The ‘Funnies’ - The New York Times

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collection of comics and cartoons was donated by Harry Chesler; he comments; drawing (L)" data-publish-date="September 12, 1976"> <a class="visually-hidden skip-to-text-link" href="#story-continues-1">Continue reading the main story</a> <span class="sharetools-label visually-hidden">Share This Page</span> <div class="ad sharetools-inline-article-ad hidden nocontent robots-nocontent"> <a class="visually-hidden skip-to-text-link" href="#story-continues-1">Continue reading the main story</a> </div> </div> </div> </div> </div> </header> <div class="archive-message"> <div class="message-header">About the Archive</div> <p class="message-content"> This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. 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Please send reports of such problems to <a href="https://web.archive.org/web/20181128075857/mailto:archive_feedback@nytimes.com">archive_feedback@nytimes.com.</a> </p> </div> <div class="story-body-supplemental"> <div class="story-body story-body-1"> <figure class="media photo lede layout-large-vertical" data-media-action="modal" itemprop="associatedMedia" itemscope="" itemid="https://s1.nyt.com/timesmachine/pages/1/1976/09/12/79322294_180W.png" itemtype="http://schema.org/ImageObject" aria-label="media" role="group"> <div class="image"> <a href="https://web.archive.org/web/20181128075857/https://timesmachine.nytimes.com/timesmachine/1976/09/12/79322294.html" target="_blank"> <img src="https://web.archive.org/web/20181128075857im_/https://s1.nyt.com/timesmachine/pages/1/1976/09/12/79322294_360W.png" alt="The article as it originally appeared." width="360" height="545"> <div class="media-action-overlay"> <i class="icon sprite-icon"></i> <div class="media-meta"> <h5 class="kicker"><span class="kicker-label">View page in TimesMachine</span></h5> </div> </div> </a> </div> <figcaption class="caption" itemprop="caption description"> <span class="credit" itemprop="copyrightHolder"> <span class="publish-date">September 12, 1976, Page 347</span> The New York Times Archives</span> </figcaption> </figure> <p class="story-body-text story-content" data-para-count="252" data-total-count="252">THEY evoke laughter or gentle smiles. They offer a momentary means of escape from the mundane, sometimes to another world. Generations of devoted youngsters, as well as adults, have followed them with eager interest, but few people take them seriously.</p><p class="story-body-text story-content" data-para-count="238" data-total-count="490">Now, however, thanks to Harry “A” Chesler of Succasunna, all that is changing at Fairleigh Dickinson University in Madison, where students and teachers are studying comics and cartoons as related to the transition of American society.</p><p class="story-body-text story-content" data-para-count="322" data-total-count="812">Reflecting changing social customs and views on the home, minorities, patriotism, politics, religion, sex, war and women, more than 4,000 originals of comic and cartoon art, some dating to before the turn of the century, form a permanent collection for serious research purposes at the university's Friendship Library. •</p><p class="story-body-text story-content" data-para-count="178" data-total-count="990">A bonanza of nostalgia, the collection . was donated by Mr. Chester, an early founder of “the Golden Age of Comics,” which flourished from the 1930's until after World War IL</p><div id="story-ad-1" class="story-ad ad ad-placeholder nocontent robots-nocontent "> <div class="accessibility-ad-header visually-hidden"> <p>Advertisement</p> </div> <a class="visually-hidden skip-to-text-link" href="#story-continues-1">Continue reading the main story</a> </div> <p class="story-body-text story-content" data-para-count="300" data-total-count="1290" id="story-continues-1">“Years ago, when I worked for The Philadelphia Public Ledger, everyone else had a middle name, so they gave me the ‘A.’ It stands for ‘anything,'” explained Mr. Chesler, a droll and surprisingly robust man who was born 78 years ago in Jersey City and spent his early boyhood in East Orange.</p> <a class="visually-hidden skip-to-text-link" href="#story-continues-2">Continue reading the main story</a> </div> <div class="supplemental first" id="supplemental-1"> </div> </div> <div class="story-interrupter" id="story-continues-2"> <div id="FlexAd" class="ad flex-ad nocontent robots-nocontent"> <div class="accessibility-ad-header visually-hidden"> <p>Advertisement</p> </div> <a class="visually-hidden skip-to-text-link" href="#story-continues-3">Continue reading the main story</a> <div class="flex-ad-creative"></div> </div> </div> <div class="story-body-supplemental"> <div class="story-body story-body-2"> <p class="story-body-text story-content" data-para-count="385" data-total-count="1675" id="story-continues-3">Much of the art work in the collection is by artists who got their start in Mr. Chesler's New York studio. His staff produced an enormous amount of material for the major comic publishers of the day, Mr. Chesler said in an interview at the library, where he spends three days a week involved with the collection or in consultation with Dr. James H. Fraser, 42, director of the library.</p><p class="story-body-text story-content" data-para-count="513" data-total-count="2188">Describing how the collection was acquired, Dr. Fraser expressed “concern with ‘neglected’ materials that should be in research libraries.” Until recent years, he asserted, there has been a “condescending attitude toward comics” by librarians and academicrans in this country, although he noted that European social and art historians had been looking at American comics and posters for the past decade or so “as an area of major importance in understanding the American mind of the 20th century.”</p><p class="story-body-text story-content" data-para-count="140" data-total-count="2328">“Very few institutions have had the opportunity to acquire the original art in sufficient scope for research purposes,” Dr. Fraser said.</p><p class="story-body-text story-content" data-para-count="314" data-total-count="2642">“In J971, we began a collection of books, catalogues and studies in several languages on the comic book and strip. There was no thought of providing more than secondary literature on this art form until the fall of 1972, when Marian Gerhard, director of the Morristown Library, suggested I contact Harry Chester.</p><p class="story-body-text story-content" data-para-count="311" data-total-count="2953">“I expected a retiring, elderly gentleman with a few drawings and stories. Far from it! Mr. Chester projected his controlled energies from the moment he met me at his nome in Succasunna, where a most extraordinary collection of popular art from the 1920's, 30's and 40's filled room after room on both floors.</p><p class="story-body-text story-content" data-para-count="349" data-total-count="3302">“Winsor McCay pen‐and‐ink social criticism hung among paintings by the Rozen brothers and John Newton Howitt depicting American middle‐class values, paintings that had covered the popular magazines or advertised products of the period. There were stacks of original pages and proofs of “Little Nemo” and scores of other comic characters.</p><p class="story-body-text story-content" data-para-count="267" data-total-count="3569">“Mr. Chesler agreed to donate the collection to the library, and we met many times planning the establishment of The Harry ‘A’ Chester Collection and the Chesler Gallery. Comic strips first started as advertising, and that's how Mr. Chesler began his career.”</p><div id="story-ad-2" class="story-ad ad ad-placeholder nocontent robots-nocontent "> <div class="accessibility-ad-header visually-hidden"> <p>Advertisement</p> </div> <a class="visually-hidden skip-to-text-link" href="#story-continues-4">Continue reading the main story</a> </div> <p class="story-body-text story-content" data-para-count="403" data-total-count="3972" id="story-continues-4">Mr. Chesler traced his maverick career, which led to the collection, in interviews that continued from the library to his home, where original art and memorabilia of the bygone era still crowd the walls. Often peppering his keen recollections with unexpected poetry recitations, he revealed himself as an “idea man,” artist, humorist, philosopher, theologist, down‐to‐earth businessman and poet.</p><p class="story-body-text story-content" data-para-count="210" data-total-count="4182">“In 1921, I bought 50 pages in The Bergen Evening Record for $50 a page. I split the pages into 25 sections and sold the space, all in rhyme, to advertisers. A reader sending in a rhyme that was used won $10.</p><p class="story-body-text story-content" data-para-count="248" data-total-count="4430">“I moved into the comics business in New York in 1935, first at Fifth Avenue and 32d Street and then at Seventh Avenue and 23d Street. I commuted from Dover for $6.45 a week. We put out a 64‐page, four‐color comic book that sold for 10 cents.</p><p class="story-body-text story-content" data-para-count="151" data-total-count="4581">“In those days, paper was $40 to $50 a ton. Today, it runs about $300 a ton. Four‐color plates were $1,000 for 64 pages. Now they are about $4,000.</p><p class="story-body-text story-content" data-para-count="188" data-total-count="4769">“Besides about 75 of my own titles, we produced comics for some 50 different publishers. At one time, there were 40 artists working for me and I had 300 comic titles on the newstands.’</p><p class="story-body-text story-content" data-para-count="76" data-total-count="4845">As James Steranko, author of “The Steranko History of Comics,” recalled:</p><p class="story-body-text story-content" data-para-count="324" data-total-count="5169">“Ore name, Harry ‘A’ Chester, began to turn up with almost predictable frequency back in 1969, when I began a series of personal interviews with artists and writers. Chesler employed a ‘staff that ranged from young kids who loved comics to older, syndicated newspaper strip men who couldn't find a job anywhere else.</p><p class="story-body-text story-content" data-para-count="213" data-total-count="5382">“Collectively, they helped launch ‘The Golden Age of Comics.’ They created a legion of super heroes and continued turning out a mountain of comic pages to satisfy the voracious hunger of demanding public.”</p><p class="story-body-text story-content" data-para-count="397" data-total-count="5779">In addition to the original art work produced in his studio, Mr. Chesler has used his tremendous energy and enthusiasm to find such pieces as drawings by Thomas Nast, a one‐time Morristown resident who created both the Democratic donkey and the Republican elephant; by Dan Beard, founder of the Boy Scouts, and by James Montgomery Flagg, who originated the popular caricature of “Uncle Sam.”</p><div id="story-ad-3" class="story-ad ad ad-placeholder nocontent robots-nocontent "> <div class="accessibility-ad-header visually-hidden"> <p>Advertisement</p> </div> <a class="visually-hidden skip-to-text-link" href="#story-continues-5">Continue reading the main story</a> </div> <p class="story-body-text story-content" data-para-count="260" data-total-count="6039" id="story-continues-5">He also searched out the originals of‐ comic strips ranging from “Buster Brown” by R. F. Outcault (who gave birth to “yellow journalism” and the modern comic strip when “The Yellow Kid” first appeared in 1896) to “Peanuts” by Charles Schultz.</p><p class="story-body-text story-content" data-para-count="446" data-total-count="6485">The collection also encompasses “Barney Google” and his horse, Spark Plug; “Spare Ribs and Gravy” and its successor, ‘Bringing Up Father,” with a hen‐pecked Jiggs sneaking off from Maggie and her rolling pin; Daisy Mae, the dim‐witted beautiful blond, whose sole aim in life is marriage to “Li'l Abner” “Joe Palooka,” the dumb boxer; “Tillie the Toiler,” the dumb secretary; “Mutt and Jeff” and “Orphan Annie.”</p><p class="story-body-text story-content" data-para-count="316" data-total-count="6801">There is “Alley Oop,” “Dumb Dora,” “Impy,” “Peter Rabbit,” “Gooby Land” (where the little folks never grow up), “Ella Cinders” (Cinderella reversed), “The Shadow.” “Tarzan,” “Terry and the Pirates,” “Dick Tracy” and.Skeezix from “Gasoline Alley” going off to World War II.</p><p class="story-body-text story-content" data-para-count="294" data-total-count="7095">A plethora of other comic characters ranges from “Foxy Grandpa,” the “Cookie, Kids,” “Andy Gump” and “Krazy Kat” to “Popeye,” whose fantastic feats of strength paved the way for such super heroes in the collection as “Superman,” “Buck Rogers” and “Flash Gordon.”</p><p class="story-body-text story-content" data-para-count="232" data-total-count="7327">Like Happy Hooligan and his tin‐can hat, Mr. Chesler “always wore his hat, even indoors, and he always smoked a big cigar,” recalled Fred Schwab, member of The New York Times art department, who worked for Mr. Chesler in 1936.</p><p class="story-body-text story-content" data-para-count="165" data-total-count="7492">Another artist, .Toe Kubert, who opened a cartoon and graphic art school in Dover last week, spoke of Mr. Chesler giving him “a chance” when he was 12 years old.</p><p class="story-body-text story-content" data-para-count="369" data-total-count="7861">“He gave me a drawing hoard and paid me $5 a week. I'd go (to his studio) after school. He let the artists evaluate my work, and all the best ones passed through his doors. Harry is the the last dinosaur, a tough boss who generated respect. Yet, he was warm and kind, a man who would extend himself in every way if you were in trouble—and those were tough times.”</p><p class="story-body-text story-content" data-para-count="227" data-total-count="8088">The collection “is available only for serious inquiry,” and then by appointment, which may be made by calling (201) 377‐4700, Ext. 234. From time to time, small special exhibits from the collection are open to the public.</p><p class="story-body-text story-content" data-para-count="263" data-total-count="8351">An example is “Animals and Insects In the Comics,” which will be on view from now until Oct. 1. Library hours are 8:30 A.M. to 11 P.M., Monday through Thursday; 8:30 A.M. to ‘5 P.M. on Fridays, 11 A.M. to 5 P.M. on Saturdays and 2 to 11 P.M. on Sundays, •</p><div id="story-ad-4" class="story-ad ad ad-placeholder nocontent robots-nocontent "> <div class="accessibility-ad-header visually-hidden"> <p>Advertisement</p> </div> <a class="visually-hidden skip-to-text-link" href="#story-continues-6">Continue reading the main story</a> </div> <p class="story-body-text story-content" data-para-count="56" data-total-count="8407" id="story-continues-6">Emma Mai Ewing, a freelance writer, lives in Whitehouse.</p><p class="story-body-text story-content" data-para-count="57" data-total-count="8464">Frank Ewing Harry “A” Chesler and some classic comics</p><aside class="story-content subscriptions-module hidden" id="subscriptions-module"></aside><footer class="story-footer story-content"> <div class="story-meta"> <p class="story-print-citation">A version of this archives appears in print on September 12, 1976, on Page 347 of the <span itemprop="printEdition">New York edition</span> with the headline: The ‘Funnies’. <span class="story-footer-links"> <span><a href="https://web.archive.org/web/20181128075857/http://www.nytreprints.com/" target="_blank">Order Reprints</a><span class="pipe">|</span></span> <span><a href="https://web.archive.org/web/20181128075857/http://www.nytimes.com/pages/todayspaper/index.html" target="_blank">Today's Paper</a><span class="pipe">|</span></span><span><a href="https://web.archive.org/web/20181128075857/http://www.nytimes.com/subscriptions/Multiproduct/lp839RF.html?campaignId=48JQY" target="_blank">Subscribe</a></span> </span> </p> </div> </footer> <a class="visually-hidden skip-to-text-link" href="#whats-next">Continue reading the main story</a> </div> <div class="supplemental " id="supplemental-2"> </div> </div> <div id="storage-drawer" class="hidden"> <div class="supplemental-sub-item" data-attribute-position="0" 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The ‘Funnies’ - The New York Times