There are a number of comics at companies like Dell and Tower in the Sixties where Joe Giella shares the inking with Frank Giacoia—most noticeably over Mike Sekowsky's pencils, but with other pencillers as well. The publishers don't give credits to anyone on those stories.
On his work with Giacoia at mid-Sixties Marvel, Giella goes uncredited. Giacoia gets the credit (as "Frank Ray") when inking credit is given; the four girls' titles, Patsy Walker's and Millie the Model's, are the last to switch over to more than just writer and penciller signatures, in 1965.
There are some shake-ups in the art on Patsy Walker and Patsy and Hedybefore this: Stan Goldberg and Sol Brodsky pinch-hitting for Al Hartley on pencils, for instance (Brodsky pencils PW120 and 121 below, but Hartley returns for the others). Inkers such as Chic Stone and Vince Colletta come aboard for a few issues—it took Nick Caputo's ID of Stone on the GCD to place that artist for me on the feature; no problems with recognizing Colletta! I'd agree that the inking on P & H101 is John Tartaglione's, so it's skipped below.
It looks as if Giella inks the majority of pages on all of these issues save P & H 102. I think I might see a few Giella pages where one close-up face has been inked by Giacoia, whose inks editor Stan Lee was no doubt expecting to see somewhere. Al Hartley's pencils manage to show through Giella's inks, but some of Sol Brodsky's pages might as well be pencilled by Giella himself in the Sheldon Moldoff style; these pages with their Bob Kane hands are from Patsy Walker121.
![Patsy Walker 121]()
Joe Giella does do some credited inking for Marvel a decade later, and in fact shares the inking credits with Frank Giacioa on Power Man 35 (Sep/76).
Joe Giella and Frank Giacoia inks
on Patsy Walker
on Patsy and Hedy
On his work with Giacoia at mid-Sixties Marvel, Giella goes uncredited. Giacoia gets the credit (as "Frank Ray") when inking credit is given; the four girls' titles, Patsy Walker's and Millie the Model's, are the last to switch over to more than just writer and penciller signatures, in 1965.
There are some shake-ups in the art on Patsy Walker and Patsy and Hedybefore this: Stan Goldberg and Sol Brodsky pinch-hitting for Al Hartley on pencils, for instance (Brodsky pencils PW120 and 121 below, but Hartley returns for the others). Inkers such as Chic Stone and Vince Colletta come aboard for a few issues—it took Nick Caputo's ID of Stone on the GCD to place that artist for me on the feature; no problems with recognizing Colletta! I'd agree that the inking on P & H101 is John Tartaglione's, so it's skipped below.
It looks as if Giella inks the majority of pages on all of these issues save P & H 102. I think I might see a few Giella pages where one close-up face has been inked by Giacoia, whose inks editor Stan Lee was no doubt expecting to see somewhere. Al Hartley's pencils manage to show through Giella's inks, but some of Sol Brodsky's pages might as well be pencilled by Giella himself in the Sheldon Moldoff style; these pages with their Bob Kane hands are from Patsy Walker121.
Joe Giella does do some credited inking for Marvel a decade later, and in fact shares the inking credits with Frank Giacioa on Power Man 35 (Sep/76).
Joe Giella and Frank Giacoia inks
on Patsy Walker
| Apr/65 | 120 | What Can We Do about Nancy Brown? |
| Jun/ | 121 | Another Spring, Another City, Another Love |
| Aug/ | 122 | No Greater Love |
| Oct/ | 123 | Don't Leave Me, My Love |
on Patsy and Hedy
| Jun/65 | 100 | When a Girl Becomes...a Woman |
| Oct/ | 102 | So Much Love, So Few Kisses [mostly Giacoia] |
| Aug/ | 103 | Love's Finest Hour |