These lovely pages are from Phil Evans (story) and Nat Edson (art). I love how Edson sprinkles his beautiful panels with perfect, telling details which anchor the story in time and place. My favorite touch is that small dog in the last panel of page 10. Can’t you just feel his tension over the approaching riders? Easy, boy. It’s okay.
Nat Edson, bless him, appears never to have been an animator (as were so very many of the Western artists throughout the 1950s). His resume, as best as I can discover, includes only comic book work; first for Pines/Standard through the 40s, then Western Publishing from the 50s into the 70s. The great, painted cover goes un-accredited.
Nat Edson, bless him, appears never to have been an animator (as were so very many of the Western artists throughout the 1950s). His resume, as best as I can discover, includes only comic book work; first for Pines/Standard through the 40s, then Western Publishing from the 50s into the 70s. The great, painted cover goes un-accredited.
This black and white page is from the inside front cover. The artist is August Lenex. Wow, that’s some pretty pen work.
