Flash Gordon Sunday with Large Uncut Paper Doll from 12/16/1934 Just Topper

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Flash Gordon Sunday with Large Uncut Paper Doll from 12/16/1934 Just Topper:
$16.00

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This is a Flash GordonSunday Page by Alex Raymond. Uncut LargePaper Doll!This wascut from the original newspaper Sunday comics sectionfrom 1934. Size: 8 x 14 inches(Third Full Page) Paper Doll Area = 5 x 7 inches or more!Paper:some light tanning, otherwise: Excellent!Bright Colors! Pulled from Loose Sections!(Please Check Scans) Please include $5.00 Total postage on any size order (USA) $16.00 International Flat Rate. I combine postage on multiple pages. Check out my other sales for more great vintagecomic strips and Paper Dolls.Thanks for Looking!

*These pages when complete sell for much more, here is your chance to get the Very Rare and Desirable Paper Dolls all by themselves!

Alex RaymondFrom Wikipedia, the free encyclopediaAlex RaymondPromotional photograph of Alex Raymond fromKing Features\'Famous Artists and Writers, 1949BornOctober 2, 1909[1]
New Rochelle, New YorkDiedSeptember 6, 1956(aged46)
Westport, ArtistNotable worksFlash Gordon,
Rip KirbyAwardsReuben Award(1949),
Comic Book Hall of Fame, 1996

Alexander Gillespie\"Alex\"Raymond(October 2, 1909 – September 6, 1956)[2]was an Americancartoonist, best known for creatingFlash GordonforKing Featuresin 1934. The strip was subsequently adapted into many other media, from a series ofmovie serials(1936–1940) to a 1970stelevision seriesand a1980 film.

Raymond\'s father encouraged his love of drawing from an early age, leading him to become an assistant illustrator in the early 1930s on strips such asTillie the ToilerandTim Tyler\'s Luck. Towards the end of 1933, Raymond created the epicFlash Gordonscience-fiction comic strip to compete with the popularBuck Rogerscomic strip and, before long,Flashwas the more popular strip of the two. Raymond also worked on the jungle adventure sagaJungle Jimand spy adventureSecret Agent X-9concurrently withFlash, though his increasing workload caused him to leaveSecret Agent X-9to another artist by 1935. He left the strips in 1944 to join theMarines, saw combat in thePacific Ocean theaterin 1945 and was demobilized in 1946. Upon his return from serving duringWorld War II, Raymond created and illustrated the much-heraldedRip Kirby, a private detective comic strip. In 1956, Raymond was killed in a car crash at the age of 46;[3]he was survived by his wife and five children.

He became known as \"the artist\'s artist\"[4]and his much-imitated style can be seen on the many strips he illustrated. Raymond worked from live models furnished by Manhattan\'s Walter Thornton Agency, as indicated in \"Modern Jules Verne,\" a profile of Raymond published in the Dell Four-ColorFlash Gordon#10 (1942), showing how Thornton model Patricia Quinn posed as a character in the strip.

Numerous artists have cited Raymond as an inspiration for their work, including comic artistsJack Kirby,Bob Kane,Russ Manning, andAl Williamson.George Lucascited Raymond as a major influence forStar Wars. He was inducted into theWill Eisner Comic Book Hall of Famein 1996. Maurice Horn stated that Raymond unquestionably possessed \"the most versatile talent\" of all the comic strip creators. He has also described his style as \"precise, clear, and incisive.\"[5]Carl Barksdescribed Raymond as a man \"who could combine craftsmanship with emotions and all the gimmicks that went into a good adventure strip.\"[6]Raymond\'s influence on other cartoonists was considerable during his lifetime and did not diminish after his death.

Contents[hide]

• 1Biography
  • 1.1Early life and career
  • 1.2Flash Gordon, Jungle Jim and Secret Agent X-9
  • 1.3Military career
  • 1.4Rip Kirby
  • 1.5Legacy
  • 1.6Specific influences
  • 1.7Death
  • 1.8Personal life
• 2Bibliography
  • 2.1Collected editions
• 3Awards
• 4References
• 5Further reading
• 6External links

Biography[edit]Early life and career[edit]

Raymond was born inNew Rochelle, New York, the son of Beatrice W. (née Crossley) and Alexander Gillespie Raymond. He was raised in theRoman Catholicfaith.[7][8]

His father was acivil engineerand road builder who encouraged his son\'s love of drawing from an early age, even \"covering one wall of his office in theWoolworth Building\" with his young son\'s work.[9][10]After the death of his father when he was 12, he felt that perhaps there was not as viable a future in art as he had hoped and attendedIona Prepon an athletic scholarship.[9]

Raymond\'s first job was as \"an order clerk inWall Street\". In the wake of the1929 economic crisis, he \"enrolled in theGrand Central School of Artin New York City\" and began working as a solicitor for amortgage broker.[9][10]

Approaching former neighborRuss Westover, Raymond soon quit his job and by 1930 was assisting on Westover\'sTillie the Toiler, through which Raymond was \"introduced to [the]King Features Syndicate\", where he became a staff artist[11]and for which he would produce his greatest work.[9][10]

Raymond was influenced by a variety of strip cartoonists and magazine illustrators, includingMatt Clark,Franklin BoothandJohn La Gatta.[12]From late 1931 to 1933,[13]Raymond assistedLyman YoungonTim Tyler\'s Luck, eventually becoming theghost artistin \"1932 and 1933... [on] both the daily strip and the Sunday page\",[5]turning it \"into one of the most eye-catching strips of the time\".[13]Concurrently, Raymond assistedChic YoungonBlondie.[10]

In 1933, King Features assigned him to do the art for an espionage action-adventure strip,Secret Agent X-9,[11]scripted by novelistDashiell Hammett,[10]and Raymond\'s illustrative approach to that strip made him King Features\' leading talent.[11]

Flash Gordon, Jungle Jim and Secret Agent X-9[edit]Further information:Flash Gordon,Jungle Jim, andSecret Agent X-9

Towards the end of 1933,[5]King Features asked him to create a Sunday page that could compete withBuck Rogers in the 25th Century,[10]a popular science-fiction adventure strip that had debuted in 1929 and already spawned the rivalBrick Bradfordin 1933.[11]According to King Features, syndicate president Joe Connolly \"gave Raymond an idea ... based on fantastic adventures similar to those ofJules Verne\".[9]

AlongsideghostwriterDon Moore,[11]apulp-fictionveteran, Raymond created the visually sumptuous science-fiction epic comic stripFlash Gordon.[10]The duo also created the \"complementary strip,Jungle Jim, an adventurous saga set in South-East Asia\", atopperwhich ran aboveFlashin some papers[14]Raymond was concurrently illustratingSecret Agent X-9, which premiered January 22, 1934, two weeks after the two other strips.[15]It wasFlash Gordonthat would outlast the others, quickly \"develop[ing] an audience far surpassing\" that ofBuck Rogers.[14]Flash Gordon, wrote Stephen Becker, \"was wittier and moved faster,\"[6]so \"Buck\'s position as America\'s favorite sci-fi hero\", wrote historian Bill Crouch, Jr., \"went down in flames to the artistic lash and spectacle of Alex Raymond\'s virtuoso artwork.\" Alex Raymond has stated, \"I decided honestly that comic art is an art form in itself. It reflects the life and times more accurately and actually is more artistic than magazine illustration—since it is entirely creative. An illustrator works with camera and models; a comic artist begins with a white sheet of paper and dreams up his own business—he is playwright, director, editor and artist at once.\"[9][11]A. E. Mendez has also stated that \"Raymond’s achievements are chopped into bite-sized pieces by the comic art cognoscenti. Lost in the worthwhile effort to distinguish comics as an art form, the romance, sweep and beauty of Raymond\'s draftsmanship, his incomparable line work, is dismissed. To many, it\'s just pretty pictures. Somehow or another, it\'s OK for people likeCaniffandEisnerto borrow from film. That’s real storytelling. But for Raymond to study illustrators, well, that\'s just not comics.\"[12]

Debuting on January 7, 1934, Raymond\'s firstFlashstrip introduced the \"world-famouspoloplayer\", improbably roped into a space adventure alongside love-interestDale Ardenand scientistDr. Hans Zarkov.[14]Transported byrocketto the planet Mongo, \"which was about to collide with Earth\", the trio \"immediately became embroiled in the affairs of Mongo\'s inhabitants—particularly those of its insidious warlord,Ming\", who would become Flash Gordon\'s nemesis throughout the franchise\'s many incarnations.[14]

Early in 1935, Hammett decided to depart as writer ofSecret Agent X-9in order to pursue a career in Hollywood. While it has been presumed that Raymond took on the writing duties of the strip until a replacement could be found, biographer Tom Roberts instead believes that the strip was written by committee during editorial conference, a viewR. C. Harveybelieves is supported by the strips themselves.[16]SaintauthorLeslie Charteriswas hired to take over the writing of the strip in September 1935, but the pair would only collaborate on one storyline.[17]By the end of 1935, \"the [work]load was too much for Raymond,\"[5]who leftSecret Agent X-9to artist Charles Flanders, in order to devote more time to his meticulous Sunday pages.

Raymond\'s work onX-9is said to particularly reach for \"the feel of the best pulp interior art of the time,\" a style that would evolve with his own so-called \"great flourishes\" and \"later blossom to full effect inFlash GordonandJungle Jim\".[12]\"Under his pen,\" writesMaurice Horn, his Sunday pages \"became world famous (especiallyFlash Gordon).\"[5]However, historian and critic R.C. Harvey argues that \"despite Raymond\'s great talent as an illustrator, his deployment of the comic-strip medium (onX-9) was not very impressive.\" Harvey feels that Raymond\'s work suffers in comparison toMilton Caniff\'s contemporaneous work, with Raymond\'s failings as a visual storyteller less noticeable on a weekly Sunday strip, where the space afforded played to his skills as an illustrator.[17]

The firstFlash Gordonand one from 1936 show how Raymond expanded from the standard layout to larger panels.

Raymond\'s sensual artwork—for which the artist particularly \"studied popular illustrators,\" including pulp artist Matt Clark, whose work Raymond\'s male figures particularly evoke[12]—outshone its borders and \"attracted far more loyal readers than... [the] rather contrived and unconvincing adventure stories\" his work depicted.[14]Raymond swiftly became \"among the most highly-regarded—and most imitated—in all of comics\" for his work on the weekly strip, with Harvey declaring his work on the strip \"a technical virtuosity matched on the comics pages only byHarold FosterinPrince Valiant.\"[14][17]Raymond evolved the layout of the strip from a four-tier strip in 1934 to a two-tier strip in 1936, reducing the number of panels but doubling their size. Combining this with a removal of dialogue fromspeech balloonsto captions at the bottom of the panel afforded Raymond the space to create detailed and atmospheric backgrounds. Against these spacious backgrounds, the placement of characters in heroic pose \"lent the entire enterprise a mythic air.\"[17]

Flash Gordongained a daily strip in 1940, illustrated byAustin Briggs.[14]Raymond left the Sunday strip in 1944 to join the Marines, whereupon the daily strip was cancelled and Briggs assumed Sunday duties, continuing until 1948.[14]Briggs was succeeded on the Sundays byEmanuel \"Mac\" Raboy, while the daily strip was revised in 1951 by Dan Barry. Barry also took over Sunday duties after Raboy\'s death in 1967.

Run aboveFlash Gordon, Raymond\'sJungle Jimis described by Armando Mendez as \"a thing of beauty... always more than just a topper or a shallow response toHal Foster\'s exquisiteTarzan\".[12]The companion strip evolved over time, morphing from an initial \"two tiers and up to six panels [layout], with speech balloons\" into \"a single row, of four very tall panels with declamatory text and static, vertical composition\".[12]Raymond\'s skill and artistic dexterity, however, kept the storytelling constant and the artwork vibrant.Jungle Jimwas \"set in contemporary times and the exoticMalay peninsulaof islands, [but] was intended to hark back to the original tales career[edit]While he was in the Marines, Raymond painted \"Marines at Prayer\" for theMarine Corps\' Headquarters Bulletin(December 1944).

Raymond took the war in Europe seriously enough to incorporate it into his strips, with Flash returning to Earth in the Spring of 1941. Jungle Jim found himself involved in the conflict too, fighting in the U.S. Army. Raymond was becoming \"restive about doing his duty\", a restlessness increased by the knowledge that four of his five brothers were already enlisted.[17]In February 1944, Raymond left King Features and his work on the SundayFlash Gordon/Jungle Jimpages to join theUS Marines, commissioned as a captain and serving in the public-relations arm. Raymond is quoted as stating \"I just had to get into this fight... I\'ve always been the kind of guy who gets a lump in his throat when a band plays the \'Star Spangled Banner\'\".[5][10][17][18]

Shortly thereafter, he \"was sent toQuanticofor training in the curriculum of the Aviation Ground Officer\'s School,\" and was soon producing \"posters and patriotic images from a government office in Philadelphia.\"[18]His most famous image from this time is \"Marines at Prayer,\" which \"was destined to become a well-known and well-circulated image of Marines on a battlefield pausing for worship.\"[18]Raymond also \"designed the official 1944 Marine CorpsChristmas card.\"[6]Desiring \"to get closer to the action,\" he then trained at the Marine Corps Air Station inSanta Barbarabefore serving in thePacific Ocean theater\"on the 1945 cruise of theescort carrierUSSGilbert Islands.\"[18]Treated by his fellow marines (who had been raised onFlash Gordon) as a celebrity, he was nonetheless seen as \"a down-to-earth fellow,\" and well liked.[18]He saw \"a period of intense combat in June 1945,\" and was \"made an honorary member of VMTB-143 in August 1945.\"[18]Raymond had, in May 1945, designed a squadron patch for the men of VMTB-143, after which the \"squadron adopted the new name \'The Rocket Raiders\'.\"[18]

He was demobilized as a Major in 1946.[5][10]Upon his return, Raymond was unable to return toFlash Gordon. King Features were not prepared to usurp Austin Briggs from theSunday stripand pointed out that Raymond had left voluntarily to enlist. Relatives of Raymond recall the artist as resenting this decision, which left him feeling \"cast off with so little regard.\"[17]However, King Features offered Raymond the opportunity to create a new strip.

Rip Kirby[edit]Main article:Rip KirbyAlex Raymond\'sRip Kirby(July 28, 1956), his final strip with Judith Lynne \"Honey\" Dorian.

Raymond\'s \"police daily strip,\"[5]named after its central character - J. Remington \"Rip\" Kirby[12]- debuted on March 4, 1946, conceived (and initially scripted) by King Features editorWard Greene.[19]The plotting of the strips is harder to attribute, the scant evidence available supporting the notion that Raymond was more than simply an illustrator.[17]However, as was relatively commonplace on such strips, published credit went to Raymond, whose name was the major selling feature; the artist even managed to gain a part-ownership deal with King and a better split of the profits than was usual.[17][19]Rip Kirbywas Raymond\'s reintroduction to newspaper strips after the war, and he was quick to forge a new \"up-to-date\" style for the strip, while keeping ties to the audience he had built up withFlash Gordon,Jungle Jim, andSecret Agent X-9.[19]

Running alongside the post-World War IIreintegration of America\'s military into civilian life, Rip (like Raymond) was \"an ex-Marine,\" who \"set himself up as a private detective\" a vocation tailor-made to provide daily thrills.[19]

Described by Stephen Becker as \"modern and almost too intellectual\",[20]the strip eschewed many of thepulp fictionaldetective tropes (e.g. alcoholism, two-fisted assistants, and an assortment of interchangeablefemmes fatale). Instead, \"[Rip] did more cogitating than fisticuffing, and smoked a leisurely pipe while he did it;\" \"had a frail, balding assistant ... instead of a two-fisted sidekick;\" \"had a steady girlfriend... [and] [i]f that wasn\'t enough, he even wore glasses![19][21]Rip \"lived and worked in a recognizable, glamorous, modern New York City on cases involving very human frailties and vice\", and \"grew older as the strip progressed\", a continuity advancement little seen in the strips of the time (although pioneered in \"Gasoline Alley\" andMary Worth[22]).[12]Raymond noted the change in subject matter, commenting that \"I wanted to do something different and more down to earth.\"[17]

Stylistically, \"Raymond turned to theCooper Studio-Al Parkeradvertising style for inspiration, spurring a new generation of comic artists to follow a fresh direction\", that of \"glorify[ing] contemporary post-War American life\".[12]Although the strip was published entirely in black and white, Raymond worked hard to add tone through artistic technique. \"Raymond nevertheless [colored] through his use of varying linework ... [creating] color through contrast\".[23]His new style was much imitated throughout the industry and became known as \'the Raymond style\'.[24]

Circulation of the strip rose steadily, and it was the artist who was apportioned most of the praise - including being awarded the fourthReuben Awardin 1949.[19]He also served as theNational Cartoonists Society\'s president from 1950 until 1952, putting into place the committee structure responsible for overseeing the organization, and threw himself into championing the medium as an art form.[17]Raymond profited in recognizability as well as financially, and continued on the strip until his untimely death in September 1956.[19]His collaborator from 1952 was writer Fred Dickenson (who wrote the strip for a further 34 years), and he was succeeded artistically by magazine and Prize Publications\'Young Romanceillustrator John Prentice.[19]Commentators have said that Prentice echoed the Rip Kirby artistic style, but lacked \"Raymond\'s excellent design sense,\" although he continued to draw the strip until his retirement in 1999, the strip itself concluding shortly after.[17][19]

Legacy[edit]

In 1967,Woody Gelman, under his Nostalgia Press imprint revived some of his earlier work.[25]Regarded byTimemagazine in 1974—alongsidePrince Valiantauthor-illustratorHal Foster—as \"some sort of genius\",[26]and described inJerry Bailsand Hames Ware\'sWho\'s Who in American Comic Booksas \"[p]ossibly the most influential artist on early comic books\",[27]Raymond\'s legacy as an artistic inspiration is immense. Harvey argues that it is because of Raymond and Foster that the illustrative style became the dominant one used for adventure strips. \"His work and Foster\'s created the visual standard by which all such comic strips would henceforth be measured.\"[17]Biographer Tom Roberts also believes Raymond\'s work on Rip Kirby \"inspired all the soap opera style strips of the fifties and sixties\". Roberts argues that strips such asApartment 3-G\"can trace their origins to the success of Raymond\'s strip\".[23]Although his work was rarely seen outside of the newspaper \"funny pages\", as Raymond preferred to focus his energies on strip work, he also produced a number of \"illustrations forBlue well asEsquire.[12]

The \"heightened realism\" of Raymond\'sphotorealisticstyle has been \"chastised for making his pictures too realistic, too gorgeous for its own sake\", although many commentators believe that this very method \"plunges the reader into the story\".[28]Raymond\'s work has a \"timeless appeal,\" many aspects of which—including the use of feathering (a shading technique in which a soft series of parallel lines helps to suggest the contour of an object)[6]—have inspired generations of cartoonists, his work becoming \"the raw material for the swipe files of future generations\".[6][28]His work onRip Kirbyis especially noted for its use of \"sophisticated black spotting\", a technique Raymond used from c.1949 \"for pacing\" reasons.[28]Fellow-cartoonistStan Drakerecalled that Raymond called his black areas \"pools of quiet\", serving as they did \"as a pause for the viewer, something to slow the eye across the strip\'s panels\".[28]

Specific influences[edit]George Lucas, who has cited Raymond as an influence onStar Wars.

Alex Raymond\'s \"influence on other cartoonists was considerable during his lifetime and did not diminish after his death\".[5]George Lucashas cited Raymond\'sFlash Gordonas a major influence on hisStar Warsfilms (which, cyclically, inspired the 1980Flash Gordonfilm), while Raymond\'s long shadow has fallen across the comics industry ever since his work saw print. Comics artists who have cited Raymond as a particularly significant influence on their work includeMurphy Anderson,Jim Aparo,Frank Brunner,John Buscema,Gene Colan,Dick Dillin,José Luis García-López,Frank Giacoia,Bob Haney,Jack Katz,Everett Raymond Kinstler,Joe Kubert,Russ Manning,[29]Mort Meskin,Sheldon Moldoff,Luis Garcia Mozos,Joe Orlando,Mac Raboy,[30]John Romita Jr.,Kurt Schaffenberger,Joe Sinnott,Dick SprangandAlex Toth, among many others.[31]

In particular, Raymond has been named as a key influence by many of the most influential and important comic book artists of all time.EC Comics-stapleAl Williamsoncites Raymond as a major influence, and is quoted as saying that Raymond was \"the reason I became an artist\".[6]Indeed, Williamson ultimately assisted on theFlash Gordonstrips in the mid-1950s, andRip Kirbyin the mid-1960s (all post-Raymond).[31]KeyGolden Ageartists credit Raymond with influencing their work. The artistic creators ofBatman(Bob Kane) andSuperman(Joe Shuster) credit him (alongsideMilton Caniff,Billy DeBeckandRoy Crane) as having had a strong influence on their artistic development.[31]Decades later, the herald of theSilver Age(and co-creator of most ofMarvel Comics\'s pantheon of heroes),Jack \"King\" Kirbyalso credits Raymond, alongside fellow strip artistHal Foster, as a particular influence and inspiration.[31]

CerebuscreatorDave Simhas published a comic book since 2008 calledglamourpusswhich is an examination of Alex Raymond\'s career (and the techniques of other photorealists likeStan DrakeandAl Williamson) structured around a hypothetical storyline set during the last day of Raymond\'s life.

Death[edit]

On September 6, 1956, Raymond was killed in an automobile accident inWestport, Connecticut. Driving fellow cartoonistStan Drake\'s 1956Corvetteat twice the 25mph (40km/h)speed limit,[6]he hit a tree and was killed. Roberts describes in his biography the circumstances as a result of the weather. Driving in the convertible with its top down, Raymond decided to reach his destination quicker rather than stop to put the top back up when rain started to fall. Drake was thrown clear of the crash, but Raymond, with his seat belt buckled, died instantly. Speculation surrounds the nature of his death, with some, Drake included, believing Raymond was suicidal. Raymond had been involved infourautomobile accidents in the month prior to his death, which led Drake to say Raymond \"had been trying to kill himself\". Author Arlen Schumer ascribes the motive for suicide as being related to Raymond\'s personal life. Schumer alleges that Raymond had been having affairs, and that his wife was refusing to grant him a divorce. R. C. Harvey is dismissive of this motivation: \"Committing suicide strikes me as an odd way for a man of Raymond\'s sophistication to react to his disappointment in romance\".[17]Harvey also notes that no mention of any alleged affairs is made in Tom Robert\'s biography, \"probably out of consideration to Raymond\'s surviving family\".[17]Drake has also been quoted as speculating that Raymond \"hit the accelerator by mistake\" instead of the brake.[6]Raymond is buried in St. John\'s Roman Catholic Cemetery inDarien, Connecticut.[32]

Personal life[edit]

Raymond married Helen Frances Williams on December 31, 1930, with whom he had five children.[9]The names of his three daughters—Judith, Lynne and Helen—were immortalized in that of Rip Kirby\'s girlfriend, Judith Lynne \"Honey\" Dorian.[22]The Raymonds also had two sons: Alan W. and Duncan.[9]He was the great-uncle of actorsMatt DillonandKevin Dillon.[33]His younger brother,Jim Raymond, was also a cartoonist, and also an assistant toChic YoungonBlondie.

Bibliography[edit]

Raymond\'s work includes:

Tillie the Toiler(assistant, 1930)
• Tim Tyler\'s Luck(assistant, 1930–1933)
• Blondie(assistant, 1930–1933)
• Flash Gordon(with writer Don Moore, 1934–1943)
• Secret Agent X-9(with writerDashiell Hammett, 1934–1935)
• Jungle Jim(with writer Don Moore, 1934–1944)
• Rip Kirby(with writer Ward Greene, 1946–1956; with writer Fred Dickenson, 1956)

Collected editions[edit]

Raymond\'s work has been collected a number of times. Most recently:

Flash Gordon(hardcover,Checker Book Publishing Group):
Volume 1(collects Raymond\'s earliest Sunday Strips starting from the first, printed on January 7, 1934; 98 pages, October 2003,ISBN0-9741664-3-X)
• Volume 2(collects strips from 1935 and 1936; 100 pages, December 2004,ISBN0-9741664-6-4)
• Volume 3(collects the pages printed between October 25, 1936 and August 1, 1937; 96 pages, May 2005,ISBN1-933160-25-X)
• Volume 4(collects strips printed between 1938 and 1940; November 2005,ISBN1-933160-26-8)
• Volume 5(collects \"The Ice Kingdom of Mongo\", \"Power Men of Mongo\", and \"The Fall of Ming\"; 1940 to 1941; 80 pages, November 2005,ISBN1-933160-27-6)
• Volume 6(collects the pages printed from August 1941 to May 1943; 100 pages, April 2007,ISBN1-933160-28-4)
• Volume 7(collects the final strips from mid-1943, until the final Raymond issue from February 1945; 100 pages, December style=\"margin-bottom: 0.1em;\">Rip Kirby(hardcover, IDW):
  Volume 1(collects strips printed between 1946 and 1948; 2009,ISBN978-1-60010-484-8)
  • Volume 2(collects strips printed between 1948 and 1951; March 2010,ISBN978-1-60010-582-1)
  • Volume 3(collects strips printed between 1951 and 1954; November 2010,ISBN978-1-60010-785-6)
  • Volume 4(collects strips printed between 1954 and 1956; August style=\"margin-bottom: 0.1em;\">Flash Gordon & Jungle Jim(hardcover, IDW):
    Volume 1(collects strips printed between 1934 and 1936; December 2011,ISBN978-1-61377-015-3)
    • Volume 2(collects strips printed between 1936 and 1939; August 2012,ISBN978-1-61377-220-1)
    • Volume 3(collects strips printed between 1939 and 1941; April 2013,ISBN978-1613775806)
    • Volume 4(collects strips printed between 1942 and 1944; May style=\"margin: 0.5em 0px; line-height: inherit;\">Alex Raymond received aReuben Awardfrom theNational Cartoonists Societyin 1949 for his work onRip Kirby, and he later served as President of the Society in 1950 and 1951.[5]He was inducted into theWill Eisner Comic Book Hall of Famein 1996.[27]He was inducted into theSociety of IllustratorsHall of Fame in 2014.[34]

      Maurice Horn calls Raymond \"one of the most celebrated comic artists of all time as the creator of four outstanding comic features (a feat unequaled to this day),\" noting that he \"received many distinctions and awards during his lifetime for his work, both as a cartoonist and as a magazine illustrator.\"[5][35]

      *Please note: collecting and selling comicshas been my hobby for over 30 years. Due to thehours of my job I can usually only mail packages out on Saturdays. I send out First Class orPriority Mail which takes 2-5 days to arrive in the USAand Air Mail International which takes 5 -10 days or more depending on where youlive in the world. I do not \"sell\" postage or packaging and charge less than the actual cost of mailing. I package items securely and wrap well. Most pages come in an Archival Sleeve with Acid Free Backing Board at no extra charge. If you are dissatisfied with an item. Let me know and I will do my best to make it right.

      Many Thanks to all of my1,000\'s of past customers around the World.

      EnjoyYour Hobby Everyone and Have Fun Collecting!

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      Flash Gordon Sunday with Large Uncut Paper Doll from 12/16/1934 Just Topper:
      $16.00