From Newspaper Comics to Picture Postcards

Who was Richard Felton Outcault?

Richard Felton Outcault (1863–1928) is often called the “father of the comic strip” for the way he helped shape modern newspaper comics and the visual language of speech balloons and sequential panels. Born in Lancaster, Ohio, he trained at the McMicken School of Design in Cincinnati, then worked as an illustrator for trade magazines before heading to New York.

How did the Yellow Kid make him famous?

In the mid‑1890s Outcault began drawing a series of crowded tenement‑yard scenes for Joseph Pulitzer’s New York World under the title “Hogan’s Alley.” One figure, a bald, big‑eared child in a long yellow nightshirt, quickly became the focus of the strip and of the paper’s marketing; the public knew him simply as the Yellow Kid.

The Yellow Kid strips popularized:

• Large, poster‑like panels with a strong central figure.
• Dialogue written on the front of the Kid’s nightshirt and then in speech balloons.
• A mix of slapstick humor and social observation set in New York’s working‑class streets.

The character was so successful that William Randolph Hearst lured Outcault away to draw the Yellow Kid for the rival New York Journal, turning the figure into a symbol of the “yellow journalism” circulation war.

What was Buster Brown and why did it matter?

In 1902 Outcault introduced a new strip, Buster Brown, in the New York Herald. Buster was a mischievous upper‑middle‑class boy in a Little Lord Fauntleroy outfit, always accompanied by his talking dog Tige and a mock‑moral lesson at the end of each episode.

Unlike the Yellow Kid, whose merchandising was largely controlled by the newspapers, Buster Brown became the center of a planned licensing empire.

• Outcault and his agents licensed Buster to shoe companies, food brands, toy makers, and advertisers.
• The character appeared on calendars, puzzles, banks, games, and on printed ephemera like trade cards and postcards.

This shift made Outcault one of the first cartoonists to treat comic characters as valuable intellectual property rather than as disposable newspaper content.

What kinds of postcards did Outcault create?

By the early 1900s, Outcault’s style and characters were widely used on chromolithographed picture postcards, especially during the “golden age” of postcards around 1900–1910. Some cards were direct spin‑offs of his strips, while others were stand‑alone comic scenes created specifically for postcard publishers.

Common themes on Outcault postcards include:

• Valentines with a bite – humorous and often rejecting messages that draw on the “vinegar valentine” tradition, using freckle‑faced street kids, prim children, and animals to deliver insults rather than romance.
• Sports and games – baseball, football, billiards, golf and bowling scenes where mishaps on the field are turned into comic metaphors in the caption.
• Everyday mishaps – hotels, travel, courting couples, and money worries rendered as single‑panel jokes with a punchline title across the top or bottom of the card.

Many of these designs were produced with undivided backs and pre‑1907 postal regulations in mind, forcing the sender to write the message on the image side around the artwork, just as on the “SAY AU REVOIR BUT NOT GOOD BYE” card.

How did J. Ottmann Lithographing Co. work with Outcault?

A significant portion of Outcault’s postcard work is associated with the J. Ottmann Lithographing Company of New York. These cards usually carry both a copyright line such as “COPYRIGHT 1905 BY J. OTTMANN LITH. CO. N.Y.” and a scripted artist credit “R. F. Outcault,” sometimes integrated into the artwork.

One documented 1905 series combines sports scenes (Harvard, Yale, and Princeton football as well as baseball, bowling, and golf) with Outcault’s signature and Ottmann’s imprint, all printed in strong color on standard postcard stock. Collectors today value these issues not only for their art but also as evidence of how major lithographic houses helped commercialize comics beyond the newspaper page.

How should we read the stereotypes in his postcards?

As with many early 20th‑century postcards, some Outcault designs trade in racial and ethnic caricatures that are jarring and offensive today. An example held by a national museum shows a Black child eating watermelon, combining Outcault’s name with a racist stereotype that was then widespread in American popular culture.

For historians and collectors, such cards are important primary sources documenting:

• The everyday circulation of racist imagery in advertising and humor.
• The role of comics and postcards in normalizing stereotypes for mass audiences.

Acknowledging this context is essential when presenting Outcault’s work today, whether in exhibitions, blogs, or catalogues.

What is Richard Felton Outcault’s legacy for postcard collectors?

Outcault gradually withdrew from daily newspaper deadlines, devoting more time to painting and to managing his licensing portfolio. He died in 1928, but his innovations in layout, speech balloons, and character merchandising shaped both newspaper comics and the way cartoon figures moved into other media, including postcards and advertising ephemera.

For postcard specialists, Outcault sits at the intersection of early comics history and the commercial postcard boom: a single artist whose lines and jokes can be traced from the Sunday supplement to the postcard rack.