Bill Peckmann &Commentary &Daily post &Rowland B. Wilson 21 Sep 2012 05:19 am

RBW at Auction and otherwise

- If you’ve ever wanted to own a Rowland B. Wilson cartoon, now’s your chance. A number of Playboy cartoons by Wilson are up for auction via Heritage Auctions. The auction will end on Oct. 13th, and you can make a bid now, if you like. I’ve posted the cartoons available below with some of the descriptive material from the auction house. Good luck.

“This Year I’m Putting in a Provision For Good Big Boys Too!”
Playboy page cartoon illustration, January 2002

“A Toast to the New Year!
May It Be Another Prosperous One For Atilla and All Us Huns!”
Playboy cartoon illustration, January 2003

“We’ve Added a New Kink to the PiƱata Tradition!
Playboy cartoon illustration

“At Long Last, Grandfather, You’ve Taken Me to See the Nutcracker”
Playboy cartoon illustration, January 2000

“If I Can Bring This Lovely Creature to Life,
She Will Bring Me Everlasting Immorality!”
Playboy cartoon illustration, November 1981

“I Have a Feeling ’93 is Going to Be a Very Weird Year”
Playboy cartoon illustration, circa 1993

“Miss Perkins Has a Perfect Record in Dealing with Potential Suicides”
Playboy cartoon illustration, May 2003


And as long as we’re talking about Rowland Wilson, I can’t pass up the chance to tell you, yet again, how great Trade Secrets is. Subtitled, “Notes on Cartooning and Animation,” the book is so much more than that. It’s a lifetime’s worth of invaluable notes, advice and commentary about illustration, cartooning and (most importantly to me) animation. I’ve read large chunks of this book over and over again. It all seems so basic and simple, when you’re deep into it, but the book is thick with brilliant comments about the art of drawing and painting. You’ve got to get your hands on it just to see how rich the material is. Once you do, though, you’re going to want to own it. I feel not only indebted to Rowland for the material but to Suzanne Lemmieux Wilson for having finished the book and making sure it looks as perfect as it does. It’s a treasure.


To give another view of some other advertising work done by Rowland Wilson, Bill Peckmann forwarded these pieces. Here’s Bill:

    I thought maybe you would enjoy seeing the original art of two Phil Kimelman & Ass. house ads. The first one is all Rowland Wilson, both concept and finished art, the second one is a collaboration of Rowlie and Alex Toth.

    We’ll start with the printed ad as it appeared in Millimeter magazine in 1979, and then do close ups of the original art.

The full sized ad

CU of the upper left

No lettering in the word balloons, that was done on a separate over lay.

The second PK&A house ad was written by Rowland Wilson, Alex Toth did the finished black and white art and then Rowland colored it with his water colors.

Here’s the black and white.

We took Alex’s original art, xeroxed that on to kid finished
Bristol board, the paper Rowland always worked on.
Here is an unfinished, experimental start by Rowland.

The only time the ad ever ran in color was here
in the 1982 International Film Guide paperback.

Here’s the original art.

Hopefully all will enjoy these panels in their large format
and be able to see how each one works by itself
in the drawing and the coloring.

Here is a small footnote to the history of the ‘Pencil for Hire’ ad.
It’s my rough that started the ball rolling. I was hoping to entice
Alex into doing a take off on a Milton Caniff type Sunday comics
page for our house ad. Fortunately, Rowland was looking over
my shoulder and thought it was time for a rewrite!

The 1982 Film Guide also contained this page, the “Irving Trust” commercial
and the “Dr. Henry” series were designed by Rowland, the “Honeycomb” spot by me.

PS: I wanted to end on this button. For all of us who
still remember “Local 841″ and green subway cars!

One Response to “RBW at Auction and otherwise”

  1. on 21 Sep 2012 at 2:19 pm 1.Mike Vosburg said …

    Wow…had never seen this before. Of course, both of these artists had a big influence on me.

    My big question is what was Alex’s reaction to the finished work? I can’t see him reacting kindly to dropping out all the solid black in the strip. But then, with Alex you never knew what the response would be…

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