Penguin Labyrinths and the Thief’s Journal

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Detail from La Havane by René Portocarrero; photo by C. Marker.

This week’s book finds are a pair of titles I hadn’t come across before in these particular editions, another haul from the vast continent that is the Penguin Books back catalogue. Labyrinths I’ve had for years in a later edition (see below) but the cover of this one seems more suited to Borges (as much as he can be illustrated) than the somewhat bland Surrealism of illustrator Peter Goodfellow. René Portocarrero (1912–1985) was a Cuban painter with a post-Picasso style who specialised in hallucinogenic profiles like the one here. And it’s a guess but I’d bet the “C. Marker” who photographed the painting is French filmmaker Chris Marker (who I compared to Borges last year), director of La Jetée and Sans Soleil. Marker worked as a photo-journalist for many years and made a documentary entitled ¡Cuba Sí! in 1961.

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The House with Chimaeras

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The House with Chimaeras, 10 Bankovaya St, Kiev.

Via Wikipedia:

The House with Chimaeras was designed by the architect Vladislav Gorodetsky in 1901–1902. Gorodetsky was born in 1863 into a prosperous Polish szlachta family in the Podillia region. After finishing the Imperial Academy of Arts in Saint Petersburg in 1890, he moved to Kiev, where he lived for almost 30 years. At the time of the building’s construction, Gorodetsky had already established himself as a prominent Kiev architect, having designed many city buildings, from the St. Nicholas Roman Catholic Cathedral to a Karaite kenesa and the current National Art Museum of Ukraine. Besides architecture, Gorodetsky was also interested in big-game hunting, which explains why his building features many animals.

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The Italian sculptor Emilio Sala was responsible for both the internal and external sculptural decorations, such as mermaids, dolphins, and frogs on the roof of the building, sinking ships and hunting trophies on the exterior walls, and exuberant interior decorations, such as grand stairways and chandeliers depicting huge catfish strangled in the stems of lotus flowers.

A gallery of details
The House at night on Flickr

Previously on { feuilleton }
Adolph Sutro’s Gingerbread Palace
The Triangular Lodge

Exotica!

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Hypnotique by Martin Denny (1959).

In Waikiki, where I live whenever I get the chance, a bistro known as the Daggar Bar and its accompanying Bora Bora Lounge has for some time been the mecca of people who enjoy a new type of music. I’m one of the gang that gathers there to hear the fresh, clean tropical sounds of Martin Denny and his group.

By the time James Michener wrote the sleeve notes for Hypnotique, Martin Denny‘s fifth album, the composer was attempting to broaden his horizons and outpace his imitators by introducing strings and vocals to augment his “fresh, clean tropical sounds”. This perhaps explains the curious jumble of objects on the album sleeve (a rifle?), my favourite among the wonderful covers Liberty Records’ art department supplied for Denny’s work. The best of these feature model Sandy Warner who appears in a variety of guises, shown here as a cross between a Japanese temptress (if we take the paper mobiles as a cue) and a precursor of Carolyn Jones as Morticia Addams. The art direction was by Bill Pate with photography by Garrett-Howard.

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top left: Exotica (1957); top right: Primitiva (1958).
bottom left: Afro-Desia (1959); bottom right: Exotica vol. III (1959).

Sandy Warner appeared on 16 album sleeves for Denny and was even persuaded to record an album of her own to capitalise on her renown as “Miss Exotica”. In design terms, these sleeves are some of the more successful products of the late Fifties’ fad for tribal kitsch. Other covers were crazier or more garish—and few could resist flaunting a bikini-clad woman—but Bill Pate showed more care with his layouts and Sandy Warner’s alluring presence went a long way towards conjuring the required mystique. Denny’s records aren’t too bad either although when it comes to tiki-fuelled easy listening I tend to prefer his rival Arthur Lyman, especially Taboo from 1958.

Large copies of the covers shown here can been seen at Shellac.org. There are many more sites with galleries devoted to this style of music and sleeve art; Space Age Pop A Go-Go and 317x are two of the better ones. And let’s not forget Dana Countryman’s Virtual Museum of Unusual LP Covers or LP Cover Lover (check the great blogroll) or the Retro Records Flickr Pool

Elsewhere on { feuilleton }
The album covers archive