Early Richter I’ve always thought that the late Mischa Richter’s cartoon roots were heavily influenced by Peter Arno’s work (something he vehemently denied when I interviewed him in 1999).* This early Mischa Richter drawing currently on Ebay is interesting in that it seems to show a Steig influence. The fellow staring at the wall thermometer is right out of William
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Above: Edward Frascino With Aristide Maillol’s “The Mediteranean” at The Museum Of Modern Art, about 1955. Photo courtesy of Mr. Frascino When I joined The New Yorker’s stable of cartoonists in the late 1970s there were perhaps two dozen regulars whose work anchored the magazine’s art. The strength of the stable was, as you would expect, superior cartoonery
Read moreThere aren’t a lot of wearables in the Spill’s archives — a Sam Cobean scarf, and just a few hats: one worn by Mischa Richter for the Arnold Newman New Yorker cartoonists group photo shoot in 1997, and this Thurber cap, bought ages ago in Columbus, Ohio at The Thurber House. I’ve always loved the simplicity of it — no
Read moreSpecial Screening Of Stevenson Lost And Found For New Yorker Cartoonists The Spill has learned there’ll be a special screening for all New Yorker cartoonists next Tuesday of the documentary film, Stevenson Lost And Found. I asked the film’s director, Sally Williams to explain how this came about: The idea for this screening came about from Nathan Fitch who is
Read moreThanks to Stephen Nadler of Attempted Bloggery for alerting the Spill to the new Swann catalog, which contains an abundance of New Yorker art. A highlight, shown above, is Peter Arno’s New Yorker cover of April 4, 1964. Here’s what it looked like as the published cover: Other New Yorker work offered by Charles Addams, William Steig, Charles Barsotti, Arnie
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