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War Action #1-14 (April 1952 - June 1953).
Arthur F. Peddy (Dec 26, 1916 - May 15, 2002) was an American comic book artist. He started out in the Eisner-Iger comic shop, one of a handful that produced comics on demand for publishers, in 1938 through the 1940's. Over the course of his career, he drew not only for National/DC, but also for Fox, Fiction House, Harvey, Hillman, Ace, Timely - and Quality, where he illustrated Doll Man and Phantom Lady.
His first signed comics assignment was a Waco Kid 4 pages story for Fox’ Mystery Men Comics #1.
He was the graphical creator of Phantom Lady, which debuted in Quality's Police Comics #1 in August 1941. Phantom Lady ran as one of the features in Police Comics through #23. Arthur Peddy continued as the artist through #13, with Joe Kubert drawing her feature in Police Comics #14-17; Frank Borth on #18-21; Arthur Peddy returning for #22,; and Rudy Palais on #23.
He also drew for Fight Comics ('Dusty Rhodes', 'Kayo Kirby', 'Shark Brodie', 1942-43), Wing Comics ('Skull Squad', 1940-42) and Planet Comics ('Flint Baker', 1940), Smash Comics ('Rookie Rakin', under the pseudonym Kenneth Julian, 1941).
He left Eisner-Iger shop in 1942 to establish his own studio with Bernard Sachs. He worked almost exclusively as a penciler, usually inked by Bernard Sachs. Towards the end of the Golden Age superhero period, they worked with DC Comics editor Julius Schwartz and did sundry work across many of his books. Their first DC work was penciling and inking the Dr. Mid-Nite feature in All-American Comics #90 (Oct 1947) and then the Dr. Mid-Nite and Black Pirate features in later issues.
Peddy and Sachs illustrated a good part All-Star Comics’s final issues, including All-Star Comics #57 (Feb-March 1951), the last Golden Age appearance of the Justice Society. Roy Thomas once asked Julius Schwartz how Peddy and Sachs came to be working on All-Star Comics, but he couldn’t recall. After the Golden Age, Sachs and Peddy collaborated irregularly on DC’s romance comics during the 50s and 60s.
During All-Star's last two or three years, he and Bernard Sachs occasionally did whole issues and the covers to boot. From the late 1940s through the 1960s, he was present in many National/DC titles, including All-Star Comics, Ghost Patrol, Falling In Love, Girl's Love Stories and Our Army At War.
They also shared studio space with Ross Andru, Mike Esposito, and Jack Abel in the late 1950s. Two apartments located at 130 West 47th Street, one block away from Broadway. Joining them in the three rooms (one two room apartment and one single room) were fellow Hogarth alumni Mo (Morris) Marcus, Martin Rosenthall, Phil Amaldo and Jack Abel, along with Arthur Peddy and Bernie Sachs. The men shared costs and once the art studio was formed it was named. Top Flight Cartoonists was drawn up on a sign and duly hung on the outside of the building.
Jack Abel worked as an inker at various companies, including Timely (he’d work at Marvel right up to the end of his life in 1996). Martin Rosenthall, better known as Marty Thall, Martin Rose and Emrose, was younger than the others, but had excellent pedigree having worked with Wally Wood on Wood’s first comic book art. Moe Marcus was a journeyman who worked for virtually all the comic book companies at the time. Phil Amaldo penciled comics for the likes of Fox. Sachs inked Peddy and, along with Mike, Ross.
The apartments were more of a social setting than a serious attempt at an art studio. Andru and Esposito were working together, Abel worked with both Marcus and Thall, and Amaldo basically worked alone. Despite the goodwill and friendly setting, Top Flight Cartoonists wasn’t to last long and folded soon after.
In the 1950s, he was also present in Atlas Comics, the company that would evolve into Marvel Comics. There he freelanced more than 40 stories between 1952 and 1956, especially horror and mystery (Strange Tales, Spellbound, Mystic or Mystery Tales), but also western, war and crime comics.
Peddy left comics for other artistic endeavors in 1965, where he was active in advertising art in New York City in the 1970s.Sachs and Peddy were one of the teams that were swiped by Roy Lichtenstein. Not only that, but it was a picture based on one of Sachs’s inked panels which hit the highest recorded price for a Lichtenstein swipe – $42.6 million dollars – in 2010.