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Love Adventures #1-12 (Oct. 1949 – Aug. 1952) continued as Actual Confessions #13-14 (Oct.1952 – Dec. 1952).
Ann Brewster was a female artist working in American comic books during the 1940s and 1950s. She was affiliated with studios like Binder, Chesler and Iger. Her earliest known credit is 'Samar' for Quality Comics (1941). She then did art on Fawcett's 'Bulletman' and 'Mr. Scarlet', before becoming an inker on 'Blackstone' (Street & Smith), 'Rip Carson' (Fiction House), 'The Hawk' (Fiction House) and 'Frankenstein' (Gilberton).
Brewster was a longtime inker on Gilberton's 'Classics Illustrated' series (1945-1961). The artist joined forces on Frankenstein #26 (December 1945), with Ann Brewster, an Iger inker capable of holding her own with the Good Girl boys. Arriving at the Iger shop in the mid-forties after an apprenticeship with Jack Binder, she inked the Jane Martin and Hawk strips and later gained recognition for her work in the “true crime” genre. Between 1958 and 1960, Brewster’s work appeared in assorted World Around Us issues. Her best work for that Gilberton series included the cleanly rendered “Caesar’s Revenge” in Pirates, No. W7 (March 1959), the richly detailed “Rise of Napoleon” in The French Revolution, No. W14 (October 1959), and the crisply inked “Cursed Trick” in Magic, No. W25 (September 1960). Later, Brewster won several ﬁne arts awards.
Her pencil work appeared on features like 'Yankee Girl' (Chesler), 'The Saint' (Avon), 'Igor the Archer' (EC), 'Madelon' (EC) and Feature Comics's 'Jr. Rangers' and 'Yank and Doodle'. For Better Publications, she did a section called 'Hobby Corner'. She was addionally present in Lev Gleason's 'Crime Does Not Pay', EC's 'Crime Patrol' and Eastern Color Printing's 'Heroic Comics'.
In the 1950s Brewster was mainly present in the Timely/Atlas romance titles, such as 'Lovers', 'Love Romances', 'Stories of Romance', 'True Secrets' and 'True Tales of Love', but also in 'All True Crime Cases', 'Crime Must Lose', 'Space Worlds' and 'Journey into Mystery'. She also did romance stories for Fawcett, DC Comics and Feature Comics.
From Lambiek, Women in Comics and Classics Illustrated: A Cultural History by William B. Jones
Once again I would like to give some attention to another of those forgotten comic book artists. Ann Brewster did not do a lot of work for Simon and Kirby but fortunately she did sign most of her stories. As usual I have more information about Ann’s efforts for S&K productions then on her career elsewhere. I have tried to supplement with information gleaned from the GCD (Grand Comic Book Database), Atlas Tales, Who’s Who of American Comics and other places on the Internet. I must admit that I am uncomfortable with using some of these sources. During the cold war the saying was “trust but verify”. But since I cannot verify anything outside of the Prize romance material, I find it hard to be trusting. At least Atlas Tales indicates what work was actually signed by Ann.
Brewster’s career seems to have started in the early 40′s. Working through various studios, Ann drew for a number of comic titles. It sounds like she worked in a variety of different genre. Unfortunately it also looks like Ann never got the opportunity to stay and grow with a particular feature. Perhaps she did with Rip Carson for Feature House where Who’s Who has Ann working from 1944 to 1948. Ann did some work for Crime Patrol (EC) and that title has been reprinted so maybe I will someday get a chance to see what her crime work looked like.
But I do have an example of Ann’s super hero art from Prize #63. Fortunately this piece is signed otherwise I am sure I would not have recognized it as being done by Ann. I cannot say I am very impressed with the art in this particular story. Much of the problem is the design of the Black Owl which is not Brewster’s fault. Even Jack Kirby was unable to make that super hero impressive when he worked on the Black Owl in the early 40′s. Otherwise the art is adequate but nothing that strikes me as much different than a host of other artists working at that time. Of course it is not fair to judge Ann’s ability in this genre based on a single story.
Simon and Kirby created the romance genre in comic books in 1947. Once other publishers caught on to the money that could be made in romance it was not long before Brewster seemed to be type cast. For instance all the signed works found in Atlas Tales are for romance titles. But Ann might not have been completely type cast, the sources indicate she still did some work in the horror and science fiction genre. Between 1958 and 1961 Brewster did work on the World Around Us titles. If the Internet sources are accurate this marked the end of her comic book career. Ann Brewster is listed as the illustrator for the dust jack of the book Silver Wolf published in 1973 by Atheneum, Bible Stories to Read Aloud by Wonder Books, New York, New York, 1962, What is a Mammal? by Golden Book, New York, 1975, The Dell Encyclopedia of Dogs, Dell Publishing Co. Inc., New York, 1974 and others.
Her first piece for S&K seems to have been for Young Love #5 (October 1949). Actually it seems to be the only work Ann did for the studio at that time period. Brewster next period of work for S&K was from April 1955 to June 1956. Like Joe Albistur, Ann seemed to arrive to help take the place of the missing Jack Kirby. During this period Jack stopped doing Prize romance art, presumably to concentrate on Mainline, S&K’s own publishing company. Ann’s style had improved since her previous work for S&K. Ann probably was one of those artists that always trying to advance their craft. Ann’s characters now seem to be more lively and her women often had greater warmth. As with the other freelance artists, Ann stopped getting much work from the S&K studio once Kirby returned to do pretty much the entire Prize romance comics. Also like many of the other artists that freelanced for S&K, Brewster did not do any further work for S&K even after the all Kirby run was over.
During Kirby’s absence the covers for the romance titles were mostly done by the usual suspects (Bill Draut, Mort Meskin and John Prentice). But Ann also did a couple of covers, sort of. Ann presented good stories, drew attractive women and designed interesting half page splashes. It does make me wonder what her Atlas work looked like since some of it immediately follows the S&K material. I must admit that my admiration goes beyond her artistic voice. I suspect that it must not have been easy for Ann to work in such a male dominated industry as comic books. Even romance comics were generally written, drawn and published by men. Yet Ann managed to have a career of perhaps 20 years in comics.