Low & Inside.

New York, NY Farrar, Straus & Young, 1953. Hardcover First Edition (1953), probable later printing (no FSY logo; no statement of first publication). Very Good in Very Good DJ: Both book and DJ show indications of moderate use. The Book shows shelving wear to the lower extremities, especially near the corner tips, where the paper over boards has worn through to the underlying board; faint sunning to the head of the backstrip; the binding is square and secure; the text is clean. The DJ shows moderate wear to the extremities with several short, closed tears to the top edge of the front panel and a small chip to same; scant loss to the head and heel of the backstrip; the price has been clipped and a previous bookseller has pencilled in "1st Ed" and a price of $4.50; mylar-protected. NOT a Remainder, Book-Club, or Ex-Library. Folio. (12.25 x 9.35 x 0.5 inches). Language: English. Weight: 19.8 ounces. Decorated Endpapers. First Edition (1953), probable later printing (no FSY logo; no statement of first publication). Hardback with DJ. Robert Chesley Osborn (1904–1994) was an American satiric cartoonist, illustrator and author. During the Second World War, he was soon learning, then applying the art of "speed drawing", under the command of the photographer Edward Steichen in a special information unit in which pilot training manuals were produced. Osborn began drawing cartoons of a pilot who was hapless, arrogant, ignorant and perpetually blundering in ways that put himself and his crew at unnecessary risk. The name of this character was Dilbert Groundloop also known as "Dilbert the Pilot" and "Dilbert" was soon to become a slang term used to refer to "sailor who is a foul-up or a screwball."[ Scott Adams credits Osborn as an indirect source of inspiration for the main character in his own Dilbert cartoons. Over his 50-year career, Osborn's sardonic and often savage drawings in books and magazines have arrested readers with their images of bloated power, violence and death. At the same time, he could be wittily ironic about society's pretensions, spoofing subjects like psychiatry, suburbanites and social climbing. Osborn characterized himself as "a drawer" whose figures "seemed to come right out of my subconscious." Garry Trudeau called him "one of the very few masters of illustrative cartooning." and Robert Motherwell wrote that his drawings were "so alive that they seemed to writhe on the page with an uninhibited energy .... Osborn's art is a call to responsible action." Motherwell was among those who compared Osborn's graphic work to that of Daumier, Goya, Saul Steinberg, as well as to the sculpture of Alexander Calder, who was a friend of Osborn's. New York Times art critic John Russell wrote of Osborn's exhibited Chaplin drawings that "Few people have a nimbler, wittier or more versatile way with pen and pencil than Robert Osborn".