Fave Book Find of the Week: Frueh On The Theatre: 1906 – 1962; Sam Marlow Pencilled; New Yorker Cartoonists in Life & Judge; Signed By The Cartoonist; Reading Every Issue of The New Yorker!

Here’s a wonderful collection of the late great Al Frueh’s theater work for The New Yorker and elsewhere. The New York Times had Al Hirschfeld, The New Yorker had Al Frueh.  Mr. Frueh’s New Yorker colleague, Brendan Gill provides an informative and insightful intro. For more on Mr. Frueh, here’s a Spill piece about him, “The First New Yorker Cartoon” — posted way back in 2011.

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Sam Marlow Pencilled

Sam Marlow, whose first cartoon appeared in The New Yorker May 9, 2016 is the latest subject of Jane Mattimoe’s splendid Case For Pencils blog.  See Mr. Marlow’s tools of the trade here.

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Buchanan’s Files Continue on Mike Lynch’s Site

If New Yorker cartoonists work not published in the New Yorker is your thing, then head on over to Mike Lynch’s site where you’ll find a number of Life and Judge cartoons from the 1930s. All the scans courtesy of Dick Buchanan, including the Ned Hilton drawing above (Life, 1935). Mr. Hilton’s cartoons appeared in The New Yorker from May 19, 1934 — June 15, 1957.

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Signed By The Cartoonist

Stephen Nagler’s Attempted Bloggery site has been posting signed books by some famous cartoonists, Peter Arno, Helen Hokinson, and William Steig among them.  Check them out here.

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Reading Every New Yorker

And speaking of Ms. Hokinson, here’s her beautiful New Yorker cover from the summer of 1928.  The fascinating blog, A New Yorker State of Mind takes a very close look within.  Read it here.

Two Blog Posts of Interest: A New Yorker State of Mind & Attempted Bloggery

Two favorite New Yorker-related blogs making for fun Saturday reading.

First, A New Yorker State of Mind: Reading Every Issue of The New Yorker with its look at the issue of June 30, 1928 featuring the ever pleasing work of Helen Hokinson on the cover. Work shown in the post: Alice Harvey, Al Frueh, and Peter Arno. 

And then there’s Attempted Bloggery, frequently mentioned on the Spill, and for good reason. Stephen Nadler, who runs the site, tirelessly examines all kinds of New Yorker cartoon and cartoonist related angles (original art, auctions, obscurities, etc). Right now he’s looking at the work of Gregory d’Alessio, a somewhat forgotten figure.  Mr. d’Alessio contributed a handful of covers and one cartoon to The New Yorker

Shown above: on the left is the June 30, 1928 New Yorker. On the right, a drawing by Mr. d’Alessio from the May 1937 issue of College Humor.

The Spill’s A-Z entries for cartoonists mentioned:

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).

Gregory d’Alessio (Photo above from College Humor, 1938) Born Sept. 25, 1904, NYC. New Yorker work: 1934 -1940.

Al Frueh (pictured above) Born, Lima, Ohio 1880; died, Sharon, Connecticut, 1968. New Yorker work: 1925 – 1962. Here’s a good piece about Mr. Frueh’s life.

 

 

 

Alice Harvey  (above) Born 1894, Austin, Illinois. New Yorker work: Oct. 17th,1925 – May 1, 1943.

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)

 

Event of Note: Edward Sorel & Jules Feiffer in Conversation, Oct. 20th; More Spills: Al Frueh’s Studio and Paul Noth’s Book News

sorel_feifferCartoon gods Edward Sorel & Jules Feiffer will be in conversation on October 20th at the Parkway Central Library in Philadelphia.  Mark your calendar!  Details here.

Mr. Sorel’s latest book, Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936 is due this October while Mr. Feiffer’s latest, Cousin Joseph, is just out. Both are published by Liveright. 9781631490231_300

9781631490651_300

 

 

 

 

 

 

 

 

 

 

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More Spills Icon EditedPaul Noth has signed up for three books with Bloomsbury.  Writing on Facebook about the news, Mr. Noth said: “They’re my favorite thing I’ve ever done.”

And here’s what Publisher’s Weekly had to say:

 

 The illustrated adventure series features Happy Junior, a bearded 10-year-old who wants to be normal but can’t, thanks to his family, including his father, a brilliant inventor whose screwball products are trumpeted in TV infomercials, his five unusual sisters, and his despotic grandmother who has relegated the whole family to a basement corner of her grand estate. The first book in the series, How to Sell Your Family to the Aliens, will be published in winter 2018…

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And from out of left field, this real estate listing for a Greenwich Village townhouse (34 Perry Street) that includes a mention of Al Frueh, who had the first cartoon in the very first issue of The New Yorker.

*New Yorker Minutiae Recollection Award of the year goes to Stephen Nadler, who runs the wonderfully entertaining and informative Attempted Bloggery.  Stephen wrote to me after reading this post and pointed out that this very same studio  was mentioned in that very same inaugural issue under the heading In Our Midst. And here it is:

NYer Frueh

 

 

 

From the realtor’s listing:”The fourth floor is exceptional. In 1924, it was transformed into a loft and artist studio by renowned New Yorker cartoonist Mr. Al Frueh with a raised roof and extraordinary large windows and north facing skylight across the entire frontage.”


Al Frueh's studio

 

 

 

In the House: Curtain Calls of 1926

Curtain Calls of 1926This wonderful  book arrived in today’s mail. I was very lucky to find it for the price of a couple of slices of pizza (with toppings).  According to an online bookseller’s listing there were 40 copies produced. It’s a small book, 8 1/2″ high, 6″ wide.  I’d only seen one before, years ago in a museum case. If I’ve had a Holy Grail of New Yorker books, I suppose this would be it (until something else comes along I’ve never seen before).

The title page includes this note:

“..limited edition for the enjoyment of a few appreciative friends

 

Inside are a number of pieces, including  Dorothy Parker’s “Dialogue At Three in The Morning” as well as Corey Ford’s “Anniversary of a Great Magazine: Looking Back Over the Vast History of The New Yorker with Mr. Eustace Tilley” (we have Mr. Ford to thank for the name “Eustace Tilley”).   There are drawings by Helen Hokinson, John Held, jr., Peter Arno (his Whoops Sisters), a full page by Gluyas Williams, and a full page by Rea Irvin as well as an Al Frueh caricature of Al Smith, a McNerney drawing, and so much more. The cover is, of course, by Rea Irvin

 

Gehr’s latest Know Your New Yorker Cartoonist Interview: Edward Koren; Donnelly on Navasky’s “Art of Controversy”; Article of Interest: Al Frueh

 

edkoren

 

 

From The Comics Journal, June 12, 2013, “The Beastly Beatitudes of Edward Koren” — this latest entry by Richard Gehr in his series, “Know Your New Yorker Cartoonist”

 

 

 

 

 

 

And…

From Forbes.com, June 12, 2013, “Women and the Art of Controversy”Liza Donnelly reviews Victor Navasky’s new book.

 

From limaohio.com, September 12, 2012, “Just Al: Frueh made it big but stayed humble”

 

 

Almost everyone’s familiar with The New Yorker’s first cover, Rea Irvin’s dandy with the top hat, later dubbed  Eustace Tilley.  But how many of us know who did the second cover? SYK4mI4-xwzbsTSbbLvPNr3ocr-yFiskgF_taE1WVmH-14aFAjmnSaboPpILHuVLVu4ERcgv1IlObybjAWx1RVTQNL-sxsqTXLHaYwDyS4SlOoubUYYtBZlkUPn7ZzpBpWYnsg6SXQyTchzAlenPYdk=s120-c Here’s a capsule bio of the great Al Frueh, who not only was a cartoonist and cover artist, but an illustrator who carved out a spectacular niche for himself doing the caricatures that accompanied the New Yorker’s Theater reviews.