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Fred Harman
Fred Harman
Fred Harman
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Frederick "Fred" Harman (February 9, 1902 – January 2, 1982) was an American cartoonist, best known for his popular Red Ryder comic strip, which he drew for 25 years, reaching 40 million readers through 750 newspapers. Harman sometimes used the pseudonym Ted Horn.

Key Information

Born Leslie Fred Harman, he was two months old when his parents moved from St. Joseph, Missouri, to Pagosa Springs, Colorado, where he grew up familiar with horses and the ranching lifestyle. His father had previously homesteaded in Pagosa in 1891. Harman dropped out of school after seven years and never had any formal art training. He was self taught and developed an eye for dramatic perspective and authentic detail.

Kansas City

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Harman worked as a pressman's helper at The Kansas City Star, where he came in contact with the newspaper's art staff. When he was 20 years old, he was employed at the Kansas City Film Ad Company, working with Walt Disney as an animator. Harman and Disney partnered to form their own company but went broke within a year. Harman then went back to Colorado. Harman's brother, Hugh Harman, was also an animator at Disney's Kansas City studio.[1]

In the fall of 1924, Harman got a wire from an artist friend, Sam McConnell, about an illustrating job at Artcrafts Engraving Company. He took the first train he could get to St. Joseph, home of the Pony Express. In addition to his work as a catalog illustrator for Artcrafts (for the Olathe Boot Company, among other catalogs), Harmon created promotional art, book illustrations and film costume designs commemorating the Pony Express, and bought canvas and paint to create his own paintings at home in his spare time. Artcrafts then was on the 5th floor of the Jenkins Music Building, and Fred met and married musician Lola Andrews, who worked on the first floor of the same building. The couple had a son on May 27, 1927, the day Lindbergh arrived in Paris. Harman did not have the money to pay the hospital bill for his son's birth, so his boss at Artcrafts, William Henry Guenther Sr., bought one of Harman's paintings (of a cowboy with red hair) for the exact amount needed to cover the bill. The couple later moved to St. Paul, Minnesota, where Fred was a partner in an advertising agency for several years before it failed. He was employed in Iowa for a short time before moving his wife and son to Pagosa Springs, where they built a log cabin. In 1933, he moved to Los Angeles, where he edited, illustrated and published a Western magazine that collapsed after three issues. Although the Stendahl Art Gallery staged a show of his paintings, none sold.[1][2]

Red Ryder

[edit]

Harman self-syndicated his Bronc Peeler strip from 1934 to 1938, finding few takers as he visited various West Coast newspaper offices. When he visited New York in 1938, he met publisher and licensing guru Stephen Slesinger and found success. Stephen Slesinger was looking for an exceptional artist to draw Red Ryder and Fred Harman was a perfect match. He was a genuine cowboy who had the talent and the knowledge of the authentic details Slesinger sought. Harman worked with Slesinger for a year, with other artists in Slesinger's New York Studios, before Red Ryder was ready to debut. Red Ryder was launched, with a year's full of pre-written storylines, a multi-pronged licensing campaign and a parade of appearances with Harman appearing as a real-life cowboy artist. Popular comic books, illustrated books and juvenile novels, Radio shows, movies, and an avalanche of dependable quality merchandise followed, from school supplies to camping supplies, toys, games, puzzles, novelties, craft kits and leather kits, wallets with secret pockets, watches, camping cookware and more. An exclusive Red Ryder Corral at JCPenney's offered Red Ryder Cowboy themed clothing, hats, suspenders, underwear, accessories, housewares and rugged Red Ryder Ranch Brand clothing for work and play. Soon there were Red Ryder Rodeos, Little Beaver Powwows, Red Ryder sponsored family events and outdoor youth programs. In 2020 Red Ryder Enterprises, Inc., owners of the Red Ryder trademarks, copyrights and archives, will celebrate the 80th Anniversary of Red Ryder's outdoor youth programs.[1]

In March 1953, Harman embarked on a six-week USO tour, doing chalk talks at camps in England, France, Germany, Italy, Turkey and Africa.[3]

Cowboy Artists of America

[edit]
Roping, oil painting by Fred Harman

Harman lived in Albuquerque, New Mexico, while also maintaining his Pagosa Springs ranch. After he retired from the strip in 1964, he turned to painting at his Albuquerque studio. The strip was continued by Bob MacLeod, Jim Gary, John Wade Hampton, and Edmond Good, the same talented artists who had helped produce the Red Ryder content in the New York Studios of Stephen Slesinger.[1]

Harman was one of the original 1965 members of the Cowboy Artists of America, along with Joe Beeler, Charlie Dye, John Hampton, and George Phippen; and Harman's paintings were included in the first annual exhibition of the Cowboy Artists of America on September 9, 1966, at the National Cowboy Hall of Fame in Oklahoma City.

Harman died in Phoenix, Arizona on January 2, 1982 at the age of 79.[4]

Family

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Fred Harman's son, Fred Harman III, once operated the Fred Harman Art Museum.[5] Son Fred Harman was featured on PBS series Painting and Travel with Roger and Sarah Bansemer in season 2, episode 10, Red Ryder, in a tour of the museum. This museum is now closed.

Awards

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Among other honors, Harman was one of only 75 white men in history to be adopted into the Navajo Nation.[6] In 1958, he received the Sertoma Award as Colorado's Outstanding Citizen.[7]

The Red Ryder Round-up is an annual July 4 weekend event in Pagosa Springs, home of the Fred Harman Art Museum.[8]

References

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[edit]
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Fred Harman

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Fred Harman was an American cartoonist and painter best known for creating the long-running and highly popular western comic strip Red Ryder. Born on February 9, 1902, in St. Joseph, Missouri, he grew up on a family ranch near Pagosa Springs, Colorado, where he worked as a cowboy from a young age and developed a deep appreciation for western life that informed much of his later work. Largely self-taught as an artist, he briefly worked in animation in Kansas City alongside Walt Disney at the Kansas City Film Ad Company in the early 1920s before returning to ranching and illustration work. Harman entered the comics field in 1933 with his self-syndicated strip Bronc Peeler, a western adventure that introduced the sidekick character Little Beaver. In 1938 he launched Red Ryder, which quickly became one of the most widely read comic strips of its era, appearing in more than 750 newspapers at its peak and inspiring a vast array of adaptations including Republic Pictures film serials and features, a radio series, comic books, a television show, and extensive merchandise such as the iconic Daisy Red Ryder BB gun. He drew the strip until the early 1960s, when he turned it over to assistants before its conclusion in 1964. In his later years Harman devoted himself to fine art, producing numerous oil paintings depicting authentic scenes of cowboy and Native American life in the American West. He was a founding member of the Cowboy Artists of America in 1965 and exhibited widely, with his former home and studio in Pagosa Springs now serving as the Fred Harman Western Art Museum. Harman died on January 2, 1982, at age 79.

Early life

Childhood in Missouri and Colorado

Fred Harman was born on February 9, 1902, in St. Joseph, Missouri, while his parents—his father a lawyer-rancher and his mother a former model for illustrator Charles Dana Gibson—were visiting relatives away from their homestead. The family returned to their ranch near Pagosa Springs, Colorado, in the Blanco Basin area when he was two months old, close to the New Mexico border. Growing up on the homestead, Harman spent his childhood immersed in ranch life, learning to ride horseback from an early age and participating in herding cattle, with his earliest memories including clinging to his father's suspenders while riding behind him to manage ornery livestock. In 1916, when Harman was 14, the family relocated to Kansas City, Missouri. He received no formal art training and taught himself to draw by copying images from mail-order catalogues, producing his first published drawing in the youth section of the St. Joseph News-Press at age six. He quit school in 1917 at age 15 after the United States entered World War I and briefly served in the Missouri National Guard before returning to Colorado to work as a cowhand on nearby ranches during the summer and fall of 1918. These extensive experiences on horseback and in day-to-day ranch operations provided the authentic foundation for his later depictions of cowboy life, horses, saddles, gear, landscapes, and Western mannerisms. His older brother Hugh Harman later co-founded Harman-Ising Studios, an early animation studio associated with Warner Brothers.

Move to Kansas City and initial art exposure

After returning to Kansas City by late 1918 following his time in Colorado, Harman secured work as a pressman's helper at the Kansas City Star newspaper around age 16, where he observed the operations of the paper's art department and realized he could make a living drawing. This engagement offered initial exposure to the professional illustration environment. Subsequently, he worked in animation at the Kansas City Film Ad Company alongside Walt Disney and Ub Iwerks, creating animated advertising shorts. These early experiences in newspaper and animation work represented Harman's first steps toward a career in visual storytelling.

Animation career

Work at Kansas City Film Ad Company

Fred Harman joined the Kansas City Film Ad Company, also known as the Kansas City Slide Company, around 1921, where he began his professional animation career. At the company, he contributed to the production of animated advertising shorts using cutout animation techniques typical of the era's commercial work. He also worked on Tommy Tucker's Tooth, a 1921 educational short focused on dental hygiene. These projects provided Harman with early experience in animation timing, character movement, and storytelling through limited animation. Harman overlapped briefly with Walt Disney and Ub Iwerks at the Kansas City Film Ad Company, where all three were involved in the company's animation department. This period marked his initial immersion in the emerging animation industry before his career shifted toward illustration and comic strips.

Involvement with Laugh-O-Gram and Disney

In the early 1920s, Fred Harman worked as an animator at the Kansas City Film Ad Company, where he met and collaborated with fellow aspiring cartoonist Walt Disney. Around 1922, Harman and Disney partnered to form their own animation company, Kaycee Studios, to produce animated shorts. This joint venture proved short-lived, folding after approximately one year due to financial troubles. Following the end of Kaycee Studios, Disney founded Laugh-O-Gram Films, which continued early animation experiments but similarly failed after a brief run, declaring bankruptcy in 1923. Disney subsequently hired Harman's younger brother, Hugh Harman, for work at the new studio. Harman's direct involvement in animation with Disney was thus limited to this early, unsuccessful partnership.

Early professional work

Illustration and failed ventures

After leaving animation work in Kansas City, Fred Harman returned to St. Joseph, Missouri in 1924 and took a position as an illustrator at the Artcrafts Engraving Company. There he produced commercial catalog illustrations, contributed artwork to a book on the Pony Express, and designed costumes for the 1925 silent film The Pony Express. These roles represented his early attempts to establish himself as a commercial artist following his animation experience. In 1926, Harman married Lola Andrews, and their son Fred III was born in 1927. His ambitions led him to St. Paul, Minnesota around 1928, where he was involved in an advertising agency partnership that lasted several years before failing amid the Depression. He then spent a brief period in Iowa before returning with his family to a log cabin in Pagosa Springs, Colorado, seeking stability amid these setbacks. In 1933, Harman relocated to Los Angeles in pursuit of new opportunities in the art and publishing world. He founded a Western-themed magazine that published only three issues before folding. He also mounted an exhibition of his work at the Stendahl Art Gallery, which proved unsuccessful and attracted little attention or sales. These repeated commercial and artistic disappointments marked a challenging phase of trial and error before his later success in comics.

Bronc Peeler comic strip

Fred Harman's first syndicated comic strip, Bronc Peeler, debuted as a self-syndicated daily feature in 1933, though some sources date its start to 1934. Unlike traditional Western comics set in the Old West, it was placed in a contemporary setting where the protagonist and his companions rode horses to pursue cattle thieves and bank robbers but also drove cars and flew airplanes when necessary. The main characters included the red-haired ranch-hand hero Bronc Peeler, his rough but dim-witted sidekick Coyote Pete, and Babs, Bronc's love interest who often dealt with his frequent absences due to adventures. Later in the run, the strip introduced Little Beaver, a young Native American boy added as a companion to appeal to younger readers. A Sunday edition began on October 7, 1934, in full-page format and included a half-page companion panel titled On The Range, which presented detailed ink illustrations of Western scenes. Initially self-syndicated primarily to small Western newspapers, the daily strips were redistributed by Western Newspaper Union starting in 1935 for use in weekly papers and later by the John F. Dille Company from April 26, 1937. The strip achieved only limited circulation and appeared in some larger papers such as the San Francisco Chronicle and Philadelphia Record, but poor reproduction quality in smaller publications often muddied Harman's delicate, impressionistic linework. Bronc Peeler concluded with the Sunday page ending on April 10, 1938, and the daily strip on July 2, 1938. Its modest reach and reproduction challenges contributed to its lack of widespread success. The experience with the feature eventually led Harman to seek new opportunities, including a move that brought him into contact with Stephen Slesinger.

Red Ryder comic strip

Development and launch with Stephen Slesinger

In 1938, after ending his Bronc Peeler comic strip, Fred Harman moved to New York City and briefly succeeded Allen Dean as artist on King of the Royal Mounted, though he did not meet expectations and was soon replaced by Charles Flanders. This short assignment brought him into contact with scriptwriter Stephen Slesinger, who handled scripts for that strip. At the initiative of NEA president Fred Ferguson, Harman partnered with Slesinger to develop a new Western comic feature, adapting elements from Bronc Peeler—notably the character Little Beaver, a young Native American boy who had replaced an earlier sidekick to appeal to younger readers. The resulting strip, Red Ryder, was co-created by Harman as artist and Slesinger as primary scriptwriter and promoter, rather than solely by Harman. It launched as a Sunday page on November 6, 1938, syndicated by Newspaper Enterprise Association, with the daily version beginning March 27, 1939. Scripts were primarily written by Slesinger, with additional contributions from Gaylord Du Bois and Russ Winterbotham in the late 1930s and early 1940s. The main characters introduced included Red Ryder, the heroic blond cowboy; his trusty horse Thunder; his assertive aunt the Duchess; ranch hand Buckskin Blodgett; his sweetheart Beth; and his adopted son and sidekick Little Beaver. The strip was set in the 1890s American West for historical realism.

Syndication, storytelling, and peak popularity

The Red Ryder comic strip, syndicated by the Newspaper Enterprise Association, achieved massive distribution, appearing in over 750 newspapers worldwide at its peak. This broad syndication reached an estimated 40 million readers. The strip was translated into ten different languages, extending its appeal internationally. It also featured an educational panel titled Red Ryder’s Corral of Western Lingo, which introduced readers to authentic Western terminology. Fred Harman's storytelling and artwork drew heavily from his firsthand experience on Colorado ranches, delivering accurate depictions of Western life with believable backgrounds and precise details. His realistic approach combined humorous adventures with dramatic elements, creating engaging narratives that resonated widely beyond a strictly juvenile audience. At the height of its popularity, the strip spawned an extensive merchandising empire that included the iconic Daisy Red Ryder BB gun (introduced in 1939), various toys, clothing, comic books published from 1940 to 1956, novels, and a radio series running from 1942 to 1951. The feature's widespread appeal also fueled numerous commercial tie-ins and led to film serial adaptations.

Assistants, handover, and conclusion

Over the decades, Fred Harman relied on a team of assistants and ghost artists to help produce the Red Ryder comic strip, allowing him to maintain its high standards while pursuing other interests. These collaborators included Jim Gary, John Wade Hampton, and Edmond Good, who contributed to the artwork in various capacities. The involvement of these artists enabled a gradual handover of art duties, with Harman progressively delegating responsibilities to them over time. Harman remained actively involved with the strip until approximately 1960, when he handed it over to Bob MacLeod, who had begun assisting in the 1950s. MacLeod became the credited author starting in April 1963 and continued through December 1964. The Red Ryder comic strip ultimately concluded on December 27, 1964. After the handover, Harman devoted himself more fully to his painting career.

Film and television contributions

Writing credits on Red Ryder productions

Fred Harman received direct writing credits on a limited number of Republic Pictures productions in the Red Ryder film series, which adapted his long-running comic strip. He is credited as writer on Sheriff of Las Vegas (1944) and Great Stagecoach Robbery (1945). He also received a writer credit for The Fighting Redhead (1950). Numerous other entries in the Republic Red Ryder series, spanning the mid-1940s to late 1940s, credited Harman solely for the stories being based on his comic strip rather than for original screenplay contributions. These include Sun Valley Cyclone (1946), Stagecoach to Denver (1946), Conquest of Cheyenne (1946), Vigilantes of Boomtown (1947), Homesteaders of Paradise Valley (1947), and several additional titles produced during this period. This distinction highlights that while Harman's comic strip served as the foundational source material for the franchise, his direct involvement in scripting the films was confined to a small subset of the series.

Basis for serials, features, and TV adaptations

The Red Ryder comic strip by Fred Harman served as the source material for numerous film, radio, and television adaptations, though Harman had no direct involvement in their production beyond licensing the character. The strip's popularity led to a 12-chapter Republic Pictures serial, Adventures of Red Ryder, released in 1940 and starring Don "Red" Barry as the title character alongside Tommy Cook as Little Beaver. Republic produced 23 feature-length films between 1944 and 1947, with Wild Bill Elliott starring in the initial 16 entries, Allan Lane taking over for the final 7 Republic films. Eagle-Lion produced 4 additional feature films in 1949-1950 starring Jim Bannon. These B-westerns featured Robert Blake as Little Beaver in the Republic series and emphasized action-oriented stories drawn from the comic strip's western adventures. A radio series adapted from the strip aired from 1942 to 1951, further expanding the character's reach across media. No full television series was produced. Several television pilots were filmed, including some on location at Red Ryder Ranch, but none were picked up for broadcast. The character's most enduring legacy in merchandise remains the Daisy Red Ryder BB gun, which became an iconic tie-in product.

Painting and later career

Shift to fine art painting

In the later years of the Red Ryder comic strip, Fred Harman increasingly turned to oil painting, employing assistants to handle much of the comic's production so he could dedicate more time to fine art. After retiring from the strip on December 26, 1964, he resumed full-time painting—a pursuit that had been largely interrupted for three decades—focusing on realistic depictions of the American West drawn from his personal experiences as a rancher and cowboy. As a self-taught artist, Harman produced hundreds of oil paintings portraying authentic scenes of cowboy and Indian life, including horses, scouts, buffalo hunters, Navajo and Plains tribes, stagecoaches, and other elements of Western action. His work reflected a commitment to truth-seeking authenticity, aiming to record the Old West as he had known it through direct involvement in ranching and cowboy culture rather than idealized invention. Harman maintained studios in Albuquerque, New Mexico, while continuing to oversee his ranch in Pagosa Springs, Colorado. In 1969, he published The Great West in Paintings, which presented 32 full-color plates and 57 black-and-white illustrations of his works, each accompanied by commentary from the artist himself.

Founding role in Cowboy Artists of America

Fred Harman was a co-founder and charter member of the Cowboy Artists of America, an organization established in 1965 with Joe Beeler, Charlie Dye, John Hampton, and George Phippen to advance and preserve representational Western art through high standards of craftsmanship and authenticity. Although he was absent from the group's initial bylaws drafting meeting in Sedona, Arizona, on June 23, 1965, Harman is consistently recognized across historical accounts as one of the five founding artists who shaped the organization from its inception. Harman participated in the Cowboy Artists of America's first exhibition, held on September 9, 1966, at the National Cowboy Hall of Fame in Oklahoma City, marking the group's public debut and showcasing works that emphasized traditional Western themes. The organization later continued its exhibitions at venues including the Stendahl Gallery.

Personal life

Marriage, family, and residences

Fred Harman married Lola May Andrews on June 26, 1926. Andrews, who worked in a music store in St. Joseph, Missouri, where the couple met, later influenced the Red Ryder comic strip by suggesting the replacement of the character Coyote Pete with the child sidekick Little Beaver to make the series more appealing to younger audiences. Their son, Fred Harman III, was born on May 21, 1927, and later managed the Fred Harman Art Museum established in his father's former Pagosa Springs residence and studio. Harman had two younger brothers, Hugh Harman and Walker Harman, both of whom became animators. Following their marriage, the Harmans lived in St. Joseph, Missouri, and later St. Paul, Minnesota, before returning to Colorado in 1933, where Fred built a cabin on the family homestead near Pagosa Springs. By 1940, with the success of Red Ryder, Harman purchased land near Pagosa Springs and developed a ranch on the slope of Square Top Mountain, which became known as Red Ryder Ranch and served as a family home and creative base. He subsequently acquired a ranch in the nearby Blanco Basin in 1942. Harman also wintered in Albuquerque, where he maintained a studio, and later established a home and studio on Put Hill near Pagosa Springs in 1964, now the site of the Fred Harman Art Museum.

Ranch ownership and community involvement

Fred Harman purchased land near Pagosa Springs, Colorado, in 1940, using earnings from the success of his Red Ryder comic strip to acquire the property, where he built a cabin on the slope of Square Top Mountain with a view of the San Juan Mountains. The site, promoted in the press as Red Ryder Ranch, became his home and studio while he continued producing the strip and operating the ranch actively, even drawing comics with his arm in a sling after a bronc-busting injury. Harman maintained strong ties to the region and its communities, participating enthusiastically in publicity for Red Ryder by appearing at rodeos nationwide dressed as the character and accompanied by youths from the nearby Jicarilla Reservation portraying Little Beaver. Among the honors he most valued was his official adoption into the Navajo Nation, a rare distinction shared by only 75 other non-Native Americans. In 1958, he received the Sertoma Club's American Way of Life Award as Colorado's Outstanding Citizen. The annual Red Ryder Rodeo in Pagosa Springs reflects his ongoing connection to the local community.

Death and legacy

Final years and death

In his final years, Fred Harman remained active as a painter of western scenes, continuing to produce artwork until shortly before his death. He died on January 2, 1982, in Phoenix, Arizona, at the age of 79 from complications of a stroke he had suffered on December 27, 1981.

Posthumous recognition and institutions

Fred Harman's legacy continues through events and merchandise centered on his Red Ryder creation in Pagosa Springs, Colorado. The Fred Harman Western Art Museum in Pagosa Springs, which exhibited his original artwork and Red Ryder memorabilia, is now closed. It was operated by his son and served as a primary repository for his paintings and comic art during its operation. The annual Red Ryder Round-Up event in Pagosa Springs remains an ongoing celebration of Harman's character, featuring parades, reenactments, and community activities tied to the comic strip's history. This event draws participants interested in Western heritage and the enduring popularity of Red Ryder. The Red Ryder brand persists through the continued production of the Daisy Red Ryder carbine-action BB gun, a product first introduced in 1940 that remains widely available and associated with youth shooting programs promoting safe firearm handling and outdoor recreation. These programs maintain the character's cultural presence among new generations. Harman's creation has left a lasting influence on Western genre merchandising and popular culture.
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