Roy Crane Papers An inventory of his papers at Syracuse University

Crane was honored with the prestigious Reuben Award by the National Cartoonists Society in 1950. He was besides awarded the Gold Medal Award for Distinguished Public Service, the highest respect the navy can bestow on civilians, from the United States Navy for his fictional adventures of Buz Sawyer. In 1961, he received the Silver Lady Award from the Banshee club—a group of artists, editors, and writers in New York. Mr. Crane was honored with a Doctorate of Human Letters from Rollins College. He established the Roy Crane Award in Arts at the University of Texas to encourage independent accomplishment in creative compose, art, music, and drama in January 1965. Roy Crane died in 1977. Crane, son of Judge and Mrs. R. C. Crane, was born in 1901 in Abilene, Texas, and grew up in Sweetwater, Texas. He attended Hardin-Simmons University in 1918 and the University of Texas from 1919 to 1922, subsequently studying concisely at the Chicago Academy of Fine Arts. In 1924, he started the comic strip, Wash Tubbs, for the Newspaper Enterprise Association in Cleveland. late he introduced another character, “ Captain Easy ”, into the plunder, for whom the Sunday version was ultimately named. In 1943, Roy Crane left NEA to launch his new creation, Buz Sawyer, for King Features Syndicate in New York. Both Crane creations finally ran well into the recently 1980s. Royston C. Crane ( 1901-1977 ), known as Roy Crane, was an american cartoonist. He was the creator of the long-running newspaper comedian strips Wash Tubbs/Captain Easy and Buz Sawyer .
The Roy Crane Papers contains amusing strips, art and artifacts, biographic material and personal papers, corespondence, drawings and sketches, promotional substantial, published material, research material, and writings. The development of the assorted permutations of Crane ‘s master feature of speech is a spot tangled, but in rough terms the daily version was titled “ Wash Tubbs ”, while the Sunday sport ran with the title “ Captain Easy ”. finally, around 1949, the two strips both began to carry the title “ Captain Easy ”, but many local papers continued to use the old titles for many years.

The huge bulk of the collection consists of Comic strips in assorted formats from Wash Tubbs/Captain Easy ( 1924-1945 ) and Buz Sawyer ( 1943-1977 ). comedian strip formats include original cartoons, tear sheets and proofread. typically, until about the deep 1950s, Crane kept proofs/tear sheets in big scrapbooks, with Sunday and daily versions ordered individually in chronological order. After 1957, proof were kept as lax sheets ( 6 strips per sheet for dailies ). Crane ‘s original cartoons are besides ordered individually in chronological decree. For the first few years of the Captain Easy Sunday strip, Crane produced big, hand-colored panels. Most of these are in 2 pieces, but about a twelve or so are hush intact as single pieces. Often, specially in the early years of Wash Tubbs/Captain Easy, Crane cut his drawings into multiple pieces—probably to expedite mail, but besides for his own purposes ( image files, examples for assistants, and so forth ). Whenever possible, identifiable fragments and partial derivative cartoons have been integrated with other cartoon holdings ( in chronological order ) ; a total of these fragments, however, have not been integrated, and can be found in concert under the grouping “ cartoon Fragments ” .
In addition to holdings of Crane ‘s chief comedian strips, the solicitation besides contains examples of other, ephemeral and fender strips that Crane produced. There are big format tinge proof from Frank Battle and The Rise of Radio Rudolph, vitamin a well as original cartoon drawings from a never-realized travel feature. The solicitation besides contains several rip sheet examples of the supplementary Wash Tubbs games have, and a few tear sheets representing the early, ephemeral Sunday version of Wash Tubbs .
Wash Tubbs/Captain Easy corporeal includes casual cartoons and Sunday cartoons. Art media for the day by day cartoons include traces of graphite, bluing pencil, pasteovers, pen and ink on Craftint board or illustration control panel ; dimensions vary approx. 5 x 17 ½ in. to 7 ½ x 25 ½ in. Art media for the Sunday cartoons until 1935 include traces of graphite, blue pencil, paste-overs, watercolor, brush, pen and ink on illustration display panel ; overall dimensions approx. 22 ¾ x 24 in., most in 2 pieces ). After 1935, traces of graphite, blue pencil, paste-overs, brush, playpen and ink on exemplification board, overall dimensions approx. 21 ½ adam 28 in. ( most in 2 pieces ). For the daily validation, most are approx. 3 adam 8 ½ in. on newspaper ( strips pasted into scrapbooks ). For the Sunday proof, most are 9 ½ adam 13 in. in color on newspaper ( pasted into scrapbooks ) .
Buz Sawyer material includes daily cartoons and Sunday cartoons. Art media for the daily cartoons include traces of graphite, blasphemous pencil, scratchings, opaque white, brush, pen and ink on Craftint board ( some on illustration board ), approx. 6 ten 18 in. Art media for the Sunday cartoons include traces of graphite, blue pencil, opaque white, pasteovers, brush, pen and ink on illustration display panel, dimensions vary, most approx. 18 x 26 in. daily proof sail ( 1943-1965 ) : dimensions vary, most 11 ½ x 19 ½ in. on newspaper ( 6 strips per sheet ). Fir tge day by day validation sail ( 1965-1977 ) : most approx. 8 ½ x 17 in. on glossy newspaper ( 6 strips per tabloid ). Sunday proof : dimensions vary, most approx. 10 ½ x 14 ½ in color on glossy paper ( all in black and white depart 1965 ) .
In addition to original artwork for the above comedian strips, the solicitation besides contains a significant measure of material related to the production and distribution of the amusing strips. Art and artifacts contains some of Crane ‘s aesthetic materials, including sample drawings and scrapbooks/manuals on “ How to Draw Buz Sawyer ” and “ How to Write Buz Sawyer, ” adenine good as cartoons by other artists.

Biographical material and personal papers includes awards, biographic and autobiographical sketches, photograph, a few fiscal items, and many-sided personal material .
Correspondence represents professional communications, including correspondence with syndicate representatives ( both NEA and King Features ), adjunct artists ( including Leslie Turner, Bela Zaboly, Joe King, Al Wenzel and Clark Haas ), and a solid sum of agreement between Crane and diverse U.S. government entities, particularly the U.S. Navy. There is a divide subseries of symmetry between Crane and his assistant Clark Haas which documents their work kinship .
There are preliminary Drawings and sketches from every phase of Crane ‘s career, from juvenilia to his published strips .
Promotional material consists of syndicate-produced announcements, sample strips, etc. for Wash Tubbs/Captain Easy, Buz Sawyer and other Roy Crane strips .
Published material includes clippings about Crane and his oeuvre arsenic well as assorted published examples of his knead such as tabloid music and magazine covers.

Research material for Buz Sawyer and Wash Tubbs includes notes, notebooks, pamphlets, clippings, photograph and so on .
Writings, largely by Crane, includes notes, drafts and typescripts reflecting the development of report scenarios and continuities ( including accumulated research material and notebook ), a well as Crane ‘s thoughts about his exercise and the history and art form of the comedian strip .
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