Attempted Bloggery’s 5th Anniversary New Yorker Cartoonist Index

Posted on 23rd June 2016 in News

AB indexAttempted Bloggery, one of my favorite New Yorker cartoonist related places to go on the internet, is celebrating its 5th Anniversary with an impressive index of all subjects mentioned on the site.  To the left is a screen grab of just a tiny tiny portion of the Index.  Go to the site for the whole enchilada.

AB is the brainchild of Stephen Nadler, who single handedly runs the very entertaining not to mention exceedingly informative show.  Congratulations Stephen!

Edward Koren to Speak & Sign Books

Posted on 22nd June 2016 in News

the_new_yorker_e2730aaa-d9ce-486e-91a8-ca7dfd5d2f5bRoger & Ed KorenOne of the greatest modern day New Yorker cartoonists, Edward Koren will be speaking at the Delaware Art Museum on July 21st (in conjunction with the traveling exhibit of his work, “The Capricious Line”).  All the details here.

[left: Mr. Koren (hatless) with another great New Yorker contributor/editor, Roger Angell. Photo courtesy of Liza Donnelly]

My thanks to David Pomerantz for alerting me to this event

Book of Interest: An Art Young Anthology

Posted on 20th June 2016 in News

Due March of 2017 from Fantagraphics is an Art Young anthology: To Laugh That We May Not Weep. Art YoungHere’s some info from the publisher:

To Laugh That We May Not Weep is a sweeping career retrospective, reprinting ?often for the first time in 60 or 70 years? over 800 of Young’s timeless, charming, and devastating cartoons and illustrations, many reproduced from original artwork, to create a fresh new portrait of this towering figure in the worlds of cartooning and politics. With essays by Art Spiegelman, Justin Green, Art Young biographer Marc Moorash, Anthony Mourek, and Glenn Bray, with a biographical overview of Young’s life and work by Frank M. Young, To Laugh That We May Weep is a long-awaited tribute to one of the great lost cartoonists whose work is as relevant in the 21st century as it was in its own time.

Link here to read an Art Young appreciation by Art Spiegelman  in Harper’s



Ink Spill‘s Art Young entry:

Art Young (above)  Born January 14, 1866,  Illinois. Died December 29, NYC @ The Hotel Irving.  An online biography. 1943. NYer work: 1925 -1933.  The Art Young Gallery

More Peter Arno; The Tilley Watch

Posted on 16th June 2016 in News

Arno cover 2

Arno workbooks
















Another installment from the Department of Self-Promotion, this interview by Alex Dueben posted today on The Comics Journal site.





Tilley Watch...







Here’s a fun video featuring cartoonist Liana Finck and Colin Stokes, The New Yorker‘s Cartoon Assistant (and occasional cartoon collaborator).

George Booth Interview on A Case For Pencils

Posted on 15th June 2016 in News





Cartoon god George Booth is the most recent cartoonist to talk about his tools of the trade on Jane Mattimoe’s wonderful blog, A Case For Pencils. Read the interview here.

[left: a classic Booth collection from 1983]

New York Times Anatol Kovarsky Obit; The Tilley Watch

Posted on 14th June 2016 in News

Kovarskys passport William Grimes splendid obit of Anatol Kovarsky is in today’s New York Times (and online).

[left: Mr. Kovarsky and his wife, Lucille Patton]







Tilley Watch...






…Cartoonist John McNamee debuts in the latest issue of The New Yorker. Mr. McNamee is the 8th (9th?) new addition so far this year…


…And be sure to head on over to to  check out a slide show of Liza Donnelly’s Live Tweet-drawings from the Tony Awards.  [below: Ms. Donnelly’s drawing of Lin-Manuel Miranda]

LD: Tonys

Roger Angell’s New Yorker Postscript on Frank Modell

Posted on 13th June 2016 in News

ModellFrank Modell is remembered by The New Yorker’s Roger Angell in this week’s issue.  See the piece here.

Liza Donnelly Live Tweet-Draws the Tony Awards

Posted on 12th June 2016 in News





















Liza Donnelly is already on the scene at The Beacon Theater in New York where she will live Tweet-draw tonight’s Tony Awards. Follow her as she draws the Red Carpet festivities as well as the goings-on inside the theater from the Press room.

LD Tonys


Follow her on Twitter: @lizadonnelly

and on Facebook: Liza Donnelly


Posted on 10th June 2016 in News











The past three months we’ve lost three giants in the New Yorker Cartoonists constellation: William Hamilton in April, Frank Modell in May and Anatol Kovarsky in June. Together they contributed just over 2,600 pieces (including covers) to the magazine, but of course it is immeasurable what they really gave in hours, days, months, and years of laying down magic on the cliché blank of piece of paper. I’ve often said that being a cartoonist is obviously not the kind of hard work you see being done by men and women building roads and bridges; cartoonists have their own wearying yet propulsive set of challenges; the thrill of finding just that right interaction of drawing and words to say exactly what you want to say. And along with that thrill is the weekly rejection of much of the work you do. We cartoonists get to live this unusual life of drawing what we want to draw and thinking what we want to think, but all along the way, week after week, we are also reminded that much of what we do is turned down, rejected. No matter — it’s part of the deal, my friend and colleague Jack Ziegler once said, we made with the devil.


The cartoonists we’ve lost this early part of the year were given the gift of lives mostly devoted to humor. Two of the three men, Modell and Kovarsky, published work during the editorship of Harold Ross, the man responsible for inventing The New Yorker. Hamilton arrived in 1965, just a few years shy of (Ross’s successor) William Shawn’s midway point as editor. All three artists worked under the magazine’s first Art Editor, James Geraghty and later under Geraghty’s successor, Lee Lorenz. (Kovarsky and Modell also worked under Rea Irvin, the magazine’s legendary Art Supervisor). Combined, they spent well over a hundred years contributing their work to The New Yorker.


Each of them let us participate in their worlds as played out in ink lines on the pages of the magazine. Hamilton, with his scrappy lines and unabashed use of black space, was a master of dissecting the look, the language, the culture of the wealthy; Kovarsky used his graceful disciplined line to put a sympathetic spotlight on the absurdities of modern living (and oftimes ancient living); Modell placed a giant banana peel underfoot of life’s everyday banalities. His drawings were as friendly as the man himself.


The best cartoonists – and these three were among the best — have an unstoppable gift: not-a-one of them boxed up their creativity once their time at The New Yorker, for whatever reason or reasons, had come to a close. As noted on this site yesterday, Kovarsky, at 97 years old, was still drawing just days before he passed away. Hamilton, taken too soon, was still very much at work before he died.  And Modell was painting and drawing well into his upper 90s.


Go out of your way to find collections of work by any of these men, or simply look their work up online. I guarantee you’ll discover evergreens: work that is as fresh today as when it was created; work that will live on as long as there are cartoons. And while you’re laughing as you absorb their humorous worlds, give a thought to these three very fine fellows spending all those years with pens and pencils in hand toiling happily away.


[photos: from top left reading clockwise: William Hamilton, Frank Modell, and Anatol Kovarsky]

Kovarsky’s Last Drawing

Posted on 9th June 2016 in News

Kovarsky May 27 2016 Market Gauge People


Three years ago, I wrote a piece about the great New Yorker artist Anatol Kovarsky, and titled the piece “Still Drawing After All These Years” (a version of the piece later appeared on the New Yorker’s website). Had I updated the piece last month I could’ve easily revived that same title. You see,  Kovarsky, at 97 was still drawing.  What you see here is his very last, drawn on May 27th, five days before he passed away; the drawing is one of many his family refers to as the Market Gauge series.  His daughter Gina recently told me:

“My mom [the actress Lucille Patton] would place the Market Gauge graph page in front of dad and before you knew it, he would be absorbed in total concentration, pen in hand, finding these odd-looking fellows who had been hiding inside the graphs. It was quite amazing to see him be so immersed in drawing no matter what else was going on.   It really sustained him until almost the very end.”

Below: Anatol Kovarsky working on a Market Gauge drawing.  Market Gauge drawing & photo courtesy of the Kovarsky family

At work on a Market Gauge drawing