The mischievous and diabolic art of James Flora (1914-1998):
Glimpses of rare works from the archives
and news about Flora-related projects
Great Salt Pond Archeological District is a historic spot in New Shoreham, Rhode Island. The district was added to the National Register of Historic Places in 1990. The Great Salt Pond is a round and almost entirely enclosed body of water separating the north and south regions of Block Island. The pond has a small channel on its northwest shore connecting it with Block Island Sound. The opening is artificial and was dug out in 1895 to make a harbor in the south part of the pond.
Untitled pencil drawing discovered in mid-1960s sketchpad. Theme unknown. The pad included dozens of rough pencil sketches for Flora's 1964 book My Friend Charlie, along with a number of unrelated sketches, mainly architectural, some Mexico-inspired, most incomplete. This work echoes nothing else in the sketchpad, or any other known Flora work.
Untitled, incomplete tempera and pencil drawing, ca. 1950, found in a sketchbook from Flora's Mexican period (1950-51). The ghostly shadows in the periphery reflect bleedthrough from an image on the reverse side of the page. No finished or refined version of this work has been found.
Based on playful hand-lettering from the 1955 Jim Flora Mambo For Cats RCA Victor album cover, the set includes "Flornaments," consisting of 72 miniature figure icons (dingbats) from Flora artworks. Samples:
One-half of an undated black and white business card (mock-up) from the 1950s. At the time, though he lived in Rowayton CT, Flora shared an office (and probably an art studio) at 21 East 63rd Street in Manhattan. A classic tempera painting from the period caricatures the neighborhood.
Our third series of Primer for Prophets screen prints are in production, and should be ready for market by early October. "W" is among the featured letters. For more information, click on the "Primer for Prophets" tag at the bottom to see previous posts. The series is being produced by our friends at Aesthetic Apparatus, of Minneapolis.
Tempera illustration from Sherwood Walks Home (1966), part of the James Flora Papers in the Kerlan children's literature collection at the University of Minnesota. A chapter in our forthcoming Flora book will be devoted to images from the collection (the above is not included) and a profile of Dr. Irvin Kerlan, patron saint of tot-lit. We've previously posted several drafts and sketches discovered in the Kerlan vaults.
Detail, Inside Sauter-Finegan RCA Victor LP cover, 1954. I bought this record at a yard sale in 1974 just for the sleeve illustration, which graced my living room wall. Never got around to dropping the needle on the vinyl. But you can listen to (and watch) Bill (Finegan) and Eddie (Sauter) on YouTube.
Born this day in 1916. In 1939 the trumpeter, already a top-tier bandleader, hired a smooth, upcoming but relatively unknown vocalist from New Jersey, but failed to convince the kid to change his name to "Frankie Satin." Within a year, James and singer had parted ways, the latter to join Tommy Dorsey's orchestra. Within a few years, both James and the kid crooner were on their respective ways to becoming music legends.
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!
Woodcut print accompanying Robert Lowry's short story, "March Morning," page 36, Hutton Street (Little Man Press, 1940). This 7-1/2" x 5" chapbook contains 18 meticulous woodengravings by Flora. Whereabouts of the original blocks is (ahem!) unknown.
Pen & ink drawing, mid-1990s. This work was later adapted for a large colorful acrylic canvas. Both undated works reflect Flora's mid-1990s techniques and media. The painting was recently photographed and is being considered for reproduction in our next anthology.
Detail, Peter and the Wolf album promotion,
That's what we call this beastie, who seems to be self-administering a third-eye implant while balancing a bird with no eyes on his fingertip. The original art is—well, we have no idea. The image appeared in very reduced form (postage stamp-sized) on a Flora business card from the 1950s.
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.
It's been a long time comin' here in Minnesota -- at last I can milk the cow, play some records and mow the lawn! Ah, yes -- but it still drizzles. Hence the umbrella. And cigar.
