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    Frankie Comics 11 Frankie and Lana 12 Frankie and Lana 13 Frankie and Lana 14 Frankie and Lana 15

    Frankie Fuddle 16 Frankie Fuddle 17



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Animated Movie-Tunes #1-2 (Fall 1945 to Summer 1946) continued as Movie-Tunes Comics #3 (Fall 1946) continued as Frankie Comics #4-11 (Dec. 1946 to Oct. 1948) continued as Frankie and Lana #12-15 (Dec. 1948 to June 1949) continued as Frankie Fuddle #16-17 (August 1949 to November 1949).

Frankie Comics #4

Leon Winik is an American comic book artist (1949-57) and animator, owner of Winik Art and Film in New York City. He is known for comic features like 'Pat the Brat' for Archie Comics and 'Billy the Kid' for Toby Press. He took over the Sunday page of 'Jeanie' from Gill Fox for the New York Herald Tribune in 1952-53. He also drew for Timely's 'Frankie Fuddle'.
He illustrated books: “The real book of jokes”, by Margaret Gossett (Garden City Books, by arrangement with F. Watts. 1954). "Silly goose and the holidays", by Annabelle Sumera (New York, Holt, Rinehart and Winston 1970).

Irving Tirman worked as a comic book artist during the 1940s. Between 1939 and 1942, he worked on the syndicated 'Nappy' strip. Mostly through Bernard Baily's studio, he worked on comic book features like 'Roger Dodger' (ink, Better Publications), 'Mike Gibbs, Guerilla' (National/DC), 'Marksman' (Quality), 'Lt. Hercules' and 'Sandusky and the Senator' (Spark Publications). In 1953, he did the syndicated 'Melvin' strip. Tirman was also a teacher.

From Lambiek Comiclopedia.

Minor Carleton “CarlHubbell Jr. was born in Culver, Indiana, on July 27, 1916. His father and mother were both teachers. The family traveled frequently to Europe. At this time, little is known about Hubbell’s childhood education and art training. In 1935 he was a freshman at Ohio Wesleyan University, where his father had received a masters of art degree in 1916.

The Kingston Daily Freeman (New York), July 7, 1949, said: ...Hubbell came to New York in 1940 where he hoped to have a B.A. degree in fine arts and had done extensive work and study on murals. His first job, a far cry from what he had in mind, was that of apprentice to a cartoonist. He worked only half days and received $5 per week. Although he spoke of those days in an amusing tone, nevertheless, he agreed that was the beginning of his career as a cartoonist.

Carl Hubbell was an artist who worked mainly at Lev Gleason and St. John in the Golden Age, had his own short lived comic company in 1955 (Good Comics, Inc), and inked for Marvel in the 60’s as well as doing both the pencils and inks for M.F. Publication’s Captain Marvel (the android that flew apart.)Carl Hubbell

Carl Hubbell worked together with Norman Maurer at Joe Kubert at Lev Gleason, working on titles like Boy Comics and Whack, as well as other projects for St. John Publishing. In 1949-50, he drew the 'Merrie Chase' newspaper comic scripted by Renny McEvoy. Paul Reinman continued the strip in 1950-51.

The Daily Freeman, July 7, 1949, reported the upcoming release of the strip: Hubbell’s Cartoon Is Accepted for Early Publication. Woodstock, July 7—Months of diligent work by Carl Hubbell, local cartoonist, have been rewarded by the acceptance of his comic strip, “Mary Case” [sic] which will appear daily including Sundays in newspapers across the country through the McNaught Syndicate, New York, beginning July 31.

Hubbell describes his character, Mary [sic] Chase, a beautiful blonde sleuth as the “kind of girl every mother would like her daughter to be as well as the kind of girl every girl would like to be.” The script for the cartoonist’s new strip is written by Rennie McEvoy of Hollywood, Calif.

Later on, during the 1960s, Hubbell inked several issues of Marvel's 'Sgt. Fury And His Howling Commandos' pencilled by Dick Ayers and 'Rawhide Kid', pencilled by Larry Lieber. He also drew for 'Captain Marvel' over at M.F. Publications.

At this time, no information on him has been found from the 1970s to the early 1990s. Hubbell passed away January 28, 1992, in Sarasota County, Florida.

Hubbell was a musician and thespian. He was a member of the Woodstock Chamber Orchestra and the Woodstock Foundation. At some point he and Virginia divorced.

A profile of Hubbell’s wife, Virginia, appeared in the Daily Freeman, August 8, 1951. To a group of artists she explained how she and Fritzi Striebel developed their play. About Virginia the profile said:

…Early in the summer of 1943,  war year, Ginny saw a sign in a window concerning barges on the Erie Canal. Married but a year to cartoonist Carl Hubbell, and having given up her job as a copy writer for advertising  for Westinghouse, she pointed out the possibilities of a good berth on a barge to her husband. They obtained a Coast Guard card as a barge captain and wife and set out in a taxi with most of their possessions for the pier in Red Hook, Brooklyn.

…The Hubbells…spent the summer on the barge, making two trips to Buffalo and back, living a wonderful life aboard traveling river and canal. It took four days to make the trip from Brooklyn to Albany and an entire summer to make the two round trips…

The group of artists who listened to Ginny’s outline of the Foundation play were particularly engrossed in her fabulous plot. They might not all have been aware that plots are really her business. She produces on an average of six complete stories a month for Dare Devil Boy Comic magazines, good practice she says, for learning to tie up a plot with no loose ends.Frankie and Lana #14

Writing for the comic strips began shortly after her marriage to Carl in 1942 when she was working for Westinghouse during the day and Carl was working most of the night on his cartoons. Carl’s editor asked her: “Since you like to write, why don’t you write for comic books?”

As comics historian Maurice Horn noted in The World Encyclopedia of Comics, "Not until [Charles Biro] joined the Lev Gleason group in 1941 did his real talent become known... Biro proved to be the most innovative and certainly most advanced writer in the comic book field.” Biro's transformation is striking, and he never explained how it had come about. While he drew upon his hardscrabble youth to give Crime Does Not Pay a coarse authenticity, he also applied the creative technique he learned as a child: He cheated. As several artists who worked closely with Biro would recall, many if not most of the scripts for which Biro took credit were ghostwritten by a woman he had met at MLJ, Virginia Hubbell.

"Biro was an egomaniac," said Pete Morisi. “Look at the covers, his autograph was the biggest type on the cover.’ He wanted everybody to think that he was the whole show, and he was the whole show, in the sense that he ran everything. He was very good at that. He knew what he wanted. He liked to let on that he wrote everything, but he didn't. Ginny Hubbell wrote just about everything that Charlie Biro took credit for. I didn't think anybody really cared who wrote anything, except Charlie. He cared a lot, and he was the boss."

Hubbell was a bright, earthy woman, fair and smallish, with light brown hair that she wore in a pageboy. She reminded Rudy Palais of Doris Day, in buoyant spirit as much as in appearance. She had grown up in Brooklyn and began writing poetry as a teenager in the late 1920s, then went to college (Boston University and New York University) with the goal of becoming a gym teacher, an idea she abandoned for writing after graduation. She lived with her husband, Carl Hubbell, a minor comics artist with a prosaic style, in Woodstock, where she kept a menagerie of pet woods animals such as possums, snakes, and frogs. To get to Manhattan, the Hubbells sometimes took the train and sometimes worked on a Hudson River barge. Carl Hubbell would usually deliver his artwork and his wife's scripts, lingering around Gleason's office long enough to get the couple's checks, although that ‘could take several hours, during which he would sometimes sketch for pleasure, standing. Morisi once watched him draw a vintage automobile from memory and several months later noticed the same vehicle in a Prohibition-era story Hubbell drew for Crime Does Not Pay; Morisi then recognized the car as the jalopy that the Archie character drove, drawn identically in both comics. Both Virginia and Carl Hubbell had done humor for MLJ, as well as some of the adventure and mystery stories that the Archie publisher then slipped between the hormonal goings-on at Riverdale high.

“She was a real smart cookie —college-girl, coed type,” said Palais, who came to work for his boyhood competitor in the mid-1940s after stints with Quality, Fiction House, and Harvey. "Bundle of energy, pretty. I didn't see much of her. Charlie tried to keep her out of the picture. But I remember sitting with her someplace, we must have been having coffee at a coffee shop, and she asked me a million questions—never got around to talking about her. She was that kind of person who was really interested in other people, and I think that's why she wrote the way she did. She really wanted to know what made you tick. Charlie didn't give a crap. Charlie couldn't do what she did in a million years."

She created the characters of Witch Hazel and Little Itch for Dell's Little Lulu stories during the 1950s.

Virginia passed away April 15, 2006 at her home in Woodstock.

From Stripper's Guide, Women in comics and the book The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America by David Hajdu.

Frankie Comics #5