Some Robert Weber; From Dick Buchanan’s Vault: New Yorker Cartoonists Work Not in The New Yorker; Today’s Daily Cartoonist & Cartoon

Some Robert Weber

From The Art Contrarian, April 6, 2020,  “Robert Weber, New Yorker Cartoonist”

— a brief reminder of the late great Mr. Weber and his work.

Above: one of Mr. Weber’s ten New Yorker covers.

Robert Weber’s entry on the Spill‘s A-Z:

Robert Weber (Pictured mid 1980s. Photograph by Liza Donnelly) Born April 22, 1924, Los Angeles, California. Died, October 20, 2016, Branford Connecticut. NYer work: nearly 1500 cartoons, and close to a dozen covers since 1962. Read Ink Spill’s November 2016 Apreciation of Mr. Weber here.

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From Dick Buchanan’s Vault: New Yorker Cartoonists Work Not In The New Yorker

From Mike Lynch’s blog, Dick Buchanan gives us a fun post of work by New Yorker cartoonists that appeared in other publications. Cartoonists include Charles Addams, Whitney Darrow, Jr., Chon Day, Richard Decker, Steinberg, Gahan Wilson, Al Ross, William Steig, Gardner Rea, George Price, Eldon Dedini, Helen Hokinson, Richard Taylor, and Barbara Shermund. Mr. Addams’ drawing in True Magazine, March 1946 shown above.

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Today’s Daily Cartoonist & Cartoon

Brendan Loper on being first.

Mr. Loper began contributing to The New Yorker in 2016. See some more of his work here.

 

 

 

James Thurber, Cartoon Critic; William Steig Drawings At Auction; Meet The Artist (1943): Gluyas Williams

James Thurber, Cartoon Critic

On a recent search through Thurber biographies in the Spill library I happened upon a Thurber letter I’d forgotten about. Written to Harold Ross, and dated October 20, 1941, it appears in the mother ship of all Thurber biographies, Harrison Kinney’s twelve hundred and thirty-eight page Thurber: His Life And Times (Henry Holt, 1995).

Thurber, unhappy his ideas supplied for the artist, Mary Petty have been rejected, takes issue with five drawings in the current issue — the issue of October 18, 1941.  After Thurber reminds Ross that this letter is not his first complaint (all Thurber quotes in this post are bolded):

You already have filed away for your autobiography some 50 or 100 blasphemous notes from me on what is the matter with the magazine.

he goes on to say:

The really great New Yorker drawings have had to do with people sitting in chairs, lying on the beach, or walking along the street.  The easy answer the art meeting always gives to the dearth of ideas like the ones I am trying to describe is that they are hard to get or that nobody sends them in anymore. It seems to me that the principle reason for this is that the artists take their cue from the type of drawing which they see constantly published in the magazine.

Here are those first three drawings, by Richard Decker, Alan Dunn, and Ned Hilton. (Mr. Decker’s caption, difficult to read in the scan, is: “Where have you been. Your plane crashed half an hour ago.”)

Thurber writes of these drawings:

Years ago I wrote a story for The New Yorker in which a woman who tried to put together a cream separator suddenly snarled at those who were looking at her and said, “Why doesn’t somebody take this god damned thing away from me?”  I want to help take the cream separators, parachutes, fire extinguishers, paint brushes and tomahawks away from four-fifths of the characters that appear in the The New Yorker idea drawings…

Thurber goes on to talk about two other drawings in the issue. Here’s Thurber on this drawing by  Leonard Dove:

It must have been six years ago you told me drawings about psychoanalysts were terribly out of date. The next week I turned in one in which the analyst says, “A moment ago, Mrs. Ridgway, you said that everybody you looked at seemed to be a rabbit. Now just what did you mean by that?”* …But you can’t publish a drawing about an analyst and a woman with the caption, “Your only trouble is, Mrs. Markham, that you’re so horribly normal.” This is one of the oldest, tritest, and most often repeated lines in the world.

And then Thurber moved on to this Chon Day drawing:

…this is such an extravagant distortion of reality, it is so far removed from what any salesman would ever say, that to be successful it has to be fantastic. But since the situation is not fantastic, it ends up simply being a bad gag…No sales man ever said to any housewife what you have him saying in the cartoon I am talking about. That is a gag man’s idea.

*Thurber didn’t quite get his own caption right. The actual caption: “You said just a moment ago that everybody you look at seems to be a rabbit.  Now just what do you mean by that, Mrs. Sprague?” It appeared in The New Yorker February 13, 1937.

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William Steig Drawings At Auction

The other day it was noted here that the Swann Galleries will auction New Yorker work December 10th. Yesterday a Spill visitor sent me this listing of Steig drawings to be auctioned December 5th by Bonhams. Some beautiful work by one of The New Yorker‘s Cartoon Gods!

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Meet The Artist (1943): Gluyas Williams

Speaking of NYer Cartoon Gods, here’s a self portrait of Gluyas Williams from the 1943 catalog published by the M.H. de Young Memorial Museum.

…and here’s Mr. Williams’s entry on the Spill‘s A-Z:

Gluyas Williams (above left undated; right: 1 975) Born, San Francisco, 1888. Died, Boston, Mass., 1982. One of the pillars of Harold Ross’s stable of artists, and one of Ross’s favorite cartoonists. His beautiful full page drawings were a regular feature in the magazine. Mr. Williams illustrated a number of Robert Benchley’s collections, providing the cover art as well as illustrations. New Yorker work: March 13, 1926 – Aug 25, 1951. Key collections: The Gluyas Williams Book ( Doubleday, Doran & Co., 1929), The Gluyas Williams Gallery (Harper, 1956). Website: http://www.gluyaswilliams.com/

 

 

 

Auction Of Interest: Peter Arno, William Steig, Arnie Levin, Charles Addams, Frank Modell, Charles Saxon, And More

Thanks 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 Levin, Richard Decker, Frank Modell, James Daugherty (aka “Jimmie-the-Ink”), Heidi Goennel, Garrett Price, Mischa Richter, Charles Saxon, George Price, Theodore Haupt, Arthur Getz, R.O. Blechman and the King of the Gagwriters, Richard McCallister. Empty the piggy bank!

 

 

Fun of Interest: Swann Auction Includes Addams, Barsotti, Steinberg, and So Many More

The New Yorker section of the upcoming Swann auction is an awful lot of fun.  The Addams cover shown above is just one of the gems listed. To see the “3D catalog” go here.  Other New Yorker artists whose work is going under the gavel include Charles Barsotti, Bemelmans, Abe Birnbaum, Whitney Darrow, Jr., Richard Decker, Ed Fisher, Heidi Goennel, Edward Gorey, Theodore Haupt, John Held, Jr., Helen Hokinson, Maira Kalman, Arnie Levin, Rick Meyerowitz, Bill Mauldin, Donald Reilly, Mischa Richter, Arnold Roth, Charles Saxon, Ronald Searle, Seth, Steinberg, Tom Toro, and Gahan Wilson.

50 Years Ago This Week: Peter Arno’s Last New Yorker Cartoon

Every so often the Spill likes to take a look at the last cartoon published by one of the magazine’s artists. This week it’s a drawing by Peter Arno — the cartoonist the New Yorker‘s Roger Angell called “the magazine’s first genius.”  I won’t go on and on here about why Arno is one of the magazine’s greatest — some say the greatest of the magazine’s artists, but if you want more on the subject there is a biography of him floating around (forgive me for lifting the bolded passage below from the aforementioned biography). 

(Above: Arno’s drawing as it appeared in the issue)

Sometime in the fall of 1967, Arno finished working on a full-page drawing of Pan blowing on his pipes as he frolicked through a glade.  In the forefront of the picture is a young, well-endowed woman, who says to him, “Oh, grow up!”  Brendan Gill [in his wonderful book, Here At The New Yorker] described the drawing this way:

“…in content and composition it was a characteristic piece of work…the drawing is a matter of some forty or fifty bold strokes of black against white, bound together by a gray wash; it has been built up as solidly as a fortress, though built in fun, and its dominant note is one of youthful zest.  Nobody could ever tell that it was the work of an aging man, let alone a dying one.”

“Oh, grow up!” wasn’t the last Arno published by the New Yorker.  His last cover appeared the following June, and the magazine has, from time-to-time brought out one of his older covers or drawings. But it was certainly the last published in his lifetime. The drawing appeared in the anniversary issue, dated February 24th, 1968. It would’ve been out on the newsstands a week earlier, the week of February 18.  Arno died on February 22. 

If you have access to the New Yorker‘s digital edition or happen to have a print copy, it’s certainly worth a visit to this issue — it’s a gem.  Rea Irvin’s Eustace Tilley is, of course, on the cover (and Mr. Irvin’s classic masthead for the Talk of The Town is in its place). The issue’s cartoons are by some of the greatest names on the magazine’s roster of artists (the magazine had a history of making sure the anniversary issue was loaded up with a good number of its big guns. In my Arno research I came across a note to Arno from the New Yorker‘s founder and first editor, Harold Ross expressing concern he (Ross) did not have a Arno drawing available for the upcoming anniversary issue). 

In this issue you’ll find terrific cartoons by Robert Weber, Alan Dunn, George Price, James Stevenson, William Steig, Steinberg, Richard Decker, Warren Miller, Frank Modell, Syd Hoff, Charles Addams, Whitney Darrow, Jr., Lee Lorenz, Mischa Richter, and Barney Tobey. (At this particular time the magazine’s stable of cartoonists was all male. Mary Petty’s piece appeared in 1966, and Nurit Karlin’s work did not begin appearing until 1974).

Next week, the Spill will return with its usual Monday Tilley Watch.