From Deadline.com, April 7, 2011, “Ben Stiller Turns Fox’s ‘Walter Mitty’ Reboot From Daydream to Reality”
As a cartoonist it’s (mostly) all about what’s next; this may explain why I sometimes like to take a breather and think about what was. Still in a celebratory mode because of The New Yorker’s 86th anniversary, I went to my collection of anniversary issues and pulled out the issue from fifty years ago, dated February 18, 1961. Thought I’d sit with it for a few moments and take a look at the cartoons.
There’s no “Table of Contents” for the issue ( the magazine didn’t add that helpful feature until the issue of March 22, 1969), so knowing whose work appears inside will be a surprise.
William Steig’s work appears on page 14, but it’s not a cartoon, it’s an ad — an illustration for First National City Bank. Moving through the movie listings ( “Ben Hur,” “the Misfits,” “Exodus,” etc., etc.) and pausing to take in Otto (“The Little King”) Soglow’s wonderful “Talk of the Town” drawings, we encounter the first cartoon of the issue, and it’s by the magazine’s most prolific cartoonist, Alan Dunn (Dunn also holds the honor of being one half of the first married New Yorker cartoonist couple. His wife was Mary Petty). Dunn was an expert at making something out of the day’s headlines, and in this case the drawing reflects our country’s endless fascination with the Russians.
Next is a George Price drawing of a waiter holding a giant shish-kebob setting off the restaurant’s sprinkler system. A good solid effort by one of the masters of the Golden Age. Richard Decker’s drawing of a doctor’s waiting room filled with self-promoting ads, including a “Specials” sign, wouldn’t be so out of place – with some tweaking — in today’s New Yorker.
A Robert Kraus is next, done in his inviting moody Dedini-esque style, and then an Ed Fisher drawing (by my calculations, the eighty-fifth of his career at The New Yorker – he eventually published just over 700). Another Alan Dunn follows ( tied into current events, of course) and then a classic Steig husband-and-wife domestic scene ( I can’t help but be reminded that The New Yorker is fortunate to have a contemporaneous expert at capturing domestic scenes: Victoria Roberts). Opposite Steig’s drawing is a Steinberg, captionless of course ( he’d given up captions long ago). A man wearing a helmet and shield sits on a rearing horse—they’ve just encountered a projection screen, such as the kind a family would set up to watch home movies.
A page later is a half-page captionless Charles Addams drawing ( Addams told Dick Cavett that the captionless drawings were his favorite kind). Turn the page and there’s a Charles Saxon ( man, did he have a smooth style) and then a Lee Lorenz ( his eighty-eighth drawing for the magazine in a career still going like gang-busters). Another page finds a Chon Day, the master of economical styling ( not counting Thurber). Two pages later, a three-quarter beauty by Whitney Darrow, Jr., specifically referencing the new family at The White House; Caroline Kennedy utters the caption.
After the Darrow drawing it’s a fifty-four page wait til the next cartoon, wherein James Stevenson takes us back to a couple in ancient Rome and, shockingly(!) uses the word “orgy” in his caption. Another twenty-nine pages zoom by before we reach the last cartoon in the issue. By Frank Modell, it’s a bar scene, and the subject is nearly everyone’s favorite subject — a subject at which Modell excels: men and women.
As the 86th anniversary of The New Yorker approaches, I’ve played a bit of New Yorker Trivial Pursuit, thinking about the first issue, and wondering who had the very first cartoon in the first issue of The New Yorker.
Once you’ve made your way past the famous Rea Irvin Eustace Tilley cover, and have turned the first page (with its heading, “Of All Things”) you run right into an Al Frueh drawing of a gent on a subway car, heeding the advice of a nearby sign to keep the subway cars clean. The passenger is seen putting great effort into cleaning one of the car’s windows. Frueh not only had the first cartoon in the first New Yorker, he also had the first full page cartoon in the first issue (Wallace Morgan goes him one better later in the issue with the magazine’s first double page spread).
Frueh worked a decade-and-a-half at The New York World before settling into The New Yorker for the next thirty-seven years. It’s more than fair to say he became at least as well known for his theatrical caricatures as for the roughly two hundred cartoons he contributed (and one cover, for the magazine’s second issue, February 28, 1925).
…Frueh…once came upon me in my garage in Connecticut, sitting ten feet in front of my Ford and trying to draw it head on. ‘You can’t do that, Thurber,’ said Frueh, out of his vast knowledge and experience as a draughtsman. ‘You’d better draw it from the side.’ I took his advice.
The passage made an impression on me. I draw cars nearly every day, and with Frueh’s words of wisdom in the back of my mind, I avoid the head-on drawing like the plague.
For more on Al Frueh:
The Complete New Yorker: the best place to see his work for the magazine. It’s all there on disc: the theatrical caricatures, the cartoons, and his cover.
The Complete Cartoons of The New Yorker: limited, of course, to his cartoons.
Obscure, but worth it if you can find it: an excellent booklet “The Art of Al Frueh” (pictured at the head of this post) that accompanied an exhibit of his work at The University of Connecticut in the Fall of 1983. It includes The New Yorker’s obituary (written by Brendan Gill) in its entirety, published September 28, 1968.
The New York Times obituary of September 18, 1968. Along with The New Yorker’s obit you get a decent idea of Frueh’s rural life on his 100 acre nut farm in Sharon, Connecticut.
The New Yorker’s Cartoon Bank has three examples of Frueh’s cartoons.
Here At The New Yorker: Brendan Gill’s memoir contains a self portrait of Frueh as well as affectionate memories.