New Yorker Art Editors: James Geraghty, Albert Hubbell & Lee Lorenz

Geraghty NYer office 1949

 

We conclude the Westport Historical Society bios from their current exhibit, Cover Story: The New Yorker in Westport with James Geraghty, Albert Hubbell and Lee Lorenz. The three share the distinction of overseeing The New Yorker‘s Art Department between 1939 through 1997.

 

Mr. Hubbell holds a unique position as the only temporary Art editor in The New Yorker‘s history, filling in for James Geraghty, the magazine’s Art editor from 1939 thru 1973.  Albert Hubbell held the temporary position for the first four months of 1943 while Geraghty was away participating in classes for the  Volunteer Officer Corps. (from Mr. Hubbell’s entry on Ink Spill’s “New Yorker Cartoonists A-Z”)

Mr. Lorenz was the Art editor of The New Yorker from 1973 to 1993 and its Cartoon editor until 1997.

 

My thanks to The Westport Historical Society to run all the bios from the exhibit, and to Sarah Geraghty Herndon who has allowed Ink Spill to reproduce so many wonderful photos of her father throughout these Westport exhibit posts.

(Above: James Geraghty at The New Yorker in 1949)

 

Further reading.

It seems appropriate to include Rea Irvin in this post dedicated to the former editors of The New Yorker‘s Art Department.  Here’s his 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.

Exhibit: “Cover Story: The New Yorker in Westport”

Cover Story

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From The Westport Historical Society webpage:

Between 1925 and 1989, 16 New Yorker artists living in and around Westport-Weston produced a remarkable 761 covers for The New Yorker Magazine.

The Westport Historical Society’s next two exhibits share the covers and the story-behind-the-story, focusing especially on the influence of The New Yorker’s “idea man” turned Art Editor, James Geraghty.

Link here to the Westport Society website for details. And also make sure to read Dorrie (Barlow) Thomas’s piece about her grandfather’s 1939 New Yorker cover (below) that inspired a famous Christmas song.

Barlow cover

Harold Ross’s Last Cartoonist: Dana Fradon

Fradon:AnticBy the late 1940s, Harold Ross, The New Yorker’s legendary founder and first editor, had assembled either by happy accident or design (depending on which version of the magazine’s history you want to believe) a stable of magazine cartoonists unrivaled in American publishing.  Some have called that era of the magazine’s cartoons its Golden Age.  The guiding forces of the New Yorker‘s art (besides Harold Ross, of course) were Rea Irvin (who is most known for creating The New Yorker’s signature mascot,  the top-hatted Eustace Tilley) and the magazine’s first Art Editor, James Geraghty,  a former gagman who began working  at the magazine in 1939 and retired in 1973.

As mentioned on this site this past summer in a profile of Anatol Kovarsky, there are just four surviving New Yorker cartoonists from the Ross era: Frank Modell, James Stevenson, Anatol Kovarsky and Dana Fradon. Mr. Fradon was the last cartoonist contracted by Mr. Ross, who died in December of 1951.

Fradon’s first New Yorker cartoon (below), published May 1, 1948, launched a career that spanned half a century; he went on to contribute nearly fourteen hundred more cartoons, placing him in the stratosphere of such other New Yorker artists as William Steig, Alan Dunn, Robert Weber, Warren Miller, Helen Hokinson, Lee Lorenz, Mischa Richter, Robert Day, and the aforementioned, James Stevenson and Frank Modell.

Fradon:1stA native of Chicago, Fradon studied at the Art Institute there, and later, following service in the army during WWII, he studied at The Art Students League in New York. Fellow classmates included future New Yorker colleagues, Joseph Mirachi, Herbert Goldberg, and James Mulligan.

In a recent phone and email conversation with Mr. Fradon, who is now 91, we covered a lot of territory, from his beginnings at the New Yorker all the way up to today and whether he’s still thinking up ideas for cartoons.

Beginning our conversation, I asked Mr. Fradon if he had any thoughts as to why the Art Students League turned out so many New Yorker cartoonists.

“It’s a great school, it’s in New York, it’s cheap, and there were no marks given or attendance taken; a future cartoonists paradise.”

Michael Maslin: What brought you to The New Yorker—was it that that was the place to go?

Dana Fradon: No, I didn’t know anything about The New Yorker.  My sister married Albert Hubbell and then I heard about The New Yorker [Mr. Hubbell was a jack-of-almost-all trades at The New Yorker, contributing fiction as well as pieces for the Talk of The Town.  He was, briefly, The New Yorker’s Art Editor during WWII when James Geraghty left for service.  He was also a cover artist and contributor of “spot” drawings as well as an in-house idea man, creating captions for cartoonists, including, among others, Mary Petty] I admired Albert and I admired some of the things he pointed out [in the magazine]. I decided that’s where I would channel my work.

I did the first cartoon that Geraghty took notice of when I was still in the service. Apparently, when Geraghty showed my work to Ross, he threw Geraghty out of the office.  Geraghty said to me later, with that nice little grin he had that he [Geraghty] didn’t think what I sent in was that bad. It was a panel gag—I still remember it—it was rejected,  but nevertheless Geraghty said, “Keep coming.”

MM: I noticed that your first five cartoons in the magazine were captionless—was that happenstance, or was that something you were doing a lot of?

DF: I guess that’s what I thought Geraghty thought was funny. In the beginning I had the idea that he was buying only stuff of mine that was rather topical. And I thought that was a restriction—that I could not do the ordinary funny gag—that they were just going to want politically topical stuff. And I thought that would limit me. I didn’t know that it would become, in a sense, my hallmark. I thought at first it was a sign of failure—that I couldn’t do the straight old cartoon. But of course I did end up doing those kinds of cartoons as well.

MM: In the beginning you had almost two different styles. You had a heavier style and a looser style.

DF: I think the thicker lines came after about five years, ten years—that was still early in a career that spanned 50 years. I went to a felt tip marker that was heavier; I look back at those drawings and I really like them better than some of the thinner line drawings I did later in life. It was not a conscious change—it was a change in paper, and what kind of pen I used.

MM: You were trying to find your way?

DF: Absolutely. I was trying to find my way for about thirty years.

MM: Let’s talk about Geraghty. Obviously he was a huge part of your career.

DF: He was a huge part of The New Yorker magazine.  His taste was what guided the magazine—in cartooning and in those days, all the artwork. He bought the spots and the covers. He’s best described by something which has become reasonably common knowledge. He said it to me originally about making a drawing beautiful. He said, “Make it beautiful, Dana. Make it beautiful.”  And very often he would OK a drawing—the final OK would either be Ross’s or Shawn’s—or he would bring to their attention cartoons which were borderline funny but would make magnificent drawings.

It was Geraghty’s belief that New Yorker cartoons provoked a chuckle (not laughter) and, of course, much thought. He once went through an act with me imitating a commuter on the New Haven R.R., city bound, opening and skimming through his recently arrived New Yorker. I can imitate every one of Jim’s marvelous gestures and soft grunts (chuckles) to a tee.

MM: And the “magnificent drawings” bought—would they be tinkered with?

DF: Towards the end under Lee [Lee Lorenz, James Geraghty’s successor as Art Editor], maybe because I was more experienced, there was not much tinkering. But yes, in the beginning there was tinkering down to the last finger. You couldn’t even distinguish where the fingers were [on] my early rough drawings.

MM: Did you ever meet Harold Ross?

DF: Never met Ross, but nodded to him dozens of times. My only close experience with Ross was at one of the first huge parties the New Yorker threw at the old Ritz-Carleton. Geraghty gave my then wife [the cartoonist, Ramona Fradon] and I an invitation. My wife said, “Fasten your eyes at the guy at the next table.” It was Ross.  So I fastened my eyes on him, and he looked at me like I was a freeloader or something. Everything I know about Ross I heard from Albert [Hubbell]. Albert was the be-all and end-all if you wanted a connection with Ross—he had it and he had total recall.

I can’t tell you much about Ross except that I accepted from the beginning that he had impeccable taste.  That was the greatest period of drawing, if not ideas: Arno, and those other guys—Whitney Darrow, Robert Day—all brilliant.

MM: I have a list of names I want to run by you, but first, before I forget, I want to ask you if you ever provided ideas for Peter Arno, or anyone else?

DF: Yes, Arno, one or two, and for Charlie Addams, half a dozen to a dozen—he was another wonderful artist. You might say Geraghty would look at me and say, “This needs a better artist.” But then it got to where he would give me a trade. He’d say “This would be better if George Price did it.” And he’d give me a simple idea. [Mr. Fradon recalled one idea given to Addams, of Martians coming to the door on Halloween.  It ran in The New Yorker November 1, 1952]

MM: When I was researching the Arno biography at the New York Public Library, and looking through The New Yorker’s archives there, I found a lot of interaction, a lot of back and forth—idea-wise—between artists.

 

Fradon:Modell kids

DF: When I first started working there—it might’ve been about the tenth cartoon I did—it was a couple of kids watching television, a close-up on the kids. Geraghty didn’t like the faces on the kids.  I couldn’t do kids; now I can, but then I couldn’t at least not on the New Yorker level. Frank did one of the faces on one of my drawings on one of my kids. He [Frank] was sitting out there in the office and Geraghty said, “Just a second” and took the drawing out and Frank did the face and they bought it.

MM: We do that around here sometimes.  Liza [Donnelly] will ask me for some help on perspective and I’ll ask her to help me with cats. We have cats here, but that doesn’t help me—I still can’t draw them.

DF: Well, certain poses, they’re [cats] hard to draw. You know, Ramona used to do all my horses. It wasn’t until I started doing kids books, and I was divorced, that I learned to do my version of the horse, which is more like a merry-go-round horse. I learned to draw them out of necessity because Ramona wasn’t there to draw them for me. There are a couple of my New Yorker cartoons with horses in them, and she drew the horses.

MM: There’s one I have here on my desk…you have an invading army…

DF: Is it “Beware of dogs?”

MM: Yes, yes.

DF: She didn’t do the finish, I inked them—but she drew the horses.

MM: As long as we’re talking about specific drawings, there’s one I thought would make a good title and cover drawing for a collection: “The gods are antic tonight.”

DF: That drawing has a story behind it. Lee put the word “antic” in there. I had the “gods are something-or-other” and I believe he changed it to antic. He asked me, of course, if it was ok.  I didn’t get the fine difference between what I had and he had, but apparently the antic thing was pretty cute, and he knew what he was doing.  “Antic” was not in my vocabulary.

MM: Can you list for me some of the cartoonists you knew back in those early days. Let’s begin with Arno.

DF: Never met Arno, never saw Arno but always felt his presence. Knew fairly well: Sam Cobean, the magazine’s other genius; Charlie Addams, Richard Decker, Frank Modell, Whitney Darrow, Mischa Richter, Bill Steig, Dick Taylor, Barney Tobey and many more. I met, casually, Saul Steinberg (I suppose he’s another genius), Robert Day, Chon Day, Alan Dunn and Mary Petty.

MM: Did you know Stan Hunt?

DF: A nice gentle soul.

MM: James Mulligan?

DF: He was left-handed, but because of several car accidents, had to learn to draw with his right hand. His last few hundred cartoons were drawn with his right hand.

MM: Rea Irvin?

DF: Rea Irvin lived in Newtown [Connecticut] for several years. A really sweet guy. Worked with drawing board held in his lap in a, literally, closet-size studio in a large, beautiful colonial. Actually, HE is the genius of The New Yorker. Did the first cover, designed its typeface, and designed the headings, I think, of the various regular columns. Based on his drawing and the variety and depth of his drawing…he’s the number one guy that everyone always forgets about. Rea just seemed like Major Hoople…“woof woof woof”  while he talked, to clear his throat.

MM: Speaking of covers…I couldn’t help but notice there was never a Fradon New Yorker cover.

DF: I submitted one cover and after about the tenth time of correcting it and fixing it, I gave it up and went back to doing something I knew better: doing cartoons and ideas. I was doing well on the cartoons and beginning to move into kid’s books, where I got all that color out of my system. I never pursued it. The one I did try lent itself mostly to design—there was nothing funny about it.

MM: What about Richard Taylor—you mentioned you knew him.

 

imagesDF: Dick Taylor was a lovely man, and sort of a comic on his own.  He had a unique way of drawing. There’ve been Whitney Darrow look-alikes and Bob Weber look-alikes, and dozens of Cobean look-alikes, and Arno look-alikes; when I say look-alikes, they’re not as good—there was a guy who did a lot of ads—nothing but ads—he was a pale version of Arno. I’ve never even seen a pale version of Dick Taylor.

MM: His work—his people were too different weren’t they?  With those giant eyes…

DF: And the way he did his washes too. Layers and layers before he got the tone, without it going dead. Whereas most of us…I strive to splash it on as best I can.

MM: I loved watching the progression of your drawings from the very first ones to where they became very loose. The energy there—your heads would almost be disconnected from the bodies. I could see you were having a really great time doing these.

DF: That, and a little bit of writing is the only thing that absorbed me. And playing baseball.

MM: How did you work? Did you go to your desk in the morning, five days a week?

DF: Yeah, five or six days a week, I made it a point. The first thing I’d do—the first three hours in the morning, when you’re freshest—is think of ideas. I’d just think of ideas five days a week and come up with twenty or twenty-five of them and then let Geraghty comb through and pick out what he thought was funny.

The routine for thinking of ideas—you may feel the same way—I have no formula for thinking of an idea. It’s more of free association. You start out with a subject, and you may not end up with that subject.

MM: And you write everything down, right, because these things can float away.

DF: I had a big pad of paper, 14” x 17” bond paper; I’d make little notes and sketches and see where they’d lead me. Once, when I was giving a talk I said the important thing of thinking of ideas is knowing when to pounce. You kick ideas around in your subconscious and then this one is a straggler and you pounce on it because it seems funny.  And that’s the one you draw up. I drew up a lot of rejections too of course [laughing].

Geraghty used to tell new cartoonists—and some of the established ones as well—about how he’d be at a party and someone would tell him a funny story and then say, “Why don’t you make a cartoon out of it?”  He’d turn to them and say, “That’s not a cartoon, that’s a short story.” There’s a hell of a big difference.  You know, they’ll start by saying, “There’re ten thousand people in a living room…” Well, who the hell is going to draw ten thousand people in a living room!?

MM: One of the things that fascinated me about Arno’s life was that his career spanned enough time at the magazine, 1925 through 1968 to see a change in the use of ideamen. He began using his own ideas but then shifted into using ideamen in the 1930s and beyond.  Many of his contemporaries used ideamen as well (not all of them did, but a majority). By the time your era came along, late 1940s, early 1950s, your crowd, or most of you, were doing your own ideas. That just sort of happened? Or did someone encourage you?

DF: Yeah, it just sort of happened, but it’s also something I think subconsciously that Geraghty was striving for. He probably thought it was taking too much time or thought or energy putting cartoonists together with ideas. If you could do it in one step, that was helpful…it became a real badge of courage to do your own ideas, your own drawings.

DF: One person who did his own ideas—I don’t know if you remember him, was Herbert Goldberg.

MM: I know his work from the albums, The New Yorker anniversary albums. I’m a sucker for those collections.

DF: You live in the world of cartoons.

MM: Yes.

DF: Well that’s one thing I’ve never have done and I’ve always been sorry for it. I’m not really a cartoonist.  I’m a misplaced baseball player or something like that. But I look at [cartoonist] Orlando Busino and I’m just so envious of people who can get into that. When I drew I was in the world, but I wasn’t really there. I wish I could’ve appreciated who I was.

MM: Do you still take a crack at cartoons every once in awhile?

DF: For a time, when I thought of a good idea that I thought would go in today’s New Yorker, I stifled it. And then I said to myself: well don’t do that anymore, write ‘em down—so I write them down on a scrap of paper and throw them into a pile.

Dana Fradon’s books include:

Breaking the Laugh Barrier (Dell, 1961)

My Son the Medicine Man (Avon, 1964)

Insincerely Yours (Dutton, 1978)

Sir Dana: A Knight, As Told by His Trusty Armor (Dutton, 1988)

Harold the Herald (Dutton, 1990)

The King’s Fool: A Book About Medieval and Renaissance Fools (Dutton, 1993)

To see some of Dana Fradon’s New Yorker work, link here.

 

 

Albert Hubbell added to the New Yorker Cartoonists A – Z

Snooping around The New Yorker’s database this morning led me to discover that Albert Hubbell, who was published by The New Yorker from 1943 thru 1985,  had one cartoon published by the magazine, and so he is instantly added to Ink Spill’s New Yorker Cartoonists A-Z.  There couldn’t be a better moment to talk a little more about Mr. Hubbell’s career, so here then is his A-Z entry, posted moments ago:

 

Albert Hubbell  (photo above from the Wilton Bulletin, taken in the early 1960s)  Born, Duluth, Minnesota, 1908.  Died, 1994, Fairfield, Connecticut. 

After spending time at The Art Students League in New York, and some time studying in Paris, Mr. Hubbell worked for a short time as Book Editor for both Time and Newsweek. He worked briefly at  The Chicago Sun  before joining the New Yorker where he began contributing to Notes & Comment (his first contribution was in the issue of January 16, 1943), as well as fiction. 

In the April 22, 1944 issue, he contributed a cartoon (run full page) — his only cartoon to appear in the magazine.  During his last twenty years at the magazine, his contributions were mostly covers  – nineteen of them appeared between 1964 and 1985.  His distinctive spot drawings also appeared in the magazine for many years.  Seemingly foreshadowing his run of covers, he told a reporter from the Wilton (Connecticut) Bulletin in 1961 that  “I’ve been trying — and succeeding — in enlarging the spot drawings.  Now I’m doing bigger ones and getting away with it.”

Mr. Hubbell holds a unique position as the only temporary Art Editor in The New Yorker’s history, filling in for James Geraghty, the magazine’s Art Editor from 1939 thru 1973.  Hubbell held the temporary position for the first four months of 1943 while Geraghty was away participating in classes for the  Volunteer Officer Corps.

It’s not difficult to imagine Mr. Hubbell was thinking of his own work when he wrote the following in his introduction to William Steig’s 1990 collection, Our Miserable Life:

“…graphic art is best dealt with on its own terms — lines and hatchings and smears and smudges put down on paper to convey a thought about something, or just to create a drawing, like Steig’s of a rainy day, for its own sweet sake.”

 

 

Capote and New Yorker Cartoons

   Reading the Holly Golightly piece (“Forever a Gamine at Tiffany’s”) in today’s New York Times revived a thought I had lodged in my mental “to do” file a few weeks ago when I had the pleasure of meeting Thurber biographer, Burton Bernstein.

 

Listening to  Mr. Bernstein expanding upon a passage from his biography concerning (the nearly blind) Thurber being led around The New Yorker’s offices and elsewhere by Capote,  got me to thinking about the legend of Capote throwing away cartoons while assisting in The New Yorker’s art department.

 

Before we get to that, here’s a very brief look at Capote’s earliest days at the magazine. In late 1942 or early 1943, he was hired, while still attending school, as a New Yorker copyboy – a catch-all job that apparently included sharpening pencils, running errands (and yes, leading Thurber around).  After a time he was given the plum job of assisting in the art department (according to some, this came out of his close friendship with office manager, Daise Terry).

 

Capote’s new duties included sorting through incoming envelopes of unsolicited cartoons and attending  the art meeting where his job was to place selected drawings on an easel. Each drawing would be examined and discussed by Harold Ross, Rea Irvin, fiction editor, Gus Lobrano, and the temporary art editor, Albert Hubbell (filling in for James Geraghty who’d gone off to serve his country).  Daise Terry would take notes on the comments.

 

Albert Hubbell told Gerald Clarke that up until Capote worked the easel, all previous assistants were like “automatons” — Capote, however, would laugh, make faces and comment on the cartoons.  This led Ross to instruct Hubbell:  “Tell him to stop that.”

 

Capote’s copyboy/art assistant days at The New Yorker lasted until the summer of 1944 (his leaving came on the heels of an oft told misunderstanding between Capote and the poet, Robert Frost that eventually led Harold Ross to ban Capote from the offices).

 

 

And now on to throwing away cartoons.  I’d first come across the story in Brendan Gill’s Here At The New Yorker:

 

The story goes that after Capote’s departure from the magazine, it was discovered that he had been serving as a sort of self-appointed art editor. One of his tasks was to open the envelopes that contained drawings sent in by artists from all around the country; when Capote didn’t like a drawing, he dropped it over the far edge of the big table at which he worked. Years passed, and someone thought to move the table. Behind it were found hundreds of drawings that Capote had peremptorily rejected, instead of sending them along to Geraghty or Ross. True or false? Nobody knows, for Capote anecdotes are hard to check.

 

 

So did he, or didn’t he?  This morning, in a stab at clarity, I gathered the Capote material* at hand on these premises and came up with a couple of puzzle pieces.

 

During many many hours of conversation, conducted over the last two years of Capote’s life, writer Lawrence Grobel had this exchange with Capote about the disappearing cartoons:

 

Grobel: Is there any truth to the story… that you appointed yourself an art editor, rejecting submitted drawings you didn’t like by dropping them behind a table where you worked?

Capote:  No. Where’d you hear that?

Grobel: It’s in Brendan Gill’s book.

Capote: “Well, I was in the art department but I wasn’t throwing away people’s cartoons.”

 

And, Capote told his biographer, Gerald Clarke:

 

Sometimes I would get the cartoons all messed up and confused. Then I would throw them into one of those holes  and say to myself,  ‘Well, I’ll straighten that out later.’  I somehow happened to lose about seven hundred of them that way. I didn’t deliberately destroy them, and I don’t know how I lost track of them.

 

Despite it being a more colorful story that Capote appointed himself editor and/or destroyed or threw away cartoons, it’s far more believable that the 17 year old Capote was overwhelmed by the volume of unsolicited cartoons (reportedly thousands a week) coming into the office and inadvertently lost track of many of them.  But of course, as Brendan Gill suggested, we’ll never really know.

*Books consulted:

Bernstein, Burton  Thurber (Dodd, Mead, 1975)

Clarke, Gerald   Capote: A Biography (Simon & Schuster, 1988) pp. 71 – 73.

Clarke, Gerald  Too Brief A Treat; The Letters of Truman Capote (Random house, 2004)

Gill, Brendan   Here At The New Yorker (Random House, 1975)  p.317

Grobel, Lawrence   Conversations with Capote (New American Library, 1985) p.56

Inge, M. Thomas   Truman Capote: Conversations (University Press of Mississippi, 1987)

Plimpton, George   Truman Capote (Nan A.Talese/Doubleday, 1997)