Untitled- ‘Coastal Thunderhead’, Discovery Bay, Jamaica, West Indies, Circa 1990

David Palladini, 2017

This concise biography was written as a ‘fan tribute’ to the artist by Mark Strong of Meibohm Fine Arts, from years of research and compiled information about the life and illustrative career of internationally renowned artist, author, and teacher, David Palladini (Italian-American, 1946-). The biography shares elements of David’s family history and upbringing, his formal art education, teaching experience, and commercial highlights from his forty-plus-year career as an award-winning illustrator and fine artist. David’s distinctive style has been influenced by numerous art movements, fusing elements from his imagination, and from many highly decorative styles, such as: Art Deco, Art Nouveau, Medieval, Renaissance, Egyptian, 1960’s Psychedelic era, Sci-Fi, New Age, and even stained-glass window design. The introduction, written by Mark, speaks of the serendipitous beginning of their friendship in 2008 with a simple phone call from David, which became his sole inspiration for writing the biography. It offers fans and newcomers an intimate and rare view into the personal life and soul of this relatively private artist, who has himself, given his own soul to his art. It allows the reader insight into the successes, failures, struggles, and inspirational life experiences from this gifted artist, who has not only remained true to himself, but to his craft. Throughout his career, David has maintained his own unique artistic style, and has securely earned a place in the annals of illustration history. This biographical book, aptly titled Palladini, also includes over seventy full-color reproductions of original artwork by David which spans the length of his career, showcasing some of his best-known illustrations, as well as never-before-published illustrations and fine art.

PALLADINI

Edited and designed by Paul Suntup Front and Back Cover design by Rebecca Dornsife Cover photograph by Paul Suntup

No part of this publication may be reproduced in any form without permission from the publisher except for the use of brief quotations in a book review.

FIRST EDITION ISBN:

978-0-9988649-2-1

NOT SOLD SEPARATELY This biography is included free with The Eyes of the Dragon Art Portfolio, published by Suntup Editions.

Every attempt has been made to contact the copyright holders of the images in this book in order to obtain their permission. However, we apologize for any inadvertent omissions. Appropriate credit will be given in future editions if such copyright holders contact the publisher.

suntup.press

PALLADINI

a concise biography of

DAV I D PA L L A D I N I

MA R K S T R O N G

SUNTUP EDITIONS 2017 INTRODUCTION

n Tuesday, July 8th, 2008, I had the complete pleasure and honor to speak with David Palladini on the phone for the first time. One of the ladies in our art gallery at Meibohm Fine Arts, had told me that a Mr. Palladini O was on the phone asking for me. I looked at her in disbelief and said, “What? Are you kidding me?” After her reassurance that it was true, I still couldn’t believe it and quickly became rather nervous. So, with a few deep breaths, I answered the phone. Within a few moments of polite conversation, I felt completely at ease, as David was extremely friendly and completely down to earth. He had called me in reference to one of his 1970 zodiac posters we had recently listed for sale on eBay and also on our website for the gallery. A friend of his, an astrologer and collector of his work, had emailed him a picture of the poster “Virgo” from our listing. He was quite gracious and thanked us for the preservation, description, and history of the poster which was in pristine condition. He said that he hadn’t seen any of the zodiac posters since they were first published in 1970, and was happy to see it again after all this time. I told him that the “Libra” poster had recently sold, but that we had ten of the posters still available. They too were all in equally mint condition but unfortunately we were missing the “Leo” poster which I hadn’t found in our archive yet or it had been sold a long time ago. I explained that the posters had all been tucked away in our archive drawers since Walter Meibohm had purchased them in 1970, and hadn’t seen the light-of-day in all that time. They were still as beautiful and vibrant as the day they were printed! He mentioned that he would have signed the whole set if we had all twelve, but unfortunately we were short two of them. I told him that as collectibles, they could be worth up to $200 due to their rarity and condition. David chuckled and said that they had originally sold for $1.00 back in 1970. I expressed to him that I was a big fan of illustration art and design, particularly work from the 1960’s-70’s Psychedelic era, rock illustrations, posters, handbills, and the like. We talked about how original posters from that time period are collectible and quite sought after by collectors now. We went on to discuss how illustration design 6 had somewhat died out over the years, and that only a handful of artists were still trying to keep the older styles alive, and that some artists have unfortunately passed on already. He told me that he doesn’t do illustration work anymore, and that his newer work in pastels was quite different from what he had previously done, or was most well- known for. He went on to recall the time he had spent living in France, in the small and secluded village of twenty-eight residents, where everyone rode bicycles since there were no cars allowed. Every morning he said he could walk outside his home and smell the scent of fresh rosemary in the air. He also stated humorously, that he wondered why he had even come back to the States, as so much had changed here. After living in a village for so long without automobiles, it was overwhelming, and he was even afraid to cross the street with all the cars speeding by! I asked him about his exhibition history and he said that he had traveled and exhibited all over the world, in places such as: the U.S., Brazil, Jamaica, Paris, and throughout Europe. He said that his artwork had traveled with him to each and every exhibition over the years, and what pieces he didn’t sell, and still maintains, are a little worse-for-wear because of it. He said he was doing well and currently resides in Newport Beach, CA. One interesting thing he mentioned during the conversation as a side note was that, “Van Gogh never sold a painting in his lifetime, except one painting to his brother Theo for 5 Francs, and his brother was an art dealer too!” Though that story is still a source of contention and often debated, David’s point was simply referencing how some artist’s work isn’t fully appreciated, or even considered valuable while the artist is still alive. David went on to say that he felt he wouldn’t become really known or appreciated until after he was dead. As a consequence of that thought, he said he is very reluctant to sell any artwork he still has left. Since he has no real auction history for sold works in the ‘art world’, finding any of his original art is very hard to come by on the open market. Speaking with David was certainly one of the highlights of my life, not only because he is such a well-known artist, but for the fact that I am a fan of his work. After a very pleasant conversation that lasted for about a half hour, I got off the phone and couldn’t believe that I had just talked with someone whom I feel is one of the best illustrators of the last forty years. I immediately went upstairs to my studio and typed everything down that we had talked about while it was still fresh in my memory. That initial conversation left me feeling like I had to do something for this exceptionally talented and humble artist, someone who had in some ways and by his own admission, been somewhat forgotten with time and absence. Up until that point, there was certainly no 7 comprehensive biography about him in books or across the online nethersphere, aside from a few paragraphs on Wikipedia. From what I had researched and read across different websites, various publications, Tarot and personal blogs, or heard in podcasts, his artwork is highly appreciated by his fans across the globe. Some stated that they would definitely like to know more about him but had no idea where to look. Talking with David inspired me to write a biography for him, and was my sole purpose for doing it. As the gallery’s webmaster, it was my job to not only maintain the website, but also the photography of all our represented artwork, as well as research and handle as-needed artist biographies. So from there, I realized this was going to be no easy task and would require more time than normal. I quickly set out to compile as much of a comprehensive biography on him as I could build in my off-time, not only from my conversation with him as a starting point, but from all the tidbits and scraps of information I had found scattered across the internet. I scoured the web for months on my days off, and in any spare moments I could find. That year I made it my mission to assemble something of a timeline of his life and work as an illustrator. It was tough going at first, making sure I had as much correct information as I could cross-reference with his life and family, artwork, dates, names and publications, places, etc. After many long hours, days, and months of searching, the biography started to take shape. I felt fairly confident I could put something halfway-worthy together for such a prolific artist, though what I have found thus far is really only a partial list, at best, of his life’s work and commercial accomplishments. But it is something…and is more than what was out there before. I do however, continually add to David’s biography, whenever I come across new information or when I find something that needs correction—so with that it is always a work in progress. After a year or so of his biography being available on our website’s artist page, we have received countless emails and phone calls from fans, friends, and students alike, which continues to this day. In the summer of 2012, David called me again because his brother Bill had printed out and given him my biography. He was utterly grateful that someone whom he had never met could take the time to do that for him. I was so taken aback by his gratitude, not knowing how to take the compliments he was so graciously giving me, and at times not even hearing them. Here I was, having one of the world’s best-known illustrators giving me praise and flowing compliments…it was surreal to say the least, and something I was not accustomed to. I was worried that he might be upset about the biography since he had led a relatively private life; that his personal life and life’s work as an artist was now ‘out there’ for the entire world to see. 8 I asked him if he was okay with it and if there were any discrepancies or information he would like me to change or add, but he said “No.” and gave it his total blessing. Whew!...certainly a load off my mind. As an unexpected gesture of thanks, David sent me a signed copy of his 2011 memoir, The Journal of an Artist, a few weeks after our previous conversation. Inside, there was a personal inscription on the title page, with the humorous excerpt, “You know me better than I do…” I had to chuckle. Each talk I have with David still leaves me a little star-struck, although I have since gone from a fan to a friend. A part of me hopes to continue feeling that way since I always leave our conversations feeling uplifted and hopeful about life on this tiny blue planet. From my perspective, David and I connected in a way beyond the normal realms of human interaction. I certainly hope he and I can meet one day, though we both realize it isn’t necessary, since we understand that distance, time, and the body do not separate any of us; we all share and are derived from the same universal energy and endless light of love. So with that, I offer this biography as a tribute to David and his art, as well as to his adoring fans and everyone out there who has been touched by this amazing man and artist. I would also like to thank each and every source of information I have tried so diligently to reference, be it a website, blog, article, interview, podcast, etc., which I have compiled in the bibliography that follows. Without them, this biography would never have happened for David. And a special thank you to Paul Suntup for including this biography in his beautiful portfolio. The great circle of life coalescing and completing itself like the ancient mystical symbol of the serpent Ouroboros infinitely swallowing its own tail.

BRIEF SUMMARY OF THE ARTIST

avid Mario Palladini (Italian-American, 1946-) Internationally renowned artist, illustrator, designer, teacher, author, photographer, and musician, primarily known for his unique illustrative style that has been D featured in numerous book & magazine covers and interior illustrations, several popular Tarot decks, self-published books, movie, musical and commercial posters, album cover art, opera drawings and pastels to name a few. Some of David’s more acclaimed illustrative works include: The Aquarian Tarot deck and The New Palladini Tarot (Morgan Press, now U.S. Game Systems, Inc., 1970 & 1996 respectively), The Girl Who Cried Flowers and Other Tales, by Jane Yolen (Thomas Y. Crowell, 1973), theatrical movie posters for the 1979 Werner Herzog film Nosferatu the Vampyre (voted one of the most iconic movie posters of all- time) and his most widely-held illustrations from the Trade Edition of Stephen King’s, The Eyes of the Dragon, (Viking, 1987). David’s distinctive style has been influenced by numerous art movements, fusing elements from his imagination and from many highly decorative styles, such as: Art Deco, Art Nouveau, Medieval, Renaissance, Egyptian, 1960’s Psychedelic era, Sci-Fi, New Age and even stained-glass window design. His illustrations are most often vividly graphic and highly detailed, frequently evoking the antique and vintage Art Nouveau illustrations of famous decorative artists like Alphonse Mucha (French, 1860-1939) and illustrator Aubrey Beardsley (English, 1872-1898). Since the late 1960’s, David has shared success and the spotlight with other contemporary illustrators who have all been similarly influenced by those older established art forms, and have a similar feel to their work. Artists like: Stanley “Mouse” Miller (American, 1940-2007), Rick Griffin (American, 1944-1991), Victor Moscoso (Spanish-American, 1936-), Wes Wilson (American, 1937-), Bob Masse (Canadian, 1945-), and Alton Kelley (American, 1940-2008). David has had over 150 art exhibitions worldwide, in locations such as: 10 The United States (including the Metropolitan Museum of Art, NYC), Brazil, South America, Jamaica, Paris, and throughout Europe. He has won numerous awards and accolades from national and international groups, including: The American Institute of Graphic Arts (AIGA), the New York Society of Illustrators, and the Biennial of Illustration Bratislava. In 2016, David won First Place in the short story competition sponsored by the Eaton Literary Agency for his story titled “An Artist in Provence” (France). Throughout his long career, David has remained true to his art and has not only maintained his own unique style, but has securely earned a place in the annals of illustration history. He has worked and lived in New York (including Manhattan and the Hamptons), Pennsylvania, Mexico, Jamaica, and France, and currently resides in Newport Beach, California.

David’s senior portrait from high school, 1964.

11 FAMILY HISTORY, YOUTH AND EARLY EDUCATION

nitially David’s grandparents immigrated to the United States from Italy and settled in Amana, Iowa. His grandmother died giving birth to his mother Ada Palladini (née Sassatelli, American, 1922-1985), and I without the means to care for and support her and her elder sister Nella, David’s mother was sent to Italy as an orphan to be raised in a convent. She was going through her period of novitiate as a young adult when she first met David’s father Aldino “Aldo” A. Palladini (Italian-American, 1914-2004). Aldo was in the Royal Italian Army, and while Ada was working in the convent yard one day she happened to notice a handsome man in an army uniform riding by on a motorcycle. Needless to say, Ada was quite smitten. Since she was a novice and free to quit the novitiate at any time, she jumped the convent wall two days later, and they rode off together on his motorcycle. David was born on April 1, 1946, in the tiny northern village of Roteglia, Castellarano, Italy, located in the Province of Reggio Emilia (RE) in the Emilia-Romagna region. The family also had two other sons; David’s older brother William “Bill” N. Palladini (Italian-American, 1943-), who is currently retired and is an avid community activist and preservationist, and David’s younger brother Mario R. Palladini (American, 1956-). With WWII over and Italy broken by the war, David’s family immigrated to the United States in 1948 when he was two years old. His mother had arrived shortly before then, on April 13, 1948, on the S.S. Vulcania in the Port of New York. She came to look for a job and a suitable house to live in, in order to make their transition to America a little easier. His father, along with David and his older brother William, followed later that year on October 1, 1948, arriving on the same steamship. The family settled in Highland Park, IL, and resided at 53 Highwood Avenue. David and his siblings had a traditional Catholic upbringing and his father owned a landscape and stone contracting firm which served many residents and businesses throughout the north shore, including Highland Park, Lake Forest and Northbrook, IL.

12 While attending weekly Mass at St. James Roman Catholic Church in nearby Highwood, one of David’s earliest artistic influences were the magnificent stained-glass windows that adorned the walls of the church. Every Sunday he would find himself mesmerized by the beautiful color and designs of the stained-glass windows with their black lead-lined borders, and some of his earliest drawings were done in that style which really inspired his later use of color. As a young boy, David often passed the time reading or drawing in the basement of their home. Each afternoon, he could also be found out behind the local Highland Park Public Library, reading in a glade by a small brook, with the two books he had chosen for that day. He’d read for hours, and it was there that he first discovered the power and beauty of nature, which he feels has been the guiding-light of his life and his art. Another early inspiration was a holy missal that his mother had given him which became one of his fondest treasures. He would get lost in its illustrations and paintings from the world’s great masters. He stated that his mother originally wanted him to become a priest, possibly out of specific guilt about her flight from the convent with his father, but went on to say that he was thankful it never worked out that way, though, in those early years he did feel that his connection to a universal power had been securely forged. He feels that spiritual force has protected and guided him in the different directions he has taken, and also during some of the more turbulent times in his life. He continues to feel that power and connection most strongly when he is deep in nature.

“Inspiration is the essence of art. It consists of several meanings – spiritus, Latin for spirit or soul; and inspirae, to breathe in. To breathe in nature and beauty until the spirit fills you up. Just as air is necessary for life, inspiration is necessary for the artist to live.”

[1] — David Palladini

13 As a fledgling young artist, David felt that his art was a private matter and reserved it only for himself. He felt that it was a way to block out reality and to protect himself from a world that he couldn’t understand and didn’t like. Any thoughts of becoming a professional artist were quickly dispelled by his parents with the typical response of, “Artists don’t make any money. Do you want to starve?”[2] But that didn’t stop him from pursuing his artistic talent which was still only a personal endeavor at that time. He did have some moderate success in grade school with his art, winning the “Help Prevent Fires” poster contest. By 1963, during his senior year of high school, his art instructors really began to take notice. He needed one more credit for graduation and Art seemed like the obvious choice. Months later, while working on a painting in class, a visitor walked in. He turned out to be the Assistant Dean from the Pratt Institute, a private college in New York City and considered one of the best art schools in the nation. The gentleman had been traveling throughout the U.S. scouting out potential students and offered David a full four-year scholarship right there on the spot. When his parents heard of the all- expense-paid scholarship, they immediately changed their minds and agreed that maybe becoming an artist was a wonderful idea after all. David graduated from high school and was soon on his way to begin his art studies at the Pratt Institute in Brooklyn, New York, in the fall of 1964.

The Pratt Institute Main Building, Brooklyn, NY, where David began his studies on a four-year scholarship. Courtesy of Pratt Institute Archives.

14 FORMAL ART EDUCATION AND EARLY COMMERCIAL SUCCESS

hile at the Pratt Institute, David’s artistic skill quickly emerged and began to crystallize. His growth and metamorphosis continually amazed his instructors, and though he may not have been fully aware of it W himself, he was only doing what came naturally to him. Several of the instructors even purchased some of his artwork which flattered him, but were sold for paltry sums. In 1965, during his summer recess at Pratt, one of his instructors arranged a job for him in Chicago as an illustrator for an advertising agency, which David considered a ‘bullpen’ job. His boss was the Art Director and had a client in New York City named the Brown Company. As fate would have it, David along with three other artists, were soon commissioned to create illustrations for what would become known as the Linweave Tarot Pack. The Linweave Tarot Pack, was a large (5-1/2 x 8-1/2, or 15cm x 22cm) non-traditional deck published by the Brown Company, Pulp, Paper, and Board Division located at 277 Park Avenue, NY. It was published as a promotional product for their Linweave product line of printing papers in 1967. The Pack consisted of a partial sampling of the fifty- eight different papers in their product line, as a graphic ‘showcase’ of fine illustration from many sources on fine paper. The Linweave line of papers were considered art papers and were beautiful to work with, and each card in the Pack was printed on a different type of paper. The three other contributing artists for the Pack included illustrators Ron Rae (American, 1937-), Hyman “Hy” Roth (American, 1937-2011), and Nicolas Sidjakov (Sometimes spelled Nicholas, Latvian-American, 1924-1993). The Pack consisted of 22 Major Arcana Cards, 16 Court Cards and 4 Aces, and each artist took one suit (Ace and Count Cards); Palladini took the Swords, Rae the Coins, Roth the Cups, Sidjakov the Batons, and the Major Arcana cards (22 in all) were fairly divided amongst the four artists. David completed 10 of the 42 cards that comprised the deck, and they became his first real published forms of 15 artwork. David chose the Swords because of the direct link to his heritage. He stated that, “My surname is derived from the French “paladin”, indicating a heroic knight or defender of the king. And my first name is Hebrew for “Beloved by God.” So then when combined, I am a knight of the king who is beloved by God. In fact, I believe to be descended from King Charlemagne who ruled over France as well [3] as Italy. The town where I was born still speaks a French-Italian dialect.” The packaging for the Linweave Pack was designed by prominent Chicago artist and designer David “L.D.” Burke (American, 1934-2014), and included an illustration by the artist Don Wilson (American, c1944-). The statement, “Linweave Spells Your Fortune…with a modern interpretation of the medieval Tarot pack presented on the most exciting creative papers in America.”[4] appeared printed on the Pack’s cover. Burke recalled how David was included with those other three more seasoned artists specifically because of the impressive talent he displayed so early in his career. Though David didn’t know what Tarot was at the time, and even had to look the word up, images began to come into his mind regarding each of the designs, and he drew each one out of pure imagination, “On auto-pilot,”[5] as he recalled, and added, “…things just seem to happen to me…I am pretty sure I was being guided by the unseen hand. I was achieving things at a very early age which shot me forward in my career.”[6] David also designed twelve French–titled cards for the Linweave Pack; Le Mat, L’Impératrice, L’Empereur, L’Hermite, La Roue de Fortune, Le Pendu, XV Le Diable (also made into a poster “What’s in the Cards for you in `67?”), Le Roi d’Épée, La Reine d’Épée. Le Chevalier d’Épée, La Valet d’Épée, and L’As d’Épée. The deck is pretty rare to find on the open market and contains an array of wonderful artwork by those four talented artists. David has gone on to state that, “In the scope of my entire career, the Linweave Tarot remains the mother, the genesis, the queen of my work.”[7] The Linweave Pack also included the following humorous statement from the Brown Company which was used for its release in 1967: “What’s the Linweave Tarot Pack? Just the grooviest graphics going. Forty- two fantabulous designs, on oversize (5-1/2 x 8-1/2) cards. An artistic tour de force that reinterprets for the modern age the original Tarot Pack that is the great-great granddaddy of all present-day card games. Rendered in the hotsiest of techniques, on papers that look good enough to eat. (Please no bites. You’ll ruin the design.) A smorgasbord of blue-chip illustrators. An aurora borealis of vibrant color on your bulletin board. Plus—the divinatory meanings of the Tarots as used in fortune- telling. (Riffle through the deck and pinch the woman you love.) Every A.D. in the country will go ape over these cards. Don’t climb a tree. Hurl a coconut at your paper supplier or your printing salesman. He just might happen to have a Linweave Tarot [7.1] pack for you.” Shortly after returning to Brooklyn to continue his junior year at school,

16 another gentleman had approached David in his painting class for a solo commission project. He asked David to design a completely unique and new Tarot deck, The Aquarian Tarot. The gentleman turned out to be Lloyd B. Morgan (American, 1935-2011), the publisher for Morgan Press, Hastings- on-Hudson, NY, and Morgan & Morgan, Dobbs Ferry, NY. Morgan had seen the Linweave Tarot Pack, which initially led him to David. With guidance from, The Pictorial Key to the Tarot (1910), by poet and scholarly mystic Arthur Edward Waite (American-born British, 1857-1942), David set out to design seventy-eight pieces of new original, full-color artwork, which was quite a daunting task for an artist who was still a full-time college student. Morgan told David he would pay him $100 per illustration ($7,800 total), which was a lot of money for a nineteen-year-old art student at that time. With revisions, the illustrations took about eight months to complete. David was living in Manhattan and had to juggle his time between schoolwork, the Aquarian Tarot deck, and another project at that time, a theater poster commission as part of a special graphics project through the Pratt Institute. The poster was used for the April 25, 1968 opening production of Edmond Rostrand’s “Cyrano de Bergerac” by the Repertory Theater of Lincoln Center at the Vivian Beaumont Theater, under the direction of Jules Irving (New English version by James Forsyth). The play was a great success and his poster ended up on the walls of the Lincoln Center itself, in local bus shelters, as well as being published internationally.

“All real art is honest and truthful, regardless of whether it is your taste or not. The process of creation is in itself truth.”

[8] — David Palladini

The Aquarian Tarot deck was published in 1970 by Morgan Press Inc., out of Hastings-on-Hudson, NY (then Dobbs Ferry, NY). Palladini’s unique style of illustrations combined the traditional Tarot symbols along with more modern updated images which incorporated Art Deco and Art Nouveau designs with fine detail and precise execution. David remembers seeing his published Aquarian Tarot deck for the first time

17 in a little coffee shop boutique in Manhattan’s Upper East Side called Serendipity 3, which still exists in the city today. Needless to say, David was full of pride and immediately bought the deck and still has it to this day. At first, the commission seemed very lucrative for a college student, but unfortunately he was never paid the total promised by Morgan & Morgan. In addition to the original $7,800, David was supposed to have also received a large sum of money from royalties, but suddenly the company declared bankruptcy in 1975, and David unfortunately ended up with nothing more from the project. Lloyd Morgan did, however manage to keep Morgan Press operating out of Dobbs Ferry, NY until 1996 when it finally closed. In 1992, the publication rights to the Aquarian Tarot were bought by Stuart R. Kaplan (American, 1932-), founder of U.S. Games Systems, Inc. (USGS) out of Stamford, CT, who had been distributing the deck since 1974. Kaplan continued to publish the Aquarian Tarot deck in different languages, and fortunately David has received royalties ever since. The deck has been, and still is, one of the most popular and best- selling Tarot decks sold around the world today. It used to be printed by AGMüeller, Switzerland, but is now being printed by the well-known playing card manufacturer Modiano, in Trieste, Italy. The 2016 release of the Aquarian ‘Keepsake Tin’ is being printed out of China. “With uncommon grace and technical virtuosity, then fledgling artist David Palladini created an enduring masterpiece. Clearly referencing Pamela “Pixie” Coleman Smith’s designs for the classic Rider-Waite-Smith deck as departure point only, he then made it entirely his own. And this is where the Aquarian succeeds where the multitude of RWS clones falter. For this deck was fashioned by a solidly trained artist fluent in a variety of styles and techniques. The result is a Tarot of superlative aesthetic beauty upon which an entire generation of readers willingly cut their teeth.”[9] “David’s heart is so connected to the higher realms that his drawing and paintings create portals through which others can reach out to the heavens…And his images will continue to awaken and heal people for years to come.”[10] At the end of his junior year at Pratt, David spent the summer in Europe. Part of the plan was for him to photograph his senior thesis there, which consisted of black & white photos of working class people. He ended up taking thousands of photographs during his time abroad. While back at school in the fall, during his senior year at Pratt, David was approached yet again, this time in his photography class by a gentleman who wanted to talk with him about a prospective commission. The man offered him a job as an official photographer for the Cultural Olympiad held prior to, but as part of, the XIX Olympic Games in Mexico City during October of 1968. David jumped at the chance and left Pratt early, without graduating, and lived in

18 Mexico for the next year. While there, another opportunity opened for him when the head poster designer for the Cultural Olympiad resigned. David quickly volunteered for the position and created twelve iconic posters with stylized imagery. He also shot color photo covers for the official Olympic Games programs for events such as track & field, basketball, and the equitation competitions. During his time in Mexico, David was separately commissioned to shoot photographs of nearly six thousand different varieties of plants and flowers, which appeared in Mexico City’s new guidebook for the botanical gardens. In addition, he was hired to be the personal photographer for the world- renowned American pianist Harvey Lavan “Van” Cliburn, Jr. (American, 1934-2013), for his concert tour of small opera houses throughout northern Mexico. David moved back to New York City in late 1968 and took a job with Push Pin Studios, which was considered the premier illustration house in the world at that time. It was then that David finally realized he had become an illustrator.

Self portrait by David Palladini featured in the book, Twenty-Six Starlings Will Fly Through Your Mind, by Barbara Wersba, HarperCollins, 1980.

19 "Cyrano de Bergerac", by the Repertory Theater of Lincoln Center at the Vivian Beaumont Theater, under the direction of Jules Irving (New English version By James Forsyth). Illustration by David Palladini.

The Lovers, unpublished alternate illustration by David Palladini, 2005.

The Lovers, from the The Lovers, from The New Aquarian Tarot by David Palladini Tarot by David Palladini, 1967 (image © U.S. Palladini, 1993 (image © Games Systems, Inc.) U.S. Games Systems, Inc.)

L’As d’Épée, from the Le Valet d’Épée, from the Linweave Tarot Pack by David Linweave Tarot Pack by David Palladini, 1967. Palladini, 1967.

Le Chevalier d’Épée, from La Reine d’Épée, from the the Linweave Tarot Pack by Linweave Tarot Pack by David David Palladini, 1967. Palladini, 1967.

Le Roi d’Épée, from the Le Mat, from the Linweave Tarot Linweave Tarot Pack by David Pack by David Palladini, 1967. Palladini, 1967.

L’Impératrice, from the L’Empereur, from the Linweave Linweave Tarot Pack by David Tarot Pack by David Palladini, Palladini, 1967. 1967.

L’Hermite, from the Linweave La Roue de Fortune, from the Tarot Pack by David Linweave Tarot Pack by David Palladini, 1967. Palladini, 1967.

Le Pendu, from the Linweave Le Diable, from the Linweave Tarot Pack by David Tarot Pack by David Palladini, 1967. Palladini, 1967.

The Sun, from the Aquarian The High Priestess, from the Tarot by David Palladini, Aquarian Tarot by David 1967 (image © U.S. Games Palladini, 1967 (image © Systems, Inc.) U.S. Games Systems, Inc.)

The Emperor, from the The Tower, from the Aquarian Tarot Aquarian Tarot by David by David Palladini, 1967 (image © Palladini, 1967 (image © U.S. Games Systems, Inc.) U.S. Games Systems, Inc.)

The Sun, from The New The High Priestess, from Palladini Tarot by David The New Palladini Tarot Palladini, 1993 (image © by David Palladini, 1993 U.S. Games Systems, Inc.) (image © U.S. Games Systems, Inc.)

The Fool, from The New Strength, from The New Palladini Tarot by David Palladini Tarot by David Palladini, 1993 (image Palladini, 1993 (image © U.S. Games Systems, © U.S. Games Systems, Inc.) Inc.)

Three of Swords, from The Tower, from The New The New Palladini Tarot Palladini Tarot by David by David Palladini, Palladini, 1993 (image © 1993 (image © U.S. U.S. Games Systems, Inc.) Games Systems, Inc.)

Illustrations from the Aquarian and New Palladini Tarot decks reproduced by permission of U.S. Games Systems, Inc., Stamford, CT 06902 USA. Copyrights 1967 and 1993 respectively by David Palladini, publication copyrights 1970 and 1996 respectively by U.S. Games Systems, Inc. Further reproduction prohibited.

Gemini, from the Zodiac Posters Virgo, from the Zodiac Posters by David Palladini, 1969. by David Palladini, 1969.

Libra, from the Zodiac Posters by Sagittarius, from the Zodiac David Palladini, 1969. Posters by David Palladini, 1969.

Capricorn, from the Zodiac Pisces, from the Zodiac Posters Posters by David Palladini, 1969. by David Palladini, 1969.

“Festival Internacional de Cine”, XIX Olympiad Cultural Program, Mexico City, illustration by David Palladini, 1968. Format Design: Lance Wyman.

“Ballet De Los Cinco Continentes”, XIX Olympiad Cultural Program, Mexico City, illustration by David Palladini, 1968. Format Design: Lance Wyman.

“Hanna Aroni”, XIX Olympiad Cultural Program, Mexico City, photography by David Palladini, 1968. Format Design: Lance Wyman.

“El Cine Japones”, XIX Olympiad Cultural Program, Mexico City, illustration by David Palladini, 1968. Format Design: Lance Wyman.

Dragons & Dreams: A Collection of New Fantasy and Science Fiction Stories, Jane Yolen (Editor), Charles G. Waugh (Editor) and Martin Harry Greenberg, New York Harper & Row (Harper Collins), jacket art by David Palladini (1985), Publication 04-18-1986.

THE PRODUCTIVE YEARS, 1969-2002

rying to firmly establish himself as an illustrator in the early days of the 1970’s proved to be quite a difficult task for David at first. It was not only exciting, thinking about the potential for getting new T illustration work coming in, but it could also be quite disheartening at times. He would often wait for days for the phone to ring, rejoicing when he would get a new commission. Frequently he would have to wait to get paid, sometimes for months at a time or even having to beg for his pay, which was always long overdue. Success came in stages, but it didn’t take long for David to achieve international renown as an award-winning illustrator and fine artist during this time period. He also exhibited his art regularly, with one of his best shows held at the prestigious Metropolitan Museum of Art in New York City. One evening, after spending dinner with his old roommate from Pratt and his wife on their houseboat, David found himself out on the deck staring up at the heavens. He was completely seduced by that tranquil experience and that was all it took to convince him that he wanted a houseboat for himself. He spent the next month searching the south shore of New Jersey for an affordable boat to live on. He eventually found a twin engine forty-two foot boat by Consolidated Yacht, Inc., named “The Merry Sea”, which he lived on in the Hudson Harbor Boat Basin, and which was amazingly, across from his friend’s boat. David’s new houseboat was originally built in 1939 and was made of solid mahogany. It had an oak hull, huge steering wheel, a brass binnacle which held the ship’s compass, and her name was painted in gold across the stern. Though living and working from a boat presented its own challenges, it was nothing in comparison to actually making a living as an artist in New York City during that time. To help supplement his income, David also taught painting, drawing, and illustration classes for ten years at the School of Visual Arts (SVA) in New York City from the mid 1970’s–mid 1980’s. According to David’s 2011 memoir, The Journal of an Artist (Black Swan Press), his classes were very popular with the students because he immediately told 30 them that he could not teach them how to make art. If he did, they would end up being clones of a certain system or set of rules, which was the exact opposite of what an artist must be…an original, unique and personal…an expression of a singular soul. David would go on to say that he could only help them see their own work, to understand it better and explained the difference between looking and seeing, “Everyone looks at the world, at things. But only rare persons see the world.”[10.1] To illustrate that important difference, each year he would teach the “Leaf Lesson.” On the way to class, David would pick a leaf from a tree by the side of the road. In class, he would hold the leaf in the air in front of his budding young pupils and always tell them the same thing year after year, “…that they were not art students, but were artists studying.”[10.2] He would say that, “To most people, the green leaf was merely that…a part of a tree which blew in the wind and would eventually turn brown and fall to the ground. Firstly, what kind of green was it? Jade, or apple, or chartreuse? Emerald, or Kelly, or forest green? And for artists, maybe Hooker’s green, or sap green or sage. How could I mix that color on my palette? When we examine the leaf more closely, we found it was covered with an intricate network of veins, just like ours. These veins carry the liquid blood of the tree, just like ours. Except that the tree’s lifeblood is green, while ours is red.”[10.3] With a little more scientific explanation, David revealed the important point of his lesson, “The leaf follows the path of the sun in the sky, turning its surface to capture photons of sunlight, and changing them directly into energy. This energy moves food and water from the roots to the branches to make new cells grow towards the sky. The underside of the leaf breathes in carbon dioxide and exhales oxygen, making all biological life possible. The tree makes seeds, to create its children and carry on the chain of life, just like we do. A tiny seed contains energy sufficient to grow a living massive tree two hundred feet tall. And inside every cell of every leaf, branch, and root are millions of pieces of coded information, precisely placed on a spiral helix. Seeing deeply brings knowledge, and knowledge allows one to see deeply.”[10.4] David also had lessons he would teach every year that were meant to provoke deep emotional responses and even sometimes anger. One in particular was called “The Harsh Lesson.” He said, “Art school is like a womb, a safe haven within which sensitive artists have time to grow and experiment…time to find themselves.”[10.5] But unfortunately the day soon approached where they would be thrust into reality. David considered his most important task as a teacher was to prepare the artists for the inevitable pain of the artistic life. He said, “It was my job to pass on the knowledge I had gained to help them avoid as much as possible the frustrations and disappointments of the absurd idea of trying to create in a world concerned only with money and power.”[10.6] Each year he would choose one of the best artists in the class. He would walk up and

31 down along the wall of that day’s artwork turned in by the students. Then he would single out a painting and launch into a tirade about how weak and pathetic the work was, and how little talent the artist had. There was usually a look of shock on the student’s face. One year, a crying student ran out of his class and returned with the head of the Art Department. Then like clockwork, David would apologize and explain that, “…what I had done would be done by others to all of the artists in the class. Art Directors, Editors, Gallery Owners, and Art Critics would say the same things, and break their hearts in the same way. Even the public who saw their art might ridicule and demean them.”[10.7] The “Harsh Lesson” was meant to teach them that despite pain and doubt, above all, one must continue. David would say, “Continue to believe in oneself and one’s work. How many artists and writers, dancers and poets, musicians and sculptors down through the ages were first ridiculed, then reviled, and finally revered?”[10.8] As each year of school wound down to the final two weeks, David would assign the “Final Lesson.” With the heavy burden on students to complete other coursework and projects from other instructors, David would announce his “Final Lesson”, to the inevitable groans and complaints of students before their attention was piqued with bemused interest. “I want you to write your epitaph,” he would say, and added, “You have died, and the local newspaper prints a one paragraph notice of your passing. What does it say?”[10.9] The following week, the students would turn in their assignment and David would read each one out loud, leaving out the individual names of the students. Year after year, David stated that they all read almost exactly the same…something like this… “ , artist, died yesterday, and was buried in an unmarked grave. No mourners attended at graveside. had been ill for some time, and died penniless.”[10.10] As David read each epitaph, one after the other, the lesson began to sink in. He would ask them, “Why were artists so empty of hope? If you were business students, I would say, you would all write epitaphs of your great success and wealth, and how many mourners from Wall Street and the financial capitals of the world came to bid you farewell. What is wrong with artists? Do we know that our lives will probably be as failed artists? Is this a self-fulfilling prophecy? After all, the world thinks poverty is good for the artistic soul, making us work harder. They refer to us as “starving artists.” Do we believe their opinion about being an artist, something they know nothing about? Or do we believe what they say…? An artist must be dead before his work is valued.”[10.11] With those insightful and deep lessons, David taught his students more than just the typical curriculum of art studies. More times than not, his students appreciated those lessons and have reflected back on them throughout their own careers with respect and gratitude, for

32 David’s influence and guidance helping them to see and understand their own artwork. Many of David’s students completed his courses each year and some have gone on to have successful careers in their chosen field of art, illustration, or specific form of artistic expression. Around 1985, David received a call from the publisher Viking Penguin, Inc., who wanted to commission him to create a series of drawings for a book titled, The Eyes of the Dragon, by the famous writer Stephen King. Advance publicity for the book stated that it would appeal to ‘readers of all ages’, and though it was an epic fantasy originally written for his daughter Naomi, it was a complete departure from the horror genre he was most well-known for. King’s story was first published in 1984 as a limited edition slip-cased hardcover by his own small publishing house Philtrum Press. A few years later, Viking Penguin Inc., secured the rights to publish the Trade Edition of King’s book for the mass market and wanted David to illustrate it. Like most people, David had really only known of King as a horror writer and he took the commission since it was unlike anything else King had done before. He even stated that if it had been a horror story, he would not have taken the job. David was comfortable with illustrating children’s books and stories, since he had previously done artwork for a few other well-known children’s authors and was confident he could deliver for The Eyes of the Dragon. At the time, David had been working side jobs and needed the extra income. Viking promptly sent David a manuscript of King’s book to read, and he drew inspiration from certain passages that he felt he could represent graphically and would translate well with King’s descriptions or specific scenes within the story. David was limited to doing only black and white drawings for the interior of the book due to the expense of the publication which reproduced his drawings as printed halftones. During the initial sketching process, King was gracious enough to change some of the text in the story to accommodate David’s visions for the illustrations; like the drawing of the wolf that he changed from a white wolf in King’s original story to David’s concept which had black and white fur. From start to finish, the project took David six months to complete all twenty-three illustrations, two of which were in color and used on the front and back of the dust jacket. One additional illustration he had created was never published because it did not match the description in the story. Upon release, the book received favorable reviews and Barbara Tritel of The New York Times described The Eyes of the Dragon as drawing clear influence from European fairy tales and wrote that the novel was, “...more elegant than any other novel Mr. King has written so far.”[10.12] And she went on to say that, “Lovers of detail will enjoy the painstaking pencil drawings by David Palladini.”[10.13] Since its initial publication over three decades ago, The Eyes of the Dragon has gone on to be one 33 of the best-selling books by Stephen King and David has garnered critical acclaim for his contribution of the illustrations in the story.

Title Page illustration for The Eyes of the Dragon (Viking, 1987), illustration by David Palladini.

Since his first published works of art in the late 1960’s, David went on to illustrate covers and interior illustrations for numerous national and international publications, magazines, newspapers, and books, as well as doing movie, musical and commercial posters, album cover art, opera drawings and even self-published books, through the 1970’s-80’s. Every advertising agency knew David’s name, and he was usually at the top of their lists to call when they needed a good illustrator. David’s vast portfolio of illustrations found their way into many popular publications and magazines such as: Time, New York, The New York Times (Op-Ed drawings), The Washington Post, Life, Redbook, Ladies Home Journal, and National Lampoon. Some of his more acclaimed illustrative works include: Author Jane Yolen’s, The Girl Who Cried Flowers and Other Tales, (Thomas Y. Crowell, 1974 Edition [1973]), and her book, The Hundredth Dove and Other Tales, (Thomas Y. Crowell, 1977), the theatrical movie posters for the 1979 Werner Herzog film Nosferatu the Vampyre (voted one of the most iconic movie posters of all time), and his most widely-held illustrations from the aforementioned Trade Edition of Stephen King’s, The Eyes of the Dragon, (Viking, 1987).

Theatrical movie poster illustration by David Palladini for the 1979 film, Nosferatu the Vampyre, written and directed by Werner Herzog, starring Klaus Kinski, Isabelle Adjani, Bruno Ganz and Roland Topor.

Unpublished illustration by David Palladini for the 1979 science fiction horror film by 20th Century Fox, Alien, directed by Ridley Scott, screenplay by Dan O’Bannon, starring Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, and Yaphet Kotto.

The Magazine of Fantasy & Science Fiction, (cover The Magazine of Fantasy & Science Fiction, (cover illustration by Palladini of Jane Yolen’s, The illustration by Palladini of Jane Yolen’s, Hundredth Dove and Other Tales), Brother Hart), Vol. 55, No. 5, #330, Vol. 52, No. 4, #311, Mercury Press, April, Mercury Press, November, 1978. 1977. Copyright © Spilogale Inc. Copyright © Spilogale Inc.

Illustration which appeared in the Playboy magazine article, “The Loneliness of the Long-Distance Eater”, by Rudolph Chelminski, illustrated by Palladini, Pgs. 152-154, Vol. 26, No. 5, May, 1979

Alfred Hitchcock’s Mystery Magazine (AHMM), story New York magazine, (cover illustration by David “Final Marks, Final Secrets”, by Brendan DuBois, Palladini, photograph of Caruso by Aimé Dupont), cover illustration by David Palladini, v32, #11, “The Magic of the Metropolitan Opera: Centennial November, 1987. 1883-1983”, Special Souvenir Edition, Oct 17, Vol. 16, No. 41, published by New York Media, LLC, 1983.

The Moon Ribbon and Other Tales, by Jane Yolen, Twenty-Six Starlings Will Fly Through Your Mind, Thomas Y. Crowell, NY, 1976, cover by Barbara Wersba, Harper Collins, 1980, cover illustration by David Palladini. illustration by David Palladini.

Interior illustration by David Palladini from, The Girl Who Cried Flowers and Other Tales, by Jane Yolen, Thomas Y. Crowell, 1974 Edition (1973).

The Girl Who Cried Flowers and Other Tales, by The Hundredth Dove and Other Tales, by Jane Jane Yolen, cover illustration by Palladini, Yolen, cover and interior illustrations by Thomas Y. Crowell, 1974 Edition (1973) Palladini, Thomas Y. Crowell, 1977.

Rimsky-Korsakov “Scheherazade”, Zubin Mehta Conductor, The Los Angeles Philharmonic Orchestra (Symphonic Suite For Orchestra, Op. 35), record album cover art by David Palladini.

Illustration by David Palladini from, The Moon Ribbon and Other Tales, by Jane Yolen, Thomas Y. Crowell, NY, 1976.

The Ceremonies, by T.E.D. Klein, (dust jacket illustration by Palladini), The Viking Press, 1984.

Illustration by David Palladini from, The Girl Who Cried Flowers and Other Tales, by Jane Yolen (Thomas Y. Crowell, 1973)

“Conan”, unpublished illustration by David Palladini for the 1982 feature film, Conan the Barbarian directed and co-written by director John Milius, and writer Oliver Stone, based on the story by Robert E. Howard, starring Arnold Schwarzenegger and James Earl Jones.

“The Blue Lagoon”, unpublished poster design by David Palladini for the 1980 feature film of the same name by director Randal Kleiser, screenplay by Douglas Day Stewart, based on the 1908 novel by Henry De Vere Stacpoole, starring Brooke Shields and Christopher Atkins.

In 1988, while living in the East Hamptons, NY, David married fellow artist Sherry Ann Schreiber, an internationally known tapestry weaver, interior designer, and painter whom he had originally met at the Pratt Institute. The wedding took place on October 16, at the Wainscott Chapel in Wainscott, NY, with the ceremony performed by Justice Edward W. Horne. The reception was held at David and Sherry’s home on Main Street in Wainscott. The couple had been building their new home in Jamaica (West Indies), where they planned to live part-time. This new home was situated on Mt. Boon, high above the town of Discovery Bay in St. Ann Parish, on the northern coast of the island nation. In addition to being an artist, David was also a musician, and had built a music room and studio into the home. Each morning he would awake at 3:00am, go downstairs to his music room and in the cool night air, surrounded by his eight guitars and three keyboards, he would write and record songs. He also wrote his book, A Year (More or Less) in Jamaica, which he also illustrated. It was published by Paladin Press in Discovery Bay, by one of his islander friends, and his son, on their old hand-cranked press. 30,000 copies of the book were eventually produced and it was published in 1992. Though both David and Sherry exhibited their artwork in and around Jamaica, they still found it tough to make a living as artists, especially with the expense of David printing and publishing his own book. As fate would have it, sometime around 1992, broke and surviving on literally rice and beans, David received a phone call from Stuart R. Kaplan of USGS. Being off-the-grid for a while, Kaplan was somehow able to track David down and wanted to commission him to do a series of illustrations for a new Tarot deck—The New Palladini Tarot. Ironically, Kaplan wanted to pay David $100 per illustration, the same amount he was paid for his Aquarian Tarot commission, but David of course balked at the amount. They ended up working out an accepted price for the job, and with that challenge David quickly set out to create seventy-eight new designs for the deck. In ninety- degree heat and 100% humidity David literally dripped sweat into his designs and was able to complete all of the pieces, while also creating some additional backup illustrations. The deck was later published in 1996, and featured a reworked and updated style of imagery and colors from that of his previous Aquarian deck, and incorporated Medieval, Renaissance, Egyptian, and more modern contemporary art images in his unique original style. During the deck’s entire creation process images came naturally and easily into David’s mind, and the new designs seemed to just flow out. He considered the designs as more precise, finer in detail, and higher in content than his previous Aquarian deck. He hoped that the imagery would become a bridge between all worlds ancient, modern, and perhaps even the earth’s future. The

42 illustrations were drawn with pencils, ink, and colored markers on rag paper. He focused on representing the many races and various religions of man—to have a more universal appeal and inclusive feel. David and Sherry later sold their home to the world renowned singer-songwriter, composer, and record producer Helen Folasade Adu, better known as “Sade” (Nigerian- British, 1959-). “As the creator of The New Palladini Tarot, I have tried to infuse as much magic and true meaning as possible into the artwork. But these subtleties will only become apparent and useful after careful and patient introspection. Each door which opens reveals more doors to be opened. Each road traveled leads to more roads and choices. Each new piece of knowledge gleaned from the cards leads to greater knowledge. Remember, your personal input is very important to the successful use of the Tarot cards, and intuition and sensitivity are paramount. The cards can only be a tool of introspection, a mirror for one’s own development, an occasional counsel and help. That is the spirit in which I wish my decks to be used. Not as a substitute for spirituality, but as an enhancement of belief and truth.” [11] -David Palladini Following the sale of their home in Jamaica, David and Sherry relocated to the south of France and unfortunately, after two years, the couple divorced. David continued to live in France until about late 2002 and for a time he resided in Saint-Rémy-de-Provence, a commune in the Bouches-du-Rhône, made famous by Nostradamus and Vincent Van Gogh who had originally been born there. David also spent three of those years living in the small secluded 10th century village of Oppède le Vieux, about thirty kilometers east of Saint-Rémy, from about 2000-2002. Only the village’s twenty-eight residents were allowed in Oppède and they dubbed David the exception as, “Monsieur Vingt-Neuf” or “Mr. Twenty-Nine”. The village sits high on a rocky outcrop surrounded by lush vegetation, forests, and rocks, and has atmospheric battlements, ruins of a castle, and winding streets made of ancient paving- stones, cut and laid by Roman legions who had originally conquered and settled the area. The 12th century ruins of the old church of Notre-Dame- d’Alydon dominates the skyline, and the village’s absolute seclusion appealed to David the most. There were no cars there since everyone rode bicycles, and above all, no noise with the exception of the sound of the wind, which would blow through the narrow cobblestone streets and sometimes lightly rattle the clay roof tiles. At night only one small lamp would light the beautiful iron crucifix in the village square. He fondly recalls the tiny rented room above the Le Petit Café which had a wonderful view of it all. When not in the village, David could be seen racing around the countryside in his classic 1971 white Alfa Romeo G.T. 1300 Giulia, or frequently seen donning his French fighter pilot’s jumpsuit, with numerous zippered pockets that could hold his art supplies like: charcoal, pastels, pens, and even half a baguette for a snack.

Le Petit Café in the secluded 10th century village of Oppède le Vieux where David lived from circa 2000- 2002. The room David rented was the one above the entrance. (Photograph Credit: © Sandrine Castineira and Bertrand Gourmelin of jecreemacave, jecreemacave.blogspot.com, 03/2015)

Sometime around late 2002, David moved back to the United States, and settled in Corona Del Mar, CA. Over the course of his forty-year career, David has left a lasting mark on the illustration world with his art, which has been a constant source of inspiration and beauty not only for him, but for the countless legions of fans worldwide. As of 2017, he currently resides in Newport Beach, CA. and has been diligently working on a new anthology of short stories titled, An Artist in the World, which is a poignant retelling of his life experiences while creating art around the world. The book has gone through its final edits and is set for future publication.

Exposition Pastels de David Palladini, Saint- Remy-De-Pce, Lieux Garance, n°1 Rue Estrine du 15 mai au 15 juin 1999, Vernissage, Samedi 15 mai 1999 à partir de 18 h. 44 “Despite having lived in society, I always felt I was playing a role, being sensible, congenial, mannerly, and stable. But out in nature, just me and my easel and canvas, the real me emerged…unstable, mercurial, perhaps anti-social, forever in conflict when encountering shallow falseness in others. Being alone allowed me to talk to the birds and flowers without shame, to shout at gathering storm clouds, telling them to hold off until I finished. The happiest times of my life are when I am alone, watching my hand do amazing things—when my mind blends with nature until I no longer exist. At these moments, I am finally complete.”[12] —David Palladini

David working en plein air (outdoors) in the south of France, painting almond trees on his trusted easel that had traveled the world with him.

45 ARTISTIC INFLUENCES AND MEDIUMS

avid often worked en plein air (outdoors), painting from his trusted easel that had traveled the world with him, and has cited some of his greatest artistic influences from the likes of: Michelangelo, Leonardo Da Vinci, Edgar Degas, D Vincent Van Gogh, and Toulouse-Lautrec. But perhaps his favorite he said was a Jamaican wood sculptor by the name of Stanley, whom he met while living in Jamaica. Stanley had carved a life-like human foot from a piece of ironwood root, of which David stated was equal to a Rodin, and was so real that he could see it walking. He still owns Stanley’s “foot” to this day. Throughout his career, David has worked in many different mediums, each with equal ease and technical skill, to include: pen & ink, colored markers, oil, charcoal, pastels, colored pencil & graphite, silverpoint, lithography, serigraphy, etchings, wood block prints, film & photography, as well as sculptures in clay, wax, stone, wood, and steel. At times, he even experimented with burnt wood and fireplace ashes, or painting on steel, wood, cork, and mirrors; pretty much anything he could find when canvas and paper were in short supply. But he always came back to drawing, and pastels became his medium of choice for most of his later life.

"Stanley's Foot" by a Jamaican wood sculptor by the name of Stanley, whom David met while living in Jamaica. Photographed by Paul Suntup.

Illustration for client Esquire Inc., from their artist portfolio examples for David Palladini, for the story titled, “The Happy Prince”, by Oscar Wilde, circa 1970’s.

Illustration for client Bernstein & Andriulli, Inc., NY, from their artist portfolio examples for David Palladini, circa 1970’s.

Illustration by David Palladini from, The Moon Ribbon and Other Tales, by Jane Yolen, Thomas Y. Crowell, NY, 1976.

"Kitchen Boy", previously unpublished illustration by David Palladini, circa 1975.

“Saint Sebastian”, previously unpublished illustration by David Palladini, circa 2005.

Two of several advertising illustrations by David Palladini for use in print ads for Ogilvie Products Inc., and Tussy Inc., Dorothy Gray Ltd., NY, for use in magazines such as: Vogue, Mademoiselle, Cosmopolitan and others, 1979.

SELF-PUBLISHED BOOKS

s an author, David has written, illustrated and published several of his own books, including: A Year (More or Less) in Jamaica (Paladin Press, 1992) and his follow-up book Jamaica Nice, You Know (Paladin A Press, 2007). His more recent 2011 artistic memoir is titled, The Journal of An Artist (Black Swan Press), which states on their back cover, “…is a bracingly honest look at a man who chose to honor his authentic path by devoting his life to art.” It is about his life and experiences as an artist, and the many places in which he has lived in the world. He wrote it to help young artists understand the realities and difficulties of the artistic life, but more importantly to embrace the beauty and creativity of living that life, which is the most important. The first entry in the book was written in 1982 while he was living in East Hampton, Long Island, NY, and states, “Sometimes I wonder…How long can I keep doing this?–this chasing after dreams. The dream is always just up ahead, a little out of arm’s reach. This art, which does not even exist until I create it. And what is the dream I chase? It is to leave a mark on this world of worlds, before I turn to dust. To try to make something out of paper, and paint, and chalk, which will continue on after me. To create parts of me, which are passed on from mother to son, because they are treasured. Each piece of art I make, takes a little part of me. The more I create, the less of me there is. Sometimes I wonder…How long can I keep doing this?–this chasing after dreams.”[14] Other self-published titles include: Painting the Soul: The Tarot Art of David Palladini, with co-author Anastasia Haysler (Black Swan Press, 2013) and as of 2017, his new anthology of short stories titled, An Artist in the World, which is a poignant retelling of his life experiences while creating art around the world (set for a scheduled 2017 publication). He has also been composing a manifesto titled, Artists- Awaken with a quote taken from it stating, “Art has always been in advance of the culture within which it was created. A mirror of today and tomorrow, and a beacon of the present and future.”[13] It is as yet unpublished.

A Year (More or Less) in Jamaica, self-published book, written and illustrated by David Palladini, Paladin Press, 1992.

The Journal of an Artist, written and illustrated by Painting the Soul: The Tarot Art of David Palladini, David Palladini, Black Swan Press, 2011. by David Palladini and Anastasia Haysler, Black Swan Press, 2013.

Cover illustration by David Palladini for the book, King Arthur, by Norma Lorre Goodrich, Franklin Watts, NYC, 1986.

Pastel by David Palladini, untitled- ‘Coastal Thunderhead’, Discovery Bay, Jamaica, West Indies, circa 1990.

Pastel by David Palladini, untitled- ‘Countryside Under a Stormy Sky’ (near Saint-Rémy-de-Provence, France), circa mid 1990’s.

Pastel by David Palladini, untitled- ‘Peupliers et Sillons’ (Poplar Trees & Furrows near Saint-Rémy-de-Provence, France), 1995.

David smiling for the camera, the Hamptons, NY, circa the 1980’s.

Palladini’s home in Jamaica, Antilles (West Indies), Caribbean, circa the early 1990’s.

David with father “Aldo”, and brothers Mario and Bill, Santa Barbara, CA, circa the early 2000’s.

David with brothers, Bill and Mario, Santa Barbara, CA, circa the early 2000’s.

CHRONOLOGY

1946- Born, April 1, in the tiny northern village of Roteglia, Castellarano, Italy, which is located in the Province of Reggio Emilia (RE) in the Emilia- Romagna region, to father Aldino “Aldo” A. Palladini (Italian-American, b. Roteglia, Italy, 1914-2004) and mother Ada (née Sassatelli) Palladini (American, b. Amana, IA, 1922-1985). The family also had two other sons; David’s older brother William “Bill” N. Palladini (Italian-American, 1943-) & David’s younger brother Mario R. Palladini (American, 1956-).

1948- Palladini’s family immigrated to the United States from Italy after WWII and settled in Highland Park, IL. His father Aldo owned a landscape and stone contracting firm which served many residents and businesses throughout the north shore, including Highland Park, Lake Forest, and Northbrook, IL.

1964- David graduated from high school. Was given a full four-year scholarship to the Pratt Institute by the Assistant Dean during his senior year. Fall, began his studies at the Pratt Institute, Brooklyn, NY.

1965- Summer, during school recess, David worked as an illustrator for an advertising agency in Chicago, IL. While there, his boss introduced David to his client in New York City, the Brown Company, who commissioned David along with three other artists to create illustrations for what would become known as the Linweave Tarot Pack.

1967- The Linweave Tarot Pack is published, with four contributing artists; David Palladini, Ron Rae (American, 1937-), Hyman “Hy” Roth (American, 1937-2011), and Nicolas Sidjakov (Sometimes spelled Nicholas, Latvian- American, 1924-1993). Shortly after returning to Brooklyn to continue his junior year at school, another gentleman had approached David in his painting class for a solo commission project. He asked David to design a completely unique and new Tarot deck, The Aquarian Tarot. The gentleman turned out to be Lloyd B. Morgan (American, 1935-2011), the publisher for Morgan Press, Hastings-on-Hudson, NY and Morgan & Morgan, Dobbs Ferry, NY. Morgan had seen the Linweave Tarot Pack, 59 which initially led him to David. With guidance from, The Pictorial Key to the Tarot (1910), by poet and scholarly mystic Arthur Edward Waite (American-born British, 1857- 1942), David set out to design seventy- eight pieces of new original, full-color artwork. Morgan told David he would pay him $100 per illustration ($7,800 total), and with revisions, the illustrations took about eight months to complete. After his junior year at school, David spent the summer in Europe with the plan to photograph his senior thesis of black & white photos consisting of working class people there. While back at school in the fall, David was approached again, this time in his photography class by a gentleman who offered him a job as an official photographer for the Cultural Olympiad held prior to, but as part of, the XIX Olympic Games in Mexico City during October of 1968. David left Pratt early without graduating and lived in Mexico for the next year.

1968- David was an official photographer for the Cultural Olympiad held prior to, but as part of, the XIX Olympic Games in Mexico City during October of 1968. While there, another opportunity opened for him when the head poster designer for the Cultural Olympiad resigned. David quickly volunteered for the position and created twelve iconic posters with stylized imagery. He also shot color photo covers for the official Olympic Games programs for events such as track & field, basketball, and the equitation competitions. During his time in Mexico, David was separately commissioned to shoot photographs of about six thousand different varieties of plants and flowers, which appeared in Mexico City’s new guidebook for the botanical gardens. In addition, he was hired to be the personal photographer for the world-renowned American pianist Harvey Lavan “Van” Cliburn, Jr. (American, 1934-2013), for his concert tour he had done in small opera houses throughout northern Mexico. Circa the fall/winter, David moved back to New York City and took a job with Push Pin Studios which was considered the premier illustration house in the world at that time, and David finally realized he had become an illustrator.

From 1968-circa mid 1980’s- David mainly resided in Manhattan. He also purchased and lived on a houseboat for a brief time, called “The Merry Sea”, in the Hudson Harbor Boat Basin.

1970- The Aquarian Tarot deck by David Palladini is published, NYC. A series of twelve astrological Zodiac posters by Palladini were also published (originally created in 1969), NYC.

60 1974- Stuart R. Kaplan (American, 1932-), founder of U.S. Games Systems, Inc. (USGS) out of New York City (later out of Stamford, CT), begins their distribution of the Aquarian Tarot deck. The Girl Who Cried Flowers and Other Tales, by Jane Hyatt Yolen is published, with cover & interior illustrations by Palladini for the 1974 Edition (Thomas Y. Crowell, 1973).

1975- Morgan & Morgan declared bankruptcy and subsequently David was not paid the total promised by the company for his Aquarian Tarot commission. David was supposed to have received a large sum of money from royalties, but eventually ended up with nothing more from the project. November 3-5, exhibited, group show, “Art of the American Illustrator”, Saks Fifth Avenue Gallery, White Plains, NY.

Circa mid 1970’s–mid 1980’s- David taught painting and drawing classes for ten years at the School of Visual Arts (SVA), NYC.

1977- The Hundredth Dove and Other Tales, by Jane Yolen is published, with cover and interior illustrations by Palladini (Thomas Y. Crowell).

From circa 1982-1983- David briefly resided in Lahaska, Bucks County, PA.

From circa 1985-1988- David resided in the Hamptons, Long Island, NY.

1985- December 22, David’s mother Ada Palladini passed away, Corona Del Mar, CA.

1987- The Trade Edition for The Eyes of the Dragon, by Stephen King, is published, with cover and interior illustrations by Palladini, which took six months to complete all the drawings. August 18–27, exhibited, solo show, “Scenes of the Hamptons”, Conscience Point Inn, Southampton, NY.

1988- August 6–24, exhibited, group show, “The Environment Show”, where David showed ‘Realistic Scenes of Local Beauty’ at the Elaine Benson Gallery, Bridgehampton, NY. On October 16, David married artist Sherry Ann Schreiber at the Wainscott Chapel, Wainscott (East Hampton), NY, with the ceremony performed by Justice Edward W. Horne, and the reception held afterward at their home on Main Street in Wainscott. Sherry is an internationally known tapestry weaver, interior designer, and painter that had met David when they were both at the Pratt Institute. At this same time they had been building their new home in Jamaica (West Indies), where they planned to live part-time.

From circa late 1988 to 1992- David, along with his wife Sherry and their dog “Stitchie”, lived in the new house they had been building before they were married, on Mt. Boon, high above Discovery Bay, in St. Ann Parish on the northern coast of the island nation (West Indies), Jamaica, Caribbean. They later sold their home in Jamaica to the world renowned singer-songwriter, composer, and record producer Helen Folasade Adu, better known as “Sade”, (Nigerian-British, 1959-) around 1991.

1992- A Year (More or Less) in Jamaica, written and illustrated by David Palladini is published, with each copy printed by one of his islander friends, and his son, on an old hand-cranked press, with 30,000 copies eventually being produced, Paladin Press, Discovery Bay, Jamaica. Stuart R. Kaplan (American, 1932-), founder and publisher of U.S. Games Systems, Inc. (USGS), out of Stamford, CT, who had distributed the Aquarian Tarot deck since 1974, purchased the publication rights to the deck, and in the same year they started to produce their own version as well as in different languages, and fortunately David has received royalties ever since.

Circa 1992- While still living in Jamaica, David received a phone call from Stuart R. Kaplan of USGS, who commissioned him to do seventy-eight illustrations for a new Tarot deck, The New Palladini Tarot (The deck was later published in 1996).

From circa 1992 to late 2002- Following the sale of their home in Jamaica, David and Sherry relocated to the south of France and unfortunately, after two years, the couple divorced. David continued to live in France until about late 2002 and for a time, he resided in Saint-Rémy-de- Provence, a commune in the Bouches-du-Rhône, and also spent three years (from about 2000-late 2002) in the tiny 10th century village of Oppède le Vieux, about thirty kilometers east of Saint-Rémy. Only the village’s twenty-eight residents were allowed in Oppède and they dubbed David the exception as, “Monsieur Vingt-Neuf” or, “Mr. Twenty-Nine”.

1996- The New Palladini Tarot deck by David Palladini is published (USGS).

1997- Reading Tarot Cards: A Guide to the New Palladini Tarot, a companion book by author Susan Hansson is published, illustrations by David Palladini (USGS).

1999- May 15-June 15, exhibited, solo show, “Exhibition of Pastels by 62 David Palladini”, Lieux Garance, St Remy de Provence, France.

Circa late 2002- David moved back to the United States and settled in Corona Del Mar, CA.

2004- January 4, David’s father Aldo A. Palladini passed away, Santa Barbara, CA.

2007- Jamaica Nice, You Know, written and illustrated by David Palladini is published, which was written as a follow-up to his initial book, A Year (More or Less) in Jamaica (Paladin Press, 1992), also printed and published by the same company Paladin Press, Discovery Bay, Jamaica.

2009- David took to photography again and worked on a project documenting Orange County, CA in over 15,000 photographs. The photos were shot over a six month period and show nature under siege by what he aptly calls the ‘developers’. He was trying to raise awareness for the preservation of local nature and untouched land though the community and his art. One small community group even tried using one of David’s pastels of a remaining piece of unblemished land, to assist the cause by hopefully producing prints of the drawing.

2010- May, there is a wonderful podcast interview with David (#47) available for download at tarotpathways.com, titled “Aquarianism and Art with David Palladini”, conducted by Tarot professional Anastasia Haysler and Rose Red, so please have a listen! A few of David’s original and extremely rare pieces of illustration art were made available for sale through orlandotarot.com, but unfortunately the site is no longer active (as of 2011). The two pieces available were, “The Lovers” (2010) and “The Star” (2010), which are both mixed-media original illustrations consisting of pen & ink, colored marker and colored pencils, on 80# Bainbridge board.

2011- As of October, there was a Facebook fan page created and devoted to David Palladini and his artwork (which is not maintained by the artist personally). December, the autobiographical book, The Journal of an Artist, written and illustrated by David Palladini is published by Black Swan Press, with the statement, “The Journal of an Artist, is a bracingly honest look at a man who chose to honor his authentic path by devoting his life to art. Must one suffer to create art? Is an artist’s life only unacknowledged work and unrecognized sacrifice? David’s writings, and more importantly - his life and art - say no. Great beauty can come from joy just as easily, if not more so, than from pain and suffering.”[15]

2012- The publisher Black Swan Press created a website dedicated to the work of David Palladini, davidpalladini.com (Site design by Lowrance Creative), and for a limited time, they made some of David’s extremely rare original Tarot artwork available for purchase on the site (For $5,000 each—a few sold but are no longer available as of 3/2017), as well as select signed & numbered prints, and also his autobiographical book, The Journal of an Artist, 2011 (Black Swan Press)—a must have for any Palladini fan!

2013- Painting the Soul: The Tarot Art of David Palladini, by David Palladini and Anastasia Haysler was published, which features all seventy-eight cards from both his famous Aquarian Tarot and The New Palladini Tarot decks (both published by U.S. Games Systems, Inc.). In this book, David reveals his ideas and inspirations for the cards, sharing his love of art and Tarot. The card meanings are explored by Anastasia Haysler, providing insight into the colors, symbols, and messages in Palladini’s beautiful images. This book, along with his autobiographical memoir, The Journal of An Artist (Black Swan Press, 2011), can be ordered through the website store: tarotmediacompany-com.3dcartstores.com.

2016- May 18, while vacationing with his friend in Monterey, CA, David suffered a massive near-fatal heart attack. He was rushed to a local hospital and underwent immediate heart bypass surgery. He spent two weeks in intensive care at Hoag Hospital in Newport Beach, CA and was then transferred to a cardiac rehabilitation facility at Sea Cliff Healthcare Center, in Huntington Beach, CA for further care. He spent about a month at Sea Cliff where he slowly recovered and also had physical therapy, before being discharged in mid-July with a part-time caregiver to help him with his daily needs. During his hospitalization in late May, David found out that he had won First Place for the 2016 short story competition sponsored by the Eaton Literary Agency for his story titled, “An Artist in Provence” (France), which helped raise his spirits. David’s short story is part of the new book he has been working on this past year titled, An Artist in the World, which is a collection of short stories about his life and career as an artist. As of October 2, David’s cardiologist gave him a complete discharge, with a follow-up assessment in March of 2017. Since his heart attack and subsequent recovery period, David diligently worked on his new book. With all the support from family, friends, and his adoring fans across the globe, it has been a source of inspiration for him and has helped him remain positive through it all. He stated that the editing was complete with hopefully a 2017 release by a new publisher. October, a custom bound limited edition book by Paul Suntup of the 1987 Trade Edition of Stephen King’s The Eyes of 64 the Dragon (made to resemble reptilian skin) was finalized. The rebound editions used the page block from an original Viking Trade First Edition Hardback, with two binding styles made and signed on the title page by artist David Palladini who had done the cover & interior illustrations for the book. Only thirty copies (twenty-six lettered A-Z and four Rebinder Copies marked “RC”) were made in two styles; Style One used full leather binding cowhide which was dyed and engraved with a reptilian pattern and Style Two featured full leather binding with leather on the spine in red goatskin and the leather on the boards was genuine caiman skin. The page edges were cleaned and the book boards were sanded at the edges to create an elegant bevel. End sheets were hand marbled by the bookbinder into a flame pattern, the spine was rounded and with the addition of a hollow back and shoulders fitting behind the book boards, shelf wear and the sagging of the text block over time would be prevented. The spine was tooled in gold with raised bands and a sculpted headcap crowned the woven silk headbands, and the book was housed in a custom-linen cloth slipcase. The entire process for the ‘Dragon Rebound Editions’ took about ten months to produce.

2017- March 21, both David Palladini and his publisher Paul Suntup, of Suntup Editions, appeared for a podcast interview at Lilja’s Library: The World of Stephen King, to promote the forthcoming limited edition folio sets of David’s artwork that appeared in the 1987 Trade Edition of Stephen King’s The Eyes of the Dragon (Viking, 1987), under the Podcast title of: “Dragon’s View Of Dark Tower Movie Poster”, Episode 70, with co-hosts Lilja & Lou., posted July 7, The Eyes of the Dragon Art Portfolio (Suntup Editions, suntup.press) is published, featuring illustrations by David Palladini, from the novel by Stephen King (From the Viking, Trade Edition, 1987). Both portfolios include twenty-two black & white illustrations and two color illustrations, both signed by David Palladini with an afterward written exclusively for the editions by David Palladini, as well as a previously unpublished drawing and a reproduction of the only extant copy of the Viking title page illustration hand-colored by David Palladini, which are included in both editions. The text was set in Waters Titling and Warnock Pro typefaces and letterpress printed from photopolymer plates by Norman Clayton of Classic Letterpress in Ojai, California on his 18” x 23” Heidelberg Cylinder press. The text pages are printed on 100% cotton paper, which has the feel of fabric, and the papers used in those editions are environmentally responsible and acid free, and as a bonus addition to the portfolios, is this concise biography on the artist (by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY), published by Paul Suntup of Suntup Editions, Irvine, CA. David’s newest book, An Artist in the World, is scheduled for a 2017 release, which is a collection of short stories about 65 his life and career as an artist. He has also been composing a manifesto titled, Artists-Awaken, with a quote taken from it stating, “Art has always been in advance of the culture within which it was created. A mirror of today and tomorrow, and a beacon of the present and future.”[13] It is as yet unpublished.

“Medusa”, cover & interior illustration by David Palladini for, Aquarian Angel, magazine (previously known as, The Woodstock Aquarian, monthly newspaper, then magazine), unknown volume, issue number or year (circa early-mid 1970’s)

66 OPUS VITAE

Exhibition History: David has had over 150 exhibitions worldwide in such places as; The United States (including in and around New York City and at the prestigious Metropolitan Museum of Art, Pennsylvania, and the Hamptons, Long Island); throughout Europe; and France (Including the historic Louvre, Paris); the National Museum in Warsaw, Poland; Brazil, South America; and Jamaica, Greater Antilles, Caribbean. Awards/Honors: The American Institute of Graphic Arts (AIGA), New York; The New York Society of Illustrators; The Biennial of Illustration Bratislava; Finalist as illustrator in “The Eighth Annual Connecticut Art Directors Club Show”, in the advertising “Package Design” category for his floral illustration on a food container, for General Food Corporation, Corporate Design Center, Agency/Studio Port Miolla Associates (Paul Port/Ralph Miolla Designers), Hartford Marriott Hotel, Farmington, CT, 1983; The New York Times, Best Illustrated Book; and First Place in the short story competition sponsored by the Eaton Literary Agency for his story titled “An Artist in Provence” (France), 2016. Publications by the Artist: A Year (More or Less) in Jamaica, written & illustrated by David Palladini, Paladin Press, Discovery Bay, Jamaica, Antilles (West Indies), Caribbean, 30,000 copies produced, 1992; Jamaica Nice, You Know, written & illustrated by David Palladini, Paladin Press, Discovery Bay, Jamaica, Antilles (West Indies), Caribbean, 2007; The Journal of An Artist, autobiography by David Palladini, published in December, 2011 by Black Swan Press (their first book) in collaboration with Tarot Media Company, both in San Francisco, CA, cover and interior artwork/illustrations by David Palladini; Artists-Awaken, by David Palladini, completed in 2010 but as of yet is still unpublished (Future publication date not known); Painting the Soul: The Tarot Art of David Palladini, by David Palladini and Anastasia Haysler which features all seventy-eight cards from both his famous Aquarian Tarot and The New Palladini Tarot decks, both published by U.S. Games Systems, Inc., Black Swan Press, 2013; As of 2017, David has been working on a new anthology of short stories 67 titled, An Artist in the World, which is a poignant retelling of his life experiences while creating art around the world (set for a scheduled 2017 publication). David has also been composing a manifesto titled, Artists-Awaken, with a quote taken from it stating, “Art has always been in advance of the culture within which it was created. A mirror of today and tomorrow, and a beacon of the present and future.”[13] It is as yet unpublished. Illustrated Tarot Decks: Linweave Tarot Pack, illustrated by contributing artists David Mario Palladini, Ron Rae, Hyman “Hy” Roth and Nicholas Sidjakov, set of 42 oversized cards (8-1/2” x 5-1/2”, or 15cm x 22cm), published by Brown Company, Pulp, Paper, and Board Division, included pamphlet on how to use the cards for fortune- telling, issued as a promotional product for the Linweave line of papers. David also designed twelve French–titled cards for the Linweave Pack; Le Mat, L’Impératrice, L’Empereur, L’Hermite, La Roue de Fortune, Le Pendu, XV Le Diable (also made into a poster “What’s in the Cards for you in ‘67?”), Le Roi d’Épée, La Reine d’Épée, Le Chevalier d’Épée, La Valet d’Épée, and L’As d’Épée, 1967; Aquarian Tarot deck, originally published by Morgan Press Inc., Dobbs Ferry, NY, 1970, with rights purchased in 1992 and now currently being published by Stuart R. Kaplan (American, 1932-), founder of U.S. Games Systems, Inc. (USGS) and used to be printed by AGMüeller, Switzerland, but is now being printed by the well-known playing card manufacturer Modiano, in Trieste, Italy, but the 2016 release of the Aquarian ‘Keepsake Tin’ packaging is being printed out of China. Since its initial publication, there have been a few versions printed of the deck that feature different backs (Pink with red snake, red with white snake, orange with black snake, blue back, shield with double ‘K’s’ back- to- back resembling this shield symbol ‘Ж’ [for Karin Koal Enterprises, Inc.], and blue scales/water/swirls, etc.), along with the majors numbered versions, either the entire deck or just the majors (and/or no numbers), box cover variations, as well as a few other slight differences. The deck is a modern interpretation of the medieval Tarot and it contains 22 Major Arcana cards and 56 Minor Arcana cards contained in four suits; Cups, Swords, Rods and Pentacles. The images were created with ink, pencil and colored markers on 80# Bainbridge board. The colors from the colored markers were transparent and could be overlaid one on top of another, with each one showing through beneath the next which created deep rich tones and a vibrant palette; and The New Palladini Tarot, also published by Stuart R. Kaplan, U.S. Games Systems, Inc., 1996, also printed by Modiano, Trieste, Italy.

68 Board Games with the Aquarian Tarot Deck: Board game (second version), Galaxy Gazer: Karin Koal’s TarAstro Guide, Illustrations on the game board by David Palladini with circular design and the twelve Astrological Zodiac Sun Signs with Moon in center, the game included Palladini’s Aquarian Tarot deck with Karin Koal’s logo (double K’s back-to-back resembling this shield symbol ‘Ж’) on the back of the cards, with an instruction booklet and glossary, The leatherette bookcase cover of the board game read, “Galaxy Gazer, New Fun, Self-Discovery, Easy, Psychic Feedback” and the back read, “Galaxy Gazer, Revolutionary New Game Combines Astrology and Tarot” along with other information, Karin Koal Enterprises, Inc., 1973; and board game, The Ancient Art of Tarot, published by Morgan Press for the Pacific Game Co., Hollywood, CA, box cover designs and included Aquarian Tarot deck by David Palladini, the board game also included instruction booklet, box front read, “The Ancient Art of Tarot, Mysterious cards that reveal inner self, fate, fortune and future.” and “78 Magnificent Aquarian-age designs. Complete with book of instructions”, Stewart Kaplan, 1975. Illustrated Publications (Only a Partial List): Print: America’s Graphic Design Magazine, by Ed Martin, David Palladini, Et. Al. Fox, R.C. Publications, May/June, Vol. XXI, III, (included sample card from the Linweave Tarot Pack), 1967; Eye Magazine, some (untitled) illustrations by David Palladini, 1968; A Medical History of Henry VIII, (illustrations by Palladini), Eaton Laboratories, Division of the Norwich Pharmaceutical Company, Norwich, NY, 1970; Recipes: A Quintet of Cuisines (Foods of the World), by Richard Jeffrey and Fred Eng, (illustrated by Palladini and Gloria Dubouchet), Time Life Books, Time Inc., 1970; National Lampoon, “Special Stoned Edition”, by Michael O’Donoghue, contributing artist Palladini and others, Vol. 1, No. 11, Head Issue, February, 1971; Redbook, “Joanna’s Peaceable Kingdom”, by Elizabeth Moulton, (full page illustration by Palladini), Vol. 137, No. 3, July, 1971; Illustrators XII: The Twelfth Annual of American Illustration, Published for the Society of Illustrators, Edited and designed by Bob Crozier, A showcase of the best contemporary illustration of the 1970-71 award-winners and other selections chosen for the Society of Illustrators Annual National Exhibition, Hastings House Publishers, New York, 1971; Redbook, “A Redbook Novel: Small Expectations”, by Shelby Hearon, (illustrated by Palladini), Vol. 138, No. 3, January, 1972; The Sword and the Grail, by Constance B. Hieatt, HarperCollins Juvenile Books, 1972; National Lampoon: Men Issue, “The Zircon as Big as the Taft”, By Michael O’Donoghue, illustrated by David Palladini, Volume 1, Number 26, May, 1972; The Clang Birds, by John L’Heureux, (dust jacket cover illustration by Palladini), New York, The Macmillan Company, 1972; People of the Ice Age, by Ruth 69 Goode, Crowell-Collier, 1973; The Windows of Tarot, by F.D. Graves, (featured illustrations of Palladini’s Aquarian Tarot), Morgan & Morgan, Dobbs Ferry, NY, 1973; The Girl Who Cried Flowers and Other Tales, by Jane Hyatt Yolen, cover & interior illustrations by Palladini, Thomas Y Crowell, 1974 Edition (1973); The End of the World, by Franklyn Mansfield Branley, Crowell, NY, 1974; Cricket, story, “The Girl with the Silver Voice: A Samoyed Story”, by Estelle Titiev and Lila Pargaent, with illustrations by David Palladini, Oct. Issue, 1975, Pgs. 68-75, (Copyright Sept. 15, 1975); Roman Hostage, by Vivian Schurfranz, jacket cover illustration by David Palladini, Follett Publishing Co., Chicago, IL, 1975; The Moon Ribbon and Other Tales, by Jane Yolen, Thomas Y. Crowell, NY, 1976; The Devil in a Forest, by Gene Wolfe, (cover illustration by Palladini), Follett, Chicago, 1976; Redbook, “Burying the Fox”, by Carole Morgan, illustration by Palladini, Vol. 147, No. 4, August, 1976; Illustrators in New York: IDEA EXTRA ISSUE, Published by Seibundo-Shinkosha, Tokyo, Japan, 1976; The Hundredth Dove and Other Tales, by Jane Yolen, cover and interior illustrations by Palladini, Thomas Y. Crowell, 1977; The Magazine of Fantasy & Science Fiction, (cover illustration by Palladini of Jane Yolen’s The Hundredth Dove and Other Tales), Vol. 52, No. 4, #311, Mercury Press, April, 1977; Time magazine, cover illustration of an anthropomorphic portrait of the newly-elected first woman governor of Washington State, Dixy Lee Ray (as the State’s official bird) and also included in the drawing was the official state flower of Washington (rhododendron), December 12 issue, 1977; Beauty: A Retelling of the Story of Beauty and the Beast, by Robin McKinley (her first novel, cover illustration by Palladini), HarperCollins, 1978; The Fortunes and Misfortunes of The Famous Moll Flanders, by D aniel Defoe, Franklin Library, 1978; The Wife of Bath, by Vera Chapman, Avon Books, September 1, 1978; The Magazine of Fantasy & Science Fiction, (cover illustration by Palladini of Jane Yolen’s Brother Hart), Vol. 55, No. 5, #330, Mercury Press, November, 1978; Playboy magazine, “The Loneliness of the Long-Distance Eater”, article by Rudolph Chelminski, illustrated by Palladini, including beginning illustration in the story of Jean Didier “a professional eater”, who is wearing a beret and holding champagne glass, sitting before a dinner table covered in extravagant foods like lobster, goose, fish and various lush fruits, Pgs. 152-154, Vol. 26, No. 5, May, 1979; Strange Relations, by Philip José Farmer, (cover illustration by Palladini), Avon, NYC, (3rd printing), 1978; Yearwood: Volume I of the Finnbranch Trilogy, by Paul Hazel, (dust jacket cover by Palladini), 1980; Justine, by Lawrence Durrell, The Franklin Library, 1980; Twenty-Six Starlings Will Fly Through Your Mind, by Barbara Wersba, Harper Collins, 1980; The Maharajah & Other Stories, by Terence Hanbury White, (dust jacket cover 70 illustration by Palladini), Putnam Publishing Group, 1981; If You Call My Name, by Crescent Dragonwagon, (cover illustration & interior art by Palladini), Harper & Roe, 1981; Undersea: Volume II of the Finnbranch, by Paul Hazel, (dust jacket cover by Palladini), Atlantic/Little Brown and Company, Boston, 1982; New York magazine, (cover illustration by Palladini, photograph of Caruso by Aimé Dupont), “The Magic of the Metropolitan Opera: Centennial 1883-1983”, Special Souvenir Edition, Oct 17, Vol. 16, No. 41, published by New York Media, LLC, 1983; Homesmind, by Pamela Sargent, (Dust jacket cover art by Palladini), 1984; Cards of Grief, by Jane Yolen, (cover illustration by Palladini), 1984; The Ceremonies, by T.E.D. Klein, (dust jacket illustration by Palladini), The Viking Press, 1984; Winterking, by Paul Hazel, (cover by Palladini), Atlantic Monthly Press, M.M. Kavanagh, 1985; The Oval Amulet, by Lucy Cullyford Babbitt, New York, Harper & Row (Harper Collins), jacket illustration by David Palladini (1984), Publication Date 04-10-1985; Dragons & Dreams: A Collection of New Fantasy and Science Fiction Stories, Jane Yolen (Editor), Charles G. Waugh (Editor) and Martin Harry Greenberg, New York Harper & Row (Harper Collins), jacket art by David Palladini (1985), Publication Date 04-18-1986; The Golden Gate, by Vikram Seth, 2nd Edition(?), alternate cover by David Palladini, 1986; King Arthur, by Norma Lorre Goodrich, cover illustration by David Palladini, Franklin Watts, NYC, 1986; The Eyes of the Dragon, by Stephen King (Trade Edition, from previous 1984 limited edition publication, Philtrum Press), cover and twenty-three interior illustrations by Palladini, with the interior artwork rendered in pencil and ink on Bienfeng velour paper (two of which were in color and used on the front and back of the dust jacket), Viking Press, 1987; Merlin, by Norma Lorre Goodrich, New York Franklin Watts, 1987; Becoming Orgasmic, by Joseph LoPiccolo Ph. D., and Julia R. Heiman, Ph.D., Fireside Books, 1987; “Olives are Plucked in Prime Condition.”, by Vikram Seth, Poem on recto superimposed on colored illustration by David Palladini of suspension bridge, each postcard shows different part of the bridge, published by Vintage Books, 1987; Alfred Hitchcock’s Mystery Magazine (AHMM), story “Final Marks, Final Secrets”, by Brendan DuBois, cover illustration by David Palladini of a young nun and a ninth grade boy, v32, #11, November, 1987; Castle Rock: The Stephen King Newsletter, illustrated black & white, articles by Stephen King, (cover & interior illustrations by David Palladini), Vol. 3-4, No. 11-1, Special Double Issue, December 1987-January 1988; Henry VIII: [Introductory Essay on Leadership, Arthur Meier Schlesinger, Jr.], by Frank Dwyer, Series “World Leaders Past & Present”, cover illustration by David Palladini, New York, Chelsea House Publications, April, 1988; The Prince in the Golden Tower, by Florence B. 71 Karpin, Viking Kestral, 1989; Reading Tarot Cards: A Guide to the New Palladini Tarot, a companion book by author Susan Hansson is published, illustrations by David Palladini, U.S. Games Systems, Inc., 1997; Tarosophist International, the magazine of Tarosophy & Tarot, Special Issue Celebrating 40 years of the Aquarian Deck & 100 years of the Waite- Smith Tarot!, exclusive article & interview “Sage of Aquarius: David Palladini and the Art of Being”, by Michael Orlando Yaccarino, professional Tarot reader, instructor & author, Winter 2009, Vol. 1, Issue 5, Pgs. 5-32, cover by Palladini “The High Priestess” (1967) from the Aquarian Tarot and numerous other interior illustrations by Palladini from the Aquarian Tarot & The New Palladini Tarot decks, Forge Press, Old Windebrowe, Keswick, Cumbria, United Kingdom; Knowing Darkness: Artists Inspired by Stephen King, by George Beahm, with introduction by Frank Darabont, 2 volume set, Centipede Press, 2009; The Stephen King Companion, Four Decades of Fear from the Master of Horror, by George Beahm and Glenn Chadbourne, Thomas Dunne Books/St. Martin’s Griffin, NY, St. Martin’s Press, Pgs. 240 & 564, October, 2015; The Eyes of the Dragon Art Portfolio (Suntup Editions), featuring illustrations by David Palladini, from the novel by Stephen King (From the Viking, Trade Edition, 1987), two editions consisting of a numbered edition of three hundred copies (15- 1/2” x 10”, illustrations are printed on Mohawk Superfine paper and are housed in a clamshell box of European linen book cloth over archival boards. Publication price: $295) and a lettered edition of twenty-six copies (18-3/8” x 12”, illustrations are printed on 100% cotton paper, portfolio is accompanied by a photogravure print that is numbered and signed by the artist, photogravure made by Jon Goodman at his studio in Florence, MA, the print was hand-pulled on Somerset Velvet 100% cotton mould-made paper from St. Cuthbert’s Mill, England by Jon Goodman, each print has been embossed with the printer’s mark and the illustrations are housed in a clamshell box of Japanese book cloth over wood boards, publication price: $795), the folios include twenty-two black & white illustrations, as well as two color illustrations, both signed by David Palladini and an afterward written exclusively for the editions by David Palladini is included as well as this concise biography on the artist (By Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY), in addition a previously unpublished drawing and a reproduction of the only extant copy of the Viking title page illustration hand-colored by David Palladini are included in both editions, the text was set in Waters Titling and Warnock Pro typefaces and letterpress printed from photopolymer plates by Norman Clayton of Classic Letterpress in Ojai, California on his 18” x 23” Heidelberg Cylinder press, and the papers used in those editions are environmentally responsible and acid free, and published by Paul Suntup of Suntup Editions, Irvine, CA, 2017. 72 Illustrated Posters: “XV Le Diable”, Palladini illustration poster lithograph in 6 colors (design by David “L.D.” Burke) from the Linweave Tarot Pack, published by the Brown Company, Pulp, Paper, and Board Division located at 277 Park Avenue, NYC, as a promotional product for their Linweave product line of printing papers in 1967 with the tag-line “What’s in the Cards for you in `67?”, 38” x 25”, on Linweave Text Super White Laid Stock, Substance 80 by Manhardt-Alexander, Inc. Buffalo & New York; Theater poster as part of a special graphics project through the Pratt Institute, NY, that was used for the April 25, 1968 opening production of Edmond Rostrand’s “Cyrano de Bergerac” by the Repertory Theater of Lincoln Center at the Vivian Beaumont Theater, under the direction of Jules Irving (New English version by James Forsyth), and was also published internationally; Palladini created twelve iconic posters for the XIX Olympiad (Olympic Games) Cultural Program held in Mexico City in 1968 (partial list of posters follows): Lithograph Poster for the International Film Festival, “Fifty Years of Italian Cinema” (Man’s stylized face side profile), Mexico City Cultural Olympics (1968), Lithograph Poster for the “International Festival of the Arts, Hanna Aroni, singer” (Portrait photograph of singer), Mexico City Cultural Olympics (1968), Lithograph Poster for the “International Film Festival, Art Cinema Series” (Side view of stylized film camera), Mexico City Cultural Olympics (1968), Lithograph Poster for the “Ballet of the Five Continents” (Six stylized costumed figures), Mexico City Cultural Olympics (1968), Lithograph Poster for Emilio Carballido’s play titled “Medusa” (Two Headed Medusa Illustration), Festival of the Arts, held at the Jimenez Rueda Theater (1968), and Lithograph Poster for “El Cine Japones” (Kurosawa Film Festival, Warrior archer with peacock-type bird), XIX Olympiad Cultural Program, Mexico City (1968), Lithograph Poster, “El Cine Cientifico” (“The Scientific Cinema”, Stylized side profile of faceless woman holding flower, big beetle on leg), Mexico City Cultural Olympics (1968), Lithograph Poster, “Unknown Title” (Stylized front view of a man/pilot in chair with tubed helmet sitting at console), Mexico City Cultural Olympics (1968), Lithograph Poster, “Unknown Title” (Stylized swirling insect design?), Mexico City Cultural Olympics (1968); Astrological Zodiac Sun Signs and Seasons Poster, “Spring, Summer, Fall, Winter”, (Cloaked female figure in center with the 12 Zodiac Signs encircling her, and the seasons in each of the four corners), Morgan Press, Hastings-on-Hudson, N.Y.(?), circa 1969; A poster featuring 12 of Palladini’s Zodiac designs (with some alternate images), published with the title “The Signs of the Zodiac”, Morgan Press, Hastings-on-Hudson, N.Y., 1969; In 1969, a series of 12 astrological zodiac posters created by David Palladini were also published by Morgan Press, Hastings-on- 73 Hudson, NY (also later from their Dobbs Ferry, NY location). The original posters featured each of the twelve astrological zodiac symbols (or sun signs) in a very Art Deco/Art Nouveau, 1960’s psychedelic style with amazing detail and color. Each poster featured the name of the appropriate sun sign and corresponding dates of each sign. Ten of the posters had Palladini’s printed signature along with the date ‘69 printed somewhere on the piece, while only two, “Gemini” & “Scorpio” had his signature only without the date. The posters were printed by an offset four-color printing process on an inexpensive lighter weight white stock and were originally sold for $1.00 when they were first published. The size of each poster was 14.5” x 22.25”, and had about a 3/4” white margin around the left, right and bottom sides, and about a 1-1/4” at the top. The original quantity produced for the zodiac poster set is unknown and many of the zodiac posters, along with some prints from his Aquarian Tarot, seen on the open market over the years had unfortunately been drymounted (glued) to a wood backing board with a heavy polyurethane or shellac surface coating. Mounting the pieces with polyurethane/shellac was often done by certain distributors back in the day or by the different owners of the individual pieces. The mounted prints were intended to be displayed as a piece of wall art which was very popular throughout the 1960’s-1970’s. Many pieces of artwork, rock posters and genre illustrations were also done in this manner and sold to the public. Over time, the older type of polyurethane/shellac tended to yellow and would heavily discolor the pieces, along with sometimes cracking from age and fading from UV exposure. Palladini’s original astrological zodiac posters are now extremely rare and very hard- to-come-by on the open market as an entire set or even to find one in good original unmounted/ unframed condition. One of the largest distributors of Palladini wood shellacked prints back in the 1970’s was Greg Wallace Productions, Inc. out of Irvine, CA (now defunct) and you can recognize their pieces by the butterfly logo and name. Several other distributors also jumped on the bandwagon and put out their own wood shellacked prints. A poster featuring most of Palladini’s zodiac designs (with some alternate images), was also published with the title “The Signs of the Zodiac” (© Morgan Press, Hastings-on-Hudson, N.Y., 1969), 1970; “The Sun”, “The Moon”, “The Star”, “Justice”, “Temperance”, “The High Priestess”, and “The Lovers”, Morgan Press, Hastings-on-Hudson, N.Y.(?), circa 1969- early 70’s; High on Gold, by Lee Richmond, black & white with yellow and red dust jacket cover illustration by David Palladini of a long haired hippie in a cowboy hat with marijuana patch, also with sunglasses on and smoking a joint, Charterhouse, New York, 1972; “Perrier: New York City Marathon `77, Sunday, October 23rd, 10:30A.M.”, poster by Palladini, 1977; “The Blue Lagoon”, unpublished poster design by David Palladini 74 for the 1980 feature film of the same name by director Randal Kleiser, screenplay by Douglas Day Stewart, based on the 1908 novel by Henry De Vere Stacpoole, starring Brooke Shields and Christopher Atkins. The poster features a fairly graphic image of the characters Emmeline and Richard nude, intertwined under the ocean water embracing one another and kissing (center: illustration was tastefully rendered to hide any graphic body parts), and had a stylized border depicting tropical flora and fauna surrounding, including an ocean with ship (top), a fancy parrot (upper left) and their baby boy “Paddy” swaddled in tropical plant leaves (lower right), circa 1979; “Nosferatu: Phantom der Nacht”, German film, (English: “Nosferatu: The Vampyre”), written and directed by Werner Herzog, full- sheet and quad-sheet (half-sheet) poster illustrations & various ad blocks by Palladini in several colored versions, 20th Century Fox, 1979; “Malice Aforethought”, illustration by Palladini, 1979; (Unknown title) Limited Edition B&W Print (edition of 200) of beautiful long-haired blonde woman sitting at a dressing table in her nightgown with the phases of the moon above her head, numbered lower left, signed lower right, about 20” x 20”, and used for one of the Ogilvie print ads (Dorothy Gray Ltd., Ogilvie Products, Inc., and Tussy Inc., 680 Fifth Ave., New York, NY, and 225 Summit Ave., Montvale, NJ, Herb Waller President) with the image for use in magazines such as Vogue, Mademoiselle, Cosmopolitan and other magazines, 1979; “Conan”, unpublished illustration by David Palladini for the 1982 feature film “Conan the Barbarian”, directed and co-written by director John Milius, with writer Oliver Stone, based on story by Robert E. Howard, starring Arnold Schwarzenegger and James Earl Jones, featuring two snakes coiled around the border area with stylized name of Conan written with morphed imagery of a sword cross-guard and tied bones and horns for the letters, with the blade of the sword behind the name, and two torches on either side, circa 1981; “Willie Nelson”, color poster illustration by David Palladini, “Superstars Series (No. 13)”, New York Daily News, Color Comics Section, about 18” x 13”, 08/29/81; “Michael Jackson”, color poster illustration by David Palladini, from the Sunday New York Daily News, color comics section, about 18” x 13”, unknown month, day & year, c.1982; “Bruce Springsteen”, color poster illustration by David Palladini, Sunday New York Daily News, Color Comics Section, about 18” x 13”, 08/05/84; “The Pointer Sisters”, color poster illustration by David Palladini, Sunday New York Daily News, Color Comics Section, about 18” x 13”, 08/12/84; “Boy George” (Band: Culture Club), color portrait poster illustrated by David Palladini, for the Sunday New York Daily News (with included half-page article), about 18” x 13”, 08/19/84; “Prince”, color poster illustration by David Palladini, Sunday New York Daily News, Color Comics Section, about 18” x 13”, 08/26/84; “Menudo”, poster illustration, of the five band 75 members (head shots), from the Sunday New York Daily News, color comics section, about 13” x 18”, 09/23/84; “Pretty please”, Smokey the Bear poster with butterflies, illustration by Palladini, published by the U.S. Department of Agriculture- Forest Service and Your State Forester, Smokey Bear Collection, 28” x 19”, 1989; Fifteen promotional posters signed by David Palladini which were produced for The Eyes of the Dragon Art Portfolio as promotions and giveaways prior to being published by Suntup Editions July 7, 2017. Other Illustrated Works: Along with the aforementioned posters, Morgan Press also published a set of 12 oversized, 8-1/2” x 5-3/4” postcards on heavy stock of Palladini’s zodiac images in 1969, which included a brief explanation and meaning of each of the twelve zodiac signs, by the famous best-selling astrologer and poet Linda Goodman (pseudonym for Mary Alice Kemery, American, 1925-1995). The set was more than likely published to capitalize on Goodman’s success for her book, Sun Signs, which was published a year earlier and was the first ever astrology book to earn a spot on The New York Times “Best Seller” list. In addition to Goodman’s brief astrological explanations of the ‘Sun Signs’, the postcards included the publisher info and copyright as: ‘© Morgan Press, 1969–Hastings-on- Hudson, N.Y. Printed in U.S.A.’, printed as the divided back, for mailing purposes. Complete sets of the 12 postcards are also quite rare to find on the open market, as most were probably broken up and mailed, and individual ones do turn up from time-to-time for sale online or in auctions; “Luis Russell and His Louisianna Swing Orchestra”, Record jacket illustrated by David Palladini and cover design by Katherine Palladini, CBS, Inc., Jan. 5, 1974; “Szell/Wagner: Great Orchestral Highlights from the Ring of Nibelungs; Prelude from Die Meistersigner”, George Szell Conductor, The Cleveland Orchestra, record album cover art by Palladini, Columbia Masterworks, U.S. & Canada, 1974 (also CBS/Sony 1974); “Prelude and Love-Death from Tristan Isolde; The Cleveland Orchestra”, record album cover art by Palladini, Columbia Masterworks, 1969, MS 7291; Rimsky- Korsakov “Scheherazade”, Zubin Mehta Conductor, The Los Angeles Philharmonic Orchestra (Symphonic Suite For Orchestra, Op. 35), record album cover art by Palladini, London Records (also Decca Record Company Limited, UK & Germany), 1975; Wagner, “Götterdämmerung Brünnhilde’s Immolation, Tristan and Isolde Prelude and Liebestod”, Eileen Farrell Soprano, Boston Symphony, Charles Munch Conductor, record album cover art by Palladini, RCA Records, New York, NY, [Reissue Produced by Peter Dellheim, Remastered by Bernard Keville] 1958/75; “The Leprechaun”, by Chick Corea, record album cover art by Palladini, Polydor Records, 1976; “Sir Georg Solti Conducts Bizet’s Carmen”, record album cover art by Palladini (reclining woman in black dress with 76 flowers), Bizet, London Records, Inc., Classical Opera (Troyanos, Domingo, Te Kanawa, and Van Dam), box set, OSA 13115, 1976; “Highlights from Puccini’s Turandot”, record album cover art by Palladini, Sutherland Mehta, London Records, Inc., Classical Opera, KK244993, August 12, 1976; The Mike Theodore Orchestra “Cosmic Wind”, album cover art illustrations by David Palladini (Front & Back), Westbound Records, 1977; Unpublished illustration by David Palladini for the 1979 science-fiction horror film by 20th Century Fox, Alien, directed by Ridley Scott, depicting stylized typography of the title with tentacles and sharp claw-like features, c1979; Alternate illustrations of B&W designs depicting an untitled ‘Beautiful Blonde Woman’ sitting at a mirrored vanity with wind-blown hair and holding a flower, and another ‘Beautiful Bonde Woman’ brushing her hair, with the blowing wind (man’s face, upper left) and the hot sun (upper right), for use in Ogilvie print ads (like aforementioned poster), in magazines such as Vogue, Mademoiselle, Cosmopolitan and other magazines, Dorothy Gray Ltd., Ogilvie Products, Inc., and Tussy Inc., 680 Fifth Ave., New York, NY, and 225 Summit Ave., Montvale, NJ, Herb Waller President), 1979; Illustration for client Esquire Inc., from their artist portfolio examples for David Palladini, for the story titled, “The Happy Prince”, by Oscar Wilde, depicting a stylized swallow bird chasing a luna moth in foreground, across a flower-lined pond, with wing tip barely touching the water’s surface, circa 1970’s; Illustration of a stylized fantasy ‘Unicorn’ for client Bernstein & Andriulli, Inc., NY, from their artist portfolio examples for David Palladini, circa 1970’s; “The Secret Romance” (#1), “Merlin the Magician” (#2), “I Knight Thee Sir Lancelot” (#3), “The Joust” (#4), “King Arthur And His Queen” (#5), “The Sword And The Stone” (#6), “Rescued” (#7), “The Knights of the Round Table” (#8), exclusively for The Hamilton Collection, The Legends of Camelot Plate Collection, collector plates in a series of eight plates designed by Palladini, limited-edition fine china plates which portrayed the romance and chivalry of the Kingdom of Camelot, Decorated By Pickard China, U.S.A. For The Hamilton Collection, Strictly limited to an edition of 12,500 for each plate, 1982; PBS television illustration by David Palladini of an old woman in pink hat in semi-wreath of flowers and lower vignette image of an old man in hat, for Vita Sackville-West’s, “All Passions Spent”, a three-part television series starring Dame Wendy Hiller, 9pm Channel 13 PBS, Host Alistair Cooke, Mobil Corporation, Design Frankfurt Gips Balkind, New York, 1989. Published Photographs: David Palladini shot photographs of about six thousand different varieties of plants and flowers, which appeared in Mexico City’s new guidebook for the botanical gardens circa Spring/ Summer of 1968. 77 Alternate Media, Original Music, Podcasts, Videos Etc.: Original Music, “David Palladini copyright tape number 1: collection no. 1/all words and music written by David Palladini”, 1 sound cassette, Registration #PAu001198025/1989-01-23, 1989; Original Music, “David Palladini copyright tapes: no. 2”, 1 sound cassette, words & music by David Palladini, Registration # PAu001185570/1989-01-23, 1989; and Original Music, “David Palladini collection: no. 3”, fourteen songs, tapes, words & music by David Palladini, Registration# PAu001191766/1989-01-23, 1989; Online podcast interview, “Podcast #47: Aquarianism and Art with David Palladini”, by the two interviewers Anastasia Haysler and Rose Red, tarotpathways.com, May, 2010; Video trailer with David Palladini and Paul Suntup of Suntup Editions, to promote the limited edition folio sets of David’s artwork that appeared in the 1987 Trade Edition of Stephen King’s The Eyes of the Dragon (Viking, 1987), by Paul Suntup of Suntup Editions, suntup.press, March, 2017; Both David Palladini and his publisher Paul Suntup, of Suntup Editions, appeared for a podcast interview at Lilja’s Library: The World of Stephen King, to promote the forthcoming limited edition folio sets of David’s artwork that appeared in the 1987 Trade Edition of Stephen King’s The Eyes of the Dragon (Viking, 1987), Podcast title: “Dragon’s View Of Dark Tower Movie Poster”, Episode 70, liljas- library.com, with co-hosts Lilja & Lou, March 21, 2017.

78 SOURCES/REFERENCES

Written and compiled chronologically by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY, 14052, meibohmfinearts.com. Sources/ References: Our internal records; A very special thank you to the artist David Palladini for additional biographical information and especially his friendship, and quotes [10.1], [10.2], [10.3], [10.4], [10.5], [10.6], [10.7], [10.8], [10.9], [10.10] & [10.11] from David’s autobiographical memoir, The Journal of An Artist, “Leaf Lesson”, “The Harsh Lesson” and “Final Lesson”, Black Swan Press, 2011; And a very special thank you to Paul Suntup, of Suntup Editions, for all his help and editing, and for including this biography in his beautiful limited edition art portfolios; And a very special thank you with complete credit to professional Tarot reader, instructor, and author, Michael Orlando Yaccarino for his wonderful 2009 interview of David Palladini and permission to use some of David’s quoted answers which have been interwoven into the above biography and have helped smooth things out and fill in timeline gaps perfectly(!) from his interview in, Tarosophist International, the magazine of Tarosophy & Tarot, Special Issue Celebrating 40 years of the Aquarian Deck & 100 years of the Waite-Smith Tarot!, exclusive article & interview “Sage of Aquarius: David Palladini and the Art of Being”, and quote [9] by Michael Orlando Yaccarino, professional Tarot reader, instructor & author, along with specific biographical information with quotes [1], [2], [3], [4], [5], [6], [7], [8], [12] & [13] by David Palladini, Winter 2009, Vol. 1, Issue 5, Pgs. 5-32, cover by Palladini “The High Priestess” (1967) from the Aquarian Tarot and numerous other interior illustrations by Palladini from the Aquarian Tarot & The New Palladini Tarot Decks, Forge Press, Old Windebrowe, Keswick, Cumbria, United Kingdom, and also from the same publication, information from the exclusive interview with Stuart R. Kaplan, founder of U.S. Games Systems, Inc., “The House That Cards Built”, by Michael Orlando Yaccarino, and quote [10] from the article, “Alive with Benevolent Spirit”, by Craig Junjulas, author of Psychic Tarot, the companion book to the Aquarian Tarot; Quote [11] from the introduction card in The New Palladini Tarot deck, U.S. Games Systems, Inc., in 1996; tarotpathways.

79 com, online podcast interview & quote [14] from, “Podcast #47: Aquarianism and Art with David Palladini”, by interviewers Anastasia Haysler and Rose Red, May, 2010; Wikipedia, “David Palladini”; themysticeye.com, the Linweave Tarot Pack; ronraegraphics.com, biographical information; wicce.com, Tarot pack; tarotcollectors.com; tarotpassages.com, Aquarian Tarot Deck/New Palladini Tarot review by Lee Bursten, and “A Timeline of the Occult and Divinatory Tarot from 1750-1980”, collected by Mark K. Greer with assistance from Lola Lucas K. Frank Jensen, and the Linweave info page; Amazon.com; openlibrary. org, book, A Year (More or Less) in Jamaica, by David Palladini, Paladin Press, 1992; tarotforum.net, online blog entry, “Morgan & Morgan up to 1985”, submitted by blogger Cerulean, 07/17/2005; openlibrary.org, The End of the World, by Franklyn Mansfield Branley, 1974; tatteredandlostephemera.blogspot.com, anonymous blog post by unknown female author & blogger, “David Palladini”, with several images of Palladini’s illustrations for, A Medical History of Henry VIII (Eaton Laboratories, Division of the Norwich Pharmacal Company, 1970), 04/05/09; Inventory-NationalLampoon HeavyMetal.doc, “Zircaon as Big as Taft”, art by Palladini, Vol. 1, No. 26, MEN issue, May, 1972, Comic World, Steinbach, Manitoba, Canada; nal.usda.gov, Special Collections at the National Agriculture Library: 159PDF.pdf, U.S. Forest Service, Smokey Bear Collection, Drawer 29, 1989-CFFP-15: PRETTY PLEASE, by David Palladini, (30” x 20”) (6) (Butterfly); eBay.com, prior listing, Redbook, magazine, “Joanna’s Peaceable Kingdom”, by Elizabeth Moulton, (full page illustration by Palladini), Vol. 137, No. 3, July, 1971; eBay.com, prior listing, Redbook, magazine, “A Redbook Novel: Small Expectations”, by Shelby Hearon, illustrated by Palladini, Vol. 138, No. 3, January, 1971; ebay.com, prior listing, “Willie Nelson”, poster, “Superstars Series”, New York Daily News, No. 13, (circa early 1980’s); “The Leprechaun”, by Chick Corea, record album cover art by Palladini, Polydor Records, 1976; “The Legends of Camelot”, titles from the 8 plate collection, produced by Pickard, for the Hamilton Collection, limited edition of 12,500 each; xs4all.com, for the book, Strange Relations, by Philip José Farmer, cover illustration by Palladini, Avon, NYC, (3rd printing), 1978; home.comcast.net, Holly Voley’s website, “the aquarian tarot by david palladini”, deck variations; book.google.com, “Olives are Plucked in Prime Condition.”, by Vikram Seth, Poem printed on recto superimposed on colored illustration by David Palladini of suspension bridge, each postcard shows different part of the bridge, published by Vintage Books, 1987; jimleff.blogspot.com, Jim Leff’s Slog, “Free New York Magazine back Issues: Every New York Magazine from 1965 to

80 1995 is now available free, online, including the pictures”, posted by Jim Leff, Thursday, December 18, 2008; iobabooks.com, Castle Rock: A Stephen King Newsletter, Vol. 3-4, No. 11-1, Special Double Issue, December 1987-January 1988; Postersplease.com, “A Sale of Over 400 Rare, Original Posters, Thursday, March 12 at 5:30PM, At The International Poster Center, 601 West 26th Street (Bet. 11th And 12th Aves.), lot 371, “Perrier: New York City Marathon `77, Sunday, October 23rd, 10:30A.M.”, 23-3/4” x 36” poster by Palladini, 1977, Modernposters.pdf; en.allexperts.com, “Fine Art-David Palladini”, post by Fererico, 12/26/2008, from a follow-up to an answer from Dan Twyman; The New York Times, online news article, “A Sharp Eye For Capturing Peak Moments in Dance”, by Roberta Hershenson, June 9, 1991; umaryland.worldcat.org; provenceweb.fr, information on the old French village of Oppède Le Vieux; faqs.org, various musical copyrights by David Palladini and literary copyrights including illustrative work by David Palladini; intelius.com, various biographical information; highlandpark.org, “Highland Park, Illinois Obituary Index, 1874-2005”, Highland Park Public Library, 494 laurel Avenue, Highland Park, IL; Highland Park Public Library, Reference Department, 494 laurel Avenue, Highland Park, IL, obituary requests, Highland Park News: Obituaries, Ada Palladini, Pioneer Press, a division of Sun-Times Media Group, January 23, Page 119, 1986, and Highland Park News: Obituaries, Aldo Palladini, Pioneer Press, a division of Sun-Times Media Group, Thursday, January 15, Pg. 163, 2004; independent.com, Santa Barbara Independent online, news, “Meet New Montecito Association Prez Bill Palladini: A Q&A with the MA’s New Prez, Nancy Salvucci’s SBDigs.com, and More”, by J’Amy Brown, Tuesday, February 27, 2007; montecitojournal.net, online news archive, “Village Beat: Montecito Association to Host Tea Fire Forum”, by Kelly Mahan, January 8, 2009; montecitojournal.net, online news archive, “Meet Bill Palladini”, by Guillaume Doane, March 15, 2007; montecitoassociation.org, “Board of Directors: Members, Bill Palladini”; indyliberationmedia.com, news, The Santa Barbara Independent online, “Columns, Montecito Montage, Happy Birthday Montage! Column Hits One Year Mark and Continues Dishing the Montecito Message: Now Please take Your Seat; Living Legacy”, by J’Amy Brown, Wed., Sept. 26, 2007; hillnholler.net, online obituary notice, “Hill’n Holler Review: Designer, architect, artist, poet, composer David “L.D.” Burke dies”, Fri., Aug. 8, 2014; tributes.com, online obituary, “David Burke”; archives.chicagotribune.com, online digitized newspaper article, Chicago Tribune, “In Chicago, artists and students put cartoon characters to work in other ways.”, No. 89, Section

81 2, Pg. 5 (With illustration), Monday, March 30, 1970; independent.com, Santa Barbara Independent online, news section, “A Year of Montecito: Reflecting on a Year’s Worth of Reporting the Montecito Life; February 6, 2007”, and “Palladini for President: Moves for Montecito Association and Much More”, by J’Amy Brown, Tuesday, February 6, 2007; santabarbaralegistar.com, article, “Montecito Board of Architectural Review, Citizen Board or Commission, Bill Palladini”, term dates; applications.sbcountyplanning.org, County of Santa Barbara Planning and Development, “Montecito Board of Architectural Review (MBAR): Board Members; Bill Palladini”; joelspector.com, a special thank you to artist-illustrator Joel Spector for his added information; AskArt.com, ‘Discussion Board’ entry regarding album artwork; discogs.com, various album label releases containing illustrations by artist David Palladini; archive.org, Catalogue of Copyright Entries 1976 Commercial Prints and Labels, Third Series, Vol. 30, Part iiB, January-December, The Library of Congress, Washington, DC, 1977; home.comcast.net, Holly’s Rider- Waite Site, “the aquarian tarot by david palladini”, by Holly Voley; icollector.com, past auction record; blackswanpress.net, “About: David Palladini”, and various publications info; store.tarotmediacompany.com, and quote [15]; davidpalladini.com, brief biographical information and publication information; Information and quote [7.1] from the “Le Diable” poster; moma.org, four lithographic poster designs by David Palladini, Department of Publications and Urban Design, Organizing Committee of the XIX Olympiad; chipublib.org, Chicago Public Library, Home> Books, Movies & More> Section, “Great orchestral highlights from the Ring of Nibelungs [sound recording] / Wagner”, original publication information; muenzgalerie.de, online PDF, Page 41, tarotkarten_2007.pdf; goldenhaze.blogspot.com, “Golden Haze”, Mon., Aug. 29, 2011; ancestry.com, Source Citation, Year: 1948, Description, Day or Roll Number: Roll 7661 Source Information, New York, Passenger Lists, 1820-1957 [database online], Provo, UT, USA: Ancestry.com Operations, Inc., 2010; ancestry.com, U.S. Public Records Index, Volume 2 [database on-line], Provo, UT, USA: Ancestry.com Operations, Inc., 2010, Original data: Voter Registration Lists, Public Record Filings, Historical Residential Records, and Other Household Database Listings; ancestry.com, Source Citation Year: 1948, Description, Day or Roll Number: Roll 7577, New York, Passenger Lists, 1820-1957 [database on-line], Provo, UT, USA: Ancestry.com Operations, Inc., 2010; artfulhome.com, “About this Artist: Sherry Schreiber”; cadc.org, online digitized PDF of show publication, Live: The One Show, “The Eighth Annual Connecticut Art Directors Club Show: Package Design; Finalist; Illustrator David

82 Palladini”, Pg. 31, Hartford Marriott Hotel, Farmington, CT, 1983, PDF CADC-1983-08.pdf; archive.org, Catalog of Copyright Entries: Third Series, Volume 28, Part IIB, January-December, 1974 (1975), “Luis Russell and His Louisiana Swing Orchestra”, record jacket illustrated by David Palladini, cover design by Katherine Palladini, Jan 5, 1974. ancestry.com, Issue State: Illinois; Issue Date: Before 1951, U.S., Social Security Death Index, 1935-Current [database on-line], Provo, UT, USA: Ancestry.com Operations Inc., 2011, Original data: Social Security Administration. Social Security Death Index, Master File. Social Security Administration; ancestry.com, U.S. Public Records Index, Volume 1 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2010, Original data: Voter Registration Lists, Public Record Filings, Historical Residential Records, and Other Household Database Listings; ancestry.com, U.S. Public Records Index, Volume 1 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2010, Original data: Voter Registration Lists, Public Record Filings, Historical Residential Records, and Other Household Database Listings; Wikipedia, “Linda Goodman”; illustrationfacebook.blogspot.com, biographical information, “Featured: Who I Am...And How I Got That Way - The Impressive Career of Graphic Designer and Illustrator Ron Rae - Part I; 50 Looong Years of Graphic Art and Design.”, by Ron Rae, Tues., July 6, 2010; wonderclub.com, Playboy Magazine, Back Issue – May, 1979; usgamesinc.com, printer update for the Palladini Tarot deck sets; articles.chicagotribune.com, Chicago Tribune, obituary notice, “Hyman ‘Hy’ Roth, 1937-2011: Illustrator for Playboy and other publications”, December 29, 2011, by Graydon Megan, Special to the Tribune; webcache.googleusercontent.com, “Registered voters in the State of Connecticut, U.S.A. as of 9 February 2016, in alphabetical order: Stuart R. Kaplan”; fultonhistory.com, online digitized newspaper article, The Herald Statesman (Yonkers, NY), “Illustrations on Exhibit”, Pg. 18, Monday, November 3, 1975, PDF Yonkers NY Herald Statesman 1975 Grayscale - 8615.pdf; fultonhistory.com, online digitized newspaper article, The East Hampton Star, “Living: Palladini-Schreiber”, Pg. I-3, November 3, 1988, PDF East Hampton NY Star 1988 Aug-Dec - 0533.pdf; fultonhistory.com, online digitized newspaper article, The East Hampton Star, “Arts & Letters: At The Galleries”, Pg. II-16, August 4, 1988, PDF East Hampton NY Star 1988 Apr-Aug - 1063.pdf; nytimes.com, online article and quotes [10.12] and [10.13], The New York Times, “What the Wicked Magician Did”, by author and poet Barbara Tritel, Senior Writer in the Office of the President at the University of California, February 22, 1987; fultonhistory.com, online

83 digitized newspaper article, The East Hampton Star, “Arts & Letters: At The Galleries”, Pg. II-Ten, August 13, 1987, PDF East Hampton NY Star1987-Apr-Aug - 1010.pdf; sherryschreiberstudio.com, biographical information; eatonliterary.com, “Awards and Titles: Recent Award Winners, 2016 Short Story Award Winner ($500), David Palladini for his short story, “ AN ARTIST IN PROVENCE”; liljas-library.com, both David Palladini and his publisher Paul Suntup, of Suntup Editions, appeared for a podcast interview at Lilja’s Library: The World of Stephen King, to promote the forthcoming limited edition folio sets of David’s artwork that appeared in the 1987 Trade Edition of Stephen King’s The Eyes of the Dragon (Viking, 1987), Podcast title: “Dragon’s View Of Dark Tower Movie Poster”, Episode 70, with co-hosts Lilja & Lou, March 21, 2017; dragonrebound.com, The Eyes of the Dragon, custom limited edition rebound edition by Paul Suntup made to resemble reptilian skin (Jan-Oct, 2016), Dragon Rebound Editions, Irvine, CA; Suntup Editions, website, Prospectus and Press Release information, The Eyes of the Dragon Art Portfolio, featuring illustrations by David Palladini, from the novel by Stephen King (Viking, Trade Edition, 1987), two editions consisting of a numbered edition of three hundred copies and a lettered edition of twenty-six copies, Irvine, CA, 2017; Permission from, New York, magazine, David Bressler, New York Media, 75 Varick Street, NY, NY; philsp.com, “Crime, Mystery, & Gangster Fiction Magazine Index: Contents Lists; Alfred Hitchcock’s Mystery Magazine, [v32 #11, November 1987]”; Wikipedia, “The Blue Lagoon (1980 Film)”; Wikipedia, “Conan the Barbarian (1982 film)”; pastprint.com, “Linweave Tarot deck/Brown Company/1967”, Wednesday, Dec. 14, 2011); cocatalog.loc.gov, online searchable copyright database, “Public Catalog: Copyright catalog (1978 to present); David Palladini copyright tape number 1: collection no. 1/all words and music written by David Palladini; 1 sound cassette, Registration #PAu001198025/1989-01-23”, (1989), and “Public Catalog: Copyright catalog (1978 to present); David Palladini copyright tapes: no. 2; 1 sound cassette, words & music: David Palladini, Registration # PAu001185570/1989-01-23”, (1989), and “Public Catalog: Copyright catalog (1978 to present); Music, David Palladini collection: no. 3, fourteen songs (tapes), fourteen songs, tapes, Registration # PAu001191766/1989-01-23”, (1989); cocatalog.loc.gov, online searchable copyright database, “Public Catalog: Copyright catalog (1978 to present); The Oval amulet/by Lucy Cullyford Babbitt, Registration #VA0000192689/1985-06-27; New York, Harper & Row (Harper Collins), Date of Publication 1985-04-10; jacket art David Palladini; Date of Creation 1984”; cocatalog.loc.gov, online searchable

84 copyright database, “Public Catalog: Copyright catalog (1978 to present); Dragons & Dreams: A Collection of New Fantasy and Science Fiction Stories: [jacket art]; Registration #VA0000228002/1986-05-27; jacket art David Palladini; Date of Creation 1985; Date of Publication 1986-04- 18”, Jane Yolen (Editor), Charles G. Waugh (Editor) and Martin Harry Greenberg; Brief biographical information from the exhibition announcement from the Conscience Point Inn for art exhibition titled, “Reflections of the Hamptons”, August 18-27, 1987; Exhibition catalog, Exposition Pastels de David Palladini, Saint-Remy-De-Pce, Lieux Garance, n°1 Rue Estrine du 15 mai au 15 juin 1999, Vernissage, Samedi 15 mai 1999 à partir de 18 h.; amazon.com, book, Henry VIII: [Introductory Essay on Leadership, Arthur Meier Schlesinger, Jr.], by Frank Dwyer, Series “World Leaders Past & Present” cover illustration by David Palladini, New York, Chelsea House Publications, April, 1988; amazon. com, book, The Wife of Bath, by Vera Chapman, Avon Books, September 1, 1978; amazon.com, book, King Arthur, by Norma Lorre Goodrich, cover illustration by David Palladini, Franklin Watts, NYC, 1986; Wikipedia, “Alien (film)”; bookillustrations.quora.com, for article, “Quora: Book Artists and Their Illustrations; David Palladini’s Illustrations for “The Moon Ribbon and Other Tales”, Rivka Stein”; betweenthecovers.com, “39: Allen Gordon, edited by The Woodstock Aquarian–Volume 2, Number One”, Woodstock, New York, Great Turtle Enterprises, Pg. 19, PDF BTC_Catalog_184.pdf; books.google.com, Catalog of Copyright Entries: Third Series, Volume 30, Part I, Number I, Section 2, January-June, 1976 (1977), “BB51157, The Girl with the Silver Voice: A Samoyed Story, by Estelle Titiev and Lila Pargaent, illustrations by David Palladini, Cricket, Oct. issue, 1975, Pgs. 68-75.

Palladini name, hand-drawn typography illustrated by David Palladini, 2012.

David in the South of France, circa 2000.

86 PALLADINI

SUNTUP EDITIONS 2017