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 4, part 8

Here we go, just like the Last Saturday and the Saturday before that, and the Saturday before that, etc... are some more excerpts from Great Cartoons of the World Volume 4, edited by John Bailey.

By Terrence “Larry” Parkes for Punch Anatol Kovarsky Three-pager by J. M. Bosc Both of these by Stanislav Holý Quentin Blake Leslie Starke in Punch Vahan Shirvanian Chon Day for Saturday Evening Post. Guillermo Mordillo Jules Stauber

Great Cartoons of the World Volume 4, part 3

More from the 1970 book Great Cartoons of the World, Volume IV continued from last week.

Terrence “Larry” Parkes for Punch Volker Ernsting William Steig in The New Yorker These two pages by Stanislav Holý John Glashan Stanislav Holý again, this time for Dikobraz Barney Tobey for The New Yorker Stanislav Holý J. M. Bosc did the cartoon written about in the book's introduction:

Steig's woman giving her husband a hot dog [in a future post] is not all different from Bosc's convict who, when he reaches home, finds himself in another prison. Hans-Georg Rauch Quentin Blake John Glashan

GREAT CARTOONS OF THE WORLD Volume 3, part 10

Here's the next to last of this book from 1969 edited by John Bailey.

This first page is by Charles Elmer Martin or The New Yorker Two-pager by Quentin Blake The book says of Blake in the foreword:

”If Paul Klee had followed his early inclination to become a cartoonist, my own idea is that his cartoons would have become very close to those of Quentin Blake. They have a delightful cheery quality and, though satirical, are involved with the happy world. His crisp line and unclichéd kind of drawing appeal to the child in the adult, which perhaps accounts partly for the popularity of his children's books.” Barney Tobey for TheNew Yorker Vahan Shirvanian for the New Yorker Two pager by Claude Smith for This Week I try to clean things up, but sometimes it's just impossible to scan something that goes across the spine of a book, especially when it's library bound. Case in point: this cartoon by Anatol Kovarsky The last of this book will be posted next week.

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