romance books lately. But check out his Feedback report. A lot of Negative's and Neutrals.

Hi G.A.tor If you had to classify artist Al Bryant into one of the following category labels, in your opinion which would you select? *Legendary *Significant *Known Examples I have noted (so you can relate to my standards) for my ongoing GA research has been (this is not a complete list): *Legendary - Eisner, Baker, Frazetta, Joe Shuster *Significant - Nordling, Gustavson, Creig Flessel, Sheldon Mayer *Known: Sahle, H.C. Kiefer, Rodlow Willard, Fran Matera, Ed Waldman, Walt Spouse, Manny Stallman , Norman Nodel Personally, I feel Bryant should fall into the 'Significant' category, but am I being bias because I favor his art? Should I create an additional category for my personal research between 'Significant' and 'Known'? Perhaps a 'Better Known' between the two would make classification easier for me? Your opinion would help solidify my decision.

. Another two from the story 'The Other Woman' .

. I've updated this busy image to include the censored words 'Searing' and ensuring that the fairer sex does not close their eyes while pretending. I've got a few more samples to post later. .

Not just the threat of nuclear masturbation, they'd probably all-but-soon forget to brush their teeth, then try puffing on a cigarette, become Communists and worst of all, listening to that noisy rock'n'roll music too. As a civilized society we can't tolerate that. Before locking them up in chastity belts, I'd have to spank all the pretty girls over 18 yrs. old, (for their own good of course), and then send them to Church for some reconditioning. Thank goodness for censorship, it keeps our country clean. Comic books corrupt, indeed.

Do you mean to say that the uncensored version of 'Punch & Rudy' only appears in a 1990s reprint? What if the original art had been lost to time, then we'd never know what was supposed to be in that blank panel. Black Cat Mystery #51/Punch & Rudy story is an astonishing account of censorship. I am stunned having read that thread, & confused about it too (seems to inspire more questions than it does answers as to the whats, whys, wheres and hows surrounding that story). Thanks Jayman

Very insightful info! I definitely need to take into account self-censorship resulting from reader complaints to the publisher, and from pressure from advertisers (stemming from public pressure). When I said that 'more than a decade of lame product with art and writing to match', I meant in context of similar genres that had been so victimized by the censors such as Horror, Crime, GGA/Jungle, Romance and so on. A good example may be Atals' Lorna the Jungle Girl, precode had huge headlights, post-code seemed bland (especially when compared to Rulah), Fox's Phantom Lady vs Ajax's Phantom Lady, or post-code Charlton Horror titles etc. compared to pre-code EC, Story Comics, Key Publications horror tiles. The results to the Crime and Horror genres from censorship is detrimental. You're right though, certain titles may not be adversely effected, like Disney's Ducks, and TV/Movie comics and others (which I have nothing against, and do appreciate on a different, sentimental scale).

. While researching a few post-code GA romance stories from True Bride's Experiences #16 (1956), published by Harvey, I noted that they were in-fact reprints of a stories which appeared originally in Teen-Age Brides #1 (1953). That is how this topic arose, as I compared the stories and art between the two. I've taken some time to illustrate several examples. Some censored efforts seemed minor, while some others were major over-hauls, a virtual dismantling of the original panels in question. In chronological order, here are the first three examples I noticed. .

A variety of collateral things catch my interest as I continue my studies into GA Comics. One recent 'research-by-product issue' that is worthy of further focus is the 'CENSORSHIP' of comics. I am vaguely aware of self censorship of reprinted stories by publishers such as Quality Comics and Fiction House (in the early '50s), and find it extremely fascinating. I suppose the major force responsible for comic book censorship, from the mid 1950s and '60s, was the CCA (The Comics Code Authority). This was self-regulating independent body, established in Sept. 1954, to enforce a code of ethics and standards for the industry, to satisfy public concern over fantastic horror and crime comic-book content. We all know the result of the CCA, which was (IMO) more than a decade of lame product with art and writing to match, (until the Silver Age Superhero era began). While most of us realize the CCA products were now bruised and disabled, seeing before and after examples are impossible to envision, unless we are dealing with reprints of pre-code stories. And as I searched the back-posts here, I couldn't locate any threads invested to 'Comic Book Censorship'. I would welcome anyone else here to contribute any other examples of comic book censorship (by any authority, whether inter-publication or by a third party such as the CCA) of any comic book genre from any era. What do you think Censors may have been thinking in rendering their decisions, and how did they think they were protecting society from their rulings?

You're right on target with it r1970d. The writing on your book is providance from a soldier's life. I find this type of writing to be 'Providance' more so than if some little kid had written their name, or filled in the puzzles. I suppose that leads to an interesting thought, that, there is a fine line between providance and 'writing' flaws. Providance is a real bonus, but some writing can be interpreted as defacing an otherwise solid comic. Thanks for posting your Rangers #14, it's cool to see. BTW, I wonder what type of Souvenir this book was to Sgt. T. Dino? I guess we'll never know. _________________________ Good Girl Art Forum GGA FORUM: http://www.SpankingPanels.com/forum/

Nice collection of books you have there Boot. Did you pick the collection up as a whole, or over time? In regards to Hup! Hoop! Heep! Haw! by Private S.D. Babbitt, Jr.: That back cover is paradoxically intriguing, for a few reasons my brain can't wrap around at this instant, but I liked it. In his haste, he forgot the proper spelling of Alberto Vargas. I took some license and cleaned it up a bit so we can clearly see the figure, with her pointed knees, buck teeth and hairy legs. I suppose on the Army's tight budget, he joke implies, that they had hired him for the pin-up art instead of Alberto Vargas (to save a few Shekels or 'Bits'). So instead of a scrumptious babe, we find a hideous old maid in dire need of immediate Orthodontics. I wonder if Mr. Babbitt kept drawing after WWII, and think he'd never imagine we'd be here today talking about him.

I think the providance (sp?) of "A Few Scenes In The Life Of A "Sojer" makes them historically significant. Those books looked like they served as part diary and sketchbook. I can almost imagine a young civil war soldier with a great imagination, perhaps in his late teens to early twenties creating those wonderful drawings. I liked the way he wrote 'UNFOLD THIS' To me that would indicate his youth. Can you recall how 'insane' the final price was on eBay? I know that Antique Collector's absolutely love this stuff, and are always on the look out for sketch books, scrap books and diaries from our past. I'm guessing, but these types of collector's items would have less appeal to comic collectors than with Antique/Paper Collectors? I should add that I also liked the saucy cartoons in Camp Croft Cartoons!

Thanks very much. I too love the condition of it, but as you know, such grades are tough to find on most precode GA books. Like most of you, most of the comics in my collection crosses the spectrum of grades, but this Patsy Walker in 9.4 is the highest slabbed grade to date in my collection. Speaking of Golden Age, there are many great Teen-Humor characters and stories within a multitude of GA books, that sport a variety of interior contents. Quality Comics has a whole slew of such characters I believe. I really admire books that contain interior stories that incorporate Good Girl Art within their genres. In the case of this thread, Teen Humor. The better the precode GGA, the higher I regard that book. And to boot, if an excellent artist had contributed work to it, then such a book really has a lot going for it (imo). In the Golden Age, at times a book may have a lame cover, but some undiscovered (or previously discovered) artwork on the interior may simply be outstanding or brilliantly original to warrant public appreciation. I suspect that some other Teen Humor Comics within this thread probably contain ?/F spanking panels, and if your raw comic has a gal on the receiving end, let me know so I may record that data on the web site below. Timely has so many Teen Humor books, and I've hardly researched a fraction of them, but the combination of GGA plus a spanking panel makes that book highly desirable to me (if I'm not already aware of it.) The book below contains some enthusiastically blustery leggy art from the badlands of artist Harry Sahle's mind and pen. _________________________ Check it out: Good Girl Art Forum GGA FORUM: http://www.SpankingPanels.com/forum/

I actually love the early art of Zack Mosley. I can really understand his thinking on those early works from 1938-1940/41. Mosley seemed like a romantic visionary, creating romance and drama within action packed stories. And I could sense the love he had for his characters, almost treating them like real, live people. Smilin' Jack was a man's man, and Mosley's De-Icers were lovely picturesque, head-turners, each with their own vivid personalities. I felt so motivated, that I actually corresponded with his daughter, and purchased several pieces of early original art from her.

I enjoy reading early newspaper strips that were reprinted in old GA comics like King, Popular, Four Color, Sparkler, Tip Top, and Famous Funnies etc. There's a lot of great stuff in them, like Smilin' Jack by Zack Mosley (who I consider to be one of the original Indiana Jones type of characters).

Hi Cimm! If Cimm thinks it's a Baker tiger, then that's enough to influence my vote too. Baker!

Overstreet credits issue Wild Boy of The Congo #11 (as pictured above) as a Baker cover. It certainly is an incredible drawing. At first glance, I could not say if it was or wasn't Baker's, since I cannot see significant divulging characteristics or Baker-hallmarks within it for me to make an immediate or absolute connection to his work. But, if anyone had time, they can, by process of elimination of capable artists within the St. John pool of in-house artists, be able to rule out everyone else, which could ultimately lead right back to Matt Baker. _________________________ Good Girl Art Experts Wanted GGA FORUM: http://www.SpankingPanels.com/forum/

Fascinating. I was actually trying to find Michael St. John via Google, in Chicago Il. yesterday. I don't know why he wouldn't embrace the treasured history behind his father's company. That indeed would be a great interview that would interest many collectors. McDermott, the art director would be another wicked interview. Does anyone have any contact information for these two? Maybe, this would be a good job for THE Comic Detective (that Scrooge was eluding to). I'd like to see Michael's basement to see anything related to St. John, it's artists (especially Baker), it's history (receipts, stats, paste-ups, logo designs, correspondences, and most of all, any original artwork). If he has a cache of St. John Comics' odds & ends, along with knowledge of his Dad and Matt Baker, I'd love to correspond with him. I don't care if his stash of St. Johns artifacts is water-damaged. Including his recollections, it's all part of GA Comicdom, and nothing like that should ever be lost forever.

I absolutely love Teen Humor comics from the Golden age. They are chock-full of GGA, headlight and long-legs. And if you're lucky enough, a good 'spanking panel'. I've just discovered this thread now.