Hubbry Logo
Fred GuardineerFred GuardineerMain
Open search
Fred Guardineer
Community hub
Fred Guardineer
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Fred Guardineer
Fred Guardineer
Fred Guardineer
View on Wikipedia
from Wikipedia

Frederick B. Guardineer (October 3, 1913 – September 13, 2002)[3] was an American illustrator and comic book writer-artist best known for his work in the 1930s and 1940s during what historians and fans call the Golden Age of Comic Books, and for his 1950s art on the Western comic-book series The Durango Kid.

Key Information

A pioneer of the medium itself, Guardineer contributed two features to the seminal Action Comics #1, the comic book that introduced Superman.

Biography

[edit]

Early life and career

[edit]
Action Comics #8 (Jan. 1939), Guardineer's first comic-book cover.

Fred Guardineer was born in Albany, New York.[4] He acquired a fine arts degree in 1935, then moved to New York City, where he drew for pulp magazines.[4] The following year he joined the studio of Harry "A" Chesler, an early "packager" supplying comics features on demand for publishers entering the emerging medium of comic books. There he drew adventure features such as "Dave Dean" and the science-fiction feature "Dan Hastings" before going freelance in 1938.[4]

Guardineer's first known comics credits appear in several one- to three-page Western and comic-Western stories, and in spot illustrations for a text story, in Centaur Publications' Star Ranger #2 (cover-dated April 1937). Through that year, he continued writing and drawing such short features in a variety of genres in some of the medium's first comics, including Centaur's Star Comics, Funny Pages and Funny Picture Stories.[5]

He is among the contributors to the future DC Comics' landmark title Action Comics #1 (June 1938), the comic that introduced Jerry Siegel and Joe Shuster's seminal superhero Superman. There Guardineer wrote, drew and lettered the 12-page feature introducing his magician-hero creation Zatara, a character remaining in the DC stable as of the 21st century. Guardineer was also one of the artists on two features handled previously by Creig Flessel in More Fun Comics: "Pep Morgan" (on which he sometimes used the pseudonym Gene Baxter) and, in Detective Comics, "Speed Saunders, Ace Investigator".[5]

He married Ruth Ball in 1938 and bought a home in Long Island, New York the following year.[6]

Guardineer's other early work includes art for Quality Comics, where he created the character Blue Tracer; and Columbia Comics, where he worked with former DC editor Vin Sullivan, who had edited Action Comics.[5]

Later life and career

[edit]

Guardineer followed Sullivan to the editor's next venture, the comic-book company Magazine Enterprises, which Sullivan founded. There from 1949–1955, Guardineer drew writer Gardner Fox's Old West masked-crimefighter series The Durango Kid. In the late 1940s, he also drew for such Lev Gleason Publications comics as Black Diamond Western and Crime Does Not Pay.[5] In 1955, Guardineer retired from comics and worked 20 years with the U.S. Postal Service,[4][6] and during this time did wildlife illustrations for publications including The Long Island Fisherman.[6] He was a member of the Outdoor Writers Association of America.[6]

Popular-culture historian Ron Goulart called Guardineer

...a true nonpareil, an artist whose style was unmistakably his own. ... His style was almost fully formed from the start. He seems always to have thought in terms of the entire page, never the individual panel. Each of his pages is a thoughtfully designed whole, giving the impression sometimes that Guardineer is arranging a series of similar snapshots into an attractive overall pattern, a personal design that will both tell the story clearly and be pleasing to the eye....[7]

Comics historian Mark Evanier wrote that during Guardineer's years away from comics, Mad magazine writer and editor Jerry DeFuccio located him "and became the first of many collectors to pay what Guardineer considered tidy sums to re-create some of his old covers."[8] Guardineer again lost contact with the comics community until 1998, when a comics fan found him in northern California and convinced him to attend that year's Comic-Con International in San Diego, California. There, he was part of an Evanier-hosted panel "of every surviving person who'd had a hand in the creation of the historic Action Comics #1. [When presented with the convention's Inkpot Award,] Fred was confined to a wheelchair ... but with great effort, he insisted on standing as he made a brief but eloquent acceptance speech."[8] Guardineer later was a guest at WonderCon, in Oakland, California.[8]

One source says Guardineer moved to San Ramon, California, where he died in 2002,[4] though the Social Security Death Index gives his last place of residence as Babylon, New York (ZIP Code 11702) in Suffolk County, Long Island.[3]

Awards

[edit]

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fred Guardineer

View on Grokipedia
from Grokipedia
Fred Guardineer is an American comic book artist and illustrator known for his prolific work during the Golden Age of comic books, most notably as the creator and artist of Zatara the Magician, who debuted in Action Comics #1 in 1938. His dynamic style and contributions to early superhero and adventure features established him as a significant figure in the formative years of the medium. Born on October 3, 1913, in Albany, New York, Guardineer earned a fine arts degree in 1935 and initially illustrated for pulp magazines before entering the comic book industry in 1936 at the Harry "A" Chesler studio. He soon went freelance, contributing to publishers such as Centaur, National (later DC Comics), Quality Comics, and others, where he drew and often wrote features including Speed Saunders, Pep Morgan, Tor the Magic Master, Quicksilver, Marksman, and later The Durango Kid for Magazine Enterprises. His work often appeared in anthology titles and he produced numerous covers during the late 1930s and 1940s. Guardineer retired from comics in 1955 amid industry changes and worked for the U.S. Postal Service for two decades, during which he also created wildlife illustrations. He was later rediscovered by fans, attended conventions including San Diego Comic-Con where he received the Inkpot Award in 1998 for his contributions to comics, and enjoyed renewed appreciation from collectors. He died on September 13, 2002.

Early life and education

Childhood and family background

Frederick Blessing Guardineer was born on October 3, 1913, in Albany, New York, as the only child of Frederick Reid Guardineer, a collection lawyer for the New York Telephone Company, and Anne Mariah Blessing. The family initially resided at 289 West Lawrence Street in Albany. In 1917, following his father's reassignment to the Westchester County law office of the New York Telephone Company, the family relocated to Hastings-on-Hudson, New York, where they lived at 17 Chestnut Drive. Through the 1920s, the father's career moves prompted further family relocations. In the summer of 1924, the family of three took a vacation to Bermuda, traveling aboard the Steam Ship Victoria. In 1928, his father was reassigned to the Albany office, leading the family to return to that city and reside at 79 Brookline Avenue. Guardineer's mother, Anne Mariah Blessing, died on September 1, 1943.

Education and artistic training

Fred Guardineer graduated from high school in Albany in 1932 before enrolling at Syracuse University College of Fine Arts that fall. He graduated with a fine arts degree in June 1935. At Syracuse, he studied under the influential teacher Hibberd Van Buren Kline and served as art editor of the student magazine The Orange Peel. In 1934, he exhibited his work at the Studio Restaurant in Syracuse. Following graduation, Guardineer took a solo trip to Paris in the summer of 1935 to study art museums. He then moved to New York City in September 1935 to pursue a career in freelance illustration, taking up initial residence at the Hotel Latham.

Early professional career

Pulp magazine illustrations

Fred Guardineer began his professional illustration career in 1936 when Tom Lovell, an older alumnus of Syracuse University, introduced him to Street & Smith, where his interior drawings were published in Sport Story magazine. This connection provided his initial entry into pulp magazine illustration. He subsequently contributed interior illustrations to several other pulp titles, including Thrilling Adventures, Detective Tales, Ten Detective Aces, Ace Sports, and 12 Sports Aces. During these early efforts in New York, he established connections with prominent illustrators Harvey Dunn, Mario Cooper, and Al Dorne. In the same year, Guardineer's work overlapped with his involvement at the Harry "A" Chesler studio, an early comic packager, where he contributed to features such as Dave Dean, Dan Hastings, and Lobo. Friendships formed with artists Creig Flessel and Vin Sullivan during this time would later facilitate his transition to comic books.

Transition to comic books

Fred Guardineer transitioned from pulp magazine illustrations to comic books in 1936 when he joined the studio of Harry "A" Chesler, one of the earliest comic book packagers supplying content to emerging publishers. At the Chesler shop, he produced adventure and science fiction strips, most notably the sci-fi serial Dan Hastings and the adventure feature Lobo. His earliest published comic book credits appeared in 1937 with Centaur Publications, which distributed material often packaged by Chesler. He contributed short Western and comic-Western stories along with spot illustrations to Star Ranger #2 (cover-dated April 1937), and also provided work for other Centaur titles including Star Comics, Funny Pages, and Funny Picture Stories throughout the year. These pieces typically involved pencils, inks, and occasionally scripting or spot art, signed with variations of his initials such as FBG. Beginning in 1938, Guardineer shifted to freelance work, continuing to contribute across multiple genres for Centaur titles. In 1938 he also began contributing to DC Comics.

Golden Age comic book career

Work for DC Comics and creation of Zatara

Fred Guardineer began contributing to DC Comics (then known as National Periodical Publications) in the late 1930s, where his most notable achievement was the creation of the magician-hero Zatara. In Action Comics #1 (June 1938), Guardineer wrote, drew, and lettered a 12-page origin and adventure story introducing Zatara, a stage magician who casts spells by speaking words backward and fights crime with the assistance of his young companion Tong. The feature appeared alongside Superman's debut in the landmark issue, establishing Zatara as an early supernatural character in DC's lineup. In the same debut issue, Guardineer also handled the "Pep Morgan" sports story under the pseudonym Gene Baxter. He subsequently took over the ongoing "Pep Morgan" series in More Fun Comics, continuing to use the Gene Baxter credit on occasion. Guardineer further assumed artistic duties for "Speed Saunders, Ace Investigator" in Detective Comics, succeeding Creig Flessel on the detective feature. His first comic book cover appeared on Action Comics #8 (January 1939), depicting Zatara in action. From 1937 to 1940, Guardineer produced additional work for DC titles, including illustrations for scripts by writer Gardner Fox. Zatara, though short-lived in his original solo adventures, endures in DC continuity as the father of the renowned sorceress Zatanna.

Contributions to Quality Comics and other publishers

Fred Guardineer contributed significantly to Quality Comics from 1941 to 1944, working on several notable adventure, magic, and superhero strips during the height of the Golden Age. He created the Blue Tracer, a military-themed hero equipped with advanced weaponry and vehicles to combat Axis forces during World War II, debuting in Military Comics #1 (August 1941). The character appeared in multiple issues through the early 1940s, showcasing Guardineer's skill in action-oriented storytelling and mechanical detail. In addition, he contributed to features including Tor the Magic Master (in Crack Comics), Merlin (in National Comics), Quicksilver (in National Comics), and The Marksman (in Crack Comics), contributing to Quality's lineup during this period. Several of his magician characters resembled the style of Mandrake the Magician. Beyond Quality, Guardineer freelanced for other publishers throughout the 1940s. In 1941 he contributed to titles at Marvel. He also worked with editor Vin Sullivan at Columbia Comics during the period. In the late 1940s, he produced material for Lev Gleason Publications, including stories in Black Diamond Western and Crime Does Not Pay, aligning with the era's shift toward crime and Western genres. Additional credits include work for Hillman Periodicals (1946-1947) and various crime genre stories for Eastern Color, Pines, and Gleason from 1946 to 1953. These assignments reflected Guardineer's versatility in adapting to different genres as the comic book industry evolved.

Notable features and style

Fred Guardineer possessed a distinctive artistic style that set him apart in the Golden Age of comics. Comics historian Ron Goulart described him as "a true nonpareil, an artist whose style was unmistakably his own." Goulart further noted that Guardineer's style was almost fully formed from the start of his career and that he consistently thought in terms of the entire page rather than individual panels. Each page was designed as a thoughtfully composed whole, often giving the impression of arranging similar snapshots into an attractive overall pattern that served both to advance the narrative clearly and to provide visual pleasure. Guardineer sometimes signed his work under pseudonyms such as F.B.G., Gene Baxter, and Lance Blackwood. His innovative page composition and personal visual approach influenced later comic artists, including Bob Bolling.

Magazine Enterprises and The Durango Kid

Fred Guardineer joined Magazine Enterprises in the early 1950s, drawn there by his longtime friend and editor Vin Sullivan, who had previously worked with him at DC Comics and now sought him out for western titles. Sullivan, whom Guardineer described as his favorite editor and like an old friend, invited him to contribute after the decline in crime comics made a change necessary. Guardineer accepted and focused primarily on The Durango Kid, a western series featuring a masked crimefighter, which he drew for approximately three years and regarded as his favorite assignment. The Durango Kid series, based on the Columbia Pictures character and scripted mostly by Gardner Fox (despite Guardineer's recollection of "Gill Fox," likely a mix-up), ran from 1949 to 1955 across 41 issues. [](https://www.comics.org/series/ something but use existing or new; actually add Guardineer served as the primary artist starting with issue #19 (October-November 1952), providing both interior artwork and covers through the remaining issues up to #41 (October-November 1955). He emphasized authenticity in his illustrations, relying on extensive reference files for pistols, rifles, horses, stagecoaches, and other period details to avoid inaccuracies. Guardineer viewed the feature as his last opportunity for a major success and expressed great affection for the work. This series remains the work for which he is best remembered in the 1950s. In addition to The Durango Kid, Guardineer contributed to other Magazine Enterprises western publications, including Best of the West, where he provided signed cover art. His tenure with the publisher, spanning roughly 1952 to 1955, concluded his comic book career before retirement.

Retirement from comics in 1955

Fred Guardineer retired from comic books in 1955 at the age of 42, concluding a career in illustration that spanned approximately 19 years, beginning with his entry into pulp magazines and comic shops in 1936. The timing of his departure aligned with significant challenges in the freelance market, including the collapse of the pulp industry and the increasing self-censorship pressures on comic books that followed the establishment of the Comics Code Authority in 1954. In response to these industry shifts and the instability of freelance work, Guardineer transitioned to a stable government position with the U.S. Postal Service, which provided reliable salary and benefits. In his spare time, he continued to produce freelance wildlife illustrations.

Post-comics life and career

U.S. Postal Service employment

After retiring from freelance illustration in 1954, Fred Guardineer took a position as a mail carrier with the U.S. Post Office in his hometown of Babylon, New York. He held this government job for twenty years, from 1955 to 1975, providing stable employment following the decline of pulp magazines and challenges in the comic book industry. Guardineer enjoyed the role, appreciating the steady salary and retirement benefits that offered greater security compared to the uncertainties of freelance artistic work. In his spare time during this period, he continued artistic activities related to wildlife illustration. He remained in Babylon until 1989, when he relocated to California.

Wildlife illustrations and outdoor interests

After retiring from comic books in 1955, Fred Guardineer focused his artistic talents on wildlife illustrations and outdoor subjects while employed by the U.S. Postal Service. He produced illustrations for The Long Island Fisherman magazine, including special issues, and contributed similar artwork to other outdoor-related publications over a period of years. Guardineer was also a member of the Outdoor Writers Association of America, reflecting his engagement with professional outdoor journalism and illustration circles. He established a local freelance business creating art for fishing and outdoor sports themes. Guardineer served as Corresponding Secretary of the Babylon Tuna Club, where he wrote and illustrated editorials on fishing and related topics. He additionally hosted a radio show devoted to outdoor and fishing interests. His wife Ruth maintained a journalism career with newspapers in Babylon, covering local topics during this period. These artistic and outdoor pursuits continued into his later years in New York before his move to California in 1989.

Personal life

Marriage and family

Fred Guardineer married Ruth Ball in 1938. Ruth, born in 1917, was a medical student at New York University at the time. The couple moved to Long Island and resided at 51 Lakeland Avenue in Babylon, New York. They had one son, Gary Guardineer. She died on October 14, 1987. In 1989, Guardineer moved to San Ramon, California to live near his son's family.

Military service in World War II

Fred Guardineer enlisted in the United States Army on March 25, 1944, during World War II. He was initially stationed at Camp Upton in Yaphank, New York. Guardineer served for the remainder of the war and received an honorable discharge on February 12, 1946. He resumed his comic book career after returning to civilian life.

Later years and legacy

Rediscovery and convention appearances

Fred Guardineer had little contact with the comics community after retiring in 1955, though he briefly reconnected in the 1960s when MAD magazine associate editor Jerry DeFuccio tracked him down, interviewed him, and became the first of many collectors to commission re-creations of his old comic book covers for what Guardineer considered tidy sums. He again lost touch with fans until 1998, when comic book enthusiast Dave Siegel located him in northern California and arranged for him to attend Comic-Con International in San Diego. At the 1998 convention, Guardineer participated in a panel that gathered every surviving contributor to Action Comics #1. He also received the Inkpot Award from Comic-Con International for his contributions to comics. Confined to a wheelchair by then, he insisted on standing with great effort to deliver a brief but eloquent acceptance speech, a gesture that highlighted how much the recognition meant to him. He later appeared as a guest at WonderCon in Oakland, California, arranged by Dave Siegel, where he enjoyed meeting admirers who treasured his work.

Awards and influence

Fred Guardineer received the Inkpot Award at Comic-Con International in 1998 for his contributions to the comic book field. Comic book historian Ron Goulart described him as "a true nonpareil, an artist whose style was unmistakably his own," emphasizing his mastery of page design in which he conceived of the entire page as a unified composition rather than a series of isolated panels. Guardineer's distinctive approach has influenced later artists, including Bob Bolling. His creation Zatara, introduced in 1938, remains part of DC Comics continuity and has received "created by" credits in posthumous adaptations, such as the animated series Young Justice.

Death

Fred Guardineer died on September 13, 2002, at the age of 88, one month shy of his 89th birthday. Sources differ on the place of death. Biographical profiles state that he passed away in San Ramon, California, after relocating there in 1989 to live near his son's family following his wife's death in Babylon, New York. His entry in the Social Security Death Index, however, lists his last known residence as Babylon, New York (ZIP code 11702). No additional details about the circumstances of his death are widely documented.
Add your contribution
Related Hubs
User Avatar
No comments yet.