Chast’s Cartoon Memoirs; A Publisher Remembers William Hamilton

ROZ MCNYNow at The Museum of the City of New York: Roz Chast’s Cartoon Memoirs. First seen at The Norman Rockwell Museum, this exhibit of Ms. Chast’s work has now traveled south to her hometown (if not her home borough).  Details here.   MCNY LOGO




068_Tartuffe-Spread2  New Yorker cartoonist William Hamilton, who passed away last week, is fondly remembered by Arion Press, with photos,  drawings and a small exhibit.  The story here


Attempted Bloggery Interviews Author of Peter Arno Biography


I couldn’t be more pleased that Attempted Bloggery has posted its first interview; the occasion  happily coincides with the publication of Peter Arno: The Mad Mad World of The New Yorker’s Greatest Cartoonist.


Read it here.





Here’s a snippet of the interview:

Q: …In 1925  Arno came to the New Yorker during the magazine’s rocky first year. How did a 21-year-old come to establish himself at the young magazine? He had talent, to be sure. Did he also have connections?
A: He had zero connections at The New Yorker.  He brought his work in, unsolicited, like so many have done since. If we want to let our legs go wobbly for a moment, consider that Arno’s first visit to the New Yorker was going to be, in his own words, his “last try” at selling his art.  Had the New Yorker not taken his work (one from that very submission), he would’ve headed fully into his other passion: music.  

Photos of Interest: Sam Gross and Company; Attempted Bloggery’s Arno Week

Courtesy of Bob Eckstein,  a quartet of photographs from last night’s event celebrating Sam Gross‘s work. [From the top: Sam Gross; a projected Gross drawing; David Borchart, Felipe Galindo (aka Feggo), and Amy Kurzweil, a brand new New Yorker cartoonist (her first cartoon appeared in the April 4th issue); Mr. Gross and long -time contributor, Mort Gerberg]



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Sam Gross’s Wikipedia page

Bob Eckstein’s website

Felipe Galindo’s website

Amy Kurzweil’s website

Mort Gerberg’s website











Attempted Bloggery has had plenty of interesting Peter Arno posts this week.  Check ’em out!


…and from the Department of Self-promotion: 

just six days til Peter Arno: The Mad Mad World of The New Yorker’s Greatest Cartoonist is released. Pre-order here.Arno cover 2

New Yorker Cartoonist William Hamilton: 1939 -2016

nowsociety-williamhamiltonphoto-238x300From SFGate, the sad news that long-time New Yorker cartoonist William Hamilton died Friday in a car accident in Lexington, Kentucky.  He was 76. SFGate story here.

His New York Times obit here


Mr. Hamilton, who contributed over 900 cartoons to the magazine began his career at The New Yorker with the below  cartoon in the issue of April 3, 1965:


































More on William Hamilton:

Wikipedia: William Hamilton (Cartoonist)

Visual Humor:William Hamilton… Still Going Strong”

People Magazine (August 20, 1979): “Parties With Upper One Percent Provide the Pith and Vinegar for Bill Hamilton’s Cartoons”


New Yorker Artist, Abe Birnbaum: “Nothing’s Ugly. Everything Is What It Is”

A Birnbaum-The Oblong Blur-DJ-1949-B



























Thanks to the treasure trove of scans the illustrator Tom Bloom has sent to this site, we are able to behold this beautiful Abe Birnbaum cover for New Yorker writer Philip Hamburger’s 1949 collection, The Oblong Blur.

Though Mr. Birnbaum (who died in 1966) was know principally for his New Yorker covers, he was, graphically-speaking, a jack-of-all trades at the magazine, contributing cartoons (nine in his earlier years), illustrations,  and spot drawings.

According to Mr. Birnbaum’s New York Times obituary:

he contributed more portraits and drawings to the magazine’s Profile and Reporter At Large sections than any other artist.

Describing his work habits, the piece went on:

Mr. Birnbaum was an exacting craftsman. In the studio of his home in Croton, N.Y. surrounded by most of his 15 cats, he would draw an object such as a chair as much as 200 times or more to get it right.

“Nothing is ugly,” he said often. “Everything is what it is.”

From The New Yorker‘s obit of Birnbaum, here’s how  Brendan Gill described him:

He was a burly black-browed man with dark bright eyes and a bantering affectionate nature. The older he became, the younger and more joyous his work became.

Birnbaum drawing


























Above: a Birnbaum New Yorker drawing  from the issue of  May 24, 1930