Advertising Work by New Yorker Cartoonists, Part 10: Otto Soglow

Deep in the dog days of summer seems a good time to pick up the Spill’s series of advertising work by New Yorker cartoonists. Credit and thanks goes out to the Executive Director of SPX, Warren Bernard for allowing his efforts to be shown here.  In Part 10 we see a selection by Otto “The Little King” Soglow, who contributed to The New Yorker for 49 years (1925- 1974). 

His work is still seen in today’s New Yorker, with his “spot” drawings appearing in The Talk of The Town along with Tom Bachtell’s work.

 

 

 

 

 

 

 

 

Dates for ads: Pabst Blue Ribbon, 1941; USS, 1967; Nabisco, 1950s; Pepsi, 1947

 

 

 

 

 

 

 

 

 

Otto Soglow’s entry on the Spill’s A-Z:

Otto Soglow (pictured above) Born, Yorkville, NY, December 23, 1900. Died in NYC, April 1975. New Yorker work: 1925 -1974. Key collections: Pretty Pictures ( Farrar & Rinehart, 1931) and for fans of Soglow’s Little King; The Little King (Farrar & Rinehart, 1933) and The Little King ( John Martin’s House, Inc., 1945). The latter Little King is an illustrated storybook. Cartoon Monarch / Otto Soglow & The Little King (IDW, 2012) is an excellent compendium.

The Monday Tilley Watch

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

 

 

Expecting something political on the July 31st cover it was a surprise when Javier Mariscal‘s water’s edge pastoral popped up on my screen (I’m looking at the digital version of the magazine; I’ll look at the print version when it arrives. Two different experiences). My first thought: if James Stevenson had worked in stained glass, this might be the result. Here’s an example of what I was thinking (a Stevenson cover from October 1975, and Mr. Mariscal’s on the new issue):

 

 

 

 

 

 

 

A note before heading into the issue: I have a habit of not looking at the cartoonists listed on the Table of Contents — I look at everything else on the TOC, but want to be completely surprised by the cartoons as I page through. I see on the TOC that Bruce McCall has a Shouts & Murmurs piece — things are already interesting.  On my way to “The Talk of The Town”  I stopped to examine the illustration on page 8 by Henning Wagenbreth. Glad I stopped — enjoyable illustration, and, bonus: the name Henning Wagenbreth is now a new favorite name.

Moving on: a quick look at the Talk masthead —  it’s still the revamped version brought in a few months back. I ask the power(s) that be to reconsider and bring back Coke Classic (i.e., Rea Irvin’s masterpiece masthead  — shown directly below — that led off Talk from January 30, 1926 through May 15, 2017). 

It should be noted (and maybe I did note it once on this site): Tom Bachtell is the contemporary artist behind the drawing appearing on the opening Talk page and many of the others sprinkled through the rest of Talk, but the small spots that look like this:

are by the late great Otto Soglow (fondly remembered by many for his creation,  “The Little King”). Mr. Soglow supplied the Talk spot drawings in earlier times (pre-Lee Lorenz years as Art Editor).   We are lucky his work is still appearing here some forty-two years after his death.

And now, finally to the cartoons: the first is by Sara Lautman, whose first New Yorker drawing appeared in March of last year. If the search function on the digital edition is correct, this is her 6th New Yorker appearance. A few pages later is a David Sipress drawing.  Mr. Sipress’s active line is immediately recognizable, as is the New York City subway setting (the subway has been in the news quite a lot, with the Mayor of NYC taking a well -publicized ride just yesterday). Next is a drawing by Paul Karasik (whose new book, How to Read Nancy was mentioned here last time, so I’m mentioning it again). In Mr. Karasik’s drawing, Grant Wood’s American Gothic farmer returns to the New Yorker.  During Charles Addams’ long run at The New Yorker he had a lot of fun with Mr. Wood’s pitchfork-wielding farmer, as well as at least one of the other folks at the bar in Mr. Karasik’s drawing.

Here’s Addams working with the American Gothic duo– this from The Charles Addams’ Mother Goose.

And here’s a link to another.

And here’s Addams with a roomful of recognizable subjects, including Mona Lisa

But I, uh, digress…so back to the issue at hand. Opposite Mr. Karasik’s barflies is a timely drawing by Liza Donnelly featuring colluding ice cubes. As with Roz Chast’s drawing from the last issue, I like the way this drawing has been placed on the page.  Today’s New York Times carries the headline “‘I Did Not Collude,’ Kushner Plans to Tell Senate Investigators” — hmmm

Several pages later we come to another well-placed/sized drawing — this one’s by Harry Bliss. As noted on yesterday’s Spill, it’s “Shark Week” on The Discovery Channel. It’s also summertime. Mr. Bliss manages to celebrate both, as well as tipping his hat to lifeguards (a New Yorker colleague, John O’Brien, was a longtime lifeguard in Wildwood, New Jersey. I believe he’s the only New Yorker artist with those intersecting credentials). Next is a kangaroo cartoon (also well placed & sized) by Liana Finck (who was mentioned on the Spill yesterday for several reasons…both good). Here we have a drawing that, stylistically (and maybe even thematically) brings to mind a cross between Ed Arno and Arnie Levin, with even a dash of Bill Woodman tossed in to the mix.  In the end, of course, it’s pure Finck.

A Seth Fleishman Newton’s Cradle cocktail drawing follows Ms. Finck’s. Mr. Fleishman, like the aforementioned Ms. Lautman, started at The New Yorker in the early months of last year —  his generous use of black against white made (and make) his work easy to pick out in the crowd. A Roz Chast six-parter follows (Ms. Chast’s first New Yorker appearance was in 1978). I failed to mention last week that Ms. Chast has a new book coming out this Fall: Going Into Town: A Love Letter To New York.

A Paul Noth prison drawing is next (Mr. Noth’s first New Yorker appearance was in 2004)  — Mr. Noth has a book coming out as well — it’s not due until next year, but I’ll mention it here anyway.  Someone should do a collection of New Yorker prison cartoons. Three pages following Mr. Noth’s drawing is the very recognizable work of Drew Dernavich.  If you want to know a little more about how he works, visit Jane Mattimoe’s Case For Pencils post here.  Three more pages brings you to one of the newest kids on the block (first New Yorker appearance: November 14, 2016): Lars Kenseth. In this drawing, Mr. Kenseth meets King Arthur, sort of. For some reason I wanted the caption to have the word “sticky” in it, but “licked” comes close enough.

Two pages on we find a drawing by cat and elephant-lover, Danny Shanahan, who’s been contributing to The New Yorker for 30 years.  No one draws  elephants like Mr. Shanahan (he’s even had a New Yorker elephant cover).   

Another new kid, Ellis Rosen is up next (first New Yorker appearance: December 12, 2016). I like birds-in-flight cartoons. Carl Rose, Lee Lorenz, and a number of other colleagues have offered them up to us over the years.

On the opposite page from Mr. Ellis’s drawing is a drawing executed in the instantly recognizable  style of William Haefeli (first New Yorker appearance: 1998). The Spill’s archive is lucky enough to have one of Mr. Haefeli’s original New Yorker drawings.  Visitors who are shown the piece are usually surprised by its size (it’s quite small) and its complexity (his originals look even more complex in person than on the printed page or screen).

A few pages later, we have what looks like a Smith Bros. cough drop board meeting —  a bunch of bearded men courtesy of Carolita Johnson (first New Yorker appearance: 2003), followed by a cat and dog living room situation by Christopher Weyant (first New Yorker appearance: 1998; Mr. Weyant is the  illustrator of a recent childrens book, I Am (Not) Scared by Anna Kang).  I love the way Mr. Weyant draws cats (he joins the Well-drawn Cat Club; I won’t list all the members for fear of possibly leaving someone out).  Tom Toro’s next (first New Yorker appearance: 2010) with a rarity: a lethal-signage cartoon. Kudos to the author of Tiny Hands. 

Mr. Toro’s drawing is followed by a Liam Walsh cartoon featuring a smallish fish with a big appetite (Mr. Walsh’s first New Yorker appearance: 2011). I already mentioned Bill Woodman above, but I’ll mention him again. I see fishing cartoons and I think Woodman. For some examples check out his book, Fish and Moose News (published in 1980). 

 

Lastly, the newest of the newbies, Maggie Larson, whose first New Yorker drawing appeared in last week’s issue.  I can’t recall how many massage-related cartoons have been in The New Yorker. At least one, now (someone with a better database than mine please let me know of others).

 

And that’s that.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

A Thurber Poster (and A Steig Poster & A Soglow Poster): Book of Interest: Wertz’s Tenements, Towers & Trash

The other day I Spilled a beautiful Peter Arno poster being auctioned by the Swann Galleries;  here are three more posters by three  great New Yorker artists:  James Thurber, Otto Soglow and William Steig. All took a turn  illustrating a poster for the Washington Square Art Show.  Thurber’s was for the 1935 exhibit, Soglow’s for 1930, and  Steig’s for 1933. (Arno’s appeared in 1932).

All the info here on the Swann website. Enter the name of the artist in the search box, and presto! 

Note: Ink Spill is in no way connected to the Swann Galleries.  I’m posting these posters because they’re wonderful oddities.

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Coming in October from Black Dog & Levinthal — the folks who brought us the massive  Complete Cartoons of The New Yorker: Julia Wertz’s Tenements, Towers & Trash. 

From the publisher, Ms. Wertz’s bio:

Julia Wertz is a professional cartoonist and amateur historian. She has published five graphic novels and does monthly history comics for The New Yorker and Harper’s Magazine.

Link here to her website.

Here’s what Roz Chast had to say about Tenements, Towers & Trash:

“Julia Wertz’s Tenements, Towers, and Trash is nothing short of extraordinary. The meticulously researched histories of the various urban landscapes are fascinating, and Wertz’s drawings perfectly capture the visual poetry of the city- the ongoing struggle between past and present, and its unique blend of beauty and ugliness. A must for anyone who loves and appreciates the city, as Wertz so clearly does.”

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A Curio Added to the Spill’s Attic

I love the New Yorker oddities out there in the world. This most recent addition to the Spill‘s  collection is one of the most curious I’ve seen.  Someone had various Talk of The Town sections professionally bound.

The only identification on the volume — getting right to the point! — is The Talk of The Town printed on the spine. There are no other markings. Other than the binding, the only other personal touch (not counting the material selected for inclusion in the volume) is the page below, included three pages in. Its thin, shiny quality suggests it came off a mimeograph machine.

The earliest Talk section included is April 28, 1928, the most recent, May 7, 1932.  While the sections are chronological, they are not sequential, skipping, for instance, from June 13, 1931 to July 11, 1931.

Luckily, the person who put this together included the covers for each Talk section. At the top of this post you see a full page Peter Arno from the issue of August 3, 1929 leading into the issue of October 19, 1929 (cover by Rea Irvin).

 

 

 

 

 

 

 

 

 

 

 

 

The Ink Spill library has a number of bound New Yorkers;  I take one off the shelves every so often, in the fashion of  E.B. White, who wrote in the Preface to The Subtreasury of American Humor (edited with Katharine White),”my wife and I happen to own a complete file of bound volumes of The New Yorker…it would often be our custom to pull out a volume at random and dip up a nice funny piece…”; having pieces bound in such a way as this odd Talk volume is a little pre-fab gift of randomness.

Cartoonist David Sipress on Staying Sane in Trumpland; Attempted Bloggery Looks at Tomato Juice Ads by Thurber, Arno, Steig, Hoff, and Soglow; Cartoon Companion Rates the New Yorker’s Latest Cartoons; Preview: New Yorker’s 92nd Anniversary Issue Cover

 

Post of Interest:  David Sipress’s  Cultural Comment on newyorker.com, February 3, 2017 “How To Stay Sane As A Cartoonist in Trumpland”

See Mr. Sipress’s New Yorker work here on the magazine’s Cartoon Bank site.

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Attempted Bloggery updates a post looking into Libby Tomato Juice ads featuring some of the all-time great New Yorker cartoonists. See it all here!

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Cartoon Companion has returned with a look at the latest New Yorker cartoons (the February 6 2017 issue).  Read it here.

 

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The New Yorker has posted a preview of its upcoming anniversary issue.  Eustace Tilley fans, who look forward to seeing the magazine’s mascot every mid-February on the cover will have to wait another year (if not longer, judging by the last six years). The post also includes a slide show of the non-classic Eustace covers.

For those keeping track, Rea Irvin‘s  cover has not been on an anniversary issue since 2011.

 

Need more Tilley?  Here’s  “Tilley Over Time”  — a piece of mine that ran on the New Yorker‘s website in 2008.

And here’s Rea Irvin’s entry on Ink Spill‘s   “New Yorker Cartoonists A-Z “:

Rea Irvin  (pictured above. Self portrait above from Meet the Artist) *Born, San Francisco, 1881; died in the Virgin Islands,1972. Irvin was the cover artist for the New Yorker’s first issue, February 21, 1925.  He was the magazine’s  first art editor, holding the position from 1925 until 1939 when James Geraghty assumed the title. Irvin became art director and remained in that position until William Shawn succeeded Harold Ross. Irvin’s last original work for the magazine was the magazine’s cover of July 12, 1958. The February 21, 1925 Eustace Tilley cover had been reproduced every year on the magazine’s anniversary until 1994, when R. Crumb’s Tilley-inspired cover appeared. Tilley has since reappeared, with other artists substituting from time-to-time.

 

 

 

Blog of Interest: A New Yorker State of Mind– Reading Every Issue of The New Yorker; Appearance of Interest: Bob Eckstein in Massachusetts; An Otto Soglow Treasure Trove

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How lucky we are that someone has been reading every issue of The New Yorker since its inaugural issue, highlighting and exploring certain aspects of each issue along the way.* I may have mentioned A New Yorker State of Mind some time ago, but it’s time to mention it again. It’s a delight.  See it here.

*Attempted Bloggery was on a similar track awhile back. Fun and fascinating reading.

(Above: A cover by Ilonka Karasz. More here on Ms. Karasz)

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From  The Berkshire Eagle, December 9, 2016, “A Conversation with Matt Tannenbaum” — this piece includes references to Bob Eckstein who will speak about his new book, Footnotes From the World’s Greatest Bookstores at Mr. Tannenbaum’s bookstore this coming Thursday.

Eckstein's books

Link here to Bob Eckstein’s website.

 

 

 

 

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soglow-spots

 

 

From the bookseller, Between The Covers, this offering of 66 Otto Soglow New Yorker spot drawings.  Price: $25,000. That’s only about $380.00 per drawing.  A steal!  See the listing here.

(A bonus: Tom Bloom’s illustrations appear throughout the bookseller’s site).

Mr. Soglow’s entry on Ink Spill‘s New Yorker Cartoonists A-Z:

Otto Soglow (pictured above) Born, Yorkville, NY, December 23, 1900. Died in NYC, April 1975. NYer work: 1925 -1974.Key collections: Pretty Pictures ( Farrar & Rinehart, 1931) and for fans of Soglow’s Little King; The Little King (Farrar & Rinehart, 1933) and The Little King ( John Martin’s House, Inc., 1945). The latter Little King is an illustrated storybook. Cartoon Monarch / Otto Soglow & The Little King (IDW, 2012) is an excellent compendium.