Guess I’ll add this to my wish list: the Chinese edition of Thurber’s My Life and Hard Times, originally published by Harper & Brothers in 1933. The Chinese edition, published in December of 2018, uses Thurber’s drawing of Bolenciecwcz, the main character from chapter eight’s University Days (the drawing as it appears within the book is full page and carries the caption, Bolenciecwcz was trying to think). The Chinese edition cover drawing has been altered with the addition of what looks to be a red flower.
You see on the cover a mention of the 1960 Tony Awards. The play, A Thurber Carnival won a special award that year. Thurber himself accepted. See it on Youtube, beginning at the 22:36 mark as Eddie Albert brings on Thurber’s dear friend, Elliot Nugent, to introduce Thurber.
More Price On Attempted Bloggery
Attempted Bloggery celebrates its 2800th post with a look at a George Price drawing auctioned for a song.See it here.
Looking Closely At The New Yorker Issue Of January 4, 1930
Another go-to site, A New Yorker State of Mind digs deep into the issue of January 4, 1930. The spectacular cover by the spectacular Rea Irvin. Read it all here.
Exciting news of an exhibit of work by the late great New Yorker cartoonist, Al Ross at the Gallery @ The Falcon, January 20, 2019, from 3-5pm. Here’s the entire press release:
Gallery@TheFalcon invites the public to join the family of legendary cartoonist and artist, AL ROSS, for wine and small bites. Ross’s son – renowned “TELEMASTER” guitarist Arlen Roth, and granddaughter, singer-songwriter, Lexie Roth will be hosting. Born Abraham Roth in Romania, Al Ross (1911-2012) was one of the great cartoonists of the “Golden Era” of cartooning and illustration, primarily known for his seminal work in The New Yorker Magazine from 1937 to 2012. Ross’s droll cartoons featuring married couples, bar habitués, anthropomorphic animals, philosophizing prisoners, art and publishing world denizens, anachronistic mythological figures and loyal Mets fans appeared in The New Yorker for more than 60 years.
work was featured, as well, in the world’s most respected magazines;
Esquire, Playboy, The Saturday Evening Post, The New York Times, Paris
Match, Du Magazine, Colliers, Life, and Look among others.
mastered the wry, arched-eyebrow sensibility of the magazine’s
cartoons, and its signature wit, which speaks to an affluent,
sophisticated readership and relies partly on erudition, partly on
timeliness, partly on psychological astuteness and partly on silliness.”
– Bruce Weber, The New York Times
in America in 1922, Ross and his three brothers – all soccer players
with artistic ability, and great senses of humor – began cartooning and
studied drawing at the Art Students League. “They were always carrying
on, almost like the Marx brothers.”
wife, Sylvia Heller, started the Rothco cartoon agency, an expansion of
the cartoon bank started by Ben Roth, establishing a secondary market
for published cartoons. Al Ross’s books of cartoons included titles – a
product of those times – such as ,“Sexcapades: The Love Life of the Modern Homo Sapiens“, and the guide “Cartooning Fundamentals.”
painting, though lesser known than his cartoons, was his true passion
and has been part of important collections around the world. He was a
tireless creative force, turning out countless oil paintings, collages,
drawings, sculptures, and of course, cartoons throughout his lifetime,
from his art studio in NYC.
influences, the most prevalent were Picasso, DeKooning, Roualt, Braque,
Miro, Rothko, Cezanne, Matisse, John Graham, and Rodin. In the 1940’s,
he studied with German-born American painter, the renowned Hans Hoffman,
who in his long career preceded and influenced Abstract Expressionism,
through his teaching at the Art Students League in New York City.
is the father of renowned guitarist, Arlen Roth, who has played at The
Falcon numerous times, also with Arlen’s daughter, Lexie Roth, who is a
singer-songwriter, actress and chef.. It is Al Ross, who encouraged and
envisioned his son Arlen becoming a guitar player and he also inspired
David Roth, his eldest son, to follow his footsteps and become an artist
We hope that all who see this exhibition get a chance to see and reflect upon a brilliant life of work, art, humor, family and love that is Al Ross’ true legacy.
— My thanks to Lexie Roth and Paul Karasikfor bringing the above information to my attention.
Attempted Bloggery, a Spill go-to website has begun spotlighting some interesting George Price work, including the oddity above. See it all here.
George Price’s entry on the Spill‘s A-Z:
George Price (above) Born in Coytesville, New Jersey, June 9, 1901. Died January 12, 1995, Engelwood, New Jersey. New Yorker work: 1929 – 1991. Lee Lorenz, the New Yorker’s former Art/Cartoon editor, called Price one of the magazine’s great stylists (along with Peter Arno, Helen Hokinson, James Thurber, and William Steig). Of the many Price collections here are two favorites: Browse At Your Own Risk (1977), and The World of George Price: A 55-Year Retrospective (1988)
Below: I’ve always loved the cover of Price’s 1963 collection, My Dear 500 Friends.
On February 7th, Liza Donnelly will speak at Ohio’s Billy Ireland Cartoon Library & Museum about Barbara Shermund, a major contributor of cartoons during The New Yorker’s early years. Details here.
Here’s Ms. Shermund’s entry on The Spill‘s A-Z:
Barbara Shermund (self portrait, to the left) Born, San Francisco. 1899. Studied at The California School of Fine Arts. Died, 1978, New Jersey. New Yorker work: June 13, 1925 thru September 16, 1944. 8 covers and 599 cartoons. Shermund’s post-New Yorker work was featured in Esquire. (See Liza Donnelly’s book, Funny Ladies — a history of The New Yorker’s women cartoonists — for more on Shermund’s life and work)