Ulrich Eichberger album covers

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El Condor Pasa (Paul Nero In South-America) (1970) by Paul Nero Sounds.

It’s the groovy look again. Since compiling a list of artists and designers working in this post-psychedelic style I keep finding practictioners I hadn’t noticed before. German designer and art director Ulrich Eichberger is someone I might have spotted earlier if I’d examined his discography, especially when several of the albums he worked on are ones I’ve owned for many years. The covers of those albums aren’t very psychedelic, however, and don’t even look like the work of the same designer until you scrutinise the credits. The examples here are those where he was working as a cover artist as well as designer, favouring the ones where the pop-psych hallmarks are in evidence: vivid colours, bold outlines, and faces or figures treated to various degrees of stylisation. Elsewhere, the influence of Heinz “Yellow Submarine” Edelmann may be seen in the watercolour blooms that fill the backgrounds. Most of these designs are for the German wing of United Artists Records (or its Liberty affiliate) which means that Eichberger got to work for two of the major German groups of the early 70s, Can and Amon Düül II.

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Partyrausch – Das Ideale Tanzalbum 70/71 (1970) by Various Artists.

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Tago-Mago (1971) by Can.

I’ve never thought this was a very good cover but it’s the most popular album of those listed here.

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Partyrausch 71/72 (Das Ideale Tanzalbum) (1971) by Various Artists.

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In The Groove (1972) by Charly Antolini.

Included mainly because of the title.

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Harry Clarke’s illustrated Swinburne

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Aholibah (1928).

You won’t find Harry Clarke’s illustration for Swinburne’s Aholibah in Selected Poems of Algernon Charles Swinburne even though it was intended for the book, and was the illustration that Clarke deemed his favourite of the series. The erotic nature of the drawing was too much for the publisher so Clarke had to content himself by pasting a reproduction in his own copy. The copy above has been scanned from Nicola Gordon Bowe’s Harry Clarke: His Graphic Art; everything below is from the published Swinburne collection which turned up recently at the Internet Archive.

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Selected Poems of Algernon Charles Swinburne was Clarke’s last illustrated book, published in 1928, three years before his untimely death. Of all the major Clarke books that appeared during the artist’s lifetime it’s always been the most difficult to find. Some of the drawings have been reprinted in recent collections but never the book itself. As with Clarke’s Faust, the erotic and morbid qualities of the illustrations generated disquiet outside the publisher’s office, with Humbert Wolfe in the book’s introduction stating that Clarke’s interpretations were completely opposed to his own. Given the erotic and morbid preoccupations of the poet and his work this surprises me; Swinburne’s poetry was admired by Aleister Crowley and HP Lovecraft, among others. They weren’t reading him because he was writing paeans to daffodills.

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My earlier mention of this volume included a link to a defunct blog with a collection of the illustrations separated from the text. This was unavoidable at the time, there wasn’t anywhere else that you could see all of them in one place. But seeing the illustrations with the poems benefits the drawings as well as the verse, especially when the poems themselves aren’t so familiar. For my part it’s also good to see all of the illustrations, being the owner of a first edition which I bought many years ago only to discover that a couple of the best pictures had been carefully removed with a razor. This is a common problem with old illustrated books. Caveat emptor as always.

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Clarke didn’t do many double-page illustrations. This is one of his best.

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The art of Dick Ellescas

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The Boy Friend (1971).

I chanced upon the album cover art of Dick Ellescas a few weeks ago when I was searching for something on Discogs. Classical music labels are extraordinarily lazy when it comes to packaging their recordings, as a result of which the commissioning of original art always stands out. Dick Ellescas turned up again more recently when I was working my way through the Ken Russell filmography. Russell’s Sandy Wilson adaptation, The Boy Friend, was released in the US with an Ellescas poster that combines an Art Deco style with the modishness of early 70s graphics. This also stood out from the crowd and sent me in search of more of the same. The examples here are only a small selection from the Ellescas oeuvre; Discogs credits him with over 30 album covers. The Strauss cover below is uncredited so there may be more out there. Some of Ellescas’s illustrations for Cosmopolitan magazine may be seen here.

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The Magic Christian (1969).

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Borodin/Liadov: Symphony No.1/From The Book Of Revelation From Days Of Old/A Musical Snuff-box (1971); Moscow Radio Symphony Orchestra, USSR Symphony Orchestra.

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Strauss: Die Frau Ohne Schatten (1971); Kurt Eichhorn, Orchestra of Bavarian Radio, James King.

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Weekend links 772

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Barbarella (1968) by Robert McGinnis. Not one of his best (see below) but the film is a cult item round here.

• At the Bureau of Lost Culture: Alan Moore on Magic, a recording of the three-way talk between Alan Moore, Gary Lachman and myself for last year’s launch of the Moon and Serpent Bumper Book of Magic.

• At Colossal: “Daniel Martin Diaz encodes cosmic questions into geometric paintings and prints.” And is heavily influenced by Paul Laffoley by the looks of things.

• RIP Robert McGinnis, illustrator and poster artist. Related: The Artwork Of Robert McGinnis, Part 1 | The Artwork Of Robert McGinnis, Part 2.

• At Public Domain Review: “The Form of a Demon and the Heart of a Person”: Kitagawa Utamaro’s Prints of Yamauba and Kintaro (ca. 1800).

• Coming soon from Ten Acre Films: The Quatermass Experiment: The Making of TV’s First Sci-Fi Classic by Toby Hadoke.

• New music: Lost Communications by An-Ting; UPIC Diffusion Session #23 by Haswell & Hecker.

Anti-Gravity Holiday Every Month by Robert Beatty.

Barbarella (Extended Main Title) (1968) by Bob Crewe And The Glitterhouse | Barbarella (1991) by The 69 Eyes | My Name Is Barbarella (1992) by Barbarella

The Population of an Old Pear-Tree; or, Stories of Insect Life

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When one of the illustrations below turned up recently at Enchanted Booklet I had to go looking for its source. The Population of an Old Pear-Tree (1870) is a translated edition of a book by Ernest van Bruyssel (1827–1914), a Belgian writer whose life and work isn’t very well-documented on Anglophone websites. The back of the book does however list his other translated titles, most of which appear to be historical novels. Pear-Tree‘s illustrations are credited to one “Becker”, an even more obscure individual who turns to be Léon Becker (1826–1909), a Belgian artist.

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Bruyssel’s book is an account of insect life intended to stimulate an interest in tiny creatures for a youthful readership. The narrator describes himself in the opening chapter undergoing a metamorphosis (it later becomes apparent that he’s fallen asleep in his favourite meadow) which gives him a new appreciation of the insect world. The chapters that follow explore a wide variety of insect life, accompanied by Becker’s engraved illustrations. The book isn’t a scientific study—the insects are anthropomorphised into various “tribes”—but Bruyssel avoids the cuteness that often bedevils writing about animals; the destructive habits of locusts are noted in one of the chapters. At the end of the book the narrator is roused from sleep by an entomologist, an ecnounter which leads the pair to discuss their different points of view, one scientific, the other romantic. Bruyssel’s narrative is an argument for generating sympathy in the subject by applying a degree of romance to a field of purely objective study. Léon Becker followed this with an entomological romance of his own, An Alphabet of Insects, in 1883.

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