Wednesday, June 28, 2017

Ray Rohn: A Portrait of a Serviceman

The late Marge Schrader would go to thrift stores and yard sales, bringing home books by the hundreds. She would read them and then donate most of them to a worthy cause, but one that she chose to keep was Dere Mable: Love Letters of a Rookie by E. Streeter. This is the author's first book and it was published in 1918. (In 1949, Edward Streeter was to write Father of the Bride.) Recently, Marge Schrader's grandson was looking through the book when a sheet fell out of it with an original World War I era drawing by Ray Rohn. Rohn, you may recall, illustrated a single New Yorker cover, that of March 28, 1925, the magazine's sixth issue. Here's what I had to say about it in 2015:
Everyone knows women and cats sell magazines. Ray Rohn's New Yorker cover has both. It is very theatrical, which seems appropriate for a new magazine that covers so much of the stage. Like the cover of the magazine's third issue, a fashionable young woman carries a cigarette holder and the cigarette smoke is a prominent design element. Ray Rohn never did a second cover.
Ooh, I ended on a real downer there. Today I might add that the rendering of the female figure and the cigarette smoke seem to be influenced by the art nouveau style of Alphonse Mucha. I might also add that the smoking here shows that the fledgling magazine was embracing women's equality. Like men, women had the right to vote, to smoke, and to drink hooch in speakeasies.


Ray Rohn, The New Yorker, March 28, 1925

The sketch found in the book is a portrait of a serviceman named Girard, evidently dating from the first World War. He appears to be a pleasant, good-natured man despite the intrusion of the war. He is shown in a three-quarter, left-facing view with a light source on the left.
Ray Rohn, Girard, c. 1916-1918
Here's the book that has kept the drawing protected:
Edward Streeter, Dere Mable:  Love Letters of a Rookie, New York:  Frederick A. Stokes Co., 1918.
Cover illustration by Bill Breck

Title Page
Dere Mable:  Love Letters of a Rookie, New York:  Frederick A. Stokes Co.,1918


Note:  My 2015 reading of the New Yorker's sixth issue with the cover by Ray Rohn may be found here. Rohn was a major illustrator of his day, yet there are only a few works by him available on the internet today. Write if you have more artwork of his to add.

I know nothing of Girard's military insignia, but I'd love to hear from anyone who does know of such things.


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Tuesday, June 27, 2017

My Entries in the Moment Cartoon Caption Contest for May/June 2017

Here are my two entries in the Moment Cartoon Caption Contest for May/June 2017. I don't really have a preference between them this time. The drawing is by Benjamin Schwartz.

"No kidding? My zaide was at Roswell too!"
"I'm an L.G.M.—or a Little Green Mensch."


Glossary:  Zaide is Yiddish for grandfather. A mensch is a person of integrity. Capiche?


Note:  Benjamin Schwartz has created more caption contests than any cartoonist on any planet on any blog. Well, at least on this blog.

If you'd like my take on all the caption contests in the known universe, here's a link to all the cartoon caption contests I ever entered. Look, it's a start. For those who don't have the time or the inclination to peruse that number of caption conundrums, perhaps I can interest you in nearly four years' worth of just my Moment Magazine contests. Of course, if you're a real mensch, you'll visit both.

And let's not forget the LGMs.


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Monday, June 26, 2017

My Entry in the New Yorker Cartoon Caption Contest #574

Here is my entry in the New Yorker Cartoon Caption Contest #574 for June 26, 2017. The drawing is by P. C. Vey.

"At last my career is smoking hot!"

These caption ingredients just didn't make it into the mix:
"Dinner will be ready briefly."
"It's time to flip my career."
"My career is really cooking!"


Note:  Last week's Caption Contest cartoonist was again P. C. Vey. Bob Mankoff would never have let this happen.

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Sunday, June 25, 2017

E. H. Shepard: Reaching for the Honey Jar

A colored drawing of piglet and Winnie-the-Pooh by Ernest H. Shepard is signed and dated 28 January 1970. It depicts Pooh Bear reaching for a jar of honey and is inscribed "Replica drawing for Leif Dahlberg." It was sold in September of 2015 in Nottingham for 12,000 GBP to London's Chris Beetles Gallery, where it was exhibited at "The Illustrators" 2015 show. It is still available from the gallery for 45,000 GBP. Assuming a buyer's premium and other expenses of about 3,000 GBP from the auction house, this price represents a dealer markup of about 200%. Talk about reaching for the honey jar!



E. H. Shepard
International Autograph Auctions
September 26, 2015





Chris Beetles Item Listing as of June 24, 2017




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Saturday, June 24, 2017

E. H. Shepard: Winnie-the-Pooh and the Honey Jar

A drawing of Winnie-the-Pooh holding the honey jar was made on camera by E. H. Shepard in the late 1960s for a documentary by Hans Keller. The original art was sold at Sotheby's in December.
E. H. Shepard, Winnie-the-Pooh and the Honey Jar, 1960s


E. H. Shepard
Sotheby's Item Description

E. H. Shepard, Winnie-the-Pooh and the Honey Jar, 1960s


Note:  I have not been able to locate the video clip of Shepard making this drawing. Any assistance would be appreciated.


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Friday, June 23, 2017

Now We Are Six

E. H. Shepard, "The Morning Walk"
A. A. Milne, Now We Are Six, 1927, pages 84-85

E. H. Shepard, "Anne's Balloon"
A. A. Milne, Now We Are Six, 1927, page 86

Now we are six. Six years ago today, your mild-mannered cartoon correspondent brought into being a brand spanking new blog. Yes, you're looking at it now. This sixth anniversary finds me on the cusp of meeting some long-term goals, goals I once foolishly expected I could meet handily more than a year earlier, but which have come to mean less and less to me over time. Hitting a million page views on the blog, for one, makes for a nice round number indeed, but it is hardly a ringing endorsement when only thirty-four people worldwide have opted to follow the blog after six years. Similarly, winning five thousand Twitter followers sounds impressive enough, but it has done very little to drive new traffic to the blog. Rather, I seem to have gotten caught up in a senseless churning process on Twitter where accounts follow me for little reason other than that I will follow them in return. Thus the engagement on Twitter isn't all that much better than when I had but a few hundred followers who were more interested in my actual posts.

Attempted Bloggery All-Time Overview Stats
June 23, 2017

Twitter Followers, June 23, 2017

More to my usual point, Now We Are Six, the title of this post, is first and foremost the title of A. A. Milne's 1927 book of children's verse. Three original illustrations by E. H. Shepard from "The Morning Walk" sequence were sold as a set at Sotheby's in 2012.
E. H. Shepard, "The Morning Walk"
Original art
A. A. Milne, Now We Are Six, 1927

E. H. Shepard, "When Anne and I go out a walk"
Original art
A. A. Milne, 
Now We Are Six, 1927

E. H. Shepard, "Anne's balloon"
Original art
A. A. Milne, 
Now We Are Six, 1927


E. H. Shepard
Sotheby's Item Description, December 12, 2012



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Thursday, June 22, 2017

E. H. Shepard: On the Bridge

An iconic illustration by E. H. Shepard shows Winnie-the-Pooh, Piglet, and Christopher Robin standing on what is the Posingford Bridge in Sussex and gazing silently at the river below them. It appears in chapter six of A. A. Milne's The House at Pooh Corner published in 1928. Sotheby's, in a December 2014 sale, called it "Probably the most famous and evocative book illustration of the twentieth century." One year earlier, the auction house had sold Shepard's long-unseen preliminary pencil sketch as well. Here they are together with their respective auction listings.

E. H. Shepard, "For a long time they looked at the river beneath them saying nothing, and the river
said nothing too, for it felt very quiet and peaceful on this summer afternoon."

A. A. Milne, The House at Pooh Corner, chapter six, 1928

http://www.sothebys.com/en/auctions/ecatalogue/2014/english-literature-history-childrens-books-illustrations-l14408/lot.274.html
The preliminary sketch:
E. H. Shepard, "For a long time they looked at the river beneath them saying nothing, and the river
said nothing too, for it felt very quiet and peaceful on this summer afternoon."

Preliminary art, A. A. Milne, The House at Pooh Corner, chapter six, 1928

http://www.sothebys.com/en/auctions/ecatalogue/2013/english-literature-history-l13408/lot.397.html


E. H. Shepard, "For a long time they looked at the river beneath them saying nothing, and the river
said nothing too, for it felt very quiet and peaceful on this summer afternoon."

Preliminary art, A. A. Milne, The House at Pooh Corner, chapter six, 1928
E. H. Shepard, "For a long time they looked at the river beneath them saying nothing, and the river
said nothing too, for it felt very quiet and peaceful on this summer afternoon."

A. A. Milne, The House at Pooh Corner, chapter six, 1928



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Wednesday, June 21, 2017

George Grosz on Cape Cod

George Grosz fled from Germany to the U.S. in 1933. He lived in Douglaston, Queens, and between 1936 and 1945 he spent his summers on Cape Cod. There he spent many hours painting among the sand dunes. His paintings are remarkable for the variety of moods they capture. Some are pleasant beach landscapes, but a few seem to embody all the darkness and turmoil he left behind in Europe.

Cape Cod, 1936

http://catalogue.swanngalleries.com/asp/fullCatalogue.asp?salelot=2357+++++608+&refno=++694556&saletype=


Cape Cod, n.d.

Price Realized 

  • £8,813
  • ($12,602)
  • Price includes buyer's premium
Estimate
    £4,000 - £6,000
  • ($5,720 - $8,580)

Sale Information

Sale 6616 Lot 166
THE DR ANTON C.R. DREESMANN COLLECTION IMP 
9 April 2002 
Christie's London, King Street
George Grosz (1893-1959) Cape Cod signed 'Grosz' (lower right) watercolour on paper 
13¾ x 17 5/8 in. (34.9 x 44.7 cm.) 

Special Notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Provenance

Wolfram L. Ertinger, New York (the artist's lawyer).Mrs Yolanda Ertinger, New York; Sotheby's, New York, 6 April 1978, lot 421 (to Dreesmann).
Dr Anton C.R. Dreesmann (inventory no. C-75).


Truro, Cape Cod Landscape, 1939

Sale 2149 Lot 57 Swann Galleries
GEORGE GROSZ
Truro, Cape Cod Landscape.

Watercolor on cream wove paper, 1939. 250x315 mm; 10x12 1/2 inches. Signed, dated "39" and inscribed "Truro" in red ink, lower left recto. Ex-collection the Addison Gallery, Andover.

Grosz (1893-1959) moved from Berlin to New York in 1933, escaping the Nazi uprising in Germany. He became a US citizen in 1938. Grosz traveled to Cape Cod during the summers from 1936 to 1945 where he made numerous watercolor landscape studies. In his autobiography, he recalled that making the watercolors he, "would roam for hours through the dunes at Cape Cod and try humbly--omitting nothing and adding nothing--to record my feelings with what modest gifts I possessed."
Estimate: $3000 - $5000Sold for $3,600



Cape Cod Landscape with Pine Trees, 1939
Sale 2149 Lot 58 Swann Galleries
GEORGE GROSZ
Cape Cod Landscape with Pine Trees.

Watercolor on cream wove paper, 1939. 250x315 mm; 10x12 1/2 inches. Signed, dated "39" and inscribed "Cape Cod" in red ink, lower left recto. Ex-collection the Addison Gallery, Andover, with the label on the frame back. 
Estimate: $3000 - $5000Sold for $3,400


Cape Cod, 1939
Price Realized
  • £2,350
  • ($3,744)
  • Price includes buyer's premium
Estimate
    £2,500 - £3,000
  • ($3,983 - $4,779)

Sale Information

Sale 9686 Lot 87
Christie's London, South Kensington
George Grosz (1893-1959) Cape Cod signed, inscribed and dated 'Grosz 39 Cape Cod' (lower left) watercolour and gouache on paper 
5¾ x 8¼in. (14.7 x 20.8cm.) 

Special Notice

VAT rate of 5% is payable on hammer price plus buyer's premium
This lot is subject to Collection and Storage charges
Saleroom Notice
This lot will be included in the George Grosz catalogue raisonné of works on paper being prepared by Mr Ralph Jentsch.
Exhibited
New York, Ritz-Tower Hotel, Art for China, 12-26 Mar 1941 where purchased by Mrs A.M. Loew 



Nude on beach (the artist's wife), c. 1942-1946

Price Realized 

  • $12,925
  • Price includes buyer's premium
Estimate
    $15,000 - $20,000

Sale Information

Sale 8447  Lot 47
IMPRESSIONIST AND MODERN ART 
8 November 2000
New York, Christie's East
George Grosz (1893-1959)
Nude on beach (the artist's wife)
stamped 'GROSZ' (lower right)
oil on paper laid down on masonite
19¾ x 14¼ in. (50 x 36 cm.)
Painted in Cape Cod circa 1942-1946
 
Storm Clouds, Cape Cod, 1949 lithograph
Sale 2012 Lot 286  Sep 14 2004 10:30 Swann Galleries
GEORGE GROSZ
Storm Clouds, Cape Cod.

Lithograph, 1949. 226x332 mm; 87/8x131/8 inches, full margins. Edition of 252. Signed in pencil, lower right. Published by the Print Club of Cleveland, with the ink stamp verso. A very good, clean impression. Dückers E 110.
Estimate: $500 - $750Sold for $575




Dunes and Grass, 1949 drypoint
Sale 2184 Lot 318 Swann Galleries
GEORGE GROSZ
Dunes and Grass.
Drypoint, 1949. 252x325 mm; 9 7/8x12<5/8> inches, full margins. Edition of 200. Signed in pencil, lower right. Published by The Art Students League, New York. A very good, dark impression. Dückers E 109.
Estimate $400-600
Sold for $475



Note:  What better way to celebrate summer, I ask you, than by sharing your original George Grosz art here on Attempted Bloggery?


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