Personal History: Work Wall

I’ve always worked at home, sometimes in a dedicated corner of the living room, sometimes using the arm of any old comfortable chair as a desk. But for many years I worked in a converted 6′ x 8′ laundry room. My desk faced a wall, part of which is shown above.  One day, after about twenty years of working in front of that wall, I felt I needed open space, and so I picked up my Rapidograph and a small stack of bond paper, then walked fifteen feet or so into our living room and set up shop at a table with no wall in front of me.

I left my old work area completely intact — a stack of bond paper still rests in its usual place —  and every so often I return to work there (I’m working there now).  What you see above is fragment of the wall above my desk. The collection of cartoons has always been a kind of rotating mini-gallery. There are a lot of New Yorker materials on the shelves (mixed in with childhood train set buildings, metal toys, art made by my kids, etc., etc.).  Just for fun, I’ve provided a key to anything New Yorker-related (and a few not)

1.  Joe Dator New Yorker original drawing. Published February 28, 2011.

2.  Stan Hunt original drawing.  Publishing history unknown. The fellow on the porch swing is saying to the woman: “Darling, your eyes are like dark limpid pools! …What’s the matter, aren’t you getting enough sleep?”  Mr. Hunt contributed to The New Yorker from 1956 though 1990.

3. Charlie Hankin original drawing. Unpublished. The sign on the lawn reads “Beware of Clam”

4. George Booth original. Titled Dog, Chair, and Chicken. Unpublished. Mr. Booth drew this in The New Yorker‘s cartoon department a few years ago while being filmed. Luckily, Liza Donnelly was also there being filmed.  Mr. Booth generously handed the drawing to her when filming wrapped. 

5. E.B. White’s The Lady Is Cold.  His first book. This became the subject of an Ink Spill piece.

6. Batman Giant No. 182.  In the late 1960s,  when my family moved from one end of town to the other end, only two comic books of my vast comic book collection made the transition (sad, I know). This is one of them.

7. The New Yorker Album.  Published in 1928 by Doubleday, Doran & Co. The very first New Yorker cartoon album.

8. A Rox Chast letter from the pre-personal computer days, probably late 1980s. In this New Yorker cartoon crowd, exchanged letters were usually illustrated.  I’m especially fond of this one because of the White Castle drawing at the very top (it’s possible my White Castle coffee mug made an impression on her).

9. We’ll Show You The Town. A 1934 promotional book from The New Yorker‘s business  department. You can see a little more about this if you go to the From the Attic section of the Spill and scroll down.

10. What! No Pie Charts?  An undated promotional book from The New Yorker‘s business department. Profusely illustrated by Julien de Miskey. As the copy refers to the magazine’s original address as 25 West 45th Street, we can safely assume this was published pre mid-1930s.

11. The American Mercury. August 1948.  Up on the shelf because of the great cover of the magazine’s founder and first editor, Harold Ross along with a re-drawn (i.e., non Rea Irvin) Eustace Tilley. The cover story “Ross Of The New Yorker” by Allen Churchill is a good read.

12. Curtain Calls of 1926. From the title page:

In which a few choice rare bits that have occasionally appeared in the pages of The New Yorker repeat themselves.

This is a lovely little book spotlighted on the Spill in July of 2013. Rea Irvin did the Tilley drawing on the cover.

13. Batman In Detective Comics Vol. 1 (Abbeville Press 1993).  Covering the first 25 years.  Vol. 2 is sitting right behind it. 

14. A Thurber Garland. Published by Hamish Hamilton in 1955.

15. The Making Of A Magazine. Undated. A promotional booklet collecting some, but not all of Corey Ford’s pieces. Drawings by Johan Bull.   Link here for more info.

16. James Thurber’s New York Times obit, dated November 3, 1961. The headline reads: James Thurber Is Dead At 66; Writer Was Also A Comic Artist . I’ll say!    Read more here on the Spill’s morgue.

***unnumbered, appearing just below #6’s Batman Giant, and the toy helicopter, is Otto Soglow’s Little King pull toy.  You can see it close up in the From the Attic section.

 

The Monday Tilley Watch: The New Yorker Issue of October 23, 2017

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

This week’s cover (by R. Kikuo Johnson, who we learn from the Contributors page teaches cartooning at the Rhode Island School of Design) is of robots on their way to wherever robots go to. One has an on-the-go cup of coffee(?) while another carries an old-fashioned lunch box.  When I was a little kid, I was slightly fascinated by the lunchbox a neighbor (his name was Joe) carried to and from his factory job everyday. I sometimes wondered what was in his lunchbox and whether he had the same lunch everyday. Anyway, back to the cover. I thought seeing all the technology, it was going to be a Technology Issue, but no… it’s the Money Issue. The semi-Tilley on the Table of Contents alerts us to the theme:

Anyone who reads Ink Spill can probably guess that Tilley tampering (see yesterday’s Spill) will be duly noted here. Other examples :

Now on to the issue’s cartoons, and it doesn’t take long at all to find one. A nicely placed Tom Cheney drawing appears on page 4 directly following the end of the magazine’s Table of Contents.  I like that the magazine does this every so often and not all the time.  It’s a fun surprise.  Mr. Cheney takes one of the cartoonist’s most reliable  characters, death, to an artist’s studio. Artists studios, and artists, were very popular in years past, especially in the James Geraghty era (the New Yorker’s art editor from 1939 through 1973). Many of the best were gathered in The New Yorker Album of Art & Artists (New York Graphic Society, 1970).

There’ve been several other art-themed collections since (shown above: The New Yorker Book of Art Cartoons (Bloomberg, 2005), and The Museum of Modern Art Book of Cartoons (Museum of Modern Art, 2008 — a custom production), but the 1970 collection  is the mother ship, containing some of the most famous art cartoons in the magazine’s canon. 

Moving through the front of the magazine, I really like the beautiful photograph of a cow (in an ad for Louis Roederer) on page 15. What can I say? I love cows (to look at, admire, and occasionally pat on the head).

David Borchart has the second drawing of the issue. Age, of course, comes up most every time (heck, every time) there are Galapagos tortoises involved. Charles Addams (and there it is: an Addams reference and it’s only the second drawing of the issue) did several (I can remember three) — here’s one. Mr. Borchart delivers a caption that many can relate to, and just as many have probably heard said, or said.  As usual with his work, it’s beautifully drawn. The elder tortoises look kind’ve happy.

I don’t usually comment on the illustrations but I do really like the cup of coffee by Golden Cosmos on page 40. Six pages later we have an Amy Hwang  Jack and the Beanstalk drawing.  A more complicated drawing than we’re used to seeing from Ms. Hwang. I like the beanbag chairs — I picture them in color for some reason: left to right:  baby blue, brown, and rust colored.  Two pages later another keeper from BEK (Bruce Eric Kaplan). I’m reminded here of the late James Stevenson’s barely disguised textbook political satire.

On the very next page is a Mike Twohy cornucopia drawing. Cornucopia drawings aren’t as plentiful (haha?) as artist drawings once were, but they showed up from time-to-time, sometimes on the cover. Here’s a beauty by Arnie Levin from 1978 (and how convenient it is that it’s a baseball themed cover in this heavy-duty baseball time of year).

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Mr. Twohy’s cartoon, referring to a certain mega-online shopping site, is concerned with way more than baseballs. Eight pages later is a darkish Ed Steed drawing. His fishnet roller coaster recalls Lou Myers’s style (a snippet from a 1969 Myers United Airlines ad below left. On the right, a portion of Mr. Steed’s drawing). 

Three pages later a dog walk in the park drawing from the long-time Wildwood, New Jersey lifeguard (retd), John O’Brien. As mentioned in the last Monday Tilley Watch, Mr. O’Brien excels at captionless drawings (to my mind the hardest to do; Charles Addams told Dick Cavett captionless drawings were his personal favorites). Mr. O’Brien’s drawing is placed perfectly on the page.

Four pages later, newbie Maddie Dai returns with, yes, an Addamsy situation. If it seems like there are a lot of references to Mr. Addams in these posts it might be because his work — well over a thousand cartoons published in The New Yorker — touched on so many situations favored-by-cartoonists, especially, of course in his case, dark side situations. Of the notes I received from former New Yorker Art editor, Lee Lorenz during my years of his tenure (he was editor from 1973 – 1997;  I began receiving notes from him in 1977) at least three-quarters of them said, “Sorry — Addams already did this.” 

Three pages following Ms. Dai’s drawing is a Julia Suits be careful what you say out thereit just might get you in trouble drawing. On the very next page is an oddity that’s now appeared for the second issue in a row (wait, does that mean it’s not an oddity anymore): a collaborative drawing by Kaamran Hafeez and Al Batt. Mr. Hafeez is responsible for the drawing itself. The setting is that old New Yorker cartoon chestnut: a  business meeting.

Three pages later, a drawing by Farley Katz, a cartoonist who always shakes things up somehow.  I like the complexity of the drawing – the stethoscope connecting both doctors with the patient —  but I’m unsure who the “we” is in this case. Even on a very large screen it appears both women’s mouths are open, suggesting that they are both speaking.  Someone write in please and clarify.

Three more pages and we find Batman, beginning his memoir, recalling his childhood.  Nice drawing by Zach Kanin. I like how he’s shown us the Wayne family portrait over the mantel.  When I see a New Yorker Batman cartoon I immediately recall this 1989 classic by Danny Shanahan:

Three pages following Mr. Kanin’s Batman is the the second sidewalk Liana Finck drawing in two issues.  The beginning of a sidewalk series perhaps?  I like the little birds on the sidewalk. 

Alice Cheng, another newbie (her first New Yorker cartoon appeared in February of this year) is next with a salmon swimming upstream drawing. I love that this is here as it gives me an opportunity to recall the great 1998 Bill Woodman bears and salmon cartoon shown below.  Look at this drawing! Lovely, funny. This is what the late very great Jack Ziegler had to say about Mr. Woodman: “Bill Woodman is a great cartoonist and one of the funniest “draw-ers” of all time, right up there with George Booth.” 

 

Three pages later, a drawing of mine. I believe it’s the first time that I’ve had Uncle Sam in a New Yorker drawing.  Four pages later is a not-quite-so-empty nest drawing by another newbie, Teresa Burns Parkhurst, who made her debut this month (not counting her caption contest appearance in September). I like the framed items on the wall, including the coffee mug, or mugs(?). On the very next page is what at first appears to be a doorman at an exclusive club situation.  But as it’s a Peter Vey drawing, it’s not, of course — it’s a writer needs to escape drawing. Nice stanchions!

The next to last drawing in the issue belongs to Avi Steinberg. A man at a diner counter encounters a teeny coffee cup.  As in an earlier drawing not long ago — not by Mr. Steinberg (I don’t think), I wonder about the level of the counter top in relation to the customer.  It’s either a very low counter, or a very tall customer. One wonders too if the customer is just walking by the counter and has remarked on the little cup of coffee.  There’s no indication of seating, so he isn’t about to sit; there are, however, items on the counter indicating customers might sit.  As I’ve said before, I like imagining a backstory. Good caption.

The final drawing in the issue (not counting the caption contest drawings) is by Carolita Johnson. A fortune teller!  As with Mr. Steinberg’s drawing, there’s some kind of perspective thing going on (with the door and the room) that caught my eye. You’ll see.

 — Back next Monday

 

 

 

Avi Steinberg

Carolita Johnson

 

 

 

 

 

 

 

Holy Happenstance, Batman!

Bat light MM

 

 

 

 

 

 

 

 

 

In This Economy 8-4- TomTSharp-eyed New Yorker cartoon followers will notice that the magazine recently ran two Bat-Signal drawings: one by Danny Shanahan  in this most recent issue, and one last week by Ben Schwartz.  A quick glance at the magazine’s Cartoon Bank archive turned up only two previous efforts, but I have a feeling — in fact I’m almost certain — there are more. The two I found on the CB site: a Joe Dator drawing in the issue of July 23, 2012, and one by the magazine’s former Cartoon Editor, the great Lee Lorenz, in the issue of November 15, 2010.

What’s always interesting to me is when several cartoonists work on similar out-of-the ordinary themes in roughly the same time frame. I submitted the above Bat-Signal drawing this past September (it was rejected).  The caption was something like, “Oops, sorry, wrong signal.” In this case, I missed out on the publishing party but was definitely breathing the same Bat-air as my colleagues, Danny and Ben.  If any other colleagues worked on Bat-Signal drawings these past few months, let me know — I’d be happy to post them.  Let me know as well if anyone can locate more from the archives.

 Updates:

Tom Toro has sent in the above Bat/pizza-Signal drawing; he submitted it to The New Yorker in August of this year. My thanks to Tom.

Ben Schwartz noted on Facebook that our colleague, Kaamran Hafeez recently posted a Bat-Signal drawing on the magazine’s online Daily Cartoon.  You can see it here . The drawing appeared October 28, 2015.

Note: My thanks to Joe Dator for indirectly bringing it to my attention that the proper term is Bat-Signal, not Bat-lite.

New York Historical Society “Superheroes in Gotham” exhibit includes a New Yorker Cartoon

NYHSThe New York Historical Society has an upcoming event, “Superheroes in Gotham” that includes, according the the website CBR, a Superman cartoon by Mort Gerberg.   For more New Yorker Superman cartoons (and Batman) by a variety of the magazine’s artists go The New Yorker‘s Cartoon Bank site and type in your preference in the search box. At last look, there were a little over 60 Superman cartoons to be found on the site and just over 20 Batman cartoons (remember, the site isn’t all-inclusive of the magazine’s cartoon archive).

 

For more information on the exhibit:

Link here to the New York Historical Society website

Book of Interest: The Complete Dick Tracy, Vol. 19: 1959 – 61

Dick TracyFrom time-to-time I momentarily take Ink Spill outside The New Yorker cartoon orbit  — in this case a brief auto-biographical moment.

As a kid I was deep into Batman and Superman comic books as well as the Dick Tracy newspaper comic strips.  While they’ve never been all that obvious an influence on my own drawings in The New Yorker, they’re mixed in the foundation (along with a whole bunch of other comic book & comic strip characters).

This particular volume of Dick Tracy strips hits particularly close to home as it covers the years when I was first introduced to Chester Gould’s world, wrapped around the Sunday editions of New York’s  Daily News.

The Complete Dick Tracy, Volume 19: 1959 – 1961,  IDW Publishing,  will be in book stores  October 15th.