Every so often I like to take a look at a random issue of The New Yorker from well before my time there, or well before my time, period. This issue, of April 29, 1967 is solidly in the former category. The New Yorker was not yet on my mind — I was in fact, just about to begin transitioning out of comic books, and into underground comics. My last (non-underground) comic book bought at the time of its release was this one, Superman and The Flash, December 1970 (yes, I still have it — I don’t throw much away).
Flipping through this Spring-time issue of The New Yorker, the first thing I noticed, besides the lovely Abe Birnbaum cover, was the very simple Table of Contents, when the magazine seemed intent on just offering up a few clues as to what was inside. No listing of artists or writers, just column headings such as “The Air” and “Current Cinema” — we’ve come a very long way since then.
Of the seventeen cartoonists represented in this issue, not one was a woman. This was a time when only one veteran female cartoonist was still on the scene, the great Mary Petty. But her run at the magazine had ended a year before in the issue of March 19, 1966 (she died in 1976). The next female cartoonist to show up was Nurit Karlin, and she wouldn’t begin publishing until 1974.
These are the seventeen cartoonists in this issue: Charles Saxon, Warren Miller, Lee Lorenz, William Hamilton, James Mulligan, Dana Fradon, William O’Brien, Edward Koren, Ton Smits, James Stevenson, Robert Kraus, Donald Reilly, J. B. “Bud” Handelsman, Carl Rose, Barney Tobey, Robert Weber, and William Steig. Many of these names will ring a bell with New Yorker cartoon aficionados, and some names will ring a very large bell. Edward Koren and Lee Lorenz are still contributing to the magazine. Dana Fradon and Warren Miller are still hail and hearty. James Stevenson, Robert Weber, and William Hamilton were among the recently departed slew of New Yorker cartoonists this past year.
For me, the most surprising cartoonist to see in the issue was Carl Rose (“surprising” because I unfairly tend to place his work more in the 1920s – 1940s). Mr. Rose contributed his very first cartoon to The New Yorker in the Halloween issue of 1925, when the magazine was about nine months old; his last cartoon appeared in the summer of 1971. (Below: Mr. Rose’s April ’67 drawing)
And here, for a little more on One Dozen Roses and other noteworthy New Yorker cartoon moments in Mr. Rose’s career, I’m going to lift some of the info from his entry on the Spill‘s “New Yorker Cartoonist A-Z” section:
…this collection contains essays by Rose on cartoon themes. Especially of interest is his essay concerning Harold Ross, “An Artist’s Best Friend is His Editor”. Carl Rose will forever be linked to E.B. White for the December 8, 1928 New Yorker cartoon of the mother saying to her child, “It’s broccoli, dear.” and the child responding, “I say it’s spinach, and I say the hell with it.” The drawing was by Rose, the caption was adapted by White from Rose’s original idea (for a slighty expanded explanation go here). Rose also had a Thurber connection. In 1932, Rose submitted a drawing captioned, “Touche!” of two fencers, one of whom has just cut off the head of the other. Harold Ross ( according to Thurber in The Years With Ross) thinking the Rose version “too bloody” suggested Thurber do the drawing because “Thurber’s people have no blood. You can put their heads back on and they’re as good as new.” The drawing appeared December 3, 1932.
One last thing about Carl Rose: there aren’t a lot of photographs of him around but when Irving Penn (whose work is now being celebrated at New York’s Metropolitan Museum), photographed a number of The New Yorker‘s artists in 1947 for a spread in Vogue, an unassuming looking Carl Rose was right up there on the top-most platform with Otto Soglow and Alajalov, seated just behind Charles Addams. Among the others in the photo: Steinberg, Steig, Helen Hokinson, George Price, Richard Taylor, Perry Barlow, Barney Tobey, Barbara Shermund and Whitney Darrow, Jr. — an array, if ever there was one, of New Yorker cartoonist royalty.
Getting back to Mr. Rose’s colleagues work appearing in the April issue, the magazine was, in 1967, still laying-out the cartoons with the graphic gusto it always had: a beautiful full page by O’Brien , an equally beautiful half-page Warren Miller drawing; other drawings were run in various shapes and sizes. The subject matter seemed to be bridging the older New Yorker art with the new: businessmen and housewives appear, as do people dealing with obviously modern cultural keystones such as long-haired men and hip young woman; personal computers courtesy of Donald Reilly and politics via Lee Lorenz, whose drawing depicts Robert Kennedy photo bombing a couples vacation picture. Dana Fradon’s drawing, about recharging electric cars, could’ve run in modern times. Needless to say (so why am I saying it?) that the issue was a blast to look through. The cartoonists were in top form, providing us with a lot, a whole lot, to look at. As Jack Ziegler told me in an interview last year: “…it’s always nice when cartoonists know how to draw so that they can give us something pleasant and fun to look at.”