ID: 10915642 Closed
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Peanuts Sunday Page by Charles Schulz from 8/13/1961 Size: ~11 x 15 inches
Seller: Comicstrips (114)
Paper: some light tanning, some slightly trimmed, many have archival reinforcement, otherwise: Very Good! This is a _PEANUTS"_ SUNDAY PAGE BY CHARLES M. SCHULZ. This was cut from the original newspaper Sunday Comics sections of 1961. SIZE: HALF FULL PAG ... Read More
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Item DescriptionPaper: some light tanning, some slightly trimmed, many have archival reinforcement, otherwise: Very Good!
This is a _PEANUTS"_ SUNDAY PAGE BY CHARLES M. SCHULZ. This was cut from the original newspaper Sunday Comics sections of 1961. SIZE: HALF FULL PAGE = ~11 X 15 INCHES. PAPER: SOME LIGHT TANNING, OTHERWISE EXCELLENT! PULLED FROM LOOSE SECTIONS! (PLEASE CHECK SCANS) $5.00 POSTAGE (USA) $20.00 International FLAT RATE. I combine postage on multiple pages. Check out my other auctions for more great vintage Comic Strips and Paper Dolls. THANKS FOR LOOKING!
Author(s) Charles M. Schulz
Current status/schedule Concluded, in reruns
October 2, 1950 (dailies)
January 6, 1952 (Sundays)
January 3, 2000 (dailies)
February 13, 2000 (Sundays)
United Feature Syndicate (October 2, 1950 – February 26, 2011)
Universal Uclick/Andrews McMeel Syndication (February 27, 2011 – present)
Genre(s) Humor, gag-a-day, satire, children
Peanuts is a syndicated daily and Sunday American comic strip written and illustrated by Charles M. Schulz that ran from October 2, 1950, to February 13, 2000, continuing in reruns afterward. Peanuts is among the most popular and influential in the history of comic strips, with 17,897 strips published in all, making it "arguably the longest story ever told by one human being". By the time of Schulz's death in 2000, Peanuts ran in over 2,600 newspapers, with a readership of around 355 million in 75 countries, and was translated into 21 languages. It helped to cement the four-panel gag strip as the standard in the United States, and together with its merchandise earned Schulz more than $1 billion.
Peanuts focuses entirely on a social circle of young children, where adults exist but are rarely seen or heard. The main character, Charlie Brown, is meek, nervous, and lacks self-confidence. He is unable to fly a kite, win a baseball game, or kick a football held by his irascible friend Lucy, who always pulls it away at the last instant.
Peanuts is one of the literate strips with philosophical, psychological, and sociological overtones that flourished in the 1950s. Peanuts's humor is psychologically complex, and the characters' interactions formed a tangle of relationships that drove it.
Peanuts achieved considerable success with its television specials, several of which, including A Charlie Brown Christmas and It's the Great Pumpkin, Charlie Brown, won or were nominated for Emmy Awards. The Peanuts holiday specials remain popular and are broadcast on ABC in the U.S. during the appropriate seasons, since 2001. Peanuts also had successful adaptations in theatre, with the stage musical You're a Good Man, Charlie Brown an oft-performed production. In 2013, TV Guide ranked the Peanuts television specials the fourth-greatest TV cartoon of all time. A computer-animated feature film based on the comic strip, The Peanuts Movie, was released in 2015.
Peanuts was originally sold under the title of Li'l Folks, but that had been used before, so they said we have to think of another title. I couldn't think of one and somebody at United Features came up with the miserable title Peanuts, which I hate and have always hated. It has no dignity and it's not descriptive. [...] What could I do? Here I was, an unknown kid from St. Paul. I couldn't think of anything else. I said, why don't we call it Charlie Brown and the president said "Well, we can't copyright a name like that." I didn't ask them about Nancy or Steve Canyon. I was in no position to argue.
Charles Schulz, 1987 interview with Frank Pauer in Dayton Daily News and Journal Herald Magazine
Peanuts had its origin in Li'l Folks, a weekly panel cartoon that appeared in Schulz's hometown newspaper, the St. Paul Pioneer Press, from 1947 to 1950. Elementary details of the cartoon shared similarities to Peanuts. The name "Charlie Brown" was first used there. The series also had a dog that looked much like the early 1950s version of Snoopy.
Schulz submitted his Li'l Folks cartoons to United Features Syndicate (UFS), who responded with interest. He visited the syndicate in New York City and presented a package of new comic strips he had worked on, rather than the panel cartoons he submitted. UFS found they preferred the comic strip. When UFS was preparing to syndicate the comic strip as Li'l Folk, that is Li'l Folks without an 's', Tack Knight who authored the retired 1930's comic strip Little Folks sought to claim exclusive rights to the title being used. Schulz argued in a letter to Knight that the contraction of Little to Li'l was intended to avoid this conflict, but conceded that the final decision would be for the syndicate. A different name for the comic strip became necessary after legal advice confirmed that Little Folks was a registered trademark. Meanwhile, the production manager of UFS noted the popularity of the children's program Howdy Doody. The show featured an audience of children who were seated in the "Peanut Gallery", and were referred to as "Peanuts". This inspired the decided title that was forced upon Schulz, to his consternation.
The title Peanuts was hated by Schulz and was a source of humiliation throughout his life. He accused the production manager at UFS of not having even seen the comic strip before giving it a title, and said that the title would only make sense if there was a character named "Peanuts". One the day it was syndicated, Schulz's friend visited a news stand in uptown Minneapolis and asked if there were any newspapers that carried Peanuts, to which the newsdealer replied, "no, and we don't have any with popcorn either"; this event confirmed his fears concerning the title. Whenever Schulz was asked what he did for a living, he would evade mentioning the title and say "I draw that comic strip with Snoopy in it, Charlie Brown and his dog". In 1997 Schulz said that he had discussed changing the title to Charlie Brown on multiple occasions in the past, but found that it would ultimately cause problems with licensees who already incorporated the existing title into their products, with unnecessary expenses involved for all downstream licensees to change it.
The strip began as a daily strip on October 2, 1950, in seven newspapers: Minneapolis Tribune, the hometown newspaper of Schulz; The Washington Post; Chicago Tribune; The Denver Post; The Seattle Times; and two newspapers in Pennsylvania, Evening Chronicle (Allentown) and Globe-Times (Bethlehem). The first strip was four panels long and showed Charlie Brown walking by two other young children, Shermy and Patty. Shermy lauds Charlie Brown as he walks by, but then tells Patty how he hates him in the final panel. Snoopy was also an early character in the strip, first appearing in the third strip, which ran on October 4. Its first Sunday strip appeared January 6, 1952, in the half-page format, which was the only complete format for the entire life of the Sunday strip. Most of the other characters that eventually became regulars of the strip did not appear until later: Violet (February 1951), Schroeder (May 1951), Lucy (March 1952), Linus (September 1952), Pig-Pen (July 1954), Sally (August 1959), Frieda (March 1961), "Peppermint" Patty (August 1966), Franklin (July 1968) Woodstock (introduced April 1967; officially named June 1970), Marcie (July 1971), and Rerun (March 1973).
Schulz decided to produce all aspects of the strip himself from the script to the finished art and lettering. Schulz did, however, hire help to produce the comic book adaptations of Peanuts. Thus, the strip was able to be presented with a unified tone, and Schulz was able to employ a minimalistic style. Backgrounds were generally not used, and when they were, Schulz's frazzled lines imbued them with a fraught, psychological appearance. This style has been described by art critic John Carlin as forcing "its readers to focus on subtle nuances rather than broad actions or sharp transitions." Schulz held this belief all his life, reaffirming in 1994 the importance of crafting the strip himself: "This is not a crazy business about slinging ink. This is a deadly serious business."
While the strip in its early years resembles its later form, there are significant differences. The art was cleaner, sleeker, and simpler, with thicker lines and short, squat characters. For example, in these early strips, Charlie Brown's famous round head is closer to the shape of an American football or rugby football. Most of the kids were initially fairly round-headed. As another example, all the characters (except Charlie Brown) had their mouths longer and had smaller eyes when they looked sideways.
The 1960;s is generally considered to be the "golden age" for Peanuts. During this period, some of the strip's best-known themes and characters appeared, including Peppermint Patty, Snoopy as the "World War One Flying Ace", Frieda and her "naturally curly hair", and Franklin. Peanuts is remarkable for its deft social commentary, especially compared with other strips appearing in the 1950's and early 1960's. Schulz did not explicitly address racial and gender equality issues so much as assume them to be self-evident. Peppermint Patty's athletic skill and self-confidence are simply taken for granted, for example, as is Franklin's presence in a racially integrated school and neighborhood. (Franklin's creation occurred at least in part as a result of Schulz's 1968 correspondence with a socially progressive fan. The fact that Charlie Brown's baseball team had three girls on it was also at least ten years ahead of its time (and in fact, the plot of the 1966 TV special Charlie Brown's All-Stars dealt with Charlie Brown refusing sponsorship of his team on the condition he fire the girls and Snoopy, because the league does not allow girls or dogs to play).
Schulz threw satirical barbs at any number of topics when he chose. Over the years he tackled everything from the Vietnam War to school dress codes to "New Math." One strip on May 20, 1962, even had an icon that stated "Defend Freedom, Buy US Savings Bonds." In 1963 he added a little boy named "5" to the cast, whose sisters were named "3" and "4," and whose father had changed their family name to their ZIP Code, giving in to the way numbers were taking over people's identities. In 1958, a strip in which Snoopy tossed Linus into the air and boasted that he was the first dog ever to launch a human parodied the hype associated with Sputnik 2's launch of Laika the dog into space earlier that year. Another sequence lampooned Little Leagues and "organized" play when all the neighborhood kids join snowman-building leagues and criticize Charlie Brown when he insists on building his own snowmen without leagues or coaches.
Peanuts touched on religious themes on many occasions, especially during the 1960's. The classic television special A Charlie Brown Christmas from 1965, features the character Linus van Pelt quoting the King James Version of the Bible (Luke 2:8–14) to explain to Charlie Brown what Christmas is all about (in personal interviews, Schulz mentioned that Linus represented his spiritual side). Because of the explicit religious material in A Charlie Brown Christmas, many have interpreted Schulz's work as having a distinct Christian theme, though the popular perspective has been to view the franchise through a secular lens.
During the week of July 29, 1968, Schulz debuted the African-American character Franklin to the strip, at the urging of white Los Angeles schoolteacher Harriet Glickman. Though Schulz feared that adding a black character would be seen as patronizing to the African-American community, Glickman convinced him that the addition of black characters could help normalize the idea of friendships between children of different ethnicities. Franklin appeared in a trio of strips set at a beach, in which he first gets Charlie Brown's beach ball from the water and subsequently helps him build a sand castle, during which he mentions that his father is in Vietnam. He never occupies the same panel, however, with Sally.
In 1975, the panel format was shortened slightly horizontally, and shortly thereafter the lettering became larger to compensate. Previously, the daily Peanuts strips were formatted in a four-panel "space saving" format beginning in the 1950's, with a few very rare eight-panel strips, that still fit into the four-panel mold. Beginning on Leap Day in 1988, Schulz abandoned the four-panel format in favor of three-panel dailies and occasionally used the entire length of the strip as one panel, partly for experimentation, but also to combat the dwindling size of the comics page. Later in the '90s, Schulz abandoned the characters Patty, Violet, Pig-Pen and Franklin.
Schulz drew the strip for nearly 50 years, with no assistants, even in the lettering and coloring process.
In the late 1970's, during Schulz's negotiations with United Feature Syndicate over a new contract, syndicate president William C. Payette hired superhero comic artist Al Plastino to draw a backlog of Peanuts strips to hold in reserve in case Schulz left the strip. When Schulz and the syndicate reached a successful agreement, United Media stored these unpublished strips, the existence of which eventually became public. Plastino himself also claimed to have ghostwritten for Schulz while Schulz underwent heart surgery in 1983.
In the 1980's and the 1990's, the strip remained the most popular comic in history, even though other comics, such as Garfield and Calvin and Hobbes, rivaled Peanuts in popularity. Schulz continued to write the strip until announcing his retirement on December 14, 1999, due to his failing health.
2000: END OF PEANUTS
Final Sunday strip, which came out February 13, 2000: a day after the death of Charles M. Schulz
The final daily original Peanuts comic strip was published on Monday, January 3, 2000. The strip contained a note to the readers of the strip from Schulz and a drawing of Snoopy, with his trusty typewriter, sitting atop his doghouse deep in thought. Beginning the next day, a rerun package premiered in papers that had elected to pick it up (see below). Although Schulz did not draw any daily strips that ran past January 3, he had drawn five Sunday strips that had yet to run. The first of these appeared six days after the last daily, on January 9.
On February 13, 2000, the day after Schulz's death, the last-ever new Peanuts strip ran in papers. Three panels long, it began with Charlie Brown answering the phone with someone on the other end presumably asking for Snoopy. Charlie Brown responded with "No, I think he's writing." The next panel shows Snoopy sitting at his typewriter with the opening to a letter addressed to "Dear Friends". The final panel features a large blue sky background over which several drawings from past strips are placed. Underneath those drawings is a colorized version of Schulz's January 3 strip, with almost the same note he wrote to fans, which reads as follows:
I have been fortunate to draw charlie brown and his friends for almost fifty years. It has been the fulfillment of my childhood ambition.
Unfortunately, i am no longer able to maintain the schedule demanded by a daily comic strip. My family does not wish "peanuts" to be continued by anyone else, therefore i am announcing my retirement.
I have been grateful over the years for the loyalty of our editors and the wonderful support and love expressed to me by fans of the comic strip.
Charlie brown, snoopy, linus, lucy ... How can i ever forget them ...
— Charles M. Schulz
Many other cartoonists paid tribute to Peanuts and Schulz by homages in their own strips, appearing on February 13, 2000, or in the week beforehand. The comic was reprinted the day after that, but only had the farewell letter. After Peanuts ended, United Feature Syndicate began offering the newspapers that ran it a package of reprinted strips under the title Classic Peanuts. The syndicate limited the choices to either strips from the 1960's or from the 1990's, although a newspaper was also given the option to carry both reprint packages if it desired. All Sunday strips in the package, however, come from the 1960's.
Peanuts continues to be prevalent in multiple media through widespread syndication, the publication of The Complete Peanuts, the release of several new television specials (all of which Schulz had worked on, but had not finished, before his death), and Peanuts Motion Comics. Additionally, BOOM! Studios has published a series of comic books that feature new material by new writers and artists, although some of it is based on classic Schulz stories from decades past, as well as including some classic strips by Schulz, mostly Sunday color strips.
*please note: collecting and selling comics has been my hobby for over 30 years. _due to the hours of my job i can usually only mail packages out on saturdays_. I send out priority mail which takes 2 - 7 days to arrive in the usa and air mail international which takes 5 - 30 days depending on where you live in the world. I do not "sell" postage or packaging and charge less than the actual cost of mailing. I package items securely and wrap well. Most pages come in an archival sleeve with acid free backing board at no extra charge. If you are dissatisfied with an item. Let me know and i will do my best to make it right.
Many thanks to all of my 1,000's of past customers around the world.
enjoy your hobby everyone and have fun collecting!
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