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UNIVERSITY OF FLORIDA LIBRARIES
Architecture and Fine Arts Library
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Digitized by the Internet Archive
in 2011 with funding from
LYRASIS IVIembers and Sloan Foundation
http://www.archive.org/details/bestofhtwebstermOOwebs
THE BEST OF
H.t. WEBSTER
A Memorial Collection
With a Preface by ROBERT E. SHERWOOD
AND
A Biographical Sketch by PHILO CALHOUN
/i
Simon and Schuster • New York
1953
ALL RIGHTS RESERVED INCLB^NG THE RIGHT OF REPRODUCTION ^ ^
IN WHOLE OR IN PART IN ANY FORM
COPYRIGHT, I914 TO I953, INCLUSIVE, BY THE NEW YORK HERALD TRIBUNE, INC.
PUBLISHED BY SIMON AND SCHUSTER, INC.
ROCKEFELLER CENTER, 63O FIFTH AVENUE
NEW YORK 20, N. Y.
FIRST PRINTING
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ARCH, a FINE ART$ UBflARY
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LIBRARY OF CONGRESS CATALOG CARD NUMBER 53-9691
MANUFACTURED IN THE UNITED STATES OF AMERICA LITHOGRAPHED BY THE MURRAY PRINTING COMPANY, WAKEFIELD, MASS.
Table of Contents
INTRODUCTION by Robert E. Sherwood 7
BIOGRAPHICAL SKETCH by Pliilo CaUioim 9
I THREE CARICATURES OF H.T.W. 14
II EARLY POLITICAL CARTOONS 18
III THE THRILL THAT COMES ONCE IN A LIFETIME 24 and LIFE'S DARKEST MOMENT-
IV OUR BOYHOOD AMBITIONS 98 and THE BOY WHO MADE GOOD
V DOGS 110
VI POKER PORTRAITS 120 and BRIDGE
VII THE TIMID SOUL 158
VIII HOW TO TORTURE YOUR WIFE 186 and HOW TO TORTURE YOUR HUSBAND
IX THE UNSEEN AUDIENCE 210
X FISHING 234
XI MISCELLANY 242
XII LINCOLN'S BIRTHDAY 252
BIBLIOGRAPHY 255
Introduction
BY
ROBERT E. SHERWOOD
O,
'n April 4, 1953, the last new drawing by H. T. Webster was published in the New York Herald Tribune and a hundred and twenty-five other papers, and for many of us, millions and millions of us timid souls, this day was marked as one of life's darkest moments. There will be other fine artist-cartoonist-critics to inspire us with joy or indignation from day to day, but never another to span the years and the range of human emotions in the same extraordinary way that Webby did.
We therefore welcome this book containing some two hundred and fifty reminders of the fact that this tall, friendly, humble artist belongs in the highest traditions of American humor. He belongs with Ring Lardner, Will Rogers, George Ade, Finley Peter Dunne, Kin Hubbard, Heywood Broun, Montague Glass — yes, and with Mark Twain and Abe Lincoln.
It has often been assumed that the best of American humor came from the genial, homey, cracker-barrel school, as contrasted with the pol- ished, rapier-tipped wit of the English, or the devi- ous double-entendres of the French. Nothing coidd be more nonsensical. The distinguishing quality of our humor is its bite, its capacity to in- flict wounds, to wield the meat axe or the whip. I remember that when Will Rogers met the death which he had so often courted— an airplane crash while pioneering new Arctic trails with Wiley Post —some pompous politician arose to pay tribute to Will, saying, "His humor was always kindly. He never said or wrote anything that hurt anyone."
Having known and loved Will Rogers, I am sure that if he thought this "eulogy" were true — if his frequent, bitter jibes at phonies, charlatans, stuffed shirts (including the Very politician who uttered the libel) had failed to hit their targets and hurt them — he would be furious, he would feel that the best cracks of his career had been in vain.
Similarly, it would be deeply depressing to the admirers of H. T. Webster to learn that the mem- bers of the Ku Klux Klan dismissed his comments on this gruesome subject (an example appears on page 20) as merely liarmless, good-natured spoof- ing.
One does not need to look to such violent exam- ples as this one, or to the profoundly funny and pitiful commentary on the "liberation" of 1944 provided in the drawing called "Collaborationist" (page 1 1 1 )to observe the iron that was in Webby's gentle soul. One may look to the snow-bound little dog and his frantic tracks (page 116) while his complacent masters are sunning themselves on a tropical beach, or to the superbly savage blast at "give-away" programs (page 213). There was probably not one of "The Unseen Audience" car- toons that did not offend or irritate somebody in the radio industry, nor can there be widespread disagreement that the victim in each case deserved to be offended and irritated, at the very least.
Webster denounced Wives, as a class, in "And There's Nothing You Can Do about It," and he excoriated Husbands, as a class, in "How To Tor- ture Your Wife."
INTRODUCTION
In his admirable introduction to this book, Philo Calhoun (one of Webby's closest friends) points out that the artist's favorite target was him- self, that his portraiture of the ineffable and im- mortal Caspar Milquetoast was sheer autobiog- raphy. That is unquestionably true, but Webby was also providing a revealing mirror for all the rest of us, with the exception of those unfortunates who live in a Hitleresque dream world of self- delusion and who fancy they are not impressed by signs that say "No Loitering."
In identifying himself with Mr. Milquetoast, Webby was aligning himself on the side of the Angels, he was standing up as one of the Pushed as opposed to the Pushers. He was our champion.
I first came to know Webby around about 1925 when I was Editor of Life (now always referred to as the old Lifej. We were putting together the big Christmas Number, and we thought it would be a great prize to have a contribution by H . T. Web- ster, who was attracting considerable attention with his cartoons in the New York World (this was the heyday of that memorable newspaper under Herbert Bayard Swope). Our Art Editor, Frank Casey, knew Webby and brought him to the
office, but the artist was discouragingly diffident, he felt that his poor efforts could not compete in the fast company of a magazine that was published by Charles Dana Gibson; besides, he said, he didn't have an idea in his head. When he left, I was sure that we'd have nothing from him. But the next day he returned with a drawing which he un- wrapped and offered, apologetically. He said, "Don't worry — if you don't like it, I can probably use it for the daily stuff." It showed a dismal news- paper office on Christmas. A haggard, jaded City Editor was giving an assignment to a callow re- porter: "Go uptown and interview some of the poor devils who have to work and can't have din- ner with their families today. Write a good sob story, about a column and a half. On your way back you might stop at a lunch wagon and get half a dozen hot dogs. Have 'em put on plenty of mus- tard. I won't be able to leave the shop all day."
I still have the reproduction we proudly made of that wonderful drawing.
Webby had a huge heart as well as a sharp bite. When you have known someone like him, you want to remember him and the contributions that he made to the art of living.
Biographical Sketch
BY
PHILO CALHOUN
H,
arold Tucker Webster was the name he got from his parents back in 1885 when he was bom in Parkersburg, West Virginia. He always hated his first name, fought his way out of it in his teens, and has been "Webby" to his friends ever since. Coohsh about even the last syllable of this harm- less nickname, suspecting it might be a touch on the cute side, he always signed letters "Web," and drawings "Webster."
Webby had not yet reached his teens when the family moved to a small Wisconsin town which rejoiced (and still does) in the name of Toma- hawk. George Ade said it was once on the map in pencil, but "some fresh drummer rubbed it out."
His father set up a drugstore there and Webby grew up rapidly into what O. O. Mclntyre de- scribed as "an earnest, hard-working, gum-chew- ing freckled-faced boy." His school record was not distinguished. Even in drawing, he refused to hold his pencil as directed in Prang's Improved Drawing Course, spent his time making caricatures of the teacher, succeeded in getting the lowest mark in the class. Out of school hours he worked in the local brickyards, drove a grocery wagon, hustled freight at the railroad station, fished the neighborhood streams, read Mark Twain, drew endless sketches of everything and everybody.
A boy who worked in the harness shop at Tomahawk boasted that when he grew up he was going to sell horse collars set with diamonds to Mr. Vanderbilt. "An' Harold Webster is gonna draw little pictures."
"Little pictures!" retorted Harold; "I'm gonna draw big pictures! So big a million people can see 'em at once. I betcha million dollars I do!"
When Webby told the story many years later his cartoons were appearing in one hundred twenty-six dailies and his "Timid Soul" series in
a score of Sunday papers, of a combined circula- tion of upwards of nearly twelve million copies. They were indeed "big enough" for a million people to see all at once. Said he; "If that boy really did sell those diamond horse collars, maybe I ought to collect."
At seventeen, Webby left Tomahawk for Chicago. He enrolled in Frank Holmes' School of Illustration. Twenty days later the school folded. This was all the art education Webster ever had except an earlier correspondence school course which he said he finished only because he had paid for it — in advance.
He drifted out to Denver, got some kind of a job with the Republican, quickly shifted to the Post when he was offered fifteen dollars a week as a sports-page cartoonist. "I knew it was more than I was worth," said he, "and was more than I could possibly spend, but I had to keep up the dignity of the profession." He held the job for two months and quit "just in time to avoid being fired."
Back to Chicago again, and some dreary weeks of job hunting before he landed a position with the Chicago Daily News where he worked for two years. His next move was to the Chicago Inter- Ocean, where his political cartoons began to at- tract attention. Before long they became a front- page feature and were apparently caustic enough to have inspired a bill in the state legislature pro- hibiting cartoonists from making pictures uncom- plimentary to Senators and Representatives. It didn't pass, and the pictures continued.
It was during this period that Webby received what he always maintained was his greatest com- pliment. A man on an Elgin electric train went into convulsions (literally) over one of his car- toons about the Chicago School Board and was carried off the train to a hospital in a critical con-
BIOGRAPHICAL SKETCH
dition. Someone asked Webby whether the con- vulsions were caused by laughter or wrath, and Webby replied that it didn't matter; it was the violence of the reaction which warmed his heart.
About 1908 Webby joined the art staff of the Cincinnati Post, where he stayed until 191 1, when he started on his great adventure — a trip around the world. He was gone the better part of a year. Financially, the trip was a flop. Receipts from illustrated travel sketches did not even pay ex- penses. There were compensations of another sort, however, of which he became increasingly aware as the years passed. No one could take from him the memory of a trip up the Yangtse River in China with George Dorsey, author of Why We Behave Like Human Beings, then Curator of the Field Museum in Chicago. This adventure took the two young men nearly to the Tibet border, through a part of China in which no white man had ever been seen within the memory of the oldest inhabitant. At one point a flooded river nearly brought a quick end to Webby's career. Years afterward he could bring to life in a few sentences the horde of villagers standing on the river banks hopefully waiting for the foreign devils to drown.
Webby gained much from these months of the only real education he had ever known. He started out a boy and returned a man, mature in his think- ing, adept in his art, broadened as only a highly sensitive personality can be broadened, by the im- pact of many cultures and many people.
Nothing less than New York would satisfy his growing ambitions at this point, and there he landed, almost down to his last hundred dollars, but fortified by a sturdy confidence in a talent which he knew was now worth a price.
For eight years he worked for a newspaper syndicate, doing political cartoons, and other drawings, including the series which he then called "Our Boyhood Thrills," and which delighted a later generation under the improved caption "The Thrill that Comes Once in a Life-Time." In 1915 George H. Doran Company published the first collection of his drawings in a book entitled "Our Boyhood Thrills and Other Cartoons."
One has only to look back forty years in the old
files of America's foremost humorous journals to appreciate what crude and primitive fun-makers our grandfathers were. It was a commonplace to lampoon the Irish, the Jews and the Negroes in childish and cruel caricature. The mother-in-law joke was still going strong and the endless pranks of the Katzenjammer Kids were a Sunday dinner conversation piece. Webster's humor had a flatter- ing subtlety, a robust geniality and a nostalgic warmth which appealed to many who were frankly bored with the slapstick pattern of the current funny men. Webby was bringing his art into higher levels of good taste, and nice people, who wouldn't allow an average, so-called "funny paper" in their homes, were laughing and remembering what they laughed at. Men began referring to him as "the Mark Twain of American cartoonists," and no accolade could have been more exact, or could have better pleased a man who knew Tom Sawyer and Huckleberry Finn almost by heart, and who all his life thought of Twain in terms little short of idolatry.
A boy barely out of his teens, Webby once drew a pen sketch of Mark Twain and sent it to him. Mr. Clemens' acknowledgment, to the effect that he thought the likeness "striking," was framed with his photograph and hung in a conspicuous place on the wall of Webster's living room to the day of his death. And it didn't spoil his pleasure a bit when the author wrote to a friend : "This morn- ing I have received another heart-breaker. It comes from Webster of the Chicago Inter-Ocean. You will see yourself that it is too exact. This kind of accuracy, continued long enough, can ruin a man who is constructed as I am. I want to be pretty. I want to eliminate facts and fill up the gap with charm."
During the middle teens of the century, Webster had rooms in New York with R. N. Brickerhoff, cartoonist and illustrator, a product of Toledo, Ohio, and Ray Rohn, another artist of Ohio back- ground. They called themselves "The Ohio Wom- an Haters' Club." Webby lost some caste with his fellow-members on one occasion when Lillian Russell rather publicly dubbed him "that Greek God, Webster," but was beginning to live it down when a young lady named Ethel Worts turned up
10
BIOGRAPHICAL SKETCH
in New York. Ethel hailed from Toledo and had come to town to study at Columbia and take some lessons in folk-dancing. Her fellow-townsman Brickerhoff persuaded his colleagues that the least they could do was to give her a cup of tea. Two weeks later, "after giving the matter profound thought," Webby drove her to the Little Church around the Corner, where they were married on August 2, 1916. There is a legend that part of the honeymoon was spent touring the country with Ringling Brothers" Circus — Ethel riding an ele- phant, and Webby doing a trick with the clowns. Anyway, they lived together peacefully and com- panionably for over thirty-six years.
During World War I Webby had charge of the cartoonists" section of the Division of Pictorial Publicity, which was a useful cog in the Liberty Bond sales organization. The favorite of his own drawings made for this cause showed a couple of eight-year-olds, one dressed in the height of fash- ion and guided by a proper governess, listening with solemn helplessness to the other, a ragged, grinning little gamin who gibes pridefully: "My Pa he bought a Libity bond he did." The caption: "The Beginnings of Caste."
In 1920, a drawing he made for the old Life showed a silly-looking Republican elephant in a nightgown kneeling beside a trundlebed. It was entitled: "If I should die before I wake,"" and was published shortly before the convention which nominated Warren G. Harding. It caught the eye of that old Democratic war-horse, William J. Bryan, who used it as the text for a political article. Webby referred to it as Bryan's "sermon." He didn't like it and felt that the cartoon must have misfired somewhere. He didn't like Bryan, either.
In 1919, Webster commenced his long associa- tion with the New York Herald Tribune. Except for a seven-year stretch with the New York World, which ended shortly before it suspended publica- tion in 1931, Webby worked for the "Trib"' and its syndicate for the rest of his life.
In this period he abandoned political cartoon- ing almost entirely and was producing a succession of series drawings, each centered around some basic theme and pointed up by a catchy group title. Most of them lasted for years; at least three of
them lived on for a generation or more. Death or suspended animation was due only to malnutri- tion. I can"t think of any which succumbed to the deadly virus of a listless public.
"The Thrill That Comes Once in a Lifetime" and "Life's Darkest Moment," originally appear- ing under other captions, were the earliest of these and had the longest continuous run. "Poker Por- traits" was always popular, but trailed off in the twenties, when Webby gave up poker for bridge. "They Don't Speak Our Language" and "Our Boyhood Ambitions" were almost automatically short-lived, because occupations which develop a specialized slang are not unlimited, and neither are the dreams of potentially famous adolescents. "Events Leading Up to the Tragedy," "The Be- ginnings of a Beautiful Friendship," "The Boy Who Made Good," "The Man in the Brown Derby," "And Nothing Can Be Done About It," and "Are You Listening?" were each a vital part of American life at intervals in the three decades following World War I. "How To Torture Your Husband (or Wife)" and "Trailer Tintypes" were late products. The last of all was "The Unseen Audience," hilarious satire on radio and televi- sion, which won him the Peabody Award in 1948. for distinguished service to radio.
Your dyed-in-the-wool Webster fan, like a Sher- lock Holmes addict, or like me. is hard to persuade that any part of this tremendously versatile prod- uct is less workmanlike or indeed less amusing than any other. Each drawing is better than the last, and in the mass they have acquired an almost canonical sanctity in which priorities and prefer- ments are scarcely to be recognized, except pos- sibly in the two famous Lincoln's Birthday car- toons of 1918 and 1940. If your individuality must assert itself to the point of playing other favorites, then you had better cast a vote for the meek little man whom Webby created and named, and in whose person he poked endless fun at no less than H. T Webster himself. Not that they looked alike. Webby was well over six feet tall and big in pro- portion, with a pink face, a lot of unruly white hair, a quiet, deep voice and a perfectly respect- able chin. However, like Caspar, he had a pro- found respect for authority, and that included
11
BIOGRAPHICAL SKETCH
traffic signs, Canadian guides, investment counsel, weather reports, gas station attendants, peppery old ladies and income tax agents. I'm quite sure he was not lacking in physical courage, but he com- bined an almost hypersensitive consideration for the other fellow's feelings with an inherent distaste for rows, and there resulted a cautious approach to many normal situations, an almost naive confi- dence in People Who Knew What They Were Talking About, which reached its ultimate joyous absurdity in Caspar Milquetoast.
Mr. Milquetoast first appeared as the unnamed hero of a cartoon in the New York World in 1924. It was several weeks before a second drawing in the series saw the light, and another month or two later a third picture introduced the little gentleman for the first time by the name which was to become a household word all over the world. Seven years later, Simon and Schuster published a collection of these cartoons in book form, and Webby lived to see the word "milquetoast" listed and defined in a standard dictionary.
Many of Caspar's experiences closely paralleled incidents in the day-to-day life of his artistic pro- genitor. Caspar had trouble with his car, his pipe, his golf, his fishing and his opinionated friends. So did H.T W. himself. Webby loved to drive, but couldn't change a tire. He was an inveterate pipe- smoker, but the pipe had to be of a certain shape and the tobacco was made up specially on a per- sonal formula. For several years he was a member of the Artist's and Writer's Golf Association, an outfit which arranged fantastic winter excursions to remote tropical golf links, and Webby tried con- scientiously to justify his connection with this lusty group by learning the game. I doubt if he ever broke 100, but he taught Caspar to play, too, in dozens of hilarious golfing pictures.
Mr. Milquetoast took up fishing about the same time Webby did, -sometime in the late twenties. The Websters had moved to a spacious house near the shore at Stamford, Connecticut, and had adopted as their family physician Dr. D. A. Sham- baugh, who had offices in a nearby town. This was the "Doc" in scores of fishing and bridge pictures, and it was he who introduced Webby to fly-fishing for Atlantic salmon. For years Webby would come
up from Florida about the middle of April, to be sure of being on time for the inevitable telegram from Jack Russell, who ran the camp, that the ice was breaking up on the Mirimachi.
Four was the required personnel on these trips, because Webby had succumbed in a big way to the fascination of the bridge game, and long evenings at the card table were an essential part of the fun. The foursome finally crystallized into Webby, "Doc," Judge Webb of Fairfield and myself. For years we played every Tuesday during the months Webby lived north, and the same crowd arranged a week or two at Webby's house in Palm Beach sometime in the winter.
But card games and fishing, much as he enjoyed them, were, after all, only recreational sidelines. His great pleasure in life was people, and he at- tracted them in droves. It was an unforgettable experience to be in any gathering with him and to see how, without self-assertion or effort, his corner gradually became the center of the room. Webby's voracious reading, his wide contacts and his in- stinctive good manners had combined to make him a person of stature and consequence, entirely apart from his particular talent.
I have never known anyone with so many friends. Modest almost to a fault, he had a healthy aversion to pushing or climbing or intruding, but invitations to everything from neighborhood luncheons to fishing parties in Scotland seemed to pour in from everywhere. Wealth or position, race or creed, had no place in his own selective process. I have heard him talk politics and history with ambassadors and with gas-station attendants. It was just as much fun for him to swap fishing yarns with a Maine guide as with the editor of a nation- ally known sports journal. He played bridge with Charles Goren or with my youngest boy with the same zest and the same courtesy. Restraint and sincerity were the keys to his respect, and to even a moderate degree of intelligence and a flicker of humor he was generously responsive.
Webby never would make a speech in public and steadfastly refused to appear on television. He was heard on radio only once — a transcribed interview. For many years no one but his close friends knew of an acute arthritis which in 1927
12
BIOGRAPHICAL SKETCH
cost him the use of his right hand. In three months he trained himself not only to write, but to draw, left-handed.
A few years ago the late Governor McCon- naughy of Connecticut appointed him to the Gov- ernor's staff with the rank of Colonel. Webby was flattered and pleased at first, but became terrified when the Adjutant wrote, requesting measure- ments for a uniform. Webby never sent them. For two years he stayed in Florida an extra fortnight, until he was "sure the military season was over."
You wouldn't have to be with Webby very long to be conscious of how genuinely kind he was. You would probably never be told, for instance, that he never took a cent of the proceeds from the sale of original drawings (they all went to the Herald Tribune Fresh Air Fund), or that he financed some needy youngster for a college education. But you couldn't avoid being warmed by the succes- sion of little thoughtful things which added up to as near a perfect score in human relations as it has been my privilege to see.
I remember on one of our fishing trips, a case of ale was stolen from our cabin. Someone else re- ported it, and the culprit, one of the guides, was caught and fired. Webby heard that he was the sole
support of his mother. Nothing would do but he must hunt up the old lady, tell her he was sorry it happened, and give her enough to tide her over until the boy got another job.
I wish there were space to speak of particular drawings which will live as long as American home life retains its inimitable pattern. Most of them are included in this collection. Only when Abraham Lincoln and Tom Sawyer become dated, only when little boys no longer love little dogs, and men and women have no time or inclination to some- times laugh at themselves, will H. T. Webster have lost the power to brighten our days and warm our hearts.
Webby died last fall, in a way which he might have chosen himself, had the choice been his. It was sudden, at the end of a happy week end with his old friends. It was at a time when age had not dimmed his view of life or his talent for expressing it. He would have sought no sounding epitaph, but I think he might have been content with what a great critic once said about Joseph Addison: "His tone is never that of a clown or of a cynic. It is that of a gentleman, in whom the quickest sense of the ridiculous is constantly tempered by good nature and good breeding."
13
I
Three Caricatures of H. T. W.
Drawn at various times by himself.
14
CARICATURES OF H.T.W.
5EVE1^AL OF US CHERISHED THE" AMie>moH
To BE Charles DANA Gibson's
OFFtCEl E)OV WHAT WAS VOUR.S ?
(Copyright, i9i5, by H. T. Webster.)
CARICATURES OF H.T.W.
COPR, 1923 (N. Y. WOHLD), PRESS PUB. CO.
16
CARICATURES OF H.T.W.
"TRVINS To THIMK OF^ 50^^eTHiMO-_
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17
II
Early Political Cartoons
Webster began political cartooning for the Chicago Inter-Ocean about 1908, but did little of it after 1919 when he joined the Herald Tribune Staff. He was normally a Republican; left the fold once, and temporarily, because of a personal liking for Al Smith.
EARLY POLITICAL CARTOONS
GETTING ACQUAINTED WITH THE NEW BABY
19
EARLY POLITICAL CARTOONS
20
EARLY POLITICAL CARTOONS
ANOTHER STRAY PUP
21
EARLY POLITICAL CARTOONS
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Copyright. 1918. by H. T Webster
ALL OF US WAR GARDENERS KNOW HOW YOU FEEL, WILHELM
22
EARLY POLITICAL CARTOONS
THE PROHIBITIONIST FINDS A HORRID OLD DANDELION ON THIS ESTATE AND WALKS HALF A MILE TO BURN IT IN THE KITCHEN STOVE
23
Ill
The Thrill That Comes Once in a Lifetime
and
Life's Darkest Moment
These two series had the longest continuous runs of all the Webster cartoons. Both titles were first used in the New York Globe about 1911. In the early days they were purely "kid pictures"; one started as "Our Boyhood Thrills" and the other developed from "Little Tragedies of Childhood," which dated from Webster's Cincinnati Post days. A collec- tion of them (his first book) was published by The George H. Doran Company in 1915. Later both series included many other subjects; both are still going strong, months after Webster's death.
24
THE THRILL THAT COMES ONCE IN A LIFETIME
25
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OH,3R.UCSj PUL-Leeze DONT- WJe^R Those AV^FUL. VAVHISKeRS. -fHEY /M/\K<S V&U Look: SO OLD, ,'-/0^7<S5TL.V; I HARDLV (<Ay£W
\'/'/' / CMd
PROOF •TH/^-r■^1^e Fff^ST
MUSTACHe IS VISIBLC AT A DiST^NJCe OF OMG FodT
43
THE THRILL THAT COMES ONCE IN A LIFETIME
44
THE THRILL THAT COMES ONCE IN A LIFETIME
U-3-'4t Cowal". l^tT. N. T. HerofJ Tribiine IncJ
45
THE THRILL THAT COMES ONCE IN A LIFETIME
School ha5 clo seo^ "n-te WA"re«2- [i wARo^ eMO(je>H for,
[3\-riM 6., "THC ClRCO$ l$ COf^lMG. To ToVUr-i.THe 6ASee.ALLTeAfvi HAS EtecXeP Htf^ ^\TCHe^ ArnOTHe C)rHLV <SiRL HAS VAJRi-r-reM A MO-re (3A(3irHc9 nets vgRv Scul. —
Copr. 1925 (N. Y. World) Press Pub. Co.
46
THE THRILL THAT COMES ONCE IN A LIFETIME
47
THE THRILL THAT COMES ONCE IN A LIFETIME
hello, cl/^^r : Going Fishimg- ALL BV ^uRSeLF?/
M.-^ -^ \-^'
TUB DlSCO\/<5RV TH/^r
TtiSpte /^^e" TTmcs vjhgn
-JHE COMPAMIOMSHIP OF
/^ BEAUTIFUL W0'^/l^J (S NOT ewrrReLV aj^c^ssary
HtSS PATTfRliOMTTMli i MRS MOStCi
1 ALBERT worn- BE /^BlFToT^kE" h S PiAmo i
LF5>0mT0X)A/. he &UfcMED rtlL Hr3 Flr*<H^t: , ^■MaOTiMl> OFr FlPt PAC«€C5 OmTMU V-™ 1 Aie B&e Twr-y LL be WELC By MEVX WECK 1 VCi , I HOPe SOT-OO WETLL 1 M IT'5 Ovee FOP AnoTWtR -i-EAR-
48
THE THRILL THAT COMES ONCE IN A LIFETIME
ThFFiEST Time
HADT& RAV Fum Fy4eE TOP- you
JHL
OH,&oy. NO \A/AR.S. NO ATo/^IC BOAnB. MO DIPLOA1AXIC WRAMSLeS. AJO STRIKES. AJC COMMU/MIST PLOTS. OOST A AJICe, OLO-FASHIOMeD /\X AlURDeR AajD
A STORY FROM wiNsreo, e=oAJMee-r(euT- ABouT A (?HiCK<^AJ WITH SIX i_ees
/\ VERY ouD AjewsPAPeR
TftAT WAS F='OUAJD IMTfte A-mC
Mh
hjie'/
49
THE THRILL THAT COMES ONCE IN A LIFETIME
/ '
OUT OF The CHRVS/ALIS
/ 1 1 '
/
©(•9--*<D-M-V"^R-''i'JMtf i*jC
50
THE THRILL THAT COMES ONCE IN A LIFETIME
iH/E AWAK^M/MG To Ihe VALU£ OF PUBLIC ITV AND TfiG SeLSCTION OF A MeOIUM ASSURIMG A TRSMENOOUS C(RCULA~riOM
© '533 ^^.yTralStJ^*£. i-Jc
51
THE THRILL THAT COMES ONCE IN A LIFETIME
52
THE THRILL THAT COMES ONCE IN A LIFETIME
53
THE THRILL THAT COMES ONCE IN A LIFETIME
The CLIMGiMG V/IME
@ 1933 ^) y-TratBu»OE,i»oc
^V ^''
,€^
'^\^^
THE THRILL THAT COMES ONCE IN A LIFETIME
a. BARRfcL STT^v/es O
a. Pieces OF HARMiss-s— o
A. BRooM HAMPLeg O
ToTT^i- Cost
(£)l93B N.Y.-rfgiBviKiE. . i-vC
55
THE THRILL THAT COMES ONCE IN A LIFETIME
56
THE THRILL THAT COMES ONCE IN A LIFETIME
ItiS FIRST Tll^G
You HAD The ex-
F£RiEMC& OF"
OF /^lATCNeD CLU3S FoOi
IF "TiDU WAMT THAT 6A<3 OF CLuBS Trt&Y'R'e YOURS, I N<SV£R WAAJT"
To L/^V (Sves oM th' filthy^
THI/^GS ^S L-CKIOIS I Live '
57
THE THRILL THAT COMES ONCE IN A LIFETIME
gee! I UKE CHtCKGM
Too !
Xhs BoV who FoomD He HAD SOMeT7H/MC3 ISJ GOMMOhJ </^(TH HIS HSRO
©iqW- i-'--y-T&ie,uM£ i^c
58
THE THRILL THAT COMES ONCE IN A LIFETIME
59
THE THRILL THAT COMES ONCE IN A LIFETIME
60
THE THRILL THAT COMES ONCE IN A LIFETIME
61
LIFE'S DARKEST MOMENT
62
LIFE'S DARKEST MOMENT
63
LIFE'S DARKEST MOMENT
NO SNOw)~^o /ee— AJO sk/ytikig?
AJO SLID (NO— Too <5/^RLV f=0^
PISH IWe -Too L^T& R?R R/^eeiT HUM-r/NG
loo y^/ARj^ To k-eeP oav flannels ~ too
CfOi_0 To TAK<£- TTVe/^ OFP —Too COCD To <30 S«a/'M^/(V/G or. eAR^FOOT
© IJOS M.y. TB1BUM6. IMC.
64
LIFE'S DARKEST MOMENT
65
LIFE'S DARKEST MOMENT
66
LIFE'S DARKEST MOMENT
67
LIFE'S DARKEST MOMENT
68
LIFE'S DARKEST MOMENT
69
LIFE'S DARKEST MOMENT
70
LIFE'S DARKEST MOMENT
I - M r II~1TT
I see YcPuR. SON IS Re/\Di/\je that disgr/\c<£"Ful "HUCkTLeBtRRY F(mm"Book:. You KrJOVV, OF couRse, IT WASThROWM 0U7"0F/=\ library /M S0/'^<E^ AJf^W eAiGLAMD ToWM. AMOTHSR BLOOD AND THOMOeR gOOKYHAT S-HOULD Bfc KEPT ouT oFlHS HANDS oF //v/lPRe^SSIOM/^BLS BoYS IS TRtASURe ISL/^SjO" AND
I AM Takino Tne aiayycr up with TF/e library Board
evyeAJ BeFoRe TRe days of the:
COMIC 300KS \^Je HAD TR.OUQLE OVeR OUR /ADVeAJXuRfc STCDRieS
Copyrighr, 1948. New York Hecold Tt.bunc Inc
/2-7-
71
LIFE'S DARKEST MOMENT
ALL THIS EK/£RLi\STIMC5 'TALK ABouT YouTH DEIhJG COAJRJSep IS MOM Se<\JS£-.
SeenS LIKe ^VERY RAPeR AND /MA&A2:/AJe I PICK UP iHESC OfiKYS NA5 SOMST-HIMG To
SAV ABOUT YoulH BEIKIG CONTUSED. l'^ GeTTI^G SICK OF IT, You YoUSJ&STEf^S VOSiT APPR<^C '^"f^ \t>Uf^ ADVAM-TAGeS. ^yo^^J, WHeN l WAS F/Vt V&ARS Y^Uf^Gef^
Thaw Vou ( wewT" To work /m a b^ick
VARO. got up at six eVERV MOf^lMG AMD
CTuMioR KnjowS This oAje —
IT LASTS AM HOUR AMD A HALF
■y TaiBo-JE "^C
hif,'!'''^
72
LIFE'S DARKEST MOMENT
A (3oV /^A^eO \AJILLie "CHRISTIAMIA TuFkKi" AhjO
/M/^Kes TTne usual, wicne-
*»a
(^m'
t^/
<g) I93g. N.y. TRIBUNE IMC
73
LIFE'S DARKEST MOMENT
74
LIFE'S DARKEST MOMENT
75
LIFE'S DARKEST MOMENT
GUM/^V A^cCAPe IS CC'M/^JG To 0/^-r. He's o For 2, HiT-r/MG -AX 119. THe Veref^ANV SHOrTS-toP ust D To HAve Pl^mTV of stCjff^ euT Aee
IS TAk:(-M& ITS- ToLU. WHSM /^ MAN GETS To ee TH/R-rV Ve'ARS OLD He DO<^SM Move AROUN)0 WITH HIS CUSTOMARV 2.IP- HIS .exes SHOW THe RAVAeeS OF T7/^0e — But — OH, \aj<S(-u, THA-rs LiFe
A DODDERiMG OL.O OewT 0F45 LISTENS To A BASE BALL BROADCAST"
^5*^'
© n40-N Y TRIBUNE 1 NC.
76
LIFE'S DARKEST MOMENT
Ij'tH^ G/RL^VA/HO For Two v^eeKS has
USED ALUTHS ORe-AMS, LOT/OMS, SOAP>?
AMD Powders Rc=ooMf^Gs\oeo ev
The HOLLVWOOQ STARS', eofKiCL-UDE-S- ■THi^T she (S mo more C5LAMOROU5 THAM usual
77
LIFE'S DARKEST MOMENT
GORDoM, iW OUST BROUOHT S^uf^
pRtss 5'uiT Dovajaj from The /\TTtc, /MMO (WISH SWd look at it—
SfnPLV RIDDLED WITH A/)oTH holss] OF COURSE "r6(j ReALize what this- M^AMS — we cam't go To THe
r /
OH, AlV eosH . Th/^t's awful / weLL, lbt's
TRVToTakg (T PHILOffOPHIC/^LLYi wo use RAILING- AT FATe
78
LIFE'S DARKEST MOMENT
W<fll,hova7 dv/^ Like IT P 'Th£\' v^eRe^ H/^vif\J A SALe /^T A SHOP /V<S-AR
IH' oFF/ce", /^ND I Bought Siy or "e/^T not- bad,
Tne WOAI/qA/ \aJHO ^^S~ 6<S<S"AJ VJORKING SIX AIOAVTTWS OAV A SWeAT"(SR W/T7H WHICH To SURPRISE HeR HUSB/^f^O
%^^
<e^/
©1^37 ^)^YT^:lB^>P^e. mc
79
LIFE'S DARKEST MOMENT
../i/^^^'^
'?/r'f'
/'/;.
NOT iHe TVpe
80
LIFE'S DARKEST MOMENT
Copyright, 1921, H T. Wcb*l«r,
81
LIFE'S DARKEST MOMENT
82
LIFE'S DARKEST MOMENT
DOCTOE.,
H -H He's S-S- Sick.
Am" - An' - |
ro^yrtmi. rore. b7 » T WcbniJ
^^y
HE hVVS ruCH SENSITIVE LITTLE I FACE - ALM05T LiKE A Glt^L'5 ■
SOMCTiME'^ HE If EvEn PftfTTiEE- TmAh Hi5 S"I5TEE. A"DHe'5 Tne /MOST "Ifer-iDeei-HlARTED L'l TiOv, RamDOLPh, ^'mg MiTi WATSON I
VouR 5weeT LiTTue 5oh& - tooj) A^oer-iiMGr meR
i-^
AMOH& TIC MEMBeTSi OF
The team Ai -rue
MueCilv Avt WILD CAT
i,^^
83
LIFE'S DARKEST MOMENT
84
LIFE'S DARKEST MOMENT
6«''"/
Copr. 1926 (N. Y. World) Preaa Pub. Co.
85
LIFE'S DARKEST MOMENT
86
LIFE'S DARKEST MOMENT
■ 87
LIFE'S DARKEST MOMENT
LIFE'S DARKEST MOMENT
89
LIFE'S DARKEST MOMENT
90
LIFE'S DARKEST MOMENT
The uf-jReASO/\jAeLefyj<sss
OF lv/OA^<S/\) (M\
l^^'^§^;::.^^7
© 1537 N.y TKiauNE.lNC.
91
LIFE'S DARKEST MOMENT
92
LIFE'S DARKEST MOMENT
93
LIFE'S DARKEST MOMENT
94
LIFE'S DARKEST MOMENT
95
LIFE'S DARKEST MOMENT
96
LIFE'S DARKEST MOMENT
"^t^sg^
POG-
ICopTiUM. i«i6. brlTT. Wt&dv^
97
IV
Our Boyhood Ambitions
and
The Boy Who Made Good
Two early groups of drawings. The first stopped because of obviously limited material (the "boyhood ambitions" were in each case authentic), and the other because there were not so many things which aroused the cynic in Webster. As he grew older he became gentler and funnier in dealing with human frailty.
98
THE BOY WHO MADE GOOD
/Amdv, MY Bov^ OH The str.eh&th
OFVOUP- IHTERVIEW WITH MIUUOMAIK.E
G-iLTRoy The Chief has asvced me
To MAlie VOU OuE. STAE- REPoRTtli- S0METHlMCrTEU_5.METDo TrtfVT BE6IMMINO
With Saturday youp. SALAtz-y will be ■* IL. fo A WE&i^ . YOU CAM iSo Home NOW AMD Paci^ YouP- G-RiP, we vyAHT VOU To EuM ovee_AMD
IHTECViEW ROBER.T E. LEE.
AHDR.EW CAEHEG-IE VA/AtsTE-D "lb BE A NEWSPAPEI2- REPOl^TE.R^
WHAT W/\'j VoUR. S
(Copyrigm. 1')15. by H. T. Webster.)
99
OUR BOYHOOD AMBITIONS
'50 "/A'VE BEEHAVvWlPPIHA-MOTMCB. PUPO^ HAVEYA? SEEMS LIKPVA. <2AW'T O-IT AUDHG-W|-m MO OME , WeLL , l^M A GQMMA MAtiE A
Example outa /a . (^sibP that l?>Lu&i>ER)M^!) VOU'R-E FIRED
OUirHAGO!"
'OH.MR.MCINT/Rtlj PLLASE GIVE ME
Just OME moe-e
CHAMCE ! "
BEIHGr PRIHCIPAL OF THE HiGrH SCHOOL. FOR. ABOUT 15 MIMUTE5
WHAT WAS YOURS?
100
OUR BOYHOOD AMBITIONS
101
OUR BOYHOOD AMBITIONS
(Copyright, I9l5, by H. T. Webster
102
OUR BOYHOOD AMBITIONS
CHAE-LES RlH&Liri<S,THeClie AtAN , WAMTEP "To OWN 2. ELe PHA nT5AMD/ALlQH Am HAVe HI5 /MOTHER S PER.Nl5i To TEAlM "Trte/vi (MTHt KlTCHEl
(Copyright, 1916. by H T Webster.)
103
OUR BOYHOOD AMBITIONS
5ENATOI2- WIIDAM E.eORAH
WANTBD To BE A R/VILWAY COMPUCTOfa.
(Copyright, t9l6, by H. T. Webster.)
Cit<hV
104
THE BOY WHO MADE GOOD
105
THE BOY WHO MADE GOOD
MR. BLAB/MORe, A/ow 'mAT /^L_ HAV<F The DATe AND PLAO^ OR
Y&ufR eiRTH, LemE- H^ye the sr<oRVoF VouR CL/Aie To rAMe
COLL^Oe WHAT DID VOU DO?
^A1,'FAIL5D AT- LAW; THe BOMD BUSfWeSS AMD ir^SORASlCB ■ GO OM
GOT FeD UP
WITH That and w£Mr /NTO APVe'ftTVSI/MG.
Got out of That
AMD —
17^e^J i weMT /nto Polit/cs and
UeP^RN^D THAT- I HAD ThfE" G/FT oF ©AB AND COULD CON\/\MCe -The MoB THAT Two AMD Two yyfyOE SIX
I SCLD BomDS For. a Few weeks,
AMD TfteN VJeNT INTO A ^-AW OFRCt. I didn't GeT A(-ONO WITH THe P/\RT^/fcR5", So 1 cpuiTAMD WtMT /MTo (NSuRANCe. DlD^/'^~ LIKt That and TRfSD RSAL iE\S77\Te-
FAILED /Ay REAL iSSTATiE AMD AOVSR- TlSlhJG- COmPLETS FRUSTRATlONJ,
EH?
Theki my Father SeT ME up /M THe
COAL euSIMESS, Bui HARD LUCK FOLCOWeD]
^e. TF/e eu^iN/es's w^nt bankrupt
AMP MOW VouRe
AM OUTSTAMD(Me RABBLE-ROUSER
I MEASI S'TAT^SA^AM- A ReMARKABue
STORV; AlR-
PLABMORe
HeH/H£H/ i'm
afraid Vou're
GNING> M£ eMTlRecY 'Too /MUCH Cf?eOlT, VtouWS MAN
]06
THE BOY WHO MADE GOOD
107
THE BOY WHO MADE GOOD
yes,S(R That's
Rt<3HT
VieLL, OLD rcMSR , ]
STILL- K^ORKII^G
OM WUR PSRPe-TuAL. j
I
Bfi^CK IN eiGHTY MlhJ£ ( -THOUGHT ( HAD IT, BuT
/v/iY FLY vJHeeL- was oveRweiGHT /^'^' I n^p T??oueLe
/'m ow th' R(6ht Track NOy^J , Young FeLLeR.AWoTMc?^' Five YeARS /^w' I vjon't hak/s
-To WC-R^Y, i'll HAVe A10RC-
MoweY "Tham I C'^w SPeMP
( \/e e^GN A Va/ORKIM OM ("
A^Aw am' 6oy PeR sev/er^yTY
Two V^-^RS. I STARTED
vjHeN I WAS- NiNGT^er^
I PuRtY mcar had (H
IN NINGTYT^O, &OT SCMeTHINl' We^JT WI^OMG WITH ON<S OF -Th' CfM-^ SHAFTS' ,
Le's see, You Re
AeOUT NINETY ONe, i^R€N'
i'll ee NiKJSTY Two Th' first OF PeceMi5eR
108
THE BOY WHO MADE GOOD
5/<^V, OLD r^/^ii^, I TUST. ,_(e^'(eD -IHC Sic mevvj^ ! Gee^T STOFF! 1W/=.NJTA
CoMGis^TOL-A-re van
109
V
Dogs
There isn't a Webster series into which a few dogs didn't stray now and then. His latest book of cartoons (Life with Rover: 1949) collected the best of them. Mrs. Webster owned the poodles, but Webby liked them, too.
The most famous of these dog drawings was the one entitled "Collabo- rationist," a term in common use during the Second World War to de- scribe the sort of Frenchman who played along with the Vichy (German controlled) government.
110
DOGS
DOGS
112
DOGS
113
DOGS
WHO FCLL PR|NC<SSS .■»>
<g)i»wjy T»i
114
DOGS
'i^,
©i^i%
115
DOGS
116
DOGS
Hev, ve Duf?N fool! wHcpe vc coim"? TWen Ain't his Tf?ACf^s TMev's ovcf? Hei?€!
CAh4'T Ve Sf-iGLL NUTHIM' '<'
?^r
TMe BLOODHOUND'S Bl<S. OPPOR>TaN IT V
A(?Rives wmgnj He is in thc th(?>ocs
or A BAD SaMr-i€:R coLD
^i^
'^^^Z
/,',J,^
117
DOGS
(Copyright, 1917, by H. T. Webster.)
"but for the grace of god there goes fifi'
///0 r///'
118
DOGS
VI
Poker Portraits
and
Bridge
The first group was one of Webster's most popular during tfie late teens and early twenties. It stopped when he gave up poker for bridge around the time of the big depression. He said no card game could survive "deal- er's choice," "deuces wild," ten-cent limit and women players. A nostalgic pictorial record of the sturdy all-male jackpot game, with table stakes, was published in 1926 with a foreword by George Ade.
The first of his three collections of bridge drawings had come out two years before the poker book, and much of his best and funniest later work was done under the caption "Bridge."
120
POKER PORTRAITS
121
POKER PORTRAITS
Tm bettimg
Two berries!
'av*''!
THE PSYCHOLOGICAL EFFECT OF A BIG STACK
122
POKER PORTRAITS
tt^i^l-
HOW OUR MOTHER USED TO PICTURE A FRIENDLY GAME OF PENNY
ANTE
123
POKER PORTRAITS
THE FLOW OF WISDOM
124
POKER PORTRAITS
Co^T^2 , s'o AN th' Cigars* 7, €'0 AN T(^e(?e wef?e ^holcs eoi^NED.N -Th' Rufr . I woM*86.2 5". iFTHese
CHECKS An I.O.U, S f\«.£ ALL Goo£?_ TlL only 6eOUT/ABO«jT*3y. — 'HAT I
IS IF I Can (SeT ANew/f^uG- 'FoP. WHATTHfS OMe Cost
THE BIG WINNER
125
POKER PORTRAITS
DRAW 5 one CTARPTB FOOfS ACeS Ar4p 6eTS KeLUCTAM-TLV -
(SexS A CLu6 WHEM He NeeDS A HeART-BETS Ar-«f7 SCAKe 5 A (MAr-t with
STAMPS Pat OM sevens UP. 'SersTne lkvu-tamO IS MOT eAccei? —
THE INSCRUTABLE POKER FACE
126
POKER PORTRAITS
127
BRIDGE
128
BRIDGE
129
BRIDGE
130
BRIDGE
131
BRIDGE
\
( HO/^CR , l\'£ FIGuf^eO our -This w^Y You coulO HAv/e MAD£ That &ramd \
Ts Leo You OISC/^RO o^Je of Dua?mvs
VOUR HAND WIT-H TNff ACe. -"^eM ^fco
HAMD BY RuFFrM& THg-ftReeoF SPApes^
C«Prw|H. 190. He
13:
BRIDGE
/Vl CeKTAINLS' GLAD To K^EE-nflE W(Fe OF THc LUCKISS-r BRIDSe PLAVeR IM Towaj-
I Hope J?/^ 6OU&HX You A MliMK COAT OUT oF HIS LAST A/l&H-rS VA/(/VA/IM&S. Al/^VBE HE -ruRWS OV.SB; ALL HIS- PROFITS To You, '1H^_
vj'aY we Do vjiTH OUR vj/ves. vyeLL, if hc
Dots I'm TALKIM& To A f^lCH VJOMAAJ
GeNTteMesj, 'You HAVE HEARD MY oPPowea/t" PIOTWO HiF;<^RTS,' This- ISA CHALCSA/Ge To evERV Tv-IO-FtSTEO, RcD-BLOODeO AMC^/CAa NO MAhJ CAKI OOU3T MY S fAJCeRITY,' I STAND OaV my RfcCORD .' MY UPe IS AW OPtM BooK .' ,
W<? WILL FACeTHE issue WITH Flf^i^ ReSOLVf.
iiD Two SP'^OHS / ^— — ""
Sir DOWN, senator!
133
BRIDGE
134
BRIDGE
135
BRIDGE
136
BRIDGE
^
137
BRIDGE
CHRISTMAS.'! DO vou
©H3< N y THiBuMfe '-C-
138
BRIDGE
FROA^ THe PRosPec-rus —
AMD AFTeR SUPPeR, He/q LTH (LV TiR^D FRoA-i Your. DAV om THt- STREAA^,You sink iKj-ro A SOFT f5£D OF FRAGRANT BALSAM, and ARE G<SMT"LV LULLtD INTo DRCAMLeSS SLUA^SiFR BVTN(S WH(SPeR(MG P/^ye^S AMD THE CR{CK£T CHORUS^ To AWAf<ew Re — FRESHeO AT ROSY DAWAJ BoRoRe THe FIRST LA^V SPIRAL OF SMOKfc RlS(SS FROA^ THO BRe/^KPAST FiRt
Qi-^ai- ^.y Tre-iSofvie mc. ■
139
BRIDGE
OOH ■ MOW I
ttm play my
ACe, TAMT I
■P
ess ou "TAf^ •
/\n' bu CATCH A^y DReAT BIG
ICKLe CRAC»<Pot/
If ^^'^^'^/'
140
BRIDGE
141
BRIDGE
142
BRIDGE
|^%"<^>:<:^^:x:?:::>>"x^^^
©ig<l -M.y -n;^ieutv>£ i^.c.
143
BRIDGE
Bee paroom,
But 'The house NEXT Door is CM Fire
RIDICULOUS
-TX/Oute i—e
^wmmm.
144
BRIDGE
Portrait of Your OAueHTSR. HAS HCR OL.D MASl's <^Y£S AND Mose Too
gam't ser
A WAV FR'OM
HeRieDITY.'
BAH ■' '^'J SX PLooeD TSeoRV. This &iri- will
VteARS OLD NSXT MONTH, AMD SHe STJLL LEADS AWAY Ffi^M AAV
145
BRIDGE
146
BRIDGE
THB ^RlD&t GAMe AT TtAJ
o'c?LoeK You <^iAV S"e/$ve umTIL ( TiEL-u You
147
BRIDGE
k:.^^'/
148
BRIDGE
149
BRIDGE
150
BRIDGE
■'''/yy^yyy'-
(T S tTuST owe A'l/MuTe To Twe(_ve
/^MD I iH/MK we /^L'_ SHOULD S7?^MD UP; HOLD HAaJDS /:\ajD S(NC5 /^ULD LAM(3 SYKI& , t'(^ FRlGHrFULLV SeNTIMBNTAL-
ABOUT New/ vgar's eve
1 1 1
RUBBeR GAMe, SIX wo 7?$uMP DouSLeO AND R(5-Dou6LeD
©1537 N.yTtr.suUE. INC
151
BRIDGE
152
BRIDGE
\r]\
w*::"
v'v-.viiii'"" '■
\\- \«i "Ml
■\
;uw
ill
v>*^''- K
■V ^--^^r^
^XCXoRe. OF Twc? M£^/\J
(c]l-13-1 M y Tf^'BurJl^ iNC
'^S^vif
f , n \ V
,.-^^
L,,U'
153
BRIDGE
Bid out of Torm, TT^u^peD AMD BLoeKeD MeRse^LR /nj dumaov
'f^'^/ ^^^^/
'i'D37-MW-TTaiBowe
154
BRIDGE
155
BRIDGE
/viv oeAR, eveR since weVe eeeN AiAf^f^ieo
we've SHAReD eveRYtHtAJG -TbOETHiSR. - /^LL OUR. O&VS -^NO SORROWS. A/MD H/=^ve / e^veR CONCeALEO ANYTHING FROM Vou UuST To SPARE VOUR FeeLlNGSy NO. ALL. R^C^Hl- Thsn I W/^NT To T&Z-L. Vfc>u >^60UT -T^/e HAMD I Het-O ON TH£ -m^tKi
-Tonight and how/ i playgd it / DEALT AMD we we^e '
\/ULN£RABL£
'6
r~Tn
-The scN-r/Me/oTAL
APPf<OAiCH
f^ih
^)i9mS ■■ y TfZjBUm^^ -- -C
'U'l?
156
BRIDGE
L/LL/AM,THIS /S THfc S<^CO/UO T7/Mc ToMICS'HT' YaUK/e TT^KSKI /^B OUT OF A 0USlf^(ES S OouBLt. / A/^ MO(/<f ABLG Tg V/e\A/ iHt /MMISJ<SSJr OeSTf^uCTtOM OF Tne VJof^LD BV XH^ /^"TOA^ Boa^B W(T"M /^
oeeRee of c^oMPLACEhjcY
"Xne PHiLosaPH^K
@'<9*J<j O V TfZ<gu>/<; .*J
157
VII
The Timid Soul
Webster is perhaps best known as the creator of Caspar Milquetoast, the Timid Soul, who first saw the hght in the New York World in 1924. He has since appeared in books, movies, radio and vaudeville. In this series the artist literally added a word to the English language. "Milquetoast," with a small m, may be found in most modern American dictionaries.
158
THE TIMID SOUL
159
THE TIMID SOUL
\aJH£M V^ GOlf^' To
Put pack WHe^e
A HURRlCAMe BLOU/S
OM <^R,^^/LpU(ST£3AST'S HOuS<S
©'g3g-N-y.TK.I»UM« .MC
160
THE TIMID SOUL
MR. MILQUETGA^T AJeveR LIKG'S To 3G SEG^J LcoKlNG AT UNORAPeD STATcJARV
©19^0- "-J y TH-iPunE mC
161
THE TIMID SOUL
162
THE TIMID SOUL
163
THE TIMID SOUL
Pose For. a photo to ee useo /n
/^o7£ - The PL/^W<5 is om TT^t Gftou^D
/^4^l
,4*^/
164
THE TIMID SOUL
165
THE TIMID SOUL
166
THE TIMID SOUL
MfS.. ^rsoucwoicpise", / L.L. CoNceoc
ITT '^H'^T GKJC^ VCXJ /^ ^. Wg- LOST. /Vl H/^K/e ^ 5 (F I $(NK
My purc-r, Wf-^iCH i'll ff2oe^6Lv
a ItACi^ PUTTS
Ui7
THE TIMID SOUL
168
THE TIMID SOUL
164
THE TIMID SOUL
'''''l'ii^irU-,*t4_,^
V ^ ; -V,:
^iA^
^i^,
©1935 »J.y.T(ti&wwe, ixJC
170
THE TIMID SOUL
THE TIMID SOUL
I^R./^ILQUSTaAST SHIFTS FROM FIRST To H/GH
<2) 1936 Ni.y. TRiSuNJE,iwc
172
THE TIMID SOUL
-To Try CMeuJiNe. -iseAcco
li^^
eA,
©l'?3'^- ^<-V Tg.i&uME IMC
173
THE TIMID SOUL
174
THE TIMID SOUL
e>e£N IMV(T"<SD DOWlMTo H£<^DQUART(5RS To lOeMTlFy TH€ /^AnJ VJHO STOLt HIS CAR.
175
THE TIMID SOUL
176
THE TIMID SOUL
/^R. /^iLQUeTO/^ST RtADS OKI THe LABeL OF/^ BoTTLG OR
Meoic/M^ TfyAT <s^eH s-rdom FuL CPowlA^MS 4,000,000
©iqsq ro Y-re-isui.J£ IHC
177
THE TIMID SOUL
I'n QerrTisjG sick /^no riReo
WATc;H^M<5 V&U LOAF 0MTH/5 U^o6- I Suppose Vfe-u Thimk
THe WORLD owes You '^ LtVIM&« GeT euSV WITN THAT BRooAO
OR ILL K(Cf< Vt'U OFP THE PLAee. VOU H<SARP A^e,' WHAT^ T?V-<^tP
Vt)U AMP WHO eLse P
/MR« M/L(^ueToAs"r HAS BeeN
RCADIMCS A 600 K OnJ HoV^ To AC?(9UIRe A DOA^/MATf'M© PeRSONJAL-lT''T"
©i^s^f^-y TctBuMe IMC.
178
THE TIMID SOUL
*"^'*«4M«-v,^
wm
v/
/,
Copyn.hi P,t„ Publnhinn. Co (N™ York Wotid) 1930.'
174
THE TIMID SOUL
180
THE TIMID SOUL
isi
THE TIMID SOUL
gW^x^^^^^^X^:^:^;^^^^^^
,0 _ '2-. -^m — .,
THE" L(Tr'^<F 6oV /we-x-T Door h/^s bc^^m pr/^ct/c/mg
For iHiS LAST Two HoURS
(g) ig"=
■ M ■ V "rre.iaufcj€
182
THE TIMID SOUL
183
THE TIMID SOUL
y'km<3w what
I SHOT THIS
A Rorr'N 79;
I'm THROUG/H WITH -Th' F/LThY OAMG ! an'
This Time I Me AN it'
DOn'-T T^LK To S
MeA^our PUTRiP golf/ / t?/^/^^
WITH /AN 81 » V/H£N A MAM SHOOTS OV/^R g'O Heb (?eTTeR G/ve- OP Th '
That's vjhat
\'^ OONNA
UH ~ NGwef^ MIND, OPERATOR,
CANceu That
GALL
.y^^
184
THE TIMID SOUL
MR. M/LQUerOASX isn't ALW/^YS Umio
/-/ Z- ^3 Copif.ghr, 1948. N T Htra\i Ti
185
VllI
How to Torture Your Wife
and
How to Torture Your Husband
The artist himself has described this group as depicting incidents in the life of every happy family. He adds that the more the family can laugh at them, the happier it will be.
186
HOW TO TORTURE YOUR WIFE
n
WHY DoMT \iDu G£T SOMe-THISJG
like: That "P
,^\th
^^t9<»0. M-V TgiftuMC mc
hi^r/
1S7
HOW TO TORTURE YOUR WIFE
188
HOW TO TORTURE YOUR WIFE
HmI soup
To -MIGHT,
GUESTS
CHlCKBhJ I
VJELU~\aJELL. !
'^^^f^-
^(ilf-^ \ ^^
^5!!
vjetL, c?uiT-<s ^
IF YOU w^Rt -(RYIN& To &iv/e OUR Guesrs Tne imPRessioi^ that we Live ON/ Pork amd p^ams wHeNJ we'f?<5 ALoi^E you
CcRTAlNLY
189
HOW TO TORTURE YOUR WIFE
HEFiBS SOMBTHlhJG' TH^-T A^AV /WT&fteST YoO, (Ve ^ADfc
A RSGoftO oFTne MUA^eef^ oFf/Mes Vou useo THe ad-
Vou Liseo THE WORD 78 TiA^es. \t?(j APPLieo n-To OOC5S, CH/LDRew,Movfe ACTo/^s-, Houses, fyA-rSiDRes^^e^^
eARR(W<3S, MUSTAiCHeS, P<5N(5U(MS, SW/^r^/Mfe PoolS, MATCH gOX^S^PlOKLG FORKS, AUT&^oe/LeS,T?^AFF(e
CoPS; PICK€T FeMces awd R^g- Roes, ^amd /^i
ALMOST eV^R-V/NSTAWCe YoO MISUS60 TH(S WORD,
c?uT^ mgams sharp— CL-eveR
190
HOW TO TORTURE YOUR WIFE
HEY I Look out / You'll bust /^ll
['--'-'-'^-'-^-iri-i^-"^-'-'-'-'— ^''■-'-■-'''-'j
THS IMPUL-'SiUe HUC3
©t^i-J-M y.TKlftUMe (MC
1^1
HOW TO TORTURE YOUR WIFE
OF A^ASCARA ON y&uR /^ose,
/NMD what's Wlf^Of^& W(l>y
Your ORessT Does/\j'-r s-ee^ -75 H-^we ri©ht; «Ave Vbu Got
{T OM eAGKKj^AR.O^ r'
-XHE- MASJ Va/HO DoesA^-
©1339 My.Tre.BusjE.uc-
192
HOW TO TORTURE YOUR WIFE
193
HOW TO TORTURE YOUR WIFE
The AMGLERS
,<iK
W7
( we've eeeA/ eLC/iAiiMG oux \ouf< oRessef? AMP TReRefe A Tot^ OF Rubbish /w Tfte uppet^ PR/^weR.s — /^ LOT- OF LerreRS -m/^-r ^Re
TfeM YS^RS OLD —ABOUT- -Two DoZieM OLD SOLF SCOR.es —A STACK OF- AJ^WSPAPeR CUPPINGS— A RAProF F/SH/W© -TACKLe
c?Ar^t-o©ues— so/wt Pipe cceAMe^s awd
A MESS OFOTHSR. STUFF. A/0\^, WHAT" Do^ >tJ(J WAMT /we To Do WITH AL
194
HOW TO TORTURE YOUR WIFE
195
HOW TO TORTURE YOUR WIFE
196
M
HOW TO TORTURE YOUR WIFE
197
HOW TO TORTURE YOUR WIFE
I S6£ -That ma^j. i see -fne car. coakmg oot cF fne Sioe STTaeeT. i won't pass TPe car ahead
UAJITl its SAF6 To DO So. //^ A^OT GoiMCb Too
FAST" /'m Doing 2.5, which is 5 uMDCf^ "TF/e L^OAL limit: I see'fHe 6dY oNiHG bicycle.
j S£^<5 -Th^" Dog CRoSSI/sIG 'Hve Road 2 BLOCKS AHEAD. W<5"Re ^U ABouT To SAY SO/^ETHING,
veART
^■y
V'^^/y^^K
y(f
198
HOW TO TORTURE YOUR HUSBAND
199
HOW TO TORTURE YOUR HUSBAND
200
HOW TO TORTURE YOUR HUSBAND
■S-
"3
(DM, S¥©AI^?is)niE) IHlAKIIDI^IEIIlCffimiiFf
201
HOW TO TORTURE YOUR HUSBAND
i^e itty Bitty
#Tea Shoppe
,-^/
r
V7HV, Vou SAID Wt COULD LUM CH /^WV PL^Ct I W/^MTIFD
202
HOW TO TORTURE YOUR HUSBAND
VOO-HOO I OH
H6Re i An !
203
HOW TO TORTURE YOUR HUSBAND
204
HOW TO TORTURE YOUR HUSBAND
euT> PAf^L-l^7<5, DOAJT GGT SO UPSerZ I KN/OW You SLAVoD
C?V<5R IT ALU SUMMSf^, 3U-r /^LL I SAID WAS THAT IT T^ST<^S UKa ANY OTHER. CABBAee
:<iK
W7
205
HOW TO TORTURE YOUR HUSBAND
/ OH, DARLING' Oo/^T ose
-fHe GU&ST 7owe/_S / C?0/^PAK]V POR DIAJAJe^/
You'll Find a Box or p/aiP<SR. Towels //^j TRe L(Me/M closet/
WITH HIS EY(ES FULL aF SOAP HE GETS HIS IMSTRUCTIOAJS
(c) it^tj-l ■ tj V TreiBu^e
7-i-
206
HOW TO TORTURE YOUR HUSBAND
OA(K-LIMO, Do
You Lov<s- M^'r'
VJELL., I WAMT To H^AR Vou SAY SO- RlGHTOuT LOUO- WH/)Tfe THAT? / csamV" AlAKe" ou-r
WHAT S-fauR^ SAV/MG;
dom't Bi^Lieve
You LOV<S A1(E AT /^LU. (F V&U DID v^U W<:5ULDM'T-
UH-Y^S /■A/De<5D.
We WILL &/ve THe AiAT-ref^
CUR lMMe:D\f\Te. AT-re^NTlOAJ . (ER-UH-"rfe"S, THAT-'S SO.
/'ll chsck
UP At-iQ CALL
\bu ^ACKr.
Y<5S-V^S
DURIKJe 6(JS^AJeSS HOURS
^Jtt>afe-M YftaSoMg
207
HOW TO TORTURE YOUR HUSBAND
208
HOW TO TORTURE YOUR HUSBAND
209
IX
The Unseen Audience
This is the series which at first caused an uproar in the radio industry, but in ] 948 resulted in the Peabody Award to Webster "for distinguished service to radio."
210
THE UNSEEN AUDIENCE
21 1
THE UNSEEN AUDIENCE
IHE eCH
212
THE UNSEEN AUDIENCE
" -THIS C\rY IS THE LARGEST IN lH£ UNIT6FD STA-T^S."
" BROOKLYN ?" "no, 6UT You're close, one of its tallest
3UILDINOS IS-TftE EMPIRE STATE'/ ''OH.EMPIRE CITYP
''NO.euTTHE NAf^E STARTS WITH N-E-W.' ' OH.NEVJ
cre-RSEY?" "No,^/El^/^eRSEY \sastate-notacity.
rms CITY WAS NAMED AFTER THE DUKE OF YORK. ''OH I KhJOVJ-YoRK, PENNSYLVASJIA'.' "'NO, IM AFRAID NOT here's another hint- one OF THE f 'TYS AIOST FA/viOUS STREETS IS NAMED BROADWAY- ^^^^"^^^^ YONKERS ." ''NO. THIS IS YOUR LAST CHANCE. VJHAT ^ CITY ARE Vou IN RIGHT NO\^?''
SIVE ITHIS BRIGHT LADY J fT^^^^^ C^^IZ' FIFTEEN HUNDRED / ^ASY J ^guesIeO, DOLLARS/ ^ ^^^ y ^ ^^ \ Toledo
-•T^
Copyright. 1948. New rorli Herjid T tbunc In
<o 3o
213
THE UNSEEN AUDIENCE
EIGHT o'clock. TlMe
You G^ABB<ED SO/^e
A po\ajoer/ SCRAM:
ThE INFUUEMC^ OF RADIO OM GRA/MDMA
^tf,
(c)f^i ^•yv^.\e>u*J£ imc.
4- 3o-
hi^C''/
214
THE UNSEEN AUDIENCE
WHV ain't You Smart L/Ke THeM q>ui:z. kids 7* V/\ could ^<5 (^arajim' a lot of a^oolah
/MST15AD OF A^e" Va/ORK^Aj' AIV RAyGtRS To Th' Bom€
215
THE UNSEEN AUDIENCE
"•w.-
jj^VA, ^ GeT IT, BILL?
That FULL- BOD I eD,
D<5L/C?A-T(f; HAUNTINGLY FRAGf^AMT Af^O^A —
-TAKE A DfiAG^ AN' lASre- HAPPY
Boy/that -janta-
EXOTIC SCiEAJ-r/ M-^-^-M — GOOD-
M-^-M-M — Good!
Yes, SIR, iTS THE
Tobacco That,
COUNTS
The (mfluence
OF RADIO 15
rAR-REACH\NG
©iq^T- ►< V.-nziBuiJC^Me~ 5~2.l*
216
THE UNSEEN AUDIENCE
217
THE UNSEEN AUDIENCE
*^/\WD MOW OUR NEKT CONleSTT^MTT YOUR N/^MG; PLEASE? "MRS.OTTb SM/ALTZ/' ^^ AND VJHERE IS YoUR HOAie, /WRS. SMALTZy'^ ''east DKAIAvJAGe, NEBRASKA." '' H^W LOA/G
HAve You Be-<FM aiakrk^d"?'' ^^tw-^nty s/x year's." "How DID Vbu Ajeer mr. saialxz:?" *' i Aier him at a
DANCe " ''HOW A7/^A7Y DATES DID YoU HAVe BeFoRe
OTTO rRK^D TO KISS You?" '' aH , FouR or Five i euess.
'MAiD WH^N DID H<S PRoPOSe?'' '' I TH'MK /^BOOT- A MONTH AFTER ^EMET/' ^' ONE -^ "^^05^ eAOJ.OUS^
«, -HH/MK Hf SA\D, 'HOW AeOOT YoU /^AJO I G^TT/AJG /H^K f ' RIEO?" '^ANO DID You /\CrePT/)TOAJCe,Of^ DID YOU
-THISJK You we^e Tfie HARD-To- GETIYPE?"'
'V
PRELIA^INARIES To /ASKING IF WATiER FLOWS UPHILL OR DOWM HILU
,<^^
Copyright, 1949, New York Herold Tribune Inc.
7-/3-
W7
THE UNSEEN AUDIENCE
~N
I Hope we CAM see The
-^fyX SINGS 7h£ LNER FILL SONG
DISHPAN HANDS DISHP/AM HAMOS -TfieV WILL KEEP
awaV 'Thb mans. IfVou vjanT some
REAL ALLURE-USE dLATHER SOAP AND ^EEL SECURE <PO
A d\0 IM— PRove^^e^JT
ON i^Dio.
I've ALWAYS
deeN CURIOUS
fb SEE THE PEOPLE VJHO SING THE COMMERCIALS
219
THE UNSEEN AUDIENCE
YOU DID F/MRLY WSLL WITH KRISPY- i<RUNCHY, AND NOW we WILL take: up /^-M-M-GaOO' I WANT You To FAY P/^RTfCULAR ATTeA/T/OM To Tne ROLLING
M AND The emphatic emphasis on good, all right,
J NOW /^LJ_ T'oaeT-HGR — A1-A1—A1-A1- GOOD''
220
THE UNSEEN AUDIENCE
221
THE UNSEEN AUDIENCE
vJHEM That A1A^7 of VbORS
e^T's Ho/^r FRo^n -TFie
OFF/C(E"OR FACTORY TTr^D
/^Mp humgry; surprise
HIM WITH A SPIAJA CH
SHORT cAKe^^ ArJ eAsrio
/vjAKfc DISH -rfVATIS SIMPLY^ VuMf^V. HGRe's HOvJ — OK/eRine SPiNfiiCH SPRIMK-Le" TRRee cups OF GRATED PARSNIPS —lH£N ADD -Tv70 SLlCep BA/VAMAS, HALF A euP OF A^OLASSeS AMD —
i(i f\
"^
\v///y/y. ///yu///yyyyyy.
V''
7^'^"'^-l
j^=r'^^*"' *" '--.-^ c
"^^f^^^t'^t'^^^^
<-^i
'- — >::>^^,
^■MVlkjBUve I
T)T
THE UNSEEN AUDIENCE
equAl- To A HALF HOUR OF UMDILUTe^D HORROR?*. ALL RIGHT ^ BUT «F VOU SHOULD FEGL. SICK FRO/v\ SHe<5R TERROR A \^HIFror AM^O/^IA WILL HeLR /^FTHR ALL THERE IS MarHING QUiTe SO UPSETTING AS MUR-R-i^C)^f^~ ha! ha! HA /-ESPECIALLY VJH€N IT HAPPeMS IM A HAUMTeD HOUSS , FULL. OF B/»XS AMD SC?ueAKV DOORS. AS OUR SToRV OPfc/VJS A -THUMDfcR SToRM IS RAG/AJ& . (^Ru^BLCz- Bd/^BLG )
IT IS MIDNIOHT. L-IST-<^m/
IS FUNNY
w:«>
t)'
^/eS SIMPLY A SCREAM
.^xsy
\m
\y
(g)/9v^- f-iyrrTZJSu/je
¥(''/
223
THE UNSEEN AUDIENCE
ALL RiOHTj VJi^^ GuY^ yhu ASK^D
FOR ir. BANG/ BANG/ Thump!
SCRAM, ZrcD^f ITS Th' COPS'.THeYf^ /^r-Thi' Voaf^/ KSJOCKIKNOCKI HSY, You ' OPEN Up! Wfc GOT Th' HOUSB SURRCDUNDBOf OKAX BOYS, SMASH IN
YH'Doof^! CR^-A-SH! bang!
bang! bang!
>^
NO^,HUSH. CHILD R£hi. PAPDV'S YAKlhie HIS NAP
y^y
(C)(9^fc-g y Tg^Bwfcte .mc-
224
THE UNSEEN AUDIENCE
NO"^ ,LOOK, MO-JHeFK^ou WAAJT To WIM A WASHING AlACH/Me, DomV Vfour" ALL RIGHT. SO, WH^M TFyeV ASK ^fou VJHeRB "You LlVSYou SAY SROOKLVAV. NEVeR MIAJD V^HV: IT A^AKSIS TR^M FSEL eOOO^ NOVJ^THG largest city IhjTHe UMiTeD STAies IS new YoF^k^.THE FIRST PR(?SIDeNT WAS V/ASHIK/GTo/V^ AA/D Two AMD Two Ai/\Ke FOUR
225
THE UNSEEN AUDIENCE
Two OUT AMD 7h' eAses LO/^oeo. HERe Comes swjeEMeY,
(F SO Vou ARe AioT- GerrisiCb e^ouoH CALCIUM IN YouF^ rccD. Go^rt> Vfouft, /gefGHBORHOoD DRUGST&Ro ToDAV A/^D ASK For 6LAr^/fcRS AiA/L "T^^eLeTS PR|Ce25<^ -35 For THt eiCy CrCoWOMV Size Box. ^e^'?'^ 'S WHAT/^ F/^MOUS HoLLVwooD SrAR SAVS ABOUT -
D D C
D
u
lO^i
^)r^'^S *-■ y '77z'l2<-/'Vti f*JC .
226
THE UNSEEN AUDIENCE
\0(f^/
227
THE UNSEEN AUDIENCE
TH/s IS 'Xne HouF^ For relax— ATio^j. "f&s^ Folks, oust sit back, CLose ^L/^Vves and R<Fs-r. l&t" YcuR mino C/ARRV Vo<j gently To
SoA?fc TROPIC/^L Bf/^C/H, STRGTCH
Yourself lazily Ueacth a SHSLleR-
NG PALM AND USleN TblHS SOFT
AiuRMeR or A 'TuRcfuoise seA as
(T LA\/e5 IHE GOLDEN SANDS. Y^S, AlY FRIENDS^ You VJILL FIMD THAT-
A^IHE PoeT SAYS ~ -The cares, ^AT (NFesT The day, shall Fold -Their i&nts, like -The ara&S,
A\^0 AS silently steal
z
A-- - — ^ '•-<
d
J>
f<IMDLY PHILOSOPHER
''^ih
Copyright, 1948. New York Herold Tribune Inc
„..- "^n
228
THE UNSEEN AUDIENCE
TH^ eoMMiT-r^c HAS Passed A^J APPRoPRi/^-riosj FbRTHRtfc BiLLioM Dollars of VJHICH Two
HUhJDRGD MILLKDhJS Af^(^ e/^RAIA/^KfcD FoR, ^^^^QI^Tt use, SEVEN HUNOf^ED MILLIONS
WILL GO To The Reserve Fusjo, Fouf^ humof^eo
^/LLIO<klS W/LL Be SP<SNT- BEFoRE THE EMD oF
THt FISCAL Year. Twenty Rve ^/ll/oms w/ll.-
''29
THE UNSEEN AUDIENCE
THE UNSEEN AUDIENCE
231
THE UNSEEN AUDIENCE
232
THE UNSEEN AUDIENCE
'Tw/\S The might PtFoRe CHf=<ISTA^AS /\/JD ALL -rUf^OUG'H THS House- MOT A CReA7~U/^t WAS STIR^imG
A/OT <EV/<5M A MOUSG '''-L- Bt BACK:
IM EYACTLyC THf^eiE MIKJUTeS To T^LL
IM c^-^ oil- x^-v-.-...-^-^-- --
Ybu WHAT HAPPeMe-D MexT /aj fne
MEAMT^Aie- OUR AMMOUMCSf^ W/LL ADVISe ALU^U LlTTCe BOVS AMD GIRLS WHAT 73 DO WH^M SUFFef^lM& WITH ^^WM.
ACID (MDI&eS-T(OM
f.
-^
. 1
A
IT
H
,*f-,
(?) /^V-g -y*^ y< ~rfZJ/3^^C^ /-rfC-
133
X
Fishing
There was never a series thus entitled, but, like dogs, fishing was the subject of many of the artist's best drawings. The collection published under the title To Hell with Fishing (1945) was by all odds the most popular of Webster's cartoon books.
For years at least one and often two or three fishing pictures appeared in the Timid Soul series toward the end of April, about the time Webby usually spent a week or two casting for Atlantic salmon.
234
FISHING
<9 " '
o^/J^'l: \o
... , M. .U7-"',tV. /,i'
CAUC3HT ReO HANJDeO
v. i'\\
<g4>t 4-y.-tmo
i/mE. 'ii^C-
235
FISHING
236
FISHING
137
FISHING
238
FISHING
239
FISHING
~n-te P£MALTy OF- H/VVIMC To U»ve UP To
Copr. 1926 (N. Y. World) PrM. Pub. Co.
f£»'^
4^
240
FISHING
-JfiSY'RE Thc eesT U&HTvJSt&HT eNQUSH WAOeRS MADe.
You'll r^oTice" Thb FseT /^(^e: RSiMFoRceo. The ef^o&ut=s You vv/fc/AR oveR Ths/^ H/^ve-
SQUt^RG H^AOeD HOBS". Vou'll
F'MD THsn AioRe eFFfCfeNT /w
VA/AD/Me OV^R SLIPPeRY ROCKS.
A'^>rr/^M^ylv/eR.s•AftY, if i c>ak) AFFORD IT"^ /^^ (boif^O To &eT You TfYAT Two oorvJCc RoD
241
XI
Miscellany
242
MISCELLANY
TRAILER TINTYPES
243
MISCELLANY
^oVoixfHoPPeo IT Povv/n,eH? ihat's €XCELL£ttT\ i Don't CAeer \AiHo
T)|QTh€ CHoPPlf^G . it's OoVA/r-j ,Amd Thax'? /^(.(-ThAT iMTeReSTS Me ■
Tve eeei^ wAnTiM e that BLASTeoTftec <?€(^dv£o Fdjz /? lon&
IVHILC. THeCe HA5 eeern A BLIGHT THAT HAS PeACTlCALLV OeSXecveO ^«-L- my CHe(2fZyT7?e£S Ar^P I^M SLAD YOU HAD
S^Nse eiNOuGH Tb hackt-his one Down without 6en-i<& Tdld.
WHILE Voo HAue VDOp; HAmD im VdO |V\ie,HT CSo ouep. n "The DpCHAf2D. Chop Oo»a/<^' lo o(a I'i Mofze AmO Cot THfr
(jp — sTove
L6M6-rH
'^(o^^^l
-// /.
COPR. 1924 (N. Y WORLD). PRESS PUB. CO-
THE SPOIL SPORT
244
MISCELLANY
LIFE S DARKEST MOMENT
245
MISCELLANY
Heme's fi, PRe.-rTY GooD STORY. I'l-l- ReAO IT-T&V&u
" WOULD VOU TAK^rHAT
yeuLOv^ TTe with fne PiNh:
SPOTS OOToF'XhE \AJIhiOOVJ
FOR. Aie r" " .
/^ /WAN/ WALKED /MTO A FASH/ONASi-e- HAec= OASH(FA^'S SHOP AND TTic SAteSMAAJ f^USHe-D UP -To VA/AIT" OaJ H'M
'^
' CSf^Ti^lNi-Y, SIR. PLeASeP To
TaKC A^/VT7^/^7& OuTOF-jHe
WIMDOW ANY" TTAAe, SIR"
AND NOTHING CAN BE DONE ABOUT IT
246
MISCELLANY
WAS OOIMG To OeT ■TttRouOH
-The w/NT'eR wiTHour /s CO£_D. eoT—
ARE YOU LISTENING?
141
MISCELLANY
TRAILER TINTYPES
248
MISCELLANY
LIFE S DARKEST MOMENT
24S)
MISCELLANY
BREAKING THE GOOD NEWS TO ANXIOUS PARENTS
The Boy who flipped traimo
(Copyniht. 191'. by H. T Wttmo
LIFE S DARKEST MOMENT
250
MISCELLANY
Th ASK AMD ReFose To
/<^MSWeR. I WILL. NOT Be A PARTV To CO/mPRomisIW<5
ANY or OUR, oEMocRfirnc
Pf^lMCIPLeS
/ ^^HV-,,^,v.;\#s^^^"'^ ■
IF GEORGE HAD LIVED IN HOLLYWOOD
?51
XII
Lincoln's Birthday
Webster's most widely known drawings were probably the two which follow. Lincoln was one of the artist's personal heroes, and when the series scheduled for publication on February 12 was appropriate, it was often the medium for a birthday tribute. Of the examples published here, the first appeared in 1919 and the other in 1941.
252
LINCOLN'S BIRTHDAY
HARDIN COUNTY — 1 809
233
LINCOLN'S BIRTHDAY
Bibliography
OF H. T. WEBSTER'S CARTOONS IN BOOK FORM
Our Boyhood Thrills and Other Cartoons, New York, George H. Doran Co., 1915
Boys and Folks, New York, George H. Doran Co., 1917
Webster's Bridge, with William Johnston, New York, Frederick A. Stokes Co., 1924
Webster's Poker Book, with George F. Worts. Marc Connelly and R. F. Foster; foreword by George
Ade, New York, Simon and Schuster, 1926 The Timid Soul, introduction by Ring Lardner, New York, Simon and Schuster, 1931 The Culbertson-Webster Contract System, with Ely Cidbertson, New York, Frederick A. Stokes
Co., 1932 Webster Unabridged, introduction by Frank Sidlivan, New York, Robert M. McBride and Co., 1945 To Hell with Fishing, with Ed Zern; foreword by Corey Ford, New York, Appleton-Century-Crofts,
Inc., 1945 Who Dealt This Mess, with Philo Calhoun; foreword by Charles H. Goren, Garden City, Doubleday
and Co., Inc., 1948 How to Torture Your Husband, iv/;/! Caswell Adams, Philadelphia, The John C. Winston Co., 1948 How to Torture Your Wife, with Caswell Adams, Philadelphia, The John C. Winston Co., 1948 Life with Rover, with Philo Calhoim, New York, Appleton-Century-Crofts, Inc., 1949
255
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