Showing posts with label JULES STAUBER. Show all posts
Showing posts with label JULES STAUBER. Show all posts

Saturday, March 8, 2014

Great Cartoons of the World Series 7, part 10

Were in the home stretch with Great Cartoons of the World, Series 7. Here are the final thirteen cartoons.

There's no title in the book, but it looks like these three by Terrence “Larry” Parkes were from the same article in Punch.
Bruce Petty
Bill Tidy
Stan Hunt for The New Yorker
Robert Day in the New Yorker
Charles Elmer Martin
These next two were by Jules Stauber
Leslie Starke
Adolf Born for Dikobraz
Also Jules Stauber.

Saturday, March 1, 2014

Great Cartoons of the World Series 7, part 9

More from Great Cartoons of the World, Series 7. There are probably links to previous ones at the bottom of this post in the LinkWithin boxes.

The first three here were by John Glashan.
Michael Ffolkes
Miroslav Barták for Dikobraz
Jules Stauber doing a motif Virgil Partch was most famous for.
Mischa Richter for the New Yorker
Frank Modell also for The New Yorker.
Lee Lorenz for the New Yorker.
Edward Koren, now Vermont's cartoonist laureate for... see if you can guess.
Terrence “Larry” Parkes in a series of gags for Punch

Saturday, February 1, 2014

Great Cartoons of the World Series 7, part 5

Editor John Bailey says in the introduction to the book after describing some of the contributors to the book that he's met:

It develops some cartoonists are like their work, and some are not. The “why” is always the niggling thing of anything—the endless “why” that people love to diddle with in their heads. Why is Garbo mysterious and Sophia Loren not? Why was Paris fashionable in the nineteenth century, and a dull bore in the twentieth?

To get further, what is the reader like? The cartoonist has an immense curiosity to know. Dear reader, what are you like? I mean, what are you really like?


Boris Drucker for The New Yorker
Michael Ffolkes
George Price, also in the New Yorker. He's mentioned as one of the cartoonists in the book thusly:

George Price is like his work, but not like the people he draws,, whom he has observed carefully, and whom he deeply loves, or perhaps hates. They have become a full-blooded, consistent cast of characters through whom he conveys ideas about life. One can always count on them to say something pertinent on such subjects as Women's Lib, or ecology, which is surprising, since the whole awful crowd seem to stay in the kitchen most of the time with a monkey wrench and a can of beer. Yet Price is apparently able to express anything through them. I'm not sure if he's saying something antiquatedly sexist here, but apologize anyway.
Miroslav Barták for
I didn't realize when I was scanning that these next two images by Tony Munzlinger are the same cartoon.
Eldon Dedini
Jules Stauber
Ed Arno
William O'Brian

Saturday, November 16, 2013

GREAT CARTOONS OF THE WORLD Series 6, part 6

I'm continuing to post excerpts from the 1972 book Great Cartoons of the World, Series Six.

This one's by William Steig, from The New Yorker. Of which is said in the introduction:

Steig's “Come to bed” is a great cartoon that transcends the frame of bossy wife and weak fish who needs to be bossed. It reaches into history, and, in so doing, reveals a bit of everyone's childhood.
Jules Stauber
Chon Day in the Saturday Evening Post.
Ton Smits
These two are by Tony Munzlinger
Anatol Kovarsky
Stanislav Holý for Dikobraz
William O'Brian in The New Yorker
Jean-Jacques Sempé in Editions Denoël
Vladimir Renčin, again for Dikobraz
Stanislav Holý
Norman Thelwell in Punch, again written about in the foreword:

Thelwell's [cartoon] depicts a moppet with a tilted blood in his veins, wearing a cowboy suit. The outrageous juxtaposition of the small boy with the great hall brings together the timelessness and the timely by reducing the glorious figure of the duke to the level of any kid in Hoboken.