Comments on: It’s A Crime, Chapter 3, Competing Against Themselves http://kirbymuseum.org/blogs/simonandkirby/archives/1417 Sun, 20 May 2012 00:53:30 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Harry http://kirbymuseum.org/blogs/simonandkirby/archives/1417/comment-page-1#comment-8749 Harry Sun, 03 Aug 2008 15:25:15 +0000 http://kirbymuseum.org/blogs/simonandkirby/?p=1417#comment-8749 Ger, Sandusky and the Senator was from Golden Lad and was signed by Irv Tirman. And yes it is looks like a good match for the Nightmare story whose image I used (Clue v2n2 April 1947). I have only made a quick comparison so I used a question mark when updating my database for that story. I do not think the other story (Iron Lady) was done by the same artist. Harry Ger,

Sandusky and the Senator was from Golden Lad and was signed by Irv Tirman. And yes it is looks like a good match for the Nightmare story whose image I used (Clue v2n2 April 1947). I have only made a quick comparison so I used a question mark when updating my database for that story. I do not think the other story (Iron Lady) was done by the same artist.

Harry

]]> By: Ger Apeldoorn http://kirbymuseum.org/blogs/simonandkirby/archives/1417/comment-page-1#comment-8748 Ger Apeldoorn Sun, 03 Aug 2008 12:30:25 +0000 http://kirbymuseum.org/blogs/simonandkirby/?p=1417#comment-8748 The late forties are a transitional period in the work of Carmine Infantino. Coming from the Caniff-influenced style demanded by Sheldon Mayer from all his realistic artists, he did this story for Clue (together with one of his regular DC inkers, Bernie Sachs), two or three different styles for Stan Lee at Atlas (where his later horror stories would resemble his 'own' style as it would emerge in the sixties the most) and the Kirby influenced Charlie Chan stories. I don't know what influence the inkers had. One thing that seems to be common in all his work is the tendency to use a lot of lines sometimes and his unique way of framing a picture by adding a cityscape skyline. Two of the other stories you show look a lot like the stuff Robinson and Meskin used in their 'own' books: Atoma and The Golden Boy. Take a look at The Senator and Sandinsky (spelling?), for instance. The late forties are a transitional period in the work of Carmine Infantino. Coming from the Caniff-influenced style demanded by Sheldon Mayer from all his realistic artists, he did this story for Clue (together with one of his regular DC inkers, Bernie Sachs), two or three different styles for Stan Lee at Atlas (where his later horror stories would resemble his ‘own’ style as it would emerge in the sixties the most) and the Kirby influenced Charlie Chan stories. I don’t know what influence the inkers had. One thing that seems to be common in all his work is the tendency to use a lot of lines sometimes and his unique way of framing a picture by adding a cityscape skyline.

Two of the other stories you show look a lot like the stuff Robinson and Meskin used in their ‘own’ books: Atoma and The Golden Boy. Take a look at The Senator and Sandinsky (spelling?), for instance.

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