First things first - aesthetically, it's a thing of beauty.  There's so much energy in the marks and the blacks. The panels showing the phone conversation have a great clarity and flow, and it's interesting how in exaggerating the expressions and going into more of a cartoony vibe, he's somehow grounded it more than a less dynamic and stylized approach.  

But contrasted below that is one of his action beats, which I find to be a fairly chaotic read. The anatomy is exaggerated at the expense of coherence, and the spotted blacks and textures end up so uniformly distributed in weight and density that it's hard to trace which limb belongs to which figure in the tangle. And while it could be argued that the background would have worked if it hadn't been overwhelmed by the copy, I think that the balloon/caption placement actually does some of the heavy lifting in focusing the visual flow, there.  As it is, the background is almost completely abstract, and so busy that it fights with the figures for attention.  But, again, the panel is full of energy.

Ultimately a pretty fascinating artist. I'd be interested to see how well he structures his full stories; sometimes looking at a page in isolation does a disservice to the artist, when they're originally thinking of it as one in a series of 20+. But I think he'd be much better suited for a romance book or Mary Worth-type talking head comic than a superhero action title.

I periodically buy cheap golden age comics off of Instagram live sales.  I get them mostly just to experience comics from that era, and pick them based on the covers, just like the kids buying them off the stands did.  This is the latest one I picked up:

Though that arm is kinda impossible, no?

Brian, could you take some photos of a few pages and post them? I'd be curious to see them.

Which now presents a whole new mystery: if this cover isn’t Robbins, I wonder if it’s another known artist?

Dave Kopperman: Certainly doesn’t look much like the strip from the era (1949), which I’ll assume was more Robbins than assistants.

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As far as I know, the only art assistant Robbins ever employed was Patrice Serres in the mid-60s for a couple of years - which makes his 33-year run on Johnny Hazard even more impressive.