newly discovered Flora cover?

We recently discovered this Camden 7" EP that might very well feature an overlooked Flora cover.

The catalog number, CAE-138, dates the release to 1954, during which Flora designed 18 covers for RCA Victor, ten of them 7" EPs for RCA's Camden budget subsidiary (two of which were for the Festival Concert Orchestra, a generic name for an aggregate of stellar musicians who were under contract to other labels). Some were credited to or signed by Flora, others not.

Here's why we think it's a Flora:

• The soldier’s eyes. It's a Flora stare.
• The two-color scheme.
• The soldier’s eyes. Flora was a primary exponent of fried-egg eyes.
• The lady’s boobs.
• The soldier’s eyes.
• The dotted fill in the typography.
• Alternating color backdrop.
• The soldier’s eyes.
• The lady’s dress.
• The lady’s face has a Flora smile.
• The lady is floating in mid-air.
• The soldier’s eyes.

If it's a Flora (as we believe), it's hardly a top-tier Flora, but we'll add it to the catalog.

Hipsters, Flipsters ...

Richard Myrle Buckley was born 108 years ago today in Tuolumne, CA. He later self-applied the deferential appellation Lord and became a fixture on the New York jazz nightclub scene, transforming into what his biographer Michael Monteleone described as "a strange but intriguing mix of a proper English peer of the realm and a street corner jive hipster." He played the Vaudeville circuit, was friends with gangster Al Capone, appeared on The Tonight Show, married six times, and died broke, leaving an idiosyncratic legacy of oral literature, some of it captured on tape, vinyl, and film.

You can hear one of his Lordship's epic declarations here. It's the title track from the very rare 1955 10" record (above) with a famous Flora illustration. The cover is available as a limited edition fine art print at JimFlora.com. Or you can order a Buckley portrait rendered by noted illustrator Drew Friedman. The Friedman portrait looks like Buckley. The Flora portrait looks like ... well, like Flora.

Too Much Information - Part 2

More current activity in the Florasphere (see Part 1 here):

We're preparing several new fine art prints for release, including a Mambo For Cats giclée (the oversized screen print sold out last year, but the Mambo mini remains available). Above is a mockup of a proposed print that might make it into 2013's release queue.

Our Tokyo-based Floraphile friend Takashi Okada has compiled and designed The Raymond Scott Songbook, a magnificent two-CD set of vintage and rare Scott recordings from the 1930s to the 1960s. The package includes a 100-page booklet featuring a number of Flora spot illos from the 1940s and '50s, which we provided for Takashi's use.

Three full Flora works from the 1940s (Fletcher Henderson, 1942, pictured above) are being used as set dressing on the forthcoming Showtime TV series Masters of Sex. The series takes place in the 1950s, and portrays the lives and work of sex researchers William Masters and Virginia Johnson. The series debuts in September.

An untitled early 1950s Flora black & white tableau has been edited and vibrantly colorized for a forthcoming album, Raymond Scott Rewired, to be released in September on the Basta label. The album features the entire Raymond Scott music catalog—from 1930s jazz novelties to 1960s electronic experiments with Scott's homemade instruments—remixed, mashed, and flipped by three expert audio hooligans: The Bran Flakes, The Evolution Control Committee, and Go Home Productions. You can hear three samples from the album here.

any similarity between ...

... is purely coincidental.

Jim Flora, untitled and unpublished tempera draft, mid-1950s:

The Magnetic Fields, 2012:

summer fun

Illustration detail, "What is Automation," Collier's magazine, March 16, 1956. The optimistic take: "Automation has been heralded by some as the threshold to a new Utopia, in which robots do all the work while human drones recline in pneumatic bliss." There was a counterbalancing pessimistic view, but in observance of the current summer heat wave, we'll stick with the sunshinier forecast. 

We're still looking forward to consumer helicopters with open-air cockpits.

The Fourth of July

The work isn't titled, and there's no specific reference to Independence Day, but this unpublished 1990s acrylic on canvas suggests celebratory patriotism and civic pride, so we'll offer it as tribute to our nation's founding 236 years ago today.

P.S. This non sequitur works too. Illustration from The Fabulous Firework Family, Flora's first (1955) children's book.

The Picasso of Jazz

Thanks to Clayton Walter for a nice little Flora gallery at his Claytonology blog:

"I think of Flora as the Picasso of Jazz; his other-worldly depictions of Jazz musicians capture perfectly the vibe of a certain era of the music—brash, swingin' and full of ecstatic movement. There's another side to Flora as well. If you look closely at his LP illustrations, beyond the exciting flash,  you see a cunning method to his cartoonish madness."

traffic snarls

Miserable pedestrian—what part of "beep" don't you understand?

Untitled, unfinished tempera on board (detail), 1950s. Purpose unknown.

Jim Flora 2012 Calendars

Those perennial favorite Jim Flora calendars are in stock for 2012. You've got your bug-eyed saxophonist, an Aren't-We-Having-Fun? moon, and a manic drummer to guide you through the coming Leap Year. These are hand-printed mini-calendars measuring 10" x 4-1/2".  If you prefer something of greater magnitude in a maritime motif, our Sheffield Island poster-sized calendar should suit your tastes:

electromechanical design

Spot illustration, promotional brochure for trade journal Electromechanical Design: Components and Systems, 1957. Flora illustrated a number of covers for the monthly from 1957 to 1960.

road rage (1958)

The miserable family road trip. Commercial spot illustration, 1958, magazine and subject unknown. Pen & ink and watercolor on artist board. Three additional thematically unrelated spot illos were arrayed on the board.

Inside Sauter-Finegan (print)

Jim Flora Art has launched a new limited edition fine art print: INSIDE SAUTER-FINEGAN, a 1954 RCA Victor LP that features one of Flora's best-known cover illustrations. Eddie Sauter and Bill Finegan were famous for their orchestral mayhem. While Flora's mischievous cover figures didn't physically resemble Eddie or Bill, his caricatures reflected their inventive approach to redefining big band jazz in the 1950s.

The print image is larger (15-1/2" square) than the 12" square LP. This archival-quality edition is limited to 25 hand-numbered prints. As with all our limited edition prints, prices will increase as the edition sells down. Nine have already been sold to Floraphiles (some of whom might be closet Sauter-Fineganians).

Meeting of the Clan (part 1)

Detail of large-scale illustration for "A Meeting of the Clan at a State Park," article in New York Times, October 14, 1956. This detail, reproduced (with the full illustration) in our second anthology, The Curiously Sinister Art of Jim Flora, is from a rejected version of the assignment found in the Flora family archives. The published version has similar elements, but repositioned.

Charlie Yup's cast of characters

Hand-drawn two-page spread of figure studies for Flora's third book for young readers, Charlie Yup and His Snip-Snap Boys (1959). The pages, which do not appear in the published edition, were scanned from the Dr. Irvin C. Kerlan children's literature collection at the U of Minnesota.

On the mock title page at right, the author refers to the book as "An Old Fashioned Scissor and Paper Adventure." Although the characters above were drawn in pencil and painted in tempera, a few draft pages (later donated by Flora to Dr. Kerlan), including an early version of the title page, feature hand-cut figures glued to the paper.

The explanatory note atop the left page was intended for Margaret McElderry, the legendary children's book editor who in the mid-1950s encouraged Flora to embark on a secondary career that yielded 17 titles (all edited by McElderry) in 27 years. Charlie Yup is the hardest-to-find of the vintage Flora books, rarely turning up at auction or in the listings of antiquarian booksellers.

McElderry passed away in February at the age of 98.

Arts and the Man (part 1)

Detail from panoramic illustration for article "Arts and the Man," Park East magazine, May 1953. Flora served as the publication's art director in 1952, but moved on to full-time freelancing in January 1953. His successor in the Park East AD chair was his longtime colleague Robert M. Jones, who had also succeeded Flora as AD at Columbia Records in 1945. Jones jobbed out several Park East illustration assignments to Flora. The following year, Jones was named AD at RCA Victor Records, for whom he commissioned Flora to create some of the label's most iconic LP covers of the mid-decade.

What Is Automation? (part 1)

Partial illustration, "What is Automation," Collier's magazine, March 16, 1956. Pull quote from the layout:

Automation has been heralded by some as the threshold to a new Utopia, in which robots do all the work while human drones recline in pneumatic bliss.

The complete two-tiered illustration—half-utopian (above), half-apocalyptic—was reproduced in our second anthology, The Curiously Sinister Art of Jim Flora.

Provincetown, July 1957

Provincetown 7/57, pencil drawing from sketchbook

At the Cabin

That's the title of the new CD by Seattle's quirky genre-blending jazz ensemble Reptet. It's the group's fourth release to feature a licensed Jim Flora illustration (all usages initiated by the band's drummer, John Ewing). Information about Reptet, their music, and the gatefold letterpress CD package (designed by Tom Parson) can be found at the Artists Recording Collective. The above image is an inverted detail from Flora's masterful 1951 woodcut Railroad Town.

hybrid vehicle

This steamroller is obviously in violation of some vehicular maximum-occupancy statute. The question is—who gets ordered to court? Most likely young Fletcher (at the controls), the only homo sapien on the scene. He's the most convenient scapegoat (though not the only goat).

All the other animals jumped on top of the steam roller as fast as they could. It was the only safe place to be.

"STOP!," everyone was shouting.

But the steam roller kept right on at full speed.

Page from The Day The Cow Sneezed, Flora's 1957 children's book (his second), reprinted in October 2010 by Enchanted Lion.

Richard Strauss LP cover (1954)

Illustration from the cover of Eugene Ormandy & the Philadelphia Orchestra's 1954 Columbia Masterworks 10" LP, Richard Strauss: Till Eulenspiegels [sic] Lustige Streiche and Waltzes from Der Rosenkavalier (AL-46).

Flora illustrated about a dozen covers for Columbia during his 1943-1950 employment at the label (all released after he relinquished the Art Director chair in 1945). Following a 15-month Mexican hiatus, he rekindled his U.S. freelance career in 1951 and provided a number of work-for-hire illustrations for Columbia records and print material thru the mid-1950s.

The original artwork no longer exists except on the somewhat rare (and hence very collectible) cardboard sleeve. The bland, generic typesetting is poorly juxtaposed atop Flora's iconic fine-art imagery. We can only speculate that Flora — who also specialized in mischievous typography — provided the artwork but did not design the package.