A Non-Chas Addams Drawn Addams Family Comic Book This Fall; Today’s Daily Cartoonist & Cartoon; McPhail’s Graphic Review

From IDW, news of a one-shot Addams Family comic book this fall. Read about it here on Newsarama (includes the IDW press release).

 Worth noting that the drawings in this upcoming comic book will look like the ones above left, not the ones on the right, drawn by Addams.

Mr. Addams entry on the Spill’s A-Z:

Charles Addams (Born in Westfield, New Jersey, January  7, 1912. Died September 29, 1988, New York City. New Yorker work: 1932 – 1988 * the New Yorker has published his work posthumously. One of the giants of The New Yorker’s  stable of artists.  Key cartoon collections: While all of Addams’ collections are worthwhile, here are three that are particular favorites; Homebodies (Simon & Schuster, 1954), The Groaning Board (Simon & Schuster, 1964), Creature Comforts (Simon & Schuster, 1981). In 1991 Knopf published The World of Chas Addams, a retrospective collection. Visit the Addams Foundation website for far more information : http://www.charlesaddams.com/

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Today’s Daily Cartoonist & Cartoon

A fly, a frog, and airspace, by Lars Kenseth, who began contributing to The New Yorker in 2016. Visit his website here.

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Will McPhail’s Graphic Review

From The New York Times, July 19, 2019, “A Recipe For ‘Heartburn'”

— Will McPhail’s graphic review of Nora Ephron’s Heartburn. Mr. McPhail began contributing to The New Yorker in 2014.  Visit his website here.

 

 

 

 

The Monday Tilley Watch, The New Yorker Issue Of July 22, 2019

The Cover:    As you can see by the puzzled fellow icon, I am a little puzzled (though not completely puzzled) by Christoph Niemann’s Geico-esque subway cover for the July 15th issue. Luckily, there’s the go-to weekly Q&A for those in need of clarity.

The Cartoonists:

The Newbie: Madeline Horwath debuts this week.  She is the 21st new New Yorker cartoonist this year and the 47th to join the magazine’s stable under Emma Allen’s cartoon editorship (begun in May of 2017).

The Cartoons: A first impression after going through the magazine was the number of cartoons afforded generous space. Not too small, not too big, just right.  

A Selection Of The Magazine’s Moon covers: In celebration of the 50th anniversary of Apollo 11, there’s a page of four New Yorker covers by four artists: Charles Addams, Charles E. Martin (C.E.M.), Laura Jean Allen, and John O’Brien. But let’s not forget Alajalov, whose three Moon-centric covers perhaps qualifies him as King Of The Moon Covers.

Rea Irvin: How wonderful would it be to see Mr. Irvin’s Talk masthead return to the place it held for 92 years Until then, here’s Joe Starrett’s famous last line in Shane:“Shane! Shane! Come Back!”

 

 

 

 

 

 

 

 

 

Some Favorite Summertime New Yorker Covers

This hot and humid long 4th of July weekend makes me think of specific favorite summertime New Yorker covers. The choices are good and plenty when one decides to select a few favorites from the magazine’s 94 years; for every one shown here, there are at least five more that fall into the fave category — these half dozen are but a fraction of the magazine’s superb summertime covers.

It’s perhaps worth noting that each of the artists below contributed both cartoons and covers to The New Yorker. They all hail from the pre-Tina Brown days when more than 60% of the magazine’s covers were contributed by its cartoonists (a reasonable guess would be that the % now of the magazine’s cartoonists contributing covers is somewhere in the low single digits).

This August 4th 1945 Mary Petty cover has always been a first thought when summer arrives.  The simple quiet moment Ms. Petty gives us during a particularly horrendous moment in history has always fascinated me. This scan doesn’t do justice to Ms. Petty’s watercolors.

Whenever I think of summertime and beaches I think of this Ludwig Bemelmans July 13, 1946  cover. Most will think of Mr. Bemelmans and immediately recall his Madeline books, but his contribution of 32 New Yorker covers was substantial

Here’s a beauty by Anatol Kovarsky from August 2, 1969. If you look through Mr. Kovarsky’s New Yorker covers you’ll see he often returned to aerial views. I’ve always found it amusing that he focused here on the parking lot, with the beach and ocean as supporting players.

Charles Addams’s cover shown below was published the very next week after Mr. Kovarsky’s. It reminds me of the summers during the years I lived in Manhattan, especially the days I headed up to The New Yorker‘s office to drop off my weekly batch of cartoons. The city never seemed hotter, the sidewalks never stickier, the non-air conditioned subway cars never sootier, than on those trips between my apartment in Greenwich Village and 25 West 43rd Street.

 

There are so many wonderful New Yorker baseball covers, but this one by Garrett Price is a particular favorite. 

Finally, this spectacular July 4th 1953 cover by Alajalov.

Here are the Spill’s A-Z entries for each of the above artists. 

 

 

 

 

Mary Petty  Born, Hampton, New Jersey, April 29, 1899. Died, Paramus, New Jersey, March, 1976. New Yorker work: October 22, 1927 – March 19, 1966. Collection: This Petty Place ( Knopf, 1945) with a Preface by James Thurber.

 

Ludwig Bemelmans  Born, April 27, 1898. Died, October 1, 1962. New Yorker work: contributed six cartoons and thirty-two covers as well written pieces in a New Yorker career that began in October of 1937 and lasted until August 1962. He achieved lasting fame with his Madeline childrens books.

 

 

Anatol Kovarsky (photo: NYC, 2013. By Liza Donnelly) Born, Moscow. Died, June 1, 2016, NYC. Collection: Kovarsky’s World (Knopf, 1956) New Yorker work: 1947 -1969. Link to Ink Spill’s  2013 piece, “Anatol Kovarsky at 94: Still Drawing After All These Years”

 

 

Charles Addams  Born in Westfield, New Jersey, January  7, 1912. Died September 29, 1988, New York City. New Yorker work: 1932 – 1988 * the New Yorker has published his work posthumously. One of the giants of The New Yorker’s  stable of artists.  Key cartoon collections: While all of Addams’ collections are worthwhile, here are three that are particular favorites; Homebodies (Simon & Schuster, 1954), The Groaning Board (Simon & Schuster, 1964), Creature Comforts (Simon & Schuster, 1981). In 1991 Knopf published The World of Chas Addams, a retrospective collection. Visit the Addams Foundation website for far more information : http://www.charlesaddams.com/

 

Garrett Price ( Photo Source: Esquire Cartoon Album, 1957) Born, 1897, Bucyrus, Kansas. Died, April, 1979, Norwalk, Conn. Collection: Drawing Room Only / A Book of Cartoons (Coward -McCann, 1946). New Yorker work: 1925 -1974.

 

 

Constantin Alajalov  Born Constantin Aladjalov, 1900, Rostov-on-the-Don, Russia. Died Oct., 1987, Amenia, New York. New Yorker work: 1926 -1960. Perhaps best known for his New Yorker covers ( he also supplied cover art to other publications). Key collection: Conversation Pieces (The Studio Publications Inc., 1942) w/ commentary by Janet Flanner. A profile from The Saturday Evening Post.

Helen Hokinson’s Silent Partner: James Reid Parker; Attempted Bloggery: Peter Arno Uncovered

While reading James Reid Parker’s brief New York Times obit, (published January 31, 1984) I was anticipating at least a mention of his work with one of The New Yorker‘s earliest superstars, Helen Hokinson. In the magazine’s first decades, according to an in-house memo, Ms. Hokinson, along with Peter Arno, was in a special category above all other contributing artists. As you can see for yourself below, the Times obit does mention Mr. Parker’s “humorous pieces and light sketches” he contributed to the magazine, but not a word about his eighteen year sideline as a writer for Ms. Hokinson.  And that’s a shame. 

There’s not a mountain of material to sift through regarding the Hokinson-Reid working relationship, but what we do have allows us a feel for how their collaboration worked.  The best reading is found in Reid’s “memoir” included in the Hokinson collection, The Ladies God Bless ’em! published a year after Hokinson was killed in a spectacular plane crash over the Potomac River in Washington, D.C. 

Mr. Parker fills us in on how he met Hokinson, and how it came to be that he became her main supplier of ideas (The New Yorker sometimes passed along an idea they felt was right for her — a practice begun in 1925, the year she joined the magazine’s brand new stable).  A mutual friend made the introduction; it was during that first meeting that ordinary conversation occasioned a spark.  Here’s Parker talking about the moment:

I happened to mention that in a story on which I was working there were two suburban matrons who talked, it seemed to me, the way some of her women might. Miss Hokinson asked what sort of things I was having them say, and I quoted a few lines of dialogue. She stopped twisting her handkerchief.  With a sigh she remarked that one of the lines in particular would have made a good caption for a drawing and that the situation was exactly the kind of thing she liked to do. I told her to go right ahead because my women could just as easily be saying something else.

About a week later, The New Yorker bought the Hokinson drawing using Parker’s idea. In a year’s time they had officially set aside all of every Friday to look at each other’s work with an eye to finding “acceptable” material.  An interesting revelation by Parker is that in 1933 he “devised” Hokinson’s women’s lunch club scenario. 

Below: a Hokinson women’s lunch club New Yorker drawing, published April 24, 1948

When the relationship between cartoonist and idea person works well, the seams don’t show — the reader believes they’re visiting a singular world (ala Jack Ziegler or Steinberg — neither of whom used outside ideas). The seams never showed in Hokinson’s drawings; looking through her work you won’t see an awkward fit. Some of the best New Yorker artists have done wonders with some outside help (Addams, Hoff, George Price, to name a few) but the Hokinson/Parker relationship was different in that she was fully dependent on provided ideas (George Price is the only other New Yorker artist known to completely rely on provided ideas).*  More than that, Parker was much involved in Hokinson’s world. In their first year of collaborating they went to dinner and then the theater once or twice a week (in his memoir he describes how much fun it was being with her on outings in Manhattan, watching her draw, sharing  her joy in discovering wondrous New York City things). When Hokinson moved up to Connecticut, Parker eventually rented a place close by her home. 

Parker on the scene there:

Thereafter Helen’s guests and mine mingled amicably, often joining forces for picnic lunches, and whenever it was necessary Helen and I could confer about a drawing on very short notice.

It’s not clear how many of Ms. Hokinson’s roughly 1,800 New Yorker drawings were the product of working with Parker, but no matter. We have a great body of work they had a grand time finding acceptable — maybe that’s plenty enough.

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*Ms. Hokinson’s  New Yorker cover ideas were her own. George Price had one New Yorker cover — it was his own idea.  

For further reading on Ms. Hokinson the place to go is Liza Donnelly’s Funny Ladies: The New Yorker’s Greatest Women Cartoons and Their Cartoons (Prometheus, 2005)

You’ll have to find a copy of Hokinson’s Ladies God Bless ’em! for James Reid Parker’s nine page Hokinson “memoir” (It can be had for a buck on AbeBooks.com). You can also find it at the end of  The Hokinson Festival  (Dutton, 1956). The bonus in that anthology: some of Hokinson’s New Yorker covers are reproduced in color. 

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Attempted Bloggery: Peter Arno Uncovered

Attempted Bloggery discusses the 1931 Arno collection, covered and not.  Read here!

Above left: an early version (or “rough”) of a New Yorker drawing in the book. “I want you to meet my bosom friend”  appeared in The New Yorker issue of October 10, 1931.

 

 

 

 

 

A Charles Addams Biopic In The Works!; A Daily Shouts By Hilary Fitzgerald Campbell

Well this is exciting news…

From Indiewire, June 22, 2019, “Sara Driver Is Back: After ‘The Dead Don’t Die,’ A Charles Addams Project, And Much More”

A snippet from Eric Kohn’s article: The project is especially personal to Driver since, like Addams, she was born in Westfield, New Jersey; the cartoonist did much of his work there. “Westfield is a particularly odd place,” Driver said. “A lot of the buildings he drew are still standing, and he was such a beautiful draftsman.”

 

My thanks to Stephen Nadler of Attempted Bloggery for bringing this article to the Spill‘s attention.  One of the Spill‘s fave blogs, it is now celebrating its 8th anniversary.  Check it out!

 

While we’re waiting for the film, it might be time to re-visit Linda Davis’s  biography of Addams, as well as Addams work  — any of his collections will do (I’ve shown just three above).  

Right: Davis’s Chas Addams: A Cartoonist’s Life  (Random House, 2006)

 

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A Daily Shouts By…

Hilary Fitzgerald Campbell, who has been contributing to The New Yorker since 2017. See the piece here.