A Potpourri & Some ‘Splainin’ To Do – Library of American Comics

Back after a too-long absence. You may remember the 1990s movie, Four Weddings and a Funeral? In the past month, yr hmbl svnt has been to two funerals and a wedding, all of which involved lengthy trips by either car or plane. An emotional roller coaster, as you might expect, in addition to the rigors of travel. Now I’m back, catching up by offering this grab-bag of tidbits, plus a sample of a comic strip I had never seen prior to this week.

And awaaAAAAy we goooo-o-o-o …

GOOD NEWS! In collaboration with Clover Press, LOAC now has eight paperback editions on sale containing four years of continuity from both Dick Tracy and The Amazing Spider-Man! (Click images throughout for an isolated view.)

As the cliche from late-night TV goes, “But wait — there’s more!” This summer will also see a facsimile release of the original Spidey reprint, in “Pocket Book” paperback size, as it first appeared in 1980.

What this facsimile loses in size, it gains in palette, because each strip is reprinted in full color! We remember this book when it was first published, and we have had an advance look at the new version. Each page is bright, bold, and vivid. A worthy addition to every arachnophile’s paperback shelf!

GOOD NEWS! Touring through some old newspaper comics pages in recent days, we stumbled across a strip of which we had no prior knowledge — the comic strip version of that hit 1950s television show, I Love Lucy!

This TV series ran for six seasons, ending in 1957 while still number one in the Neilsen ratings book. Until I Love Lucy premiered, TV series were dominated by the anthology format (Hollywood Opening Night or Four Star Playhouse, to name but two) or comedy sketch shows on the order of Sid Caesar’s Your Show of Shows; Lucy was the first American television series to feature a regular cast of ensemble players — Lucille Ball and her husband, Desi Arnaz, were leads Lucy and Ricky Ricardo, with Vivan Vance and William Frawley playing former Vaudevillians-turned-landlords, Ethel and Fred Mertz. It was also the first TV series to be filmed before what the industry would term for years “a live studio audience” (as if there could be any other kind!).

Lucy was as popular as it was groundbreaking, as this ad for a bedroom set modeled after the Ricardos’ TV furniture indicates:

That popularity extended to the comics pages, because from 1952 through 1955 “Bob Lawrence” (a pseudonym for writer Lawrence Nadel and artist Bob Oksner) produced daily installments of hi-jinks taken from the lives of the Ricardos and Mertzes. Here’s a week-long continuity, presented as a sample:

What has been largely lost to time about the series is that, in its original run, it featured animated opening and closing credits that evolved from season to season, sometimes dictated by changes of sponsorship. The credits were created by animation veterans Bill Hanna and Joe Barbera, primarily known at the time for their multiple-Oscar-winning Tom & Jerry animated theatrical shorts. Here’s a montage of images from those credits:

… And if you like, you can see examples of the credits as they were originally broadcast here (1953) and here (1955).

Even today, a majority of Americans know that TV audiences from seventy years ago loved Lucy, but count yourselves among the lucky few who also know that comic strip fans had reason to love her, too!

GOOD NEWS! Last, but hardly least, it’s a delight to report that two of my favorite groups have joined forces to preserve significant portions of the work and legacy of The Genius, Alex Toth.

Alex’s family has gathered together the contents of his professional estate under their ownership and, in collaboration with curator Jenny Robb and her staff, made that material resident at The Ohio State University, within the holdings of The Billy Ireland Cartoon Library & Museum. That means that, as of May 12 2026, the original artwork for Bravo for Adventure is now being preserved, on loan, at BICL&M …

… Along with a collection of other original art (including a sizable assemblage of doodles, which the artist was renowned for producing) and an array of other Tothian correspondence and memorabilia. For the first time, anyone with an interest in this comics industry giant — his work, his approach to the craft of comics and storytelling, and his opinions on subjects far and wide — will be able to learn about him through first-hand examination of the art and artifacts he created. The Bravo images below, as well as the 1979 note from Toth to Bill “Chad” Chadbourne about a possible collaboration on work for Warren Publishing, reflect the types of Tothian delights BICL&M is now integrating into its holdings.

Addition of this important Alex Toth material makes The Billy Ireland Cartoon Library and Museum even more of a “must-see” destination for every serious student of the comics artform. You might enjoy their two short video montages, one showcasing archival holdings related to an iconic comics character, the other offering a general teaser for BICL&M, the Ali Baba’s treasure cave of comics history.