(Above: Charles Addams at the wheel, with James Geraghty, The New Yorker‘s Art Editor from 1939 through 1973. South Hampton, 1947)
For those wanting to bathe in the glow of New Yorker covers and art history from the magazine’s Golden Age, there’s no better place this winter than the Westport Historical Society where dual exhibits, “Cover Story: The New Yorker in Westport and…Can’t Tell a Book by Its Cover” are currently running (through April 26th).
(Left: Charles Saxon, James Geraghty, Dana Fradon, and Whitney Darrow, Jr. Westport, September, 1982.)
Along with a room full of blow-ups of New Yorker covers and some original cover art by Garrett Price, Arthur Getz and John Norment, are informative biographies of each of the 16 artists represented, with photographs of the artists.
As the exhibit’s catalog notes:
Between 1925 and 1989, 16 New Yorker artists living in and around Westport – Weston produced a remarkable 761 covers for The New Yorker, a phenomenon first identified by curator Eve Potts.
From less than 10 per year pre-1939, New Yorker covers by greater Westport artists climbed to a peak of 27 in 1957.
The 16 artists: Garrett Price, James Daugherty, Perry Barlow, Alice Harvey, Helen Hokinson, Edna Eicke, Arthur Getz, Charles Addams, Reginald Massie, Whitney Darrow, Jr., Charles Saxon, Albert Hubbell, Donald Reilly, Mischa Richter, David Preston, and John Norment (thumb-nail bios for those artists in bold can be found on Ink Spill’s New Yorker Cartoonists A-Z)
James Geraghty, seen in the photograph to the left, settled with his family in Weston in 1949. He was the anchor for the concentration of New Yorker art and artists thriving in and around Westport-Weston. The exhibit features a wall of photographs celebrating Mr. Geraghty’s career at the magazine (the photos shown here from the exhibit are courtesy of Sarah Geraghty Herndon)
(Left: Geraghty in his New Yorker office at 25 West 43rd St. 1948)
(Mischa Richter, at the Geraghty’s. Weston, Ct. 1950s)
(Perry Barlow and Lois Smith at the Geraghty’s home, 1959).
(Left: Geraghty and Charles Saxon at The New Yorker)