Monday, July 9, 2012

Wild About F. A. O. Schwarz

This superb preliminary pencil study on vellum by the late Maurice Sendak for the 1988 F. A. O. Schwarz catalogue was offered for sale at Illustration House on June 25, 2011. It depicts the head of a Wild Thing. It did not find a buyer.

Maurice Sendak
Preliminary pencil art foF. A. O. Schwarz 198Catalogue Cover
Illustration House. Unsold.
Maurice Sendak
Preliminary pencil art for F. A. O. Schwarz 1988 catalogue cover, Illustration House Auction Listing. Unsold.
Image added November 10, 2011
Maurice Sendak
F. A. O. Schwarz The Ultimate Toy Catalogue 1988

Maurice Sendak
F. A. O. Schwarz The Ultimate Toy Catalogue 1988


November 11, 2012 Update:  The preliminary pencil art is now being offered at Bonhams New York in December, this time with a much lower reserve of $3,000 to $5,000.

Maurice Sendak
Preliminary Pencil Art for F. A. O. Schwarz 1988 Catalogue Cover
Image added November 13, 2012


Maurice Sendak
Preliminary pencil art for F. A. O. Schwarz 1988 catalogue cover, Bonhams Auction Listing.
Image added November 11, 2012
October 29, 2013 Update:




June 25, 2017 Update: The finished artwork was also used for the cover of Sendak in Asia (1996).
Maurice Sendak
Sendak in Asia, Kingston, NY:  Battledore Ltd, 1996

0394

Sunday, July 8, 2012

Eldon Dedini's Warning Gong

It seems someone has overstayed his welcome on the gangway to Noah's Ark! This original cartoon art by Eldon Dedini was sold on eBay in May with the Buy It Now feature. It was published in The New Yorker in 1963.


Eldon Dedini, "You'd better go now, Fred. I think I heard the warning gong."
Original artwork for The New Yorker, October 26, 1963, p. 56

Eldon Dedini Original Artwork Winning Bid

Eldon Dedini Original Artwork Item Description

Eldon Dedini, "You'd better go now, Fred. I think I heard the warning gong."
The New Yorker,
 October 26, 1963, p. 56
 
Eldon Dedini, "You'd better go now, Fred. I think I heard the warning gong."
The New Yorker,
October 26, 1963, p. 56

Eldon Dedini, "You'd better go now, Fred. I think I heard the warning gong."
Original artwork for The New Yorker, October 26, 1963, p. 56

0393

Friday, July 6, 2012

The Band Circus

Well, it's time for "The Band Concert" (1935) again. Here's a beautiful two-cel set-up on a custom-painted background. Note that Donald's outfit is not the sailor suit he wears in "The Band Concert," and his beak is not the early elongated one that's seen in the short. Donald's outfit places him in the short "Mickey's Circus" (1936). Two cels from different Disney shorts were combined in the creation of this set-up. As a result, we see an image that never actually appeared in an animated short. This probably happens more than we realize. The lot sold fairly well, and practices such as this will no doubt continue.



Celluloid of Donald Duck from "Mickey's Circus" (1936) and Mickey Mouse from "The Band Concert" (1935) on a non-production background


"Mickey's Circus" (1936) 

 

Note:  My last post on Walt Disney's "The Band Concert" was here.
0391

Thursday, July 5, 2012

Preliminary Peanuts

In their animation art auction later this month, Profiles in History is offering this original comic strip art by Charles M. Schulz. This rare piece of concept artwork is in pencil and only the last two panels are available.

http://bid.profilesinhistory.com/Charles-Schulz-Peanuts-early-strip-concept_i13227048


Image added August 4, 2012
Charles M. Schulz, Peanuts concept artwork

July 5, 2015 Update:  I think the two panels preceding this must have gone something like this:
Boy:  Let's have a picnic?
Patty: Sure. When should we meet?
Boy: Just as soon as we've eaten lunch.


Note:  My last post about Charles Schulz can be found here.

0390

Wednesday, July 4, 2012

Peter Arno: Proud to be an American

Here are two patriotic cartoons from Peter Arno, all-American cartoonist!


Peter Arno, "Thanks, but what about those silver candlesticks I ordered?"
The New Yorker, June 8, 1957, p. 33




Peter Arno, "Makes you kind of proud to be an American, doesn't it?"
The New Yorker, September 10, 1960, pp. 40-41

Note:  My previous post about Peter Arno can be found here.

0389

Independence Day by Andrew Wyeth

Andrew Wyeth painted Independence Day in 1961. His model, Tom Clark, is cut off from the rest of the composition by a column. Even then, he is not centered in the space created but pushed over to the far left. His attention is fixed on the outsized flag, so large that it billows off the right hand side of the paper. On the porch he is mostly in darkness but the flag is bathed in sunlight.

It can't be an accident that Wyeth chose a black model for this painting. The year 1961 was an important one for the Civil Rights movement. It was a year of the Freedom Riders and ongoing attempts at integration. The composition isolates Tom Clark from the flag, but this flag is broad and expansive, and capable of extending freedom to all Americans.

Andrew Wyeth, Independence Day, 1961




Andrew Wyeth, Independence Day, 1961

0388

Tuesday, July 3, 2012

Pablo Picasso, Cartoonist

"I was very suspicious of high culture, not of low, and it took a long time for me to crack the code and say, ‘You know what, Picasso’s a pretty good cartoonist.'"
 --Art Spiegelman

While I doubt the art world is ready to acknowledge Pablo Picasso's status as a "pretty good cartoonist," I think that Art Spiegelman is on to something here. You wouldn't make such a statement about Cezanne, Matisse, or--paradoxically--Lichtenstein. Picasso creates fine art in a way that is immediate, comprehensible, and accessible. In much of Picasso's art the line-work is bold and direct, simplicity itself. You think, I can do that, only you can't. The act of creation seems spontaneous.  Playful, comic, even absurd motifs don't make the fine art any less fine.

One could imagine a cartoonist such as William Steig drawing many of the same subjects as Picasso. In fact, Steig was influenced strongly by Picasso (see Brendan Gill's Here at the New Yorker [1975], p. 238), and he is far from alone in that among cartoonists and artists of all sorts. Picasso has exerted his influence across the world of cartooning.

Here are two works by Picasso that you wouldn't call cartoons, yet looking beyond the stunning yet simple technique they have intensity, humor, and humanity, which incidentally are elements of many a fine cartoon as well.

Pablo Picasso, Tête d'Homme de Face, February 19, 1968

Catalogue Notes to Pablo Picasso, Tête d'Homme de Face, February 19, 1968


Pablo Picasso, Femme et Nain, December 18, 1953






Art Spiegelman 

January 19, 2013:  Video no longer available

 



Note:  I am indebted to Austin Kleon for discussing this video here, thus bringing Mr. Spiegelman's intriguing quotation to my attention. 

My most recent Picasso post regards his Déjeuner series and can be found here. 

Art Spiegelman created the 2002 poster in my New York is Book Country post here.

0387

Monday, July 2, 2012

James Thurber's Cucarachas

As a New York City apartment dweller for about half my lifetime, I can think of few subjects less conducive to humor than cockroaches, those ubiquitous and unpleasant critters that negatively impact one's quality of life on every encounter. That said, it's hard to imagine a more amusing gag cartoon on the subject than this little gem by the great James Thurber which was sold at auction five years ago along with four other drawings by the artist.

Thurber's inspired caption was modified slightly for publication in The New Yorker, to its detriment, I believe. That interpolated "you know" of Thurber's conveys the prospective renter's hesitation in voicing her concern far better than the unaccompanied dash. Thankfully, the editors knew enough to keep the Spanish term for cockroaches, which in this context sounds almost euphemistic. Basically, you wouldn't have much of a gag left without that.

Note that the calendar date on the wall is just five days prior to the issue's official date of publication. Today The New Yorker is released one full week before its publication date, but the release may have occurred closer to the publication date back in 1936.


"Are there any—you know—cucarachas?"
James Thurber
Original artwork
The New Yorker, September 5, 1936, page 24


"Are there any—cucarachas?"
James Thurber
The New Yorker, September 5, 1936, page 24

"Are there any—cucarachas?"
James Thurber
The New Yorker, September 5, 1936, page 24

Here is another of the five drawings included in this lot, again with the published caption altered slightly from Thurber's. Sotheby's doesn't provide a picture of the original artwork for this one. Thurber's original caption was "I've found Miss Gish for you, Mr. Blair — no relation to the sisters, I forgot to say." Lillian and Dorothy Gish, of course, were very well known actresses of the silent screen and later, appearing in several films by D. W. Griffith among many others. The minor tweaking of the caption doesn't add anything so far as I can see. Mr. Blair is easily as good a name as Mr. Freeman, maybe better, and do we really need the name Freeman to tell us he is eligible? "I forgot to say" sounds just a little more conversational and fluid than "incidentally," and it relates to the fact that the hostess has already discussed Miss Gish with Mr. Blair. Still, "incidentally" works well enough. Overall, I'd give the slight edge to Thurber's original caption, but the question remains, why on earth would anyone try to improve James Thurber's captions in the first place? I can't see E. B. White, the writer who was often assigned such tasks, tinkering with a caption to so little effect. To me, it sounds more like the work of Harold Ross, the magazine's editor, who generally wanted things to be unambiguously clear.

"Well, I've found Miss Gish for you, Mr. Freeman. 
No relation to the sisters, incidentally."
James Thurber
The New Yorker, May 9, 1936, page 20


"Are there any--you know--cucarachas?"
James Thurber
Original artwork
The New Yorker, September 5, 1936, page 24






0386

Sunday, July 1, 2012

St. Trinian's Autograph Sketch

Here are two pages from an autograph book belonging to one Joan, who was fortunate enough to obtain a signed and inscribed drawing by Ronald Searle of a St. Trinian's girl in September of 1955. There are also drawings by Rolf Harris and Reginald Jeffreys,as well as an autograph of Steve Race. The sheets have been torn out of the album perhaps somewhat hastily, and for years it seems the book's weak binding was reinforced with clear--now discolored--tape across the pages. So it's not in the best condition, but the St. Trinian's girl, frowning and bored, is, without question, the prize.

Autograph book pages by Ronald Searle and Rolf Harris
"For Joan
with best wishes from

Ronald Searle
Sept. 1955"
"Fancy being on this page
with a celebrity like Mr. Searle
Gosh!!
Anyway, all the best
 Rolf Harris

and
Oliver Polip
(the Octopus)"
Reginald Jeffreys, Mr. and Mrs. Mumbo



Rolf Harris sketches a "Rolfaroo" self-portrait
Wikipedia image added March 13, 2013
http://en.wikipedia.org/wiki/Rolf_Harris

"Jake the Peg"
The Rolf Harris Show
BBC, March 22, 1969
Video added March 12, 2013


Note:  My previous post on Ronald Searle can be found here.

0385