Thursday, April 30, 2026

Arthur Rackham: Out the Little Old Woman Jumped

Out the little old woman jumped, and whether she broke her neck in the fall or ran into the wood and was lost there, or found her way out of the wood and was taken up by the constable and sent to the House of Correction for a vagrant as she was, I cannot tell. But the three Bears never saw anything more of her.
—Robert Southey

Perhaps I should have begun with a spoiler alert. This version of the story, by Robert Southey, is less familiar today than the version with Goldilocks. Southey became England's Poet Laureate in 1813 and was able to dedicate his life to writing. In 1819, it will be recalled, Lord Byron famously savaged him in the Dedication to Don Juan. Southey kept writing, and in 1837 he published The Story of the Three Bears.


In this first version of the tale, the three bears were bachelors and there was as yet no blonde little girl, just a mean little old woman. Southey's story is included in The Arthur Rackham Fairy Book published in 1933 by George G. Harrap & Co, Ltd. Rackham included original watercolor drawings in the first ten numbered copies of the signed edition of four-hundred sixty. Copy no. 5 is currently offered by Peter Harrington of London, and it is in this copy that Rackham chose to illustrate the little old woman jumping from a window.












Arthur Rackham
Peter Harrington listing accessed April 29, 2026


Arthur Rackham
Peter Harrington item description


Note:  I would like to hear from collectors with other "specials" like this one bearing original watercolor drawings by Arthur Rackham. 


05256

Wednesday, April 29, 2026

My Entries in the Moment Cartoon Caption Contest for Spring 2026

Moment magazine's Cartoon Caption Contest for the Spring 2026 issue shows a man reading from the Torah at a Jewish religious service. In place of the traditional pointer, he is using a foam finger. The drawing is by cartoonist and sports fan Benjamin Schwartz. The reader speaks. My captions appear below.

"I'll be quick. They need me at the game."
"I can't see a thing with these glasses."
"Do I look like some kind of silversmith?"
"I'm telling you I looked everywhere."
"It's probably in the back of some drawer."
"I brought a different one for each aliyah."



05255

Tuesday, April 28, 2026

The CartoonStock Cartoon Caption Contest No. 205

In the CartoonStock Caption Contest number 205, a man wearing a leaf blower has arrived at the Pearly Gates. St. Peter is the speaker. The cartoonist, new to this blog, is Tim Mellish.

"That's an ungainly piece of equipment to bring up to a roof."
"And I suppose you couldn't hear the church van?"
"Why do you think your neighbor went for his rifle?"











05254

Monday, April 27, 2026

My Entry in The New Yorker Cartoon Caption Contest #988

In The New Yorker Cartoon Caption Contest #988 from the issue of April 27, 2026, a hammerhead shark is besting three people in a game of poker. The card shark speaks. My submission is below. The drawing is by Lynn Hsu.

"My game has really improved with the new contacts."





05253

Wednesday, April 22, 2026

James Thurber: Out of Fix

On June 13, 1934, an amendment to the Code was adopted, which established the Production Code Administration (PCA) and required all films released on or after July 1, 1934, to obtain a Seal of Approval before being released.


Leave it to the cartoonists of The New Yorker to find the humor in such moral high-handedness. And, in this case specifically, leave it to James Thurber, whose original cartoon art on the subject was sold yesterday at Heritage Auctions. He does have a way with domestic scenes.

"She's out of fix because they've cleaned up the movies."
Original art
James Thurber
The New Yorker, September 29, 1934, p. 13

What a great idea it was for Thurber to portray the indignation of the young girl here—she still has a doll!—the very sort of person the Hays Code was allegedly trying to protect. 

To me, it's an odd turn of phrase to say, "out of fix." It sounds wrong to my ear, but I take it to be close to "out of joint" or "bent out of shape."
"She's out of fix because they've cleaned up the movies."
Framed, original art
James Thurber
The New Yorker, September 29, 1934, p. 13

"October 6th or before," reads the notation on the back. The New Yorker knew it had a timely cartoon on its hands. It was published in the September 29 issue while the topic was still fresh in the public's mind.
Verso




James Thurber
Heritage Auctions listing accessed 22 days before the sale


James Thurber
Heritage Auctions item description



The present work, of course, translates well onto the printed pages of The New Yorker:
"She's out of fix because they've cleaned up the movies."
James Thurber
The New Yorker, September 29, 1934, p. 13

"She's out of fix because they've cleaned up the movies."
Original art
James Thurber
The New Yorker, 
September 29, 1934, p. 13


Sold!





* * *

On the page opposite the Thurber drawing, that old romancer Alain gets a little forward with the body language. Thurber's body language by comparison is rather restrained, at least in this issue. 
            "Go on, don't give
me that personality stuff!"

Alain
The New Yorker, September 29, 1934, p. 12





Note:  This blog will remain out of fix indefinitely.




05252

Tuesday, April 21, 2026

Ronald Searle: Strength Through Joy

Strength through joy?


I suppose Ronald Searle did indeed give his drawing of a wicked St. Trinian's girl flipping over her teacher the title of Unarmed Combat—twice, it seems—and that certainly describes the action well enough. But that is not how it appeared in print.


The titles of Searle drawings were generally afterthoughts. In his classic collection Souls in Torment, as promising a name for a cartoon book as one could hope to find in 1953, the present work is one of three drawings under the alternative heading Strength Through Joy.

The term "unarmed combat" actually appears as part of a caption on the page opposite. Thus, grouping these three drawings under an Unarmed Combat heading would have detracted from the caption on the following page. At least, that's a conjecture of what went on, and why Searle abandoned his presumptive title for this drawing when it was published in a book even though it fit perfectly.

The signature appears to be later than 1953 by more than a decade. Searle must have signed it whenever the drawing eventually left his studio.
Ronald Searle's signature


In 1991, this piece was offered by London dealer Chris Beetles. Despite Beetles noting the publishing history, the title he listed is the one that Searle wrote on the work. After all, it is a better title. 

At auction, many a tempting work seems reasonably priced before the bidding gets underway.

Ronald Searle
Chiswick Auctions listing accessed March 21, 2026, ten days before the sale

Ronald Searle
Chiswick Auctions item description




And yet it sells on March 31 at Chiswick Auctions for more than twice the high estimate.



Here it is on the printed page as one of a trio of Strength Through Joy drawings. On the opposite page is "Some little girl didn't hear me say 'unarmed combat'." The captioned cartoon shows an earlier version of Searle's signature.
https://2.bp.blogspot.com/-T3RcLoQuSZA/TrHj7rZjIFI/AAAAAAAAX7k/-SmvpXssYq0/s1600/Searle11.jpg








05251

Monday, April 20, 2026

My Entry in The New Yorker Cartoon Caption Contest #987

In The New Yorker Cartoon Caption Contest #987 from the issue of April 20, 2026, a pair of dogs look up at giant moon that is in the form of a cat's head. The dog on the right speaks. My submission is below. The drawing is by Christopher Weyant.

"Don't just sit there—howl."



This caption didn't sit well:
"I refuse to see anything but a man in the moon."




05250

Sunday, April 19, 2026

Alain [Daniel Brustlein]: Self-Portrait

Daniel Brustlein (1904-1996) was known to readers of The New Yorker as the cartoonist Alain. His signature collection is Alain's Steeplechase (1957). A self-portrait of his executed in oil on paper and sold on eBay early in 2020 is signed simply Brustlein.

The self-portrait shows the aritist surrounded by his paintings. The studio floor has tiles in a checkerboard pattern. The painter leaves the forms in an unresolved blur, and we are not sure whether we have quite seen him or not.





Daniel Brustlein's signature

The work is framed.

Alain [Daniel Brustlein]
eBay listing ended February 15, 2020


Alain [Daniel Brustlein]
eBay item descritpion


The work sold for a best offer somewhere less than $799.99.

[End of eBay listing]

Here, for comparison, is a photographic image of the artist. He definitely captured somthing of himself.
https://www.danielbrustlein.com/biography

This is his Wikipedia portrait:
https://en.wikipedia.org/wiki/Daniel_Brustlein

Curiously, on the back dust cover to The New Yorker Album of Drawings 1925-1975, he is referred to as "Daniel Alain," but nowhere else does this combination of name and pseudonym appear in print. 
The New Yorker Album of Drawings 1925-1975
Detail of rear dust jacket




You may wonder why I sometimes archive and hold on to eBay listings for years before proceeding to post them. I wonder as well.




05249