Pam’s Pictorama Post: Buckle up for a very, very Felix day. For new readers a chance to catch up on part of my collection dedicated to the early representations of the famous animated cat and for dedicated readers some highlights of the past along the way.
I don’t think it would surprise long-standing Pictorama readers when I state that I look at a lot of Felix items and generally have a sense of what is available. Therefore when I come across something I have never seen before I’m pretty sure it is indeed unusual indeed. If I am unable to acquire it I more or less assume I will likely never see it again – we do find there are exceptions. However, it was in this spirit that I must have broken my own rule (one that I generally only write about objects and photos in my own collection), when I wrote a post on a Felix handkerchief that I lost at auction back in November of 2018. (They are shown in a slide show below – these are sadly of course not in my collection.)
I paired the post with another on some handkerchiefs that belonged to my Dad which I carry in my purse, or did in the before time when I carried a handbag daily. (Those two kerchief dedicated posts can be found here and here. Strangely my forays outside, limited that they are, seem to mostly take place with a credit card tucked in the back of my phone now, unless I am required to provide my own shopping bags at the store. No one seems to want cash these days.)
Therefore, much to my surprise, I was able to score this single, but rather wonderful item which I share with you today. Unlike the frolicking, mouse chasing Felix in the earlier post, my hanky shows Felix deep in thought, doing his famous Felix walk. What I think of as Felix’s I’m thinking walk, has its origin in the earliest Felix silent cartoons and was his signature pose -for some reason I always think of Einstein when I see it. Felix knew how to strike a pose and there is also a sort of Ah ha! pose that frequently follows the walking and thinking. (And of course there are the wonderful things he does by disengaging his tail and using it for various purposes. We’ll perhaps discuss that another time given the opportunity.)
The then very popular phrase Felix Kept on Walking has its roots in this famed animated walk. (Although it also came to have a slightly racier meaning – as depicted on the plate below.) The Felix walk was celebrated in song, sheet music, song of the same name is shown below, but also in pins and other ephemera in the early collectible period. (An instrumental version of the tune can be found here, but in some ways for the full experience of the novelty tune you need the vocals which can be heard here. Or you can just chuckle over the lyrics here.) Some of the stuffed dolls from the 1920’s have Felix with a hump on his back and I have wondered if somehow it didn’t tie out to the bent over walk in deep thought, hands behind his back.
Kim believes Buster Keaton satirized a few minutes of the Felix walk in Go West, 1925. An animated Charlie Chaplin, who obviously had his own trademark walk, does the Felix walk in the rather splendid Felix cartoon, Felix Goes to Hollywood. (It can be found on Youtube here. All these external links only good at the time of writing – they tend to come and go, especially the Youtube ones.) The Felix walk was known by all, a popular culture icon of the day. And, despite numerous redesigns over the decades, some remnant of the deep in thought walk stays with Felix right on up to the newer cartoons I watched as a child in the 1960’s.
The handkerchief I acquired is small as seen here, definitely child-sized, and not quite as white as the image appeared in the photo provided. No matter about the condition of course and what to expect of such a fragile item which is rounding 100 years in existence. Hard to imagine a time when small children were encouraged to carry a hanky – and perhaps the lure of Felix helped keep them from losing it? I especially like the thought marks emanating from his head.
This handkerchief, like so many other fascinating early Felix items, hails from Britain. The embroidery is fairly small and concise. I don’t know much about embroidery but my guess is that it is hand done, but probably by an adult. Although I have not seen the evidence, I assume there were some sort of kit or template you could acquire. I wrote about an embroidered apron, also lost at auction, which must have similar root. The Felix apron post can be found here, also a 2018 post. It was called Breaking the Rules and I would be perfectly happy to have another shot at purchasing it too!
Pam’s Pictorama Felix Post: As promised, today we have a very Felix day! These two sheets were a long time coming to Pictorama. First they sat on eBay for a long time while I was distracted by other things, and then I finally purchased them and then it took several weeks for them to arrive. I tend to hesitate before committing to very fragile paper items, but in the end I claimed them as mine. I am spying a spot at the top row above Kim’s desk, a bit hard to access, but not too much light. Could be just right. They are great. Here we have Felix at the zenith of his come hither appeal plying his trade to good use.
Both of these sheets of advertising are from Moving Picture World magazines and I will admit that I find the cutting up of these journals to sell for separate pieces distressing, although I understand some are likely worth more for their parts individually. These are fascinating journals in their entirety and I have purchased many a copy of the ancient periodical for Kim, mostly from the ‘teens, and I believe there is even a bound volume of them in the house, that I dimly remember picking up as a gift for Kim, out of an apartment somewhere in Chelsea. These pages have been carefully removed by the staple being taken out of one and a clean cut on the other. The one emblazoned, Felix the Cat Cartoons is from November 21, 1925 and the other is from July 7, 1927.
In the first Felix shows all his moods, like an actor auditioning for a part: thinking, musical, angry, worried and intellectual. He is shown horizontal on all fours (in what I think of as a catty pose) and even chasing a mouse at the bottom. Although he might be going through his paces for this ad, he was already at the height of his fame and auditions were hardly necessary. Here he proclaims, Put me on your screen and see what a bright little fellow I am. My tricks will put your audiences in the best of humor – and I’ll make ’em laugh nine times as many times as a cat has lives. I’m doing it now in five thousand theatres. Felix And below that the added encouragement, Felix means extra profit for the showman who exploits him.
Felix had recently made the jump to Educational Films (the spice of the program) which is mentioned here prominently at mid-page, as is a produced by credit for Bijou Films, Inc. EW Hammond is presenting up at the top (President of Bijou Films) and of course Pat Sullivan gets a huge credit with Cartoons by right next to a Felix running right at it. (That’s a lot of credits for one animated cat, even one as big as Felix. Not surprising, but sadly of course, no mention of Otto Messmer, Felix’s true progenitor.) Felix made 20 cartoons in ’25 by my count via Wikipedia’s filmography (about half before switching to Educational Films for distribution that year), and more than 20 the year before alone so production was in full tilt and there was plenty to watch.
One real gem from 1925 that I uncovered while doing some light research on that year was a nifty full length cartoon made for Mazda Lamps, The Cat and the Kit. It is 98% cartoon with only a smidge of commercial and is definitely worth the watch below. The story follows Felix on his wedding day and the drama around the headlights on his car (called lamps at the time and were much more like lamps than the headlights we have now) which keep going out. He is forced to buy inferior replacements and those don’t focus – requiring Felix to resort to snatching the moon out of the sky – only to be told by a policeman that there is no driving with moonshine in the car!
I can’t resist detouring over to Mazda Lamps for a moment, I’m sure Kim and I are not the only ones still shaking our heads over the beautiful Mazda Lamp display uncovered awhile back on the television show, American Pickers. One is shown below from a site called Design is Fine. History is Mine.
The second sheet, from ’27, shows a parade of Felix-es bringing us all the short features Educational Film Exchanges had to offer. As an avid fan of silent shorts I recognize some – Larry Semon and Lupino Lane. (Kim knows more of them and reminds me that John Arthur was Darla’s father of Little Rascals fame. Remember, Feed ’em and Weep, featuring Mr. Hood on his birthday trying to eat his celebratory meal?) Some are a loss to me such as Tuxedo Comedies or Mermaid – evidently series of comedies that folks, such as Snub Pollard and Lloyd Hamilton, would have come and gone through.
Felix’s own shorts are listed at the top and the large sign he holds up front, mounted on a striped pole, is for Educational Pictures. Meanwhile, I especially like the sign which is pointing toward 1927 and ’28 at the bottom. Pat Sullivan only gets a signature credit here (as if he had drawn it). I see 26 films listed in 1927 for Felix so he was certainly going full steam. I include one below in order to give equal time to 1927, Whys and Other Whys, which kicks off with a soused Felix leaving a nightclub. Watch these while you can – these links to Youtube don’t seem to last forever! (Although a quick search may turn up another source if these have disappeared.)
We are invited to Fall In! and Travel with the leaders of the short features parade. The art on this advertising sheet is hotsy-totsy – it is always a favorite moment of mine within the cartoons to see a virtually never-ending cycle parade of Felix. If studied carefully, two Felix-es on the sheet have been a tad mangled, you can note that the second largest (holding the Lupino Lane placard) and one about mid-page (with the Larry Semon ad) have had a bit of what looks like ham-handed revisions around the eyes. Not sure what anyone was thinking to improve upon Otto Messmer’s genius. (Just a note as well that some of these Felix’es only sport whiskers on one side of their face.)
The back of the ’25 sheet sports an article entitled, The Bar-G Mystery, New Western Patheserial Now in Production (Kim checking that one out in a book now), and ad for the Charlie Chaplin release of A Dog’s Life to be released on November 22, and a rather terrifying ad for Buster Brown with Buster and Tige looming large. Short pieces appear on the recovery of Walter Hiers from an injury sustained during filming which almost cost him his hand according to the article, and announcing Clyde Cook to appear in a new comedy. The verso of the ’27 sheet is an add for volumes on photography by the folks at Motion Picture Photography – one for professionals and the other for amateurs.
Tommy José Stathes (@tomatitojose) has just released the latest in a series of brilliant Cartoon Roots DVD’s featuring some new restorations of rare early Felix cartoons! It can be purchased on Amazon here. I am on the edge of my seat waiting for mine to arrive. His earlier DVD’s are also being re-released and can be purchased here. A bit of a review of one of those earlier DVD’s can be found in a prior Pictorama post here. And on that note I believe I have kicked off the year of ’21 as a Felix friendly one – enjoy!
Pam’s Pictorama Toy Post: I’m not sure I remember a Pictorama post falling on Boxing Day, but here we find ourselves on a sunny if cold New York City day post-Christmas as we do our best to shove 2020 behind us. Kim and I were recently speaking of Boxing Day and I looked up its history. It started in the 1830’s in Britain and it was a day to be charitable – boxes were taken to the poor and were given to servants who got the day off as well. It spread to the British colonies and remains a holiday there whereas, as we know, traditionally the day after Christmas in this country is usually about shopping. Of course nothing is really usual about this year, and I cannot imagine stores teeming with post-Christmas folks under the current Covid circumstances.
Our own Christmas was celebrated with just us and the felines here on 86th Street, a Zoom call to New Jersey with my mom, cousin and friend Suzanne in the afternoon sadly substituting for an annual visit. In order to cheer us up I made a rather amazing bouillabaisse if I do say so myself – a sort of quick and cheaty one that has its origins with my grandmother, but I have manipulated a bit over time. (I managed six of the seven fishes – seven if you count the anchovy paste!) I served it with homemade corn muffins and a red pepper compound butter. Before I brag on myself too much I will admit that I forgot to consider dessert entirely and ran out to the store and acquired a frozen Dutch apple pie. Frankly it did the job just fine and I confess, diet be damned, I am looking forward to eating some for breakfast today. Yum.
Christmas was a cold, stormy day here with a wind whipping around – I discovered just how bad when I made that run to the store. Jazz at Lincoln Center unexpectedly announced that they were giving us all two weeks off over the holiday and I am easing into a blissful state of extra sleep and pajama wearing – house cleaning will follow I hope, as I have ignored the state of it long enough and one should go into the New Year with a clear mind and house I suspect. All this to say, I have not yet enjoyed the aforementioned improved weather but look forward to some outdoor exercise in a bit – New Year’s resolutions are lurking just around the corner to be sure.
However, the aspect of Christmas which was traditional and in no way disappointing were the toys Santa, aka Kim, brought me! Two absolutely wonderful toys, the first featured today by way of Bertoia auctions shown above. (Of course I still enjoy receiving toys on Christmas – not a surprise to Pictorama readers I am sure.)
This extraordinary wind-up toy was identified as a French Krazy Kat with no additional information. He is entirely unmarked, stands at about 8 inches, with a metal body covered in a heavy felt suit. His head and hands are composition and you can see that he probably fell on his face a lot from the chipping on his nose – his one ear is also a bit nibbled down. Despite that he is in pretty extraordinary condition, and of course it should be noted that I believe he is a Felix not a Krazy Kat. It should also be noted that his wind-up key is permanently affixed to him, not removable.
I have never seen a toy like him and would appreciate any information folks might have about his origins. His mechanism spring is a bit shot or over-wound and I have only achieved a few bits of a hopping, splayed leg gait out of him (he fell on his face immediatley) which is too bad because I have seen enough to know it must have been comical. He is smaller and more delicate than the more typical wind-up mohair Felix, one that seems to always lose one foot. My example shown above. I assume that because of his composition parts this fellow didn’t last and few of these seem to be knocking around. I wrote about the one above and another more or less one-of-a-kind wind-up Felix toys, shown below, in a post that can be found here. While I had never seen that one before I was certainly familiar with the wind-up function he was built on.
So, we start to close out 2020 with a house full of leftovers and a moment to catch our collective breath. For those of you who still have some cooking ambition in you, or need a New Year’s meal, I lay out the basics of my fish stew below. Enjoy!
Fish Stew or Quick Bouillabaisse Recipe:
Saute onions, garlic and chopped carrots with salt and pepper until they begin to brown, add additional veggies. I like a little potato to thicken, green beans and a bit of corn. (If you are using corn on the cob you can wait and drop the full ear into the soup to cook and cut the corn off after – that will add taste and additionally thicken soup. I used frozen corn this time.) Add in a bit of anchovy paste and a smidge of tomato paste.
Add in fresh fish of choice, about a pound of each – I used a bit of halibut (skinned) although any thicker white meat fish will do, and cut it into bite-size chunks, I added shrimp, and scallops and let cook. I like to add a lobster tail or some crab legs and it does well to add them in here too if they aren’t frozen which my lobster tail was this time. (Snow crab legs are great, but messy to eat later – this was a faux lobster tail belonging broadly to the lobster family with sharp sprine-y bits – ouch!, but I was able to take it out after it had cooked and add the fish meat back into the stew so no eating time mess.)
Deglaze the pot with a cup or so of wine or vermouth. The cheating part starts here (and I am pretty sure this is my addition to this recipe) with some canned fish options. I start with a can of clams, with their liquid included, and this time added a tin of smoked oysters. (I prefer mussels but oysters was all the market had to offer and they were just fine. This is a very forgiving recipe.)
Here’s the big cheat – add a bottle of clam juice AND a large container of Clamato juice (I have often wondered what other use Clamato juice has in life – do people drink it? Make cocktails with it?) Also add a large can of chopped tomatoes at this stage. This creates a substitute fish broth base. I added fresh chopped basil and wide leaf parsley. I like basil in it in particular, but again this is another place where you can be creative. I also added a bit of oregano and at this stage adjust your seasoning overall – I tend to have been adding a bit of salt and pepper with each addition of fish. Bring to a boil and then simmer for at least 40 minutes.
If pressed, you can happily eat this immediately, but the real trick is to cool it down and refrigerate it over night. A glorious change takes place and it is even more amazing! Great dish for company made the day before and then only needs to be heated before serving.
Pam’s Pictorama Post: This item comes to us via Instagram and a lovely woman named Sandy who is one of the owners of a store in Dallas, Texas called Curiosities (@curiositiesantique or getcuriosities.com) and who reached out with a photo of this great Felix match holder which I had to have, well, immediately. We spoke on the phone and I had tucked a number of other items into my virtual cart before we were done – more on those in the weeks to come. Turns out Sandy is a fan of Kim’s work and follows the comings and goings of life here at Deitch Studio and knew that a piece like this Felix would be catnip to us at Pictorama – and she was right!
These off-model Felix pieces are like primitive art and it is hard to say if they were made from designs, maybe in magazines, or were just simply made items pounded out and sold, capitalizing on Felix’s appeal and flying under the radar of the copyright cops. Years ago I wrote about the East End of London shops which turned out some of my favorite gleefully free-form mohair Felix toys (almost assuredly not licensed) as a way of employing indigent women in the East End of London. (That post can be found here and is a favorite. I wrote about another such homemade piece, shown below, which can be found here.)
Matches played a bigger role in the world in early 20th century life than we may remember today, living now in a world of lighters and probably less of a need for them in general with less cigarette smoking and all. Among my prized possessions are two feline versions of what are known as “match safes” – these designed for keeping your matches dry and handy – and, in a word, safe. I have written posts on those two here and here. (Meanwhile, if you want to be entertained by the story of matches I suggest the 1932 pre-code film The Match King, based on a true story, which takes on the premise of getting rich, one match via manipulation and a monopoly on the match market.)
This Felix match holder feels like it was made commercially, if perhaps by a small enterprise. The wood is very light. I like the addition of this fang-y sort of gap tooth grin and the four decorative whiskers. The face looks as though it was sprayed on through a stencil of sorts. He has some wear on him and it would appear someone reached in for many matches over time, wearing the white paint of the cup away almost entirely. The place where he hung from a nail on top, is almost worn through – probably pulled a bit on the nail when matches were taken each time. It is my only hesitation about whether he hangs in the kitchen or remains with the toys in the other room.
Of course this object speaks to the day when stoves were lit with wooden matches every time they were used. The Apartment with Jack Lemmon and Shirley MacLaine was on yesterday and I overheard the snippet where he runs up the stairs in a panic because he smells gas and she has turned it on without realizing that it required manual lighting each time. It was a bit old fashioned even when that film was made in 1960, self-lighting gas stoves probably having been introduced into newer models as a safety measure, but older stoves not yet replaced.
While my ancient gas stoves in my first apartments were technically self-lighting, I can assure you that both my apartments in London and my first in New York frequently needed a prompt from a match to get going. In fact the immediate predecessor to my current stove had a pilot light that went out frequently enough that I have a box of wooden matches in the kitchen drawer right now – somehow using a lighter for that task never seemed entirely safe. Even if he hangs in the kitchen I will not tax him with holding onto our matches and it would be nice to bring a jolly touch of Felix into our kitchen.
Pam’s Pictoram Post: Today is something Pictorama readers really have not seen before – a true collaborative moment in Kim’s work between the two of us! While it is true that our holiday card is an annual collaborative effort (this year’s card is sitting half finished on the couch in pencil as I write, for those comics interested readers who are new to Pictorama, last year’s card reveal can be found here). Additionally, one or two of my bits of writing have been illustrated by Kim (see the appendix of Reincarnation Stories, and my own reincarnation tale – or catch it up here), this marks the first time a whole idea of mine has shown up.
Taken from Kim’s next book, How I Make Comics, these pages are an actual story of mine, told in my words, but embedded as part of a longer book length story. More or less just how it unfolds in the book, we were together one night at the Q train stop on 57th Street waiting. I was watching the rats frolic on the tracks and pointed them out to Kim. I have a mixed relationship with rats – mostly fear, but also respect for how smart they are and how adaptable.
Fair to say I take the, I’ll stay in my lane and you stay in yours, Mr. Rat, approach to our ongoing, symbiotic life in a big city relationship. Of course, having grown up on the water and beach, water rats were a part of my childhood and I was cautioned about them in a way that added to whatever fear of them I might have developed on my own. Water rats are significantly larger than their city counterparts (at first I thought city rats were large mice when I got here and saw them frolicking among the garbage pails on an alley), and our story is not about them today – although I may also have a water rat story lurking in me somewhere too.
Anyway, the real life story, which is largely accurately reflected in the book (although it takes you down the usual Deitch rabbit hole shortly after), is that I went to work the next morning, got off as usual at 57th Street and found myself reflecting on the subway rats again as I walked to my office. This story evolved quickly in my mind on that short walk and I shared it with Kim the next morning. (My early morning routine of coffee, paper reading, Kim working and our talking as well as my commute – back in the before world when I had one – has been expounded upon here. In addition, for comics fans, Kim’s process was thoroughly examined by me after the release of his most recent book, Reincarnation Stories, and that post can be found here. That post is a real companion piece to this one and if you haven’t read it and find this of interest, now would be a splendid time.)
As it would happen, it is a story of rat reincarnation. I will confide that Kim has frequented told tales of his friend since childhood, Tony Eastman, who kept rats as pets at one time and what excellent pets they made – smart and likable. (A special memorial nod to Tony who to our great sadness died very recently.) The downside of this ratty relationship is that rodents cycle through their lives at a very fast pace. Now, on one hand, if they didn’t the human race would rapidly be overtaken by them with their prodigious reproduction and cunning survival instincts. On the other hand, as Kim points out, it makes it a bit sad to become attached to them as pets. Just as you get attached, they die. I was thinking of that when this story came to mind.
As a student of reincarnation, I got to thinking – you have the sort of classic prisoner in a cell with only a rat who he befriends. Sadly, the rat dies – as rats and I guess we all do – and he is bereft, hesitant to invest his affections in the next one that comes along, yet finally he does. Ultimately that one, and the next one, die as well, but slowly his affection and time invested in teaching the rats is rewarded by increasingly smart generations of rats because in fact it is the same rat, reincarnated. They are gaming the evolutionary and karmic wheel by cycling through rat lives with dispatch. Eventually, the rats surpass him on the wheel of reincarnation and when he ultimately dies, he becomes an elevated rat, now under their tutelage.
It struck me as a particularly Deitchenian story so I shared it with Kim the next day. Although intrigued, at first he was reluctant to do another reincarnation story, but then it took root in his imagination and to my surprise he decided not only to use it, but to use it as I wrote it out – and here are two pages from it, for your preview pleasure!
There we have it – a rare view into the inner workings of Deitch Studio. As Kim just reminded me, I have to some degree, in his words, been back-fielding on his work for years – I had forgotten that the title of Reincarnation Stories was my idea. I have always approached this thoughtfully though. After all, as Kim Deitch’s biggest fan, I had no desire to change anything – to damage it unintentionally with my influence. However, years spent together, living a largely Deitchian world existence in this one-room apartment, was bound to have an influence. And today, for the space of a post, we pull back the creative curtain for the speculation and erudition of Pictorama readers.
Pam’s Pictorama Post: For readers who feel like maybe there has been a lot of wandering around in these Pictorama posts lately, I have a very Felix-centric post for you today. I scooped up this single page a few weeks ago. I don’t read French so I pressed our friend Rika Deryckere into service and she was kind enough to do a splendid job of translating this for me (and Pictorama readers) as presented below. Thank you Rika!
Much to my surprise, it is a philosophical opining on our friend Felix the Cat by the French theorist, critic and film maker Jean Mitry. Mitry (1904-1988) has a small bio on Wikipedia citing him as the first person to take French cinema out of the club and into the university. He authored several books, film philsophy, critique and semiotics, and was the co-founder of the Cinémathèque Française. There is an annual award in his honor at the Pordonne Film Festival, given to individuals who have distinguished themselves in recovering and preserving film heritage.
This page was carefully removed from wherever it appeared and has come to me with no indication of the magazine it was excised from. Some of my more erudite film readers may know a lot more about this and I invite you to share if you do. It was certainly my introduction to it. I love the way it is illustrated and some of the non-Felix cats intrigue me.
Meanwhile, in a strange nexus of worlds, Kim points out that the passage where Mitry talks about Felix dividing himself into many and then coming back together brings us right to Waldo’s origin story. It is found in Deja Vu, most easily found in the collection All Waldo Comics.
There it seems Felix (yes, Felix), working for the CIA at the time, recruits Waldo and under Felix’s tutelage somehow the nine lives of cats becomes multiple Waldo – who in turn need to be dealt with in Waldo-Deitchian fashion. Hence, for those of you who have wondered, the reason that Waldo sports a #1 on his chest, as he is the original…and the universe here at Deitch Studio spins merrily forward! I share a few sample pages above and below from that story – and then onto the translation.
Le dessin animé
The Animated drawing
Félix – le – chat
Felix the cat
La gloire des vedettes est menacée.Un être étrange est apparu.Plus malin et plus simple, il s’est emparé du cinéma en sautant à pieds joints au beau milieu de l’écran.
The glory of the stars is threatened. A strange being appeared. Smarter and simpler, he took over the cinema by jumping with both feet into the middle of the screen.
Tache d’encre tombée du pinceau de Patt Sullivan, il s’est étalé sous la forme d’un chat. Ne me demandez point pourquoi on le nomme Félix, nul ne le sait et lui il s’en moque. Personnage important il n’écoute que lui-même, agit à sa guise, suit sa fantaisie, sans avoir de compte à rendre à personne.
Ink stain from Patt Sullivan’s brush, it sprawled out in the shape of a cat. Don’t ask me why he is called Felix, no one knows and he doesn’t care. An important character, he listens only to himself, acts as he pleases, follows his fantasie, without being accountable to anyone.
Il vit à l’ombre du pinceau curieux qui l’entraîne dans les plus folles aventures et le rattrape au vol après avoir fait mine de l’abandonner. Cependant il n’est jamais en peine de quoi que ce soit.
He lives in the shadow of the curious brush that takes him on the craziest adventures and catches him in flight after pretending to abandon him. However, he is never at all worried about anything.
Etre surnaturel, il trouve toujours toute ressource en lui-même et possède la faculté d’agir sur sa personnalité.
Supernatural being, he always finds every resource in himself and has the ability to act on his personality.
Changeant selon les événement, grand ou petit, terrible ou misérable, il se promène au milieu d’un monde créé pour lui. Héros d’un univers magique, incarnation du miracle et de la légende, le voici qui s’élève sur le bout de petits pieds et lance par-dessus la balustrade des nuits un bonjour en copain à son grand frère Charlot. Mais, Félix, avantagés par les facultés invraisemblables de son aventure, évite d’une pirouette les cataclysmes les plus épouvantables, — mieux, il s’en sert pour triompher de ces ennemis en les retournant contre la logique.
Changing according to the event, big or small, terrible or miserable, he walks in the middle of a world created for him. Hero of a magical universe, incarnation of miracle and legend, here he rises on the tip of little feet and over the balustrade of the nights says hello as a friend to his big brother Charlot. But, Felix, favored by the incredible faculties of his adventure, avoids the most appalling cataclysms with a pirouette – better, he uses them to triumph over these enemies by turning them against logic.
Et celle-ci, la ridicule pipelette hargneuse qui vous oblige à se décrotter de toute poésie avant de rentrer chez soi, si fière de sa raison, loge étriquée, monotone et sans air, la méchante logique disparaît dès qu’elle le vois poindre à l’horizon.
And this one, the ridiculous surly blabbermouth which forces you to get rid of all poetry before returning home, so proud of its reason, cramped, monotonous and airless, the evil logic disappears as soon as it sees it dawning at the horizon.
Car Félix porte avec lui tous ces petits lutins espiègles que l’on nomme insouciance, féerie, irréel, imprévu, mystère-du-temps-présent, esprit-de-contradiction. Et la mégère rentre dans sa tôle car il est, lui, le champion de la liberté et de la fantaisie, son ennemi triomphant.
Because Felix carries with him all these mischievous little elves that we call recklessness, fairyland, unreal, unforeseen, mystery-of-time-present, spirit-of-contradiction. And the shrew comes back to his senses because he himself is the champion of freedom and fantasy, his triumphant enemy.
Il a battu en brèche les vieux préjugés asthmatiques, les convictions ancrées dans leurs tanières de certitudes comme les crabes dévoreurs de poissons.
He shattered old asthmatic prejudices, convictions anchored in their dens of certainties like crabs that eat fish.
Il est vainqueur. Et quand il paraît au coin de la page blanche, il se demande sous quel aspect il va se mettre en scène afin de mieux pouvoir tourner en ridicule les choses que nous croyons immuables et qu’il se charge de transformer malgré elles selon son imagination ou son caprice.
He is victorious. And when he appears at the corner of the blank page, he wonders in what aspect he is going to stage himself in order to better be able to ridicule the things that we believe to be immutable and that he is responsible for transforming in spite of them according to his imagination or his whim.
Je me souviens de l’avoir rencontré au carrefour d’un village en quelque lieu de féerie nocturne. La drame rôdait sous l’aspect d’un chien râgeur, amant de la belle.
I remember meeting him at the crossroads of a village in some fairy-tale place. The drama lurked in the guise of an angry dog, lover of the Beauty.
Surprit, Félix tombe, mais il se ressaisit bien vite. Il veut vaincre, il veut être plus fort que lui-même. Et voici que s’opère le miracle : il se dédouble, il se multiplie et devient plusieurs « lui-même » qui tombent à bras raccourcis sur le chien jusqu’ à plus soif.
Surprised, Felix falls, but he quickly pulls himself together. He wants to win, he wants to be stronger than himself. And here is where the miracle takes place: it splits, it multiplies and becomes several “itself” who fall with short arms on the dog until the end.
Après quoi tous les petits Félix seconds, satisfaits de leur rôle, rentrent les uns dans les autres et redeviennent l’unique Félix-le-chat.
After which all the little Félix’s seconds, satisfied with their role, fit into each other and become the unique Félix-the-cat again.
Et Félix possède toutes choses aussi bien que lui même. Il est dieu.
And Felix owns all things as well as himself. He is god.
Il agit sur tout et sur tous. Il n’est pas de désir ou de volonté si apparemment impossible ou invraisemblable qu’il ne puisse satisfaire, et qu’il ne satisfasse.
He acts on everything and everyone. There is no desire or will so seemingly impossible or implausible that it cannot satisfy, and does not satisfy.
Triomphe de l’illusion, de l’arbitraire, de l’acte libre. Triomphe de la poésie dans ce qu’elle a de plus secret, de plus inattendu.
Triumph of illusion, of arbitrariness, of free action. The triumph of poetry in its most secret, most unexpected.
Seul au monde, Félix peut dire : « Je m’abstrait, donc je suis », et je suis quand je veut, où je veux et comme bon me semble.
Alone in the world, Felix can say: “I abstract myself, therefore I am”, and I am when I want, where I want and as I see fit.
Poète surréaliste, plus fort qu’aucun autre, il vit son propre rêve. Il jongle avec les étoiles et transforme tout à son image. Aperçoit-il la « belleé tout en haut de l’Inaccessible » dans les nuages, si haut, si loin qu’il ne puisse y parvenir?
Surrealist poet, stronger than any other, he lives his own dream. He juggles with the stars and transforms everything in his image. Does he see the “beauty at the top of the Inaccessible” in the clouds, so high, so far that he cannot reach it?
Que feriez-vous à sa place? Eh bien, il attrape son regard, son regard qui fixe sans cesse ce joint si haut, l’accroche à une branche d’arbre et poursuit sa marche élastique sur ce fil conducteur.
What would you do in his place? Well, he catches her gaze, her gaze wish is transfixed, joins so high, hooks it to a tree branch and continues its elastic walk on this common thread.
Il se sert même de ses points d’exclamation et les transforme à dessein en massues, en patins à glace ou en ailes d’aéroplane. Il est le magicien de notre temps, et s’il s’est emparé du cinéma comme du reste, c’est pour s’en servir selon sa fantaisie de poète vagabond, humoriste et philosphe, selon son bon plaisir …
… qui est le nôtre aussi bien.
He even uses his exclamation marks and purposely transforms them into clubs, ice skates or airplane wings. He is the magician of our time, and if he has seized the cinema as well as the rest, it is to use it according to his fancy as a wandering poet, humorist and philospher, according to his good pleasure … … Which is ours as well.
Pam’s Pictorama Photo Post: This is one among upcoming posts which will include purchases from a woman I found on Instagram (@MissMollysAntiques) and who commenced our relationship by selling me a nice paper mache Halloween black cat head. (A post about that can be found here.) She appears to be selling out a shop in an antiques mall somewhere in the middle of the United States and I am one of the beneficiaries. (Miss Molly also appears to be a musician, although I don’t know much about that aspect of her biography.)
As I sat writing this blog last weekend, Instagram starting sending me DM messages with photo images that were going on a sort of flash sale she was posting. I was the right captive audience and she was on a run with me as I picked up what ended up being quite a pile of very random, but interesting, photos.
First in talking about this photo, let me start by saying I have always been fairly fixated on the idea of ermine. Don’t get me wrong, I am solidly of the camp that believes the little fellows should keep their own fur. Until I looked it up just now I never knew that these weasel-y little fellows are brown in the summer (no one seems to want their little pelts then) and only turn white in the winter, their tails supply the black bits. (They are clearly in trouble then.) The black and white pattern has always interested me though although I am sure that I would be more than satisfied with faux.
I think it is safe to say that no real ermines were injured in the making of this photo studio costume donned by our subject, the young woman here. However, she wears it well – crown perched atop her head and scepter lightly grasped. She takes to being royalty well.
The backdrop puzzles me some. It is a painted scrim of a cottage facade with flower boxes. Seems a bit disparate with the costume proffered. She is very nicely dressed under her borrowed garb. A pretty spring dress, shiny white stockings and white spring shoes all shine below the cape. Her day at the fair or carnival must have been a very festive event. This card is in perfect shape and was never mailed, nothing is written on the back. It is easy to see why it was saved.
A combination of working on this post and the precise point Kim is at in his Little Orphan Annie reading created a nexus bringing to mind a cartoon I had not seen since childhood. (Facebook folks know that Kim has been working his way slowly and joyfully through all of Little Orphan Annie, reading it on weekend mornings while I work on my blog. He’s currently on Volume 14 – 1948-’50; he’s deep into ’49 presently.)
This discussion, about treasure discovered in caves, sent me to the internet where after a few false starts we watched Bugs and Daffy in Ali Baba Bunny. For those of you who know the cartoon I just have to say, Pismo Beach and Mine, Mine, Mine! and you’ll know which one I am talking about. (Kim had never seen it! One of the rare moments when our generational difference is showing.) If you need a giggle – and really, who doesn’t? – I suggest you wander over now and watch it. (At the time of writing it was found here.)
Pam’s Pictorama Post: This card seemed appropriate to our current contagion days. Postmarked 1924, the postcard may refer to bed bugs or the like as Mrs. Felix seems to be itching, or it could also be a cold as Felix looks a bit unwell. Felix does look miserable and somewhat guilty under her accusation either way. Theaters would be ripe for such transmission bugs bacterial, viral or the many legged kind, and of course it follows that Felix couldn’t resist going to the pictures. Very tongue in cheek that the very cartoon folks would be pointing this out, but of course they knew our sympathy is always with naughty Felix.
In the 1920’s, movie theaters were more working class establishments and had just started to give way to the movie palaces designed to look like legitimate theaters and attract middle and upper class patrons. (An article from Smithsonian Magazine I read this morning tells the tale of popcorn as a snack in theaters – disdained at first as too low class, it gained traction during the Depression when the inexpensive treat was attainable for audiences as well as additional high margin income for theaters.) 1924 is still on the early end of the decade however, and the allure of the picture shows was still battling with an image of it as barely better than frequenting a working class saloon or bar.
This card was produced by a British company called Bamforth which, although it sold these cards both in Britain and the United States, appears to have done so without license. And, unlike the color postcards of Felix in the same era, these are all entirely black and white and Felix has what I think of as his more dog-like off-model look.
Bamforth was a company originally born out of the production of magic lantern slides. In addition to short film ditties of the 1890’s until 1918, they had a line of postcard which focused on what were generally considered saucy topics of the day. The postcard portion of the company was eventually sold and still exists in some form today, having celebrated its 100th anniversary in 2010. Their postcards, such as Felix fighting with his wireless radio, were so much of their time and place that sometimes we are left puzzling to figure out what they might refer to today. For example, there is one where he curses the demand notice for rate. (This seems to refer to a dunning tax notice.)
Bamforth card, not in Pictorama collection
Another series of postcards printed by Florence House printers in Great Britain, shows Felix in a series of equally moral questionable scenes. I show one of those pulled off the internet below. I love the cigar and the overnight grip in this one. He is a naughty boy indeed.
Florence House card not in Pictorama collection
In these years that are still leading up to the discovery and widespread use of antibiotics, Felix tells us to be mindful about drafts (in one card we spy him in the bathtub through a partially open door and he scolds, Shut that Door! You’ll have me laid up – and what will the picture shows do then without poor Felix?), and reminds us of what you might bring home from the pictures at night. Today he would don a mask and figure out a way to court the white girl kitty, despite keeping a six foot social distance.
Pam’s Pictorama Post: I’ve had this little gem (displayed above on Kim’s desk) for quite awhile and somehow haven’t managed to write about it. I purchased it on eBay, but am sad to say that they disappeared almost immediately as I think in a better world everyone would have a chance to buy one of these, or even a wardrobe of them.
Some rather enterprising Felix fan created this t-shirt cartoon with the earliest style Felix – very pointy and squared off and a bit dog like. It is the Felix design I have long favored, reminiscent of some of my odder stuffed toy versions from Great Britain. (A few posts about these can be found here and here, and the fascinating history of how many of these dolls were made by indigent women in London’s East End, can be found in the post here.)
This naughty Felix is drinking some booze from a double XX labeled bottle, and it is actually a great five-part strip as he goes through the motions of Seeing, Hearing, Smelling, Tasting and Feeling, all with real silent cartoon emotion. I prefer my Felix un-gelded if you will. I don’t mind him being a bit impish, but I prefer his bad boy side rather than the latter kiddy fare. (I feel the same about Mickey Mouse who goes from being a bit rowdy in the early cartoons to positively sticky later on.)
My pre-quarantine life did not provide many opportunities for t-shirt wearing in reality. I generally found myself exclusively dressed for work, or if home clad in work-out regalia, and pj’s made up the only other avenue of regular sartorial category.
Frankly, like most people I gather, these days my version of the uniform of our universal lockdown has been work-out clothes, as I either starting or ending most days on a space just big enough for a yoga mat, a small pile of weights acquired during one of my post-surgical rehabs surrounding me. (I draw the line at working in my pajamas.) Depending on the temperature of the apartment that attire is usually augmented by a rather ancient and somewhat tatty, black zip up hoodie acquired years ago from the now defunct Modells. (Where will I purchase cheap, generic work-out clothes now I wonder?)
It may, or may not, surprise you to learn that I am partial to brightly patterned stretch tights paired with tank tops – can’t stand working out in anything with sleeves. I vary those tights with a few pairs of black Adidas pull on track pants. (I tend to think of those as dressing up a bit these days.)
I have pointed out to friends that since all I do other than work right now (that tends to occupy about 12 hours a day), is work-out and eat, I am likely to emerge from captivity at some unknown future date hefty, but buff. (We will of course also all be a bit shaggy and will have abandoned most unnecessary adornment – I think I have forgotten how to apply make-up already. I look at it in the bathroom and think – why? Meanwhile, we eat pretty darn well here at Deitch Studio – many of you may not know I was once a professional chef and working at home has me in the kitchen again.)
Zoom and other video calls occasionally demand that I make some sort of an appearance on camera and I try to be understanding about a desire to actually see other folks. I attempt to clean up a bit, but outside of Board meetings or actual online events (which send me puzzling through a closet which currently houses out of season winter clothes, as we started our hibernation in March remember), everyone pretty much gets me, view generally chest up, in a work out top and hoodie. (They frequently also catch a glimpse of Kim working in the background – it is only one room, after all. Meanwhile, his routine only altered by my ongoing presence and my endless work natter on the phone which are now the background to his formerly silent days.)
However, now that the weather is changing perhaps I will migrate to a somewhat enhanced and modified spring look as we begin to consider the ultimate end of our incarceration, which might include the occasional pair of trousers that button and pulling on a prize t-shirt like this one for all to ponder during the next staff meeting.
Pam’s Pictorama Post: This little item is about twelve inches high, homemade out of a thick piece of wood, at least two inches fat. It has just enough accumulated grime to make me think it sat on a wall somewhere, undisturbed for a long time. The whites are somewhat yellowed, although if you look closely you can still see the ancient pencil lines used for the lettering. I have no idea how old it is. The eBay seller hails from Indiana which may indicate this sign’s place of origin – or not. A quick search of Indiana clubs with TheEbony Room in their name turns up a Facebook page for an Ebony and Ivory Dance Club there, although meanwhile for all I know this sign sat proudly in a home bar or rec room or other bar.
Felix’s tail is a bit fluffy and his nose is a bit off kilter. The overall design used makes me think of a late 1940’s or 50’s Felix. Having said that, the execution is neatly done and I want to say there must have been some sort of a semi-professional template used. A glossy paint finished him up and there is a long toothy wall hook on the back for secure hanging. I love the red lettering, so neatly and painstakingly done in a sort of faux Gothic style.
I admit I am unsure what made me purchase this. (I’m not sure, but I think Kim sort of looked at me sideways when I unpacked it.) Granted it didn’t cost much, but anything larger than a photo tends to get some consideration in our cramped quarters. I am unsure of the impulsive exception made. There is something about these homemade items that I like though, slightly off-model and askew they show the hand of the maker and remind us that copyright or not, Felix was a cartoon cat of the people. It is a one-of-a-kind, homey piece of popular culture. It just makes me think about sitting in a dimly lit, but cheerful spot with a draft beer in hand.
As bookshelf building is still hopefully in our (post-bunker life) future I have not considered where and if we will sport this item on display here at Deitch Studio. Still, it has found its niche here, among the ever-growing collection of Felix items beloved.