Category: Found in the Collection (page 45 of 53)

Found in the Collection: E.G. Lutz (1868-?)

Although you’ve probably never heard of him- cartoonist, animator and author E. G. Lutz is the reason that 19 year old Walt Disney took an interest in pursuing animation. Lutz’s book Animated Cartoons: How They Are Made, Their Origin and Development, is credited time and again for being the book that Disney read that got him to think about starting up a business. However, little to nothing is known about E.G. (Edwin George) Lutz, though the impact of his writing and ideas is obviously tremendous.

Animated Cartoons: How They Are Made, Their Origin and Development, by E.G. Lutz. From The San Francisco Academy of Comic Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum

One thing we do know for sure about Lutz (and as always, we encourage our readers to contribute their own knowledge!) is that he was also a brilliant newspaper cartoonist, with some of his most interesting work appearing in the gorgeously illustrated Book of Magic, which was the special children’s section of the Seattle Post Intelligencer (where Nell Brinkley’s work frequently appeared as well.) This newspaper supplement featured full-color activities for kids, most commonly illustrated mazes and connect-the-dots featuring some of the favorite newspaper cartoon characters of the time (Happy Hooligan and Ignatz appear often).

E.G. Lutz’s pages typically centered around three basic themes- playing with food, anthropomorphized animals, and early optical toys. As with many of the items in our San Francisco Academy of Comic Art collection here at the Billy Ireland Cartoon Library & Museum that we thank Bill Blackbeard for everyday, these old Book of Magic sections were inherently dispensable enough in their time just by being newsprint, but doubly so because most of the activities in them required cutting up the paper. Particularly those of E.G. Lutz’s, which we are thrilled to have beautiful in-tact copies of here in our collection.

Below are two samples of Lutz’s optical toys- complete with instructions, and a bolded WARNING! that reads “Do not paint or cut out pages until you have looked over the whole book. There may be something on the other side of a page that you will like better.” Which, I would argue is doubtful, as even grown-up librarians like myself find it hard to resist wondering what the illusion would look like in action.

E.G. Lutz newsprint optical toy illustration from The Seattle Intelligencer's Book of Magic, June 4, 1922. From The San Francisco Academy of Comic Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

A phenakistoscope:

E.G. Lutz newsprint optical toy illustration from The Seattle Intelligencer's Book of Magic, February 12, 1922. From The San Francisco Academy of Comic Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

E.G. Lutz newsprint optical toy illustration from The Seattle Intelligencer's Book of Magic, April 23, 1922. From The San Francisco Academy of Comic Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

Below, creative inspiration for food-play, should you be able to find that perfect yam at the market that resembles a baby seal. We are sure that Seattle parents were thrilled with their children’s sudden interest in fruit, but possibly not at the inclusion of orange peels in home decor.

E.G. Lutz newsprint cut-out toy illustration from The Seattle Intelligencer's Book of Magic, May 28th, 1922. From The San Francisco Academy of Comic Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

E.G. Lutz newsprint cut-out toy illustration from The Seattle Intelligencer's Book of Magic, April 9, 1922. From The San Francisco Academy of Comic Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

Lutz’s cartoons, typically anthropomorphic cartoons,  appeared in other papers as well, including the New York Herald and Philadelphia Press. We are lucky enough to have one piece of original art in our collection by E.G. Lutz, a fairly terrifying drawing of a cat with a drinking problem that can be seen below, although we have very little  information about it.

Original E.G. Lutz cartoon, circa late 1880s, from the International Museum of Cartoon Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

The forgotten E.G. Lutz was a jack of all trades, and it is unfortunate that not much is known about him. We strongly encourage any contributions in our comments section with more knowledge about his life and work, and feel he would be a great topic of research from animation to anthropology.

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UPDATE:

Blog reader, cartoonist and comics educator Ryan Claytor was inspired to make an animated gif of E.G. Lutz’s “Tigress and Her Cubs” to find out how it worked after reading our post! Check it out:

Found in the Collection: Alex Toth (1928-2006)

In memoriam of the anniversary of Alex Toth’s death (this past Sunday, May 27th), we have dug up a few of his works from the late 60s-early 70s. A page from issue number 12 of the DC Comics series “The Witching Hour”, and a page from one of the many romance comics he illustrated (penciled, in the case of our sample), “Young Romance”.

But first, a powerfully simplistic self-portrait that Toth did for collector Mark J. Cohen, whose collection resides here at the Billy Ireland Cartoon Library & Museum and contains over 370 cartoonist self portraits. A number of these pieces were displayed in our 2011 exhibit, Gallery Of Rogues: Cartoonist Self-Caricatures.

Original Alex Toth self-caricature. From the Mark J. Cohen and Rose Marie McDaniel Collection, The Ohio State University Billy Ireland Cartoon Library & Museum

Widely considered to be one of the greatest cartoonists of our time, and a protege of Milton Caniff (our founding donor!), Toth is revered not for the creation of any particular character or brilliant strip, but for his absolute command of the comics art-form at large.

Below, an original page from DC Comics’ 1969 The Witching Hour, which quite perfectly displays Toth’s supreme understanding of design and the layout of a page.

Original Alex Toth page from "The Witching Hour #12". From the International Museum of Cartoon Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum (click to enlarge)

Known best for his work on Zorro comics and animation work for Hanna-Barbera Productions (including the design of Space Ghost), Toth was an influence on many and a placater to few. He was strong willed and outspoken about disliking much in the field; from gratuitous violence in comics to the abstract and experimental.

To quote his autobiography in Kitchen Sink Press’ 1995 book Alex Toth: “I detest stupidity, ignorance, and arrogant disregard for craft in a “professional,” and I’ve made enemies of such people through the last thirty-three years! Much to my own disadvantage, I might add! But I am what I am, and it’s the only way I know to live a life, in as honest a manner as is possible! Play it, and say it, straight!”

Original art from "Young Romance #163", pencilled by Alex Toth and inked by Dick Giordano. From International Museum of Cartoon Art Collection, The Ohio State University Billy Ireland Cartoon Library & Museum. (click to enlarge)

In May of 2006, Toth passed away at his drawing table at age 77, in his home in Burbank, CA.

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