The Voice Of The [Green] Turtle Is Heard In The Land

The Life & Tough Times of

Chinese-American Artist CHU HING Chu Hing in 1919, the only known photo of him—plus two of his later comicbook covers:by Alex Jay (Left:) His masked-aviator hero “The Green EDITOR’S NOTE: Alter Ego #162 featured Mark Carlson-Ghost’s illuminating article on several fly-by-night, often quasi-legal A/E Turtle” starred inside and on the covers of the first four issues of Rural Home Publications’ Blazing Comics. Seen here is that of #2 (July 1944), co-featuring his sidekick Burma Boy. The other three “Green Turtle” covers of Blazing were depicted in A/E #162. (at best) comicbook publishers of the late World Surprisingly, this is virtually the only time

War II years, 1944-45. One of the most memorable the hero’s face, even though masked, was super-heroes to emerge from those days was “The seen straight on in the entire series; usually,

Green Turtle,” drawn and quite possibly written by it was turned away from the reader, for

Chu Hing, for Rural Home Publications’ Blazing reasons speculated on three issues back.

Comics #1-4. At that time, Alex Jay provided us (Below:) Other features’ heroes had taken with scans of interior art from those issues, and— over the cover spot from the former supereven more welcome—with a photo of Chu Hing as hero Blue Bolt some time before Vol. 4, #5 a young man. Alex had also scribed a biographical article about the artist for his online blog http:// chimericaneyes.blogspot.com/2014/01/aboutartist-chu-f-hing.html. Although it is written in a (Dec. 1943) of that Novelty comic. Thanks to the Grand Comics Database & Alex Jay for the cover scans. [TM & © the respective trademark & copyright holders.] somewhat more formal and bare-bones style than the usual A/E entry, we found the piece fascinating, as it illustrates yet again how much thorough research is being done concerning comics and their creators, and we’re delighted that Alex permitted us to reprint it here, only slightly edited—mainly by omitting lengthy

“http” and other references, which interested readers can obtain by logging onto the original online article….

many letters careful hu Fook Hing was born on January 17, 1897, in the city of Kapaa on the Kauai island of Hawaii.1 His father was Chu Kin, and his mother was Chong Shee (Miss Chong).2 Chu was the family name; it is customary in Chinese culture to state the family name first. From China, Chu Kin arrived in Hawaii in 1882.3 Chong Shee arrived ten years later and they married that year.4 Chu Kin was a dry goods merchant.5 Hing was the second of 15 children.6 Around 1909 the Chu family moved from Kapaa to Hilo, Hawaii.7 C and conventional in both English and punctuation, and containing such quaint bits of information as “Hilo is a rainy place and is called in sport the ‘Rainy City,’” “The chief Nothing is known of Hing’s Hawaiian art education, but there industries of Hawaii was evidence of his enthusiasm. A Minnesota newspaper, the are sugar-cane

Duluth News Tribune, published an article on October 13, 1912, about and coffee,” and how its fifth- and sixth-grade students studied geography. The “Each gulch has fifth-graders mailed picture postcards and letters about Duluth to ever-running fifth-graders in Arizona, Hawaii and other states. Soon, hundreds streams.”8 of cards arrived. Hing’s brother, Tang, was a year older than he.9 Hing

The most prolific correspondents of the Duluth schoolchildren continued making art in junior high and high school. He was seem to be the fifth-graders of Hilo. In addition to dozens of cards 21 years old when he filled out his military registration card on from Chu Fook Hing, Chu Fook Tang, and Dora Conradt, there are July 31, 1918.10 Apparently he did not serve in the military. World

War I ended 3½ months later. The coming year would be one of new opportunities for some of the Chu children. In 1919, with financial support from his father, Hing decided to go to Chicago for professional training at the Chicago Academy of Fine Arts. Some of his siblings decided to leave, too. His younger brother, Ngu, was the first to depart for Chicago; he boarded a freighter on July 14. Steaming through the Panama Canal, Ngu landed in Philadelphia on September 1. From there he went to New York, where he stayed for 2½ days and then continued on to Chicago.11 Next to leave was Hing, who boarded the S.S. Niagara at Honolulu on September 23; he landed at Vancouver, British Columbia, Canada, on September 29.12 After a week in Vancouver, he departed aboard the S.S. Princess Victoria on October 7 and arrived in Seattle the next day.13 His younger brother, Fong, followed in December.14 His sister, Mew Kee, arrived in Chicago in September 1920.15

Complying with Chinese Exclusion Act regulations, Hing went to the Seattle immigration office and applied for admission; a case file was opened. He answered, in English, questions by the Examining Inspector of the Immigration Service. Below is his October 8, 1919, testimony:

Q. What is your name?

A. Chu Fook Hing.

Q. Give me the date of your birth.

So Where’s His Brother Hopalong? The 1951 Butch Cassidy [and the Wild Bunch] #1-and-only from Avon Comics contained a backup feature on the Pony Express, drawn by Chu Hing. Scripter unknown. With thanks to Alex Jay. [© the respective copyright holders.] A. January 17, 1896. [His World War I draft card said 1897.] Q. You were born where? A. Kaapa, Hawaii. Q. Your father’s name? A. Chu Kin. Q. What does he do? A. Tailor Q. Is he Chinese born or Hawaiian? A. Chinese. Q. Your mother’s name? A. Chong Shee. Q. Where was she born? A. China. Q. Are you a full blooded Chinese? A. Yes. Q. Ever been in China? A. No, I have never been there. Q. What is your father’s financial standing? A. I don’t know. Q. You have how many brothers and sisters? A. 14. Q. Has your father had more than one wife? A. Only one. Q. How many of your brothers and sisters are in the United States? A. One. Q. What is his name? A. Chu Fook Ng You [sic]. Q. How old is he? A. Between 17 and 18. Q. When did he come to the mainland? A. Reached Chicago September 8th this year. Q. How does it come you didn’t come together? A. Couldn’t get a boat; traffic all tied up at San Francisco; he went by way of the Panama Canal and worked his way up through Philadelphia. Q. What is your brother doing here? A. He is studying automobile business. Q. And you are going to do what? A. Study art; I am going to study at the Chicago Academy of Fine Arts. Q. Who will support you? A. My father (presents Certificate of Identity 2012 issued at Honolulu January 12, 1909 to Chu Fook Hing, aged 13, height 4’ 4”; scar on first finger of left hand). Q. It will be necessary for you to bring to this office a photograph for identification purpose. A. Yes.16

Hing signed the transcript of his testimony and his entry was approved. A black-&-white photograph of him was in his file.17 Additional information about him was found on the S.S. Princess Victoria passenger list: he had $200 and was going to meet his younger brother, Ngu, at “1519 Wabash Avenue” in Chicago; “Chicago Academy of Fine Arts” was written after the address, his height was recorded as “5 feet, 6 inches,” and he had a “scar on first finger of left hand”.18 He probably traveled by train to Chicago.

Hing and his brothers have not been found in the 1920 U.S. Federal Census that was conducted in early January. Ngu “took a course in a mechanical school at 1519 South Wabash Avenue,” and his residential address was listed as “1219 S. Wabash.”19 (He was at the immigration office on May 18, 1920, applying for a new certificate of identity, a document with a photograph of the applicant and a serial number; this identification document was a another requirement of the Chinese Exclusion Act. Unfortunately, Ngu was not asked for the addresses of his brothers.) The census listed 16 people at 1219 South Wabash including two Chinese restaurant workers but not Ngu, who may have moved there after the census.20 That location was about a mile north of Chinatown and about a mile south of the Chicago Academy of Fine Arts.

The Chicago Academy of Fine Arts was founded by Carl N. Werntz in 1903, and in 1916 was located at 81 East Madison Street.21 Art Education in the Public Schools of the United States published a description of the academy: “The school is a private unendowed school supported by tuition fees. The normal course includes charcoal and color work from life, still life, flowers, etc.; principles of design, composition and color, applied design, perspective, construction work, pedagogy, physiology, psychology and history of art.”22 A Handbook of American Private Schools said the academy “gives instruction in fine, decorative, and normal art and dress design, with emphasis on the vocational and commercial aspects”.23 The academy was notable for having a number of students who became cartoonists, including Walt Disney (1917),24 Roy Crane (1920),25 Hal Foster (1921),26 and C.C. Beck (1928).27 (This school should not be confused with the Chicago Academy of Fine Art, of 1879, that had changed its name to the Art Institute of Chicago in 1892.28)

Both the Academy of Fine Arts and the Art Institute had male and female students. Perhaps at one of those institutions, Hing met another aspiring artist, Helga Marie Jensen, who had immigrated from Copenhagen, Denmark, in 1922.29 Exactly how and where they met is not known, but the mutual attraction was genuine; they married in 1923.30 Coincidentally, they shared the same birth date.31 She probably met Hing’s brother, Ngu, and sister, Mew Kee. Hing also attended the Art Institute of Chicago. The Chicago Tribune for June 17, 1922, reported that Hing was one of four recipients of the Frederick Magnus Brand Memorial prize for composition.32 In a 1966 letter to Mrs. Paepcke, asking for her help to exhibit Hing’s paintings at the Art Institute, Helga wrote: “[H]e has excellent grades from there.”33 At some point Hing and Helga completed their schooling and sought work. Eventually they decided to look elsewhere to start a new life.

In June 1925 they made their way from Chicago to San Francisco, where they boarded the S.S. President Taft on June 27 and sailed for Hawaii. On July 3 they arrived at Honolulu.34 Helga was introduced to the rest of the Chu family. Presumably Hing and Helga found work and pursued their artistic endeavors. For some reason, Helga returned to the mainland, through Los Angeles, on May 14, 1926.35 She stayed until January 6, 1928, when she sailed back to Honolulu aboard the S.S. President Madison, arriving six days later.36

Eleven months later, on December 21, 1928, Hing and Helga departed on the S.S. Sierra from Honolulu; they arrived in San Francisco on December 27 and continued on to Chicago.37 According to the 1930 U.S. Federal Census, the couple resided at the Lincoln Park Arms Hotel, located at 2738 Pine Grove Avenue. Hing’s occupation was listed as commercial artist in the printing industry; Helga’s occupation was listed as “none.”38 They took in all that Chicago had to offer. In the same 1966 letter, Helga wrote: “Hing has one hundred and 20 beautiful watercolors from Chicago early mornings and evenings. They are from our young days when we walked the shores of the lake.... O how we long to see Michigan Ave, the Art Institute and walk the shores as in the old days”.39 As the nation staggered through the Great Depression, Hing and Helga looked eastward.

In the 1930s, the artistic couple gradually made their way to New York City. A watercolor by Hing titled “Twilight, Central Park, N.Y., At the Moll” [sic] was dated April 26, 1935.40 The New

The Rising Sun Vs. The Middle Kingdom As Chu Hing informed the Immigration official, he had never been to China—yet when he drew (and possibly wrote) the first “Green Turtle” story for Blazing Comics #1 (June 1944), he depicted a pulpish version of the Japanese Empire’s attempt to conquer his parents’ homeland. We hardly support the use of the ethnic epithet on this page, but no good purpose would be served by falsifying history and pretending that phrase isn’t something that some in America and elsewhere—even perhaps people born in Hawaii of Chinese descent—might have uttered two years after the attack on Pearl Harbor. Few stories in 1940s U.S. comicbooks were set in China, so this “The Green Turtle” was a rather bold experiment for the lead feature in such a magazine. For the story’s splash page, see A/E #164. Art (and perhaps script) by Chu Hing. Thanks to Comic Book Plus website. [© the respective copyright holders.]

York Times, on July 13, 1936, reported the results of a contest for art school students, for the best painting of the Tudor City tulip gardens. Hing, a Wood-Ridge, New Jersey, resident, was one of four artists who received honorable mention.41

In November 1936, Hing had two watercolors, “Sunset over Belmont Harbor” and “Early Morning in November,” exhibited in the Thirty-Fourth Annual Water Color Exhibition at the Pennsylvania Academy of the Fine Arts in Philadelphia. The catalogue listed his address as 136-05 Sanford Avenue, Flushing, New York.42

The following year, Hing was in the Thirty-Fifth Annual Philadelphia Water Color Exhibition with a tempera painting titled, “Devil Dancers; Tibet.”43 Helga may have referred to it or a similar painting in her 1966 letter: “Hing has beautiful compositions from Shakespears [sic] Tempest and from the Devil Dancers of Tibet”.44

Helga departed New York on December 13, 1938, bound for Copenhagen to visit her sister Ester. On May 22, 1939, Helga returned home aboard the S.S. Queen Mary that had sailed from Cherbourg, France, and then from Southampton, England.45 The year 1939 marked a high point in Hing’s artistic career; in Helga’s 1966 letter she wrote: “Hing had 2 watercolors exhibited at Le Salon Paris in the spring of 1939.”46 Helga returned home to a major event in her neighborhood, the New York World’s Fair that had opened April 30. While the Fair celebrated the World of Tomorrow, the world was only months away from Germany’s invasion of Poland.

The 1940 U.S. Federal Census recorded Hing and Helga in Queens, New York, at 136-05 Sanford Avenue. Hing’s occupation was “commercial artist in the printing industry.”47

On December 7, 1941, the Japanese bombing of Pearl Harbor brought the United States into the Second World War. A massive military draft was underway; but a draft registration card for Hing has not been found. As the draft enlisted more comics artists, replacements were needed. In 1943, Hing found work at Lloyd Jacquet’s comics shop Funnies, Inc.48 In an interview conducted by

Art In More Than Four Colors (Right:) If we read a-right, this is a painting by Chu Hing of his wife Helga. No doubt painted some years after they met, this piece of art was recently offered for sale on eBay. Unfortunately, a photographic flash somewhat mars the center of the image. (Far right:) As per artist Chu Hing’s faint notation at bottom right, this painting depicts a late summer scene (reportedly in 1934) in Forest Preserve, in the north of Chicago. Thanks to Alex Jay. [© Estate of Chu Hing.]

He’s Baaaack! When Blazing Comics returned after a several-month hiatus with issue #4 (a.k.a. Vol. 2, #1, cover-dated Feb. 1945), “The Green Turtle” was again its cover feature, as seen in A/E #164. Above is the splash page, with the hero’s head averted, as per usual. Art and quite possibly script by Chu Hing. [© the respective copyright holders.]

Jim Amash for Alter Ego, Leonard Starr, who was also at Funnies, Inc., referred to “Chu Hing, who did nice work and boasted he had studied with Harvey Dunn—but his characters’ eyes always looked Oriental when he drew them, no matter who they were…. He was very, very proud of himself…”49 Later, Hing was on staff at Timely Publications, which would later evolve into Marvel Comics. Artist Pierce Rice joined Timely in 1948 and recalled how the bullpen operated:

Three Timeless Timely Tales (Clockwise from top left:) The “true-crime” story from Lawbreakers Always Lose #10 (Oct. 1949) was both penciled and inked by Chu Hing… the “Two-Gun Kid” yarn from Wild Western #9 (Oct. ’49) was penciled by Pierce Rice and inked by Chu Hing… while the heartbreaker from the generically titled Love Romances #2 (Jan. 1950) was penciled by John Severin and inked by Chu Hing. As per Alex Jay’s article: Whether rightly or wrongly, Pierce Rice used to dread being inked by either Chu Hing or Fred Eng. Thanks to Dr. Michael J. Vassallo for the both the scans and the artist IDs. [TM & © Marvel Characters, Inc.]

“One of the mistakes Stan [Lee] made is, whenever a penciler finished a job, he’d have him hand it to an inker,” Rice said. “Whichever inker was free. No partnerships developed, and no continuity.” Rice said he lived in fear of two inkers on the staff: Chu Hing and Fred Eng: “I used to dread the thought of something [of mine] falling into Fred’s hands, but we had no choice in the matter.”50

Hing was part of a small group of Asian-Americans working on comicbooks. Ben Oda was lettering for the studio of Joe Simon and Jack Kirby. Early in his career, Bob Fujitani worked at Eisner & Iger, Hillman, and MLJ.51 Min Matsuda, Irving Watanabe, and John Yakata were on the staff at the Charles Biro-Bob Wood shop.52 Helen Chou, Fred Eng, Morrie Kuramoto, Tsung Li, and Kaem Wong were contributors at various publishers.53 Syndicated comic strip artist Paul Fung produced art for National Comics’ All Funny Comics, among others.54

Hing’s comicbook work can be viewed here: “The Art of Chu F. Hing, Part 1”: http://chimericaneyes.blogspot.com/2014/01/the-art-of-chu-fhing-part-1.html (one-page features); “The Art of Chu F. Hing, Part 2”:

http://chimericaneyes.blogspot.com/2014/01/the-art-of-chu-f-hing-par-2.

html (covers and stories for various publishers); “The Art of Chu F. Hing, Part 3”: http://chimericaneyes.blogspot.com/2014/01/the-artof-chu-f-hing-part -3.html (Marvel Comics); “The Art of Chu F. Hing, Part 4”: http://chimericaneyes.blogspot.com/2014/01/the-art-of-chu-fhing-part-4.html (“The Green Turtle” and “The Judge and the Jury”).

As early as 1944, Hing and Helga were living in Larchmont, New York, a suburb of New York City.55 As they had done in Chicago, they walked along the shoreline, in this case, of Long Island Sound. Hing commuted to the Funnies, Inc., office at 45 West 45th Street,56 and later to the Empire State Building where Timely was located.57

In addition to art and comics, Hing explored other business opportunities. On August 10, 1942, Hing obtained a copyright on his “convertible loose wing & fixed tip vacuum wing, tailless kite, with sound effect.”58 Apparently, this kite was the first of several projects that Hing and Helga

The Elephant In The Room Alex Jay has obtained copies of virtually all of the patent applications of “Hing F. Chu and Helga M. Chu” (as the names were written in the English/American style, with family name last). This application for what was apparently a paper elephant toy has the appellation “1946_12-10 One piece, third dimension, cutout toy Application 1945_03_08 US Patent 2412321.” More of the couple’s patent applications can be viewed at Alex Jay’s online version of this biographical article. [© estates of Hing F. Chu and Helga M. Chu.]

copyrighted. Here are their works and company names from the Catalogue of Copyright Entries: 1. Viking tailless kite; Viking Tailless Kite Company59 ; 2. Viking reversible cloth dolls; Viking Tailless Kite & Toy Company60; 3. Zoo; Viking Toy Company61; 4. Circus; Viking Toy Company62; 5. Adventures of Marco Polo63; 6. Chinese New Year festival64; 7. Designs for kites 65; 8. Facts not fiction 66; 9. Atomic man; Viking Tailless Kite Company 67 .

Some of the copyrighted items were also patented. From 1944 to 1947, they filed five patent applications, and all were granted. The inventors’ names on the documents read: “Hing F. Chu and Helga M. Chu, Larchmont, N.Y.: 1. Kite 68; 2. Alternating Cloth Doll and Method of Constructing Same69; 3. Tailless Kite70; 4. One Piece, Third Dimension, Cutout Toy71; 5. Frame Construction for Kites and Like Toys72 .

On October 9, 1951, Helga returned from trip to Denmark; the air passenger manifest has her address as “Larchmont Acres, Larchmont, N.Y.”73 (A black-&-white photo of a Larchmont Acres apartment complex can be viewed at the Larchmont Historical

Society website. In the early 1950s, Hing’s comicbook work ended.74 Apparently the couple had not been able to get their kites, doll, and toys produced. With limited finances, they eventually moved out of New York.

By 1966, but probably earlier, Hing and Helga were in Honolulu, Hawaii, living on their Social Security checks.75 On May 6 of that year, Helga wrote a letter to Mrs. Elizabeth Paepcke, who was married to Walter Paul Paepcke, the founder of the Container Corporation of America. (“With Walter, Elizabeth became an important figure in the cultural and social life of Chicago. She was involved in the Art Institute, Chicago Symphony Orchestra and Lyric Opera and numerous other organizations.”76)

Dear Mrs. Paepcke,

Please listen to my prayer. I am Helga Chu. I would ask you because I know how generous and sympathetic you are. Hing is going blind. The doctors here, Dr. Fouljner and others, have given him 3 more months and the last light will be going out forever.77

In her letter Helga laments that the local art academy was not

“It’s All Greek To Me!” The title of the Avon comic was Police Lineup (#1, Aug. 1951)… but that issue’s “Truth Not Fancy” filler, drawn by Chu Hing, illustrated the timeline of military-technological development from the famous “Greek fire” of ancient times to its modern descendant, the flamethrower, introduced during World War I and coming into its own in WWII. Scripter unknown. Thanks to Alex Jay. By the way, our heading is a not-100%-accurate Shakespearean quotation from Julius Caesar, but hopefully close enough for a comics fanzine. [© the respective copyright holders.]

l Love Desi This biographical feature from Eastern Color’s Juke Box Comics #1 (1949) told the story of musician Desi Arnaz up to that time—including the rise of his popular dance band and his 1940 marriage to then-minor movie star Lucille Ball. Little could the anonymous scripter, let alone artist Chu Hing, have guessed what lay in store for the talented Cuban and his comic genius wife in the next few years, as their TV series I Love Lucy became one of the most popular and influential shows ever. And Arnaz’s technical innovations (three-camera comedy, filming TV shows, the concept of syndicated re-runs, etc.) were if anything even more important. Thanks to Alex Jay. [© the respective copyright holders.]

interested in exhibiting Hing’s art. She also revealed the tension between them and Hing’s family:

We are both very depressed. Hing’s family does not care if we live or die. To them I have never been more than a Polack [sic] as his sisters call me or an old hag.78

Helga still had hope of returning to Chicago and she shared her idea with Mrs. Paepcke:

Hing and I were 69 years of age on January 17. We are receiving Social Security of 180 dollars a month and from July doctors and hospitals are free. We have a life insurance of 2 tousand [sic] dollars... We can borrow 1000 dollars and come to Chicago... I am sure I can find a nice little studio in Chicago and we will live there.79

How Mrs. Paepcke responded is not known. Helga and Hing remained in Honolulu. Fourteen months later Hing passed away August 1967.80 Fourteen years later Helga passed away in July 1981.81

Special thanks to the Special Collections Research Center of the University of Chicago Library for permission to use Helga Chu’s letter from the Elizabeth H. Paepcke Papers.

For further reading on Chu Hing, see Comic Book Marketplace #109 (Dec. 2003); AC Comics’ Men of Mystery #25 (2000); Superhero Comics of the Golden Age: The Illustrated History by Mike Benton (Taylor Publishing, 1992); Chinese Historic Sites and Pioneer Families of Kauai; A Local History Project of the Hawaii Chinese History Center

FOOTNOTES:

1. World War I Military Registration Card, 31 July 1918.

2-5. Thirteenth U.S. Federal Census, Hilo Town, Hawaii, 15 May 1910.

6-7. Chu Fook Ngu, Chinese Exclusion Act Case File 2029/43,

National Archives and Records Administration-Great Lakes

Region (Chicago, Illinois), 18 May 1920.

8. Emily Petzold, “Geography Has Changed Considerably Since

Mother Was a Girl – Something of the New Kind,” Duluth New

Tribune (Minnesota), 13 Oct. 1912: 4.

9. Chu Fook Ngu.

10. World War I Military Registration Card.

11. Chu Fook Ngu.

12. Passenger and Crew Lists of Vessels Arriving at Seattle,

Washington, 1890-1957. Micropublication M1383. RG085. 357 rolls. National Archives, Washington, D.C., Microfilm Roll

Number M1383_42.

13. Passenger and Crew Lists of Vessels Arriving at Seattle,

Washington, 1890-1957. Microfilm Roll Number M1383_43.

14. Passenger Lists of Vessels Arriving at San Francisco, 1893-1953.

Microfilm Publication M1410, 429 rolls. Records of the

Immigration and Naturalization Service, RG 85; National

Archives, Washington, D.C.; Microfilm Roll Number

M1410_128.

15. Passenger and Crew Lists of Vessels Arriving at Seattle,

Washington, 1890-1957. Micropublication M1383. RG085. 357 rolls. National Archives, Washington, D.C., Microfilm Roll

Number M1383_52.

16-17. Chu Fook Hing, Chinese Exclusion Act Case File 36863/1-1,

National Archives and Records Administration-Pacific Alaska

Region (Seattle, Washington), 8 Oct. 1919.

18. Passenger and Crew Lists of Vessels Arriving at Seattle,

Washington, 1890-1957. Micropublication M1383. RG085. 357 rolls. National Archives, Washington, D.C., Microfilm Roll

Number M1383_43.

19. Chu Fook Ngu.

20. Fourteenth U.S. Federal Census, Chicago City, Cook County,

Illinois; 8 Jan. 1920.

21. Porter Sargent, A Handbook of American Private Schools (Boston:

Sargent’s Handbooks, 1916) 228.

22. James Parton Haney, Art Education in the Public Schools of the United States (New York: American Art Annual, 1908) 334.

23. Porter Sargent.

24. Walt Disney Timeline, The Walt Disney Family Museum.

25. Roy Crane, Wikipedia.

26. Brian Kane, Hal Foster: Prince of Illustrators, Father of the Adventure

Strip (New Jersey: Vanguard, 2002) 53.

“I Never Met A Turtle I Didn’t Like” Chu Hing illustrated the life story of celebrated humorist Will Rogers in Avon’s Cow Puncher #6 (1949). Scripter unknown. Thanks to Alex Jay. With apologies to Will for warping his famous catch-phrase. [© the respective copyright holders.]

Carolina: TwoMorrows Publishing, 2001) 135.

28. School of the Art Institute of Chicago, “SAIC History.”

29-30. Fifteenth U.S. Federal Census, Chicago City, Cook County,

Illinois; 26 April 1930.

31. Social Security Death Index. Roots Web.

32. Eleanor Jewett, “Graduation Marks Close of Splendid Year for

Art School,” Chicago Tribune (Illinois), 17 June 1922: 11.

33. Elizabeth H. Paepcke. Papers, Box #26, Folder #5, Special

Collections Research Center, University of Chicago Library,

Helga Chu, 6 May 1966 letter.

34. Passenger Lists of Vessels Arriving at Honolulu, Hawaii, 1900-1953. Microfilm Publication A3422, 269 rolls. Records of the Immigration and Naturalization Service, Record Group 85;

National Archives, Washington, D.C.; Microfilm Roll Number

A3422, Roll 82.

35. Passenger Lists of Vessels Arriving at San Pedro/Wilmington/

Los Angeles, California, June 29, 1907-June 30, 1948. Microfilm

Publication M1764, 118 rolls. Records of the Immigration and

Naturalization Service, Record Group 85; National Archives,

Washington, D.C.; Microfilm Roll Number M1764:11.

36. Passenger Lists of Vessels Arriving at Honolulu, Hawaii, 1900-1953; Microfilm Roll Number A3422, Roll 95.

37. Passenger Lists of Vessels Arriving at San Francisco, 1893–1953; (National Archives Microfilm Publication M1410, 429 rolls);

Records of the Immigration and Naturalization Service, RG 85;

National Archives, Washington, D.C.; Microfilm Roll Number

M1410_242.

38. Fifteenth U.S. Federal Census.

Putting The Horse Before The “Cortez” Yet another “Truth Not Fancy” filler delineated by Chu Hing deals with the Spanish conquistador Cortez. From Avon’s Jesse James #15 (Oct. 1958). Note the artist’s distinctive signature. Scripter unknown. Thanks to Alex Jay. [© the respective copyright holders.]

40. Bruun Rasmussen Auctioneers, Copenhagen, Denmark, 8–14

Oct. 2012. (Helga visited her sister, Ester, and gave Hing’s watercolors to her.)

41. “Artist Wins Contest,” The New York Times, 13 July 1936.

42. Catalogue of the Thirty-Fourth Annual Water Color

Exhibition and Thirty-Fifth Annual Exhibition of Miniatures (Pennsylvania Academy of the Fine Arts in Philadelphia, 1936) 37, 42, and 57.

43. Catalogue of the Thirty-Fifth Annual Philadelphia Water

Color Exhibition and the Thirty-Sixth Annual Exhibition of Miniatures (Pennsylvania Academy of the Fine Arts in

Philadelphia, 1937) 32.

44. Elizabeth H. Paepcke.

45. Passenger and Crew Lists of Vessels Arriving at New York, New

York, 1897-1957; (National Archives Microfilm Publication T715, 8892 rolls); Records of the Immigration and Naturalization

Service; National Archives, Washington, D.C.; Microfilm serial:

T715; Microfilm roll: T715_6333; Line: 3.

46. Elizabeth H. Paepcke.

47. Sixteenth U.S. Federal Census

48. Who’s Who in American Comic Books 1928-1999 (online).

49. Leonard Starr interview, “I Think I Worked for Every [Comics]

House in the City,” Alter Ego #110, June 2012: 6, 11–12.

50. Steve Duin, Mike Richardson, Comics between the Panels (Dark

Horse, 1998) 370.

51. Tom Orzechowski, “Spotlight on Bob Fujitani at SDCC,” 20 July, 2005. 53. David Hajdu, The Ten-Cent Plague: The Great Comic-Book Scare and

How It Changed America (New York: Farrar, Straus and Giroux, 2008) 339, 341, 345, 350.

54. Ron Goulart, Comic Book Culture: An Illustrated History (Portland,

OR: Collectors Press, 2000) 150.

55. United States Patent Office, 2,394,366, 5 Feb. 1946; Application 27

Jun 1944, Serial No. 542,384; city and state on first page.

56. Wikipedia, “Funnies Inc.”

57. Wikipedia, “Timely Comics.”

58. Catalogue of Copyright Entries, Part 1, Group 2, Pamphlets, etc.;

New Series, Vol. 39, No. 8, (1942) 573.

59. Catalogue of Copyright Entries, Part 4, Works of Art, etc., New

Series, Vol. 40, No. 1 (1945) 26.

60. Catalogue of Copyright Entries, Part 4, Works of Art, etc., New

Series, Vol. 40, No. 2 (1945) 29.

61. Catalogue of Copyright Entries, Part 4, Works of Art, etc., New

Series, Vol. 40, No. 7 (1945) 136.

62. Catalogue of Copyright Entries, Part 4, Works of Art, etc., New

Series, Vol. 40, No. 8 (1945) 187.

63. Catalogue of Copyright Entries, Part 4, Works of Art, etc., New

Series, Vol. 41 (1946) 21.

64. Catalog of Copyright Entries, Part 1, Group 2, Pamphlets, etc.,

New Series, Vol. 43 (1946) 170.

65. Catalog of Copyright Entries, Third Series, Vol. 1, Parts 7-11A,

No. 2; Works of Art, etc. (July–Dec. 1947) 135.

66. Catalog of Copyright Entries, Third Series, Vol. 1, Parts 7–11A,

No. 1, Works of Art, etc. (Jan.-June 1949) 15.

67. Catalog of Copyright Entries, Third Series, Vol. 1, Parts 7–11A,

No. 1, Works of Art, etc. (Jan.-Jun. 1949) 146.

68. United States Patent Office, 2,394,366, 5 Feb. 1946; Application 27

Jun 1944, Serial No. 542,384.

69. United States Patent Office, 2,406,994, 3 Sept. 1946; Application 9

Oct 1944, Serial No. 557, 816.

70. United States Patent Office, 2,412,322, 10 Dec. 1946; Application 17 May 1945, Serial No. 594,316.

71. United States Patent Office, 2,412,321, 10 Dec. 1946; Application 8

Mar 1945, Serial No. 581,588.

72. United States Patent Office, 2,461,465, 8 Feb. 1949; Application 14

Nov. 1947, Serial No. 785,992.

73. Scandinavian Airlines Air Passenger Manifest, 8 Oct. 1951.

Passenger and Crew Lists of Vessels Arriving at New

York, New York, 1897-1957; (National Archives Microfilm

Publication T715, 8892 rolls); Records of the Immigration and

Naturalization Service; National Archives, Washington, D.C.;

Microfilm serial: T715; Microfilm roll: T715_8050; Line: 2.

74. Who’s Who of American Comic Books, 1928-1999 (online edition).

75–79. Elizabeth H. Paepcke.

80–81. Social Security Death Index.

[This checklist is adapted primarily from information provided by the online Who’s Who of American Comic Books 1928-1999, established by Dr. Jerry G. Bails and viewable at www.bailsprojects.com. Names of features that appeared both in comics of that title and in other magazines as well are generally not italicized below. Key: (w) = writer; (p) = penciler; (i) = inker; (unc) = uncomfirmed.]

Name: Chu Fook Hing (artist, probably writer) Comics Studio/Shop: Funnies, Inc. (p)(i) c. 1943-46

COMICBOOKS (U.S. Mainstream Publication):

Avon Comics: various features (i) early 1950s Better/Nedor Publications: Captain Future (i) 1946; Don Davis (i) 1946; Fighting Yank (i) 1946; Pyroman (i) 1946 Consolidated Book: Gale Leary, the Will o’ the Wisp (p) 1944 D.S. Publishing: Public Enemies (p)(i) 1949 Eastern Color Printing: Heroic Comics (p)(i) 1947 Fiction House Comics: Chip Collins (i) 1944 (unc); Dusty Rhodes (p)(i) 1943-44; Kayo Kirby (i) 1943-45 (unc); Señorita Rio (p) 1944 (unc) Holyoke Publications: covers (p) c. 1945]; Power Comics (p) c. 1945 [both for imprint Narrative] Lev Gleason Publications: romance (p)(i) 1951; Marvel (Timely) Comics: All-True Crime Cases (p)(i) 1949-50; backup Thanks to Comic Book Plus. [TM & © the respective trademark &

feature (i) in Casey Crime Photographer; Human Torch (p)(i) 1944; Rex Hart (p) 1950; romance (p)(i) c. 1948-50; Tex Morgan (p)(i) 1948-50; Tex Taylor (p)(i) 1948-50; Tommy Tyme (p)(i) 1948; Two-Gun Kid (i)(some p) 1948-50 Novelty Comics: covers (p)(i) 1943; Dan’l Flannel (i) mid-1940s (unc); Sergeant Spook (p)(i) c. 1945 Rural Home Publishing: crime (p)(i) 1945; The Green Turtle (p)(i) (probably w) 1944-45; Judge and Jury (p)(i) 1945; The Prankster (p) (i) 1945 (unc); Red Hawk (i) 1945 (unc)

Superior Publishers: Calling All Cars (i) 1944 (unc)

The “Evil Twin” Episode—More Or Less The Green Turtle goes into action against a Japanese imposter in Blazing Comics #3 (Sept. 1944). Art (and maybe script) by Chu Hing. U.S. Camera: Kid Click (i) 1944 (unc)

copyright holders.]

The WHO’S WHO of American Comic Books 1928-1999

www.comics.org

Online Edition Created by Jerry G. Bails

FREE – online searchable database –FREE www.bailsprojects.com No password required

Syd Shores’ splash for Captain America #65 (Jan. 1948). Inks by Ken Bald; scripter unknown. Thanks to Dr. Michael J. Vassallo. [TM & © Marvel Characters, Inc.]