Showing posts with label Abe Birnbaum. Show all posts
Showing posts with label Abe Birnbaum. Show all posts

Sunday, December 28, 2025

Charles Addams: A Legacy of Unicorns

Yesterday's installment of Bliss, Harry Bliss's syndicated single-panel cartoon, is set in a hotel room where two unicorns have just finished having sex. The female is pulling on a stocking while the male is smoking a cigarette. Two horseshoes may be seen on the floor.

"You'd better hurry—we'll miss the ark."
Harry Bliss
Bliss, December 27, 2025



The scene is contemporary and, of course, nicely rendered. Many Bliss readers may be unaware that the idea behind this gag comes from a classic drawing by Charles Addams, one of his very best:


Charles Addams
The New Yorker, March 10, 1956, p. 44



Addams, though, is not going for the belly laugh. His cartoon is not meant to be funny so much as poignant. It is full of atmosphere and emotion. Read left to right, foreground to background, it tells a moving story. The original art is in the collection of the New York Public Library.

Those branches Addams shows sticking out of the water may be echoed in Bliss's motel room painting. It's hard to say for certain. What do you think?

Unicorns and the ark are not a new idea. Curiously, there are some 15th and 17th century depictions of unicorns actually on board the ark. This begs the question of how and when they might have died off. Addams may well have been the first to depict the unicorns becoming extinct because they missed the ark.

Like Bliss, Hallmark couldn't resist going for the big laugh. A unicorns-missing-the-ark card was marketed by their Shoebox division because exclamations like "Oh, crap!" just don't feel at home in the Hallmark imprint. I spotted it in the card rack at a local pharmacy in early 2020. I believe this card has since been discontinued.







Another contemporary New Yorker cartoonist, Ellis Rosen, has put his own spin on the idea—twice.
https://www.facebook.com/photo?fbid=1333542411474003&set=pcb.1333542478140663



And, in acknowledgement of the pickleball trend . . . 

https://www.facebook.com/photo/?fbid=10163402974629851&set=gm.1314486600006935



Inevitably, there are many more examples out there, too many. I won't try to catalogue them all as there is that law of diminishing returns. As far as I can tell, The New Yorker is where it all started. Regardless of that, I don't think Addams's version will ever be equalled.
With a drawing by Charles Addams and a Profiles illustration by Abe Birnbaum



Note:
  It is, of course, possible that there is some depiction of a pair of unicorns missing Noah's ark that predates the Addams drawing. If such a thing exists and anyone knows of it, please get in touch.

This is not the first time Harry Bliss has mined the work of Charles Addams. I have enumerated other examples here. 


* * *


Before we go, let me just note that Abe Birnbaum illustrates the Profiles page and he includes a piece of technology that was then state-of the art but is now obsolete:
Emory Cook
Abe Birnbaum
The New Yorker, March 10, 1956, p. 45


Modern publishing techniques do not often require column fillers, which may also be considered obsolete, but I do really miss the Newsbreaks—though not quite as much as the Addams cartoons.


Quality prints of this wonderful Addams cartoon are available from the Tee & Charles Addams Foundation, which holds the copyrigtht. Just follow the aqua link.






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Wednesday, May 14, 2025

Abe Birnbaum: Sandlot "Baseball Game"

An original illustration by Abe Birnbaum (1899-1966) depicts boys playing sandlot ball. It was sold in Seattle on May 11 with the title "Baseball Game." Birnbaum's work is celebrated for his many New Yorker covers and spot drawings


Abe Birnbaum's signature



Abe Birnbaum
District Auction sale of May 11, 2025


Abe Birnbaum
District Auction item description


Note:  I have no idea whether this was Abe Birnbaum piece was ever published, but I'd love to hear from anyone with the official stats. 



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Thursday, April 25, 2024

Construction Workers: Abe Birnbaum Original New Yorker Cover Art

An example of original cover art by Abe Birnbaum for The New Yorker was sold on Tuesday at Heritage Auctions. The 1960 magazine cover illustration depicts workers and cranes at a city construction site. The cranes extend upward and out of the image, which naturally serves to emphasize their height. The art is notable for Birnbaum's use of bold lines and flat, mostly primary, colors.

Abe Birnbaum
Original art
The New Yorker, August 13, 1960

Abe Birnbaum
Framed original art
The New Yorker, August 13, 1960

Abe Birnbaum
Heritage Auctions sale of April 23, 2024

Abe Birnbaum
Heritage Auctions item description


Abe Birnbaum
The New Yorker, August 13, 1960

Abe Birnbaum
Original art
The New Yorker, August 13, 1960




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Sunday, January 7, 2024

The Art of the Redraw: Baking Cookies With the Addams Family

Charles Addams was not known to have created redraws of any of his New Yorker cartoons until three of them came up for auction together in early 2021. They were acquired by a builder in late 1940s London under circumstances that are unknown. Each of the three drawings have characters belonging to what we now readily recognize as the Addams Family. One of them features Granny Frump baking cookies with Wednesday and Pugsley, as they are called today. It is based on a drawing published in the magazine early in 1948 long before they had been given names. No caption is needed.

Charles Addams
The New Yorker, January 24, 1948, p. 23

A spot by Abe Birnbaum and a drawing by Charles Addams


The Addams redraw was offered by Lay's Auctioneers of Penzance (not that it's pirated). It's authenticity was verified by H. Kevin Miserocchi of the Tee & Charles Addams Foundation who had no record of it.

Charles Addams
Redraw after
The New Yorker,
 January 24, 1948, p. 23

Charles Addams
Redraw after
The New Yorker,
 January 24, 1948, p. 23

Charles Addams
Redraw after
The New Yorker, January 24, 1948, p. 23

Verso of Whatman board

Chas Addams's signature

Detail including highlights of Granny Frump's shawl

Detail with Wednesday and Granny Frump

Detail with Wednesday, Granny Frump, and Pugsley

Detail of the tabletop

Charles Addams
Redraw after
The New Yorker, January 24, 1948, p. 23

Charles Addams
Redraw after
The New Yorker, January 24, 1948, p. 23

Charles Addams
Redraw after
The New Yorker, January 24, 1948, p. 23

Verso detail

Charles Addams
Lay's Auctioneers listing of January 29, 2021


The presale estimate was 1,000 to 2,000 British pounds. That 5,000 GBP hammer price was the equivalent of $6855 before the premium was added. Still, it's a very good price.


Alas, there was only one Charles Addams. For proof of this, we need to visit a sale at the Zipriani Auction House in Lima, Peru. Back in 2022 a copy of this drawing "in the style of" Charles Addams went to auction with an estimate of $180 to $800.

The verso bears a spurious stamp from the Saidenberg Gallery in New York City. Such stamps, discussed in yesterday's post, seem calculated to suggest authenticity despite the house's "in the style of" proviso. The Saidenberg Gallery is not mentioned in Linda H. Davis's biography of the artist.

In the style of Charles Addams
Zipriani Auction House listing ended September 14, 2022

In the Style of Charles Addams
Zipriani Auction House item description
The Zipriani drawing sold for $320 plus a 15% premium. Given the popularity of the Addams Family franchise, it's possible the bidders for such drawings don't care who the actual maker is; they may simply be content to see their favorite characters in an Addams-like drawing. But I probably shouldn't speculate about this.

Incidentally, the cover of The Penguin Charles Addams features the New Yorker drawing.
The Penguin Charles Addams (UK, 1962)



We close with the Abe Birnbaum spot drawing published on the page opposite the Addams drawing in the New Yorker seventy-five years ago. It depicts a wintry scene set at the polar bear attraction in the Central Park Zoo. Why show it in an Addams post? Because I can't help myself.
Abe Birnbaum
The New Yorker,
January 24, 1948, p. 22




Note:  My thanks to the anonymous reader who pointed out both the Lay's Auctioneers sale and the Zipriani Auction House sale. Putting the two sales together here is my decision entirely.




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Friday, January 7, 2022

The New Yorker Advertises in Stage, April 1938

"People who like the theatre can't help but like The New Yorker." So advertised the magazine in the April 1938 issue of Stage: The Magazine of After Dark. The ad featured a collage of nine theatre pages from The New Yorker, all illustrated by Alfred Frueh. Evidently the magazine was making a play for new readers who were fans of the theatre, rather than fans of flawless grammar. Frueh's drawings cover the Broadway plays "On Borrowed Time," "Our Town," Julius Caesar," "Of Mice and Men," and "A Doll's House," among others.

"People who like the theatre can't help but like The New Yorker."
Alfred Frueh

The magazine cover features a photograph of actress Helen Hayes:
Helen Hayes touring as Portia in "The Merchant of Venice"
Stage:  The Magazine of After Dark, April 1938
Photo by Vandamm

The truth is, readers of Stage were already familiar with a number of contributors to the New Yorker, many of them artists. Illustrator Victor de Pauw contributed cartoons and spot drawings to The New Yorker. A full-width spot drawing for Stage on the contents page could easily be taken for a New Yorker spot.
Contents
Spot drawing by Victor de Pauw


Ludwig Bemelmans illustrates a Frank Sullivan piece the year after the artist's work first appeared in The New Yorker and the year before his first Madeline book was published.
First putting suet on his Saratoga lawn for a tame flock of spring harbingers, Frank Sullivan takes a junket to Broadway, and casts a weather-eye on the current drama.
Ludwig Bemelmans

Detail showing the remainder of the far right side of the Bemelmans drawing



Christina Malman caricatures actress Beatrice Lillie.

"Till the Weather Breaks" by Beatrice Lillie
Caricature  of Beatrice Lillie by Christina Malman


Why , I can remember when a dog could go to sleep all day in the middle of Main Street and nothing come along to disturb him.
—Thornton Wilder, "Our Town"


The streets of Grover's Corners still look pretty tranquil in Adolf Dehn's illustration of the Stage Manager's story, condensed. New Yorker readers occasionally got to see Dehn's work, but never in color.
"Our Town"
Adolf Dehn



Meanwhile Abe Birnbaum illustrates the jazz scene.
The old Onyx Club
"Oh, Say Can You Swing" by Paul Douglas
Illustration by Abe Birnbaum



Ruth Woodbury Sedgwick's column is named for the privilege of sitting in the center seats of the seventh row. One hopes George Price's absurd cartoon takes place many rows back.
"He's a dramatic critic, and sees a point in keeping it a secret."
George Price


Music writer Marcia Davenport, who also contributed to The New Yorker, offers the second part of a profile of conductor Leopold Stokowski. Otto Soglow's accompanying cartoon anticipates the iconic handshake between Stokowski and Mickey Mouse that was to occur two years later in Walt Disney's "Fantasia" (1940). The maestro is even shown in silhouette, as both he and Mickey are in the movie. Did Davenport have advance knowledge of the handshake?
"Hi-ya, Leo."
Otto Soglow


from "Fantasia" (1940)



Note:  This all started when master collagist Stephen Kroninger sent me a scan of the New Yorker theatre advertisement from his magazine collection. After that, one thing just led to another. My thanks to Stephen for all the work he put in. This is his forty-sixth contribution here. He should know better by now.




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