The Tilley Watch: 50 Years Ago This Week In The New Yorker; Reminder! A Zoom Event Tomorrow Night…Cartoon Marriage: A Conversation With Two New Yorker Cartoonists; Today’s Daily Cartoonist & Cartoon

Note to Readers: Ink Spill was down nearly all of yesterday due to who knows what (that’s as technical as I get).  Sorry about that.

The Monday Tilley Watch is off this week as we’re in the second week of a double issue (August 3 & 10, 2020).  Just for fun I thought I’d take a quick look at the issue out 50 years ago (dated August 8, 1970).  The cover — and a fab cover it is! — was by C.E.M. (Charles E. Martin)

Here’s the Table of Contents:

Thirteen cartoonists, and fourteen cartoons (Warren Miller had two in the issue). Of the thirteen, you’ll notice two names still contributing fifty years later (50!): George Booth, and Edward Koren. They happen to appear opposite each other. Beautiful work, perfectly placed on the page.

Just a few other observations: the Charles Addams drawing in the issue is in his experimental style of that time, a thinner line (pen), less wash.  As Addams told Dick Cavett in March of 1978: “I did that for awhile in the mistaken idea that it was an improvement.”

And here’s Ed Frascino’s drawing —  certainly in the running for a spot in the top ten longest New Yorker cartoon captions:

Here’s the caption in readable size:

Finally, the Chon Day drawing seems as if it could run today:


Reminder! Tomorrow Night…A Zoom Event: Cartoon Marriage: Two New Yorker Cartoonists In Conversation

As part of their month long series of Virtual Programs tied in to the Liza Donnelly exhibit at The Norman Rockwell Museum, Ms. Donnelly and yours truly will be “In Conversation” at 5:30 Tuesday evening. You can watch live on the Norman Rockwell Museum YouTube channel.


Today’s Daily Cartoonist & Cartoon

Brendan Loper on who’s behind Trump. Mr. Loper has been contributing to The New Yorker since 2016.




The Weekend Spill: From Attempted Bloggery, A Killed Irvin Cover In Copper; A New Yorker State Of Mind Dives Into Two Summer Issues From 1931; A Few Thoughts On The Recent Swann Galleries Auction Of New Yorker Art; From The Spill Archive… A Jack Ziegler Greeting Card From 1983; The Tilley Watch Online: July 13-17, 2020


From Attempted Bloggery, July 19, 2020, “…Rea Irvin’s Killed New Yorker Cover Art Printing Plate”

— an interesting item  rescued from a long-ago  flooded New Yorker basement  courtesy of a Spill fave blogger.

Left: Rea Irvin, The New Yorker’s jack-of-all-graphics



A New Yorker State OF Mind Dives Deep into the July 4th & July 11th 1931 Issues

Anothe fave Spill blog, A New Yorker State Of Mind: Reading Every Issue Of The New Yorker Magazine looks at two summer issues from 89 years ago. Read here!.

Cover on the left by Theodore Haupt, cover on the right by Rose Silver


A Few Thoughts On The Recent Swann Galleries Auction of New Yorker Art

No huge surprises reading through the realized prices from the July 16th Swann Galleries Illustration auction.  Bringing in the big bucks ($10,625.) was a classic 1958 Charles Addams New Yorker drawing.On the other end of the price range, a Charles E. Martin (C.E.M.) drawing went for a whoppingly low $169.00. In between those extremes, three middle-period Barbara Shermund color pieces ($281.,$469., $1,188. ), a trio of Steinbergs for six grand (that does seem like a deal!). Other New Yorker artists work from the Golden Age did very well, including three Arthur Getz covers and three Garrett Price covers.

I come to auctions of New Yorker art with a split personality: the cartoonist side of me wants to see the work sell high, while the shoe-string collector side of me wants deals, especially for pieces I’m interested in. This latest Swann auction included several pieces by Lee Lorenz and Frank Modell I would’ve loved to have had; the cartoonist side of me felt they went too low, the collector side thought they were a steal. I suppose that sums up auctions in a nutshell: anxiety & fun.

To see all the work — the realized prices, as well as the unsolds, go hereThe New Yorker artist work begins in earnest around the #180 lot, but some appear before that as well.


From The Spill Archive: A Jack Ziegler Greeting Card

I’ve been using this extra at home time to sort through the unsorted materials in the Spill archives. Came across this really great Jack Ziegler greeting card yesterday — I haven’t seen it since the mid 1980s.

As you can see from the scan to the left it was “created exclusively for penpoint cards” — I wonder if he did more of these (or if any other New Yorker cartoonists did one for penpoint).

Here’s Jack Ziegler’s entry on the Spill‘s A-Z:

Jack Ziegler (photo above, by Michael Maslin, taken at The Museum of Comic and Cartoon Art, NYC, 2008) Born, Brooklyn, NY July 13, 1942. Died, March 29, 2017. New Yorker work: 1974 – 2017. Key collections: all of Ziegler’s collections are must-haves. Here’re some favorites: Hamburger Madness (Harcourt Brace Jovanovich, 1978), Filthy Little Things ( Doubleday/Dolphin, 1981) and The Essential Jack Ziegler, Complied and Edited by Lee Lorenz ( Workman, 2000). Link here for Ink Spill’s Jack Ziegler interview from late 2016.



An end of week listing of New Yorker contributors (and contributors — noted with an *) whose work has appeared on features

Daily Cartoon: Marcos Sorenson*, Tim Hamilton, Natalie Dupille*, Keith Knight, Teresa Burns Parkhurst, Liz Montague.

Daily Shouts: Christine Mi, Victor Varnado (and Susan Shapiro).

…and Barry Blitt’s Kvetchbook: “Testing Trump’s Fitness”


Late Notice: A Launch Party Tonight With Hilary Fitzgerald Campbell Live-Drawing; Today’s Daily Cartoonist & Cartoon; The Monday Tilley Watch, The New Yorker Issue Of November 18, 2019; Some Thoughts After Seeing The Documentary Film, “Stevenson Lost And Found”

Late Notice: A Launch Party Tonight With Hilary Fitzgerald Campbell Live-Drawing

From the Facebook Invite:

Come celebrate the release of Sarah Dooley’s new book ‘Are You My Uber?’ which is a parody of the P.D. Eastman classic ‘Are You My Mother?’ Listen to comedians Sydnee Washington, Eva Victor, Larry Owens, Pat Regan, Marcia Belsky, Gabe Gonzalez, and Taylor Ortega tell hilarious stories of wild cab experiences while Hilary Campbell, the book’s illustrator, does live drawings.

Ms. Campbell began contributing to The New Yorker in 2017. Visit her website here.


Today’s Daily Cartoonist & Cartoon

A leafy Daily from Chris Weyant, who began contributing to The New Yorker in 1998. Visit his website here.



The Cover: I see leaves. The fifth cover (below right) by Brigit Schossow.  Read a Q&A with her here.

There’ve been a lot, a whole lot, of leafy New Yorker covers, but this current one by Ms. Schossow  brought to mind (courtesy of a helpful New Yorker colleague) the beauty below left by the magazine’s former art & cartoon editor, Lee Lorenz.


The Cartoonists:

The Cartoons:

A scattering of thoughts about just a few of the cartoons in this issue:

P.C. Vey’s bear and couple in the woods (on page 33) made my day.

Something totally unexpected cartoon-wise is usually always good, and so it was coming upon a Jack Ziegler cartoon. Especially nice that the drawing is set in one of his favorite cartoon scenarios: a bar.

A fun Pete Mueller drawing (p.27).  Two Mueller drawings in two issues. Yay!

Ellis Rosen’s friend’s shower (p.56) is different. Like the choices of warm/cold and cold/warm.

Needed a ten second Googled refresher course with Liana Finck’s drawing (p. 60).  Not so much what her drawing means, but the meme’s origin (just curious, y’know).

The Rea Irvin Talk Masthead Watch:

Am hoping to open the issue one day and see Mr. Irvin’s iconic design has returned. No dice this week. For now, there’s that re-draw. Read about the classic Irvin Talk masthead here.

Here’s the real deal:


Some Thoughts After Seeing The James Stevenson Documentary Film, Stevenson Lost And Found

A few random thoughts after attending last night’s premiere of Sally Williams’ fab documentary film, Stevenson Lost And Found.  There are are so many moments in the film — too many to go into here — that cartoonists and people who love New Yorker cartoons will treasure.

One instance I found particularly fascinating: the animated sequence showing what might go through cartoonists brains as they sit down and begin the day’s work. We’re shown a series of cartoons covering a wide variety of subject matter. It is, for this cartoonist, a relatable experience, as the mind careens through unlimited places every morning.

Another instance: in some eye-popping sequences we’re shown images of Mr. Stevenson’s children’s books lined-up, as well as Mr. Stevenson’s New Yorker  black scrap books (shown above) kept in the magazine’s library. These books contain every single signed New Yorker contribution by Stevenson, whether it’s his writing or drawing (including covers of course).*  Most of The New Yorker’s nearly 650 cartoonists (from 1925- present) have not had their work collected in one scrap book, let alone five. **

At the screening, I was lucky enough to be seated next to the legendary artist, Edward Sorel. During one of the sequences in the film where we are grasping the enormous amount of work Stevenson did (both published and unpublished) Mr. Sorel leaned over and said to me, “Do you feel as much like an underachiever as I do?”

In a perfect cartoon world, there’d be films such as Lost And Found for a number of the magazine’s artists. It’s heartening that there is already a Thurber film out there, and an Addams documentary in the works, as well as a film about George Booth.  But how about a Steinberg documentary, and one about Steig***?  I can dream, can’t I.  For now, we are quite fortunate to have this gem on Stevenson showing on the big screen. Go see.


* I say “signed” because The New Yorker  did not and does not scrap book cartoon ideas handled by other artists. Mr. Stevenson, early in his New Yorker career, wrote a large number of captions for some of the magazine’s artists (read about his “secret job” here).

**Artists (and writers) without an enormous amount of work are scrap booked in alphabetically  cataloged books, along with other contributors.

***A short video accompanied the Steig exhibit that ran at The Norman Rockwell exhibit.

There is a 20 minute film about Edward Sorel available here.

A 40 minute Eldon Dedini film here, 

And a short film about C.E.M. (Charles E. Martin) here.



C.E.M. exhibit, video

From Mike Lynch’s blog comes word of an exhibit of C.E.M.’s ( Charles E. Martin) work at the Greenhut Gallery in Portland, Maine.  The exhibit is up and running through July 30, 2011.

From Greenhut’s press release:

Nationally acclaimed cartoonist, artist, illustrator and author, Charles E. Martin (C.E.M.) is often recognized as one of The New Yorker magazine’s foremost cover artists.  Besides appearing on roughly 200 New Yorker covers between 1938 and 1985, he produced over 600 cartoons for the magazine.  His work was also published in Time, Life, Harper’s, This Week, The Saturday Evening Post, the Saturday Review, Punch and Esquire magazines.

Martin summered on Monhegan Island from 1954 through 1995 where he had a studio. He moved to Maine from New York City in 1987 and lived in Portland until his death in June of 1995.

Greenhut Galleries will be displaying original paintings by Charles Martin as well as original NEW YORKER covers.   Self-taught, Martin worked confidently in a wide variety of styles.  His most characteristic work was composed with a classical sense of balance, executed in a decorative manner using a muted and sometimes ethereal palette.  His covers and cartoons were notable for their gentle humor though occasionally his strong social conscience revealed itself.

Exhibitors of his work include the Rockland Foundation, Ruth White Gallery, Barbara Nichols Gallery, Brooklyn Museum of Art, Susquehanna University and the Portland Museum of Art in 1990.
Permanent collections include the Metropolitan Museum of Art, Museum of the City of New York, the Library of Congress and Syracuse University.


Here’s a link to an eleven minute video on C.E.M.