The Monday Tilley Watch, The New Yorker Issue of June 18, 1984

As mentioned here last week, it’s double issue time again. We’re halfway though it now ; only a week til the new issue (dated June 18, 2018) appears online early Monday morning. Just for fun I thought I’d go back to another June 18th issue — the one from 1984. 

Here’s the cover, by Susan Davis, who contributed fifteen covers to the magazine from 1983 – 1992.

 

And here are the cartoonists in that issue:

A number of New Yorker cartoon gods in that lineup. And, as you might expect, some cartoonists  contributing to the magazine then who still contribute now. On the downside, a number of colleagues who’ve passed on: George Price, James Stevenson, William Steig, Stan Hunt, J. B. Handelsman, Steinberg, Bernie Schoenbaum, Frank Modell, Barney Tobey, Ed Arno, Mischa Richter, Ed Fisher, Eldon Dedini, and Robert Weber.

A quick tour through the issue: Ed Frascino has a very funny cartoon name-checking Indiana Jones; Lee Lorenz ( the art editor at the time) puts the word “glitz” to excellent use; a half page George Price cartoon centered on the Year of the Rat; a beautiful full page Saxon drawing about the Museum of Modern Art; a four part Stevenson spread across two pages. He animates television antenna; a titled Steig: “Eastbound Traffic.” Great drawing!;  Stan Hunt’s drawing is one of those cartoons that could’ve run anytime in the previous thirty years (previous to 1984, that is) — a boiler plate kind of cartoon; “Bud” Handelsman gives us a heaven-based piece; a Roz Chast drawing split into four boxes. It could’ve run this year; an Ed Koren drawing that just is so like butter — drawing and caption;  Steinberg provides an illustration for a Profile piece by E.J. Kahn, Jr.; opposite Steinberg is a Bernie Schoenbaum cocktail party drawing — a scenario employed by nearly every cartoonist back then; a Frank Modell drawing with his signature people — love his grumpy husband; an Arnie Levin caterpillar/butterfly drawing — that that loose Levin line is so great; a Barney Tobey drawing set in another favorite situation: the boardroom; a great Warren Miller drawing:

 Following Mr. Miller’s cartoon is an Ed Arno drawing — that fine controlled line of his! Immediately identifiable; a Mischa Richter dog at a desk drawing; Ed Fisher gives us a weather bureau drawing with lots of fun detail; Eldon Dedini’s cartoon of two guys at a bar with a caption that could run today:Everything’s a trap if you’re not careful.”;  next up, a cartoon that made me laugh out loud, by the great cartoonist, Robert Weber:

Next, a beautiful Sempe drawing (is there any other kind?); and last, a Sidney Harris restaurant drawing. Mr. Harris’s style is his and his alone: an angular line that appears to almost spin out of control, but never does.

So, there it is. A cartoon feast in mid-June, thirty-four years ago. 

 

     

Fun of Interest: Swann Auction Includes Addams, Barsotti, Steinberg, and So Many More

The New Yorker section of the upcoming Swann auction is an awful lot of fun.  The Addams cover shown above is just one of the gems listed. To see the “3D catalog” go here.  Other New Yorker artists whose work is going under the gavel include Charles Barsotti, Bemelmans, Abe Birnbaum, Whitney Darrow, Jr., Richard Decker, Ed Fisher, Heidi Goennel, Edward Gorey, Theodore Haupt, John Held, Jr., Helen Hokinson, Maira Kalman, Arnie Levin, Rick Meyerowitz, Bill Mauldin, Donald Reilly, Mischa Richter, Arnold Roth, Charles Saxon, Ronald Searle, Seth, Steinberg, Tom Toro, and Gahan Wilson.

The Wednesday Watch: Happy 96th, Dana Fradon!; Profile of Interest: George Booth; A Syd Hoff Selection; Hugette Martell in NY Review of Books; Chatfield Chats About Trump

Happy 96th Dana Fradon!

 Very best birthday wishes to Mr. Fradon, our senior New Yorker cartoonist. 

Above, a powerhouse quartet: three New Yorker cartoonists and their editor. Left to right: Charles Saxon, James Geraghty (the New Yorker‘s Art Editor from 1939 – 1973), Dana Fradon, and Whitney Darrow, Jr.  Westport, September, 1982. (Photo courtesy of Sarah Geraghty Herndon).

Mr. Fradon’s entry on the A-Z:

Dana Fradon  Born, Chicago, Illinois, 1922. Studied at the Art Institute of Chicago prior to service in the U.S. Army Air Forces during World War II. Following his service, he attended the Art Students League of New York, NYer work: May 1, 1948 – . Collection: Insincerely Yours (Scribners, 1978) To read Ink Spill’s 2013 interview with Mr. Fradon, “Harold Ross’s Last Cartoonist” link here.

— many thanks to David Pomerantz for bringing Mr. Fradon’s birthday to our  attention

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Profile: George Booth

From The Wall Street Journal, “Cartoonist George Booth and His Pet Projects” — this piece on one of the New Yorker‘s Cartoon Gods.

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Dick Buchanan (via Mike Lynch) on Syd Hoff

Dick Buchanan continues to provide us with cartoon clippings (via Mike Lynch’s blog).  This week he’s selected a bundle of work by Syd Hoff.  See it all here. (above: Hoff in True, July 1947)

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Of Interest: Growing Up In Wartime France by Huguette Martel

From the New York Review of Books, “Growing Up in Wartime France”  by Huguette Martel, who began contributing to The New Yorker in 1990. 

For more on Ms. Martell see Liza Donnelly’s Funny Ladies: The New Yorker’s Greatest Women Cartoonists and Their Cartoons; to see some of Ms. Martel’s New Yorker work go here.

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Audio: Jason Chatfield on Caricaturing Trump

From abc.net, May 8, 2018,  “Aussie New Yorker cartoonist Jason Chatfield on caricaturing Trump”  — this short audio clip. Mr. Chatfield began contributing to The New Yorker in July of last year. Visit his website here: https://www.jasonchatfield.com/

 

 

 

The Tilley Watch: The New Yorker Issue of May 7, 2018

A Sempe cover! And a bonus: a lengthier Cover Story than of late, with several photos (including one of Sempe and Ed Koren astride bicycles in NYC). Nice. Very nice.

On a run through this new issue the number of illustrations and photos seemed even weightier than the past few issues (and that’s really saying something). It’s likely due to Zadie Smith’s profile of photographer, Deana Lawson.  As the profile is of a photographer, using photographs makes sense.  Although, Brendan Gill’s New Yorker profile of the pioneer of celebrity photography, Jerome Zerbe included no photographs. Ah, but that was then (1973), this is forty-five years later.  Three cartoons (from William O’Brian, Stan Hunt and  Dean Vietor) and a hand drawn illustration by Silverman of Mr. Zerbe did appear within the pages of Mr. Gill’s piece. In true New Yorker tradition, the cartoons were unrelated to the content of the Zerbe profile.

A casual run-down of illustrations/photographs in this latest issue:

The usual close to full page photo on the Goings On About Town lead page.

3 full page illustrations

10 illustrations of various sizes.

Nearly 8 pages of photographs within the Lawson Profile 

Looking at that 1973 issue (June 9, 1973 to be exact) I was blown away by the number of cartoons it contained and the space they were allowed on the page. The only illustration was Mr. Silverman’s portrait of Mr. Zerbe (we’re not counting the “spot” drawings which are in a category unto them seIves). In other words: cartoons ruled. 

Below is a screen shot of pages 27-33 from that 1973 issue. Six cartoons in seven pages (cartoons by Warren Miller, Frank Modell, James Stevenson, George Price, William Hamilton, and Mischa Richter).

Two pages following Mr. Richter’s cartoon, this beauty by John Norment:

On the very next page following Mr. Norment’s drawing, this terrific multi-panel drawing by George Booth:

Following Mr. Booth’s piece are nine more cartoons by these cartoonists: Henry Martin, the aforementioned drawings by William O’Brian, Stan Hunt and Dean Vietor; Charles Barsotti, Robert Weber, Ton Smits, James Stevenson’s second in the issue, and Warren Miller’s second in the issue. Each is allowed generous space on the page. Oh, and Charles Saxon did the cover!

For a look at every cartoon in this latest issue I direct your attention to the Cartoon Companion blog. The bloggers “Max” and “Simon” (not their real names) go drawing by drawing, rating each along the way.  Look for the post covering this new issue either late this coming Thursday or Friday. I’m not always in agreement with the CC guys’ ratings, but anytime anyone is talking about New Yorker cartoons, I try my best to pay attention. 

ps: One year later, and Rea Irvin’s classic masthead still is a-missing. 

This is what it looks like:

 

 

 

The Monday Tilley Watch: The New Yorker Issue of March 5, 2018; Cover Update: The New Yorker Encyclopedia of Cartoons

Hooray for Hollywood?  This week’s cover (artist: Chris Ware) reminds us — not that we need reminding –that Tinsel Town is a troubled town. 

Shout out to the Cartier folks for the pretty street lamp that greets you as you open the magazine. Nice also to see the photo of David Bowie (however much I disagree with this current usage of the Goings On About Town opening page, i.e., with a nearly full page photo. It never fails to trick me into thinking I’m seeing an ad).

Speaking of being in disagreement, the stand-in remains in place for Rea Irvin’s iconic design for the Talk Of The Town.

Here’s what the original looks like:

And here’s the stand-in:

Alrighty then, on to the issue’s cartoons. 

The very first cartoon is by David Sipress.  A somewhat retired theme (torture) returns. Torture rack drawings popped up more ages ago, replaced (if my unscientific memory search is slightly accurate) with another kind of torture: prisoners hanging by handcuffs up on dungeon walls. I feel for the fellow in Mr. Sipress’s drawing who is about to undergo the “procedure.”

Five pages later a couple of “Casablanca”-era Humphrey Bogart-like fellas at the end of a pier, courtesy of Carolita Johnson. As discussed last week (Frank Cotham’s drawing of thugs planning just such a pier push) this is a standard situation a lot of cartoonists are attracted to (including this one). Here’s one more — a personal favorite of mine. 

On the very next page, a robot drawing by Navied Mahdavian, whose debut drawing was last week. I recall Zach Kanin bringing robots back into usage a few years ago (or maybe it was Roz Chast…or was it someone else. New Yorker cartoon robot aficionados please advise). In this particular case I was a bit worried that the scientists had their backs to the dancing duo. Perhaps it was this portion of the caption: “They [the robots] don’t appear to want to take over…” [bolded words mine]. Hmmm, if there’s any doubt, any doubt at all as to the robots’ intentions, perhaps it’s best to observe them in an fortified isolation booth or something.

Three pages later a Danny Shanahan drawing. Fun drawing perfectly synced with a wonderful Shanahan-esque caption. If I was awarding ribbons as they do over on the Cartoon Companion, I’d pin one on this drawing (and on the P. C. Vey drawing that we’ll get to in a minute).

Eight pages later, a Roz Chast NYC-centered alien “take us to your leader”-type drawing. I enjoyed examining the screens on the aliens’ chests. Would love to see Chastian aliens in color.

On the very next page (and I should say, very nicely sized and placed on the page) is a terrif Chris Weyant drawing. The caption’s sterling construction reminds me of captions once written by the likes of James Stevenson, Donald Reilly, and Charles Saxon.  Applause applause!

Two pages later, a real gem by P.C. Vey. A cave couple. Mr. Vey’s world is such a fun treat (and isn’t that why we love cartoons?). I find it hysterical that:

1. The cave woman looks nothing like a cave woman (her hair’s perfect and she’s wearing a somewhat stylish shift).  

2. The cave man is so well-groomed (both hair and beard).

The next two drawings (the first by newbie Pia Guerra, and the next by veteran-newbie Will McPhail) reminded me, in their construction (not style) of ancient friezes:

If you placed a ruler along the base of the feet in each drawing, you’d see that every foot (and one paw) touches the edge of the ruler (with the exception of Ms. Guerra’s wolf’s right paw, and a kicked-up foot on the person to the extreme right of Mr. McPhail’s drawing). There is no reason to note this other than that I don’t recall ever seeing two frieze-like drawings back-to-back before.

Four pages following the second frieze  cartoon is a Maggie Dai Atlas drawing that sent me to the search box. Now I know what “leg day” refers to.  On the very next page, the instantly recognizable style of Drew Dernavich, who delivers an Oscars drawing.

Three pages later a delightful Barbara Smaller drawing. Nice to see bigger picture work by her. On the very next page, an Ed Steed sports drawing (basketball). Five pages later Paul Noth references  fine art.  I recall that  Roz Chast handled Venus on a cover not too very long ago.  My memory is that Addams liked to work with Venus too.  Am I wrong, but aren’t bathtubs the preferred bathroom fixture for home births rather than sinks?  Of course, it being cartoonland and all, anything’s possible.

Case in point: the last drawing of the issue, by JAK (otherwise known as Jason Adam Katzenstein).  We see a card game with a Wolf Blizter-like guy in an open collared rumpled shirt, a well dressed woman (she’s wearing pearls), and a wolf(?) in a tuxedo.

  The popped eyes and slack jaw suggest animation as inspiration, like so:

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Cover Update: The New Yorker Encyclopedia of Cartoons

If you’ve been following the Spill ‘s coverage of cover art (or lack of) for The New Yorker Encyclopedia of Cartoons (due in October from Black Dog & Leventhal) you might find it interesting that we now have the below image to contemplate:

 

 

 

 

 

 

 

 

   

 

 

 

 

 

 

 

“The Brightest Thought of Many Bright Minds”: The 1940 New Yorker Album

From the inside flap copy of this album: “The brightest thought of many bright minds”…well, heck, I’m not going to argue with that. Published by Random House in 1939, and using Peter Arno’s New Yorker cover from January 1938, this is the last of the Albums produced before the Unites States entered WWII.  The cover depicts a Cafe Society moment, an Arno specialty that faded as the war years began.

 

The flap copy shown below tells the story of what to expect, cartoon quality-wise (and “Spot” drawings–wise). These are the founding mothers & fathers of the New Yorker single panel.  In just a few years, and throughout the 1940s, they’d be joined by a number of additional giants of the field, including  Steinberg, Frank Modell, Sam Cobean, Dana Fradon, Anatol Kovarsky, Roberta MacDonald, Mischa Richter, and Charles Saxon. This album also, in a way, marks the end of the earlier incarnation of the magazine’s art department and the beginning of the editorship of James Geraghty. His hiring in 1939 led to the organization of the art department into an actual department, with an editor (Geraghty) devoted to the artists (all the artists: cartoonists, cover artists, spot artists). That model stayed intact under Mr. Geraghty, and then his successor, Lee Lorenz, until Tina Brown split the art department in 1993, creating  the titles, Cartoon Editor (Mr. Lorenz’s new title), and Art Editor (Francoise Mouly was hired and given that title, with the responsibility of overseeing the cover art).  

Being a Thurberite I can’t help but mentioning that two of my all-time favorite Thurber drawings (actually, I love all of his drawings) are included in this volume:

“Ooooo, guesties!” (shown in this link, upper right of the page).

“Well, if I called the wrong number, why did you answer the phone?”

There is no introduction to this album, nor any flap copy other than that shown above. The production is top-shelf, with heavy paper and a flawless lay-out. This album is easily found on Abebooks.com for very little. The back cover, shown below, is given over to a drawing by the great Helen Hokinson.