Category Archives: History

The Cat Behind the Hat!

Please join us as we present

The Cat Behind the Hat!

at our new location in San Diego’s Little Italy

1980 Kettner Blvd., San Diego 92101

Opening night reception, Saturday, November 2, from 5 to 8 PM. RSVP by writing SanDiego@ChuckJones.com or calling 619-294-9880.

For over 60 years, Dr. Seuss’s illustrations have brought a visual realization to his fantastic and imaginary worlds. His artistic talent went far beyond the printed page and yet, to this day, his Secret Art Collection is virtually unknown to the general public. Throughout his lifetime, Theodor Seuss Geisel (aka Dr. Seuss) created paintings and sculpture, which he secreted away at the Dr. Seuss Estate.

Chuck Jones Gallery will share a compelling selection of artworks from The Art of Dr. Seuss Collection at the gallery, located at 1980 Kettner Blvd., San Diego, from November 2 through November 14. Visitors may explore and acquire works from Dr. Seuss’s best-known children’s books, as well as The Secret Art of Dr. Seuss, a mind-expanding collection based on decades of artwork, which Dr. Seuss created at night for his own personal pleasure. Perhaps the wackiest and most wonderful elements of the collection are Dr. Seuss’s three-dimensional “Unorthodox Taxidermy” sculptures with names such as Carbonic Walrus, Two-Horned Drouberhannis, and Goo-Goo-Eyed Tasmanian Wolghast, to name a few.

Additionally, Ted’s cat was never far from his artist thoughts. He drew himself as The Cat Behind the Hat, his cat was the protagonist in several of his Secret Art paintings and, as a fun aside, many of his early advertisements and cartoons had a “cat bystander” witnessing all the action. They hinted at his adventures across the world, his reclusive sensibility despite his fame, and his penchant for the childlike fantasy and humor, which infused nearly every facet of his life.

Despite the unprecedented demand during his lifetime, no limited edition artworks were ever conceived, authorized, or created until this historic project began in 1997, six years after Geisel’s death. That year, this exclusive project put into motion a series of artworks and exhibitions, which firmly established him as one of the most iconic artistic talents of the 20th century.

Each of these Estate-Authorized limited editions has been adapted and reproduced from Theodor Seuss Geisel’s original drawings, paintings, or sculptures. Additionally, each work bears a posthumously printed or engraved Dr. Seuss signature, identifying the work as an authorized limited edition commissioned by the Dr. Seuss Estate.

Cat in Obsolete Shower Bath, fine art print by Dr. Seuss. In her preface to the popular coffee table book on this collection, The Cat Behind the Hat, Audrey Geisel (Ted Geisel’s widow) writes, “I’m gratified to carry out Ted’s wishes and have these works revealed to the world.” Join us for a fascinating glimpse into the unique artistic vision of Theodor Seuss Geisel!

 

 

The Animated Art of Chuck Jones–New Book!

The Chuck Jones Gallery is pleased to announce the publication of “The Animated Art of Chuck Jones”. This coffee-table book, measuring 11.5″ square with 116 full color pages, is volume one in a series of books (future volumes are in the works) that chronicle the creative genius of Chuck Jones. A catalog raisonne of the first ever hand-painted cel art editions from the legendary artist, it includes a foreword by noted animation historian, Jerry Beck, as well as “In Linda’s Own Words”, a brief history of the eponymous Linda Jones Enterprises by Linda Jones Clough, Chuck Jones’s only child.

LInda Jones Clough holds a copy of “The Animated Art of Chuck Jones”

The book includes the original press release from Neiman Marcus for the 1977 cover art of their Christmas catalog, created by Chuck Jones. Inside the catalog was the second-ever hand-painted Chuck Jones cel art edition, produced in an edition of 25, which immediately sold out. Order today by clicking any of the above images or by calling me at %%assigned_user.phone%%. There are a very limited number of copies available from this first small print run. Don’t miss out! Click here to order.

NOTICE! The first print run has sold out! Back orders are available, delivery expected by mid-January 2019.

Selections from the inside of “The Animated Art of Chuck Jones”, now available for back order. Delivery expected by mid-January 2019. Click any photo to order. 

Rabbitville Hops into the Chuck Jones Gallery

The Rabbitville Public Art Program of the Gaslamp Quarter in  downtown San Diego will close its 150th anniversary celebration on Friday, April 19 from 6 to 9 PM at the Chuck Jones Gallery, 232 Fifth Avenue.

Warner Bros. sponsored painted rabbit, part of the Rabbitville Public Art program of the Gaslamp Quarter.

Rabbits from the art program will be on display including the Warner Bros. rabbit. Each sponsor of one of the 15 rabbits painted by local San Diego artists has contributed $10,000 to the Gaslamp Quarter’s special lighting project. There are five rabbits left for sponsorship.

Contact Erin Liddell of the Gaslamp Quarter for more details regarding sponsorship, Erin@Gaslamp.org. RSVP for the evening celebration at 619-294-9880 or SanDiego@ChuckJones.com.

Tommy “Road Runner” Martin Celebrates 50 Years at the Five Crowns

Longtime Corona del Mar resident, Tommy “Road Runner” Martin, celebrated his 50th anniversary at the famed Five Crowns restaurant on Pacific Coast Highway in Newport Beach’s Corona del Mar this past month.

Tommy Martin, far right, with Marian and Chuck Jones at the Five Crowns restaurant in Corona del Mar.

Tommy met Chuck Jones in 1980 and he describes his relationship with Jones in an article in a recent Los Angeles Times article.

“In 1980, he met his best friend, Chuck Jones, the famed animator who drew the Road Runner character and so many others for Warner Bros.

“Before Martin became a regular runner, he was an avid tennis player who darted around the court. His friends nicknamed him “Road Runner” for his speed.

“One night, Jones, who lived in Cameo Shores with his wife and daughter, was dining at Five Crowns. Jones asked for something to draw on and sketched the Road Runner with a tennis racket and signed it.

“Throughout their decades of friendship, Martin considered Jones a father figure. Martin even joined the Jones family when the animator received a star on the Hollywood Walk of Fame.

“Each Father’s Day, Martin and Jones’ daughter celebrate the life of the cartoonist, who died in 2002. Martin continues to wear a “Looney Tunes” tie and pin.

“What he gave from his heart was so much more important,” Martin says. “Meeting Chuck Jones and gaining employment at Five Crowns are the biggest moments of of my life.”

Read the full article clicking on this sentence.

Inspired by Chuck Jones

Artists Karen and Tony Barone, featured artists in our San Diego Chuck Jones Gallery through April 13, have honored the influence Chuck Jones has had on their art and their life in their website’s “Blob”. Yes, that’s right, it’s not a “Blog”, but a “Blob”. Written by Tony, the “Blob” covers all sorts of topics. The most recent posting, #9, centers on the Chuck Jones inspiration they’ve channeled in their most recent work, “Bugs Bunny in a Hare-Raising Experience”.

Chuck Jones by Karen and Tony Barone.

Chuck Jones by Karen and Tony Barone after a photograph by Karsh of Ottawa.

Tony writes, “I am a composite of skills and knowledge inherited from all those artists who have come before me.

“In my most recent incarnation, I am channeling artist Chuck Jones, the world’s most collected cartoonist, animator, filmmaker and Pop art practitioner. The impressions he left on me when I was a “baby” artist, but an artist none-the-less, are indelible. Now that I am more skilled, I am even more aware of how skilled he is. I say “is” because although he passed in 2002 at nearly 90, I speak of him in the present because I continue to “draw” from him.” Read the rest of his inspiration at the “Blob” on BaroneArt.com.

The Linda Jones Clough Archive: Crier in the Wilderness by Chuck Jones, Part 4

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. I well remember my father’s “war warden” hard hat…with a webbing inside that fascinated me…but he wouldn’t let me play with it. He went out almost every night, from our blacked out home, with his huge flashlight and his hard hat and a first aid kit slung over his chest. The searchlights interspersed the stars…and they were not for movie openings, but searching for enemy aircraft. Here is Part IV.

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[PART IV] The Oddments of War

Thus she joined the carpool and the “Canyon Crier” became a factor in our lives. We were at about this time promoted to a kind of restricted B sticker for our gasoline ration I was working on a project to camouflage Signal Hill rather a thankless job since the oil wells could only be disguised as something that looked like another military objective like a ship yard, an ammunition dump or an air-field. I think our final suggestion was to build two other fake Signal Hillses and hope for the best, or to make a gigantic tent big enough to cover all of Long Beach. At any rate we managed to carry on, although I occasionally had to employ the steps, dare the dog, and the Rhus diversiloba (poison oak).

It was through the tiny pages of the Crier that we were informed of the activities of Civilian Defense. Dan Duryea, as I remember it, was Senior Warden in our parts. Ken Harris was block Warden. Kent Winthers was Junior Warden and I was Fire Watcher, since we were almost the sole residents of Passmore Drive at that time. The Finkel house, now owned and beautifully remodeled by Hal and Margo Findlay, was then empty and the only other house was occupied, I believe, by a schizophrenic who thought he was a German spy but never came outdoors long enough to find out. He it was who had bought the confused Doberman thinking him to be a turn=coat (or turn-pelt). The three of us then were the task force that manned Operation Passmore, and even though in the giant logistics of war such minutia are often overlooked, yet it is true that we kept Passmore Drive remarkably free of fire-bombs.

[See you next week, with Part V]

The Linda Jones Clough Archive: Crier in the Wilderness by Chuck Jones, Part 3

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. We had a beautiful, big yellow tom cat named Passmore (yes, named after the street we lived on). One day I asked my parents, “If Passmore had kittens, could we have one?”  Of course, their answer was that Passmore was a tom cat and therefore could not have kittens. I said, “But IF he had kittens, could we have one?” With a knowing glance at each other, they agreed. I took them across the street to our neighbor’s black cat who had just had five adorable little yellow kittens…Yes, I got not only one, but two…I named them Rudy and Bennie…Here is Part III.

CJCC - Part III Illustration from Canyon Crier

[PART III] House with Long Haul 

I decided to employ logic. Even if I lost with Dottie, I might impress Linda. I indicated with patient yet pointed logic that the two miles to the nearest lady-ridge-resider ride-sharing intersection was Woodrow Wilson and Mulholland, while the nearest market was but a scant half mile from our home on Passmore Drive…and all down hill, including one hundred and eighty-seven steps connecting our street with steps connecting our street with the one below. Furthermore it would take a full day’s supply of gas in our gasping Oldsmobile to struggle up Woodrow Wilson to Mulholland and share in the economies of the ridge girls in their gay junkets to Finkle’s market at Highland and Franklin.

She had gained confidence through my maunderings and gently exhaling a fragrant cloud of rum, maple and tobacco, said that down-hill empty-handed became up-hill grocery laden, that the one hundred and eighty steps was a farce going down with gravity as a friend, but became an endless cement ladder going up, laden with salmon, Spam, short-ribs, and such. Furthermore the steps were dangerous; behind a fence paralleling the last fifty feet lived a psychotic Doberman Pinscher, a reject from the Canine Corps—who in being taught to bite enemy soldiers had carried instructions a step further and now bit anything. He had gnawed a head-sized hole out of his chain link fence, and travelers on the steps could only avoid the action of his garbage-disposal jaws by wading through a breast-high orchard of greasy poison oak opposite him. When Linda was with her, she had to carry her—and the groceries—over her (Dottie’s) head. All this she was willing to endure, she said, but in her illogical woman’s way she just couldn’t see what having poison oak, hydrophobia, and a weakened hearts was doing to further the war effort.

[Come back next week for part IV!]

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones, Part 2

CJCC - CJ illustration for Canyon Crier article #2_400px
CRIER IN THE WILDERNESS by Chuck Jones

Part II

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. We had a live-in mother’s helper named Mary. Mary was a junior at USC and had been born and raised in Los Angeles. Mary was my bestest friend…and I was heartbroken when she (and her parents) were taken to the Internment Camp for Japanese citizens…Here is Part II of the Canyon Crier article started last week.

 [PART II] – Wifely Wiles

The fact that my wife was not working, an activity usually associated with car-pools, did not really constitute an incongruity in my mind. She already owned a rapier, a euphonium and a suit of formal riding attire, even though she had no interest in swordsmanship (“buttons”), tuba-class instruments, or fox-hunting (‘driving a tack with a sledge hammer”). She simply liked these articles for themselves, and I found it quite believable that she would join a car-pool just to drive out to Cal-ship, wrap bandages, and read Dickens in the back of the car all day, and ride back with the boys at night.

“I read about it in ‘The Canyon Crier’”, she said, producing this miniscule yet action-provoking sheet from behind a package of RUM ‘N MAPLE cigarettes. (Why was it always possible during the war to obtain cartons of RUM ‘N MAPLE cigarettes, when less exotic brands where available only in butt form?)

“The girls up on the ridge do their marketing together on a car-sharing basis,” her lip quivered, “eye wan tu-tu.”

“Eye wan tu-tu?”

She pursed her eye-lids. “I want to, too. I want to car-share, too. I want to ride with the girls and market with the girls. Other wives get to, why not me? I’ll plan a plan so I’ll get it all done at once.”

She was about to offer to hold her breath and turn blue if I refused to listen.

I felt this might be a poor example to our daughter Linda, whose seven-year-old blue-eyed naiveté concealed only too well a jaundiced cynicism toward our ostensible maturity.

[Part III next week!]

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones

The "Canyon Crier" masthead drawn and designed by Chuck Jones, a long-time resident of the Hollywood Hills.

The “Canyon Crier” masthead drawn and designed by Chuck Jones, a long-time resident of the Hollywood Hills.

Crier in the Wilderness by Chuck Jones

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. I was in the second grade at Valley View School, to which I walked each day…actually uphill (and downhill) both ways! There were 72 steps from the street to our front door. My father’s studio was a room over the garage, which was only 40 steps from the street, but 32 steps down from the front door. I called this the “castle house” and from what I can see of it these days, it looks very much the same as it did in the early forties when we lived there.  —   I have decided to publish this article in six parts, along with the illustrations that accompanied the article at that time. Here is Part I.

[PART I]

The first time I knew that there was such a publication as the “Canyon Crier” was that night during the war when my wife began to make whimpering noises and little dog-like running motions in her sleep. This type of restlessness always presages a complaint or new statement of policy at the following breakfast table, so I was as prepared—to use the term so loosely as to be idiotic—when she gave her first post-orange juice cough. This then was going to be a statement of policy, a new venture or something current on Linda’s up-bringing from Ribble, Ilg, Gesell or Spock, known as RIGS in our household. If it was going to be a complaint, she would have cleared her throat rather than coughing. Thus do we survive through understanding the delicate code of marital communication.

“I’m going to join a car pool,” she said, smearing a quarter pat of butter on a heel of raisin bread toast. (Why is raisin bread so easy to come by during war-time?” The time necessary to chew up and swallow a rag of raisin bread toast was the time allotted me to consider a spate of short-handish thoughts: “Car-pool? Why? Where? Who? How? Huh?”

[Stay tuned…more next week!]

Did You Ever Wonder What an Animation Director Made in 1944?

Chuck Jones’s pay stub for the week ending December 9, 1944. At the time, he was directing animated short films for Leon Schlesinger Studios.

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On January 6, 1945, just a month after the pay stub, Chuck Jones’s famous skunk, Pepe le Pew, made his debut in “Odor-able Kitty”, which had originally been titled, “Forever Ambushed”.

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The model sheets were drawn by Chuck Jones and used by the animators to stay “on model” during the drawing of the cartoon.

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Side note: “Forever Ambushed” is a take-off on the title of bestselling romance novel of 1944, titled, “Forever Amber”. The book was eventually made into a film in 1947 by 20th Century Fox. The Chuck Jones pay stub is from the Linda Jones Clough archive.