Advertising Work by New Yorker Cartoonists, Part 2: William Steig

And now for Part 2 of what will be many parts  of an adwork display by New Yorker cartoonists, all courtesy of   Warren Bernard, indefatigable cartoon collector, and Executive Director of the Small Press Expo, or SPX.   

There are too many ads by William Steig to show in one sitting, so he’ll have to have his own Part 2 and Part 3.

All but one of these Steig ads are in his earlier style, before he went into his fabulous finer line period. The exception is the Nicholson Hacksaw Blade ad from 1966 where you see the style found in his childrens book as well as on his later New Yorker covers. The dates for the other ads: Delco Batteries: 1960; Cheerios: 1950; Kinsey Gin: 1945; Drano: 1948

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

One of many interesting New Yorker nuggets I came across while researching my biography of Peter Arno was the feeling at the magazine,  back in the early 1940s, that too many of its artists (Arno being foremost, of course) were feeling emboldened by their successes in the advertising world and not as beholden to The New Yorker for their livelihood. Harold Ross, the magazine’s founder and first editor, was, I believe, happier when he was holding all the cards. 

Here’s Mr. Steig’s entry on the Spill’s A-Z:

William Steig (photo above) Born in Brooklyn, NY, Nov.ember 14, 1907, died in Boston, Mass., October 3, 2003. In a New Yorker career that lasted well over half a century and a publishing history that contains more than a cart load of books, both children’s and otherwise, it’s impossible to sum up Steig’s influence here on Ink Spill. He was among the giants of the New Yorker cartoon world, along with James Thurber, Saul Steinberg, Charles Addams, Helen Hokinson and Peter Arno. Lee Lorenz’s World of William Steig (Artisan, 1998) is an excellent way to begin exploring Steig’s life and work. New Yorker work: 1930 -2003.

 

 

50 Years Ago This Week…In The New Yorker

A Summer of Love issue of The New Yorker begins with Peter Arno’s 98th cover for the magazine (out of 101). Arno’s color palette in his last years had turned (mostly) brighter, his composition (mostly) a little more casual. This cover is an excellent example.

Within the magazine we find an array of graphically balanced cartoons appearing on the pages in a variety of sizes: a half-page Warren Miller drawing; a wonderful Steig drawing of a King –the drawing sits at the bottom of the page, surrounded on three sides by text; a perfectly-sized classic beauty from Ronald Searle (shown below); a  Modell drawing, done in his trademark casual style, sits across from a (typically) densely drawn Alan Dunn cartoon;  an easy on the eyes Stevenson drawing of two witches settling in to watch Julia Child is placed across from a Steinberg drawing of the eye of providence (that pyramid with the eye that’s on the backside of the U.S. dollar bill).  Unlike Stevenson’s drawing, which you pause to look at, enjoy and then move on, you feel as if you should pull up a chair and get out a magnifying glass for the Steinberg illustration. It’s time to inspect.

A few pages later on in the issue I was surprised to come across a 5 part Stan Hunt drawing. Did he do a lot of these? I don’t remember seeing one before (it’s a question to be answered another time).  The Hunt is followed by a nearly full-page  Everett Opie cartoon and then a masterful Saxon drawing (also almost a full page).

The last drawing of the issue is by the wonderful Henry Martin. Like Steig’s King drawing, it appears at the bottom of the page surrounded on three sides by text. There’s plenty of white space around the business man noticing a sign in a window, “Data Processed While U Wait” — the man’s right leg and his briefcase are allowed to drift off towards the edge of the page itself — a cartoonist’s work beautifully handled by the New Yorker‘s long-time layout person, Carmine Peppe, who, according to Brendan Gill, “would properly set off whatever we published.”

 

Tom Toro: The Ink Spill Interview

New Yorker cartoonist, Tom Toro and I’ve been emailing now and then over the seven years he’s been contributing cartoons to the magazine, but it wasn’t until a month ago, when he came east from Kansas for Jack Ziegler’s memorial, that we finally met in person and were able to chat for awhile. The idea for an interview had been batted around by us earlier in the year; I like to think it began in earnest right there and then in a restaurant on Manhattan’s upper east side. With Dock Street Press’s release of Tom’s first book, Tiny Hands, a collection of the political work he did for The New Yorker’s Daily Cartoon slot, it seemed like the perfect time to turn our conversation into something more organized. Following the interview I asked Tom to select and comment on five favorites of his own work — you’ll see those at the end of this post.
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4th of July GIF; A Steig 4th of July Cover; Fave Photo of the Day: Chitty and Dator In Canada

From CBS News, here’s a 4th of July moment from Liza Donnelly.

 

A Steig 4th of July Cover

When it comes to New Yorker 4th of July covers, there’s a lot to like. This one, from the exceptionally great William Steig, is a beauty.

 

 

 

 

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Fave Photo of the Day

Tom Chitty, on the left, and Joe Dator — in Toronto,  July 3, 2017.

 

 

 

 

 

 

 

Link here to Tom Chitty’s website

Link here to Joe Dator’s website

Color Work From Some Cartoon Greats; Audio: George Booth Talks Tools of the Trade

From Mike Lynch’s site, courtesy of Dick Buchanan, here’s a fun post of some color cartoon work from a variety of magazines. Included, among others, are New Yorker artists, William Steig, Garrett Price, Stan Hunt, William Von Riegen, Gahan Wilson, and Robert Day.

See them all here! 

 

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Jane Mattimoe has posted two short audio clips of the great George Booth talking about his tools of the trade.  Listen to them here

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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