Saturday, March 21, 2020

Saul Steinberg: Derrière le Miroir No. 224, May 1977

Derrière le Miroir (DLM) is an art magazine that was published by Aimé Maeght between the years 1946 and 1982. Each issue presented a portfolio of an artist's work related to an exhibition at the Galerie Maeght, located on the Left Bank of the Seine. The May 1977 issue, #224, features the work of Saul Steinberg. One of the pages shown here from the signed limited edition's current listing on AbeBooks appeared as a cover for the New Yorker and another is a very close variant of a New Yorker cover.






Saul SteinbergDerrière Le Miroir No. 224, May 1977
AbeBooks Listing Accessed March 19, 2020

For some reason Steinberg took the trouble to affix a New Yorker copyright notice to the lower right corner of the cat and water pitcher original reproduced in DLM. Yet a comparison of the DLM print with the published magazine cover shows that the DLM art is not the same as the art used for the New Yorker cover; the two are close but very distinct variants.

Saul Steinberg
The New Yorker, August 25, 1975


The color words original also bears a New Yorker copyright notice, but here it is correct. This DLM print is made from the very same art as the 1972 New Yorker cover.

Saul Steinberg
The New Yorker, October 21, 1972


Note:  Derrière le Miroir translates as Behind the Mirror. But we all know you didn't need me to tell you what derrière meant.

Saul Steinberg appeared in a total of seven numbers of Derrière le Miroir. The first from 1953 is a double issue and the last from 1980 was shared with artist Richard Lindner. Here's the rundown:

#53-54, 1953:

#157, 1966:


#192, June 1971:

#205, September 1973:

#224, May 1977:

#241 (with Richard Lindner), October 1980:


At the time of this posting, the signed limited edition DLM issue #224 of May 1977 was still available for sale on AbeBooks. The price is 650 Euros.



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Friday, March 20, 2020

John and Therese Wright's Copy of Desclozeaux

The Institut français du Royaume-Uni in South Kensington held an exhibition of work by French cartoonist Jean-Pierre Desclozeaux in January and February of 1982. It was the artist's first showing in England. The exhibit featured a sampling of the artist's vibrant watercolors. The catalogue has an appreciative introduction by Ronald Searle. John and Therese Wright's copy has some foxing on the cover, but it boasts an inscription by the artist in multicolored pencil.
The Institut français du Royaume-Uni, London
Desclozeaux, 1982

Slightly foxed—but still desirable

Spine view

Inscription by Jean-Pierre Desclozeaux

"Apropos Desclozeaux" by Ronald Searle





Desclozeaux
eBay Listing Ended November 18, 2019


Desclozeaux
eBay Item Description

eBay Bid History
One stealthy bid at the auction close.



Note:  I'm almost certain that perfectly-centered Searle signature is a printed one that appears in every copy of the catalogue. Anyone with a copy who can confirm or refute this should get in touch.

This is the first appearance of Jean-Pierre Desclozeaux on Attempted Bloggery. Readers with examples of his original art are encouraged to share them here by submitting scans or photos.



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Thursday, March 19, 2020

Ronald Searle and Cambridge: The Catalogue

The exhibition "Ronald Searle and Cambridge" appeared at the Fitzwilliam Museum at the University of Cambridge between October 2015 and January 2016. Ronald Searle (1920-2011), a native of Cambridge, received his art training at what is now Anglia Ruskin University. His children donated original illustrations to the museum in 2014. The catalogue is a good one to have, as it illustrates in color a number of works by Searle that are not available in print anywhere else.

Ronald Searle
eBay Listing Retrieved December 15, 2019



Note:  Storyboard artist and Searle specialist Matt Jones writes Perpetua, the Ronald Searle Tribute blog. His 2015 post on "Searle and Cambridge" also includes information about Searle from the BBC's "The Great Antiques Map of Britain" when the show visited Cambridge.

This year is Ronald Searle's centenary.


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Wednesday, March 18, 2020

The Cartoon Collections Caption Contest #67

This week I hope my entries in the Cartoon Collections Caption Contest #67 really clean up. The drawing is by John Klossner.

"I told you we could still have fun while social distancing."
"It's my turn to have the rubber ducky."
"Darling, could you run back to Manhattan for the bubble bath?"
"Do you still want to continue our trial separation?"





March 25, 2020 Update:  The Winner



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Tuesday, March 17, 2020

Blog Post No. 3200: St. Patrick's Day 1938—Will Cotton Original New Yorker Cover Art


A number of the covers—Irvin's of 3/31/34 and 11/21/36, Cotton's of 3/19/1938—would certainly be considered unprintably racist now...
—John Updike
The Complete Book of Covers from The New Yorker 1925-1989 


Will Cotton's 
New Yorker cover for St. Patrick's Day of 1938 is one of the magazine's most notorious. An Irish police officer encounters a drunken black man who passed out on the steps of a brownstone while still wearing his St. Paddy's Day regalia, an empty bottle resting between his legs. Lee Lorenz commented on it in 1997 when he was the magazine's cartoon editor:


Will Cotton's covers, skillfully executed in pastel, are memorable for their elegance and gentle wit. He was a gifted caricaturist, and his portraits of people were always warm, never grotesque. In contrast, the cover accompanying this article, which depicts an Irish cop looking at a homeless black man (3/19/38), manages to abuse both the Irish and blacks.
—Lee Lorenz
The New Yorker, "Cover Stories"
December 15, 1997, p. 124


I don't know whether the black man is indeed homeless or simply unable to make it to his home while under the influence. The cover derives its humor from unfortunate racial stereotypes rendered in rich pastels. The original art, now on the market, shows Cotton's beautiful rendering of a not-so-beautiful subject to be very well-preserved.
Will Cotton
Original art
The New Yorker,
 March 19, 1938


Cotton's gift inscription to illustrator R. Roberts Baldwin directly on the cover art doesn't in any way diminish the political incorrectness of the whole affair. It does seem to imply that "Baldy" was the model for the Irish cop.
Inscribed [to R. Roberts Baldwin] "To Baldy (the figure on the
                                                                left)
from               
W. Cotton"

Will Cotton's signature

Will Cotton
The New Yorker, March 19, 1938


The original art is offered by Between the Covers of New Jersey for $22,000. The rare book dealer's description of the item, which includes a more extended quotation from Lee Lorenz, is well worth reading.
Will Cotton
AbeBooks Listing Accessed February 22, 2020


Note:  One thing we like here at Attempted Bloggery is original cover art from the New Yorker magazine. New examples are welcome. Feel free to share any you might have lying about. The other thing we like is corned beef and cabbage.


Can this 3,200th post really be the first opportunity here to mention the art of Will Cotton? How on earth did that happen? The original art remains available for sale at the time of this posting.



The Attempted Bloggery Centennial Posts
 💯

Blog Post No. 100
Blog Post No. 200:  A Shaggy Dog Story

Monday, March 16, 2020

My Entry in The New Yorker Cartoon Caption Contest #701

Today's special is my entry in The New Yorker Cartoon Caption Contest #701 for March 16, 2020. The drawing is by Mort Gerberg.
"How is the cheese plate prepared?"



March 23, 2020 Update:  The Finalists


March 30, 2020 Update:
  I went with Worcester.


April 6, 2020 Update:
  The Winner



Note:  In last week's Caption Contest, cartoonist Kaamran Hafeez showed us a centaur at a pharmacy. My caption must have been a placebo. Still, you might want take a generous dose of Contest #700. I'm sure you'll feel better.


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Sunday, March 15, 2020

Ronald Searle: Tears Flow Easy in a Dublin Pub

Ronald Searle visited Dublin in 1962 on assignment for Holiday magazine. A portfolio of Searle's drawings from the trip was published in the magazine in April of 1963.


Ronald Searle
Christie's


https://ronaldsearle.blogspot.com/2013/02/ireland.html

Note:  The above image is from Perpetua, the Ronald Searle Tribute blog curated by Matt Jones. He reports that this drawing was reproduced with the note, "Tears flow easy in a Dublin pub, but not even the heartbreaking songs from a brendanbehanish bard can truly water the beer." Matt's 2013 post is entitled simply "Ireland." Click on the link and you just might find a couple of my comments there as well.

This is Ronald Searle's centenary year.



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