Creator: Raymond Lufkin, Illustrator and Designer

Raymond Haskell Lufkin was born on January 29, 1897, in Salem, Massachusetts, according to his Massachusetts Birth Record (at Ancestry.com), his World War II draft card, Something About the Author, Volume 38, and Family Search. His parents were Joseph G. Lufkin and Amanda D. Low, both Massachusetts natives.

1900 U.S. Federal Census recorded the Lufkin family in Boston, Massachusetts at 112 Fowler Street. Lufkin had an older brother, Richard, and a younger sister, Annie. Their father was a traveling salesman. 

Something About the Author said Lufkin was nine years old when his first published work, a prize-winning pen and ink drawing, appeared in the Boston Herald (probably in the children’s section called Boston Herald Junior).

The household gained two members in the 1910 census: Lufkin’s brother, Eben, and paternal grandmother, Sarah, a widow. They resided at 222 Harvard Street in Boston.

Lufkin’s art training was at the New School of Design in Boston. The Boston Register and Business Directory 1918, listed Lufkin in the Designers category. His address was 29 Central, room 57. 

Lufkin was a student at Boston University’s College of Business Administration. The university published a World War I record of many of its students. Lufkin was a private who served at various times from November14, 1917 to January 4, 1919. The Bostonia, December 1920, has the same information. Illustrators of Children’s Books. 1946–1956 (1958) said “While serving in World War I he was given many a ride in Army training planes in Tennessee and Texas in return for drawing sketches of the various pilots.” In Design & Paper, number ten, 1942, George F. Trenholm said

… At the present he is absorbed in an evening course in airplane design and mathematics, his interest in the subject carrying over from U.S. Army Air Corps courses in 1917–18 at Pratt Institute, Kelley Field and St. Paul. …

During his service Lufkin submitted cartoons and jokes to Judge which published several of them: September 28, 1918, October 5, 1918, October 19, 1918, November 16, 1918, November 30, 1918, and December 14, 1918. 

In the 1920 census Lufkin and his siblings lived with their parents in Boston at 11 Grace Street. Lufkin was a designer in the advertising trade. Later that year, Lufkin married Adaline E. Lynch on December 16 in Minneapolis, Minnesota. The 1922 Minneapolis, Minnesota city directory listed Lufkin’s home address as apartment 18,  70 South 12th Street. The 1922 St. Paul, Minnesota city directory (below) said he was an artist at Brown & Bigelow, a publishing company. At some point Lufkin returned to Boston.

The 1924 Boston city directory listed Lufkin at 110 Warren Street in Brighton. He was an advertising artist and partner in Herrick & Lufkin, located at 80 Boylston Street, room 822, in Boston. He was also listed at the same address in the City of Boston Residents, April 1, 1924. 

Advertising Arts & Crafts

Lee & Kirby, 1924

According to the 1926 Medford, Massachusetts city directory, commercial artist Lufkin was a resident at 12 Ash Street. In 1927 and 1928 his address was 17 Winter Street. 

The 1930 census recorded Lufkin, his wife, a daughter and two sons in Wellesley, Massachusetts on Parker Road. His house was valued at nine thousand dollars. Lufkin was a self-employed advertising artist. Boston directories for 1930 and 1931 said Lufkin maintained his studio at 80 Boylston Street. The 1933 Wellesley directory (below) said his address was 16 Parker Road. In 1933 Lufkin moved again. 

PM, Number 34, 1937 (below), featured the work of Lufkin and said “he studied with Vesper Lincoln George, Philip Hale, Vojecht Preissig, Bridgeman and Harvey Dunn.” In Boston he had worked with advertising agencies and printers such as BBDO and Barta Press. According to PM, in 1933 Lufkin went to New York City and was a free-lancer at Hal Marchbanks’ office where he designed, among other work, three calendars, from 1934 to 1936, for the Marchbanks Press. Lufkin and his family resided in Tarrytown, New York. 

PM, number 36, 1938, featured Lufkin’s scratchboard portraits of Norman Munder, Will Bradley, Thomas Cleland, Frederic Goudy, and Bruce Rogers.

In the late 1930s Lufkin moved to New Jersey. The 1940 census said Lufkin lived in Tenafly, New Jersey at 124 West Clinton Avenue in Tenafly and was a Tarrytown, New York resident in 1935. The self-employed designer and illustrator owned his Tenafly house which was valued at $6,500.  

On April 26, 1942, Lufkin signed his World War II draft card. He was described as five feet six inches, 152 pounds, with grown eyes and blonde hair. The card included his business address, 225 Varick Street, New York, New York, which was address of the printing firm, William E. Rudge’s Sons. Sometime earlier Lufkin produced a moving announcement. He was not listed in the Manhattan directories from 1942 to 1944. 

Also in 1942, he was a member of the Salmagundi Club. 

Design & Paper, Number 10, circa 1942, showcased some of Lufkin’s illustrations. 

Something About the Author said Lufkin designed war bond posters for the Treasury Department and created military maps. 

The Reader’s Digest, April 1944, cover featured Easter eggs decorated by 34 artists including Lufkin. 

Manhattan city directories from 1945 to 1949 said Lufkin had an office at 130 West 42nd Street. The Manhattan directories in the 1950s and 1960s listed his Tenafly address and phone number. 

Lufkin’s address in the 1950 census said “116”, instead of 124, West Clinton Avenue, Tenafly, New Jersey. He was a commercial artist working in commercial printing. The census said he worked 55 hours the previous week. 

From 1934 to 1962, Lufkin was a non-resident member of The Society of Printers. 

Lufkin advertised in Publishers’ Weekly.

October 14, 1947

November 1, 1947

December 6, 1947

Lufkin’s most widely seen work was the 1947 Christmas Seal. He was a speaker at the Christmas Seal luncheon in Brooklyn. 

Chicago Draugas, December 8, 1947

According to the 1950 census, Lufkin, his wife and son were Tenafly, New Jersey residents at 116 West Clinton Avenue. Lufkin was a commercial artist in the printing industry. 

Lufkin retired to Florida where he passed away on December 10, 1978, in Saint Petersburg. An obituary was published in the Asbury Park Press (New Jersey), December 17, 1978.

St. Petersburg, Fla.—Raymond Lufkin, 79, a former resident of Freehold, N.J., died here Dec. 10 at a local hospital. Mr. Lufkin was an artist who had designed and illustrated many books, advertising booklets and other published works. He had moved here nine months ago from Freehold, N.J. He was a member of the Society of Illustrators. Surviving are a son, Dudley D., here, and three grandchildren. The National Cremation Society was in charge of arrangements. 

Books and Pamphlets with Illustrations by Lufkin

The Boroughmonger

R.H. Mottram

Dust Jacket

Little, Brown, and Company, 1929

Ood-le-uk Wanderer

Alice Alison Life and Margaret Johansen

Little 1930

Jimmy Goes to War

Leslie W Quirk

Little Brown and Co., 1931

Moccasin Trail: The Story of a Boy Who Took the Trail with Kit Carson

Reed Fulton

Doubleday, 1931

All Aces

Captain Samuel Taylor Moore

McLoughlin Brothers, Inc., 1932

Fighting Aces

Captain Samuel Taylor Moore

McLoughlin Brothers, Inc., 1932

Under Sea Heroes

Captain Samuel Taylor Moore

McLoughlin Brothers, Inc., 1932

The Snakeblood Ruby

Samuel Scoville, Jr.

Dodd, Mead, & Co., 1932

 

Big Flight

Francis and Katherine Drake

Dust Jacket

Little, Brown, and Company, 1934

In 1937, a book about the building at 40 Wall Street was published. It was described in American Printer, May 1937. 

Wall Street Buys a Book

You probably never will print a book like this. It measures 20 x 26 inches over all. It weighs 20 pounds. It’s bound in what at first sight appear to be quarterinch-thick sheets of plate glass. And it was printed in an edition of 12 copies. But whether you do or not, the fact that such a book WAS printed should be cause for rejoicing to you and to every other printer, for it shows that once again there is a market for fine printing—that an opportunity exists today such as you have not had since pre-depression times to sell the best you are capable of producing.

William E. Rudge’s Sons, New York, was the organization that printed the job—and not only printed it but designed it, planned it, wrote it, and, in cooperation with the client, developed a procedure for presenting it. Its purpose was to help Starrett Brothers and Eken, builders and managers of the Manhattan Co. building at 40 Wall Street, present the story of that building to corporation executives and directors and other major prospects for office space—present [text missing]

Obviously, something more than “just printing” was called for, and the giant size, unusual binding, restrained typography, brief text, and 17 large photographic illustrations, one of them in full color—they are actual photographic prints mounted in, not reproductions—were all planned and worked out with these very practical ends in view. 

Plexiglas, an “unbreakable thermoplastic exactly resembling plate glass,” was used for the first time in the binding, which was done by Russell-Rutter Co. Text in Garamond. Printed in two colors on Strathmore Rhododendron Cover, white. Scratchboard drawings in text by Raymond Lufkin. 

Another description of the book is at the Guide to the Records of HRH Construction, under the Container List, Series I. Office Files, 1929-1958, Folder 1. Six illustrations from the book are shown in Steven Heller’s Print post, “The Straight and Narrow”. 

Black Land White Land: A Reggie Fortune Novel

H. C. Bailey

Dust Jacket

Doubleday, Doran, 1937

Medieval Days and Ways

Gertrude Hartman

Macmillan, 1937

Treasure Mountain

Eric Philbrook Kelly

Macmillan, 1937

The Inexhaustibility of the Subject of Christmas: A Holiday Dissertation

Leigh Hunt

William Bradford Press, 1937

A Merry Christmas Book of Christmas Facts and Fancies

Alfred C Hottes

Publishing Printing Co., 1938

The Book of Hugh and Nancy

Eric Milner-White and Eleanor Shipley Duckett

Macmillan Co., 1938

The Year Is a Round Thing

Helen Ebeltoft Davis

Musson, 1938

At the Sign of the Golden Compass

E.P. Kelly

Macmillan, 1938

40 Wall Street: Designed for Working

William E. Rudge’s Sons, 1940

Magic Tunnel: A Story of Old New York

Caroline Dwight Emerson

McClelland, 1940

Shattuck Cadet

B. J. Chute

Macmillan, 1940

Yukon Holidays

Felice Fieldhouse

Longmans, Green and Co., 1940

Building an Empire

Louise Lamprey

Frederick A. Stokes, 1941

Difficult Decade: 1931–1941

Fiduciary Trust Company of New York

William E. Rudge’s Sons, 1941

A Greeting to Frederic W. Goudy from All the Typophiles

1941

Nobody's Vineyard

H. C. Bailey

Dust Jacket

Doubleday, Doran and Co., Inc., 1942

Man of Molokai: The Life of Father Damien

Ann Roos

Lippincott, 1943

Here Is Africa

Ellen and Attilio Gatti

Map

Charles Scribners, 1943

Here Is Alaska

Evelyn Stefansson

Charles Scribner’s Sons, 1943

Straight Up

Henry B. Lent

Macmillan, 1944

The Autobiography of Benjamin Franklin

Peter Pauper Press, 1945

Here Is India

Jean Kennedy

Map

Charles Scribner’s Sons, 1945

California Pageant

Robert G. Cleland

Knopf, 1946

Wild Waters

Lewis S. Miner

J. Messner, Inc., 1946

 

Hawaii’s Queen, Liliuokalani

Adrienne Stone

Messner, 1947

A Saga of Commerce

The Staff of C. Tennant, Sons & Co., of New York

1947

The Story of the Bible People

Muriel Streibert Curtis

Macmillan, 1947

Turkey, Old and New

Selma Ekrem

Map

Charles Scribner’s Sons, 1947

The Story of the Negro

Arna Bontemps

Knopf, 1948

An Adaptation of The Story of Our Lady’s Juggler

Thomas J. McCabe

Privately printed, 1951

Terra, An Allegory

Faber Birren

Philosophical Library, 1953

The Unconsidered

Faber Birren

Citadel Press, 1955

We Were There with the California Forty-Niners

Stephen Holt

Grosset & Dunlap, 1956

Mary McLeod Bethune

Emma Gelders Sterne

Alfred A. Knopf, 1957

Ships Come and Go

Marie Elizabeth Smith

Charles Scribner’s Sons, 1957

Through Golden Windows: Adventures Here and There

Jeanne Hale

E.M. Hale, 1958

page 310: The Explorer by Katherine Shippen

Through Golden Windows: Stories of Early America

Nora Ernestine Reust and Jeanne Hale

E.M. Hale, 1958

page 314: The Sons of Daniel Boone by Cyril Clemens

The Picture History of America

Alexander Van Rensselaer

Doubleday, 1961

Tenafly, 1894–1969

Virginia T. Mosley

Tenafly 75th Jubilee Committee, 1969

Further Viewing

Letterology, Raymond Lufkin, Letter S

Related Posts

Harvey Hopkins Dunn

Oscar Ogg

(Next post on Monday: Al Kurzrok, Artist, Letterer, Teacher and Psychologist) 

Creator: A Few Details About Artist, Animator and Director Bessie Mae Kelley

Bessie Mae Kelley was born Elizabeth Mae Kelley. The date of her birth is unclear: November 1889 in the 1900 United States Census; November 10, 1890, Minnesota Death Index;  November 10, 1897, Social Security Death Index. Kelley’s birthplace was Port Allegany, Pennsylvania on her marriage license (at Ancestry.com), and Punxsutawney, Pennsylvania in Descendants of Benjamin Fiddler and Maria Fosbrook Fiddler: Family History and Genealogy, 1838–1987 (1989). 

According to the 1900 United States Census, Kelley and her sister were born in Pennsylvania. Kelley’s father was Canadian and her mother English. They were residents of Caribou, Maine where her father was manager of the Caribou Town Farm.

In the 1910 census, Kelley and her parents continued to live in Caribou. She was a self-employed artist and her father a farmer. They lived on Riverside Street. 

Sometime after the census, Kelley studied at the Walker Institute of Art and Pratt Institute.

The New York Times, December 15, 2022, published an article about animation scholar Mindy Johnson and her research on Kelley. Johnson said Kelley’s career started in 1917. At the time New York was the center of American animation. Kelley worked for Bray Productions, Paul Terry (“Aesop’s Fables”) and Max Fleischer (“Out of the Inkwell”). 

Kelley has not yet been found in the 1920 census. 

In December 1920, production of the “Gasoline Alley” animated cartoons was reported in the Exhibitors Herald and Motion Picture News. Bray Pictures Corporation was hired to handle the animation and Kelley directed some of the cartoons. 

Around 1924, Kelley left the animation industry and toured as chalk talk artist. 

Patriot Ledger (Quincy, Massachusetts), October 31, 1925, page 1 column 5:

Ladies’ Night Is Observed by Mt. Wollaston Chapter

... Another entertainment was Miss Bessie May [sic] Kelley, crayon artist. She drew landscape scenes and gave an illustration of how animated pictures are drawn from which films are made. ...

Patriot Ledger, December 3, 1925

Patriot Ledger (Quincy, Massachusetts), December 5, 1925, page 5 column 3:

Secrets of Animated Movies Is Revealed in Talk

Despite the heavy downpour of rain last evening a good-sized audience attended the entertainment given under the auspices of the Wollaston Parent-Teacher Association in the Wollaston school hall, the proceeds of which are to be used as a fund for the school playground. The Quincy high school band rendered selections under the direction of Miss Maude Howes and Miss Bessie Mae Kelly [sic], animated cartoonist, revealed the secret of how animated cartoons for the movies, such as “Aesop’s Fables,” are made. She drew with colored chalk cartoons of a mother spanking a boy. Although she used only two movements in her drawings, she explained that it would be necessary to make about 16 cartoons for that part of a moving picture. Repeating Joyce Kilmer’s poem “The House with Nobody in It,” she next drew an expressive picture of an abandoned farm-house. Then with a few deft touches on a fresh sheet of paper she sketched a knocker and making a remark that this was an article one never has when one wants it, but that she was now going to draw one that was always around when it wasn’t wanted, she proceeded to change it into a woman whose very face spelt trouble. Much amusement was finished by the cartoons Miss Kelly depicted of the characters in an entertaining little poem, “Lost Lovers.” …

… Miss Kelly made her last appearance with a beautiful sketch, “Sunset,” while Mrs. Clark played “The End of a Perfect Day,” on her lyre, accompanied at the piano by Miss Soule. …

Boston Herald, November 28, 1926

Kelley was represented by the

H.B. Williams Musical Agency.

Evening Leader (Corning, New York), July 16, 1927: Kelley in column one under

Entertainment and column three under Outline Program Sixth Weekday

Evening Leader (Corning, New York), July 27, 1927, page 5 column 4:

N.Y. Comedy Success Chautauqua Feature

... Miss Bessie Mae Kelley, who will entertain the young folks of all ages at the Chautauqua tent Thursday afternoon possesses the unique distinction of being the only woman animated cartoonist in the motion picture profession, and has had thorough grounding and training in her art.

She has been associated for seven years with the Bray Productions of New York and Chicago; has also assisted Max Fliescher [sic] on his famous cartoon stories, “Out of the Inkwell,” and Paul Terry in animating “Aesop’s Fables.” She has, personally, directed the series of animated cartoons “Gasoline Alley.” ...

Patriot Ledger (Quincy, Massachusetts), December 17, 1927, page 7 column 5:

Tehye Hsieh Speaker at Wollaston

... Miss Bessie May Kelley, cartoonist of the Bray Animated Motion pictures, whose clever drawings and amusing recitations kept the audience highly entertained. The artist explained the process required in the making of such cartoons as the “Aesop Fables” which she “animated.” It takes the artists about 900 hours to perfect one of these films which we may see on any screen in less than eight minutes. One background is drawn and then each movement of each little character is drawn and placed over the background, many sheets of paper being used to make a character make one step. The slower they move in the movies the more pictures have to be drawn. When the artist has finished, they pictures are traced on celluloid 5-1000 of an inch thick and then handed to the color man who colors the figures on the back to blot out the background. 

Miss Kelley demonstrated her wonderful skill, in line and color, in her picture of “The House with Nobody in It,” accompanied by her recitation; caused a great deal of mirth with her “Moo, Cow, Moo,” and character sketches of suitors for her hand, and bought [sic] down the house with her life portraits of Dr. Sneath and Chester I. Campbell, who obligingly posed for her. Mr. Campbell then introduced Dr. Tehye Hsieh, director of the Chinese Trade Bureau, who spoke on the “Real Trouble in China.”

Boston Herald (Massachusetts), July 5, 1929, page 2 column 6:

20,000 Persons Enjoy Presentation of Holiday Pantomime on Common

The eighth annual community pageant “Beauty and the Beast,” a colorful pantomime, was presented yesterday on the Common before 20,000 persons.

Depending largely on colorful costumes and settings for the success of the pageant, Mrs. Aline Meginot, who designed the costumes Harold F. Lindergreen, designer, and Bessie May [sic] Kelley, painter of the settings, deserve praise. ...

The 1930 census recorded Kelley in Boston, Massachusetts at 35 Audubon Road. She shared an apartment with New Hampshire native Frances M. Pattee, a nurse, who, in the 1920 census, was involved with music.

The 1930 and 1931 Boston, Massachusetts city directories listed Kelley as an artist at 16 Blossom Court.

Greenfield Recorder (Massachusetts), October 29, 1930, page 5 column 3: 

Turners Falls Rotary Club Holds Annual Ladies’ Night

Turners Falls Inn Is Scene of Hallowe’en Event—Entertainment Is Pleasing

Turners Falls, Oct. 29.—The Turners Falls Rotary club held their annual ladles’ night last evening at the Turners Fall Inn. Being so close to Halloween, the event took the form of a Hallowe’en party. The rooms of the Inn were decorated, the orange and black color scheme being carried out A turkey supper was served the members and their guests, and between courses the popular songs of the day were sung by the entire gathering. ...

... Following the contests the entertainment committee presented Miss Adele Neff of Boston, and a Novelette Trio, who presented an interesting entertainment. The trio gave some very pleasing numbers of vocal solos and instrumental selections. Miss Bessie Mae Kelley, cartoonist, showed wonderful skill with her crayons, and the work of Charles Budden as pianist and William Blackley as a tenor soloist was enjoyed. Miss Neff presented a fine program of character sketches and readings. ...

In November 1930, Kelley spoke at the University of Pennsylvania. 

Winchester Star (Massachusetts), January 1, 1932, page 1 column 5:

Fortnightly Notes

The children’s party on Monday afternoon, Dec. 28, was a great success. The grace and beauty of the dance numbers presented by Grace De Carlton, director of the Dance Department of the National Associated Studios of Music, and her pupils delighted both children and adults. The program by Bessie Mae Kelley, the only woman in the United States who draws animated cartoons for the motion pictures, was clever and unusual, and provided excellent entertainment for the youngsters. Miss Kelley explained the process of making the cartoons and illustrated with sketches of the little animals who appear in Aesop’s Fables cartoons. While making her other sketches, she recited humorous stories and poems which pleased the children immensely. She made cartoons of two of the small boys in the audience to the great delight of the other children. ...

On July 15, 1932, “Elizabeth M. Kelley” and William A. Hirschy married in Nashua, New Hampshire, according to the New Hampshire Marriage Record Index at Ancestry.com. (Descendants of Benjamin Fiddler and Maria Fosbrook Fiddler misspelled Hirschy as Hirshy.) Her occupation was artist and his machinist.

Springfield Republican (Massachusetts), September 11, 1932, page 5 column 3:

Clambake to Be Held

... Following the clambake, there will be ... entertainment consisting of ... Bessie Mae Kelley of the Bray Productions of New York and Chicago, who has made several cartoons for moving pictures. ...

About a decade after Kelley’s withdrawal from animation, another woman advanced to the rank of animator. The Times-Herald (Olean, New York), November 7, 1934, published the following article by Leo Baron, a United Press staff correspondent. 

For twenty-five years the cartoon department of the film business, a veritable industry in itself, has hired only men animators. Women artists have been unable to crash the field. Of the hundreds who made the attempt none seemed able to stand the strain of drawing the same caricature over and over, thousands of times, in a room filled with men.

But now the old order has changed. A young woman, only twenty-two and it takes at least five years to make the average cartoon animator—has proven that she can draw Betty Boop and Popeye as well, and as consistently, as any of the better masculine ar­tists.

Max Fleischer, father of screen cartoons, who has given an army of women artists an opportunity to pull themselves up to $250 a week, which is the better animator’s salary, found it difficult to believe that this conservative girl, who had never joined even in of­fice conversation during the three years she has been on his lesser personnel payroll, had actually made the grade.

She is Miss Lillian Friedman of New York, and she now has a long term contract with full screen credit.

Ancestry.com has a number of Minneapolis, Minnesota city directories. The years for 1934 and 1935 are incomplete. The 1936 directory listed “Bessie M Hirschy” and her husband at 5510 27th Avenue South. She was “Elizabeth M Hirschy” in the 1937 directory.

Kelley and her husband were at the same address in the 1940 census. She had four years of college and no income in 1939.

Her husband signed his World War II draft card on October 16, 1940. 

The 1950 census recorded Kelley on Wilmatt Hill in Minnetonka, Minnesota. She was a housewife. 

A photograph of Kelley and her husband was published in the 1955 book, Twenty Five Years in the Wide, Wide World! Quarter Century Report of the Class of 1930 of Dartmouth College. The profile said

Bill married Elizabeth Mae Kelley (Walker Institute of Art and Pratt Institute) in 1931. 

They married in 1932. 

Kelley’s parents and sister were laid to rest at Evergreen Cemetery. Kelley’s husband passed away on March 17, 1980. Kelley passed away on October 21, 1981, in Wabasha, Minnesota. She was laid to rest at Lakewood Cemetery. 

SIDEBAR: Women in Animation, 1920

Searching the 1920 United States Census revealed six women in animation. They were found using the keyword cartoonist. Going through the list of cartoonists I looked at the column for industry and saw moving picture, motion picture and film company. It’s not clear if anyone was an animator. 

Josephine Kelly born around 1894 in Missouri; Manhattan resident

Helen Kroll born around 1900 in New York; Manhattan resident; in 1921 she married Walter Goldwyn a dentist

Eva Malloy born around 1903 in New York; Bronx resident

Alice Morgan born around 1895 in New Hampshire; Manhattan resident; in 1930 she was cartoon instructor at a studio; in 1940 she was a Fleischer Studios artist

Dorothy Morgan (Alice’s sister) born around 1901 in New Hampshire; Manhattan resident; in 1924 she married Milton Ulmer a cigar manufacturer

Helen Stehlik born around 1901 in Bohemia; Manhattan resident

It’s not clear if any of the following women worked in animation. They were artists in the moving/motion picture and film industry.

Dora M. Adams born around 1875 in New York; Brooklyn resident; in 1925 she was a  housewife

Augusta Anderson born around 1888 in the District of Columbia; Manhattan resident

Jennie Ball born around 1880 in New York; Brooklyn resident

Clara Coors born around 1889 in Minnesota; Brooklyn resident; in 1930 she was a hospital nurse

Marie Hennings born around 1903 in New York; Brooklyn resident; in 1930 she was an office clerk, photograph office

Lucille Klebold born around 1904 in Georgia; Manhattan resident

May Knauff born around 1897 in New York; Bronx resident

Etheyle Parry born around 1897 in New York; Manhattan resident

Josephine L. Scaiano born around 1904 in New York; Staten Island resident

Margaret Schecker born around 1903 in New York; West Hoboken, New Jersey resident; in 1930 she was a stenographer at a plumbing company

Anna Stanley born around 1892 in New York; Manhattan resident

Elizabeth K. Thomson born around 1884 in Scotland; Queens resident

Hazel Williams born around 1898 in New York; Bronx resident; in 1940 she was a telephone operator

Related Animation Post

Pauline Loth (Fleischer Studios)

Women in Comics Posts

Jeanne Alippe, Ruth Atkinson, Olive Bailey, Valerie Barclay, Betty Bentley, Vivian Berg, Zena Brody, Jean Callahan, Helen Chu aka Duffy Mohler, Ellen Cole, Corinne Boyd Dillon, Anahid Dinkjian, Jill Elgin,

Barbara Clark Fogel, Laura E. Foster, Evelyn Gaines aka Lynn Lovelace, Merna Gamble, Gerda Gattel, Selma Meyers Gleit, Jane Krom Grammer, Anita Greene,

Bonnie Hano, Delores Heilman, Ray Hermann, Joye Hummel, Marjorie Wilkes Huntley, Grace Jacquet, Charlotte Jetter, 

Anna Kaufman, Bessie Mae Kelley, Nadine French King, Alice Kirkpatrick, Grace Kremer, Ada Levy,  Pauline Loth, Veda Lufkin,

Marion McDermott, Emma C. McKean, Tarpé Mills, Claire S. Moe, Phyllis Muchow, Lily Reneé, Ruth Roche, 

Georgette Sauterel, Marie Severin, Marcia Snyder, Lora Sprang aka Pat Gordon, Serena Summerfield, Daisy Swayze, Terry Szenics, Claire Szep, 

Alberta Tews, Peggy Zangerle

(Next post on Sunday: Christmas, 1902)