Brain Pickings

Posts Tagged ‘vintage’

14 AUGUST, 2013

Homer for Young Readers: The Provensens’ Vibrant Vintage Illustrations for the Iliad & Odyssey

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Ancient Greek mythology meets mid-century art.

Few artists have done more to enchant generations of children with storytelling than wife-and-husband duo Alice and Martin Provensen, whose vibrant mid-century illustrations span everything from classic fairy tales to an homage to William Blake. (Their 1944 gem The Animal Fair was featured in my recent collaboration with The New York Public Library as one of 10 favorite books about animals.) Born on August 14, 1917, Alice plowed through the era’s tragic bias against female artists; she survived Martin, who died in 1987, by more than two decades and continues to draw well into her nineties.

In 1956, New York’s Golden Press — makers of the fantastic Little Golden Books series — commissioned the Provensens to illustrate an adaptation of Homer for young readers, and The Iliad and the Odyssey: A Giant Golden Book (public library) was born — a stunning large-format volume, sadly relegated to the tragic out-of-print corner of culture, but still obtainable used. Enjoy some of the Provensens’ timelessly wonderful drawings:

The Iliad and the Odyssey is delightful in its entirety and could have easily inspired The Ancient Book of Myth and War, that lovely side project by four Pixar animators.

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12 AUGUST, 2013

Salvador Dalí Illustrates Montaigne: Sublime Surrealism from a Rare 1947 Limited Edition, Signed by Dalí

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Two of history’s most formidable talents, at the intersection of literature at art.

In 1946, more than twenty years before his little-known and lovely illustrations for Alice in Wonderland, iconic surrealist artist Salvador Dalí was commissioned by the creatively ambitious Doubleday publishing house (who also released a number of books with stunning cover art by Edward Gorey and enlisted young Andy Warhol as a freelance artist) to illustrate The Essays of Michel De Montaigne (public library) in a special limited edition of 1,000 copies. Dalí, forty-two at the time and already an avid admirer of Montaigne’s mind, leapt at the opportunity. What resulted, published in 1947, was nothing short of a masterpiece — an intersection of literature and art, of two formidable talents, unlike almost anything else except perhaps Ulysses illustrated by Matisse and Sendak’s illustrations of Tolstoy.

I was fortunate enough to track down one of the last surviving signed copies, #101 no less, but unsigned ones — which are also respectably rare — can still be found online for gobsmackingly little — as little, in fact, as $6.99 at the time of this writing.

For our shared delight, here are Dalí’s color folios and black-and-white etchings — sensual, otherworldly, appropriately surrealist, just the right amount of bizarre — from my copy of the book, captioned after the original Montaigne essay they illustrate. (The essays themselves — timeless wisdom on life, morality, and the human condition — are in the public domain, thus available as a free download, and are very much worth a read.)

Portrait of Michel de Montaigne by Salvador Dalí

'The Force of Imagination'

'Of Physiognomy'

'Upon Some Verses of Virgil'

'Upon Some Verses of Virgil'

'Upon Some Verses of Virgil'

'That To Study Philosophy Is To Learn To Die'

'That To Study Philosophy Is To Learn To Die'

'That To Study Philosophy Is To Learn To Die'

'That To Study Philosophy Is To Learn To Die'

'That We Taste Nothing Pure'

'That We Taste Nothing Pure'

'Resemblance of Children to Fathers'

'Resemblance of Children to Fathers'

'Of Repentance'

'Of Coaches'

'Of Vanity'

'Of Vanity'

'Of Experience'

'Of Custom, and That We Should Not Easily Change a Law Received'

'Of the Education of Children'

'That Fortune Is Oftentimes Observed to Act by the Rules of Reason'

'That Fortune Is Oftentimes Observed to Act by the Rules of Reason'

'Of Cannibals'

'Of Democritus and Heraclitus'

'Of Age'

'Of Age'

'Of Drunkenness'

'Of Presumption'

'Of Presumption'

'Of Presumption'

'Of Presumption'

'Of Glory'

'Of Thumbs'

Try your luck at grabbing a surviving copy, and be sure to revisit Dalí’s drawings for Alice in Wonderland.

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06 AUGUST, 2013

Outer Space Humor: Vintage Illustrated Astro-Jokes from the Zenith of the Space Race

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“A visitor from Jupiter, watching a typical Western on television, remarked to a friend: ‘How come the hero has a biped riding on his back?'”

Books being the original internet, each one pulling you a little further into the rabbit hole of discovery, it’s no surprise that Jeanne Bendick’s lovely vintage gem The First Book of Space Travel led me to Outer Space Humor (public library) — an utterly delightful 1963 compendium of illustrated jokes from the zenith of the Space Race. Published years before the first human footstep on the moon and decades before our first robotic proxies on Mars, it’s at once a memento from a bygone era ($2 martinis, anyone?), a tell-tale sign of the eras normative biases (it’s always Earth “men” and space “men,” this being two decades before women would make space history), and a capsule of undying aspiration to know the cosmos, with a side of classic bisociation-driven humor.

Charles Winick, who dreamt up and edited the collection, writes in a short note to the reader:

Life on other planets has been a subject of discussion for thousands of years. Recently, flying saucers and Sputnik have served to arouse Americans to the realistic possibility of travel between planets. This possibility, enhanced by the success of our astronauts, is so real that it has entered into many jokes that have become part of American folklore.

The drawings by James Schwering, reminiscent of a cross between Vladimir Radunsky and Tomi Ungerer, are simply irresistible.

An Earth man landed on the Moon. His first sight was a Moon man carrying a sign which read: “Repent, the Moon is coming to an end.”

Two space men landed on Earth and were greeted by a movie mogul. “See,” said one of the visitors, “I told you it was a waste of time to study English.”

Two astronomers were watching Mars from the observatory. Suddenly the planet disintegrated with a cataclysmic explosion. A huge mushroom cloud billowed out in space. One astronomer turned to the other and said: “See, I told you Mars has intelligent life.”

The man in the Moon noticed Sputnik scooting by very rapidly, and asked, “Hey, little fella, what’s your hurry? I go around the Earth only every twenty-eight days or so.” Sputnik replied, “Yes, but you’re not trying to get away from the Russians.”

A space ship landed in Manhattan; a space man emerged and asked a passer-by: “How do I get to Carnegie Hall?” “Practice, my boy, practice,” came the answer.

The Russian scientists selecting a cosmonaut for a trip to the Moon have had great difficulties in making a final selection, because there were so many volunteers who were eager to leave Russia for the Moon.

Two Martians with antennae sticking out from their heads walked into a restaurant. The hat check girl asked: “Check your hats, gentlemen?” “No, thanks, we’re expecting a call.”

A Martian walked into a bar and ordered a martini. “That’ll be two dollars,” said the bartender, and then added: “You’re the first Martian I’ve seen around here.” “At two dollars a drink,” the Martian snorted, “it’s no wonder.”

Two rats were in a nose cone shooting through space. One rat said to the other rat, “And to think we might have been in cancer research!”

Though sadly long out of print, Outer Space Humor is an absolute treat if you can get your hands on a used copy. For a more cerebral counterpart from the same era, see Carl Sagan, Arthur C. Clarke, and Ray Bradbury in conversation about space travel.

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25 JULY, 2013

Open House for Butterflies: Ruth Krauss’s Final and Loveliest Collaboration with Maurice Sendak

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“Krauss books can be bridges between the poor dull insensitive adult and the fresh, imaginative, brand-new child.”

Beloved children’s author Ruth Krauss (July 25, 1901–July 10, 1993) penned more than thirty books for little ones over the course of her forty-year career, but remains best-known as half of one of the most celebrated author-illustrator duos of all time, the other half being none other than Maurice Sendak. Their eight-year partnership, masterminded by the great Ursula Nordstrom who also nursed Sendak into genius, produced such soul-stirring, heart-warming delights as the hopelessly wonderful ode to friendship I’ll Be You and You Be Me. But Krauss’s eighth and final* collaboration with Sendak, Open House for Butterflies (public library | IndieBound), was arguably their loveliest. Originally published in 1960 and thankfully, unlike what happens to a tragic many out-of-print gems, reprinted in 2001, this tiny treasure is a timeless smile-inducer for children and grown-ups alike.

Open House for Butterflies is absolutely wonderful in its entirety, an epitome of the Krauss-Sendak magic that nurtured generations of children to blossom into creative, thoughtful, just-the-right-amount-of-irreverent adults.

But no one captured the spirit of the Krauss kid more wonderfully than Nordstrom herself: In a letter from January 29, 1952, found in the altogether fantastic Dear Genius: The Letters of Ursula Nordstrom (public library), Nordstrom writes to her author months before the first Krauss-Sendak book was released:

Last week-end I saw a television program (yes, I have a tv set and the other children’s book editors think I’m horrible to have one but I just toss my lovely head and act defiant) and on it was the most attractive 4 year old boy I’ve ever seen. very close, manly hair cut, and a darling face with dimples. The repulsive master of ceremonies said to him: “Tell me, Craig, when did you get those dimples?” and the m.c. grinned a baby-talk sort of grin, and the audience of adults giggled lovingly. And the kid looked at him and said: “When I got my face.” His tone of voice was reasonable and courteous and trying not to indicate what a silly question that one was. . . . Doesn’t look so wonderful written down, but it was wonderful. A Krauss Kid, I thought happily to myself.

In another letter from February of 1954, Nordstrom tells one of Harper & Row’s West Coast representatives:

Krauss books can be bridges between the poor dull insensitive adult and the fresh, imaginative, brand-new child. But of course that only will work if the dull adult isn’t too dull to admit he doesn’t know the answer to everything. Krauss books will not charm those sinful adults who sift their reactions to children’s books through their own messy adult maladjustments. That is a sin and I meet it all the time. But there are some adults who don’t sift their reactions to children’s books through their own messy adult maladjustments and I guess those are the ones who will love and buy Krauss.

* In 2005, Sendak re-illustrated a new edition of Krauss’s 1948 gem Bears, originally illustrated by Phyllis Rowand, thus producing a sort of posthumous ninth collaboration.

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