Great Cartoons of the World Volume 4, part 10

We return to Great Cartoons of the World, Volume 4 from 1970.

Boris Drucker from Saturday Evening Post

Michael Ffolkes

Quentin Blake

Tony Munzlinger

Jean-Jacques Sempé for Editions Denoël

Henry Syverson

Guillermo Mordillo

Robert Day

Leslie Starke for Punch

Hans-Georg Rauch

Hans Moser

Michael Ffolkes

Jules Stauber

More next week.

Great Cartoons of the World Volume IV, part 9

More from Great Cartoons of the World, Volume 4 from 1970, edited by John Bailey.

Vladimir Renčin Boris Drucker These two pages by Jean-Jacques Sempé Anatol Kovarsky Miroslav Barták Anatol Kovarsky again Three variations of the “beggar with hat” gag by Cesc Let's see you try to scan something going across two pages like in this The New Yorker gag by Robert Day Henry Syverson There seem to be more beggars with hats in Europe, if the three cartoons above and this one by Miroslav Barták are any indication.

Great Cartoons of the World Volume 4, part 7

Continuing, as I've been doing every week, parts of the 1970 collection Great Cartoons of the World, Volume 4.

John Glashan Henry Syverson for Saturday Evening Post Guillermo Mordillo Boris Druckerfor Look George Price for The New Yorker.

Jules Stauber Terrence “Larry” Parkes for Punch.

There used to be so many more magazines that had cartoons. The next two are by Michael Ffolkes Vahan Shirvanian Boris Drucker for Saturday Evening Post Jules Stauber William O'Brian in The New Yorker

Great Cartoons of the World III/6

Here's more from the book Great Cartoons of the World, Volume 3 from 1969.

This first cartoon is by Quentin Blake for Punch Next is a long story by John Glashan.

It's such a pain in the ass scanning books with library binding and no margins with cartoons across a two-page spread, but some pages are just impossible to clean up. I try my best, though. Volker Ernsting for Bärmeier & Nikel. Henry Syverson for Saturday Evening Post Quentin Blake again. William Steig for The New Yorker. Editor John Bailey writes about him in the introduction: All right-thinking people agree that Steig is a genius. He is a shrewd and penetrating student of human nature, a profound philosopher, and a great playwright—for many of his things, like Thurber's, could be staged. He sees the whole picture of life, and both animals and humans are subject to Steig's laws and observations. He carries honesty to an extreme. His work is completely genuine, unpretentious, and consistent. There is no such thing as a substandard Steig. His work is timeless, yet ever-changing and evolving. Lee Lorenz, also for The New Yorker. He's also talked about in the introduction:

Lorenz is a keen satirist who has retained in his work many of the traditions of comic drawing and has skillfully joined them in a completely modern way of looking at things. He is an important link between the historic cartoonist and the new, far-out, Steinbergesque, Picasso-influenced cartoonist. Virgil Partch with one of the few cartoons he did for The New Yorker. He's also mentioned in the intro:

The cartoons of Virgil Partch always convey a feeling of complete freedom. He has his own highly personalized sense of the absurd and the macabre, which is so outrageous that one is simply shocked into laughter. Both his characters and ideas are brilliantly bizarre, and he has created a bizarre style of drawing to fit them. Eldon Dedini for The New Yorker