Trailer Of Interest…Stevenson: Lost And Found
Here’s the official trailer for the highly anticipated documentary film on the late great New Yorker artist & writer, James Stevenson: Sally Williams‘ Stevenson: Lost and Found. Link here to the official trailer.
From the film’s Facebook page:
James Stevenson Born, NYC, 1929. Died, February 17, 2017, Cos Cob, Connecticut. New Yorker work: March 10, 1956 –. Stevenson interned as an office boy at The New Yorker in the mid 1940s when he began supplying ideas for other New Yorker artists. Nine years later he was hired a full-time ideaman, given an office at the magazine and instructed not to tell anyone what he did. He eventually began publishing his own cartoons and covers as well as a ground-breaking Talk of the Town pieces (ground breaking in that the pieces were illustrated). His contributions to the magazine number over 2000. Key collections: Sorry Lady — This Beach is Private! ( MacMillan, 1963), Let’s Boogie ( Dodd, Mead, 1978). Stevenson has long been a children’s book author, with roughly one hundred titles to his credit. He is a frequent contributor to the Op-Ed page of The New York Times, under the heading Lost and Found New York. Stevenson’s recent book, published in 2013, The Life, Loves and Laughs of Frank Modell, is essential.
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Hilary Fitzgerald Campbell & Peanuts
Here’s an excerpt on Longreads from The Peanuts Papers (out October 22nd from Viking) featuring Hilary Fitzgerald Campbell’s contribution. Ms. Campbell has been contributing to The New Yorker since 2017. Link here to her website.
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More Dana Fradon
From David Pomerantz’s Facebook post, October 14th (re-posted here with Mr. Pomerantz’s permission):
R.I.P. Arthur Dana Fradon.
This one especially hurts as I got to know Arthur a bit, spoke at length with him on the phone (he was sharp, funny and had some terrific stories), had many online exchanges with him (it was a big day if I could make him laugh with one of my little jests), and I hoped that I could make the trip to visit him in Woodstock or Connecticut with a few cartoonist friends. He was the very last contract artist that Harold Ross signed to The New Yorker, a few years after Arthur sold his first cartoon to the magazine in 1948. He was one of the most prolific of artists, selling about 1400 drawings over six decades until he finally retired to work on a novel. (He had some, uh, opinions about new Editor Tina Brown.) He was also a terrific satirical writer, the caption perfectly complementing his drawing. This was in a time (late 40s-mid-60s) when many of the contract cartoonists like Arno, Addams and Darrow, Jr. still worked with other writers’ captions, which eventually faded out when Lee Lorenz succeeded Jim Geraghty as Art Editor in 1973.
Arthur played baseball into his eighties and told Peter Arno biographer Michael Maslin, “I’m not really a cartoonist. I’m a misplaced baseball player or something like that.” I loved his work from when I first saw it in one of The New Yorker collections (he was quite proud of the fact that he had the most cartoons in one of the magazine’s retrospective books); when I mentioned to him how much I liked his “Good morning, beheaded” cartoon, he said that seemed to be the most popular of his cartoon prints sold by the magazine. Condolences to Ramona Fradon and their daughter Amy.
— Cartoon above by Dana Fradon, from The New Yorker issue of June 3, 1991
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Today’s Daily Cartoonist & Cartoon
Here a subpoena, there a subpoena, everywhere a subpoena — by Teresa Burns Parkhurst, who began contributing to The New Yorker in 2017.