Popeye Books

What makes this first volume great is that it doesn't start with Popeye's first appearance but weeks before. Really neat to see Thimble Theatre without Popeye in it. Makes me wanna see volumes of all pre-Popeye Thimble Theatre strips.
Segar showed himself a grade-A cartoonist even before the famous Sailor Man entered the picture :)

As much as I respect the old Fleicher Studios for producing some wonderful Popeye cartoons that became an integral part of establishing him as a worldwide phenomenon I think they did him no favor in moving him into an urban environment. Popeye is at his very best, as a sailor, adventuring on the open seas. Nobody wrote or drew Popeye like Elzie Segar. Unfortunately, Mr. Segar passed away at the very young age of 43 having created Popeye a mere 9 years earlier. So what we have here is over a year and a half of Popeye's absolute best run ever.

This is not the Popeye most people are used to. This is the Popeye that existed prior to being significantly toned down at the behest of William Randolph Hearst in response to the characters growing popularity. This Popeye is a violent, foul mouthed sailor with a serious gambling addiction. Few able bodied males outside of the diminutive Castor Oyl manage to gets through the book without receiving one of Popeye's famous haymakers and I have to give credit to Elzie Segar for his skill in drawing the most thunderous, teeth rattling punches in the history of comics. In the opening introduction there is a group drawing by Segar of a menagerie of characters from Thimble Theater including a most mild-mannered looking fellow named Johnny Doodle. I thought surely Mr. Doodle would be safe from Popeye's fists but sure as the sun rises in the east, before the book was through Johnny Doodle was left horizontal.

In one particularly funny sequence Popeye punches out a man for no apparent reason. When asked why, Popeye answers, "I don't need a reason... I socks `em where I sees `em, I leaves `em where I socks `em". Queried further Popeye responds, "I jus wanted to see which way he'd fall" and finally adds, "I likes to smack tall swabs on account of they fold up so nice" Later it turned out the man he socked was a crook but when it gets right down to it the humor of Popeye revolves around his burning desire to punch everyone he meets and Castor Oyl's vain attempt to control it. Popeye is a man who kills a horse with a single crushing blow. In volume one Popeye is arrested multiple times on assault charges and proudly proclaims, "I hits cops too - I hit's `em jus' like they was somebody else" In a sense the original Popeye seems almost like a parody of his future self.

I absolutely loved this book. A few reviewers complained about size of the images saying they caused eyestrain but I didn't have any problems at all. My biggest complaint is with the gigantic dimensions of the book. I would have preferred something similar to what was produced for the Dick Tracy or Peanuts collections. I also have to confess that the covers are absolutely bewildering. I'm not sure what the publisher was going for but I don't think it worked. I guess I also have to take issue with the introduction which really didn't do anything for me. In the end it's the brilliance of Elzie Segar's drawings and writing that makes this volume. I've already purchased volume 2 and intend to continue buying them as they are released.

Popeye shows up as a natural man. A flawed, older man who has lived a hard life. He is profligate and has low impulse control. He shoots craps whenever he has excess cash. He lies when convenient; but, deep down he is a decent guy who will give the shirt off his back to anyone that neds it. No wonder he was popular. Read these comics and reaqlize that people haven't changed all that much.

Simply one of the finest books I've purchased in recent memory. I own many of the earlier Fantagraphics-published Popeye books ("The Complete E.C. Segar Popeye" series) and this book is a far better product and value. I particularly applaud the removal of the sydicate-added titles and by-lines above the daily strips that were included in the above-mentioned books. Their omission makes for a smooth read. Much praise, also, for the far superior production and design on the book. And the fact that I can get all the material in six volumes including all the color Sundays as opposed to what was previously published in well over a dozen volumes almost twenty years ago? Sweet news, indeed.

I won't go into the brilliance and relevance of the book's content, others better qualified have and will do so here and elsewhere. This book and its forthcoming volumes are essential. I'm so pleased they finally did the material real justice.

Be sure to eat not only spinach but lots of carrots before tackling this one.

Even so, you'll likely need a magnifying glass to read these strips. Who's bright idea was it to cram six strips onto a 10.5 x 14-inch page? It made for some serious squinting when I checked this out at my local comic book store.

And at 10.5 x 14-plus inches, this book hardly makes for cozy reading material.

Bad book design and layout have made what could have been more accessible material a real chore. I like the dimensions of Tony Millionaires' Maakies books: one strip per page, and look ma! no squinting!

Another excellent compendium of early Americana and social history as illustrated in the E. C. Segar Thimble Theatre comic pages. Nothing sanitised or homogenised about this. A must for the Popeye enthusiast. A delight on any coffee table or bedside stand.

I am a danish cartoonist/illustrator, and my style is on the funny side.
When I was a kid in the 50's I came to know some of the original Segar strips from some books an aunt of mine had in her shelf. That I never forgot. I have often returned to Popeye, and have exposed my son to him as well. When he was about 5 years old, he was a huge fan of the old black and white animated movies, and I had to paint an anchor on his arms every morning before he went to kindergarden. I gave him a small corn pipe as well, and he went around like Popeye in the movies, with his arms out to the side. And on day his teacher came and said: "I think he has a problem with his eyes, maybe you should take him to a doctor." But I could tell her, that it was just because he was playing Popeye, walking around with his right eye closed.
After my childhood came many frustrating years, where the only Popeye cartoons were the ones Segars successors made, and they were just a faint copy of the masters work. It was a seldom thing to fall over one of Segars original works.
So how can I describe how happy I was when Fantagraphics began this project. I bought the first volume, and could hardly wait for the next. I will follow this project to the very end.
I have noticed that the drawing style has rubbed off on my own style in the later years, and I love the humor.
Segar's original Popeye cartoons are a milestone in comic book history!!!

For someone raised on early 20th century comics, the series this book is volume 2 in is a real treasure. Elzie Chris Segar was a comic genius on a par with Carl Barks, Mort Walker, and Charles Schultz. His original newspaper Popeye comics are some of the greatest created. Stories are original and ludicrously inventive and the humor is top of the line. It's not for everyone, but connoisseurs of really great comics will have to have this.

E. C. Segar was a comic genius, but just how great a genius becomes clear as you read his Popeye stories in this beautifully reproduced new series from Fantagraphics. Popeye himself is one of the most fascinating and complex characters in American fiction, a tender-hearted ruffian who clobbers not just big thugs but also puny bystanders, and yet somehow never seems the least bit like a bully. Popeye was still taking shape in Popeye Vol. 1: "I Yam What I Yam" (Popeye), but he's completely present in the new book, and now it's the turn of supporting characters like Roughhouse and Wimpy--Segar's second-greatest comic creation--to emerge before our eyes. I hope these wonderful books are getting the support they deserve. Their only drawback is that it's a year between volumes.

Volume one featured the world's first introduction to Popeye. In this volume the character of Popeye continues to take shape. As the book progresses Castor Oyl slowly fades from the scene until Popeye and Olive are left standing as the undisputed centerpieces of Elzie Segar's Thimble Theater. Popeye's physical appearance improves significantly bringing him much closer to his traditional look particularly in his chin which looked kind of droopy in the first volume.

You can sense a bit of a moral dilemma on the part of Segar. On the one hand the humor of Popeye revolves around his violent nature and inhuman ability to take and deliver punishment. On the other hand Segar clearly wants to make Popeye a likable even admirable character. His solution seemed to be to always add at least a hint of obnoxiousness to everyone he punches so that one can make an argument that the recipient of Popeye's punishment had it coming to them. Although this means that Popeye's neighborhood (never referred to as Sweethaven as far as I've seen) is packed with men itching for a fight. Every once in awhile Popeye socks someone for no good reason like an American Indian who Popeye assumes might try and scalp him. In this case Olive Oyl acts as the voice of reason telling Popeye it's wrong to abuse American Indians. This also seems to be a way for Segar to let people know that he is aware that some of Popeye's actions are morally dubious. In this volume Popeye becomes an almost Mother Theresa type humanitarian, opening up a one-way bank using a $25,000 the reward he received. He ends up giving out money to the poor until he's left with nothing for himself. This seems to be a continuing theme with him repeatedly using money he earns to help out the poor. Popeye has also become a hero and protector of children and in one comic Popeye tries to help a small boy learn to fight. He does this by punching out random men walking down the street.

Volume 2 features some famous firsts. The first appearances of Wimpy and Roughhouse and the first time Popeye is shown powering up with spinach. It's difficult for me to express how much I loved these comics. Elzie Segar's Popeye is a surprisingly multidimensional character compared to his later incarnations. At one point, after a particularly harsh verbal barrage from Olive, Popeye slaps her to the ground. It's a shocking moment even more so because earlier in the book Popeye had financially assisted a woman who had been battered by her husband. When Olive scolds him for the slap Popeye replies, `I yam what I yam' but in that instant with his head held low he might as well have said, `I can't help what I yam'. Quite a difference from the cardboard hero he became as the years went by. Where else would you find a cartoon character wrestle with his own penchant for violence or later express such honest and heartfelt love for a girl?

Volume one was five star material but volume two is even better. I never would have expected a comic over seventy five years old to be this edgy and legitimately funny. It's also amazing how much Elzie Segar's drawings improve over a very short period of time. There is one strip in particular that had me laughing hard. Popeye has gotten himself involved in a war and, in one of his last appearances; Castor Oyl tells Popeye that King Blozo wants to see him immediately. Suddenly a cannonball flies up and smacks Popeye in the rear sending him sailing like a rag doll through the air, through a pole, through the castle wall landing him at the king's feet. Castor says something like, "It wasn't THAT urgent". The visual of Popeye sailing through the air is absolutely hilarious and the punch line was perfect

If you're reading this review you're likely debating whether you should get this book and if you're debating let me assure you, you should. The only downside is we have to wait until fall 2008 to get the next volume.

This is a great book for all ages -- I read along with my 10 year old who did a report on this book ....terrific, funny....very true to life....

This book made me Laugh so hard I liked her first book Sahara Special but this is even better. The teacher used thhe book to help us journal and I thought it would be boring but I could not wait for her to read these funny stories out loud and then write my own stories about things like school and grandparents. This author writes about the city in a way that is FOR REAL and not boring and now I write in my journal every day because I want to be a writter. My only comnplaint is this book is not rewally about tuna fish but I dont even like tuna fish so who cares.

I enjoyed "Sing A Song of Tuna Fish" immensely, not only because of the fantastic description and detail, but also how Esme Raji Codell created an incredibly entertaining story of her childhood. I think she did a very good job of making something that in real life might not have been that entertaining, into a very good story. I think that even a 40 year old would enjoy this book!!!!

As an antidote to a wicked case of bronchitis, I've managed to read my way through a stack of books on my nightstand and found a winner: Sing a Song of Tuna Fish, Hard to Swallow Stories From Fifth Grade by Esme Raji Codell, the author of Educating Esme and other books.

It was published in 2004 but I hadn't seen it until last week on the shelf of the Atlantic County Bookmobile. What a treasure! I've been searching for good mentor texts to use with our fifth and sixth grade classes, something that would make the kids and their teachers really "get" the need to focus writing workshop around memoirs--and boy this is it! Esme takes you right into her life as a fifth grader. I think that both kids and adults will be inspired to explore their own childhood experiences after reading this book.

This book made me Laugh so hard I liked her first book Sahara Special but this is even better. The teacher used thhe book to help us journal and I thought it would be boring but I could not wait for her to read these funny stories out loud and then write my own stories about things like school and grandparents. This author writes about the city in a way that is FOR REAL and not boring and now I write in my journal every day because I want to be a writter. My only comnplaint is this book is not rewally about tuna fish but I dont even like tuna fish so who cares.

In the past, I have read many books and articles by Fred Grandinetti about one of the greatest characters ever created - Popeye the Sailor. By reading this book, one finds out what Mr. Grandinetti has already discovered, the truths he has uncovered, opinions he has cultivated and even what he continues to learn and he shares all of this with us about Popeye. Even though this is an expanded update from the first edition published many years ago, one can still learn many fresh things about the character and history of Popeye from this book. With the information, descriptions, photos and illustrations provided, this book is a great springboard for the mind to rekindle one's own personal memories of Popeye from years past. If one is discovering the character of Popeye for the first time, or just revisiting him, this book can introduce and establish who he is and what he is all about. This book is one I continue to enjoy, as it can be read and re-read again and again.

This book is nothing short of genius. A detailed account of the creation of this legendary cartoon character that is still enjoyed by millions. This is the type of documentary that you just can't put down and it answers many, many questions about the history of Popeye the Sailor. Fred Grandinetti has put together an in depth analysis of the old salt and has delivered a classic piece of literature to be enjoyed for generations to come.

Indulge in all that is Popeye! Mr. Grandinetti has put together a book on the American pop culture icon, Popeye the Sailor Man and it is nothing short of fantastic. Popeye: An Illustrated Cultural History is a must for any book collector's library. It is filled with information documenting Popeye's career in print, radio, film and television. The writer has gone to great lengths in his research on the subject matter and it is apparent when admiring some of the rare and hard to find illustrations of Popeye's past layed out in this book.

With the holiday season at our door step I couldn't think of a better gift for that special someone in your life.

Popeye: An Illustrated Cultural History is a brilliant book dedicated to one of the most enduring comic book / cartoon characters of our time - Popeye the Sailor. Written by Fred Grandinetti, the co-founder of the International Popeye Fan Club, this splendidly illustrated book provides an astonishing and thoroughly researched overview of the charismatic sailor's rich history and exciting career. The author leaves no incarnation of the brusque, yet charmingly humble swab untouched - from the pipe-tooting runt's beginnings in daily funny pages, his extremely successful ventures on the silver screen, to Popeye's career on TV, radio, and stage. Mr. Grandinetti also includes a great episode guide with short summaries of every Popeye cartoon, emphasizing significant aspects of particular and/or groundbreaking "Popeye" shorts. As if that is not enough, this magnificent book provides appendixes with selected scripts from Popeye cartoons and information about the International Popeye Fan Club.

What is particularly fascinating about this book is the fact that Fred Grandinetti does not simply reiterate the familiar "essentials" about the muttering sailorman's exciting career, but also includes what has traditionally been marginalized and overlooked within the dominant Popeye discourse. For example, in the "Popeye in Print" section not only does Mr. Grandinetti deal with Popeye's creator, E.C. Segar, and his superb art of storytelling, but he also incorporates various interesting accounts on Segar's imaginative successors and their own versions of Popeye (Doc Winner, Tom Sims, Bela "Bill" Zaboly, Ralph Stein, Bud Sagendorf, Bobby London, Hy Eisman). The author also touches on the gruff mariner's incarnations in comic books and even Mad magazine.

As with his writing on Popeye in print, Fred Grandinetti tries to stay away from the homogeneous interpretations of Popeye on film. For example, not only does Mr. Grandinetti discuss the "best" of Popeye cartoon shorts (Paramount theatrical films), but he also challenges (in a rather refreshing manner) the monolithic/mainstream perception of the King Features Syndicate made-for-TV Popeye cartoons by recognizing the heterogeneous nature of these animated films in terms of different directors' styles, quality of animation, use of music, etc. Here is an example of just how meticulous and comprehensive Mr. Grandinetti's research can be: Beside dealing with the easily distinguishable versions of the spinach-munching mariner (i.e. Fleischer vs. Famous Studios vs. KFS versions of Popeye), the author goes on to display/discuss different visual designs of Popeye used by different animators (i.e. Hugh Frasier, Ed Friedman, Ken Hultgren, Alan Zaslove, etc.) within Jack Kinney's unit that worked on King Features Syndicate's TV "Popeyes" in the period between 1960 and 1961. And that is just one example.

Unlike Mickey Mouse or Bugs Bunny who have had numerous official releases of their best cartoons on both VHS and DVD, Popeye the Sailor, one of the most popular cartoon characters of all time, has been a very unlucky victim of a rather complex corporate quagmire that has been keeping him in a sort of legal limbo for many decades now. In other words, the pipe-smoking sailor's magnificent animated shorts have never been officially released on either VHS or DVD (You can read more about this in the book). But, unlike Mickey or Bugs, Popeye is very fortunate to have the most dedicated, passionate and hard-working fan/historian in the world - Fred Grandinetti, who paid a fantastic tribute to this timeless animated hero in this splendid book. Written with love, admiration, superb knowledge and thorough research, this beautifully illustrated book (with many original frame grabs from theatrical/TV cartoons, comic strip clips, posters and advertisements) is an homage no other classic cartoon character has.

Recommended to animation fans, students of pop culture, history/animation/film, adults, kids,...in one word: recommended to EVERYONE !!!

The breadth of Grandinetti's knowledge about Popeye is truly astounding! This is good news for readers because it means that his book covers all things Popeye. From comic strips to animated cartoons to collectibles to live action to sound recordings to theme park appearances and more, it's all here. Those wanting to learn about the sailor, or find answers to trivia questions, or rekindle childhood memories and finally solve mysteries like "What was the name of that cartoon where Bluto was a bullfighter?" will find what they need. Even long-time diehard fans like me will learn new things. And the
illustrations are wonderful! There are sample strips from all the creators of the comics over the years, stills from the animated films, theatrical posters, sheet music, ads, model sheets and more. Fred includes episode guides, sample scripts, colorizations gaffs, character profiles, mini-bios of the voice artists, a section on the censored Popeye cartoons, and information about The International Popeye Fanclub written by club co-founder Mike Brooks.
In the interest of full disclosure, I should also say that there are two pages about me and my views toward Popeye and the Famous Studios cartoons, but even without those pages I would recommend the book to anyone wanting an education in Popeye and those curious as to why, 75 years after his creation, people all over the world still talk about the one-eyed, pipe tooting hero.
Not everyone will agree with all of Grandinetti's opinions about the various incarnations of Popeye, but Fred tries to be fair and will get you to think. And fans interacting with other fans' thoughts is what fandom is all about.
Bottom line: This is a good job from perhaps the number one Popeye fan in the world.

There are a number of reasons to buy this item. First, it is very rare and unique--a must for comic collectors and afficiandos. Second, it is a prime example of Nixon propaganda. Third, but most important, it was illustrated by the great Geo Wildman!

Wildman, a lifelong resident of Connecticut, studied advertising at what is now the Paire College of Art. During the 1950s, he was a successful commercial artist, first working for an ad agency, and then becoming a freelance artist. During this time, he began producing freelance comic book art for Charlton Press in Derby, Connecticut.

When King Comics ceased publication of their POPEYE title, Charlton acquired the rights. Longtime writer-artist Bud Sagendorf was busy with the daily and Sunday newspaper comics, and declined the job of continuing. George Wildman was offered a contract to produce the POPEYE illustrations, with prolific Joe Gill writing scripts. The first Charlton issue of POPEYE appears in 1969, the final one in 1977. Wildman was hired as assistant editor to Sal Gentile, and in 1971 was promoted to managing editor, and eventually executive editor. Assistant editor Nicola Cuti wrote several of the later POPEYE scripts for Charlton.

Wildman's tenure as editor continued through 1985, while Western Publishing picked up POPEYE under their Gold Key and/or Whitman trademarks. Bill Pearson, by then assistant editor at Charlton, began writing scripts, and Wildman produced illustrations while off-duty from Charlton. Their crowning achievement was the epic 50th anniversary special published in 1979.

Thanks to the Robert Altman POPEYE movie, a demand for Popeye-related merchandise led to Wildman's working for Random House, illustrating a classic "Pop-Up Book" which became a best-seller and later a display at the Smithsonian Institution. Wildman was also invited to produce a painted wooden Easter egg for the White House Easter event, his egg also now housed in the Smithsonian. Around this time, the National Cartoonists Society awarded him "Best Cartoonist, Humor Division."

Western Publishing ceased its comics line in the early 1980s, and Wildman retired from Charlton Comics in 1985, moving into a freelance comic book and children's book illustration career. His pencils, inks and paints graced publications featuring Disney, Hanna-Barbara, Harvey and Warner Brothers characters along with countless designs for various businesses.

In 1994, George and wife Trudy Wildman were honored in a gala festival in Chester, Illinois, celebrating the 100th birthday of the creator of Popeye, Elzie Crisler Segar. Wildman received the Popeye Fan Club's Lifetime Achievement Award and performed a sketching show to a standing-room-only crowd. A return visit to Chester in 2004, to celebrate the 75th anniversary of Popeye, found Wildman teamed with Hy Eisman, the writer-artist of the Sunday POPEYE newspaper strip since 1994.

Today, Wildman and son Karl operate their own advertising agency, producing computer animation, greeting cards, and a wide variety of products. Wildman's work is seen regularly in the "Hidden Pictures" publications of HIGHLIGHTS FOR CHILDREN. He celebrated his 80th birthday in 2007 and continues to receive mail from Popeye fans around the world.

There are a number of reasons to buy this item. First, it is very rare and unique--a must for comic collectors and afficiandos. Second, it is a prime example of Nixon propaganda. Third, but most important, it was illustrated by the great Geo Wildman!

Wildman, a lifelong resident of Connecticut, studied advertising at what is now the Paire College of Art. During the 1950s, he was a successful commercial artist, first working for an ad agency, and then becoming a freelance artist. During this time, he began producing freelance comic book art for Charlton Press in Derby, Connecticut.

When King Comics ceased publication of their POPEYE title, Charlton acquired the rights. Longtime writer-artist Bud Sagendorf was busy with the daily and Sunday newspaper comics, and declined the job of continuing. George Wildman was offered a contract to produce the POPEYE illustrations, with prolific Joe Gill writing scripts. The first Charlton issue of POPEYE appears in 1969, the final one in 1977. Wildman was hired as assistant editor to Sal Gentile, and in 1971 was promoted to managing editor, and eventually executive editor. Assistant editor Nicola Cuti wrote several of the later POPEYE scripts for Charlton.

Wildman's tenure as editor continued through 1985, while Western Publishing picked up POPEYE under their Gold Key and/or Whitman trademarks. Bill Pearson, by then assistant editor at Charlton, began writing scripts, and Wildman produced illustrations while off-duty from Charlton. Their crowning achievement was the epic 50th anniversary special published in 1979.

Thanks to the Robert Altman POPEYE movie, a demand for Popeye-related merchandise led to Wildman's working for Random House, illustrating a classic "Pop-Up Book" which became a best-seller and later a display at the Smithsonian Institution. Wildman was also invited to produce a painted wooden Easter egg for the White House Easter event, his egg also now housed in the Smithsonian. Around this time, the National Cartoonists Society awarded him "Best Cartoonist, Humor Division."

Western Publishing ceased its comics line in the early 1980s, and Wildman retired from Charlton Comics in 1985, moving into a freelance comic book and children's book illustration career. His pencils, inks and paints graced publications featuring Disney, Hanna-Barbara, Harvey and Warner Brothers characters along with countless designs for various businesses.

In 1994, George and wife Trudy Wildman were honored in a gala festival in Chester, Illinois, celebrating the 100th birthday of the creator of Popeye, Elzie Crisler Segar. Wildman received the Popeye Fan Club's Lifetime Achievement Award and performed a sketching show to a standing-room-only crowd. A return visit to Chester in 2004, to celebrate the 75th anniversary of Popeye, found Wildman teamed with Hy Eisman, the writer-artist of the Sunday POPEYE newspaper strip since 1994.

Today, Wildman and son Karl operate their own advertising agency, producing computer animation, greeting cards, and a wide variety of products. Wildman's work is seen regularly in the "Hidden Pictures" publications of HIGHLIGHTS FOR CHILDREN. He celebrated his 80th birthday in 2007 and continues to receive mail from Popeye fans around the world.

There are a number of reasons to buy this item. First, it is very rare and unique--a must for comic collectors and afficiandos. Second, it is a prime example of Nixon propaganda. Third, but most important, it was illustrated by the great Geo Wildman!

Wildman, a lifelong resident of Connecticut, studied advertising at what is now the Paire College of Art. During the 1950s, he was a successful commercial artist, first working for an ad agency, and then becoming a freelance artist. During this time, he began producing freelance comic book art for Charlton Press in Derby, Connecticut.

When King Comics ceased publication of their POPEYE title, Charlton acquired the rights. Longtime writer-artist Bud Sagendorf was busy with the daily and Sunday newspaper comics, and declined the job of continuing. George Wildman was offered a contract to produce the POPEYE illustrations, with prolific Joe Gill writing scripts. The first Charlton issue of POPEYE appears in 1969, the final one in 1977. Wildman was hired as assistant editor to Sal Gentile, and in 1971 was promoted to managing editor, and eventually executive editor. Assistant editor Nicola Cuti wrote several of the later POPEYE scripts for Charlton.

Wildman's tenure as editor continued through 1985, while Western Publishing picked up POPEYE under their Gold Key and/or Whitman trademarks. Bill Pearson, by then assistant editor at Charlton, began writing scripts, and Wildman produced illustrations while off-duty from Charlton. Their crowning achievement was the epic 50th anniversary special published in 1979.

Thanks to the Robert Altman POPEYE movie, a demand for Popeye-related merchandise led to Wildman's working for Random House, illustrating a classic "Pop-Up Book" which became a best-seller and later a display at the Smithsonian Institution. Wildman was also invited to produce a painted wooden Easter egg for the White House Easter event, his egg also now housed in the Smithsonian. Around this time, the National Cartoonists Society awarded him "Best Cartoonist, Humor Division."

Western Publishing ceased its comics line in the early 1980s, and Wildman retired from Charlton Comics in 1985, moving into a freelance comic book and children's book illustration career. His pencils, inks and paints graced publications featuring Disney, Hanna-Barbara, Harvey and Warner Brothers characters along with countless designs for various businesses.

In 1994, George and wife Trudy Wildman were honored in a gala festival in Chester, Illinois, celebrating the 100th birthday of the creator of Popeye, Elzie Crisler Segar. Wildman received the Popeye Fan Club's Lifetime Achievement Award and performed a sketching show to a standing-room-only crowd. A return visit to Chester in 2004, to celebrate the 75th anniversary of Popeye, found Wildman teamed with Hy Eisman, the writer-artist of the Sunday POPEYE newspaper strip since 1994.

Today, Wildman and son Karl operate their own advertising agency, producing computer animation, greeting cards, and a wide variety of products. Wildman's work is seen regularly in the "Hidden Pictures" publications of HIGHLIGHTS FOR CHILDREN. He celebrated his 80th birthday in 2007 and continues to receive mail from Popeye fans around the world.

There are a number of reasons to buy this item. First, it is very rare and unique--a must for comic collectors and afficiandos. Second, it is a prime example of Nixon propaganda. Third, but most important, it was illustrated by the great Geo Wildman!

Wildman, a lifelong resident of Connecticut, studied advertising at what is now the Paire College of Art. During the 1950s, he was a successful commercial artist, first working for an ad agency, and then becoming a freelance artist. During this time, he began producing freelance comic book art for Charlton Press in Derby, Connecticut.

When King Comics ceased publication of their POPEYE title, Charlton acquired the rights. Longtime writer-artist Bud Sagendorf was busy with the daily and Sunday newspaper comics, and declined the job of continuing. George Wildman was offered a contract to produce the POPEYE illustrations, with prolific Joe Gill writing scripts. The first Charlton issue of POPEYE appears in 1969, the final one in 1977. Wildman was hired as assistant editor to Sal Gentile, and in 1971 was promoted to managing editor, and eventually executive editor. Assistant editor Nicola Cuti wrote several of the later POPEYE scripts for Charlton.

Wildman's tenure as editor continued through 1985, while Western Publishing picked up POPEYE under their Gold Key and/or Whitman trademarks. Bill Pearson, by then assistant editor at Charlton, began writing scripts, and Wildman produced illustrations while off-duty from Charlton. Their crowning achievement was the epic 50th anniversary special published in 1979.

Thanks to the Robert Altman POPEYE movie, a demand for Popeye-related merchandise led to Wildman's working for Random House, illustrating a classic "Pop-Up Book" which became a best-seller and later a display at the Smithsonian Institution. Wildman was also invited to produce a painted wooden Easter egg for the White House Easter event, his egg also now housed in the Smithsonian. Around this time, the National Cartoonists Society awarded him "Best Cartoonist, Humor Division."

Western Publishing ceased its comics line in the early 1980s, and Wildman retired from Charlton Comics in 1985, moving into a freelance comic book and children's book illustration career. His pencils, inks and paints graced publications featuring Disney, Hanna-Barbara, Harvey and Warner Brothers characters along with countless designs for various businesses.

In 1994, George and wife Trudy Wildman were honored in a gala festival in Chester, Illinois, celebrating the 100th birthday of the creator of Popeye, Elzie Crisler Segar. Wildman received the Popeye Fan Club's Lifetime Achievement Award and performed a sketching show to a standing-room-only crowd. A return visit to Chester in 2004, to celebrate the 75th anniversary of Popeye, found Wildman teamed with Hy Eisman, the writer-artist of the Sunday POPEYE newspaper strip since 1994.

Today, Wildman and son Karl operate their own advertising agency, producing computer animation, greeting cards, and a wide variety of products. Wildman's work is seen regularly in the "Hidden Pictures" publications of HIGHLIGHTS FOR CHILDREN. He celebrated his 80th birthday in 2007 and continues to receive mail from Popeye fans around the world.

There are a number of reasons to buy this item. First, it is very rare and unique--a must for comic collectors and afficiandos. Second, it is a prime example of Nixon propaganda. Third, but most important, it was illustrated by the great Geo Wildman!

Wildman, a lifelong resident of Connecticut, studied advertising at what is now the Paire College of Art. During the 1950s, he was a successful commercial artist, first working for an ad agency, and then becoming a freelance artist. During this time, he began producing freelance comic book art for Charlton Press in Derby, Connecticut.

When King Comics ceased publication of their POPEYE title, Charlton acquired the rights. Longtime writer-artist Bud Sagendorf was busy with the daily and Sunday newspaper comics, and declined the job of continuing. George Wildman was offered a contract to produce the POPEYE illustrations, with prolific Joe Gill writing scripts. The first Charlton issue of POPEYE appears in 1969, the final one in 1977. Wildman was hired as assistant editor to Sal Gentile, and in 1971 was promoted to managing editor, and eventually executive editor. Assistant editor Nicola Cuti wrote several of the later POPEYE scripts for Charlton.

Wildman's tenure as editor continued through 1985, while Western Publishing picked up POPEYE under their Gold Key and/or Whitman trademarks. Bill Pearson, by then assistant editor at Charlton, began writing scripts, and Wildman produced illustrations while off-duty from Charlton. Their crowning achievement was the epic 50th anniversary special published in 1979.

Thanks to the Robert Altman POPEYE movie, a demand for Popeye-related merchandise led to Wildman's working for Random House, illustrating a classic "Pop-Up Book" which became a best-seller and later a display at the Smithsonian Institution. Wildman was also invited to produce a painted wooden Easter egg for the White House Easter event, his egg also now housed in the Smithsonian. Around this time, the National Cartoonists Society awarded him "Best Cartoonist, Humor Division."

Western Publishing ceased its comics line in the early 1980s, and Wildman retired from Charlton Comics in 1985, moving into a freelance comic book and children's book illustration career. His pencils, inks and paints graced publications featuring Disney, Hanna-Barbara, Harvey and Warner Brothers characters along with countless designs for various businesses.

In 1994, George and wife Trudy Wildman were honored in a gala festival in Chester, Illinois, celebrating the 100th birthday of the creator of Popeye, Elzie Crisler Segar. Wildman received the Popeye Fan Club's Lifetime Achievement Award and performed a sketching show to a standing-room-only crowd. A return visit to Chester in 2004, to celebrate the 75th anniversary of Popeye, found Wildman teamed with Hy Eisman, the writer-artist of the Sunday POPEYE newspaper strip since 1994.

Today, Wildman and son Karl operate their own advertising agency, producing computer animation, greeting cards, and a wide variety of products. Wildman's work is seen regularly in the "Hidden Pictures" publications of HIGHLIGHTS FOR CHILDREN. He celebrated his 80th birthday in 2007 and continues to receive mail from Popeye fans around the world.

There are a number of reasons to buy this item. First, it is very rare and unique--a must for comic collectors and afficiandos. Second, it is a prime example of Nixon propaganda. Third, but most important, it was illustrated by the great Geo Wildman!

Wildman, a lifelong resident of Connecticut, studied advertising at what is now the Paire College of Art. During the 1950s, he was a successful commercial artist, first working for an ad agency, and then becoming a freelance artist. During this time, he began producing freelance comic book art for Charlton Press in Derby, Connecticut.

When King Comics ceased publication of their POPEYE title, Charlton acquired the rights. Longtime writer-artist Bud Sagendorf was busy with the daily and Sunday newspaper comics, and declined the job of continuing. George Wildman was offered a contract to produce the POPEYE illustrations, with prolific Joe Gill writing scripts. The first Charlton issue of POPEYE appears in 1969, the final one in 1977. Wildman was hired as assistant editor to Sal Gentile, and in 1971 was promoted to managing editor, and eventually executive editor. Assistant editor Nicola Cuti wrote several of the later POPEYE scripts for Charlton.

Wildman's tenure as editor continued through 1985, while Western Publishing picked up POPEYE under their Gold Key and/or Whitman trademarks. Bill Pearson, by then assistant editor at Charlton, began writing scripts, and Wildman produced illustrations while off-duty from Charlton. Their crowning achievement was the epic 50th anniversary special published in 1979.

Thanks to the Robert Altman POPEYE movie, a demand for Popeye-related merchandise led to Wildman's working for Random House, illustrating a classic "Pop-Up Book" which became a best-seller and later a display at the Smithsonian Institution. Wildman was also invited to produce a painted wooden Easter egg for the White House Easter event, his egg also now housed in the Smithsonian. Around this time, the National Cartoonists Society awarded him "Best Cartoonist, Humor Division."

Western Publishing ceased its comics line in the early 1980s, and Wildman retired from Charlton Comics in 1985, moving into a freelance comic book and children's book illustration career. His pencils, inks and paints graced publications featuring Disney, Hanna-Barbara, Harvey and Warner Brothers characters along with countless designs for various businesses.

In 1994, George and wife Trudy Wildman were honored in a gala festival in Chester, Illinois, celebrating the 100th birthday of the creator of Popeye, Elzie Crisler Segar. Wildman received the Popeye Fan Club's Lifetime Achievement Award and performed a sketching show to a standing-room-only crowd. A return visit to Chester in 2004, to celebrate the 75th anniversary of Popeye, found Wildman teamed with Hy Eisman, the writer-artist of the Sunday POPEYE newspaper strip since 1994.

Today, Wildman and son Karl operate their own advertising agency, producing computer animation, greeting cards, and a wide variety of products. Wildman's work is seen regularly in the "Hidden Pictures" publications of HIGHLIGHTS FOR CHILDREN. He celebrated his 80th birthday in 2007 and continues to receive mail from Popeye fans around the world.