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 4

Here's more pages that were in Great Cartoons of the World, Volume IV continued from last Saturday.

Hans-Georg Rauch Terrence “Larry” Parkes for Punch Chon Day Ton Smits Many of these cartoons are written about in the introduction to the book by John Bailey, like this cartoon Charles Addams did for The New Yorker:

Addams's marvelous insight into modern business is shown through the medium of a slave ship, and we are startled to realize that the slave-master actually has children, and cries when his mother dies. Guillermo Mordillo Donald Reilly in the New Yorker Mel Calman Ton Smits John Glashan. Again per the introduction: Glashan, with his character who has learned to detest his companion's sensitive face, tells us a great truth that I haven't seen mentioned before—that we can learn to detest anything: that great beauty, art, brains, or any of the admirable traits of humanity can become a large-size pain in the neck if they are accompanied by other characteristics that annoy us. Yet another New Yorker cartoon fromWhitney Darrow, Jr.

Darrow's drawing of a formerly fine neighborhood, complete with doormen, but now completely run down, makes one think. For underneath the humor is the bold statement, “We are in bad trouble”.

Doesn't look “formerly fine” to me, maybe to them. This was drawn in 1959 when Bohemia wasn't really in the mainstream. [J. M.] Bosc trenchantly tells us that people do not see things as they really are, but believe what they want to believe. He gives us a husband in love with an image, who does not see his wife become old.True love never notices the wrinkles. Next week: More

GREAT CARTOONS OF THE WORLD, VOLUME III

I have several volumes of the series Great Cartoons of the World, and I've scanned the first, second, and fifth previously. This is the third volume from 1969, edited by John Bailey. The previous owner, Clackamas County Library, has written “Swartout” above the name “Bailey”. What does that mean? Is it his middle name? Doesn't really matter.

The inside cover flap describes the book thusly:

The variety is immense, the commentary penetrating, the humor guffaw-evoking, and the drawing superb in this third series of GREAT CARTOONS OF THE WORLD. This collection of over 300 cartoons selected from many of thousands by John Bailey, former cartoon editor of The Saturday Evening Post, is richer and funnier than ever, as it presents the visual humor of the world, the cartoonist's approach to events and people, the subtle and sometimes broadside barbs directed against the shibboleths of mankind.

This one was by James Stevenson for The New Yorker. Brian Davis a/k/a Michael Ffolkes for Punch. Ed Arno for Look. Vahan Shirvanian in Saturday Evening Post Boris Drucker for Look Ton Smits Charles Addams for New Yorker Jean-Jacques Sempé for Editions Denöel The next two are by Jules Stauber. J. M. Bosc for Paris Match

Great Cartoons of the World II/8

Here's more from the book Great Cartoons of The World, volume II from 1968, edited by John Bailey.

Ton Smits Robert Day in The New Yorker You have to understand, it was a different time, and..uh..the sixties...and I'm posting it for historical purposes...because...Nuremberg defense...and...

Who am I kidding? Yeah, it's racist.

By Ton Smits. Freidrich-Karl Waechter for Bärmeier and Nikel Bruce Petty for Punch Charles Barsotti John Glashan for Psychoanalytic Reporter. Charles Addams for The New Yorker with a Cousin Itt prototype later used in The Addams Family. J. M. Bosc for Paris Match. Edward Koren in The New Yorker Robert Day again, in The New Yorker two years earlier. Donald Reilly for The New Yorker. Boris Druckerin, you guessed it, the New Yorker.