Santa, Savings, and Fractal geometry

Santa, Savings, and Fractal geometry

Identifier: 2014074 TRUSTEE SAVINGS

The Droste effect — known as mise en abyme in art — is the effect of a picture appearing within itself, in a place where a similar picture would realistically be expected to appear.

The effect is named after the image on the tins and boxes of Droste cocoa powder, one of the main Dutch brands, which displayed a nurse carrying a serving tray with a cup of hot chocolate and a box with the same image. This image, introduced in 1904 was maintained for decades with slight variations. The logo of cheese spread brand The Laughing Cow also features the Droste effect. The effect was used by Giotto di Bondone in 1320, in his Stefaneschi Triptych. The polyptych altarpiece portrays in its center panel Cardinal Giacomo Gaetani Stefaneschi offering the triptych itself to St. Peter.

The appearance is recursive: the smaller version contains an even smaller version of the picture, and so on. Only in theory could this go on forever; practically, it continues only as long as the resolution of the picture allows, which is relatively short, since each iteration geometrically reduces the picture’s size. It is a visual example of a strange loop, a self-referential system of instancing which is the cornerstone of fractal geometry. [Adapted from Wikipedia]

Well the artist responsible for this example didn’t try too hard; after a reasonably recongnisable image within the main picture, the next one is basically a blob.

You can’t escape from Santa, even at NeverSeen Books.

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Trustee Savings Bank Christmas Annual 1949. 32 pages including paper cover. Size: 128 x 196 mm.

This little booklet was one of several published in the early post-war years by the Trustee Savings Bank. It’s full of homilies, puzzles, a children’s page, recipes, and other heart-warming stuff typical of the magazines and advertising material of the period.

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It’s Party Time, and Prince Charles beams out of his pram at his mother, who’s not yet Queen. Meanwhile, there’s a typical English Christmas Tea in progress – though the grandmother in her shawl looks American to me – with the gents all wearing ties, of course. A chocolate Yule Log supplements the bulging Christmas cake, and impossibly real candles light the tree.

The Trustee Savings Bank (TSB) was a British financial institution. Trustee savings banks originated to accept savings deposits from those with moderate means. Their shares were not traded on the stock market but, unlike with mutually held building societies, depositors had no voting rights; nor did they have the power to direct the financial and managerial goals of the organisation. Directors were appointed as trustees (hence the name) on a voluntary basis. [Wikipedia] The complex history and merger with Lloyds is here.

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Condition: Good – some creasing, mostly around the spine area.

Price: £6.00 plus postage. Enquiries: s-herbert@easynet.co.uk

Louis Wain, genre photographs, but no fairies

identifier 2014096 INFANTS’ MAGAZINE

The Infants’ Magazine Annual for 1904, being a collection of the 12 monthly issues for 1903. Vol. XXXVIII Publisher S.W. Partridge & Co., London. Hardback, colour cover. Size: 177 x 223 mm. 190+ pages, with illustrations on every page, several in colour (black/blue/red).

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Prominent in this annual is the work of Louis Wain, famous cat artist. He contributes the main title page and numerous sketches throughout. More unusually, a photograph of the artist also appears.

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I was also struck by the fact that almost all of the photographs of child studies in this book are credited to Miss K. Grant. It must have been unusual at that time for a woman to have had the facilities, presumably some kind of studio, to produce genre pictures like this. The simple portraits remind me of some of the sentimental child studies by photographer and magic lantern slide publisher Owen Graystone Bird, from the same era.

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The narrative scenes (see below), some with painted backdrops, are reminiscent of the Life Model magic lantern slides popular at that time, though cropped much tighter.

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The subjects of the painted backdrops, representing a poor person’s kitchen, for instance, are different from those in a typical Victorian / Edwardian portrait studio. I wonder whether anyone has researched Miss Grant? Without a complete first name, or location, that would be difficult.

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With the adoption of halftone photographic images in periodicals becoming much more widespread about this time, these photographs are evidently a challenge to the more traditional artworks of the same subjects. This can be clearly seen here with the similarities between Grandma’s Valentine (photo) and the following page Granny’s Recovery (painting); and Spring Flowers (drawing), and the opposite page A Secret (photo).

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Another point of interest is the lack of fairies (gnomes, elves, whatever). With the exception of The Fairies’ Postmen, I can’t find any.

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The book is stuffed with pictures (photos, drawings) and stories of dolls on what seems like every other page, but the fairies that would soon become so ubiquitous in children’s books haven’t yet arrived – here, anyway. Perhaps this was due to the shadow of publisher Samuel William Partridge (1810-1903) – by then retired, and who died the year these magazines were printed – who was a devout evangelical Christian and probably couldn’t be doing with fairies. Maybe it would take the imminent appearance of Tinkerbell to ensure frequent appearances of the fairy folk in periodicals and annuals.

The Infants’ Magazine is not a very scarce title, but finding particular issues – especially in good condition – can be difficult. Apparently people used to give these books to young children to play with. (Note: The BL has it as The Infant’s Magazine.)

Condition: Generally good, as shown. Pages tanned, as expected. The binding is very loose, but still holding everything together.

Price: £32.00 plus postage. Enquiries: s-herbert@easynet.co.uk

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ART DECO magic lantern CINEMA SLIDES

A giant (so it seems) grasshopper (cricket?) waits in the grass, a crisp essay in vivid greens.

A society couple stand whispering beneath the trees in the moonlight, while somewhere nearby, perhaps, the band plays on.

A man in a dapper suit sits with his coffee and reflects. A single thin line of smoke curls from his cigarette. Is this Rick, long after the customers have gone home, thinking of Ilsa and the sacrifice he must make tomorrow?

What are the origins of these images? Just another day’s work for some anonymous artist trying to (literally) scrape a living?

ART DECO MAGIC LANTERN CINEMA SLIDES

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Three lantern slides in Art Deco style. Size: approx 3.25 x 4 inches. I have given these the titles:

1. Grasshopper (hand coloured).

2. A couple in the monlight (black-and-white).

3. The man in the window (hand coloured).

These striking images were intended for projecting in British cinemas during the interval, usually while the organist played. (These are 3.25 x 4 inches, a common size used in cinemas.) Lantern slides in cinemas were mostly shown to advertise commercial products or forthcoming films, but these examples seem to be much less common ‘mood’ slides. They were produced by the Morgan’s Projected Publicity method; a semi-opaque ‘paint’ covered the glass, and when dry was scratched through. The precision of the scratched lines suggests the use of a stencil or pantograph. The result was then hand-coloured, when required. Two of these examples include, on an internal label, the patent number 216349, which relates to this technique. A new printout of the patent will be included.

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Very scarce. The chances of finding other examples showing the same images are very slim.

Condition: Very good. The external paper edge binding strips are somewhat ragged, with some pieces missing.

Price: £55.00 plus postage. s-herbert@easynet.co.uk

What d’ye LACK?

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Identifier: 2014047 WHAT D’YE LACK?

What d’ye LACK? The Times Publishing Company, Ltd. [1936] 24 pages plus cover, all on heavy stock.
Anonymous. Illustrations by Aubrey Hammond. Size: 216 x 279 mm

Those of us who are of a certain age will remember when the front page of The Times had no headlines, pictures, or even news stories, but only classified advertisements. The proprietors finally abandoned this tradition in 1966. If the presentation of the newspaper was somewhat dour in times past, it shouldn’t be assumed that the marketing was always unimaginative. This brochure from 1936 is based on a selection of amusing snippets from the pages of ‘The Thunderer’ dating from the 18th and 19th centuries.

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The intention was that readers would be entertained by the contents, and then realise that The Times was still an effective place to advertise; the final page of the brochure giving display rates. ‘What d’ye lack?” – a repeated phrase in Oscar Wilde’s fairy tale The Fisherman and His Soul – was an old street-seller’s cry.

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The quotes from old advertisements include one for a Villa ‘near Tooting’, illustrated by Pan sitting on a guidepost showing the way to nearby Balham; long before Peter Sellers made it “funny”. Presumably the quaint 19th-century idea of an ‘elegant villa’ in the London suburb – described in the advertisement as being ‘in the country’ – which by 1936 was just about filled with sprawling building development of cheap housing, was an amusing thought. Ironically, there’s many an elegant villa in Tooting (and even more in Balham) that today has an asking price of £4 million and upwards.

Aubrey Lindsay Hammond, (1894 -1940) attended Byam Shaw School of Art in England, and The Academie Julian in Paris. He designed posters for the Underground Group and London Transport, 1925-1934. Dr Chris Mullen writes:
“[Hammond] was an early example of an English designer prepared for any commercial challenge that came his way – book jackets, illustrations commercial and interpretative, posters, art direction for films, and designs for the stage – sets and costumes.”

One of his most famous works was the striking cover for the 1927 Readers Library edition of Thea von Harbou’s novel Metropolis.
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This two-colour job for The Times is quite scarce. The National Art Library (V&A) has a copy, but that’s the only one listed in WorldCat.

Condition: Generally good. Two small stains on front cover. Some foxing throughout. Mark on back cover (which is blank).

Price: £34.00 plus postage. s-herbert@easynet.co.uk

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Le Petit Inventeur – ‘The history of the future’

Le Petit Inventeur

Le Petit Inventeur. New Series nos. 1-25. Editions Albin Michel, Paris. 400 pages, Colour covers, b/w interiors. Hardback, bound in paper-covered boards, with coloured illustration on front. Size: 200 x 282 mm.

I would once have categorised the picture on the cover of this book as ‘Early television’, or ‘Videophone’, but of course it would now be best described as webcam skyping, or whatever the current phrase is for keeping up with family and friends online, both visually and sonically.

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This French magazine started in the early 20s, and this is a re-start from c.1930. Odd little pieces, with many b/w drawings, about all kinds of technological realities and promised future science-fiction gizmos that the boffins were just about to make real. In truth, the covers are the best part – and there are 25 of them, with most reproduced below. Great fun, and useful reference material for anyone writing about ‘the history of the future’. These magazines are not hard to find in their country of origin, but the bound volumes make collecting them much easier, and are rarely found outside of France.

Condition: Interior very good, with usual tanning of the pages. Some foxing to the covers (and minor marks to top margin), and a new webbing repair to the top of the spine. The old pasted-down endpapers are cracking at the spine joint, and there are a couple of small old paper repairs there, but the binding is still holding well so I’ve left those minor faults.

Price: £38.00 plus postage

s-herbert@easynet.co.uk

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The Monkey with the Magic Lantern

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Twenty years ago I became aware of the wide range of illustrated versions of the fable generally known as ‘The monkey with the magic lantern’, while designing the page layout for an article about the subject written by French magic lantern collector Jean-Philippe Salier. I had one edition in my own collection. Some years earlier, I was in Paris with doyen collector Bill Barnes, scouring the cabins of the bouquinistes along the banks of the Seine. I spotted a very nice large illustrated version of the subject, sealed in a plastic wrapper. I picked it up and asked the dealer (in one of my few memorised French sentences), “I want to buy this. May I open it?” The response was an unsmiling “Non.” Bill shook his head and tutted. This didn’t happen in the Charing Cross Road. “Is it complete?” A surly, “Bien sûr, il est complet.”

I gave the book to Bill to hold, took out the required wad of francs, handed them to the dealer and said to Bill, as I took back the book and opened the Sellotaped wrapper, “If there are pages missing I’m going to hit him with it.” There weren’t, so I didn’t. The bouquiniste was now smiling, I managed a forced smile and a “Merci”, we shook hands and Bill and I went away with our treasure. It was later displayed in the exhibition Magical Lanterns, at the Museum of the Moving Image in London. It’s the copy now offered here.

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Les Fables de Jean-Pierre Claris de Florian. Illustrees par A. Vimar. Henrie Laurens, Editeur. [n.d., c.1899] Avant-Propos de Andre Theuriet. 137 pages. Many b/w illustrations, and eight in colour, mostly full-page. Size: 225 x 283 mm. SOLD

Nicolas Stanislas-Auguste Vimar (1851-1916) was a French painter, sculptor, designer and illustrator. He exhibited in Paris and at Marseille, notably sculptures of animals, and contributed drawings to a number of journals including Figaro illustré and Le Rire. [adapted from Wikipedia].

English version of the fable:
http://en.wikisource.org/wiki/The_Fables_of_Florian_(tr._Phelps)/The_Monkey_with_the_Magic_Lantern

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Advertisement, 1902

Advertisement, 1902

I believe this book of the Fables, with illustrations by Vimar, was published c.1899. An edition was certainly available by 1902, where it appears in a bookseller’s catalogue [Catalogue: Ernest Martin. Lester Smith collection]. There were two versions of this edition; one with b/w illustrations at 6 fr., and one with some illustrations in colour at 9 fr. This is the colour edition. I have seen this book with an identical cover but in green cloth, grey cloth, and in beige. I have not seen another example in red.

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‘In France, Jean-Pierre Clarisse de Florian is presently considered a minor writer and poet from the late 18th-century. Most likely his major contribution to literature is the first translation of Cervantes’ Don Quixote. Not many people remember that Florian also write a series of fables … his most famous fable tells of ‘The monkey displaying the magic lantern’. Imagine how a frustrated monkey takes advantage of the temporary absence of his human mentor, a galantee showman. Here is a unique opportunity for him to proudly present to the other animals the lantern show he has watched so many times. No doubt he is fully knowledgeable about the process, and his sharp views of our world are about to change the life of generations to come. At last, a time for deep, philosophical considerations and valuable scientific comment comes of age. Precious sentences are filling the showroom while a series of views slide superbly [through] the lantern. Alas! What should have been an unforgettable one-monkey show quickly becomes an after-dinner talk of the most boring type … The galantee showmonkey … has forgotten just one thing – lighting up the lantern.’ [The Fabulist Displaying the Magic Lantern. A tribute to Florian 1755-1794. by Jean-Philippe Salier. New Magic Lantern Journal, Vol.7 No.2 September 1994.]

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Pictures of an itinerant showman with a monkey feature in many engravings and books from the 18th century onwards. In the illustrations in this book, the monkey is carrying and using a now very collectable Lapierre lantern, in the style known as ‘Carre’. I bought one in Paris in the ‘80s, from a friendly dealer in the Porte de Vanves market; which is still one of my favourite Parisian haunts.

This book turns up occasionally, but not always in good condition, and sometimes it’s the b/w version.

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Les Fables de Jean-Pierre Claris de Florian. Illustrees par A. Vimar. Henrie Laurens, Editeur. [n.d., c.1899] 137 pages. Many b/w illustrations, and eight in colour, several full-page. Size: 225 x 283 mm.

Condition: generally good. Minor foxing and some brown / finger marks to some pages, and general tanning. Wear to the cloth on the bevelled edges of the boards, and spine. Cover illustration colours, and gilding, excellent.

Price: SOLD.

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monkey12This page has the worst finger marks.

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ARK – as a new book is published, we offer the first 13 issues

Last June, the Royal College of Art published a book celebrating the College’s journal, ARK. I’ll let the RCA website provide more details.

‘Royal College of Art Critical Writing in Art & Design students have produced a celebratory book exploring the College’s historic and influential visual arts journal, ARK.  ARK: Words and Images from the Royal College of Art Magazine 1950-1978 … is a wide-ranging anthology of articles and images from the College’s long-running ARK magazine – an influential presence in British cultural life.  CWA&D students have selected and  curated material from ARK’s 54 issues, spanning nearly three decades, to give a snapshot of its bold and fast-changing design, and extraordinary cast of writers and artists that helped propel it to international attention. This new publication features a complete run of ARK covers in full colour including designs by Len Deighton and Alan Fletcher; a preface from design critic Rick Poynor; and a full index of the magazine’s content throughout its duration, as well as rare texts and classic image essays. Together, the material offers a vivid overview of the changing attitudes and approaches to art and design in Britain in an age of considerable flux.  ARK, a style and design journal created by RCA students, was part of an era of cultural transformation across fashion, film, television, advertising, newspapers and magazines. Such was the stature of ARK that it drew contributions from creative luminaries including Ralph Rumney, Lucio Fontana, Alison and Peter Smithson, Toni del Renzio and Reyner Banham. In his preface, Rick Poynor describes this influence:  ‘…ARK has become a vivid historical document. It records, narrates, evokes and recalls its moment (or succession of moments) with energy, eloquence and insight. There were other contemporary British magazines about visual subjects with elements of content or design in common – Motif, Typographica, the short-lived Uppercase, even The Architectural Review – but…none of them could match ARK’s twists and turns, its visual conceits and coups de théâtre, or its eclecticism of content during its heyday from the late 1950s to the mid-1960s.’ ARK: Words and Images from the Royal College of Art Magazine 1950-1978, designed by Jorg Schwertfeger (MA Visual Communication, 2014) and priced at £15.’

You won’t be able to buy it from Amazon (hooray!) but search online, and you’ll find it available from a real bookseller, including the RCA.

Coincidentally, Neverseen is pleased to offer a run of:

ARK: the Journal of the Royal College of Art. The first thirteen issues. No.13 is subtitled The Journal of Design and Fine Art. Size: approx 238 x 178mm. No.1 has b/w illustrations, all other issues have illustrations in both colour and b/w. Details of condition listed below. I have taken two issues to illustrate interior layouts, to give some idea of the wonderful contents of this collection. All front covers are illustrated at the end of this post.

The illustration of Figureheads from the National Maritime Museum is by Valerie Brook (now Falla). Sixty years on, she’s still producing and exhibiting great artworks. A print of one of Val’s scenes of Hastings hangs on a wall at home as I write this, brightening our mornings. I spoke with her a few weeks ago, and she told me of the arrangement with ARK. “The art editor would approach a student whose style of illustration might suit a particular article in the magazine. I didn’t think much about it at the time, but it’s interesting now to look back…” Valerie looks at her work from that time, which seems to me to reflect an already very mature talent, as a somewhat detached and bemused observer – “Look at how I angled that head!” – and with genuine modesty. Before starting at the RCA, Val’s drawings had won a prize of £100 from Punch – a useful sum that went towards her RCA fees – and I was treated to a view of some of her delightful artwork for the competition.

arkLACEY[click to read]

In 1970 or 71, artist / robot-maker, collector, performer and archetypal British eccentric Bruce Lacey put on a show at the National Film Theatre, entitled ‘Bruce Lacey Exposes Himself’. It was a wonderfully rambling exposition of his obsessions, with films of his machines and ‘collections of random junk’– including a screening of Ken Russell’s The Preservation Man (1962) (which is here, if it’s still there), and jumpy home movie footage of his aunt walking her dog, taken on 9.5mm film decades earlier. I was technician for the show. Bruce arrived with a 45rpm disc. “I wanted the recording to sound old,” he explained, “so I buried it in the garden for a while.” It still had mud in the grooves, but I risked damaging our record player stylus. That isn’t Lord Tennyson you hear supposedly emanating from the cylinder player in the BBC Monitor film, it’s Bruce (imitating a faded recording of the great poet), wearing a ‘Sgt. Pepper’ jacket years before the Beatles latched on. I remember that Lacey’s NFT show was my first experience of arranging a radio mic. Unrestrained by cables Bruce darted among the audience as he commented on the images on the screen, and in-between clips, with a non-stop monologue of observations, ruminations and fears. “I always look in a toilet bowl first,” he explained to the audience at one point, probably apropos of nothing. “Spiders lurk there, and then they crawl up your bum.” (Audience laughter.) “They do!” I’m happy to learn that Bruce is still exposing himself all over the country. Lacey’s contribution to the issue of ARK included here was a short piece, a double-page spread explaining his collecting mania, illustrated with pen-and-ink drawings of his “forlorn objects”, including a grouping of eight magic lanterns – long before such items started to be seriously sought out by more conventional collectors. The way he treats his “stuff” is outrageously uncuratorial and delightfully refreshing.

The ARK layouts are beautiful, and the text engaging with no waffle or padding. The advertisements are in themselves attractive, no doubt helped by a succession of Advertising Managers who were top-flight budding artists. In recent years I was privileged to know Bob Falla, a fine talent who served on ARK in that capacity for a while. I could go on writing forever about these wonderful magazines and the memories they evoke, but I have to stop here. The covers of the thirteen issues offered here are shown below.
Condition: Most copies have some minor foxing and spotting to some pages, not very evident except where noted below. A few finger marks, and fading to some spines.

1. Foxing to covers, noticeable on the back. 2. Minor foxing to covers. Small stain to very edge of top right of several pages. 3. Foxing to covers, and last page. Staining (coffee) to top corner / outer margin of most pages. This has been treated. 4. Foxing to cover, noticeable on the back. 5. Foxing to covers. Stain to outer margin, last 10 pages and back cover. 6. Foxing to covers. 7. Foxing to covers, noticeable on back. 8. Back cover has a flattened fold. 9. Foxing to covers, stain to top margin last 10 pages and inside back cover. 10. Noticeable foxing to covers. Small top corner fold to front cover. 11. Some spotting to spine. 12. Back cover rather soiled. 13. Foxing to covers and first few pages. Top of spine bumped.

Price: £250.00 plus postage

s-herbert@easynet.co.uk

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Happy Days – Louis Wain and a magic lantern show

identifier: 2014067 HAPPY DAYS MAGIC LANTERN

H. G. Wells said of Louis Wain, “He has made the cat his own. He invented a cat style, a cat society, a whole cat world. English cats that do not look and live like Louis Wain cats are ashamed of themselves.”

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Happy Days. Stories and pictures for little folk. Blackie & Son Ltd, London and Glasgow. n.d. [c.1919]. 24 pages, plus illustrated endpapers. Size 200 x 260mm. Features an illustration of THE MAGIC LANTERN ENTERTAINMENT by Louis Wain. The artist (1860-1939) needs little introduction – his work featuring anthropomorphised cats being famous. He illustrated more than 100 children’s books as well as postcards, prints and greetings cards, and continued drawing for many years while in mental hospitals.

This book is featured on NeverSeen because of the collectable theme of the subject matter of this double-page colour spread, a magic lantern show. I’m aware of another magic lantern show picture featuring Louis Wain’s cats, which was reproduced in the New Magic Lantern Journal Vol.2 No.1 in 1983 – without a reference to the original source, which was The Sketch, 14 March 1894. Happy Days is not widely held in institutional libraries, and is scarce in good condition.

Condition: Very good. Slight bowing of the boards, wear to board edges, and a name in the “Belongs to” box.

Price: £45.00 plus postage.       s-herbert@easynet.co.uk

Scroll down for more pictures, and further items.

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Georgie Goosegog

goosegog
[goo z-gog]
noun, British Dialect
1.
gooseberry.
Origin
1815-25; goose + gog (< ?)

Georgie Goosegog. Artwork by Cyril Cowell, Amex Co. Ltd, London and Letchworth, n.d. [c.1947]. Comic book, printed in colour, 8 pages, size: 240 x 179mm.

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Cyril Cowell (1888-1967) was born in Canterbury, Kent. He was working as an illustrator by 1911. He drew for nursery comics from the 1920s to the 50s, including Fairyland Tales (1924-), Children’s Own Sunday Pictorial (1933-1934), Pip and Squeak Annual (1933), Children’s Holiday Fun (1937-1940) and Mickey Mouse Weekly (1950s). In the 1940s he drew the weekly gardening strip Adam the Gardener, written by Morley Adams, for the Sunday Express. He also illustrated children’s books, including some by Enid Blyton. He specialised in drawing animals and the natural world.

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Georgie Goosegog’s vegetable friends play a trick on Georgie, filling his irritating whistle with ink. But Georgie comes to their rescue later, as he frightens off marauding caterpillars with the spray from his whistle.

The fairly large pages of this comic, with just one picture panel per page, allow the artwork to breathe, a refreshing change from the usual multiple panels being squeezed onto a page. The ‘Competitive Creepy Crawlies’ shown here bring to mind the Fleischer Studios’ animated feature Mr Bug Goes to Town, of about the same period. Cowell seemed especially fond of drawing squirrels, but for me the bright-eyed anthropomorphic vegetables seen in Georgie Goosegog are much more fun than humanised animals – though there’s something rather disturbing about fruity Georgie’s pink human ears, appendages that the veggies seem able to do without. As does Georgie himself, in the final panel. Which is a bit weird. Oh yes, and Cyril – who named the Carrot after himself – forgot to colour in Georgie’s sleeves in the penultimate scene. Seven of the eight panels are shown here.

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Rarer than Action Comics No.1, an example of which fetched 3.2m dollars on Ebay the other day. And the artwork’s better, too. Microforms from a copy in the Bodleian are kept in some institutional libraries, but you’d be hard pressed to find another copy to buy, at any price.

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Condition: generally good, with minor edge damage. The comic has been folded in half vertically. This barely detracts, being most evident on the back page, where there is some wear in that area.

Price: £12.00 plus postage                 s-herbert@easynet.co.uk

Bad Day Blotter

identifier: 20140905 BAD DAY BLOTTER     SOLD

The Strange & Wonderful at NeverSeen

Bad Day Blotter

 

I was tempted to title this piece “Mother told me there’d be days like this….” Or perhaps, “It’s safer by aeroplane.” It’s the front cover of a 1928/29 blotter, printed in Germany for the Calendar Manufacturing Co., Bombay.

Some inking of the pink blotting paper, ink marks on back. The image is in very good condition, with just very light marks visible on close examination, plus some small light patches in the sky area (see photo). Where would you find another one?

The ideal gift for the insurance agent who has everything.

Price: SOLD.    s-herbert@easynet.co.uk

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