Filed Under: "1940s"

Pen & ink sketch, early 1940s. The title likely derives from the song “I’m a Ding Dong Daddy from Dumas,” penned by Phil Baxter in the late 1920s. Dumas is a town in the northwest Texas Panhandle. The song was recorded by many country and jazz artists, including Louis Armstrong (in 1930), and was later a hit for singer-bandleader Phil Harris. Flora’s take is typically idiosyncratic and perhaps references the titular “ding dong” in the…

Because we feel like it. Because cartoon violence is the best violence of all! Cover detail, Columbia Coda, June-July 1943. The above is not a garden variety mugging—it has to do with highbrow musical theatrics. The dagger to the heart caused the victim to sing—and thereafter to be written out of the plot. Although it’s possible he returned in later acts as a zombie.

Longtime friend, music collector, and fellow Floraphile David Burd reports a first sighting: The new Flora book is in stores today! I just picked up my copy. We expected the book to hit streets in mid-August. That’s what happens when you work with a niche publisher—they surprise on the upside. (Note: Amazon.com lists a release date of July 29, 2009.) Illustration of celebratory Benny Goodman (above): not in this book. It appeared in our second…

We never claimed our favorite artist was a religious figure. Their book costs $1,500. Ours will be more “competitively priced.” Left: one of several early 1940s Flora sketches of the Crucifixion, entitled Descent From the Cross, subsequently developed into a refined pencil drawing (published in our second book, The Curiously Sinister Art of Jim Flora). Flora also rendered the work as a pen and ink with tempera during the 1990s. HT: Don Brockway

Seriously—you’d have to be crazy to play trumpet in this position. You can’t possibly concentrate on your playing. Hopping on one foot, using your left hand to work the horn and the right to tip your hat. You might be an entertaining showman, but from a musical standpoint, this is a caricature of a trumpet player. Seriously. Detail from Flora illustration for The Great Juke, a short story by Marguerite Young, Mademoiselle magazine, October 1947….

Spot illustration, Columbia Coda, December 1945

If you’re planning to attend the above June 10 exhibit — you’re 66 years too late. However, by historical accounts Flora’s first New York City gallery show, held in 1943, was fabulously successful. A few months earlier, Flora had been named art director at Columbia Records, replacing the man who hired him, Alex Steinweiss (at left with the artist in photo below). The whereabouts of the inscrutable petroglyphs on the wall? All will be revealed…

This untitled 1943 Flora tempera, casually referred to as “Jazz Quintet,” was our second limited edition fine art print, issued in early 2008. At the time, we were uncertain about the market potential of Flora works in archival-quality inkjet format, so we opted for a short-run edition of ten. We recently sold the sixth print, and the price for remaining prints has consequently increased (reflecting depleted supply). This is an iconic early Flora work, and…

Now available: a limited edition (25) fine art print of Flora’s 1947 Columbia album cover for Louis Armstrong’s Hot 5. This print was commissioned from Jim Flora Art by Hypergallery, a UK dealer who specializes in reproductions of classic album cover art, and is available exclusively through their website. The print was produced by Flora archivist Barbara Economon from a vintage printer’s proof sheet in the Flora collection. Each print in the edition was hand-signed…

We don’t generally post the work of other artists on the Flora blog, but we’re delighted to make an exception with Clara Gee Stamaty. Clara met Flora when they attended the Art Academy of Cincinnati in the early 1940s. Her late husband, syndicated cartoonist Stanley Stamaty (d. 1979), was one of Flora’s best buddies at school, and the couple remained lifelong friends with Flora. (Clara remarried in 1984.) To celebrate becoming a nonagenarian, Clara has…

Dummy page, Columbia’s Children’s Album Sets, demo booklet, 1941, part of a series of homemade samples prepared by Flora for the Columbia Records art department. Flora was living in Cincinnati at the time, an Art Academy grad, newly married, barely making ends meet as a freelance commercial illustrator, and sidelining on Little Man Press projects with Robert Lowry. Within a year, Columbia art director Alex Steinweiss offered Flora a job. Within two years, Flora had…

The services of this formerly out-of-work conductor (name: “Barlow”) have been retained for our next book, The Sweetly Diabolic Art of Jim Flora, scheduled for August publication by Fantagraphics. Barlow has been hired as the volume’s Gallery Guide. As such, he will stand sentinel-like at the beginning of each book section, with dotted lines emerging from his torso indicating chapter titles orbiting in close proximity. He earned the nod over six competing spot illustrations, who…