The following article is by Alec Stevens, the publisher of Calvary Comics.
by Alec Stevens
The mere mention of Christian comics usually elicits a polarized response in the western world, and often regarding Jack T. Chick in particular. After all, at age 86, and with over 500 million of his evangelistic cartoon booklets distributed throughout the world in numerous languages, he is the most published living author. What may surprise many, however, is how far-ranging Christian comic books, tracts, and graphic novels are, and how many numbers they have sold over the years.
For example, in 2001 DC Comics touted Frank Miller’s Dark Knight 2 as their “highest-selling graphic novel in the past five years” with over 350,000 copies preordered and/or sold. Yet Tyndale House/Wildstorm (the latter a DC subsidiary) sold over 500,000 copies of their Left Behind graphic novels (a fictionalized account of the events of Revelation). Over 24 issues of Powermark, a Christian sci-fi series aimed at children, were published from 1999-2001. Writer-publisher Steve Benintendi remarked, “Our first print was for 640,000 of issue one in English. Quebecor said it was the biggest print run of any comic within the last five years.” The Picture Bible, published in 1978 and still available today, was illustrated by Eisner studio alumnus Andre LeBlanc, and has been translated into more than 140 languages with over 86 million copies distributed worldwide. From 1978-1994 the United Bible Society published thirteen Heroes of the Faith comic books, principally drawn by Filipino artist Johnny Yngente, which sold over 100 million copies worldwide. And many other such successful examples can be cited, be it the Spire Christian Comics series drawn by Al Hartley from 1972-1988, or the more recent Japanese Manga Messiah and related titles.
For a thorough introduction to Christian comics, past and present, and from diverse cultures, let me direct you to the ministry of COMIX35 helmed by cartoonist Nate Butler.
Founded in 1996, it is his aim to train the native to reach the native with the Gospel message through visual media, and cartooning in particular. His COMIX35 training courses have been held in various parts of the world with over 49 different nations represented. This ministry also hosts the Christian Comics International website which is an indispensible source of information for Christian comics from the late 19th century to the present in six continents.
With such a richly diverse (ongoing) history, I’d like to select a few highlights:
Rev. E. J. Pace, DD (1879-1946)
Though not a comic book artist, but an editorial cartoonist in the vein of Winsor McCay (with a touch of Franklin Booth), Dr. Pace was the foremost Christian cartoonist of the early 20th century. Illustrating for top-selling Christian journals like Moody Monthly and The Sunday School Times (which had a peak circulation of 108,500 copies per week in North America), his work was also collected into several volumes: Christian Cartoons (1922), Pictures That Talk, volumes 1 & 2 (1929), Life Begins At… (1936), and From Death Unto Life (1943) which had leading evangelical Christian leaders of the day endorsing his artistic efforts and Bible scholarship. During his lifetime, Pace’s work was prolifically reproduced in poster form, leaflets, and tracts in various languages. However, in the years following his death, his work—which visually had a “Gilded Age” sensibility—just as quickly faded from view. In 2007 I published, with the full cooperation of his grandson, the first biography of E. J. Pace with hundreds of his masterful pen-and-ink drawings, as well as many rare photographs.
Nestor Redondo (1928-1995)
Known to many comics fans of the 1970s (and to Filipino Komiks fans several decades prior to the rest of the world) was the work of Nestor Redondo. Over the course of his long and prolific career he drew countless pages from Genesis and Exodus for Philippine comics. In 1975 he drew, using Joe Kubert’s layouts as a guide, the artwork for DC Comics’ treasury edition The Bible which dramatically portrayed selected portions of Genesis. In 1977 he, along with others in his studio, provided the art for Marx, Lenin, Mao, & Christ which offered a stark contrast between the Gospel of salvation in Christ and the tenets of Socialism and Communism. The following year he illustrated Lew Wallace’s classic Ben-Hur: a Tale of the Christ in comics form for Pendulum Press. Redondo’s art reflected his affinity for early 20th century American illustrators as well as the work of Alex Raymond in “Flash Gordon” while yet retaining a distinctly Filipino flavor. In 1988 he drew the story of actor-turned-evangelist Fred Galang for Born Again Comics #2 in his native country, and in later years, due to problems with his eyesight, he turned to inking the work of others, principally in Christian titles published or packaged by COMIX35: Aida-Zee (1990), The Monster (1992), Behold: 3-D (1995), and Christian Comics & Games #0 & #1 (1995).
Rick Griffin (1944-1991)
Famed for his surfing cartoons and psychedic rock concert posters of the 1960s, Rick Griffin became a born again Christian in 1970, and soon after began to incorporate elements of his faith in Christ into his “Murphy” comics for Surfer magazine, and in 1971 produced two Christian comics tracts featuring a character called “Holy Ned.” Additional work in this vein included the cover art for Craig Yoe’s Jesus Loves You and a four page comics story, “For God so Loved the World,” for Robert Crumb’s Zap Comix #7 in 1974 . From the late 1970s through the early 1980s Griffin provided the album cover art for a number of Christian records, and in 1980 he created many innovative illustrations for The Gospel of John, published by Calvary Chapel (rereleased with additional material in 2008). His last published work, prior to a tragic motorcycle accident, was a self-portrait at “Heaven’s Gate” for a San Francisco periodical.
There are so many more examples that could be cited, such as those who have worked in a humorous vein, be it Johnny Hart (1931-2007) whose late-life conversion to Christ was reflected in many of his latter “B.C.” comic strips; Kevin Frank (b. 1962) whose “Oboe Jones” strip ran in Cornerstone magazine (1984-1998) and whose “Heaven’s Love Thrift Shop” Sunday strips are currently syndicated by King Features; or Ron Wheeler whose comic strips have been published in book and tract form by the American Tract Society, Baker Book House, Barbour, Cook Communications, Fellowship of Christian Athletes, Focus on the Family, Tyndale House, and Beacon Hill Press.
As for myself—aside from my work as an illustrator for secular books, magazines, newspapers, and comics—I drew some short comics stories for various Christian publishers (“The Parable of the Ten Virgins” for Proverbs & Parables in 1999, “Unshackled! The True Story of John Hauff” in 2003, “The Good Samaritan” for Alive Now in 2004, and “The Ascension” for Christian Comics 2005) before embarking on publishing my own graphic novels (and other books, sometimes featuring the work of other artists) under my Calvary Comics imprint. Recent titles include Sadhu Sundar Singh, a biography of India’s most famous Christian; Revival Among the Zulus, the story of Erlo Stegen, founder of the KwaSizabantu Mission in South Africa; and Clendennen: Soldier of the Cross which chronicles the life and ministry of B. H. Clendennen, founder of the School of Christ International which operates in over 150 countries.
I can safely speak for my fellow believing artists by saying that there is no greater joy for us than to create material that openly glorifies Jesus Christ and which shows what God has done—and continues to do—in and through the hearts and lives of those who have surrendered to His perfect will, regardless of culture and location, past and present.
A wonderful post, Alec.
Comics lovers shouldn’t be surprised that Christian comics are so vigorous. If Christianity can inspire the music of Bach or the paintings of Caravaggio, why not comics?
Alec, btw, there’s a robust tradition of Christian comics in France and Belgium. I recommend you check out ‘Don Bosco’ by Joseph Gillain (Jije).
I bought that Aida-Zee comic back in the day. Features gret artwork by Murphy Anderson, Brian Buniak, and others.
Here’s hoping you write a sequel to this post, Alec!
Since Alex brought up Bach and Caravaggio…
The question I also have about Christian comics, same as I have with other types of political comics (like blatantly socialist/communist work), is how/if they work as something other than propaganda/proselytizing.
There’s an amazing painting in my local museum the Philadelphia Museum of Art: “The Crucifixion, with the Virgin and Saint John the Evangelist Mourning” by Rogier van der Weyden. ( http://www.philamuseum.org/collections/permanent/102845.html?mulR=28886|1 ) It’s a beautiful and powerful painting, that even I, a godless atheist, am moved by. It’s powerful as art.
None of the examples above really convince of their power as art.
You should check out Rick Griffen’s Christian work, Derik. It is beautiful, serene and powerful.
Alec-
Thanks for the interesting post.
I’m sure you’re aware of this phenomenon as a Christian comics publisher, but on a lot of large-scale religious releases, there’s a lot of uncertainty to how many sales actually translate into readers/viewers. Evangelists working for the Campus Crusade for Christ claim that “The Jesus Movie” is the most viewed film of all time- (http://www.jesusfilm.org/) A large portion of their ministry involves working to translate and distribute as many copies as possible. Which is probably why so many copies ended up at the thrift store I worked at in Orlando. They would place VHS copies in mailboxes, hand them out to strangers in the street. Same thing with Scientology books, actually- I don’t care to count how many copies of Dianetics I processed in my summer working for the store. Anyway, I’m not sure how much these points apply to Christian comics, but I would imagine they apply at least a little bit.
Alex: Titles? Is anything in print?
I would love to hear more on this topic too- as a Christian, as someone who cares about Christian culture, and someone who writes about and makes art, but I have to back Derek up in saying that (unlike Chick tracts, which are often formally interesting), these examples don’t immediately inspire excitement. Johnny Hart in particular. But I am really grateful for the history (especially Nestor Redondo), and hope to see more posts.
I would add a couple of artists: Joe Chiappetta, who did the Xeric-winning “Silly Daddy” and collaborated with John Porcellino, became an evangelical Christian and has since done a Christian SF graphic novel. I’ve not read it, but he’s always been inventive and interesting.
Gene Luen Yang, a Catholic, drew a rosary comic for Lent and often explores religious themes in his work (“The Eternal Smile”).
Also, Pope comics.
Alec, I enjoyed reading this. I must ask, who are the distributors and markets for this work? Obviously evangelistic works are given away, but do Christian bookstores carry comics? I’m wondering if there’s a parallel to how they fostered the Christian music scene in the 70s and 80s before mainstream record stores carried, say, Degarmo & Key. Or P.O.D., split the difference.
At least judging by the example of a local major “chain” Christian store, indeed they do carry comics.
Some related art & discussion at these old TCJ message board threads:
“E. J. Pace: Christian Cartoonist”: http://archives.tcj.com/messboard/viewtopic.php?p=37619&sid=4ec0ca84cd657310b2402b11099def90
“Christian comics 2007 virtual gallery” (Links to the subject of the thread defunct, alas): http://archives.tcj.com/messboard/viewtopic.php?t=2287&postdays=0&postorder=asc&start=0
“Bisley Illustrates the Bible”: http://archives.tcj.com/messboard/viewtopic.php?p=28997&sid=99eef29b53b0a1332e9ebfb0457181e1
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Derik Badman says:
…The question I also have about Christian comics, same as I have with other types of political comics (like blatantly socialist/communist work), is how/if they work as something other than propaganda/proselytizing.
There’s an amazing painting in my local museum the Philadelphia Museum of Art: “The Crucifixion, with the Virgin and Saint John the Evangelist Mourning” by Rogier van der Weyden… It’s a beautiful and powerful painting, that even I, a godless atheist, am moved by. It’s powerful as art.
None of the examples above really convince of their power as art…
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Propaganda/proselytizing and Art rarely come together; in the first, conveying the message – as in advertising – is the primary goal. The latter has – or should have – more complex aims.
Not that there can’t be more modest aesthetic worth in works of propaganda/proselytizing. But psychological complexity, ambiguity, a fair look at the arguments of the other side, usually are left out. Because they’d interfere with getting the message – or Message – across.
(A few “propaganda” pieces which make it as Art: many Eisenstein films, works by Kathe Kollwitz, Sue Coe…)
As for all that religious art by the Old Masters: it was aimed at a thoroughly Christian audience, hence they didn’t have to “sell” any concepts. That van der Weyden Crucifixion could focus on the tragedy without feeling compelled to hammer viewers with the message that “Jesus died for your sins, so you’d better accept him as your personal Savior, or forever burn in Hell!”
On one of those threads Jesse Hamm wrote:
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An interesting difference between contemporary Christian art and atheist art is that the latter proceeds from its assumptions rather than defending its ideas propositionally, and I think it’s more effective as a result. I once read a Crumb story in which he argued for his secular views, and it seemed much less effective than those stories in which he simply celebrates those views without appeals to reason. I think that principle is why cathedrals and Christmas carols are more effective than Chick tracts at turning our minds toward God.
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To which I added, “One approach tells you why you should believe a certain way; the other shows you why. Am reminded how “Uncle Tom’s Cabin” was said to have been more effective in motivating sentiment against slavery than armloads of argumentative abolitionist tracts…
Incidentally, Hamm created one of the finest Christian comics ever (perhaps the best), “Seven Seconds and a Dead Fish”…
Ran across this site: http://www.christiancomicsinternational.org/cci_news.html . Whew! That’s a lot of stuff!
Much of the greatest art ever created is propaganda, from Shakespeare’s explicitly pro-royalist plays to James Baldwin’s essays to Shaw to Mencken to Milton’s Areopagetica to Hogarth to explicitly satanic black metal to Art Young to…I don’t know. Tons of stuff.
“Explicitly satanic black metal” ranks amongst “the greatest art ever created”? Didn’t know what I’d been missing!
And, that great work – like some of Shakespeare’s plays – may have an “agenda” saves it from being propaganda because there’s far more to them than, say, a “pro-royalist” message.
On a cartooning level, comsider the difference between Art Young and Bruce “Mallard Fillmore” Tinsley…
Emperor is awesome.
I mean, some propagandistic art is good; some is bad. Some non-propagandistic art is good, some is bad. But Art Young is really, really a propagandist; so is Shaw — so is Shakespeare, actually. I don’t think you can say that the bit about Art Young that’s good is that he’s less propagandistic; I mean, he’d hate that. He’s an exciting artist because he’s fueled by righteous rage (among other things.) Same with Shaw. Same with Drudkh (awesome black metal, neo-Naziish.)
Politics and art are related in complicated ways. I don’t think rejecting all propaganda, or trying to bracket aesthetic and/or political issues, is a useful way to think about the connection.
Noah: “Politics and art are related in complicated ways. I don’t think rejecting all propaganda, or trying to bracket aesthetic and/or political issues, is a useful way to think about the connection.”
That’s right, but Mike is right too. I mean, look at _Guernica_: that’s Picasso trying to be a propagandist. LOL!…
@Bill Randall who wrote: “…do Christian bookstores carry comics?”
THE ACTION BIBLE, illustrated by Sergio Cariello, is #10 in the CBA (Christian Booksellers Association) charts, and is presently at 1200 on Amazon (which means it debuted at a much higher rank last September).
Bookstores, both Christian and non-, are going through great changes as we transition from print to digital. As you may know, Borders files chapter 11 two weeks ago, and closed 200 US stores, with 75 more pending (all UK locations had already closed). We’ll see what the next four years bring.
I like this post. Although at this point in my life I’m a non-believier, specifically opposed to Christianity as a guiding philosophy, I appreciate its influence on Western culture, though my interest mostly concerns architecture and music.
Specifically Christian themes in comics being proliferated so widely may have to do with the (obviously non-centralized) Evangelical Christian communtity in America and its effort to some extent to create a parallel to mainstream culture, where they can keep up with certain trends related to the reality of modern life in America while shielding themselves from any secular influence. It’s big business that I have first-hand experience in in a previous life as a born-again evangelical (seriously!).
Noah: It gives me a thrill to hear Satanic Black Metal mentioned as great art. Do you keep up with USBM? American bands like Krallice, Agalloch, Ludicra and Litergy are taking the genre in mind-blowing directions.
It’s kind of ridiculous that I forgot this, but of course the greatest Christian comics are those by Charles Schulz.
Hey Michael. I follow US black metal some, yeah. I like Ludicra (I have a review of their last album here. Agalloch is okay, but I have reservations. Haven’t heard Krallice and Litergy….
Krallice and Litergy sound like minor and major key versions of each other. You can download tracks from each of their new albums at http://stereogum.com/category/haunting-the-chapel/
Is there an auto-correct function? I KNOW how to spell liturgy*.
All the Black Metal stuff aside…
I thought it was SO cool when I got the privilege to got to Angouleme to see that all the churches and cathedrals in the old town were dedicated as spaces for Christian comics. I liked that the churches (and libraries, etc.) got involved in with the festival and took ownership of the types of comics they liked to promote. That community spirit definitely contributed to it being by leaps and bounds the BEST comics convention or whatever I’ve ever been to.
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funnyanimalbooks says:
…I thought it was SO cool when I got the privilege to got to Angouleme to see that all the churches and cathedrals in the old town were dedicated as spaces for Christian comics. I liked that the churches (and libraries, etc.) got involved in with the festival and took ownership of the types of comics they liked to promote…
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What a wonderful idea!
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Noah Berlatsky says:
….but of course the greatest Christian comics are those by Charles Schulz.
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Though the most memorable religious sequence comes from the animated “A Charlie Brown Christmas.” This article deals with its creation:
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Charles Schulz was long viewed as a man plagued by anxiety, self-doubt and fear of rejection. Yet when it came to the production of “A Charlie Brown Christmas,” Mendelson says, Schulz was the epitome of confidence and assured cool.
…”Schulz’s first thought was to have this revolve around a Christmas play,” Mendelson says. “He also said we should have some winter scenes, outdoor scenes. We also talked about the music: We would have some Beethoven, some traditional, and Schulz had liked so much of the music Guaraldi had written for the documentary.
“I had read ‘The Pine Tree’ by Hans Christian Andersen and threw out the idea of decorating this ‘ugly duckling’ of a tree,” Mendelson continues. “And Bill suggested that we animate some kind of dance sequence and we wanted to have them skate. All these ideas were flying around with no form, all in about an hour.”
Schulz wrote an outline that day. “And that was pretty much what we did,” Mendelson says. “Ninety percent of the show was out of whole cloth.”…
Charles Schulz insisted on one core purpose: “A Charlie Brown Christmas” had to be about something. Namely, the true meaning of Christmas. Otherwise, Schulz said, “Why bother doing it?”
Mendelson and Melendez asked Schulz whether he was sure he wanted to include Biblical text in the special. The cartoonist’s response, Mendelson recalls: “If we don’t do it, who will?”
To Coca-Cola’s credit, Mendelson says, the corporate sponsor never balked at the idea of including New Testament passages. The result — Linus’s reading from the Book of Luke about the meaning of the season — became “the most magical two minutes in all of TV animation,” the producer says…
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Much more, at http://voices.washingtonpost.com/comic-riffs/2010/12/post_17.html
Though Schulz has been featured in this “Celebrity Atheist List”…
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Charles Schulz
“I do not go to church anymore… I guess you might say I’ve come around to secular humanism, an obligation I believe all humans have to others and the world we live in.”
“I despise those shallow religious comics. Dennis the Menace, for instance, is the most shallow. When they show him praying–I just can’t stand that sort of thing, talking to God about some cutesy thing that he’d done during the day. I don’t think Hank Ketcham has any deep knowledge of things like that. . .Oh, I can’t stand that. You could get diabetes reading them, couldn’t you?”
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…I don’t think his remarks necessarily indicate rejection of God. (From http://www.celebatheists.com/wiki/Charles_Schulz )
Back in 2008, I’d started this TCJ message board thread – “Charles Schulz’s Church Cartoons” ( http://archives.tcj.com/messboard/viewtopic.php?t=3749&postdays=0&postorder=asc&start=0 ) and posted some scans from his 1965 “two-by-fours.”
Alas, the scans have gone kaput; just as well, since another site mentions:
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…NO MORE illustrations from Charles M. Schulz’s ‘Two-By-Fours’ (1965)
PLEASE NOTE: In accordance with a cease and desist message received from About Comics, current copyright holder for the images from Charles M. Schulz’s ‘Two-by-Fours’ book, the color scans from a vintage copy of that book have been removed from this blog until further notice.
…About Comics would also like you to know that their book ‘Schulz’s Youth’ collects cartoons from both the ‘Young Pillars’ series and images from ‘Two-by-Fours’.
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http://learning2share.blogspot.com/2010/02/some-illustrations-from-two-by-fours-by.html
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Noah Berlatsky says:
…Politics and art are related in complicated ways. I don’t think rejecting all propaganda, or trying to bracket aesthetic and/or political issues, is a useful way to think about the connection.
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Who’s “rejecting all propaganda”? Didn’t I earlier say…
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Not that there can’t be more modest aesthetic worth in works of propaganda/proselytizing….
(A few “propaganda” pieces which make it as Art: many Eisenstein films, works by Kathe Kollwitz, Sue Coe…)
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I’d started to post the dictionary definition of “propaganda” earlier, but didn’t. Looks like it’s necessary to do so, after all:
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prop·a·gan·da
–noun
1. information, ideas, or rumors deliberately spread widely to help or harm a person, group, movement, institution, nation, etc.
2. the deliberate spreading of such information, rumors, etc.
3. the particular doctrines or principles propagated by an organization or movement.
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dictionary.com
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propaganda
— n
1. the organized dissemination of information, allegations, etc, to assist or damage the cause of a government, movement, etc
2. such information, allegations, etc
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World English Dictionary
…Pretty damn limited in scope, isn’t it?
Can Rembrandt’s “Descent from the Cross” – http://www.backtoclassics.com/images/pics/rembrandtvanrijn/rembrandtvanrijn_descent_from_the_cross.jpg – or Michelangelo’s “Pietà” – http://gardenofpraise.com/images/pieta4.jpgg – be shamefully pigeonholed as a hectoring message that “He gave his life for our sins, so you’d better accept Him as your Savior or you’ll be sorry”?
Or, was it taken for granted by the respective creators that the audience was a Christian one, and they’d recognize the events depicted, be moved by those renderings?
Is Goya’s “The Disasters of War” series mere propaganda too? Does he simply say, “Napoleon stinks, Spaniards are great”? Instead, he also shows the Spaniards committing vicious reprisals; features images carrying the series beyond a singular bit of warfare, but on the bleakness of the human condition. “Truth has Died,” for one: http://www.hoocher.com/Francisco_de_Goya/Truth_Has_Died_%28Murio%20la%20verdad%29_1810_14.jpg .
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Domingos Isabelinho says:
… I mean, look at _Guernica_: that’s Picasso trying to be a propagandist. LOL!…
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I’d consider Picasso’s comic-strip style, 1937 “The Dream and Lie of Franco” – http://www.galilean-library.org/site/index.php/page/index.html/_/essays/art/the-roots-of-modern-art-part-8-picasso-ii-r16 – more blatant propaganda; “Guernica,” though it depicts a Fascist atrocity, is far more in the realm of Art. (As are Goya’s “The Shooting,” Daumier’s “Rue Transnonain”; http://www.artchive.com/artchive/d/daumier/daumier_transnonain.jpg )
Some comparison is in order…
Picasso’s “Guernica”: http://www.writingofriding.com/wp-content/uploads/2010/08/picasso_guernica.jpg
Posters by other artists about the attack:
One produced by the Spanish Republican government: http://farm4.static.flickr.com/3063/3047461311_40e5700463_o.jpg
http://i1123.photobucket.com/albums/l542/Mike_59_Hunter/guernicaPoster.gif (Couldn’t access any info about it)
Another inspired by the supposed t1936 bombing of Getafe near Madrid: http://airminded.org/wp-content/img/ephemera/your-children-will-be-next.jpg
(Which apparently never happened, as told in http://airminded.org/2009/10/11/the-non-atrocity-of-getafe/ )
…Could the difference between Art and mere propaganda be more obvious?
As that earlier site featuring the “The Dream and Lie of Franco” images notes, speaking of “Guernica” (the evolution of that great work analyzed):
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As Picasso developed his work, he paid little attention to the particulars of the town of Gernika itself. This is because Picasso, in this work as in so many others, was concerned with universals rather than particulars. One way that scholars and historians have often judged art as influential (while avoiding problematic value judgments of whether it is good or bad) is when a work somehow transcends the particular circumstances that inspired it, and speaks across cultures, across time and place. Such works seem to have more influence – they endure in human memory, even across centuries – because in them, even modern people can recognize meaning.
Picasso instinctively was striving to make his mural Guernica one such painting, a work that would speak, not so much to the particular circumstances of the Nazi bombardment and slaughter of innocent civilians in a particular town, but to the timeless theme of war’s horror, of the tenuousness of life and the way that death can be both sudden and brutal…
Picasso continued to refine his figures and change the composition…The fallen figure with the upraised arm and clenched fist was moved to a more prominent role in the center of the canvas, but Picasso eventually discarded the form, apparently because he believed that the detail was too heavy-handed, too obvious. Again, he was striving for something timeless and universal, something that would transcend the particulars of the event (for who knew whether an upraised arm with a clenched fist would always be associated with the defenders of Republican Spain, or even that it would always be associated with anything positive?)
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Although it seems that Christian art has diminished somewhat from the days of Michelangelo and Bernini, these are some interesting examples that you have posted, Alec.
I was always somewhat partial to the work of Nestor Redondo and I would love to see a collection of all of Rick Griffin’s Bible drawings.
Also I recall seeing some quite nice work by Joe Sinnott in Treasure Chest—Joe was able to construct drawings that showed an awareness of deep space. Makes it seem a shame that he was usually only given work as an inker.
Does anybody know a source to get a set or copies of EJ Pace’s Gospel tracts with both the front ARTWORK and the back MESSAGE intact? I understand he drew around 300 tracts.
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