Friday, July 24, 2020

The Beautiful One's Copy of Roses and Buckshot by James Montgomery Flagg

A Friend of the Blog writes to inform us of a spectacular copy of Roses and Buckshot, the autobiography of American illustrator James Montgomery Flagg published in 1946. It is inscribed to a woman he refers to as "the Beautiful One" with a lovely drawing of her in profile.
Roses and Buckshot (1946)
James Montgomery Flagg

Photo by A Friend of the Blog


Inscribed "To the Beautiful One—
from her greatest
admirer
            Monty Flagg
Nov 3/46"
Photo by A Friend of the Blog



Note:  My thanks to A Friend of the Blog for these photographs. This is my friend's fifth contribution to this blog. A milestone already!

Who then is "the Beautiful One?" Anybody?

Attempted Bloggery seeks books drawn in by James Montgomery Flagg and other major illustrators.


Quick Links to the Attempted Bloggery Archives:

03329

Thursday, July 23, 2020

Bill's Copy of George Sprott (1894-1975) by Seth

George Sprott (1894-1975) was serialized in the New York Times Magazine in 2006 and Seth's "picture novella" was subsequently modified for publication in book form in 2009. Bill's copy, recently sold on eBay, is the smaller softcover British edition. It was signed by Seth in 2019 with a self-portrait, as noted by the eBay seller.








Seth
eBay Listing Ended July 4, 2020





Seth
eBay Item Description



Note:  I admit it: I have a soft spot for Seth's signed books, particularly those with drawings. Usually the drawings portray characters from the book he has signed, but self-portraits, apparently, do exist as well. Scans and photos of other interesting copies of his books would of course be welcome here.


Quick Links to the Attempted Bloggery Archives:

03328

Wednesday, July 22, 2020

The Cartoon Collections Caption Contest #84

Jogging in the park—and over it—is the theme of the Cartoon Collections Caption Contest #84. My entries are shown here. The drawing is by Kendra Allenby.
"Brad, I'm so over you."
"So do you still think it's cool to stalk your ex?"
"Remember the first time I fell for you?"
"Guess who got herself the new Air Jordans?"
"I just had to get off the beaten path."
"Just a new skill I picked up during the lockdown."




July 29, 2020 Update:  The Winner


In his caption contest commentary, seven-time New Yorker Cartoon Caption Contest winner Lawrence Wood lists my caption as one of "the two best puns." Just to be clear, he lists it first. This is the tenth time he's referenced one of my captions in the Cartoon Collections contest. I'm not counting last week, when he referenced something close to one of my entries, only better.
https://more.cartooncollections.com/runners-high-caption-contest-commentary-with-lawrence-wood/?utm_source=ActiveCampaign&utm_medium=email&utm_content=Caption+Contest+and+Help+for+Your+Presentations&utm_campaign=Contest+7%2F29+Hafeez+Non-Customers&vgo_ee=e9FQoNFd7oYF6%2FlPg0DPrXwFoqDlMHNmyq65fGLdufk%3D



Quick Links to the Attempted Bloggery Archives:


Kendra Allenby

03327

Tuesday, July 21, 2020

A Vip Marketing Exclusive!

Cartoonist Virgil Partch, who signed his name Vip, marketed his services to potential advertisers with a small promotional brochure. On its cover we repeatedly see the word exclusive! In its pages, VIP suggests his cartooning style has broad appeal to the general public and translates well into different advertising media. He depicts consumers here as silhouettes and gives examples of the manner in which he might market to them, each featuring a man holding a box representing the client's product. Likely used over several years, the brochure makes specific reference to the early days of television animation and could potentially date from the late 1950s or thereabout. The entire pamphlet has been scanned for us by Stephen Kroninger.














Note:  My thanks to Stephen Kroninger for putting his scanner to good use.

Attempted Bloggery seeks original art or published rarities by Virgil Partch. 


Quick Links to the Attempted Bloggery Archives:

03326

Monday, July 20, 2020

My Entry in The New Yorker Cartoon Caption Contest #717

I hope you can look up to my entry in The New Yorker Cartoon Caption Contest #717 for July 20, 2020. The drawing is by Lonnie Millsap.
"On the other hand, we haven't heard a peep from upstairs."




July 27, 2020 Update:  The Finalists





August 10, 2020 Update:  I neglected to vote this time around, and I had two weeks! I like them all, but I might have voted with Juno Beach.


August 17, 2020 Update:  The Winner



Note:  This is Lonnie Millsap's first appearance on the blog. Let the fun begin.

Last week in the Caption Contest, cartoonist Brooke Bourgeois gave us a few kitchen obstacles on the way to the refrigerator. My caption didn't deliver any red meat. Grab a snack and reach for Contest #716.


Quick Links to the Attempted Bloggery Archives

Sunday, July 19, 2020

Hirohito's Harakiri: Rea Irvin Killed New Yorker Cover Art Printing Plate

Decades ago, The New Yorker magazine's office basement was the repository of neglected or forgotten art, including unclaimed or unused spot drawings, which then as now went largely underappreciated. When this basement area flooded, cover artist Arthur Getz went down into it to check on the state of his spot drawings which had been held in storage. What he unexpectedly came away with was an otherwise unwanted copper printing plate of an unpublished cover by Rea Irvin, the magazine's very first cover artist and its initial art supervisor, later art director. It dates sometime from the Second World War—there is no issue date on the plate—and it depicts Japan's emperor Hirohito confronted with his country's looming defeat about to commit harakiri, or seppuku.
Rea Irvin
Copper printing plate
"Killed" World War II-era 
New Yorker cover
Photo by Sarah Getz


This plate must be one of four color separations used in the four-color printing process. Below the score lines the black or key plate is indicated. The other three plates apparently do not survive. The fact that Irvin's art went through the color separation process but was "abandoned," in Getz's words—or not published—indicate that this cover was considered and "killed" by the editorial staff. It is an unusual political cover concept for The New Yorker, although such covers did occasionally appear under Irvin's by-line during the war.
Rea Irvin
Copper printing plate showing score lines
"Killed" World War II-era New Yorker cover
Photo by Sarah Getz

Harakiri, or hara-kiri as it was usually hyphenated then, was a form of Japanese ritual suicide that many Americans learned about at the onset of the war. Less than a month after Pearl Harbor, a New Yorker cartoon by Alain (Daniel Brustlein) depicts a journalist struggling with the spelling of the unfamiliar term.
Alain (Daniel Brustlein)
The New Yorker, January 3, 1942, page 19



Getz's handwritten description of the plate uses quotation marks, indicating that he may have copied some of his information, perhaps from a water-damaged source. He too trips over the spelling of harakiri.
Arthur Getz's handwritten documentation of the Rea Irvin plate
Photo by Sarah Getz


Allied fantasies of having the war end abruptly aided by ritual suicide of the Axis leaders must have been commonplace. Here there are some five other figures poised to kill themselves below Hirohito. It's hard to discern their features on the plate, but they could be Mussolini (on the left side of the plate wearing a fez), Tojo (below him), and Hitler (on the right of the plate). Kneeling behind the ostensible Hitler is a European figure in a top hat and there is a smaller figure grasping a knife hilt in the corner below him.
Rea Irvin
Copper printing plate
"Killed" World War II-era New Yorker cover
Photo by Sarah Getz



With the hindsight of history, we know Irvin's vision was somewhat off the mark. Mussolini was executed by elements of the Italian resistance in 1945 while he was trying to flee the country. Hitler killed himself in Berlin by taking cyanide two days thereafter. Emperor Hirohito did not commit harakiri. He remained emperor of Japan after the war and died in 1989.

The Axis leaders could never have congregated, let alone coordinated a global military campaign, but it was not unusual for them to be depicted together in Allied propaganda to emphasize the commonality of the threat they posed. In the pages of The New Yorker just weeks after Pearl Harbor, Irvin depicted Hitler, Tojo, and Mussolini as a single three-headed sea serpent jointly attacking an American island military base.
Tell It to the Marines
Rea Irvin
The New Yorker, December 27, 1941, page 21




Finally, flipping the plate image horizontally gives some idea of what the published cover image might have looked like.
Rea Irvin
Reverse image copper printing plate 
"Killed" World War II-era New Yorker cover
Photo by Sarah Getz, flipped















































Note:  My sincere thanks to Sarah Getz for sharing her father's unique copper printing plate and its history. I would appreciate hearing from anyone who can add further details to the story of this killed cover. I would especially like to see the original art, if anyone happens to know its whereabouts.

There must also be more to the story of the flood in The New Yorker's basement. When was it? What else may have been lost? Or recovered? If you know, do tell.

Michael Maslin writes about founding editor Harold Ross's policy of not putting "specific people" on the covers of The New Yorker here. It is interesting that it was always Rea Irvin who seemed to have persuaded Ross to make an exception to this rule and that world leaders during World War II were always the subject of these covers. Fascinating stuff, and a must for those who might think The New Yorker's covers were always driven by headlines the way they frequently are today.

I haven't shown all that much original Irvin art here these nine years, but more would certainly make a welcome subject for a post or two. So please send images of whatever you may have. Also, I'm always looking to put more examples of "killed" New Yorker art on the blog, that is, artwork including cartoons and covers that were purchased by the magazine but never published. There's usually a story there, though not always anyone to tell it.

This is the fifth New Yorker copper printing plate to appear here on the blog, the only one featuring a cover image and a killed one at that. I see no reason to stop here, except that I don't know of any further examples. Please help me out by sending along images of vintage New Yorker printing plates and by all means tell me what you know about them.


Okay, people, you have your assignments. Now get to work...


Quick Links to the Attempted Bloggery 
Archives:


Rea Irvin

Copper Printing Plates

Arthur Getz


Killed New Yorker Art

World War II

Attempted Bloggery's Waterlogged Index


03324

Saturday, July 18, 2020

A Charles Addams Jungle Snake Cartoon Printing Plate

Joel Jacobus, devotee of cartoonist Charles Addams and cataloguer of divers Addamsiana, today adds to our knowledge of rarities so obscure that the creator of the Addams Family himself may never have seen them. Joel now reports the existence of a third copper printing plate bearing the reverse image of an Addams cartoon published in the New Yorker. Dating from the issue of October 16, 1948, the cartoon depicts a jungle scene with two Anglo men seated outside of a hut threatened by dangerous-looking tropical snakes. The man who is apparently the host, drink in hand, says to his squeamish guest, "Bothered me a bit too, at first, until I discovered they were real."
"Bothered me a bit too, at first, until I discovered they were real."
Charles Addams
Copper printing plate
The New Yorker, October 16, 1948, page 29

The plate was sold just last month on eBay—where else? Joel notes that "the plate is quite worn and was displayed in a printmaker's house in New York for years." Ever the scholar, he points out that the cartoon was reproduced in the classic 1950 Addams collection Monster Rally on page 69, where it was certainly printed with a different plate.

There has never been a real market for these printing plates, at least until very recently. It can't be an accident that three of the very few plates which survived and made their way to eBay were of Addams cartoons, each individually spared destruction in the printing plant by enterprising workers who were also, one assumes, fans. (There is, as we have had occasion to note, a surviving Barney Tobey cartoon printing plate as well.) That's all that's come to light so far after 95 years of New Yorker cartoons although, to be sure, such plates are no longer used in the process of printing the magazine.

Here's the rest of the eBay sale:







Charles Addams
eBay Listing Ended June 25, 2020



Charles Addams
eBay Item Description

Charles Addams
eBay Bid History
One bidder places two bids; the second is for insurance.


[End of eBay Listing]


"Bothered me a bit too, at first, until I discovered they were real."
Charles Addams

The New Yorker, October 16, 1948, page 29

The plate image is here flipped horizontally into the orientation of the cartoon.

A spot drawing of passenger ship terminal and a cartoon by Charles Addams


Note:  I would like to thank Joel Jacobus for bringing this eBay sale to my attention. He continues to provide us with many insights into these rare copper plates once used to print cartoon images in the New Yorker. There are no doubt other extant printing plates corresponding to published New Yorker cartoons. I would like to hear from anyone in possession of these. (I would also like to know whether readers can identify the artist of the passenger ship terminal spot drawing.)


"Bothered me a bit too, at first, until I discovered they were real."
Charles Addams
Copper printing plate
The New Yorker, October 16, 1948, page 29




Quick Links to the Attempted Bloggery 
Archives:


Charles Addams

Copper Printing Plates

Snakes


Joel Jacobus

Attempted Bloggery's Slithering Index


03323