Below left, some of the television cast, and on the right, an Addams drawing of the family.
Early Cover Release
As happens when the New Yorker is particularly keen on a newsy cover, they let us see it well before the usual Monday morning publication. And so it is with Mark Ulriksen’s piece above. Read about it here.
The Cover: This is Malika Favre’s seventh cover for The New Yorker (according to the Contributors info on page 4). An exceptionally decorative cover for “The Style Issue”…Read more here.
A very Charles Addamsy David Sipress drawing this week (that’s a compliment, of course).
Cartoon placement on the page has been mentioned here numerous times: happy to say that seven (i.e., half) of the cartoons in the issue were given breathing room. They look great.
Tom Cheney’s Hell’s Auditors cartoon especially caught my eye (it’s on page 29). I believe that this is the fourth time New Yorker cartoonists have specifically word-played with the Hell’s Angels “colors.” Jack Ziegler had two, this beauty, published in The New Yorker, February 27, 1989:
And an earlier one, published in The New Yorker, December 17, 1984:
And then there was this one by yours truly in the December 25th, 1995 issue of The New Yorker:
A quick search of The New Yorker‘s database shows over a hundred of its cartoons have incorporated a motorcycle. Sometimes the bike and biker are bit players, and other times they’re the focus of the drawing. An awful lot of the cartoons concern folks getting speeding tickets from a motorcycle cop (and many of them show the cop in-wait behind a billboard).
There are a small number of cartoons with motorcyclists wearing colors, but the usage doesn’t include mention of the Hell’s Angels. Ed Arno’s motorcycle gang wearing jackets that read “Inflation Fighters” (published April 2, 1979) is one example.
To return to the great Jack Ziegler for a moment, he used the Hell’s Angels colors once again, but left their name intact in this fabulous drawing published in The New Yorker, November 13, 2000:
A long long way from the subject of Hell’s Angels, for those interested in trivia: the first mention of a motorcycle cartoon in the New Yorker‘s database is Al Frueh’s cartoon in the February 13, 1926 issue. The second cartoon with a motorcycle in the picture was published December 7, 1929. It set off a bit of a in-house squabble, but that’s a story for another time (the artist was Peter Arno).
Lastly, still no sight of Rea Irvin’s classic Talk masthead. Read about it here, and see it below:
The must-read blog, A New Yorker State of Mind on the debut of Thurber art in The New Yorker. Read here.
… And as the subject is Thurber New Yorker firsts, here are others:
Thurber’s New Yorker debut, in the issue of February 26, 1927: two pieces of verse. The first, Villanelle Of Horatio Street, Manhattan (19 lines, signed James Grover Thurber); the second, Street Song (10 lines, signed J .G. T.)
Thurber’s first cartoon appeared in the issue of January 3, 1931, “Take a good look at these fellows, Tony, so you’ll remember ’em next time.”
Thurber’s first cover: February 29, 1936.
Covering Cold Comfort Farm: Saxon & Chast
Two New Yorker cartoonists on the cover of the same title: how often does that happen? I’ve never seen it before (if anyone can come up with another duo please forward*). In this case we see Charles Saxon’s art on the cover of Stella Gibbons Cold Comfort Farm, published in 1964, and on the right, Roz Chast’s cover art in 2006.
*Stephen Nadler of Attempted Bloggery has brought to my attention my own piece concerning three New Yorker artists (Addams, Steig, and Modell) covering Brendan Gill’s Here At The New Yorker.
Karl Stevens At the Isabella Stewart Gardner Museum
Two weeks in to the new year without a Trump cover! Anna Parini makes her cover debut (it’s titled “A New Leaf”; not for the last time, I wonder why we need titles for the covers.
Viewed online, various elements of the cover are animated. Snow blows, wind blows the woman’s hair and ruffles a few pages of her book. Silhouetted figures walk by in the background. It’s a lovely image but I found myself wondering if people really stand on city streets reading books on cold snowy windy wintry days.
The only image I can readily conjure up that incorporates a similar situation is of holiday carolers holding up their song books as they stand singing on street corners.
I’m at a disadvantage this morning as the digital issue has yet to appear. That means we’ll dispense with counting illustrations as well as even beginning to think about how the cartoons are placed on the pages. A pity. Instead I’m relying on the slideshow of cartoons provided on newyorker.com.
The cartoonists in this issue: David Sipress, Will McPhail, Jason Adam Katzenstein, Pia Guerra, Zach Kanin, Roz Chast, Mike Twohy, P.C. Vey, Tom Cheney, Carolita Johnson, Sophia Warren, Frank Cotham, Trevor Spaulding, Danny Shanahan, Ben Schwartz, Liana Finck, Tom Toro.
Some thoughts on the cartoons:
Graphically, Frank Cotham’s drawing of the soldiers atop a castle tower is quite striking. As one who has studied the castle work of the master, Charles Addams, and as one who has drawn many a castle myself, I was taken by the dramatic angle Mr. Cotham has given us. Bravo!.
Of note is Danny Shanahan’s desert island drawing. It made me think about the resurgence of what once seemed a played-out scenario. Nothing could be further from the truth. In the recent past we’ve seen a number of desert island drawings, all clever as can be, and all proving that anything works in the cartoon universe if it works well. Mr. Shanahan’s works well (and lest we forget, a few years ago he had a cover of…a desert island). Here’s a quick look at some desert island cartoons courtesy of the BBC.
I really enjoyed Liana Finck’s damsel in distress tied to railroad tracks. Ms. Finck’s heavy use of black recalls Charles Barsotti’s expert use of contrast, and more recently, Seth Fleishman’s. I particularly like that she didn’t get involved in a detailed drawing of the tracks. She’s given us what looks like a ladder on the ground, and it works! Best of all: the eye contact she’s captured between the villain and the woman. Excellent.
— Finally, here’s to Rea Irvin’s beautiful missing masthead, replaced in May of 2017. Read about it here, and see it below:
A Charles Addams Birthday Tribute
To celebrate Charles Addams birthday, here’s a lovely piece by Steve Stoliar. My thanks to him for allowing it to appear here.
this day in 1912, Charles Samuel Addams was born in Westfield, New
Jersey – and I think we’re all more than a little better off because of
it. Chas Addams’ delightfully dark cartoons brightened up innumerable
issues of ‘The New Yorker” from 1932 (!) until his death in 1988 – a
more than fifty-five-year run. And, of course, his family of macabre
relatives was the basis for “The Addams Family” TV series and later
films (though the characters had no names before the TV series, which was produced by Groucho’s longtime friend, writer Nat Perrin).
I first met Addams in 1978 – on the same day I first met Dick Cavett
– backstage at the PBS Cavett show, when the subject of the show was
“New Yorker” cartoonists. Addams signed a copy of “Addams and Evil”
that I “happened to have” brought along in the event our paths crossed.
About five years later, when I was living in New York and writing for Cavett at HBO, I spotted Chas striding in my direction up Sixth Avenue. Another path-crossing! I stopped him and asked, “Excuse me – aren’t you Charles Addams?” He smiled and replied, “Yes, but how did you recognize me? Most people think I’m Walter Matthau!” [see photo below] I tossed off some sort of compliment and off we went in our separate directions.
Not long thereafter, I picked up this delightful original ink-and-wash Chas Addams drawing – for a whopping $300 – because some guy with a bunch of vintage original “New Yorker” cartoons was remarrying and his wife didn’t like “all those old cartoons” on their walls. His loss; my gain. I wrote to Addams about the drawing c/o “The New Yorker” and received this lovely note in return. He is missed – but at least we have his prolific outpouring of drawings to remember him by.