Which Artists Worked With Malcolm Wheeler Nicholson Early On?

2025-08-25 16:31:40 184

4 Answers

Quentin
Quentin
2025-08-26 00:00:18
If you want the short practical rundown from my collector’s desk: Malcolm Wheeler-Nicholson’s early publications (notably 'New Fun' and 'New Comics') featured work from people like Vin Sullivan and Sheldon Mayer, and they sit in the same historical stream that brought Jerry Siegel & Joe Shuster into the spotlight once the company’s assets evolved into the corporate ancestor of DC. Many other artists came through via comics packagers such as Eisner & Iger, so credits can be scattered.

I usually recommend checking original issue indicia and modern credit indexes to confirm a specific artist—Golden Age crediting was messy, and that’s part of the treasure hunt that makes this era so addictive.
Andrew
Andrew
2025-08-26 08:10:51
I get that people want names, so here’s a compact list from my notes: Vin Sullivan, Sheldon Mayer, Jerry Siegel & Joe Shuster, and lots of freelancers supplied by studios like Eisner & Iger. Wheeler-Nicholson was essentially running one of the earliest publishers that insisted on original comics material, so he pulled in everyone he could—newspaper strip artists who moonlighted in comic books, pulp illustrators, and young cartoonists trying to break in.

I’ll be honest: exact credits are messy in that era. Artists sometimes weren’t credited, and publishers reused art or bought features from packagers. Still, if you look at the indicia and staff listings in the first runs of 'New Fun' and 'New Comics', those names and the studio networks show up repeatedly. For a deeper dive, I like to flip through archival scans or the histories that specialise in Golden Age credits—there’s a lot of fascinating grey area that collectors love to untangle.
Gavin
Gavin
2025-08-28 04:52:58
When I dive into the early days of American comics, Malcolm Wheeler-Nicholson always pops up as one of those scrappy pioneers who gave many artists a place to experiment. He founded National Allied Publications and launched titles like 'New Fun' (1935) and 'New Comics' (1936), and those books were staffed by a mix of newspaper strip cartoonists, pulp illustrators, and the fledgling comic-freelancers of the era. Some of the better-documented names connected to his early enterprise are Vin Sullivan (an editor-artist who later played a big role at what became DC), Sheldon Mayer (who created strips and later shepherded talent into the company), and the team of Jerry Siegel and Joe Shuster, whose Superman became central once the company evolved.

Beyond those marquee names, Wheeler-Nicholson’s pages saw work from freelancers coming out of studios like the Eisner & Iger shop, meaning people such as Will Eisner’s circle and other packagers indirectly fed art into his titles. Records from the mid-1930s can be spotty, so when I’m tracing credits I like to cross-reference original issue indicia, contemporary ads, and modern histories. If you’re curious, checking scans of the early issues of 'New Fun', 'New Comics', and early issues of 'Detective Comics' gives a pretty clear picture of who showed up in those formative pages.
Bella
Bella
2025-08-31 19:17:46
I love puzzling out these early comics ecosystems, and with Wheeler-Nicholson the pattern is classic: a small publisher pulls content from a talent pool made up of established newspaper artists, pulp illustrators, and the new breed of comic-book freelancers. Key figures who are often associated with his early publishing efforts include Vin Sullivan (who wore both artist and editorial hats), Sheldon Mayer (creative contributor and later editor), and, as the company’s fortunes shifted and merged into what became DC, Jerry Siegel and Joe Shuster became central because of Superman’s appearance in the same corporate lineage.

Another layer I find interesting is the role of packagers like Eisner & Iger. They produced entire stories that got sold to publishers, so even if Will Eisner himself didn’t sign every page that ran under Wheeler-Nicholson’s banner, his studio’s artists likely supplied material. I try to map credits by comparing issue-by-issue art styles, known signatures, and later recollections from the artists. If you enjoy sleuthing, tracking down high-resolution scans of 'New Fun' and early 'Detective Comics' issues and cross-referencing with databases like Lambiek or modern Golden Age bibliographies makes the picture clearer and more fun.
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