Must See: George Booth Exhibit at The Society of Illustrators

Here are a bunch of photos taken at last night’s opening reception for The Society of Illustrators exhibit, George Booth: A Cartoonist’s Life, curated by J.J. Sedelmaier

A ton of original George Booth covers and drawings in one place. What more could anyone ask for?  It’s a wonderful show. Go see it.

Above left, Danny Shanahan with Seth Fleishman (and right behind Mr. Fleishman is Stephen Nadler who runs Attempted Bloggery). Photo right: seated, John Cuneo, with the Director of the Society of Illustrators, Anelle Miller. Behind them is Felipe Galindo, and Stephen Nadler speaking with the cartoonist, Marc Bilgrey.

Below: two similar group photos. Can you spot the difference?

Top group photo: Mike Lynch, Michael Maslin, Liza Donnelly, Danny Shanahan, Jane Mattimoe, Felipe Galindo, George Booth, Mort Gerberg, Sam Gross, Ellis Rosen and Hilary Campbell.In the second group photo, Mike Lynch has disappeared and been replaced by John Cuneo, who is between Liza Donnelly and Danny Shanahan).

Below right: Seth Fleishman and the New Yorker‘s cartoon editor, Emma Allen.

Below: animator, Bill Plympton. Right: Eric Lewis

Above left: the show’s curator, J.J. Sedelmaier. Right: the Booth family

Below: Mike Lynch with Gina Kovarsky, daughter of the late very great New Yorker cartoonist and cover artist, Anatol Kovarsky

(photo courtesy of Mike Lynch)

Below: George Booth, with the illustrator,Tom Bloom in the background — he’s the fellow with the beard. (This photo courtesy of Stephen Nadler). 

Above left: Sam Gross.  Above right: Felipe Galindo with Colin Stokes, the New Yorker‘s assistant cartoon editor.

Below: Liza Donnelly, George Booth

 

–All photos above by Liza Donnelly, except where noted. My thanks to her for being the Spill’s official photographer.  

 

 

 

 

 

 

 

 

 

 

 

Fave Photo of the Day: Nurit Karlin and Liza Donnelly; Eldon Dedini’s Concours d’Elegance Posters; Latest Addition to Ink Spill’s Archives: A 1926 New Yorker Advertising Booklet

Below’s a photo of two wonderful New Yorker cartoonists taken this morning in Tel Aviv. On the left is Liza Donnelly (no stranger to the Spill)  and to the right is Nurit Karlin, who we don’t see enough of here.  I think of Ms. Karlin’s work (as I think of Ms. Donnelly’s work) in the Thurber school: a simple line beautifully executing a solid idea.

Here’s Ms. Karlin’s entry on the Spill’s A-Z: Born in Jerusalem. NYer work: 1974 – . Collection: No Comment (Scribner, 1978). For more on Karlin see pp 124 -130 of Liza Donnelly’s Funny Ladies : The New Yorker’s Greatest Women Cartoonists and Their Cartoons (Prometheus Books, 2005)

photo: Daniel Kenet/Gretchen Maslin

 

 

 

 

 

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From Attempted Bloggery, June 4, 2017, “Eldon Dedini: Concours d’Elegance” — Stephen Nadler, who specializes in digging deep, takes a look at some lesser-known  work by the great Mr. Dedini. See it all here.

 

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Tom Bloom, indefatigable collector and illustrator, dropped by the Spill’s world headquarters yesterday, bearing a splendid gift: May we say a few words about our contemporaries” — a 23 page booklet, bound with a string cord,  printed on “nice” paper (that is to say, it’s not lightweight bond).  Aimed at advertisers, it offers a survey of other publications in the New York market (The New York Times, The World, The Herald Tribune, etc.) before finally getting around to the virtues of advertising in The New Yorker. The pages are adorned with a good number of  New Yorker spot drawings by such artists as  Alice Harvey, Hans Stengel, Helen Hokinson, Alan Dunn, and the one-and-only Rea Irvin, who supplies the Eustace Tilleys . 

The copy shown below states the New Yorker had been publishing for a “scant twenty months”  — placing the booklet’s vintage approximately October of 1926. 

My thanks to Tom for this fabulous addition to the archives.

 

 

 

 

 

 

 

 

 

 

 

 

A Time-Out with Helen Hokinson

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Here are two obscure Helen Hokinson book jackets, courtesy of Tom Bloom, without whom the Ink Spill Library would be a far less interesting place. The title above was published in 1929 by Coward-McCann.  The title below was published in 1933 by MacMillan.  Mr. Bloom had this to say about What Shall I Eat?:

 

“[It’s] a curious item–in that it is a very bare-bones production. The back of the dust jacket is totally blank, and the interior pages take
a little time to get to the body of the book. The inside flap describes the illustrations by Helen Hokinson “in the style of her famous
New Yorker Sketches.” This is basically a dietary book with recipes and planned meals, 10 illustrations, about the size of a small novel.

 

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Here’s Ms. Hokinson’s entry on Ink Spill‘s “New Yorker Cartoonists A-Z”:
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Helen Hokinson 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)

Latest Addition to Ink Spill’s Archives: “Drawings of the Theatre 1927” with Arno, Karasz, Birnbaum, and Covarrubias; More Spills: Bob Eckstein Cracks Wise for The New York Times on Debate Night; Donnelly Live-Tweet Draws Debate for CBS News

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Thanks to the generosity of the illustrator Tom Bloom (who is an  indefatigable collector of cartoon-related books & ephemera)  Drawings of the Theatre 1927 has been added to the archives. I’d not heard of or seen this until a few weeks ago. Published just two years after Arno started at The New Yorker it’s an excellent example of how quickly his star was rising in the publishing world. New Yorker aficionados will also recognize some of the company he kept: the great cover artist, Ilonka Karasz (187 covers between 1925 and 1973)  Abe Birnbaum (141 covers and 9 cartoons in a career that lasted from 1929 through 1974) and Miguel Covarrubias (7 cartoons, all published in 1925).

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This is a small pamphlet, measuring 4″ x 6″, that opens up like a file folder.   Four attached postcards are slipped into the right side, each postcard featuring one of these four New Yorker artists. . The work of the two non-New Yorker artists, Gil Spear and Samuel Rogers appear on the pamphlet itself — those portraits you see running vertically along the right edge.

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More Spills Icon Edited…Bob Eckstein has posted on Facebook: “I hope you watch [tonight’s] debate along with The New York times website where they will have me doing commentary, doodles and cracking wise.”   (Link to Mr. Eckstein’s exploits on the Times’ site  here).

While you’re waiting to link to the Times, don’t forget to pre-order his forthcoming book, Footnotes From The World’s Greatest Bookstores: True Tales and Lost Moments from Book Buyers, Book Sellers, and Book Lovers.  Out October 4th. Eckstein's books

 

 

 

 

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…And  Liza Donnelly will be Live Tweet-Drawing the debate for CBS News.  You can find her work on Instagram:

and on Twitter: 

Out Today! Peter Arno: The Mad Mad World of The New Yorker’s Greatest Cartoonist

Arno cover

 

 

 

 

 

 

 

 

 

 

 

 

Finally!

My thanks to Karen Green of Columbia University for last night’s wonderful send-off for Arno at Butler Library.  And thanks too to Edward Sorel for co-piloting the program with me.

A big thank you to all who attended, including those from my New Yorker family: Roxie Munro, George Booth, Tom Bloom, Sam Gross, Robert Leighton, Felipe Galindo, David Borchart, Liza Donnelly, Peter Kuper and Bob Eckstein.

From the book’s afterword, where 60 New Yorker cartoonists talk about Arno,  here’s what George Booth had to say:

 Peter Arno’s work stands out and holds up in the test of time. His drawings and words were never timid, or just clever. They stated high quality, joy, confidence, strength, style, humor, idea, life, simplicity. His color was right; black and white became color. His cartoons were researched, with words well applied. The communication was clear and timely. He knew what he was doing. Peter Arno was an artist who gave something of value to the world. A hero.

New Yorker Artist, Abe Birnbaum: “Nothing’s Ugly. Everything Is What It Is”

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Thanks to the treasure trove of scans the illustrator Tom Bloom has sent to this site, we are able to behold this beautiful Abe Birnbaum cover for New Yorker writer Philip Hamburger’s 1949 collection, The Oblong Blur.

Though Mr. Birnbaum (who died in 1966) was know principally for his New Yorker covers, he was, graphically-speaking, a jack-of-all trades at the magazine, contributing cartoons (nine in his earlier years), illustrations,  and spot drawings.

According to Mr. Birnbaum’s New York Times obituary:

he contributed more portraits and drawings to the magazine’s Profile and Reporter At Large sections than any other artist.

Describing his work habits, the piece went on:

Mr. Birnbaum was an exacting craftsman. In the studio of his home in Croton, N.Y. surrounded by most of his 15 cats, he would draw an object such as a chair as much as 200 times or more to get it right.

“Nothing is ugly,” he said often. “Everything is what it is.”

From The New Yorker‘s obit of Birnbaum, here’s how  Brendan Gill described him:

He was a burly black-browed man with dark bright eyes and a bantering affectionate nature. The older he became, the younger and more joyous his work became.

Birnbaum drawing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Above: a Birnbaum New Yorker drawing  from the issue of  May 24, 1930