Comics: Searching for Sid Check

Sid Check was born around the same time as fellow comic book artists Wally Wood (1927), Joe Orlando (1927), Frank Frazetta, (1928), Al Williamson (1931) and Angelo Torres (1932). Child of Tomorrow: And Other Stories (2013) said Check lived in Brooklyn, New York where he attended the Mark Twain Junior High School.

With this information I began my search for Check.

In the 1940 U.S. Federal Census, there was a ten-year-old Sidney Check who resided in Coney Island, Brooklyn, New York at 3001 West 29 Street. (No other boys named Sidney Check or Sydney Check were found in Brooklyn.) Check lived with his uncle and aunt, Morris and Rose Applebaum. Morris worked in children’s clothing. The census said Check was born in New Jersey around 1930 and, in 1935, lived in Newark, New Jersey.

A Social Security application, transcribed at Ancestry.com, was filled out by Sidney Charles Check who was born August 2, 1930 in Newark, New Jersey. His parents were Abraham Check and Ida Applebaum.

Check’s parents were found in the 1930 census which was enumerated in April, four months before Check’s birth. Check’s parents were Polish emigrants who arrived in 1926. The census recorded their address as 217 Harrison Avenue in Newark, New Jersey. Check’s father was a tailor at a clothing house. Also in the household was Morris Applebaum, Ida’s brother. What happened to Check’s parents is not known. At some point Check was in the care of his uncle and aunt.

The Mark Twain Junior High School (known today as Mark Twain Intermediate School 239 for the Gifted and Talented) is located in Coney Island, Brooklyn at 2401 Neptune Avenue, less than a ten minute walk from Check’s home that was about a mile west of the train station.

Check graduated from the School of Industrial Art (SIA) in Manhattan. Below is the 1948 yearbook photograph with his name, address and major: “Check, Sidney; 2995 West 29 Street; Brooklyn, 26[?], New York; Cartooning.” Check lived on the same street and near his previous address. Check may have known Orlando, who was in the Class of 1945, and Torres, a 1951 graduate.

Check’s earliest comic book work dates to 1950 according to Who’s Who of American Comic Books 1928–1999 and 1951 in the Grand Comics Database. Against the Grain: Mad Artist Wallace Wood (2003) said “Working off and on with Wood since 1949, Check was a huge comic book fan while growing up in the Thirties and Forties. He held Wood, Williamson, [Roy] Krenkel and Frazetta in high regard and eventually became friends with these talented giants.”

Below is Check’s “The Spartans!” in Battlefront #23, September 1954.

Child of Tomorrow said “Check grew up in Brooklyn, New York, where he and Frank Frazetta knew each other as boys in the same neighborhood.” In the 1930 census, Frazetta lived at 1203 Avenue Y in Sheepshead Bay, Brooklyn which was about three miles east of Check’s home. Frazetta’s address in the 1940 census was 2435 East 11th Street, about a block-and-a-half from his old home. Frazetta studied at Michele Falanga’s Brooklyn Academy of Fine Arts and did not mention Check as a student there. Frazetta attended Abraham Lincoln High School, in Brooklyn, when Check was at SIA. It’s not clear when and where Check and Frazetta first met as boys.

The New York City, Marriage License Indexes at Ancestry.com said a Sidney Check and Betty Green obtained a Brooklyn marriage license in 1952. The couple were granted an August 1957 divorce in Russell County, Alabama. There was no mention of Check’s marital status by his friends and colleagues.

Check’s name and address were recorded in a 1964 Brooklyn voter registration enrollment book: “Check Sidney C. 2995 W 29th st 1868762—D”.

Child of Tomorrow said “Sometime in the early 1970s, Torres bumped into Check on the street. ‘He told me he had a regular job and wasn’t involved in comics anymore. I never saw him again after that,’ Torres said.” Years later, some of Check’s possessions in a storage locker were sold.

According to the Social Security Death Index, Check passed away June 19, 2002. His last residence was Coney Island, Brooklyn at the 11224 ZIP Code.

(Next post on Monday: School of Industrial Art’s Cartoonists, 1939–1960)

Creator: Frank Frazetta and Baseball

April 4 is opening day for the 2012 season of Major League Baseball. In the 1940s, Frank Frazetta played sandlot baseball for the Islanders in the Marine Park Division of the Parade Grounds Baseball League. Here are a few articles from the Brooklyn Daily Eagle.

Brooklyn Daily Eagle, April 7, 1946

Last paragraph

Brooklyn Daily Eagle, September 1, 1948

First paragraph

Brooklyn Daily Eagle, December 9, 1949

Last paragraph

Brooklyn Daily Eagle, September 6, 1950

22nd on the list

Ariel, Volume Two, 1977, published the second part of Armand Eisen's interview with Frank Frazetta; excerpts from the interview:

What age were you when you got the pro baseball offer from the Giants?

I think I was about twenty.

Johnny Comet came along. Why did you decide not to go with baseball? That was an important decision—you could have been a professional athlete.

Stupidity. Just dumb, negative attitude. Also at the time, I was involved with a girl. And the fact that I would have to go off with the farm team somewhere down in Texas and sweat it out for a year didn't seem very appealing. It was very different than it is now. If they approached me today and I was in my twenties…

Would you do it?

Yes, I would, assuming that I had the same ability. The first thing they would do would be to offer me a tremendous amount of dough. There were no huge bonuses in those days—most kids were delighted to go down and struggle in the minors. I realize now that I would have had a good chance of graduating to the major leagues in a hurry.

Today, do you regret that you didn't…

Sure!

Do you really? Is that the truth, Frank?

I loved baseball. I played it and I still play it and I still draw and paint. So what the hell is the difference? They are two things I love to do. With baseball, I loved the competing; I loved the physical part of it. I could really let out—run like a wild man and swing that bat. Totally exhilarating! It almost beats sex—almost.

Well, when you hit a home run, I can see where it would.

Yeah. Absolutely the same thing. Total climax—my god, beautiful. It always bugs me when I hear some professional athlete stand around and say that he only does it for the money.

As for why I didn't sign up, I remember that going to another state seemed like going to the end of the world. They bus you back and forth and it was just one big disgusting hassle. So I said maybe next year…time went by and before you know it I'm too old. It was just my way of letting time go by.

Let's say, if you had a choice and if you could only do one, which would you choose?

Well, I've never had it put to me that way before. I must admit that the physical side is stronger.

I think you get the same satisfaction from that as you would from art.

I certainly do. And I get less tired. I am nowhere near as exhausted playing ball as I am when I paint.

(New post on Monday)

Street Scene: Frank Frazetta's High School

• N E W Y O R K C I T Y •

Abraham Lincoln High School

2800 Ocean Parkway, Brooklyn

Main entrance

Plaque in entrance stairway

Brooklyn Daily Eagle,

December 11, 1944;

see sub-head,

“Something Modern”

Frank Frazetta was born on February 9, 1928. Part one of Armand Eisen’s interview with Frazetta was published in Ariel magazine, Autumn 1976. When asked the question, Was there any single art teacher whom you particularly admired or became close to or who influenced you?, Frazetta answered:

There was one outstanding man who really, really gave me incentive. He seemed to know how to get to me. Others had just the opposite approach. They felt, keep him down so he will fight and strive for better things. Right? His attitude was, tell him he’s great—in other words, make him happy and he will perform. And that really worked with me, in art. And you get those who try to push you down, and you come up just to show them—and they say “He’s great!” You are trying to show both sides that you are great. Whether it is in sports or in art, you’ve got to convince the non-believers and confirm the believers. That sort of thing. It is a marvelous feeling. That is what life is all about.

...By the way, what was the name of that art teacher?

Grubman.

Where did he teach?

He taught in Abraham Lincoln High School.

And how old were you when he was your teacher?

I was in my teens, oh, 15 or 16. He was very encouraging. You know, he just made me feel important.

Do you think that had any influence at all on your work?

Well, no influence on my work, none whatsoever. It was simply that I was going my way no matter who came along and he simply made my life more pleasant and just reaffirmed what was in my own heart, that I was good. I had it.

••••••••

A copy of Frazetta’s high school transcript is here.

••••••••

Paul Grubman was born in Brooklyn, New York on August 11, 1898, according to the Social Security Death Index. In the 1900 U.S. Federal Census, he was the youngest of eight children born to Joseph and Flora, both Russian emigrants. They lived in Brooklyn at 24 Osborn. His father was a machinist.

In the 1910 census, Grubman, his parents and three siblings lived in Brooklyn at 1623 Eastern Parkway. His father was an optician. He graduated from Manual Training High School on June 28, 1917, as reported in the Brooklyn Daily Eagle on June 29. He signed his World War I draft card on September 10, 1918. He lived at 1672 Union Street in Brooklyn and worked as a machine helper.

Grubman has not been found in the 1920 census. The Eagle reported, on September 26, 1922, that he was licensed to teach textile design at the evening high schools. He lived in Belle Harbor, Long Island at 238 North 132 Street.

Brooklyn Daily Eagle,

September 26, 1922;

see last two lines.

He has not been found in the 1930 census. In July 1933 he was licensed to teach freehand drawing in high school, according to the Eagle, July 1, 1933. On November 27, 1934, the Eagle reported his appointment to Abraham Lincoln High School; he had been a substitute teacher.

Brooklyn Daily Eagle,

July 1, 1933

Brooklyn Daily Eagle,
November 27, 1934

Grubman passed away in May 1984 in Brooklyn, according to the Social Security Death Index. He was buried on June 4 in Green-Wood Cemetery.

(Frazetta's baseball days; Street Scene post on Monday)

Creator: Hal Foster

Hal Foster's Influence on Frank Frazetta

Hal Foster's Tarzan daily comic strips, from January and February 1929, were reprinted as a book, The Illustrated Tarzan Book #1, published by Grosset & Dunlap in 1929. The book can be viewed at Golden Age Comic Book Stories. Frank Frazetta's art was in the first issue of Thun'da, King of the Congo, which was published in 1952.

Select panels from Tarzan and Prince Valiant are followed by panels from either Thun'da or Frazetta book covers. The panels show either similar compositions or concepts.

HANGING ON A BRANCH

Tarzan, daily 30

Tarzan and the Lost Empire

Thun'da, Gods of the Jungle, page 6

Tarzan, daily 21

Tarzan, daily 26

Tarzan, daily 43

Thun'da, Monsters from the Mists, page 1

Tarzan, daily 37

Thun'da, King of the Lost Lands, page 6

WALKING ON A BRANCH

Tarzan, daily 37

Thun'da, Monsters from the Mists, page 6

POINTING

Tarzan, daily 25

Tarzan, daily 47

Thun'da, Monsters from the Mists, page 7

LASSOED

Tarzan, daily 26

Thun'da, King of the Lost Lands, page 8

FIGHTING AN ANIMAL

Tarzan, daily 44

Thun'da, Monsters from the Mists, page 5

Tarzan, daily 25

Tarzan at the Earth's Core

MONSTER

Prince Valiant, December 25, 1937

Thun'da, Gods of the Jungle, page 5

(Frazetta's high school; next post on Tuesday: Charles Dickens)

Creator: Michele Falanga

MICHELE FALANGA
LEONARDO MAGAZINE, 1925

Frank Frazetta’s Art Teacher

Michele Falanga was born in Torre del Greco, Naples, Italy on July 5, 1867. [1] He studied first with artist Michele Tedesco, then at the Istituto di Belle Arti in Naples with Stanislao Lista, Domenico Morelli and Filippo Palizzi. [2] Tedesco (1834-1917) was a student of Morelli. [3] Lista (1824-1908) was a sculptor. [4] Two of the leading Neapolitan painters of the 19th century were Morelli (1823–1901) [5] and Palizzi (1818-1899). [6] Falanga continued his studies in Rome. [7] He married Virginia Ciavolino [8] in 1898. [9]

In 1901 Falanga was a passenger aboard the S.S. Trojan Prince, bound for the United States; he arrived in New York on August 25. [10] His wife followed in 1902. [11] Between the years 1904 and 1907 the couple had three children, two daughters and a son. [12] In 1915 Falanga was a self-employed artist who had a room at 335 Broadway in Lower Manhattan. [13] He lived at 143 Summit Street [14] in Carroll Gardens, Brooklyn. In 1917 his office was located at 45 John Street. [15] From the mid- to late teens Falanga's paintings could be purchased at the Abraham and Strauss department store in Brooklyn. [16]

Brooklyn Daily Eagle, October 24, 1916

According to the 1920 Census the Falanga family lived at 150 Summit Street in Brooklyn. [17] In 1923 the Leonardo da Vinci Art School opened at 288 East 10th Street in Manhattan. General Director Onorio Ruotolo, a sculptor, said “the purpose of the school was to teach young craftsmen to become artists.” [18] Falanga was in charge of drawing and painting; the courses included sculpture, interior decoration, architecture, geometry, woodcutting, cabinet-making, wrought-iron, fashion designing, fashion-plate drawing, electricity, embroidery design, history of art, and anatomy. [19] The New York Times described Falanga’s contribution to the school's opening:

The chief object of interest was a floral carpet made in the manner of a Renaissance mosaic from the crushed petals of flowers. The whole symbolized “The Nativity.” The carpet was created on the floor and a puff of wind will blow it to pieces. It covers 500 square feet and took eight months to complete. Michele Falanga, called the “flower wizard,” was the designer. [20]

Iowa City Press Citizen,
December 28, 1923

Springfield Republican, January 6, 1924

That same year he opened a branch of the school in Brooklyn. [21] The art school had its own magazine, Leonardo, Annual Magazine of the Leonardo da Vinci Art School. The 1924–1925 issue included reproductions of Falanga’s paintings and sketches.

Leonardo, page 91

Leonardo, page 91

Leonardo, page 92

Leonardo, Plate 4

Leonardo, Plate 23

Leonardo, Plate 13

In 1927 Falanga became a United States citizen. [22] The following year he exhibited in a group show of Italian sculpture and paintings at the Bowery Savings Bank, in Manhattan’s Little Italy neighborhood. The New York Sun praised his paintings.

If you go to this art show on the Bowery you will take special notice of Michele Falanga’s Mulberry street life. Young Falanga painted these on summer mornings, when the light was just right—hot and golden upon the markets an pushcarts, and the close-pressed, colorful, chattering throng. He had to hide himself within a closed automobile to be able to paint at all (otherwise he would have been mobbed by the curious), and there he sat, scrooged up with palette and paints, while he put down in line and color his impressions of this little bit of old Italy in the heart of New York. There's a touch of Sorolla in these pictures—the sunlight is so golden and clear and the sense of movement in the figures is so actual. [23]

In 1930 the Falangas resided at 238 Carroll Street in Brooklyn. [24] From 1932 to 1934 he was chairman of the Leonardo da Vinci Art School in Manhattan. [25] Atlantica, a periodical about Italian life and culture, reported on a 1933 event at the school.

Mayor and Mrs. F.H. La Guardia were the guests of honor last month at the opening of the semi-annual exhibition of the Da Vinci Art Club at the Leonardo Da Vinci Art School, 149 East 34th St., New York City. The Mayor was one of the original donors for the founding of the school. He was greeted by the school’s director, Attilio Piccirilli, noted sculptor, and by Michele Falanga, head of the painting department, and Giuseppe Caggiano, head of the architecture department. [26]

In 1935 Falanga renamed the Leonardo da Vinci Art School, in Brooklyn, as the Brooklyn Academy of Fine Arts, located at 85-87 Court Street. The opening of his new school was inaugurated with an exhibition of 51 works by its founder and director. [27] (Knowingly or unknowingly he had revived the name of the Brooklyn Academy of Fine Arts, that had been formed during the mid-1800s.) [28]

Il Carroccio, January 1935

The book, Art Education in the City of New York: A Guidance Study, had this description of the academy.

Michele Falanga, instructor. Founded 1935. Occupies a floor in a small business building. Individual instruction; open all year daily 10 a.m. to 10 p.m.; in summer there are outdoor classes on Sunday. Subjects include Painting and Drawing from life and still life; Charcoal drawing from cast; Fashion Illustration; Pictorial Composition. Tuition, monthly day $8; evening $6. [29]

Falanga was profiled in the 1936 edition of Italian-American Who’s Who, Volume 2. [30] That same year Frank Frazetta began formal art instruction at the academy; his recollection of that occasion:

Upon the insistence of one of my teachers, my parents enrolled me in the Brooklyn Academy of Fine Arts when I was eight years old. The Academy was little more than a one floor–three room affair with a total of thirty students ranging in age from (you guessed it) eight to eighty. I still remember the Professor's look of skepticism as I signed in. You could easily imagine him thinking, ‘Oh no! Not another child prodigy!!’ Nevertheless, he sat me down with a pencil and paper and asked me to copy a very small picture postcard which contained a realistically rendered reproduction of a group of ducks. When he returned later on to see how far I had progressed, he took one look at my drawing, snatched it up exclaiming, ‘Mama Mia,’ and ran off waving the drawing in the air and calling everyone to come and look at it. [31]

According to the 1930 Census the “Alfred Farzzetta” family of three lived at 1203 Avenue Y in Sheepshead Bay, Brooklyn. [32] The distance from their home to the academy was about eight-and-a-half miles. Falanga was impressed by Frazetta’s talent and, years later, made preparations for him to study in Italy. [33] Unfortunately Falanga’s death ended that plan; he died February 1, 1942, at his home, 383 Clinton Street, Brooklyn. Falanga was survived by his wife and three children. [34]

Brooklyn Daily Eagle,
February 2, 1942

Frazetta recalled what happened after Falanga’s death.

My professor was Michael [sic] Falanga, and he was really a marvelous artist. When I was twelve, he died. Just as he was about to send me off to Italy to study fine art. I haven’t the vaguest idea of whether or not it would have really affected my style…. I don’t know, I doubt it. But when he died, I never went to Italy, and the students tried to keep the old school rolling…it became more like a club. I did life drawings and still lifes...we would go out in the field and paint some old church or whatever. Something totally different from what I do now, yet it taught me a lot about style. That’s where my early style developed...my brush technique. But when I went into comics I had to develop a line technique...which I learned absolutely nothing about in art school! It was very difficult and very slow for me to understand how to work with a pen and a brush. It was a shock to me when I found out that comics were done with a brush...I just assumed it was done with a pen. It took me a while before I really got into it and really began to master it. [35]

Frazetta was born on February 9, 1928, so he was just eight days short of his fourteenth birthday when Falanga died. Frazetta said he and other students continued at the academy until he was sixteen, so the end of the Brooklyn Academy of Fine Arts was in 1944. [36] Frazetta explained how he learned drawing, then anatomy from a book, and his influences and approach to painting.

He was quite happy to sit under the tutorship of a classical Italian artist, Michael [sic] Falanga, who ran this exclusive school with a free hand. (We used to sit around and draw anything we wanted to as students. It was very informal," Frank says.) But the object was to render, which Frank did in his own bouncy way. [37]

…my drawing was very stylized, a combination of every cartoonist I’d ever seen. It had a lot of character, a lot of action, a lot of emotion, but the drawings were kinda distorted…the anatomy was all pure guesswork. But, they were fun. So, when Ralph Mayo took over he said, “Frank, your stuff is great, but if you could learn some anatomy...” I didn’t even understand what anatomy was, I hadn’t the vaguest idea of why it was important. So, he handed me a book on anatomy. I went home that night and decided to learn anatomy. I just started with page one and copied the entire book..., everything, in one night, from the skeleton up. I came back the next day like a dumb kid and said, “Thank you very much, I just learned my anatomy.” Of course, he fell over and roared: “Frankie, you silly bastard! I’ve been studying for ten years and I still don’t know anatomy, and you went home and learned it last night?!” But the odd part is that I had learned and awful lot. I had the ability to absorb, and he saw the improvement instantly in my work. I was drawing anatomy! It was a thousand percent better than it had been the day before. He was amazed. That meant a lot to me, and from that point on my development was really very rapid. I started to do things with figures that made sense. [38]

My main influences are the countless European illustrators. There’s a fine line between illustration and fine art. I give more of a fine-art approach with a beginning, a middle and an end. You don’t really tire of my stuff. Years go by and they don’t fade a bit in interest. To me, people are more terrifying than grass and rocks, which don’t move me. I can’t do what Andrew Wyeth does. I want feelings. My fine-arts background, eight years of it, it had nothing to do with the fantastic stuff I do now. My illustrations pop out of my head. Sometimes I only lure you into the text and the painting—I literally leave the text unillustrated....The test is time. The impact of my best work never lessens; it only looks better. And better! I’m my own worst critic and I know what the competition has done. But mine holds up, design, color, movement, no gimmicks, plenty of solidity, and form. You don’t tire of it. I’m talking about my best work. [39]

I love the Old Masters for their unquestionable abilities in composition and draftsmanship but they were reserved, restrained by their time. I love the Impressionists for their color and daring. They were obviously less restrained. Today there’s no restraint, and I'd be a fool to restrict myself in any way to please fans, critics, or peers. I’m an artist of my time; that’s the only thing I can be. I find barns boring, so why paint barns? Barns already exist. They don’t need me to create them. What I do create doesn’t exist, and to me that’s a helluva lot more exciting! [40]

1. Giovanni Schiavo, Italian-American Who's Who, Volume 2 (New York: Vigo Press, 1936), 160.

2. Onorio Ruotolo, "Il Pittore Michele Falanga," Leonardo, Annual Magazine of the Leonardo da Vinci Art School (1925) : 90.

3. Live Auctioneers, www.liveauctioneers.com/item/6435379 (accessed August 15, 2010).

4. Wikipedia, en.wikipedia.org/wiki/Stanislao_Lista (accessed August 15, 2010).

5. Wikipedia, en.wikipedia.org/wiki/Domenico_Morelli (accessed August 15, 2010).

6. Il Voto, www.ilvoto.com/biografie/palizzi-f.html (accessed August 15, 2010).

7-8. Schiavo.

9. Ancestry.com, Fourteenth United States Federal Census, 1920 (accessed August 15, 2010).

10. Ancestry.com, New York Passenger List, S.S. Trojan Prince, 25 August 1901 (accessed August 15, 2010).

11-12. Census, 1920.

13-14. Trow's New York City Directory (New York: R.L. Polk & Co.'s 1915), 660.

15. Trow's New York City Classified Business Directory (New York: R.L. Polk & Co.'s, 1917), 2109.

16. Abraham and Strauss advertisement, Brooklyn Daily Eagle, 24 Oct 1916 and 12 May 1918.

17. Census, 1920.

18. "Da Vinci School Opens," New York Times, 23 December 1923.

19. Courses and Instructors, Leonardo, Annual Magazine of the Leonardo da Vinci Art School (1925) : 121.

20. "Da Vinci School Opens."

21. "Michele Falanga," New York Times, 2 February 1942.

22. Schiavo.

23. "Bowery Bank Has an Art Display," The New York Sun, 28 May 1928.

24. Ancestry.com, Fifteenth United States Federal Census, 1930 (accessed August 15, 2010).

25. Schiavo.

26. Atlantica, vol. 15-16, (New York: 1933) : 120.

27. Il Carroccio (The Italian Review), January 1935, 69.

28. "Lemuel Everett Wilmarth," The National Cyclopaedia of American Biography, Volume XII (New York: James T. White & Co., 1904), 424.

29. Florence Nightingale Levy, Art Education in the City of New York: A Guidance Study (New York: School Art League of New York, 1938), 83.

30. Schiavo.

31. Frank Frazetta, "The Imaginative Years," Burroughs Bulletin, No. 29 (Spring 1973) : 16.

32. Census, 1930.

33. Frazetta.

34. "Michele Falanga, Borough Artist," Brooklyn Daily Eagle, 2 February 1942.

35. Russ Cochran, "Frank Frazetta," The Edgar Rice Burroughs Library of Illustration, Volume 3 (Missouri: Russ Cochran, 1984), 189.

36. Bob Barrett, "Frank Frazetta–The History of a Burroughs Artist," Burroughs Bulletin, No. 29 (Spring 1973) : 4.

37. Donald Newlove, "The Incredible Paintings of Frank Frazetta", Esquire 87, no. 6 (June 1977) : 94.

38. Cochran, 190.

39. Newlove, 152, 154.

40. Nick Meglin, "Frank Frazetta at Bat," American Artist 40, no. 406 (May 1976) : 77.

(Tomorrow's post: The Brooklyn Academy of Fine Arts)