“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.

 

“A Source of Very Special Delight” — The New Yorker Album of Sports & Games; An Ink Spill Super Bowl Tradition

Just in time for two giant sports happenings: the Super Bowl, and the Winter Olympics: The New Yorker Album of Sports & Games.  At the bottom of today’s post an Ink Spill Super Bowl Sunday tradition with a football-related drawing of mine from some time back. 

It only took sixteen years following the first themed New Yorker album of drawings  (that would be The War Album, published in 1942) for a second to appear.  Deftly designed by Carmine Peppe (spelled “Carmin” in this album for some reason), who William Shawn described as “the one make-up editor in the world who could provide [Harold Ross] with the chaste and lovely pages that would properly set off whatever we published.” I love how Mr. Peppe placed Rea Irvin‘s Tilley all over the place, on the front and on the back cover. He knew an icon when he saw one.

Curiously, although there are plenty of cartoons about sports featured in both Summer & Winter Olympics,  there is not one cartoon specifically related  to the Olympics. No matter. No one can fault an album delivering large doses of work by, among many others, Mary Petty, Charles Addams, Thurber, Steinberg, Steig, Helen Hokinson, Anatol Kovarsky, Peter Arno, Barbara Shermund, George Price, and Charles Saxon.  Looking through you’ll see at least two themes rarely seen in the magazine these days: mountain climbing and moose hunting (although Charles Addams’ drawing of a moose driving a car down a mountain road with a hunter tied to the front fender could surely appear now).  There are an awful lot of drawings about mountain climbing — I guess everyone took a shot at those back then.

From the inside flap copy (there is no Introduction):

“Almost anyone who has ever been involved in sports and games, either as a participant or from the sidelines, will find this collection a source of very special delight”

For those wanting to add this album to their collection, it’s easy to find.  I just went over to AbeBooks.com and found a copy with its dust jacket for about four bucks. Deal!

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And here, continuing an Ink Spill  Super Bowl Sunday tradition, is a drawing of mine that appeared in the October 16, 2006 issue of The New Yorker.

 

 

Walking Tour of Interest: Library of Congress’s “Drawn To Purpose”; Exhibit of Interest: Shannon Wheeler; Kovarsky Opening Reception at the Society of Illustrators, Friday, Jan. 12!

From Comics DC, January 9, 2018, “Touring the LoC’s Drawn  to Purpose exhibit with curator Martha Kennedy” — an interesting walk through with Mike Rhode. Among the New Yorker contributors mentioned: Barbara Shermund, Roberta MacDonald, Liza Donnelly, Roz Chast, Helen Hokinson, and Alice Harvey. Read it here.

Link to the Library of Congress’s page here.

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Exhibit of Interest: Shannon Wheeler

From Bleeding Cool. January 9, 2018, “Shannon Wheeler’s Exhibition of Trump Cartoons, Across From Mar-A-Lago

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A Reminder: The Opening Reception for the Society of Illustrator’s exhibit “Kovarsky’s World: Covers and Cartoons From the New Yorker” is this Friday, January 12thDetails here.  

More Unseen Kovarsky: Mike Lynch has posted a number of previously unpublished work by Mr. Kovarsky.  See it here!

 

 

Revisiting: The New Yorker 75th Anniversary Cartoon Collection

If you liked the cover of the New Yorker‘s very first Cartoon Issue (published in 1997) you might like the cover of The New Yorker 75th Anniversary Cartoon Collection (published in 2000).  Why? Because all of the cartoon grabs on the 75th Collection cover were on the cover of the Cartoon Issue. Now that’s not a bad thing; any cover with Thurber, Hokinson, Steig, Peter Arno, Barsotti, Gross, George Price, Gluyas Williams, Booth, and Leo Cullum, to name but a few, cannot possibly be a bad thing. I do remember being surprised, when first seeing the 75th Collection cover that these same drawings were recycled.

What was not on the Cartoon Issue cover but on the Anniversary Collection cover is one of Mike Witte‘s takes on Eustace Tilley (there’s another on the back cover).  Mr. Witte had become the go-to illustrator/cartoonist for updated Tilleys, with his work appearing on those numerous small New Yorker Book of __ (Cat, Dog, Doctor, etc., etc) Cartoons collections. 

Here’s the Cartoon Issue if you wish to hunt down the images appearing on both covers:

But back to the 75th Anniversary cover.  Strange, I know, but it has always reminded me somewhat of the package design for Stella D’oro cookies.

 

 Inside the collection (the cartoon collection, not the cookie collection) is an odd dedication. Odd in that it is a dedication from the magazine to the magazine itself: To the constant commitment of The New Yorker to this ridiculous and sublime art form.  That’s followed by a jokey Introduction, after which we finally get to the meat & potatoes.  Once to the cartoons, you’ll find they appear on “good” paper so you can enjoy the work without seeing a shadow of the cartoon on the following page. I’ve always been grateful that there is an Index provided as there is no chronological order to the work (there’s a Ziegler on page 2 and a Thurber on page 275). Though all the New Yorker albums shape history to some degree by including more or less of certain artists, in this volume the unbalance is noticeable. Or maybe not so noticeable if this was the first collection you ever picked up.  What I mean is this: for an anthology covering 75 years, a number of the most published cartoonists are represented by just one or two cartoons.  Examples:

Otto Soglow (published over 800 times): 1  cartoon

Carl Rose (over 500 times): 1

Perry Barlow (approx. 1,400 times): 1 cartoon

Alan Dunn, one of the most prolific New Yorker cartoonists of all time (close to 2,000 cartoons published): 2 cartoons

 In just four years, we would have the mother of all New Yorker collections: The Complete Cartoons of The New Yorker.  Its Index shows a re-balance with all of the above cartoonists mentioned appearing far more than once or twice (in a closing aside, I should mention that this year we will apparently see the mother of the mother of all New Yorker collections, The New Yorker Encyclopedia of Cartoons, which somehow includes 4,000 cartoons (for comparison, The 75th Anniversary Collection has 707 cartoons). 

 

  

 

 

 

 

 

The “Brightest and Most Malicious Drawings”: The Third New Yorker Album

An appropriate cover this New Year’s Eve as we trudge into 2018. 

By the time the Third New Yorker Album hit the shelves in 1930, the party that was the roaring twenties was over. What you see in the book are drawings from the tail end of the roar: night clubs, good times, frivolity…you know, like that.  The cover, by Peter Arno, originally appeared on the New Yorker‘s ninth issue following the stock market crash. It was Arno’s second album cover in a row, and the second time one of his full page drawings led off an album (the first time was the first album).

The Foreward, credited to The New Yorker, is full of interesting tidbits, considering the magazine was just five years old:

It is true that the working conditions of artist’s improve from year to year, and that artists get better as they get older. All of the New Yorker artists are now old. Two of them are in their late thirties, when the creative impulse either atrophies or turns a bright green…

...fifty years hence these albums will be looked at by adults as they are now looked at by children: gravely and with a wide-eyed wonder, slowly absorbing the physical details, ironical aspects, and fragmentary emotions of a past age. This is probably the true purpose of these albums. as far as they have any purpose other than adding to the artists’ royalties.

I’m not so sure about the “working conditions for artists improving from year to year” but these early albums do show certain artists getting “better” over time, whether it’s Barney Tobey, or Otto Soglow, or Alan Dunn. But maybe “getting better” isn’t right– maybe “transforming” is more accurate. From this album to the next and the next, certain styles solidify, the drawing becomes more confident, the caption writing improves; some styles change completely. And then there are those artists who are as good in this Third Album  as they will ever be.  Reginald Marsh’s work is spectacular, as is Helen Hokinson’s, Rea Irvin’s, Gluyas Williams’, and John Held’s. Arno is still in his earlier phase, as is Garrett Price, Mary Petty, and a number of others. It’s fun seeing this earlier work, knowing what’s to come — and it’s fun watching it develop from album to album.

On the back cover, this drawing by Garrett Price:

This was the second album of New Yorker cartoons I acquired (it was a gift) back in my late teenage years when I was paying a lot more attention to studying New Yorker cartoons than studying whatever one is supposed to be studying in school. This Third Album was my New Yorker cartoon primer, along with the 1925-1975 Album, the Thurber Carnival , and the highly inspirational contemporaneous cartoons in the weekly issues.

  Here’s the copy on the Third Album‘s inside front flap, and the inside back flap:

— Happy New Year to all!

The Tilley Watch Online; Advertising Work by New Yorker Cartoonists, Pt. 30: Helen Hokinson for Flit

On this always somewhat hard-to-define week between Christmas Day and New Years Day, these are the New Yorker cartoonists who figured into either the Daily cartoon or Daily Shouts:

*A Daily cartoon by Mort Gerberg:  a skier sees a warning sign(post).

*Another installment of Liana Finck’s “Dear Pepper” series on Daily Shouts.

*An animated Daily cartoon by Sharon Levy .

*Lars Kenseth’s illustrations for Rejected Versions of “The Gift of the Maji”  — a  Zack Wortman Daily Shouts piece.

All of these can be seen on newyorker.com, either here (Daily Cartoon) or here (Daily Shouts)

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Advertising Work by New Yorker Cartoonists, Pt. 30: Helen Hokinson for Flit

  Ms. Hokinson, one of the New Yorker‘s earliest stars (Peter Arno was the other) makes her second solo appearance in this series of ads with these two drawings for Flit, both from 1935.  My thanks again to SPX’s Warren Bernard for sharing these ads with us.

Helen 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)

*For more reading on Ms. Hokinson there’s no better place to go but Liza Donnelly’s  Funny Ladies: The New Yorker’s Greatest Women Cartoonists and Their Cartoons (Prometheus, 2005). Foreword by Jules Feiffer.  Preface by Lee Lorenz.