Monday, August 31, 2015
Each year, the Edward Gorey House produces several limited edition prints. The selection for 2015 includes two theater scenes and an alphabet. Each limited edition print is hand numbered and "signed" with an embossed facsimile of Edward Gorey's signature. To purchase prints, visit the Edward Gorey House website.
The first print is Gorey Theatre Dance. A celebratory dance of odd characters on a stage, the image is full of fantastic Gorey details. The image measures 6.5" x 7.75" (paper size is 9" x 11.75") and appears in full color. This image was originally created for Signals catalog.
The second print is theater related image titled The Fatal Intermission. The image measures 10" x 4.75" (paper size is 11.75" x 9"). This full color painting was created by Mr. Gorey in 1990 as the dust jacket design for 13 Plays of Ghosts & the Supernatural, collected and edited by Marvin Kaye.
The third offering, Figbash Alphabet, reunites the viewer with one of Edward Gorey's signature creatures. Figbash dances and contorts himself into each letter of the alphabet. The image measures 9" x 14.5" (paper size is 11" x 17").
All three prints are being offered as a standard printing, a numbered limited edition (200 copies) with an embossed signature, and a lettered limited edition (26 copies) with an embossed signature. Contact The Edward Gorey House to order your prints today!
Saturday, August 15, 2015
Ballet Review in 1967. The performer is executing La Deese Eclectique, which certainly lives up to its title. With its combination of living and fabricated assistants, the performer(s) are simply, and quite theatrically framed by tasseled ropes. One wonders what the axe is for...
Friday, August 7, 2015
Masked cat dancing beside pool, a delightful image that is perfect for a hot August day. The visible crease in the image is present because this is scan of a xerox from Mr. Gorey's personal files.
Monday, July 27, 2015
Revaluation of the Dollar: 19 Artists Design a New One-Dollar Bill. The article states that the magazine commissioned the designs, "on the theory that it's about time somebody did." The redesigned dollar bills are almost all 1960's political statements in full color featuring images which at the time would have been scandalous.
Thursday, July 16, 2015
Au Secours, a signed, numbered, limited edition collagraph print by Edward Gorey. After the sale, it was brought to my attention that the print, which was hand numbered 13/50, should have been numbered from an edition of 25. What is the story behind the numbering? In French, Au Secours means "help". This is an appropriate name for this print!
As stated in previous postings, Edward Gorey created a total of 82 Fine Art etchings and collagraph prints, and that Mr. Gorey did not follow proper print making etiquette, which would cause him (and later his estate and collectors) many headaches over time. This is one of those times.
Rather than produce the complete run of an image before moving on to the next print, Mr. Gorey decided to pull only 10 or 20 impressions of each print against an anticipated total print run of 25 to 95 impressions. This was done so he could keep his printing costs manageable while offering as many images as possible at one time. The first prints were hand signed and numbered 1/95 through 10/95, and when those ten prints sold, 11/95 through 20/95 were printed, signed, and offered for sale. This would continue until the print run was complete (most runs were not completed during Mr. Gorey's lifetime) - but the entire run for each image was never printed at one time.
This irregular system meant that Edward Gorey had to keep a record of the number of prints made to date, so he had a notebook with details on his prints. At one point in the late 1990's, the book was mislaid and all print production came to a halt until the book could be found (it was). This also meant that Mr. Gorey opened himself up to the possibility of making mistakes in the numbering of prints, and this apparently is what happened with Au Secours.
The first 10 impressions of Au Secours were numbered as an edition of 25 and were sold through Gotham Book Mart. When the first ten prints were sold, the second portion of the edition was attempted, but the plate fell apart after only 7 more prints were pulled. Because of this, there are only 17 impressions of this print in existence, even though the numbering indicates that a larger edition was intended.
After the Swan auction, I contacted several collectors to find out which print numbers they had. I have print #8/25 in my collection and this print was acquired from Gotham Book Mart in the 1990's. Another collector let me know that they have #4/25. Swann auctioned #13/50, and yet another collector has #17/50.
It can be reasonably assumed that Edward Gorey simply made a mistake when numbering the remaining 7 prints, putting an edition of 50 on the second set instead of the originally intended 25. This type of mistake would not have happened if the entire print run had been completed at one time.
Monday, July 6, 2015
I recently acquired this piece of original artwork by Edward Gorey. The image shows a man connected by cables to television sets, floating in a black void dotted with stars. Upon closer inspection, the stars turn out to be "sputnik" type satellites. Each television is tethered to the floating man like the legs of an octopus, and each appears to spotlight a different physical or physiological concern. The one exception is the television with the caption written on it.
It is unclear what Edward Gorey created this artwork for, but it is generally assumed that it is a periodical piece and that it was probably made for TV Guide.