From the inside flap copy of this album: “The brightest thought of many bright minds”…well, heck, I’m not going to argue with that. Published by Random House in 1939, and using Peter Arno’s New Yorker cover from January 1938, this is the last of the Albums produced before the Unites States entered WWII. The cover depicts a Cafe Society moment, an Arno specialty that faded as the war years began.
The flap copy shown below tells the story of what to expect, cartoon quality-wise (and “Spot” drawings–wise). These are the founding mothers & fathers of the New Yorker single panel. In just a few years, and throughout the 1940s, they’d be joined by a number of additional giants of the field, including Steinberg, Frank Modell, Sam Cobean, Dana Fradon, Anatol Kovarsky, Roberta MacDonald, Mischa Richter, and Charles Saxon. This album also, in a way, marks the end of the earlier incarnation of the magazine’s art department and the beginning of the editorship of James Geraghty. His hiring in 1939 led to the organization of the art department into an actual department, with an editor (Geraghty) devoted to the artists (all the artists: cartoonists, cover artists, spot artists). That model stayed intact under Mr. Geraghty, and then his successor, Lee Lorenz, until Tina Brown split the art department in 1993, creating the titles, Cartoon Editor (Mr. Lorenz’s new title), and Art Editor (Francoise Mouly was hired and given that title, with the responsibility of overseeing the cover art).
Being a Thurberite I can’t help but mentioning that two of my all-time favorite Thurber drawings (actually, I love all of his drawings) are included in this volume:
“Ooooo, guesties!” (shown in this link, upper right of the page).
There is no introduction to this album, nor any flap copy other than that shown above. The production is top-shelf, with heavy paper and a flawless lay-out. This album is easily found on Abebooks.com for very little. The back cover, shown below, is given over to a drawing by the great Helen Hokinson.