The Monday Tilley Watch, The New Yorker Issue of June 25, 2018; A Few Images Posted from the Upcoming New Yorker Encyclopedia of Cartoons

Noted that this week’s cover (above right) is by Harry Bliss, one of the New Yorker‘s cartoonists.  Noted because the majority of the magazine’s covers were once handled by its cartoonists (somewhat more than 60% a year by my iffy calculations). The number of cartoonists contributing covers these days can be counted on one hand: Mr. Bliss, Roz Chast, Bruce Eric Kaplan, Danny Shanahan, and George Booth.

The change came, as so many changes did, with the arrival of Tina Brown as editor in 1992.  At a meeting of cartoonists called by Ms. Brown just before she took the reigns as editor of The New Yorker, a bunch of us sat around a large table in an upstairs conference room at the fabled Algonquin. Arriving late (Amtrak issues), I sat next to then art editor Lee Lorenz and asked him what I’d missed.  He leaned over and whispered, “She’s going to bring in a lot of illustrators.” He then added something else, which you’ll have to wait to read in my memoir.

Some of Mr. Bliss’s cover has that Hitchcockian “Rear Window” feel to it; the structure of the cartoon (using balconies) has been put to good use by a few cartoonists over the years. Here’s an example that readily came to mind: a Liza Donnelly drawing that appeared in the January 20, 2014 New Yorker:

To read what Mr. Bliss had to say about his cover, go to this mini-interview here on  newyorker.com.

From the Depart of Just Sayin’:  The number of illustrations in this issue outweigh (in space) the number of cartoons appearing.  Sixteen illustrations (not including Tom Bachtell’s wonderful drawings that are laced through the Talk of The Town). Three of the sixteen are full page. Seventeen cartoons this week, one a full page by Liana Finck

The sizing of cartoons in this issue is generally very good. Most every drawing  gets some breathing room (just one is shoe-horned into a tight space).  

Three drawings noted: Ben Schwartzs bargain hunter’s mounted big game is fun. Charles Addams had a field day with this scenario throughout his spectacular New Yorker run.  Here’s one example .

Love Edward Koren‘s restaurant drawing. Some New Yorker drawings are referred to as evergreens — they always work, no matter the year, the trends, the political landscape, the whatever. Mr. Koren’s drawing is an evergreen.

The Spill‘s candidate for New Yorker drawing of the year (thus far) is Joe Dator‘s Abe Lincoln cartoon. (You can find it here on the magazine’s slideshow of the current issue’s cartoons. It’s number 13.)  When Harold Ross, the New Yorker‘s founder and first editor was asked why his magazine did not run color cartoons his response was, “What’s so funny about red?”* Mr. Dator’s drawing is a perfect example of what is funny about pink and orange, and yellow, and green and purple.

Spill round of applause for the above drawings.

*The New Yorker did run one color drawing in Ross’s time, Rea Irvin’s two page color spread, The Maharajah of Puttyput Receives a Christmas Necktie From the Queen. It was in the issue of December 12, 1925.

Still missing: Rea Irvin’s iconic Talk of The Town masthead. Here’s a Spill piece about its disappearance and replacement.

This is what the real thing looks like:

 

 — See you next week

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A Few Images Posted From the Upcoming New Yorker Encyclopedia of Cartoons

The above from the publisher’s website. Well it’s not much, but it’s better than nuthin’.  I could only get the middle image to open up for a better view. Will post more when there’s more to post.

 

 

 

 

 

 

 

 

50 Years Ago This Week: Peter Arno’s Last New Yorker Cartoon

Every so often the Spill likes to take a look at the last cartoon published by one of the magazine’s artists. This week it’s a drawing by Peter Arno — the cartoonist the New Yorker‘s Roger Angell called “the magazine’s first genius.”  I won’t go on and on here about why Arno is one of the magazine’s greatest — some say the greatest of the magazine’s artists, but if you want more on the subject there is a biography of him floating around (forgive me for lifting the bolded passage below from the aforementioned biography). 

(Above: Arno’s drawing as it appeared in the issue)

Sometime in the fall of 1967, Arno finished working on a full-page drawing of Pan blowing on his pipes as he frolicked through a glade.  In the forefront of the picture is a young, well-endowed woman, who says to him, “Oh, grow up!”  Brendan Gill [in his wonderful book, Here At The New Yorker] described the drawing this way:

“…in content and composition it was a characteristic piece of work…the drawing is a matter of some forty or fifty bold strokes of black against white, bound together by a gray wash; it has been built up as solidly as a fortress, though built in fun, and its dominant note is one of youthful zest.  Nobody could ever tell that it was the work of an aging man, let alone a dying one.”

“Oh, grow up!” wasn’t the last Arno published by the New Yorker.  His last cover appeared the following June, and the magazine has, from time-to-time brought out one of his older covers or drawings. But it was certainly the last published in his lifetime. The drawing appeared in the anniversary issue, dated February 24th, 1968. It would’ve been out on the newsstands a week earlier, the week of February 18.  Arno died on February 22. 

If you have access to the New Yorker‘s digital edition or happen to have a print copy, it’s certainly worth a visit to this issue — it’s a gem.  Rea Irvin’s Eustace Tilley is, of course, on the cover (and Mr. Irvin’s classic masthead for the Talk of The Town is in its place). The issue’s cartoons are by some of the greatest names on the magazine’s roster of artists (the magazine had a history of making sure the anniversary issue was loaded up with a good number of its big guns. In my Arno research I came across a note to Arno from the New Yorker‘s founder and first editor, Harold Ross expressing concern he (Ross) did not have a Arno drawing available for the upcoming anniversary issue). 

In this issue you’ll find terrific cartoons by Robert Weber, Alan Dunn, George Price, James Stevenson, William Steig, Steinberg, Richard Decker, Warren Miller, Frank Modell, Syd Hoff, Charles Addams, Whitney Darrow, Jr., Lee Lorenz, Mischa Richter, and Barney Tobey. (At this particular time the magazine’s stable of cartoonists was all male. Mary Petty’s piece appeared in 1966, and Nurit Karlin’s work did not begin appearing until 1974).

Next week, the Spill will return with its usual Monday Tilley Watch.   

 

Their First Tilley Issues: Ross, Shawn, Gottlieb, Brown, and Remnick

With the New Yorker’s 93rd Anniversary issue soon on the horizon I thought it would be fun to take a look at first Tilley covers by Harold Ross, William Shawn, Robert Gottlieb, Tina Brown and David Remnick. I’ve thrown in tidbits of Tilley trivia — mostly non-Tilley trivia —  along the way.    

February 21, 1925: Harold Ross

A no-brainer.   It was the very first issue of the magazine. We could’ve ended up with curtains being parted on a big stage (you know, sort of an unveiling thing), but Ross wisely decided to go with Rea Irvin’s mysterious dandy for the cover of his debut issue. 

February 23, 1952: William Shawn

Although Harold Ross passed away in early December of 1951, his successor, William Shawn wasn’t appointed until late January of 1952.  One of Mr. Shawn’s first issues following that stamp of approval from the magazine’s publisher, Raoul Fleischmann, was the magazine’s twenty-seventh anniversary edition. 

February 20, 1989: Robert Gottlieb

Robert Gottlieb officially began his tenure as the magazine’s editor, February 16, 1987. As the latest issue of the magazine is dated a week past its actual pub date (the day it appears on newsstands), the anniversary issue of 1988 would seem to have been the last edited by Mr. Shawn.  Thus Mr. Gottlieb’s first anniversary issue was the following year, the issue of February 20, 1989 (if anyone out there has a different take, please advise). What made news was the return of cartoons in color. Specifically, the cartoons in a four page spread by William Steig, “Scenes From The Thousand And One Nights.” As noted in the New York Times piece I linked to above, there hadn’t been color cartoons since a Rea Irvin double page spread in 1926.

February 22, 1993: Tina Brown

Ms. Brown allowed classic Tilley on a cover just once in her tenure at the magazine. The issue of 1993 was the last in an unbroken line of Tilley anniversary issues.  Ms. Brown’s choice for 1994 made news — how could it not.  It was a not-so-sly-nod to Eustace, titled “Elvis Tilley” courtesy of Robert Crumb.  Following Elvis we saw a gold(!) Tilley for the magazine’s 70th birthday; “Eustacia Tilley” by R.O. Blechman in 1996; “Dick Tilley” by Art Spiegelman in 1997, and finally, a complete departure from Tilley, Michael Roberts’ “California Sighting” cover in 1998.

February 19 & 26, 2001: David Remnick

Although David Remnick’s first shot at an anniversary cover came in 1999, it wasn’t until 2001 that he returned Rea Irvin’s classic Tilley to the cover.  What a long strange trip it had been for Tilley since we last saw him in 1993. 

Mr. Remnick’s first two anniversary covers belonged to Edward Sorel in 1999 and a William Wegman dog in 2000.

Since the classic Tilley cover in 2001, Mr. Remnick has put classic Tilley on the following covers: 2002, 2003, 2004, 2006, 2007,2009, and 2011. 

For more on Eustace Tilley and the anniversary issues link here to “Tilley Over Time” a piece I wrote for newyorker.com in 2008, on the occasion of the magazine’s 83rd birthday. 

 

 

Pretty in Pink: The New Yorker’s 25th Anniversary Album; More Spills: Moore Tweets Out a Ziegler… More Soglow

Judging by what I’ve noticed over many years of visiting used book stores, The New Yorker 25th Anniversary Album must have been the most popular in the series of their cartoon anthologies. This is the one you’re likely to find if you find any at all. Bonus: it’s easily found online for just a few bucks. The Album sports a series of firsts on the cover: the first time a monochrome Eustace Tilley appeared on an Album (the next time he would appear this close to so much solid color was on the magazine’s 60th Anniversary issue.  Then editor, Tina Brown presented Eustace surrounded by, um, gold). 

The 25th Album was the first to reproduce a number of full cartoons on the cover (minus the captions, which due to the size of each cartoon shown, would’ve been virtually impossible to read without a magnifying glass. The exception is John Held, Jr.’s work where the text is within the piece).  And it was the first to be divided into sections: The Late Twenties, The Early Thirties, The Late Thirties, The Early Forties, and The Late Forties.

All the big names are here, of course, and so are some of the most memorable cartoons in the magazine’s history, including Thurber’s Seal in the Bedroom, Addams’ skier, and Arno’s “Well, back to the old drawing board.”  This is the Album for anyone who has heard about the New Yorker‘s Golden Age, and wants to know what all the fuss was about.

The design of the book is excellent, with paper of good quality, allowing for Gluyas Williams’ masterpieces, run full page, to glow.  Arno’s brushstrokes look as if he just swept them across the page fifteen minutes ago. On the pages where a number of cartoons appear, the layout is handled with great care, never too busy; each page was obviously fussed over by someone (or someones) who knew what they were doing. Just look at the graphic balancing act directly below:

The contributors are a Who’s Who of the magazine’s pantheon of great artists, including the founders, and the ones who showed up while Harold Ross was still messing around with the ingredients.  Steig’s Small Fry are here, as is Soglow’s Little King.  Helen Hokinson’s Club Ladies are generously presented, as are spreads by Rea Irvin, and and and…gee willikers, so much more (to see more scroll down to the back cover’s list of artists).  This is one of the very best Albums of cartoons the magazine ever produced (as another 67 years have passed since its publication it shares the top shelf with a few others). 

The flap text (above) reminds us that the cartoons are a record of the times. I’ll go along with that. As the magazine moves closer to its 100th year it’s essential for the cartoons to change with the times and reflect the times. I expect that the Introduction to The New Yorker’s 100th Anniversary Album will express something close to that sentiment, if not exactly that.

If you’ve read Genius In Disguise, Thomas Kunkel’s great biography of Harold Ross, you might remember that book’s prologue has a wonderful section devoted to the party at the Ritz-Carleton celebrating the New Yorker‘s 25th Anniversary. It was a party, wrote Kunkel, “celebrating accomplishment, about creating something of enduring importance.”  

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Michael Moore Tweeted out a drawing this morning by the late Jack Ziegler that’s right on the money (so to speak):

— My thanks to Bruce Eric Kaplan for bringing this to the Spill’s attention.

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…A lot More Soglow

Attempted Bloggery has posted a cart full of rare Otto Soglow drawings (some of them are what used to be referred to as “naughty” — nowadays we’d call them not-PC. )