Rolly Crump

For reasons unknown, I was watching an old episode of the “Dick Van Dyke Show,” and in the background a slice of the ’60s counterculture caught my eye. So I hit pause and took a closer look. It was out of place on that show at that time. Hidden in plain sight, on the beatnik coffee shop set constructed for the show, was a piece of art that was daring for the conservative TV standards of the 1960s. The image, edited for the era’s television, still spoke volumes about the cultural undercurrents preceding the hippie movement. It was a curious artifact from an era where beatniks laid the groundwork for the cultural revolutions to come.

A reverse image search led me to the identification of the poster as “Sitting Pretty,” and the other, also used in the set, as “Delilah In The Bath.” Both were the works of Rolly Crump, an artist from the counterculture of the 1960s. Both women had had their nipples covered with stickers for their roles on the TV show’s set. But that was apparently sufficient for the producers. However, they’re still pretty risqué for 1960’s prime-time TV. Although, it was probably impossible to see at old TV set resolutions.

I did some digging into the career of their creator, Roland Fargo “Rolly” Crump. Surprisingly, I learned that Crump was not just an offbeat artist of the 1960s counterculture but also a significant figure at Disney. These particular posters were part of a set of four, published by the Esoteric Poster Company, predating the recording of the “Dick Van Dyke Show” episode “Stacey Petrie: Part II,” which aired on January 27, 1965. This revelation painted a picture of a versatile artist bridging mainstream animation and avant-garde expression.

These were part of posters offered by the Esoteric Poster Company, founded by Howard Morseburg, which was instrumental in the 1960s Beatnik art scene, particularly in the production and distribution of Rolly Crump’s posters. All four posters were still available as new-old stock until about 2020, a testament to the Morseburg family’s foresight. Morseburg’s family, understanding the cultural significance of these posters, preserved them much like collectors preserve classic French Belle Époque posters. This foresight by Morseburg and his family helped maintain the legacy of this unique art form, ensuring its appreciation by future generations.

Rolly Crump started at Disney at 22 as an “In-Betweener” in animation, a role crucial for creating smooth motion in traditional hand-drawn animation. This job involved crafting frames between keyframes to ensure fluidity in animation sequences. His unique interest in propellers caught Walt Disney’s attention, leading to a shift to WED (Walter Elias Disney), the precursor to Walt Disney Imagineering. At WED, Crump’s creativity led to designing the iconic Tower of the Four Winds for the ‘It’s a Small World’ attraction at the 1964 World’s Fair.

Rolly Crump’s career at Disney, lasting over 40 years, was interspersed with periods where he pursued his own ventures. During these times, he established his own companies and took on various global projects, demonstrating his broad range of skills as an artist and designer. This phase of his career highlighted his adaptability and willingness to explore beyond his established work at Disney.

Uncovering “Sitting Pretty” spurred my exploration into more of Rolly Crump’s work, particularly his contributions to the Esoteric Poster Company during the Beatnik era. His posters from this period are a blend of whimsical artistry and sharp cultural commentary, showcasing his skill in merging artistic expression with social observations. This aspect of Crump’s portfolio illuminates a different facet of his creativity, distinct from his Disney creations.

Crump’s original posters may still be available for purchase, possibly in new condition, from select collectors or online sources. If not, they often appear on the secondary market. Crump, who passed away on March 12, 2023, at 93, left a rich legacy, retiring from Disney in 1996 and publishing his autobiography “It’s Kind of a Cute Story” in 2012. Learn more about him at rolandcrump.com.

Returning to the ‘Dick Van Dyke Show,’ another intriguing detail caught my attention: in another episode in the same season, neighbor Millie was seen reading a book on the Petries’ couch. The book, ‘Pistols for Two,’ from 1951 by Aaron Marc Stein featured a cover that was designed by Andy Warhol. An obscure choice and certainly not random. Someone who was working there was dialed into something. This subtle inclusion not only adds a layer of artistic depth to the show but also hints at its nuanced connection with the contemporary art scene of the time

On a side note, since the early ’80s, I’ve owned a signed numbered serigraph called ‘The Valley’ by Eyvind Earle, a background painter for Disney.

While I’m not particularly drawn to Disney-themed art, apparently I have some affinity for the extracurricular work of artists he employed. Perhaps it’s something about needing an alternate outlet for the voices.