Unknown "Green Back" Publisher |
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One of the big problems in researching comic post cards is that many were published with little or no information on the artist, the publisher or the printer and do not have any distinguishing logo or series name. This makes attributing such cards to a specific artist very difficult. In the case of "F S" the early cards, published by the London View Company Ltd, often appeared with different backs, some with a publisher name and some without. After the London View Company closed H. Vertigen continued to publish "F S" cards. but without a signature and often with two versions of the back, one of which omitted the name of any publisher. Until 1916 cards which were clearly by "F S" (but without signatures) with no indication of the publisher, along with other cards, some of which looked as is they might also have been by "F S."
This page explored 6 groups of "green backed" cards, with approximate dates, which I have identified as Lined Address (1908/9), Working Space II (1909/10), Working Space Dot (1910/11), Number Only [PC. I] (1913), Number Only [PC II] (1914) and Entirely British (1916).
The analysis consists of three parts:
Chains of reprinted cards, often starting with a card known to be by "F S". This process records cards in earlier groups being reprinted in later groups..
The origins of cards which are associated with each group is considered in details.
The assessment concludes that Spurgin must have co-operated in the production of the "green backed" cards and was probably the artist responsible for the majority of the cards published for the first time as "Green backed" cards. This includes a number of distinctive sets not previously attributed to Fred Spurgin.
Prior link to "F S" |
Presenting a lady at Court [The Law Set] | ||||
Signed "F S" Early Saxony |
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Note - This set is the only one with the Early Saxony back which was reprinted in this way |
Many Happy Returns [Birthday Greetings Set] |
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Signed "F S" Inland Germany |
Writing Space II | |||
Note - The change of title |
It is very breezy down here |
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Signed "F S" No Logo back | [PC. I] | |||||
This card - which may be associated with the Down Here set, has a very complex publishing history, including versions redrawn by Donald McGill and Comicus. The ones reproduced here are the most relevant to the matters discussed on this page. For more information see It is very Breezy |
Do you want a bed warmer Sir? |
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Signed "F S" |
918 Entirely British |
Fleas [Fleas Set] | ||||
(Veritgen) Writing Saxony | 695 [PC II] |
Why Lucy did not get the letter |
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(Vertigen) 6074 Series 607x |
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668 [PC II] |
Lucky Washee Man |
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Signed "F S"Series 100x back |
534 [PC. I] |
147 [PC II] |
Advice to Ladies about to be married [Advice to ... Set] |
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Signed "F S" Late Saxony |
1009 Crown Series | Writing Space II | ||||
Also backs for the USA market |
Oh George, I think this place is Ripping | ||||
Writing Space dot (with Xmas message) |
Don't Worry! I have Millions at the back of me! |
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Signed "Dauber" Satire Series |
412 [PC. I] |
No known prior link to "F S" |
How they go home | ||
Writing Space II | ||
They do like their little bit of red. | ||
Writing Space ? |
I saw these last night - Are they yours? |
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Writing Space II |
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666 [PC II] |
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And the following with unknown backs |
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A soldier will follow his 'general' anywhere [The General set] |
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The earlier version of this set was printed (probably in Germany) in early 1914, and an updated version issued during the war, printed in Great Britain, with the soldiers uniforms changed to khaki. |
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229 [PC II] | 825 Entirely British |
[Adam & Eve Set] | ||||
From one of two sets of 6 cards
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704 [PC II] | 916 Entirely British |
[Society Gossip Set] |
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From a set of 6 cards |
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[PC. I] | 904 Entirely British |
Analysis by back type | ||||||||||||||||||||||||
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Assessment |
It is very difficult to understand what was going on unless Fred Spurgin was fully aware of what the "unknown" company was doing. The early stages suggest that the de facto business of the company was to reprint popular "F S" cards in cases where the original publisher had gone out of business! While two other artists were caught up at the beginning, they were involved in the same business failures. Most significantly there is no evidence that the company ever acquired and republished cards from any company failures which did not involve a publisher that also published cards produced by Fred Spurgin under one name or another. Initially the failures could have involved the artwork for sets that had not been converted into post cards at the time of the collapse, and this could explain some of the first time publications in the early years of the company.
Obviously the supply of rescued "F S" art work from the failure of publishing companies was limited - and what better to increase the range of cards on offer than to get "F S" to produce complete new cards in an extension of the "F S" style. Until the cards by "F P" produced circa 1916 with the Entirely British backs there is no obvious evidence of a new artist being introduced by the company, which seems to have closed shortly afterwards.
What is unclear from other areas is the nature of Fred Spurgin's commercial arrangements with the publishers and printers involved in his successes. It is likely that the early "Fred Stone" cards were submitted by Spurgin to the publishers on a freelance basis as complete sets. The major contract involving the Early Saxony backs and the London View Company Ltd were almost certainly on a more formal basis, and when the London View Company folded Spurgin realised that he had no control on what happened to his art work if he had sold all rights to the publisher.. Did this somewhat mysterious company start with an agreement between Spurgin and the German printer about art work (possibly not paid for) which had ended up in Germany following the closure of the UK publisher? From this point on Spurgin may well have worked to ensure that he kept some control of the art work, possibly working with a printer, rather that outright selling the art work to the publisher named on the cards. A similar arrangement with Delittle Fenwick & Co may explain the Spurgin cards with DEFCO backs.
If the rather strange company involved arrangements with a German printer the war would have broken the link - and it would only be possible to reprint cards where the art work was still in England in the Entirely British cards. In addition by 1916 Spurgin would be moving to work with his brother in the Art & Humour Co - and concentrated on the "better class" end of the market, rather than the brasher end represented by continuing the "F S" style approach.
There is an important conclusion if this assessment is correct. It raises the possibility that Spurgin produced perhaps a thousand unsigned "green back" comic post cards between 1908 and 1916, which had previously not been recognised as his work.