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“We often find ourselves balancing all life has to offer, juggling between our personal and professional lives, between our drive for success and our desire for serenity. The trick, as Dr. Seuss shows us here, is to get the balance right.”
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Mixed Media Pigment Print on Canvas
Authorized Estate Edition
Image Size: 36” x 24.5”
Limited Edition of 850 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
5 Hors d’Commerce
2 Printer's Proofs
An additional 150 pieces will be printed in a deluxe version that will be archived for a future release;these pieces will be numbered A 1/150 – A 150/150. Total size of the edition is 1,261.
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Harmony is a BALANCING Act
A life falling in to place requires a delicate effort. From career to romance to everything in between, as we figure our way through… we learn a thing or two about balance.
Ted Geisel, aka Dr. Seuss, understood that life is a continual balancing act. He learned early in his career the importance of keeping the plates spinning, the cups balanced, and the scales tipped just right.
IN MOMENTS OF TRANSITION… BALANCE IS THE KEY
FURTHER INSIGHT
He had been shopping his first children’s book and just landed a deal to publish “And To Think That I Saw It On Mulberry St” with Vanguard Press. But success was far from guaranteed, and Ted had to balance between the advertising and editorial work he had been doing with the dream of being a successful author.
Around the time this painting was created, Ted was in the midst of a transition. He had staked his claim as a successful editorial cartoonist and highly sought-after ad man. That success afforded him more creative freedom then most during the Great Depression and Ted took full advantage.
DEcipheriNG THE PAINTING
Ted’s painting appeared in Stage Magazine in 1937 under the headline, The Phantom of the El Morocco. It was a fantastical, surrealist story Ted had written about the dizzying, late-night experiences at the El Morocco. In the painting we see the many links to this famed club and a nod to the culture of the time:
The zebra striped booths that were the famous visual icon of the club
The waiters balancing plates and glasses
The famous El Morocco maître de with his signature tuxedo (he was both host and gatekeeper into this famed world)
And finally the shirtless central figure balancing all of this on his back…
Stage Magazine, 1937
It is unclear if this central character in the artwork is the El Morocco owner John Perona (featured below), or possibly a self-portrait of Ted who was balancing so many things himself at that time. Both men would do anything for those who supported him along the way, figuratively giving “the shirt off their backs,” while each was juggling an exorbitant amount of responsibility.
John Perona
Ted in his studio
“Shirtless, balancing everything, it seems to indicate the responsibility of it all while at the same time suggesting he would give the shirt off his back to support everyone around him.”
BALANCING LIFE AT THE EL MOROCCO
lessons learned from dizzying heights
New York in the late 1930’s was a confluence of many forces – prohibition had ended, the jazz age had given rise to an improvisational culture of music clubs, and in the midst of the Great Depression, the Art Deco movement was hinting at a bold future. Art Deco icons such as The Empire State and Chrysler Buildings were completed at the start of the decade and the Rockefeller Center’s gleaming new complex opened in 1939.
Amidst all of this was the famed club, The El Morocco. Celebrities of all stature congregated in owner John Perona’s zebra striped booths to drink, dance, and find balance in the midst of challenging economic times. Ted Geisel was there to absorb it all.
Bruce Cabot, Gloria Vanderbilt, and Rita Hayworth at the El Morocco, circa 1941
Salvador Dali at the El Morocco
Imagine The Balance of Trade featured prominently in your home.
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A LIFETIME OF BALANCING
symmetry is foundational
We often find ourselves balancing all life has to offer, juggling between our personal and professional lives, between our drive for success and our desire for serenity. The trick, as Ted showed us throughout his life, is to get the balance right:
Advertising Business at a Glance
Here we see a striking similarity to Balance of Trade. This painting was done around the same time, when Ted was transitioning between his advertising work to a future as Dr. Seuss, the children’s book author.
With The Account Executive, 1930s
Horton
Elephants appeared throughout Ted’s early paintings, later paving the way for his iconic character, Horton.
Horton taught us faithfulness and encouraged us to be good listeners, remaining open to even the smallest voices. Trusting in others and listening is key to collaboration, a balanced choreography laid out across the Balance of Trade
With Abduction of the Sabine Woman - Parlor Edition
Yertle The Turtle
In 1950, Ted revisits the idea of balancing in his now famous book, Yertle The Turtle and Other Stories.
The stacked turtles in Turtle Tower and dangling gentlemen in The Balance of Trade demonstrate a similar predicament of balance.
With Turtle Tower
The Cat in the Hat
Look at Me! Look at Me Now! – 1957 was a precarious moment for Ted, where he sat balancing between success or failure as he looked to change the way children learned to read.
With Look at Me! Look at Me Now!
Life’s a Great Balancing Act
Through to the end of his life, Ted revisited the idea of finding your balance, including the artwork Life’s a Great Balancing Act.
This important image can be found in his final book, Oh The Places You’ll Go.
related works
Ted’s Deco Era paintings are some of the most sought after in the Art of Dr. Seuss Collection. They nod to the artistic and cultural trademarks of the time, influenced by the world’s bold outlook for the future:
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2,095 USD - Unframed
International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.
Mixed-Media Pigment Print on Archival Canvas
Authorized Estate Edition
Image Size: 35.75” x 25” with additional canvas border
Limited Edition of 850 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
5 Hors d’Commerce
2 Printer's Proofs
Adapted posthumously from an original painting by Theodor Seuss Geisel ("Dr. Seuss") circa 1935.
Theodor Seuss Geisel, known to his family and friends as “Ted,” was a romantic in many ways, often crafting paintings and drawings that tap into our ongoing quest and desire for romance. Here, a wistful stag allows a pair of woodpeckers to safely court atop his antlers. There is a sense of pride in providing such sanctuary for these lovebirds, although one can’t help but sense a longing for the stag’s own sweetheart, perhaps a doe named Emma?
For more a complete overview of information on this artwork, CLICK HERE.
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2,895 USD
International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.
Mixed Media Pigment Print on Archival Canvas
Authorized Estate Edition
Image Size: 36” x 25” with additional canvas border
Limited Edition of 850 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
5 Hors d’Commerce
2 Printer's Proofs
Adapted posthumously from an original painting by Theodor Seuss Geisel (“Dr. Seuss”).
If you have ever fallen in love, you understand the thrill surrounding the early moments of any romantic relationship. The anticipation and excitement of the unknown swirls in the air and sends those involved eagerly into the intimate ritual of courtship.
Ted Geisel, aka Dr. Seuss, lays bare those very moments in this lush, surreal painting from the 1930’s. Mystery abounds as his Antlered Animal cautiously approaches the Pink Tufted Small Beast with an earnest eye and wide smile. The Small Beast, filled with the same anticipation, is perched atop an impossibly precarious tower, further alluding to the tension that fuels such moments.
For more information on this artwork, click here
Additional works related to this newest release include:
2,495 USD - Unframed
International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.
Hand Embellished Pigment Print on Canvas
Authorized Estate Edition
36 x 36 in with an additional canvas border
Adapted posthumously from the circa 1930 oil on canvas painting created for the Dartmouth Club.
Limited Edition of 850 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
5 Hors d’Commerce
2 Printer’s Proofs
CLICK HERE for a complete overview of this artwork.
1,995 USD - Unframed
CLICK HERE for a complete overview of this artwork.
International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.
Pigment Print on Paper
Authorized Estate Edition
25 x 33 inches
Limited Edition of 495 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
5 Hors d’Commerce
2 Printer’s Proofs
An additional 70 prints were created as a special reserve in commemoration of the 70th anniversary of Horton Hears a Who!
ARABIC EDITION:
SOLD OUT
The Arabic portion of this edition is Sold Out.
COLLABORATOR PROOF EDITION:
RARE AVAILABILITY
Rare works from the Collaborators Proof edition may be available, please inquire with your art consultant or preferred Authorized Gallery for details.
NOTE: The Collaborator Proof edition has been reserved for important public exhibitions, major gallery retrospectives, and select private collections.
Pigment Print on Somerset Paper
Authorized Estate Edition
Image and Paper Size: 15” x 21”
Limited Edition of 850 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
Adapted posthumously from the pre-production large-scale illustration for the 1954 book Horton Hears a Who!
Audrey Geisel allowed the Horton Line Drawing to be published for the first time in association with the Art of Dr. Seuss Retrospective and International Touring Exhibition, which was launched in 2004. Horton’s seminal proclamations: “I meant what I said and I said what I meant. An elephant’s faithful one hundred percent.” and “a person’s a person no matter how small,” forever define his character. To this day, Horton remains a lasting symbol of loyalty, equality, and faithfulness.
ARABIC EDITION:
SOLD OUT
The Arabic portion of this edition is Sold Out.
COLLABORATOR PROOF EDITION:
RARE AVAILABILITY
Rare works from the Collaborators Proof edition may be available, please inquire with your art consultant or preferred Authorized Gallery for details.
NOTE: The Collaborator Proof edition has been reserved for important public exhibitions, major gallery retrospectives, and select private collections.
Lithograph on Coventry Rag Paper
Authorized Estate Edition
Image Size: 20” x 9.5”
Paper Size: 23.5” x 12.5”
Limited Edition of 1500 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
5 Hors d’ Commerce
Adapted posthumously from the illustration for the 1958 book, Yertle the Turtle and Other Stories.
Yertle the Turtle (1958) has a little-known and somewhat surprising origin. In a 1987 interview Dr. Seuss said: “Yertle was Hitler or Mussolini. Originally, Yertle had a moustache, but I took it off. I thought it was gilding the lily a little bit.” Yertle the Turtle delivers a powerful allegory on dictatorship and expansionism, conveying the final message with these words, “And the turtles, of course . . . all the turtles are free as turtles and, maybe, all creatures should be.” Ted deliberately inserted the word “maybe” because he wanted children to really think about it and say to themselves that there’s no “maybe” about it—all creatures should be free!
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Paper Format
1,495 USD - Unframed
International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.
Mixed-Media Pigment Print on Archival Paper
Authorized Estate Edition
Image and Paper Size: 30.75” x 22”
Limited Edition of 395 Arabic Numbers
Canvas Format
NOT YET AVAILABLE TO COLLECTORS
International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.
Mixed-Media Pigment Print on Archival Canvas
Authorized Estate Edition
Image and Canvas Size: 30.75” x 22”
Limited Edition of 495 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
5 Hors d'Commerce
2 Printer's Proofs
CLICK HERE for a complete overview of this artwork.
This artwork is one of the last pages in Oh, the Places You’ll Go! Here Ted Geisel (aka Dr. Seuss) not only sums up his thoughts about life but, in many ways, his thoughts about his own journey. The narrative Ted wrote on the accompanying page speaks boldly about life’s great ups and downs, a notion he doesn’t shy away from and one that is clearly evident in this striking image. Ted’s main character moves laterally across this Seussian landscape in a comfortably open space, as if balanced for whichever way life may take him.
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995 USD - Unframed
International Purchases: Prices are shown in US Dollars only and do not reflect local exchange rates. Local taxes, import duties or shipping & handling are not included. Please contact a gallery for local pricing.
Fine Art Pigment Prints on Acid- Free Paper
Authorized Estate Edition
Image: 14” x 11” each / Paper: 17.5” x 26.5”
Limited Edition of 850 Arabic Numbers
99 Patrons’ Collection
155 Collaborators’ Proofs
CLICK HERE for a complete overview of this artwork.
Such moments can peel away the years and instantly connect us back to our childhood, a time when egos were eclipsed by the sheer joy of having pushed ourselves forward. One can almost hear the echoes of our past voices shouting, “Look at me! Look at me now!”
So too was it for Ted Geisel, aka Dr. Seuss, upon writing The Cat in The Hat. The year was 1955 and Ted was challenged by his publisher to write a book using only 225 primer words. The hope was to empower early readers to go it alone, to do the unthinkable and read an entire book without assistance. The limited vocabulary proved a nearly impossible challenge for Ted, stating “I read the list forty times and got more and more discouraged. It was like trying to make a strudel without any strudels.”
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