Showing posts with label illustration. Show all posts
Showing posts with label illustration. Show all posts

Monday, November 17, 2025

Dracula's Guest and Other Deadly Tales

Come sink your fangs into our latest release, Dracula's Guest and Other Deadly Tales, a new collection of five terrifying tales by Bram Stoker, author of Dracula— illustrated with over forty creepy and intricate pen-and-ink illustrations by Eric Shanower.

A mother’s fury erupts in grisly revenge in “The Squaw.” Weird rites cling to a scene of notorious murder in Stoker’s recently rediscovered tale “Gibbet Hill.” What’s that scratching inside the walls of “The Judge’s House”? Silent jealousy lurks behind the scenes while death takes center stage in “A Star Trap.” And in the title story, “Dracula’s Guest,” unsuspecting Jonathan Harker suffers a foretaste of vampiric terror. Soaked in blood and feeding on fright, these tales beg to be read alone and late at night.

Every copy ordered directly from us will be signed by the illustrator.

Click Here to Order

Dracula's Guest and Other Deadly Tales

by Bram Stoker - Illustrated by Eric Shanower

6" x 9" Trade Paperback, 122 pages

Illustration by Eric Shanower from Dracula's Guest and Other Deadly Tales

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Thursday, August 29, 2019

The Royal Book of Oz!

The Royal Book of Oz is making a triumphant return to the bookshelves of the world!

Ruth Plumly Thompson circa early 1960s.

There's a super new publishing project beginning by the newly founded Clover Press. They are repackaging the Ruth Plumly Thompson Oz books, with new illustrations. The Royal Book of Oz is the first entry, of course  - and you can be a part of it through their Kickstarter campaign!



New cover design by illustrator Sara Richard.

Eric Shanower has written a new foreword and there are lots of cool premiums, too: signed boxed editions, lunch boxes, postcards, lapel pins, and more. Come on, help bring the second Royal Historian of Oz to a whole new generation of kids! 

Oz about it?

Wednesday, April 3, 2019

Original Art by John R. Neill!

Greetings! We now have a sister blog called "The John R. Neill Collection" which is connected to our new sister website called JohnRNeill.com. I'm very excited to announce that we will be offering a fine collection or original artwork by John R. Neill for sale! CLICK HERE to see our first offerings


These wonderful drawings, paintings, and illustrations which we are offering for sale come directly from the family of John R. Neill (1877-1943). After his death, Neill's second wife, Margaret Carroll Neill (called Moy by the family), carefully preserved and treasured her husband's art work in Neill's final home, "Endolane," in Flanders, New Jersey.

Mrs. Neill died in 1984 and the Neill archive was distributed among Neill's three daughters, Natalie, Annrea, and Joan. This youngest daughter, Joan Neill Farnsworth, dutifully preserved her share for many years, making it available to researchers and scholars as needed.  Joan died in 2011 and the Neill archive was split, yet again, between Joan's four children.

The wonderful pieces offered here are all from the collection of one of the granddaughters of John R. Neill. Each piece of art sold at johnrneill.com comes with a letter of provenance. This is a rare chance to own one of Neill's original drawings. We will be featuring some of his exquisite pen-and-ink work, sumptuous paintings, original magazine art, and of course some very rare Oz material. Keep checking our store - more drawings will be added weekly.

One of the treasures of the collection is this magical rabbit painting from Pictorial Review! Click here to see the sale page.

"The Bunny Band" Original painting by John R. Neill $10,000.00 SOLD!

We also have some of Neill's exquisite pen-and-ink work such as this jaunty illustration of a dapper young couple out for a ride in their sporty automobile. Click here to see the sale page.

"Out for a ride! Pen-and-Ink by John R. Neill $1250.00


There is much more to see at our online gallery store so come on over and explore this wonderful collection! We hope, too,  that you will find much enjoyment in owning a piece of original art by one of America's most extraordinary, but under-rated illustrators from the golden age of illustration.


Come check it all out at

Friday, July 6, 2018

Evelyn Copelman in the Tiger Den!

There's nothing better to motivate one to get back to blogging than a new treasure to share! And this time it's a painting by an Oz artist I never had much thought of acquiring, Evelyn Copelman, the second major illustrator of The Wizard of Oz.

Watercolor by Evelyn Copelman.

Alas, the painting isn't from Wizard, but a watercolor of a country street scene. The image is a bit larger than 8" x 11", signed at the bottom right in pencil.


For those of you not acquainted, Evelyn Copelamn was the first illustrator to reillustrate a full-length edition of The Wizard of Oz after W. W. Denslow. After World War II, Wizard publisher Bobbs Merrill wanted a new edition of Wizard. The MGM film had made the book more popular than ever,  and the original Denslow illustrations were difficult to make attractive. The first edition of Wizard is stunning, but by 1903 Denslow's art was already suffering from cheap and simplified printing. By the 1920s and '30s the book was decidedly unattractive.

In 1944, Bobbs Merrill decided on a major overhaul and hired Evelyn Copelman to reillustrate the book. It was her first book illustration job. In the printed book the publisher slyly suggests the drawings are based on those of Denslow, but they are clearly much more inspired by the MGM film.

Copelman's line drawings (actually scratchboard work) in the early printings are sometimes a bit stiff and often overworked. Her paintings are much better. A few years after this new edition of Wizard was released, Copelman went back and redrew almost every image and added several new color plates, creating a much more handsome volume.

In 1947, Bobbs Merrill asked Copelman to reillustrate Baum's The Magical Monarch of Mo. She's become a much more gifted illustrator by this point, too, though her style is at odds with Baum's text. (You can read my analysis here).

However, one can see more stylistic parallels between my newly acquired painting and her Mo watercolors than one can find when examining her Wizard paintings - such as in the Mo frontispiece below.


Frontispiece of THE MAGICAL MONARCH OF MO by Evelyn Copelman.

Note how much looser her style has become in the watercolor sky above, and the similarity in technique of the forested hills at the left in the distance.

But even more similarities can be seen with my painting and the most important work of her career - illustrating the Sally, Dick, and Jane school readers!

Illustration from WE COME AND GO (1946-'47) by Evelyn Copelman as "Eleanor Campbell."

Looking at the lovely watercolored grass, the trees across the road, one can imagine Sally, Dick, and Jane walking down the country street scene in my painting. Evelyn Copelman did all of her school reader work under the pseudonym Eleanor Campbell.

Well, that's it for today in the Tiger Den. "See David Blog. Blog, David, blog!"



Tuesday, November 3, 2015

Meet Dale Ulrey!

Dale Conner circa 1939
A couple weeks ago one of my readers asked why there seemed to be so little information on 1950s Oz and Baum illustrator Dale Ulrey. Indeed, no Oz folk seem to have ever even seen a photo of her! Might something be done about this? While a basic internet search proved rather fruitless, popping into a couple of Eric's and my genealogical resources turned the trick!

Mildred Dale Conner was born January 1, 1904, on a farm near Sulphur Springs, Texas. Her father was William Madison Conner (1870-1936) and her mother was Nellie Nichols (1872-1949). The family moved to Dallas in 1916 where her father became a salesman for Butler Bros., a department store and mail-order firm.

Young Mildred seems to always have drawn. The Dallas Morning News, September 2, 1939, wrote of the small brunette: "Before she was old enough to enter school, the future artist drew sketches of people. Her consuming ambition as a child was to 'write a book and draw all the pictures.'" She finished grade school at John S. Armstrong School in Highland Park, Texas, and spent all four years of High School at Oak Cliff High. She graduated in 1921.

Mildred Dale Conner at Oak Cliff High (1921).

Her year book says: "Some one has described Mildred as the little girl with the 'come hither' eyes and it's not such a bad description. Besides being very easy to look at, 'Cricket' can draw almost anything on earth - even a crowd." So little Mildred had the nickname of "Cricket." Oh, the things one can discover online! Cricket spent all four of her high school years on the staff of "The Acorn," the Oak Cliff High newspaper. 

Mildred Dale Conner and the "Art Staff" of THE ACORN.

She apparently adored her art instructor, Nellie Clement, and according again to The Dallas Morning News, two of her classmates also found art careers: Commercial artist Jewel Brannon of Fort Worth, and Lansing "Lance" Nolley, who went on to have a very full career working for Walt Disney Studios. See the "comments" section below for more information on Lance Nolley.

She spent another year in what the newspaper calls "post-graduate work" at Oak Cliff High studying art and Advanced French; and spent a year at the University of Texas "concentrating on line drawing and technical drawing." She also studied anatomy and life drawing with Vivian Anspaugh. While still studying in Dallas she began work in the art department of the Palace Theater.

Dale must have enjoyed her movie theater art work as she moved to New York (for the next twelve years) where she worked for Hap Hadley's theatrical art studio, handling publicity for many of the major movie studios.

Her earliest cartooning work seems to have begun when she started working for Martha Orr, creator of  the comic strip Apple Mary, later renamed Mary Worth's Family. In 1937, Orr married, and turned over all of the drawing chores to Dale.

One of Dale's "Apple Mary" strips from August 23, 1939 - click to enlarge

An original Sunday strip of MARY WORTH'S FAMILY from 1941.

You can read the entire and fascinating history of the transformation of Apple Mary into Mary Worth, here, in this Comics Journal essay. But Conner's reasons for departing from the strip are best summed up here, in a letter she wrote to fellow cartoonist Milton Caniff: “I’m so heart-sick over what Apple Mary has turned out to be. Working on it has become a chore. There’s no action to draw, only dull and childish conversation, and the plot is so inane that I gag as I try to make something of it. I dread seeing the proofs each week for my feeling shows in them.”

Sometime between September 1939 and April 1940 Dale Conner married Frank Herbert Melville Ulrey (1898-1958). The 1940 census shows them living in Chicago. Herb Ulrey was a navigator in World War I and after the war continued his work as a navigator, working for Sir Thomas Lipton, the famous yachtsman. A 1942 Dallas newspaper article states that Herbert Ulrey had previously drawn his own comic strip about a "G-Man," but I can find no information on or evidence for this claim.

Soon after their marriage, Dale quit Mary Worth's Family and she and Herb developed a new strip called Hugh Striver, relating the adventures of a newspaper boy; it debuted October 5, 1942.

Hugh Striver seems to have been only moderately successful. It came to an end in February 1945. You can see the first strip below:

HUGH STRIVER, October 5, 1942, by Herb & Dale Ulrey - click to enlarge

For a time the Ulreys lived in Barrington, Illinois, (on Bateman Road) and in August of 1943 they had a daughter, Dale Caroline Ulrey.

Herb and Dale Ulrey circa 1943.


In April 1945 Dale Ulrey launched a new "adventure" comic strip that she both wrote and drew called Ayer Lane, about a young man with an airplane. This strip ran until sometime in 1947.

Ulrey's AYER LANE strip from August 11, 1945 - click to enlarge


Dale Ulrey began her association with Oz publisher Reilly & Lee in 1953 when she illustrated L. Frank Baum's Jaglon and the Tiger Fairies. The cover has always struck me as extremely dull. I suspect the blame should be placed with Reilly & Lee, not Ulrey, as anyone with Ulrey's skill and gifts at composition simply could not create such an uninspired cover.

Compare the cover to one of the interior illustrations shown below. It is lovely, beautifully executed, and thoroughly charming.



Interior art for JAGLON AND THE TIGER FAIRIES by Ulrey.

In 1954 she designed a dust wrapper for Jack Snow's Who's Who in Oz, but it was used only in advertisements for the book, being replaced by the yellow and red jacket based on the endpapers of The Royal Book of Oz.

There are a number of drawings by Ulrey for Ozma of Oz. No such edition was ever published, and given the fact that they were executed in varying techniques, I suspect they were work samples. You can see more of these on Bill Campbell's Oz Enthusiast blog. One of the prettiest is seen below.

Unpublished illustration by Dale Ulrey for L. Frank Baum's OZMA OF OZ.

Reilly & Lee must have liked the samples because in 1955 Ulrey began a project to re-illustrate the Oz series with a new edition of The Tin Woodman of Oz. Presumably the publisher thought more modern illustrations would help invigorate sales.

While most Oz fans would argue that Neill's original illustrations are inseparable from Baum's text, Ulrey produced a very handsome volume. You can see and read much more about Ulrey's edition of The Tin Woodman of Oz in this previous blog post.


The next year, in 1956, Ulrey got the honor of illustrating the first edition of The Wizard of Oz to be published by Reilly & Lee.

Ulrey's jacket design for the 1956 edition of THE WIZARD OF OZ.

Ulrey's illustrations are handsome, though not as successful as those she did for Tin Woodman. They were all printed in two colors.

Dale Ulrey illustration from the 1956 edition of THE WIZARD OF OZ.

Herbert Ulrey died on January 29, 1958, of a cerebral hemorrhage. At the time he and Dale were living in Hickory, North Carolina, on 450 3rd Avenue Drive, S. E., though I can not yet find when or why the family had moved to North Carolina, but it was after 1951.

After her 1956 Wizard of Oz, Dale Ulrey may have retired, as I can find no evidence that she did any additional work in either comics or illustration. Dale died October 14, 1989, in Dallas, Texas. It seems an absolute crime that no one ever interviewed her for The Baum Bugle or tried (as far as I know) to get her to a convention. Such missed opportunities! We will take closer looks at Ulrey's edition of The Wizard of Oz in the coming weeks.

Tuesday, October 13, 2015

Biblical Beefcake by Dirk!



Adam in the Garden of Eden, or: Mowgli grows up!


I thought that title might get your attention! And no, this isn't the scene at the offices of Hungry Tiger Press, but an illustration of Adam in the Garden of Eden from a book of Bible stories illustrated by Oz book illustrator Dirk Gringhuis a few years before he illustrated Hidden Valley of Oz (1951).

Marian's Favorite Bible Stories was first published in July 1948 by Erdmans Publishing company of Grand Rapids, Michigan. The stories are adapted by the titular Marian M. Schoolland. Dirk supplied a dozen full page color plates like the one above. The book stayed in print for decades and eventually got a new pictorial cover design which certainly looks like more of Dirk's work to me. The back cover of this latter edition says: "The pictures are new and exciting, with all the appeal of full-color paintings, and are done by a nationally-known illustrator of children's books."  The adaptation contains sixty-three stories. Surprisingly it jumps from Daniel in the Lion's Den straight into the New Testament.

I wonder if Dirk enjoyed painting Bald Eagles? He has placed one in the Garden of Eden, and you'll see a few more flying in to watch Sampson wrestle a lion down below.

Cover used on some later printings of the book.

I have seen this book on eBay many times but only recently broke down and purchased one. Copies are usually on sale for less than ten dollars. The book also has illustrated endpapers that are very reminiscent of Dirk's Hidden Valley illustrations.



I had initially hoped there might be a picture of David slaying Goliath and I thought I might make a cute blog post referencing Jam doing battle with Terp the Terrible. But Dirk didn't choose to illustrate that scene, which seems a bit odd, but so be it. We'll have to settle for some Biblical beefcake!


Sampson wrestles the Cowardly Lion.

Friday, October 9, 2015

The Mystery of Dirk's Castle

I just finished reading Mystery at Skull Castle by Dirk Gringhuis. I suspect a few of my loyal readers may be rolling their eyes and mumbling to themselves, "Boy, that David sure has eclectic taste in choosing his Ozzy reading matter."

Perhaps I do, but this book, written and illustrated by the illustrator of Hidden Valley of Oz (1951), has more than a few bits that I think you'll find interesting.

To begin with, the book was published by Oz publisher Reilly & Lee in 1964. I had not realized that Dirk had done more work for Reilly & Lee after illustrating Hidden Valley. But what makes the book even more interesting is that the "castle" in the story is based on the castle at Castle Park in Holland, Michigan, where the Oz Club held its Ozmopolitan Convention each year from 1967 to 1984. I attended the Castle Park Oz conventions from 1980 through 1983.


Photo of Castle Park in 1984 by Eric Shanower.

To be honest, I am surprised that so few Oz fans seem to know about Dirk's Mystery at Skull Castle. He himself seems to have told Fred Meyer about it and it is mentioned in the Dirk interview in the Autumn 1971 Baum Bugle. A year or two ago I was reading that issue of the Bugle, saw the reference, and immediately went online and bought a copy.

The book is not actually set in Holland, Michigan, but in a fictional Michigan town called New Vollendam which is just a stand-in for the town of Holland. The castle of the book's title was built in 1870 by "non-Dutch outsiders or 'Yankees,' a suspicious lot not to be trusted and given to dancing, fiddling and putting on airs. No honest Dutchman would have thought of building such a place. Designed to be used only in summer, it was a shameful waste of money."

The real castle at Castle Park was built as a residence for Michael Schwartz and his family. It was completed in 1894. But the Schwartz family moved away within a year and the real castle lay abandoned for a year or so before being purchased in 1896 as a summer camp for kids. You can read a much more detailed history of the real Castle Park here.

In the story the castle was a social hot-spot for one glorious summer, until one evening in September it was struck by lightning and burnt to the ground, only the ominous tower remaining. The action of the book supposedly takes place in 1880, ten years after the fire. I'll come back to that in a bit.

A fine photo of Dirk Gringhuis from the jacket of the book.

The book is set up as a late-nineteenth century, Hardy Boys-style mystery with lots of Dutch immigrant detail: Dutch slang, Dutch foods, etc. The story begins rather well, but soon the story of Dutch Hardy Boys devolves into a sort of Dutch Scooby Doo. The two teenage protagonists, Bram and Piet, are characterized by totally ineffectual and nonsensical behavior.

I don't really feel like going into the plot, but I guess I must. If you find it as tedious to read as I find it to write, skip ahead a paragraph: The boys are secretly saving money to purchase a new buggy for Piet's uncle. They move their savings to the old burnt-out castle for safekeeping. While at the castle they find a stash of jewels and seconds later meet Major Willoughby, supposedly the long lost heir to the man who built the castle, and his East Indian servant, Singh. The Major cons the boys into leaving their money in the same niche that the jewels were in and tells them to keep quiet about the discovery. In the end Major Willoughy is a phony and the jewels in the castle are fakes that the major leaves as substitutes when he steals the real Dutch Crown Jewels that just happen to be on display in New Vollendam, Michigan! Bram's ten-year-old cousin Bertram witnesses the theft and yells the news to anyone within ear-shot. But Bram and Piet vouch for the Major, so no one listens to Bertram. Since Bram and Piet can identify the fake jewels, the Major and Singh take the boys prisoner, tie them up in the old Castle, and plan to kill them.

Piet and Bram
This is problem number one: Bram and Piet are stupid and oblivious. They are gullible to every idiotic suggestion and notion the Major tells them. They ignore the truth even when little Bertram is telling them flat out he just watched the Major steal the jewels. Even after they manage to escape their bonds in the castle they don't run for help in town but allow themselves to be cornered on the shore of Lake Michigan where they cower until Piet's uncle solves the mystery (he recognized the red mud of the castle grounds on the major's wagon wheels) and comes down to the shore where he hears the commotion and shoots the Major. In a children's mystery, shouldn't the main characters be the ones to find the solution? Not only do Bram and Piet not solve the mystery, their primary goal at the beginning comes to nothing, since the uncle has no interest in a new buggy.

Now if the plot is a problem, it is nothing when compared to the novel's horrendous editing issues. In the book's first eighteen pages it is explicitly stated that the time period of the story is 1880.

Now in 1880 it still stood. A blind tower staring sightlessly across the timeless water of Lake Michigan. A mute monument to folly, the villagers said. . . . This suited young Abram Van Dam perfectly.

But on page 18 the book is suddenly set in 1897. Bram has been defending Piet's uncle but Bram's mother won't hear of it:

"Well, it's time he realized it's 1897 not 1847 when he came over on the boat." Mrs. Van Dam turned her back and headed for the kitchen.

The action of the novel lasts only two or three days, not seventeen years! I suspect Dirk means for the action to take place in 1897. In addition to the quote above, he explains the New Vollendam town fair is celebrating fifty years since its founding in 1847.

Also, a number of elements in the story demand the 1897 date: the boys listen to a cylinder-playing juke box via listening tubes. The New Vollendam marching Band plays "Stars and Stripes Forever," which premiered May 14, 1897. Apparently, New Vollendam was on the cutting edge of 1890s pop-culture! None of these date specific inventions or compositions is integral to the plot. Did Dirk add them and decide to change the date of the book from 1880 to 1897 to make historical sense? Possibly. But Dirk had a solid knowledge of the Dutch immigrants in Michigan. Indeed, it is the focus of several of his other books. It's a mystery to me why he ever introduced the date of 1880 into this story.

And this brings us to another Dirk Gringhuis/Castle Park connection. Many Oz fans that attended the conventions at Castle Park will recall that there was a bar in the basement. The walls were adorned with drawings by Dirk Gringhuis showing the history of Holland, Michigan. In 2012 the Oz Club held a convention in Macatawa, just down the road from Holland. A few of us spent an afternoon over at the old Castle and I took some mediocre cell-phone photos of Dirk's drawings in the bar.

Dirk Gringhuis artwork from the bar at Castle Park, Michigan.

In the one above, "Building Holland's First Home - 1847," we can see further evidence that the book's New Vollendam closely mirrored the real Holland's history. Both were founded in 1847. The half-century celebration in the story almost certainly indicates that Dirk meant it to take place in 1897.

Below is another of Dirk's Castle Park drawings, "Welcoming New Settlers - 1847."

Dirk Gringhuis artwork from the bar at Castle Park, Michigan.

But this still leaves the question as to how the book can be so explicitly set in 1880 for the first eighteen pages. The date references are not typos as they're all story specific details that establish two contradictory dates. Frankly, it seems like Reilly & Lee may have typeset an early draft or a combination of two different drafts of the manuscript. This is further evidenced by a few other glitches that made it into the published book. On page 179 Bertram has the line:

"Never mind about that," shrilled Bertram. "How about the buggy?"

Which is immediately followed by the line:

"What about the buggy?" shrilled Bertram.

Clearly one of the lines of text shouldn't be there. Someone on the Reilly & Lee editorial staff was slacking off. At the end of the book the two boys are still rather fond of the fraudulent Major. Bram says: "I sort of hope he gets off. He did save our lives when Singh wanted to use his knife. Even though he isn't a major, maybe not even English."

Huh? I totally missed this "saving of lives" part and can't find it in the book still. So who can say what happened? My guess is that Reilly & Lee used some wonky draft of Dirk's manuscript.

However, I can pin one odd bit directly on Dirk. At the festival parade Bertram decides to play a little joke and sucks on a lemon, which causes chaos in the marching band when the members' mouths begin to pucker up, thus ruining the music. I found this event preposterous. Aren't the musicians looking at their charts? Aren't they looking at who is marching up ahead? At the band leader? At anything other than a ten-year-old boy sucking a lemon? And the entire brass band sees Bertram and becomes incapacitated?

I stopped reading the book and told Eric about it. Surprisingly, Eric said, "I think Dirk stole that from a Robert McCloskey book called Lentil." When I looked at a copy of Lentil (1940) a few days later, there was the scene much as Dirk had written it. Coincidence? If only poor Dirk had been able to write and draw as well as Robert McCloskey.

I wish the book had been better. There was such an interesting series of connections between this Oz book illustrator and "the Castle" where we used to hold Oz conventions. And it's sort of sad that no one tried to get Dirk to attend the Ozmopolitan Convention. He lived all his later years in East Lansing, Michigan, where he died in March 1974. He could have attended any of the Castle Park cons from 1967 to 1973. But the Oz Club has a long history of missed opportunities. But that is another blog for another time.

Friday, February 8, 2013

Drink Your Juice!

Happy February! We have an especially attractive TIGER TALE this month over on the main website - it's  Duffy's Apple Juice Imp, by W. W. Denslow - a rollicking poem with a half dozen fine drawings by Denslow in color! Come check it out!


I also wanted to share the news that the incredible and extremely over-sized edition of Eric Shanower's Forgotten Forest of Oz is now out of print. We shared the news on our Facebook page last week and every copy we had left sold in a couple hours.  We do still have copies of the two Little Adventures in Oz Volumes though - and Forgotten Forest is available in Volume two. Click here to order a copy

Lastly, I know a good many of you are still planning on coming to this summer's Winkie Convention and I urge you to get your registrations in as soon as possible - especially if you want to stay on-grounds at Asilomar. We have a lot of new people coming this year and we have a limited opportunity to request more rooms for Winkies. You can learn more about this year's con from our WINKIE page and you can download info and registrations forms via the link below.

Monday, January 21, 2013

Finishing the Hat

It's always nice when something new gets to be hung on the walls of the Tiger Den - and this lovely drawing by John R. Neill is the newest arrival to the aforesaid walls.

Click to enlarge

In actuality Eric and I have owned the piece for several years but only recently got around to having it framed. It measures about 12" x 15". John R. Neill drew the illustration for a short story in the February 1926 issue of Pictorial Review called "An Actor's Love Story" by Richard Connell. Soon after we got the original drawing I tracked down a copy of the magazine in which it was printed.


In the magazine the illustration is reproduced less than 6" across - a little over a third the size of the original. It's kind of amazing how large Neill worked, given the size of reproduction. As you can see, there is another Neill illustration on this page, the one at lower left, similar in technique to the one we own. The little square vignette at the top is signed "W" and seems not to be Neill's work.

There is another lovely Neill drawing reproduced on the first page of the story (see below).

Click to enlarge.

I really like it and would love to have it as a companion piece to the one we have. Alas, I've no certain knowledge the original survives. John R. Neill sure does draw handsome young men really well, doesn't he? That's it for today!

Sunday, December 23, 2012

Getting Carded!

My birthday was a few days ago - and one of the nice things about having artistic friends is the occasional hand-created Ozzy birthday card. This year I got one from my friends, cartoonist Joe Phillips.


Joe has drawn other Ozzy things before, he's submitted art for the Winkie Con Program book and produced the incredible paper-sculpture of the Tin Woodman in the Winkie art show last year.

Anyway, Happy birthday to me!

Tuesday, November 13, 2012

Getting Ahead in Dunkiton

The third issue of Eric Shanower and Skottie Young's picturesque and picaresque adaptation of L. Frank Baum's The Road to Oz has just come out.

The Road to Oz is one of my favorites of Baum's Oz books - though that is generally for sentimental reasons. Another reason is John R. Neill's sumptuous artwork.

However, I am in awe of Skottie's ability to reimagine Baum's Oz books and be both so totally original and yet feel so faithful.

This cover of this new issue features the Shaggy Man after he's acquired his gift-head from King Kick-a-bray in Dunkiton. I can't help but see a subtle connection to the original Reilly and Britton first printing of The Road to Oz from 1909. Both show Shaggy with his donkey-head and both have a green background. I'm pretty sure it's just a coincidence, but I like the coincidence just the same.

Remember that all four hardcover collections of the Marvel Comics Oz books are available at our on-line store - and each can be autographed by Eric Shanower! Here's a link to Dorothy and the Wizard in Oz. The other three titles will be found at the bottom of that webpage. They make GREAT holiday gifts, too!

Monday, June 18, 2012

Map of Oz Monday - The Ozoplaning Map

Well, dear readers - I am still swamped with chores and such for the Winkie Convention later next month and Comic con which is only a few weeks away - thus blog posting has suffered. But enough of that, let's take a look at the next map!


This map was published as the end-sheets of Ozoplaning with the Wizard of Oz in 1939. It's interesting as it's the first map giving a sort of "realistic" bird's eye view of Oz. Sadly it's not very detailed. Many elements of Ozoplaning were created to help attract new reader's exposed to the MGM film which was released the same year: the title includes the words "Wizard of Oz," Dorothy and her three best known friends play an important part in the plot; the book begins with a party celebrating the anniversary of Dorothy's first journey to Oz which included a cake featuring a model of her Kansas farmhouse. So I suspect the map of Oz endpapers were also considered a good "introduction" to our favorite literary fairyland.

When I first saw this map it did make me wonder what Oz would look like if it were photographed from a high-altitude. Would the color of the vegetation be apparent enough to delineate borders to a viewer from on-high?  When I have a little time perhaps I'll try to make one in Photoshop. Someday ... someday ...

Friday, May 11, 2012

Tony deZuniga 1932 - 2012

Just heard a bit ago that Tony deZuniga died today from complications of a stroke he suffered last month. Tony was a Filipino comics artist who is probably best known to Oz fans for inking the Marvel/DC treasury size comic book MGM's Marvelous Wizard of Oz. Tony worked extensively for DC Comics and was the co-creator of both Jonah Hex and Black Orchid.

Thursday, May 10, 2012

Boys' Life

Today we go exploring with John R. Neill and a beautiful cover painting he did for the May, 1930 issue of Boys' Life.

This exotic image has always felt kind of Ozzy - as if it's an image from an unrecorded visit Captain Salt and the Crescent Moon paid to ... well ... a tropical island of some sort. The cover image seems to have no connection to any particular story in the magazine.

There seems to be so much story potential in the image! Why are the pontoon boats approaching the sailing vessel? What are they doing with the parrots? Offering them as a trade? A warning to stay away? Note there is another boat-full of boys approaching the starboard side of the ship. As far as I know the original painting no longer survives - but if it should turn up I'd certainly be pleased to have it here in the Tiger Den.

Click to Enlarge

In case you missed the announcement we will be auctioning off a piece of original John R. Neill artwork at the 2012 Winkie Convention this July. Click here for details.