Fave Photo of the Day: George Booth at His Desk; The Latest New Yorker Cartoons Rated; BEK Talks about Summertime Television; Ellis Rosen, Emma Allen, and Colin Stokes On a Bench; Advertising Work by New Yorker Cartoonists, Part 5: Helen Hokinson

Fave Photo of the Day: George Booth

Sarah Booth recently took this photo of her father, the one-and-only George Booth.  My thanks to Sarah for permission to post here.

Below left: a “Booth Dog”

Here’s Mr. Booth’s entry on the Spill’s A-Z :

George Booth (photo above taken in NYC 2016, courtesy of Liza Donnelly) Born June 28, 1926, Cainesville, MO. New Yorker work: 1969 – . Key collections: Think Good Thoughts About A Pussycat (Dodd, Mead, 1975), Rehearsal’s Off! (Dodd, Mead, 1976), Omnibooth: The Best of George Booth ( Congdon & Weed, 1984), The Essential George Booth, Compiled and Edited by Lee Lorenz ( Workman, 1998).

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Latest New Yorker Cartoons Rated by Cartoon Companion

If you like your New Yorker cartoons rated, there’s only one place to go. The Cartoon Companion boys (their true identities are secret) take a look at this week’s offerings which include colluding ice cubes, a kangaroo with a handy pocket, an emergency room with live music, some tusky elephants, and a gluttonous fish.

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Bruce Eric Kaplan on the New Yorker Radio Hour

Here’s Bruce Eric Kaplan on the magazine’s Radio Hour talking about summertime tv.

 

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Video: Ellis Rosen with Emma Allen and Colin Stokes

One of the Cartoon Department’s newest stablemates, Ellis Rosen,  joins cartoon editor, Emma Allen, and associate cartoon editor, Colin Stokes, for a look at some NYC subway-related cartoons. See it here. Extra reading: an Ellis Rosen article of interest here.

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Advertising Work by New Yorker Cartoonists, Part 5: Helen Hokinson

In earlier days at The New Yorker, the cartoonists were rated: AAA, AA, A. Two cartoonists were, on paper, unrated, listed above all the others in their own upper stratosphere:  Peter Arno, and Helen Hokinson. Ms. Hokinson was the magazine’s earliest star.

The Spill is grateful to Warren Bernard for providing his entire collection of ads by New Yorker cartoonists, including the three by Ms. Hokinson shown here.

Dates of ads: Flit, 1935; Ry-Krisp, 1945; Maxwell Coffee, 1949.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ms. Hokinson’s entry on the Spill’s A-Z:

Helen Hokinson (above) Born, Illinois,1893; died, Washington, D.C., 1949. New Yorker work: 1925 -1949, with some work published posthumously. All of Hokinson’s collections are wonderful, but here are two favorites. Her first collection: So You’re Going To Buy A Book! (Minton, Balch & Co, 1931) and what was billed as “the final Hokinson collection”: The Hokinson Festival (Dutton & Co., 1956)

Advertising Work by New Yorker Cartoonists, Part 4: Steinberg; Liza Donnelly Live-Draws The Late Show with Stephen Colbert; Rejected New Yorker Covers by Whittington, Higgins; Video: New York City in the 1920s

Steinberg did ad work?  You bet.  As with William Steig, a Steinberg Part 2 will be posted at some later time. 

Warren Bernard,  Executive Director of SPX, is the one responsible for researching & gathering all these images. My thanks to Warren for allowing them to appear here.

Here are the dates for these ads:  Emerson, 1948; House & Garden, 1955; Morton International, 1966; Jones & Lamson, 1946

 

 

 

 

 

 

 

Here’s Steinberg’s entry on the Spill’s A-Z:

 

 

 

 

 

Saul Steinberg  (above) Born, June 15, 1914, Ramnic-Sarat, Rumania. Died in 1999. New Yorker work: 1941 – (The New Yorker publishes his work posthumously). Steinberg is one of the giants of The New Yorker.  Go here to visit the saulsteinbergfoundation where you’ll find  much essential information and examples of his work.

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Liza Donnelly Live Draws The Late Show with Stephen Colbert

CBS News Resident Cartoonist, Liza Donnelly, visited the Ed Sullivan Theater  (yeah yeah yeah!) the other day to draw The Late Show with Stephen Colbert. Here’s an article on The Huffington Post about her visit.  And go here to see more of her Late Show drawings and read what she had to say about the experience.

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Rejected New Yorker Covers by Whittington, Higgins

Stephen Nadler’s Attempted Bloggery continues its look at proposed (and ultimately rejected) New Yorker covers. 

In the past few days we’ve seen this one by Donald Higgins, and in AB’s latest post, one by Larry Whittington. See and read all about them here.

 

 

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Video: New York City in the 1920s

If you have twelve minutes to spare, here’s a fun video of  New York City in the 1920s from Hey New York State. The screen grab shows Peter Arno tussling Alexander Woollcott’s hair (you can see that that happens at the 11:34 mark — it’s very brief). Other highlights: George Gershwin rehearsing, Chaplin playing piano, Fanny Brice singing (the video is mostly silent, but Ms. Brice is heard), some waterfront footage and Manhattan street scenes galore…check it out here. 

Advertising Work by New Yorker Cartoonists, Part 3: Barbara Shermund

We continue with the Spill’s special presentation of Warren Bernard’s collection of ads by New Yorker cartoonists. My thanks to Mr. Bernard for all the elbow work collecting these.

Today we see four Barbara Shermund ads.  Ms. Shermund is surely one of the most important (and sadly, overlooked) early contributors to the magazine.  To read a whole lot more about her consult Liza Donnelly’s Funny Ladies: The New Yorker’s Greatest Women Cartoonists and Their Cartoons.

Here are the dates for the ads: Pepsi Cola: 1945; Ry Krisp: 1938; Phillips: 1966; Wings Sportswear: 1944

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Here’s Ms. Shermund’s entry on the Spill’s A-Z:

 

 

 

 

Barbara Shermund (self portrait, above) 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 later. 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)

 

Advertising Work by New Yorker Cartoonists, Part 2: William Steig

And now for Part 2 of what will be many parts  of an adwork display by New Yorker cartoonists, all courtesy of   Warren Bernard, indefatigable cartoon collector, and Executive Director of the Small Press Expo, or SPX.   

There are too many ads by William Steig to show in one sitting, so he’ll have to have his own Part 2 and Part 3.

All but one of these Steig ads are in his earlier style, before he went into his fabulous finer line period. The exception is the Nicholson Hacksaw Blade ad from 1966 where you see the style found in his childrens book as well as on his later New Yorker covers. The dates for the other ads: Delco Batteries: 1960; Cheerios: 1950; Kinsey Gin: 1945; Drano: 1948

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

One of many interesting New Yorker nuggets I came across while researching my biography of Peter Arno was the feeling at the magazine,  back in the early 1940s, that too many of its artists (Arno being foremost, of course) were feeling emboldened by their successes in the advertising world and not as beholden to The New Yorker for their livelihood. Harold Ross, the magazine’s founder and first editor, was, I believe, happier when he was holding all the cards. 

Here’s Mr. Steig’s entry on the Spill’s A-Z:

William Steig (photo above) Born in Brooklyn, NY, Nov.ember 14, 1907, died in Boston, Mass., October 3, 2003. In a New Yorker career that lasted well over half a century and a publishing history that contains more than a cart load of books, both children’s and otherwise, it’s impossible to sum up Steig’s influence here on Ink Spill. He was among the giants of the New Yorker cartoon world, along with James Thurber, Saul Steinberg, Charles Addams, Helen Hokinson and Peter Arno. Lee Lorenz’s World of William Steig (Artisan, 1998) is an excellent way to begin exploring Steig’s life and work. New Yorker work: 1930 -2003.

 

 

The Monday Tilley Watch

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

 

 

Expecting something political on the July 31st cover it was a surprise when Javier Mariscal‘s water’s edge pastoral popped up on my screen (I’m looking at the digital version of the magazine; I’ll look at the print version when it arrives. Two different experiences). My first thought: if James Stevenson had worked in stained glass, this might be the result. Here’s an example of what I was thinking (a Stevenson cover from October 1975, and Mr. Mariscal’s on the new issue):

 

 

 

 

 

 

 

A note before heading into the issue: I have a habit of not looking at the cartoonists listed on the Table of Contents — I look at everything else on the TOC, but want to be completely surprised by the cartoons as I page through. I see on the TOC that Bruce McCall has a Shouts & Murmurs piece — things are already interesting.  On my way to “The Talk of The Town”  I stopped to examine the illustration on page 8 by Henning Wagenbreth. Glad I stopped — enjoyable illustration, and, bonus: the name Henning Wagenbreth is now a new favorite name.

Moving on: a quick look at the Talk masthead —  it’s still the revamped version brought in a few months back. I ask the power(s) that be to reconsider and bring back Coke Classic (i.e., Rea Irvin’s masterpiece masthead  — shown directly below — that led off Talk from January 30, 1926 through May 15, 2017). 

It should be noted (and maybe I did note it once on this site): Tom Bachtell is the contemporary artist behind the drawing appearing on the opening Talk page and many of the others sprinkled through the rest of Talk, but the small spots that look like this:

are by the late great Otto Soglow (fondly remembered by many for his creation,  “The Little King”). Mr. Soglow supplied the Talk spot drawings in earlier times (pre-Lee Lorenz years as Art Editor).   We are lucky his work is still appearing here some forty-two years after his death.

And now, finally to the cartoons: the first is by Sara Lautman, whose first New Yorker drawing appeared in March of last year. If the search function on the digital edition is correct, this is her 6th New Yorker appearance. A few pages later is a David Sipress drawing.  Mr. Sipress’s active line is immediately recognizable, as is the New York City subway setting (the subway has been in the news quite a lot, with the Mayor of NYC taking a well -publicized ride just yesterday). Next is a drawing by Paul Karasik (whose new book, How to Read Nancy was mentioned here last time, so I’m mentioning it again). In Mr. Karasik’s drawing, Grant Wood’s American Gothic farmer returns to the New Yorker.  During Charles Addams’ long run at The New Yorker he had a lot of fun with Mr. Wood’s pitchfork-wielding farmer, as well as at least one of the other folks at the bar in Mr. Karasik’s drawing.

Here’s Addams working with the American Gothic duo– this from The Charles Addams’ Mother Goose.

And here’s a link to another.

And here’s Addams with a roomful of recognizable subjects, including Mona Lisa

But I, uh, digress…so back to the issue at hand. Opposite Mr. Karasik’s barflies is a timely drawing by Liza Donnelly featuring colluding ice cubes. As with Roz Chast’s drawing from the last issue, I like the way this drawing has been placed on the page.  Today’s New York Times carries the headline “‘I Did Not Collude,’ Kushner Plans to Tell Senate Investigators” — hmmm

Several pages later we come to another well-placed/sized drawing — this one’s by Harry Bliss. As noted on yesterday’s Spill, it’s “Shark Week” on The Discovery Channel. It’s also summertime. Mr. Bliss manages to celebrate both, as well as tipping his hat to lifeguards (a New Yorker colleague, John O’Brien, was a longtime lifeguard in Wildwood, New Jersey. I believe he’s the only New Yorker artist with those intersecting credentials). Next is a kangaroo cartoon (also well placed & sized) by Liana Finck (who was mentioned on the Spill yesterday for several reasons…both good). Here we have a drawing that, stylistically (and maybe even thematically) brings to mind a cross between Ed Arno and Arnie Levin, with even a dash of Bill Woodman tossed in to the mix.  In the end, of course, it’s pure Finck.

A Seth Fleishman Newton’s Cradle cocktail drawing follows Ms. Finck’s. Mr. Fleishman, like the aforementioned Ms. Lautman, started at The New Yorker in the early months of last year —  his generous use of black against white made (and make) his work easy to pick out in the crowd. A Roz Chast six-parter follows (Ms. Chast’s first New Yorker appearance was in 1978). I failed to mention last week that Ms. Chast has a new book coming out this Fall: Going Into Town: A Love Letter To New York.

A Paul Noth prison drawing is next (Mr. Noth’s first New Yorker appearance was in 2004)  — Mr. Noth has a book coming out as well — it’s not due until next year, but I’ll mention it here anyway.  Someone should do a collection of New Yorker prison cartoons. Three pages following Mr. Noth’s drawing is the very recognizable work of Drew Dernavich.  If you want to know a little more about how he works, visit Jane Mattimoe’s Case For Pencils post here.  Three more pages brings you to one of the newest kids on the block (first New Yorker appearance: November 14, 2016): Lars Kenseth. In this drawing, Mr. Kenseth meets King Arthur, sort of. For some reason I wanted the caption to have the word “sticky” in it, but “licked” comes close enough.

Two pages on we find a drawing by cat and elephant-lover, Danny Shanahan, who’s been contributing to The New Yorker for 30 years.  No one draws  elephants like Mr. Shanahan (he’s even had a New Yorker elephant cover).   

Another new kid, Ellis Rosen is up next (first New Yorker appearance: December 12, 2016). I like birds-in-flight cartoons. Carl Rose, Lee Lorenz, and a number of other colleagues have offered them up to us over the years.

On the opposite page from Mr. Ellis’s drawing is a drawing executed in the instantly recognizable  style of William Haefeli (first New Yorker appearance: 1998). The Spill’s archive is lucky enough to have one of Mr. Haefeli’s original New Yorker drawings.  Visitors who are shown the piece are usually surprised by its size (it’s quite small) and its complexity (his originals look even more complex in person than on the printed page or screen).

A few pages later, we have what looks like a Smith Bros. cough drop board meeting —  a bunch of bearded men courtesy of Carolita Johnson (first New Yorker appearance: 2003), followed by a cat and dog living room situation by Christopher Weyant (first New Yorker appearance: 1998; Mr. Weyant is the  illustrator of a recent childrens book, I Am (Not) Scared by Anna Kang).  I love the way Mr. Weyant draws cats (he joins the Well-drawn Cat Club; I won’t list all the members for fear of possibly leaving someone out).  Tom Toro’s next (first New Yorker appearance: 2010) with a rarity: a lethal-signage cartoon. Kudos to the author of Tiny Hands. 

Mr. Toro’s drawing is followed by a Liam Walsh cartoon featuring a smallish fish with a big appetite (Mr. Walsh’s first New Yorker appearance: 2011). I already mentioned Bill Woodman above, but I’ll mention him again. I see fishing cartoons and I think Woodman. For some examples check out his book, Fish and Moose News (published in 1980). 

 

Lastly, the newest of the newbies, Maggie Larson, whose first New Yorker drawing appeared in last week’s issue.  I can’t recall how many massage-related cartoons have been in The New Yorker. At least one, now (someone with a better database than mine please let me know of others).

 

And that’s that.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

Advertising Work by New Yorker Cartoonists, Part 1: Peter Arno; Shanahan’s Sharks

Advertising Work by New Yorker Cartoonists, Part 1

Warren Bernard, author of the wonderful book, Cartoons For Victory, as well as Executive Director of The Small Press Expo, has generously allowed the Spill access to hundreds of images he has collected that depict advertising work executed by New Yorker cartoonists. The Spill will post these from time-to-time. This is not an all-inclusive survey, but a look back at some interesting work mostly lost to time (many of these ads were unknown to me until recently).

We’ll start with a handful of ads featuring the unmistakable drawings of Peter Arno. Arno’s drawings were in high demand by Madison Avenue during the four decades he contributed to The New Yorker. They were the lucrative sideline that went a long way to helping him live the Park Avenue penthouse life he at times lived.

I’m only showing a few of his ads here, and not including the entire run of Pepsi-Cola ads that so riled Harold Ross (the New Yorker’s founder and first editor) — those will be for another time.  Also for another time: the Gem Razor ad campaign.

 

 

 

 

 

 

 

 

 

 

 

Mr. Bernard has helpfully identified the date of each ad:  Alemite (1949); Kindness (1968); Calvert Reserve (1944); Jockey (1939); Ry-Krisp (1941)

Here’s Mr. Arno’s entry on the Spill’s A-Z:


Peter Arno (Pictured above. Source: Look, 1938) Born Curtis Arnoux Peters, Jr., January 8, 1904, New York City. Died February 22, 1968, Port Chester, NY. New Yorker work: 1925 -1968. Key collection: Ladies & Gentlemen (Simon & Schuster, 1951) The Foreword is by Arno. For far more on Arno please check out my biography of him, Peter Arno: The Mad Mad World of The New Yorker’s Greatest Cartoonist (Regan Arts, 2016).

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Shanahan’s Sharks

Attempted Bloggery has found a Danny Shanahan New Yorker cover that’s been enhanced by the artist himself.

Mr. Nadler, who runs the AB, notes it’s a fine way to kick off the Discovery Channel’s Shark Week.

Link here to see Danny Shanahan’s New Yorker work on the magazine’s Cartoon Bank site.