Now, in February 1998 when I visited Henry Boltinoff in his Florida hideaway, the signature is still as tidy as ever. “If I do a drawing and it appears in print,” he said, “I want my name on it.” You saw the signature even in the comic books, which at the time didn’t usually print the names of the cartoonists or writers who produced their content. And the drawings were just as meticulously rendered - tight drawings, judiciously placed black solids. With a neatly placed underscoring just under the middle of the last name. You saw his signature in all those places. Which proves that prayer works.įor about a decade, Henry Boltinoff was producing Stoker the Broker, a newspaper panel syndicated by Washington Star Syndicate (and then McNaught) full-page and half-page comic strip fillers for National Periodicals comic books (now DC Comics) and panel cartoons for magazines like Saturday Evening Post, Look, Collier’s, Ladies Home Journal, and the like. Driving with Henry was somewhat harrowing: he didn’t steer so much as he lunged, veering sharply - suddenly - off in whichever direction he chose. We talked for an hour or so and then went to lunch. Tired of packing and unpacking, she said, Let’s move to Florida. But, Henry said, his wife put her foot down at last. At first, they’d go to Florida for several months of the year, then return to the New York area. They’d been living full-time in Florida only about four years at the time. He lived alone, his wife having died in about 1992. So I went to his place at Lake Worth, a snug little townhouse in English Court. I asked Jud Hurd, editor/publisher of Cartoonist PROfiles, who was around there, who he’d like a story on and he suggested Henry. And while I was in the neighborhood, I thought I’d call on various cartoonists who lived in the vicinity. I was down in Boca Raton, visiting the International Museum of Cartoon Art (since closed) to assemble original art for an exhibit at the Frye Art Museum in Seattle, Washington. I met Henry Boltinoff on February 14, 1998. He didn’t sign his name big, but it was still a very visible signature. And his signature was one of the best-known in the business. He was one of the last of a vanishing breed - the cartoonists who began working in the 1930s and worked in every venue of cartooning, magazines and comic books and newspaper comic strips. He had been a cartoonist all his life, since about 1933. McKeon said in a note to staff that he believes Ford will help the Chronicle strengthen its position in the market and succeed after a challenging year.His iconic signature could be found in magazines, comic books and comic strips.
“We need to look at how we will become competitive in the news landscape, not just the newspaper landscape.” “How do we do it better, and how do we do it so we don’t add expenses, and make some real revenue from it,” Ford said.
Ford said he sees the opportunity to do more with video and digital.
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“I didn’t go racing away, and I was very much entrenched on how to make this work,” Ford said.įord said when he arrives in Houston next week, he wants to assess where the Chronicle is as a business, learn the marketplace, and see what company can do better. He said he looks forward to returning to the newspaper industry. His media-related experience includes working as senior vice president and general manager for FOX Sports Regional Networks, senior director of the San Francisco Chronicle and vice president of advertising for the Detroit Newspaper Partnership. He also served as the CEO of Original Grain and led the restructuring of the California specialty watchmaker from the brink of insolvency to profitability. Previously, he was a consultant to private equity companies on behalf of media and sports industries. He helped launch the company, oversaw business development efforts from the company’s California headquarters and built its facilities and team in Oregon. Ford most recently was the chief executive officer with Vero Naturals, a CBD provider.
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