In Good Company: a look at the cartoons in Al Ross’s New Yorker debut issue

 

The news that Al Ross passed away last week got me to thinking about  his start at The New Yorker, way way back in the issue of November 27, 1937, when he was twenty-five years old. This morning I went to our cabinet full of bound New Yorkers, brought out the volume from late 1937 and began paging through the particular issue that contains Al’s inaugural drawing. It’s a wonderful snapshot of that time with an outstanding roster of cartoonists.

The issue begins with a Helen Hokinson cover,  one of those pieces capturing a moment. Beautiful. The first cartoon is by Charles Addams, done in his earlier style before his drawings became more defined. Next up is a Richard Decker drawing printed in step-ladder fashion – sitting atop two columns of type. On the opposite page, a Richard Taylor, also step-ladderish. Taylor had such an unusual style – it reminds me of P.C. Vey’s in a way. Turning the page we come to a beautiful full page by William Galbraith. On the opposite page a great spot drawing by Suzanne Suba – a Macy’s parade moment.

Next page, a Mary Petty that nearly eats up the whole page. Opposite that is a short piece by E.B.White titled “Small Thanks to You “(sorry, couldn’t avoid mentioning that). Several pages later a Syd Hoff spread along the top third of the page. Up next is one of the masters of the full page, Gluyas Williams. A few pages later the two Prices face each other: George and Garrett.

I have to take a break here just for a moment and comment on the way the make-up department handled the cartoons. With the exception of the full page cartoons, every single cartoon was awarded a unique space, meaning the shape of the cartoon is different for each cartoon. Even the cartoons that are rectangular are never the same size (the Hoff stretched out three columns wide, the Garrett Price two and a half columns wide).

Turning the page, a Robert Day cartoon (another rectangle, but nearly square). Two pages later, not a cartoon, but an Al Frueh drawing illustrating a current Broadway show.  Frueh does a terrific take on Orson Welles.  Would love to see a collection of his theater pieces in a book (there is a very nice catalog of his work, but so far, not a collection).

Two pages later we find Al Ross’s first New Yorker cartoon (caption: “Listen, Chief…”). Those familiar with Al’s later work would be hard pressed to recognize this cartoon as one of his.  It’s done in a somewhat early Addams-ish style. Across the gutter from the cartoon the name “Robert Benchley” appears at the end of his theater review.  Heady company!

A number of pages go by before we reach a fairly large and very funny Barbara Shermund cartoon.  Leafing through more pages, through the New Yorker’s holiday wrap up of children’s toys and books, we come upon a brief review of Dr. Seuss’s  And to Think That I Saw it on Mulberry Street: “Slight but humorous. Spirited comic-strip pictures and a rhymed text show the power of exaggeration…”

And finally, a Perry Barlow cartoon to end the issue.  It’s a children’s book themed drawing running on the book review page.  If I’m not mistaken this is an unusual pairing. I’ve been under the impression for most of my life that the editors avoided tying the cartoons to the surrounding story.

Before we close the magazine, a treat near the end:  a full page ad for The 1937 New Yorker Album, published by Random House. A banner running across the page declares: “Just Published – bigger and funnier than ever.” Contributors include all the aforementioned in this post ( except Al, whose work would begin showing up in later Albums) plus, among others,  Peter Arno, James Thurber,  Rea Irvin, Gardner Rea, Otto Soglow, Alan Dunn, Barney Tobey, Alajalov,  Chon Day, Carl Rose, Whitney Darrow, Jr., and William Steig.  Wow.

 

For more on Al Ross, head on over to newyorker.com, where the magazine’s cartoon editor, Bob Mankoff, has posted this piece (it includes a good scan of Al’s first cartoon).

And for even more: Mike Lynch has posted a number of Al’s drawings on his site. (You’ll need to scroll down a ways, past all the NCS business)


 

 

 

Book of Interest: Conversations with William Maxwell

 

Barbara Burkhardt, who wrote William Maxwell: A Literary Life (University of Mississippi Press, 2005) has edited Conversations with William Maxwell (University of Mississippi Press,  June, 2012.

Maxwell, who joined The New Yorker in 1936, was originally hired as a hand holder for the Artists, taking over from Wolcott Gibbs, who had tired of the task.  The job required Maxwell to act as a bridge between the editors and the artists (with the exception of Peter Arno and Helen Hokinson, who were handled by Katharine White).  In an interview with John Seabrook for The Paris Review (No. 82, Fall 1982), Maxwell said:

It was called “seeing artists.” The first time they paraded in one after another I was struck by the fact that they all looked like the people in their drawings.

 

Hokinson’s My Best Girls and more…

(Above, Hokinson’s 1943 cover illustration for Emily Kimbrough’s We Followed Our Hearts to Hollywood)

 

 

Today’s Ink Spill was inspired by a Stevereads blog post,  My Best Girls! from July 15, 2011. As the post’s author, Mr. Donoghue, points out, all of Hokinson’s collections are “well worth finding.”  Here then is a checklist of all her collections:

 

So You’re Going To Buy A Book! (Minton, Balch & Co, 1931)

My Best Girls ( E.P. Dutton & Co., 1941)

When Were You Built? ( E.P. Dutton & Co., 1948)

The Ladies, God Bless ’em! With a Memoir by James Reid Parker and an Appreciation by John Mason Brown  ( E.P. Dutton & Co., 1950)

There Are Ladies Present (E.P. Dutton & Co., 1952)

The Hokinson Festival (Dutton & Co., 1956) This final collection contains a few color plates of Hokinson New Yorker covers.

 

Here’s a link to Chris Wheeler’s Hokinson page, with a short bio, scans of all her collections, and a photo of Ms. Hokinson.

 

And another link, too see a few more photographs and a couple of drawings posted by the  historical museum in Hokinson’s birthplace, Mendota, Illinois.

 

Finally, Liza Donnelly’s history of The New Yorker’s women cartoonists, Funny Ladies (Prometheus Books, 2005) contains a wonderful section on Hokinson, with a generous helping of photos and drawings. [full disclosure: Ms. Donnelly and I are married]