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 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

Great Cartoons of the World III/4

Now more from the third 1969 volume of Great Cartoons of the World, sort of a precursor to the “Best of” anthologies Houghton Mifflin publishes today.

J. M.Bosc For Paris Match

The introduction to this book says of Bosc:

Bosc deals with all of the dreary commonplaces of life, which most people even avoid discussing because they are so dull. He lures the reader into such a boring situation, and just as the tedium is becoming unbearable, he reveals that beneath the gray, dreary existence of his nameless, faceless robots there lurks an explosive drama, which Bosc makes absolutely hilarious through the simple but difficult trick of exposing the bald, naked truth. His fresh, inventive mind is about as objective as a surgeon's, as with wisdom and extreme clarity he comments on human emotions and the rudeness with which they are treated. Jules Stauber Ton Smits As per the introduction again:

Volker Ernsting is one of those great European cartoonists whose wonderful sense of the ridiculous is truly cosmopolitan while at the same time it remains Germanic—which is to say that his sense of humor is slightly mordant and relies heavily on incongruity Anatol Kovarsky Guillermo Mordillo in Paris Match Anatol Kovarsky Claude Smith in The New Yorker Jean-Jacques Sempé for Editions Denoël

GREAT CARTOONS OF THE WORLD volume II/5

continued from last Saturday.

A few more cartoons from Great Cartoons of the World, Second Series from 1968.

This one's by Jules Stauber for Bärmeier & Nikel (you can put the text from this link in a translator.) Terrence Parks a/k/a "Larry" for Punch. In the introduction to the book, editor John Bailey says:

The English cartoonist Larry has given birth to a race of problem solvers. Ingenious and inventive, Larry is a great slapstick comedian who happens to be able to draw. His hapless specimens of society are either angry with or frustrated by the artifacts of our era. Leslie Starke, who I wrongly labeled “Larry” before. Apologies, all those Punch cartoonists are alike to me). Michael Ffolkes, also for Punch. Donald Reilly for The New Yorker. A. G. Sens, who's in some of the men's magazine cartoons I've been posting. Hans-Georg Rauch for Nebelspalter Anatol Kovarsky Terrence Parkes for Punch. Volker Ernsting for Bärmeier & Nikel Terrence Parkes Alex Graham for Punch in 1963. Vahan Shirvanian for The Saturday Evening Post. He's also mentioned in the foreword:

Shirvanian is one of the few hilarious cartoonists who make you laugh in the sense that W. C. Fields makes you laugh. His drawing is honest and charming, with a light touch, and his sense of the ridiculous is outrageously developed. One is not merely pleased by an intellectual idea in one of his cartoons; one sees something in them that is genuinely funny. More from this book next Saturday.