Filed Under: "violence"

We’re not sure what this commercial illustration (ca. 1960) was intended to depict, because we don’t know the nature of the assignment or the client. Rather than impose a narrative, click on thumbnail to view enlarged image, create your own storyline, and post it in the Comments. If you happen to have a magazine tearsheet of this illo, please advise so we can settle all arguments before things get out of hand (which is, actually,…

Detail, The Depot Fire, tempera on paper, 1963. This is about one-third of the entire work, which will be fully reproduced in our forthcoming book, The Sweetly Diabolic Art of Jim Flora. We reviewed printer’s proofs of the pages this week, and the book is on schedule for publication by Fantagraphics in August or September.

Two characters, five legs. This acrylic on canvas (15-3/4″ x 20″, late 1990s) almost made it into our forthcoming book, but was edged out by a plethora of prominent works. Flora produced some interesting, mystifying paintings in his final decade (after, by his own admission, “painting myself out of boats” in the late 1980s). Above is a low-grade snapshot corrected in Photoshop; the recently discovered work has not yet been professionally documented. A postulant is…

Rasputin-strength, dismembered and trepanated zombie. Spot illo (woodcut, one of many), Murderpie, Little Man Press, 1939. Publication written by Robert Lowry. Whereabouts of original woodcuts unknown.

Detail, Grandpa’s Ghost Stories (Atheneum Books, 1978). Yes, this little mise en scène is from a lighthearted book for young readers. Fun for the whole family! Bone apetit!

Illustration, “Are You Superstitious?” Parade Sunday newspaper supplement, December 8, 1957 (from tearsheet).

Untitled pen sketch, ca. early-1940s. This image was later adapted (along with more than a dozen seemingly unrelated sketch works) in a 1943 copper-engraved montage entitled Air of Panic. The white vertical skunk stripe is an artifact likely caused by long-term exposure to light; the white area was shielded from exposure while the rest of the paper became yellowed with age.

Pencil sketches for Till Eulenspiegel LP cover, 1955. The above skeletal figures eventually morphed into this rough layout: … which was refined as this unfinished tempera setting: … which evolved into this finished RCA Victor Red Seal cover: Till Eulenspiegel was an impudent prankster in German folklore. Flora rendered several pen and ink drawings of the trickster in the 1990s. Perhaps he recognized a kindred spirit.

… is now open. Jim Flora hand-printed notecards, fine art bookmarks, and 2009 letterpress calendars at affordable prices. We’ve also released a number of new fine art and album cover prints over the past few weeks but haven’t had an opportunity to alert our mailing list. Here’s two, but there’s more over at JimFlora.com: Self-Portrait, ca. 1947 Gunfight on the Roof, 1951

Illustration, “When the Night Wind Howls,” by W.S. Gilbert, anthologized in A Red Skel(e)ton In Your Closet: Ghost Stories—Gay and Grim, selected and edited by actor/comic Red Skelton. The cover of this 1965 children’s book was illustrated by the great Al Hirschfeld. The dozen-plus interior illustrations are unsigned and uncredited, but they reflect the unmistakable mischief of Mr. Flora.

Commercial illustration, late 1950s, publication unknown. Tempera mechanical found in the Flora archives. The illustration’s theme has contemporary resonance in the wake of the subprime meltdown.

Untitled tempera illustration for unknown magazine, March 1958. Stamped on reverse: “kill” — which doesn’t refer to the dragon or the knight-in-a-necktie. It refers to the drawing, which was rejected for unknown reasons. An earlier throwdown: