hieroglyphic montage

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.

the business of baseball

Hot Stove League entry: illustration (one of several) from "The Big Leagues Are Killing Baseball," LOOK magazine, April 15, 1958. The above image is an original painting. Many of Flora's early commercial illustrations exist only as printed reproductions, the original art either kept by the magazines or thrown out. When I interviewed Flora in 1998, I asked him about the whereabouts of his commercial originals. "They would reproduce it," I queried, "but they wouldn’t think to give it back to the artist?" Flora replied, "Yes, they would—if the artist wanted it. But most artists didn’t even think of getting it back in those days. I didn’t, mostly."

Flora began reclaiming his periodical illustrations in the late 1950s, and dozens (if not hundreds) exist in the family archives from such publications as Life, Fortune, Look, and the New York Times Magazine.

Bonus baby: this draft figure from a sketchbook looks familiar ...

Christmas, 1942

Christmas greetings Flora-style from Columbia/Okeh Records. Above: cover of the December 1942 new release flyer from Flora's then-employer. James had not yet risen to the position of art director (he would in 1943); at the time he was just nearing the end of his first year in the art department under the legendary Alex Steinweiss.

music & films

Spot illustration, Columbia Coda, August 1945. That was Flora's final year as Columbia art director, and the final year of the monthly Coda, which Flora launched in 1943 and illustrated single-handedly. In January 1946, Robert M. Jones assumed the AD role when Flora was promoted to Advertising Manager. Coda was transformed into the monthly Disc Digest, few of which featured Flora illustrations.

After Uplift, Ka-Chow!

In the Nov. 20 Wall Street Journal "Bookshelf" column, Meghan Cox Gurdon reviews Flora's 1957 The Day The Cow Sneezed, recently reprinted by Enchanted Lion Books:

"Flora's style is about as goofily retro as it's possible to get, with wide-eyed men in suits, amazed-looking wild animals, and an old-fashioned matte palate of red, pink, green and gray. In the story a series of wild events unfurls when a boy neglects his cow, which catches cold and lets loose a colossal sneeze. The force of it bowls half the farmyard first onto a motorcycle and then onto a steamroller, which topples statues and scrunches through a zoo."

red and black ship

Untitled, undated (ca. mid-1960s) ship in cross-cut view. Previously unpublished and uncirculated work (rendered in tempera and pencil) discovered in sketchpad.

Flora books arrayed

Shelf display of Flora kiddie books in the office of Cynthia Johnson, director of the Rowayton (CT) Library. The glass-enclosed office is nestled behind the checkout counter, so patrons can view the display. (The plush creatures are non-Floracentric, but companionate.)

Cynthia is producing a jigsaw puzzle of a 1980 cartoon map of the town rendered by its illustrious Citizen Flora, a resident from 1946 to his death in 1998. The puzzle should be available soon at the library, and will be announced on this blog. Cynthia also plans to host separate presentations about Flora's children's literature and his fine art legacy early in 2011.

Photo: Beth Sorrentino

Little Man Press logo (evolution)

Above: rejected attempt at a Little Man Press logo, ca. 1939-1940, discovered in early sketchbook. The experiments continued:

Eventually Flora and his LMP partner Robert Lowry settled on this design:

outside El Centro

Untitled pen & ink, 1994, from sketchpad. Unknown Mexican (presumably) town square.

the alien arrives

Untitled pencil sketch, mid-1960s, discovered in artist's sketchbook. No indication the draft was refined for any specific use.

Sheffield Island 2011 letterpress calendar

JimFlora.com is offering a new 2011 poster-sized calendar featuring a 1954 Flora woodcut illustration called SHEFFIELD ISLAND. The artwork is hand-printed letterpress in black ink on kraft card stock; a 12-month tear away calendar is attached on the bottom. When the year ends, you have a unique hand-pulled letterpress Jim Flora print suitable for framing.

The full dimensions of the card with artwork are 13-1/2" x 17". The calendars, which were hand-printed by Yee-Haw Industrial Letterpress, of Knoxville, sell for $25.00 (+ shipping) each.

The Day the Cow Sneezed mini-print

JimFlora.com has issued a low-cost ($25) fine art print of the cover of THE DAY THE COW SNEEZED, Flora's second kiddie book. Originally published in 1957 by Harcourt, the book was just reprinted by Enchanted Lion. Our 11" x 8-1/2" print features the complete cover art (used on both editions), including Flora's playful hand-cut letters. This is an open, unnumbered edition (i.e., there is no limit on the print run).

a little Flora brightens a room

To many who know him, our friend Takashi Okada of Tokyo is a talented graphic designer, music producer, historian, cultural connoisseur, cat lover, and gentleman. But unless you visit Takashi and his wife Tomoko's home, you might not know he has a deep Flora fixation. Takashi owns original art, album covers, Little Man Press artifacts, children's books, and fine art prints. We've long known about Takashi's love of Flora, but never having visited the Far East, we hadn't seen the shrine. The above photo was sent by our Japanese friend.

domestic disturbance

Detail, "Furnished," Primer for Prophets alphabet series, 1954. We've issued 12 letters as limited edition screen prints, but "F(urnished)" is still in the deep freeze. The full print isn't as disturbing as the above detail suggests—the husband beyond the crop hasn't lost his cool. All shall be revealed by the time we complete the series.

life in the food chain

Half-page from unfinished and untitled hand-painted children's book prototype, ca. early 1960s. The project includes ten words (e.g., "automation," "characteristic," "evident," "powerful") defined, pronounced and illustrated for young readers. A previous partial page ("fantasy") appeared on this blog in November 2008.

tail wagger

Detail, "Raided," Primer for Prophets alphabet series, 1954. We've issued 12 letters as limited edition screen prints, but "R" remains on our to-do list.

avoiding traffic

Hand-painted draft page from Kangaroo for Christmas, Flora's fifth (of 17) children's books, published by Harcourt Brace, 1962. The box of lines in the upper left indicate placement of text.

balancing act

Spot illustration, dedication page, The Day the Cow Sneezed, now back in print thanks to Enchanted Lion Books.

The first review—favorable!—courtesy the For Immediate Release (Kids) blog:

I like his habit of calling attention to certain words by putting them in all caps, nearly on every page: POW! WHAMBO! and my personal favorite KA-BLOWIE-BLAM! I also enjoy the language he uses, specific phrases such as "scrunched as flat as corn flakes." It's just plain good reading paired with some spellbinding illustrations that make this a book you won't want to miss.

creepy dinner

Topical illustration (mechanical), tempera on paper, ca. 1961. Assignment, title, periodical, and publication date unknown. The Flora collection contains dozens of such illustrations of unknown provenance. The crosshairs at the corners are printer's registration marks, used for aligning overlays and film plates.

spill in the gulf region

In 1956, Flora mocked up a proposed illustrated series about his fascination with Mexico. The storyboard, entitled Footloose in Mexico, consisted of vignettes drawn from his residency and travels south of the border. On the back of the heavy artist's board draft was handwritten, "Sketches for a magazine that never got off the ground." The identity of the failed periodical is unknown. No descriptive copy was included, just dummy lines for text placement; hence, the significance of figures such as the above are left to the imagination.

The images have never before been published or circulated. We'll post more details of the draft work in the future