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by Winsor McCay (Author), Peter Maresca (Editor), John Canemaker (Introduction by)
Today, Winsor McCay (1867-1934) is universally acknowledged as the first master of both the comic strip and the animated cartoon. Although invented by others, both genres were developed into enduring popular art of the highest imagination through McCay's innovative genius.
From the publishers of the widely-acclaimed deluxe reprint series Little Nemo In Slumberland: So Many Splendid Sundays!, this book features all of the Little Sammy Sneeze color pages (1904-05) plus Hungry Henrietta, McCay's other comic, which appeared on the back of Sammy in the Sunday New York Herald. The unique style of this book presents two other "flipside" comics of 1904: The Woozlebeasts and The Upside Downs, along with the complete 27-chapter saga of Hungry Henrietta. All comics are digitally restored in the original size and colors.
Front Jacket
From Winsor McCay, creator of the world-renowned "Little Nemo in Slumberland," comes the improbable adventures of Little Sammy Sneeze. He simply couldn't stop it, he never knew when it was coming his potent sneezes, that is, causing everything from minor irritation to hurricane-like devastation. Here is a complete collection of the Sunday Comics from 1904-1905. The book also features the actual reverse side of the original comic strips including McCay's "Hungry Henrietta," the nonsense-limerick strip "The Woozlebeasts," and the amazing fantasy of Gustave Verbeek's "Upside-Downs" and "Terrors of the Tiny Tads." A marvelous collection of early American comic strips digitally restored and presented in their original size and colors.
Author Biography
Zenas Winsor McCay (c. 1867-71 or September 26, 1869 - July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905-14; 1924-26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation--its naturalism, smoothness, and scale--was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.
