• Outlaw Fighters #1 Outlaw Fighters #2 Outlaw Fighters #3 Outlaw Fighters #4 Outlaw Fighters #5

    Six-Gun Western #1 Six-Gun Western #2 Six-Gun Western #3 Six-Gun Western #4

    True Western #1 True Western #2

    Western Trails #1 Western Trails #2

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Outlaw Fighters #2Outlaw Fighters #1-5 (Aug. 1954 -April 1955).

Six-Gun Western #1-4 (Jan. 1957 -July 1957).

True Western #1-2 (Dec. 1949 -March 1950).

Western Trails #1-2 (May 1957 -July 1957).

Ernie Bache, who also used the penname Lee Bachelor, attended the Cartoonists and Illustrators Schools and the High School of Industrial Arts in New York City. There he met harry Harrison, Al Williamson, Roy Krenkel, Wally Wood, Mike Esposito, Ross Andru, John Severin and others. He worked in advertising for several years and did his first comic book work for Quality Comics and Rural Home in the 1940s.

Harry Harrison said: “I had my own studio at one point, a loft on Sixth Avenue. Ernie Bache, Roy Krenkel, Al Williamson, and part of the time Frank Frazetta, a lot of guys came through the office, mid-town drunks, everyone. Ernie, Roy and I did a lot of comics together. Roy and I did some science fiction illustrations, book jackets, magazine illustrations, advertising.“

He also worked on syndicated strips like 'Dean Marshall' and 'Perry Mason' before becoming the assistant of Dick Ayers at Timely/Atlas.

By the 1950s he was mainly active as an inker, among others on Atlas war titles like 'Battlefront', 'Battleground' and 'War Comics', mystery and romance titles for Story Comics and war and romance titles by Youthful Magazines.Six-Gun Western #3
In the 1960s he was mainly working for Charlton Comics as an inker (often with Bill Montes' pencils) and occasional penciller for the company's war, ghost and western titles.

From Lambiek Comiclopedia and others.

In the Magazine Alter Ego Vol. 3 #10 Dick Ayers said:

“…I had just started with Marvel or Timely, too. And Stan started me right off. As fast as I got a story done, he gave me another one. At this stage I needed help, so I called Ernie Bache, and he joined me.

And then I had to quickly get a studio. And my wife, Charlotte Lindy, had worked for this salesman who had rented this one-big-room apartment and it had a kitchen and he didn't know what to do with the kitchen, so Lindy said, "Why don't you rent it to my husband?" Great! Twenty-five bucks a month-I had this nice big kitchen with a sink and all that. So I got Ernie and he came to work with me. Side-by-side we worked for-oh, that was '52. It wasn't until '55 when that damn Wertham thing came and killed all our books, The Ghost Rider and Human Torch. So we were down and we had, mostly, just Charlton. We didn't quite make it.

I lettered first and then I would pencil, and then I'd ink the outlines and then I'd give it to Ernie. Ernie would erase the page [laughs] and then he would finish it. He would put on all the blacks and the Kraft-Tone and bring in all that stuff. So we made a good team. I didn't bother throwing in heavy blacks. I would start them, maybe, but then he would accentuate the lines I'd put in, make them a little stronger. And he was very meticulous in his approach. I mean, everything had to be a certain formula so that we could knock out four pages a day, so he was a good asset for me.”

Six-Gun Western #3