“Do Not Disturb” (Part 3)


“Do Not Disturb” (“Puck,” May 10, 1892) Part 3 of 3
by Louis Dalrymple (1866-1905)
9 x 12 in., ink on board
Coppola Collection

Dalrymple was known for his caricatures in publications such as Puck, Judge, and the New York Daily Graphic. Born in Cambridge, Illinois, he studied at the Pennsylvania Academy of Fine Arts, and the Art Students League of New York, and in 1885 became the chief cartoonist of the Daily Graphic. He died in 1905 in a New York sanitarium.

The Dalrymple story is continued from Part 2 of this 3-part cartoon.

December 29, 1905 (”New York Tribune”)

Louis Dalrymple, the cartoonist, died on Wednesday evening from acute paresis in the Long Island Home, at Amityville. For the last three weeks he had been inert and totally blind. He was taken to the Home two months ago, when he first showed signs of insanity, and since then he has rapidly grown worse. In 1897 he was divorced from Miss Lelia Carpenter, of Brooklyn, and this, his friends day, weighed heavily on his mind. The court’s decision forced him to pay his divorced wife alimony, but after his second marriage, to Miss Ann Good, of Baltimore, he refused any longer to do so, and left the State to escape contempt proceedings. Last summer he came back to New-York and his mind broke down soon after.

Mr. Dalrymple was born in Cambridge, Ill., in 1865. His early days were passed on a farm, but he soon showed talent for drawing, and obtained a place on a country newspaper. He then drifted to Philadelphia. “Judge” soon brought him to New-York as a member of its staff. In 1886 he began to contribute to “Puck.” His restless disposition, however, never allowed him to stay long on any one paper, and he left New-York and held positions on papers in Chicago and Pittsburg. He will be buried in Baltimore.

“Do Not Disturb” (Part 2)


“Do Not Disturb” (“Puck,” May 10, 1892) Part 2 of 3
by Louis Dalrymple (1866-1905)
9 x 12 in., ink on board
Coppola Collection

Dalrymple was known for his caricatures in publications such as Puck, Judge, and the New York Daily Graphic. Born in Cambridge, Illinois, he studied at the Pennsylvania Academy of Fine Arts, and the Art Students League of New York, and in 1885 became the chief cartoonist of the Daily Graphic. He died in 1905 in a New York sanitarium.

The Dalrymple story is continued from Part 1 of this 3-part cartoon.

Seven years later Dalrymple met Miss Mary Ann Good, an exceedingly attractive young woman, belonging to a good Baltimore family, who had come to New York on a visit. He eloped with her to Jersey, and they were married there.

But Dalrymple was compelled to go on paying his former wife $75 a month as long as he was within the jurisdiction of the State Courts. He finally decided to leave New York.

Mr. and Mrs. Dalrymple moved to Greenwich, Conn., where he contributed to Judge and other comic publications, sending his copy in by mail. He used to slip into New York on Sunday, when process-servers were powerless and Sheriff’s officers could not nab him.

These Sunday visits only added to his desire to return to this city. He resolved to put a good stretch of continent between him and the temptation. In turn he was employed in the staff of the Philadelphia Press, the Baltimore News, the Pittsburg Dispatch, and the Chicago Tribune. But a demon of unrest kept driving him on  – he couldn’t get settled and be satisfied anywhere. It was a wander-lust which fed on his brain.

A few weeks ago the Dalrymples came back to town and took lodgings in Twenty-ninth street.

“Not even the fear of Ludlow Street Jail can keep me away,” the big artist told his friends. “Good old Broadway kept calling me, and I had to come.”

The friends noticed a change in him. Dalrymple, once one of the handsomest men in New York, was thin to emaciation. He was painfully nervous. He wandered in his speech.

Those things kept gnawing worse. He imagined that Tammany workers had drugged him on the night before election, and he threatened to kill Mayor McClellan. He was found sketching himself while looking in a mirror in the lobby of the Fifth Avenue Hotel. His antics necessitated his forcible removal from the Waldorf-Astoria. Later he became violent.

The physicians hold out little hope of recovery for the talented cartoonist, who in his day had made millions laugh.

The Dalrymple story concludes in Part 3 of this 3-part cartoon.

“Do Not Disturb”


“Do Not Disturb” (“Puck,” May 10, 1892) Part 1 of 3
by Louis Dalrymple (1866-1905)
9 x 12 in., ink on board
Coppola Collection

Dalrymple was known for his caricatures in publications such as Puck, Judge, and the New York Daily Graphic. Born in Cambridge, Illinois, he studied at the Pennsylvania Academy of Fine Arts, and the Art Students League of New York, and in 1885 became the chief cartoonist of the Daily Graphic. He died in 1905 in a New York sanitarium.

November 25, 1905 (“The Evening World”)

Cartoonist Dalrymple Goes Insane.
Exiled from New York by Alimony Tangle, His Health Breaks Down.

Louis Dalrymple, one of the most famous cartoonists in America, was taken to-day from his lodgings, No. 138 East Twenty-ninth street, to a sanitarium on Long Island. He is insane, probably hopelessly.

For weeks the artist’s condition had been a source of grief to his friends. Early this week he became violent. Yesterday afternoon he was found in a frenzy, chasing children about the streets of the neighborhood.

Those who knew Louis Dalrymple’s story are convinced that marital trouble’s affected his mind. Alimony demands were made on his income through a divorce suit and he brooded over an enforced exile from New York and an ever-growing desire to return here.

About fifteen years ago Dalrymple, then forging to the front as a cartoonist for Puck, married Miss Letia Carpenter, a pretty brunette of Brooklyn. Their life together was not happy. The wife obtained a divorce on statutory grounds. By the terms of the decree she was awarded their handsome home on Madison street, Brooklyn, where she still lives.

The court denied the husband the right to marry again in this state, and ordered him to pay his wife $75 a month in weekly installments

Note: $75 1890s dollars is $2240 in 2019 dollars.

The Dalrymple story continues in Part 2 of this 3-part cartoon.

“Will He Throw It?”


“Will He Throw It?” (August 31,1939)
by Milton Rawson Halladay (1874-1961)
13.5 x 19 in., ink on board
Coppola Collection

Halladay was a native of Vermont and a noted political cartoonist for the Providence Journal (Rhode Island) for nearly fifty years (1900-1947). His cartoons were published in countless other newspapers and magazines. He has been called “one of the deans of American political cartooning.” His cartoon commemorating the death of Thomas A. Edison was a runner-up for the Pulitzer Prize.

Although World War II “officially” began in September 1939, with the invasion of Poland, following the annexation of Austria and Czechoslovakia the previous year, another early shot in the upcoming was Danzig.

Danzig was an ethnically German city located northwest of Warsaw on the Baltic Sea coast that had been part of Germany from the early 1800’s until the end of World War I. Hitler’s interest in Danzig was long-standing, arguably central to the Nazi ideology, which called for the unification of all German people.


Danzig had been stripped from German control after World War I and established as the Free City of Danzig by the League of Nations. Germany had also lost portions of Posen and West Prussia to Poland. In the post WW2 maps, Danzig and the so-called Polish Corridor ensured Poland’s access to the Baltic Sea, but they also separated East Prussia from the rest of Germany. This outraged many Germans, particularly Hitler, who saw this concession as temporary. Throughout the 1930s, Hitler called for Danzig to be reunited with Germany.

Danzig was the focus of attention throughout all of 1939.

On August 27, Chancellor Hitler wrote to French Premier Daladier that war seemed in evitable: “. . . no nation with a sense of honor can ever give up almost two million people and see them maltreated on its own frontiers. I therefore formulated a clear demand: Danzig and the Corridor must return to Germany. The Macedonian conditions prevailing along our eastern frontier must cease. I see no possibility of persuading Poland, who deems herself safe from attack by virtue of guarantees given to her, to agree to a peaceful solution. . . . I see no possibility open to us of influencing Poland to take a saner attitude and thus to remedy a situation which is unbearable for both the German people and the German Reich.”

And on the early morning of September 1, Germany invaded Poland. . The first shots—fired at Danzig— came not from one of Hitler’s modern weapons of war, but from the SMS Schleswig-Holstein, a three-decades-old German battleship on a “good will” visit to Danzig’s harbor. By shelling a Polish ammunition depot located on Danzig’s Westerplatte peninsula, the Schleswig-Holstein started the 7-day Battle of Westerplatte and, thus, World War II.

From the Fuhrer: “The Polish State has refused the peaceful settlement of relations which I desired, and has appealed to arms. Germans in Poland are persecuted with bloody terror and driven from their houses. A series of violations of the frontier, intolerable to a great Power, prove that Poland is no longer willing to respect the frontier of the Reich.”

Danzig was annexed by Germany.

“The Wild Man of Borneo”


“The Wild Man of Borneo” (June 12, 1945)
by Burris A. Jenkins, Jr. (1897-1966)
15 x 18 in., ink and crayon on board
Coppola Collection

Burris Jenkins Jr. was the son of a prominent Kansas City minister, war correspondent and newspaper editor. Jenkins Jr. was a popular sports cartoonist, whose work appeared in the New York Journal-American from 1931. His humorous published verses were also popular. Although best known for his sports themes, Jenkins was also a skilled courtroom illustrator and editorial cartoonist.

Jenkins was not afraid to provoke, and he has some strong WW2 examples, including one of the rare direct commentaries on concentration (death) camps. Among his best-remembered cartoons are his angry piece on the discovery of the dead Lindbergh baby, and his sentimental image of Babe Ruth’s farewell to Yankee Stadium.

He was fired from his first job at the Kansas City Post for a series of pessimistic Christmas cartoons, a firing that prompted his father’s resignation from the same newspaper.

His father was an interesting guy. Jenkins, Sr (1968-1945) was ordained in 1891 and served as a pastor in Indianapolis. He received advanced degrees from Harvard and went on to serve as a professor and president of the University of Indianapolis and president of Kentucky University. He left Kentucky to return to Kansas City as pastor of the Linwood Boulevard Christian Church. The church burned in 1939, and Jenkins chose Frank Lloyd Wright as the architect for the church’s new home overlooking the Country Club Plaza.

Jenkins served as editor of the Kansas City Post from 1919 to 1921, hoping to fight for the establishment of the League of Nations. The Jenkins, Sr., biography tells the story about his leaving the Post slightly differently that for the son: “After two years, it became necessary for him to choose between the newspaper and his pulpit and, without hesitation, he resigned from the Post.”

“Live dangerously!” Jenkins would thunder from the pulpit, embracing his own philosophy against all adversaries. Unconventional in nearly every aspect of his chosen field, Jenkins often preached from non-Biblical texts, such as the latest book or his travels abroad. The church frequently hosted motion pictures, dances, card games, and fundraising boxing matches. These activities led to opposition to Jenkins and his Community Church from other churches in the city.

The island of Borneo, with its oilfields and strategic location for the offensive against British Malaya and Dutch Java, was one of the prime targets of Japan’s military offensive of 1941-42. The Japanese systematically and swiftly secured their objectives in Borneo during the early months of their push into the resource-rich Southern Area (South-East Asia) following Pearl Harbor.

In 1945 the task of retaking from the Japanese the former British Borneo territories of Sarawak, Brunei, and North Borneo (Sabah) was entrusted to the Australian Imperial Force (AIF). The 20th and 24th Brigades of the 9th Division launched an amphibious offensive, codenamed OBOE 6.

In order to facilitate his re-conquest of the Philippines, MacArthur struck a deal with the Dutch that he be given “complete authority in the East Indies during any military operations.” In return, he promised to restore Dutch authority in their colonies as rapidly as possible. Therefore, the recapture of the Netherlands East Indies, particularly Java, became part of MacArthur’s plans. The seizure of Borneo was to offer bases to launch his offensive against Java. Furthermore MacArthur argued that the Bornean oilfields would be denied the enemy and instead deployed to Allied advantage.

Nonetheless MacArthur had no intention of committing American land forces in the Borneo campaign. Instead, Australian troops would spearhead the offensive there. Two main landings were undertaken by the Australians in North Borneo on June 10 and June 20.

“Making Real Strides”


“Making Real Strides” (late 1944)
by AW Mackenzie (1895-1972)
11 x 15 in., ink on board
Coppola Collection

Mackenzie was a student of Van Dearing Perrine and attended the Art Students League about 1915. He started as a freelance cartoonist in 1941 and in May 1945, he attended the first United Nations Conference on International Organizations in San Francisco as a political cartoonist for the New York Post newspaper. His cartoons appeared daily on theeditorial pages of the New York Post, Newsday and inthe New York Daily.

A notation about “Bagration” on the back puts this into context.

Because we write our own histories, particularly of wars, the D-Day Invasion is embraced by the West as the beginning of the end of WW2. Operation Overlord (starting June 6, 1944, and going into August) was the codename for the Battle of Normany, which began with Operation Neptune, the “D-Day” Normany landings.

What is missing from that story is the coordination with the Russians, who were taking on a parallel and coordinated attack on the Eastern Front at exactly the same time.

In Operation Bagration (June 23, 1944), the Russians set out to retake Byelorussia (now Belarus), and in the process, destroy the Army Group Center (the name for the coordinated Nazi efforts in the East). The scale of the operation, in the words of some contemporary historians, makes D-Day “look like a skirmish.”

The Wehrmacht had 58 divisions in the west, of which only 11 were deployed against the D-Day landings. At the same time, however, the Germans deployed 228 divisions in the east. Thus, the Germans had almost four times as many troops facing the Soviets. And they had less than 1/20 of that number in Normandy. That alone is an indication of where their priorities lay.

At no time after June 6, 1944, did the German high command contemplate transferring forces from the east to the west to counter the Normandy landings. The battle has been described as the triumph of the Soviet theory, as their front commanders left their adversaries completely confused about the main axis of attack until it was too late.’

As Eisenhower broke though at Normany and liberated Paris and then Brussels, Nazi Germany finally needed to be fighting a two-front war in northern Europe. It is no coincidence that on July 20, 1944, dissident officers tried to assassinate the Hitler (for the movie version of this story, see Operation Valkyrie) in a bid to make peace before Germany was ruined.

“Falernus versus Thor Bräu”


“Falernus versus Thor Bräu” (est. 1885)
By Henry (Hy) Mayer (1868-1954)
four examples, all are 5.5 x 7.5 in., ink on heavy paper
Coppola Collection

Hy Mayer was a German-American cartoonist whose work appeared in such publications as Life,Puck, and Judge. Mayer also followed a number of other cartoonists into the burgeoning animation field at the early part of the 20th century. Known for work with a strong line, and seeming caricature attributes throughout, Mayer remains one of the less heralded greats of the early cartoonists.

After working as a magazine illustrator in Munich, Paris (Le Figaro Illustré), and London (Pall Mall Gazette), he emigrated to the United States in 1886. In 1893 he moved to New York, and illustrated a number of children’s books. He was a political cartoonist for the New York Times from 1904, and then in 1914 chief cartoonist of Puck.

From 1909 to 1917 he contributed artwork to early films such as the Universal Animated Weekly newsreel series. He created and directed the original “Travelaughs” series, released through Universal Studios from 1913 to 1920, and the “Such Is Life” series, with titles Such Is Life at a County Fair (1921) and Such Is Life in Munich (1922), released by Film Booking Offices of America from 1920 to 1926. These two short subject film series combined animation with live action film taken in exotic locations. He is credited with directing over 100 short films from 1913 to 1926.

There are no publishing marks that give any substantial clue as to where these four drawings I have saw print. Here what you can see.

They all bear the same numerical stamp: 15036
The few words are all in German.
There are blue pencil Roman numerals on three of the four, also suggesting they were part of the same collection.
Thematically, they are all about wine or beer, and suggest a certain history.

Mayer is associated with the German language story and humor publication “Fliegende Blätter,” which was quite early in his career. So until I hear otherwise, this is when I am placing them.


An Egyptian-looking fellow mixes an elixir.


The Cyclops is drinking from the wineskin (provided by Odysseus and handled by Selinus, father of the Satyrs)


Thor Bräu (a famous beer in Germany) stabs at the king of Italian wine, Falernus.


The heavens are celebrating beer with flying steins and horn-playing nymphs.

“And I saw Tom go into the room…”


“And I saw Tom go into the room…”
by F C Yohn (1875-1933)
The Saturday Evening Post (vol 181, October 3, 1908) p. 17
14 x 22 in., ink, wash, and gouache on board
Coppola Collection

“Yes,” says Master Willie. “And I saw Tom go into the room five minutes before Ridges came up and shut the door after him, and then I saw Ridges come up.”

In “The Butler’s Story” (4th Installment of 6: “Mr. Tom and His Father Fall Out”)

The Saturday Evening Post (vol 181, October 3, 1908, pp 16-17, 34-36) Story by Arthur Cheney Train

Arthur Cheney Train, also called Arthur Chesney Train, was an American lawyer and writer of legal thrillers, particularly known for his novels of courtroom intrigue and the creation of the fictional lawyer Mr. Ephraim Tutt.

The Butler’s Story: Being The Reflections, Observations And Experiences Of Mr. Peter Ridges, Of Wapping-on-velly, Devon, Sometime In The Service Of Samuel Carter, Esquire, Of New York… by Arthur Cheney Train (1909, Scribner’s), which chronicles the life and (often trying) times of an English Butler in service to American “nouveau riche” families. Described in The Book Buyer in the early 1900’s as “a keen, witty and highly amusing story of some newly rich people from the point of view of the Butler.”

“The Decadence of Sir Dinadan”


“The Decadence of Sir Dinadan” (McClure’s Oct 1913, p 130)
by F C Yohn (1875-1933)
14 x 18 in., ink, wash, and gouache on board
Coppola Collection


The third adventure of “The Industrious Chevalier” appeared in the October 1913 issues of McClure’s. The story (“The Decadence of Sir Dinadan” pp 129-137) and the series were published in McClure’s.

The Caption reads: “’Lady Spinner,’ I said, ‘I saw a very suspicious-looking man hanging round your carriage door. Have I your permission to warn your footman?'”

A renowned painter of historical themes, Frederick Coffay “FC” Yohn’s illustration work appeared regularly, in the early 1900s, in publications including Scribner’s Magazine, McClure’s, Harper’s Magazine, and Collier’s Weekly.

Illustrations such as this one were common in his work between 1910-1920, with examples in all of these magazines.

Yohn is noted for his strong sense of anatomy, detail, and spatial composition.

“The Foolish Flamingo”


“The Foolish Flamingo” (St. Nicholas, vol 14, p 434, April 1887)
by Reginald Bathurst Birch (1856-1943)
17 x 12 in., ink on board
Coppola Collection

Reginald Bathurst Birch was an English-American artist and illustrator.

From 1873 to 1881, Birch studied and worked in Europe, attending the Royal Academy in Munich and illustrating various publications in Vienna, Paris, and Rome. On his return to the United States he took up residence in New York City, where he became a magazine illustrator. His work appeared in “St. Nicholas,” “The Century,” “Harper’s,” “Life,” and “The Youth’s Companion,” among other publications. He also became a founding member of the Society of Illustrators in New York.

His first great success was his illustration of Frances Hodgson Burnett’s children’s book “Little Lord Fauntleroy” (1886, serialized in “St. Nicholas” in 1885-86), whose young protagonist’s long, curly hair and velvet and lace suit were widely imitated by mothers as a pattern of dress for their little boys. Birch’s name was indelibly associated with Burnett’s protagonist forever after, rather to the illustrator’s irritation. During the period of his initial popularity he illustrated over forty books, many of which, along with his drawings, had initially seen publication in serial form. He also provided illustrations for books by Dickens.

He produced a series of illustrated nursery rhymes for “St. Nicholas” magazine in the 1880s, including this one, featuring “The Foolish Flamingo,” a popular but anonymous tale of prideful behavior, right about the time that his landmark work on Fauntleroy was published.

Demand for Birch’s work faded after 1914, and by the 1930s he was living in poverty. His career was revived in 1933 by his illustrations for Louis Untermeyer’s “The Last Pirate,” and he went on to illustrate about twenty additional books before retiring due to failing eyesight about 1941.

As can be seen in the published version (below), the artwork was edited considerably to fit into the available space.

The editorial pencil marks for the cropping appear on the original art.