Engelbert Humperdinck's opera "Hansel and Gretel" was first performed in 1893 and has become a perennial favorite of the Christmas season. The Houston Grand Opera put on an English-language production in the fall of 1997. The stage sets were designed by illustrator Maurice Sendak, who previously had worked on the HGO's production of "The Magic Flute" (1981). A poster for the production, signed by the artist, is currently available on AbeBooks.
Maurice Sendak AbeBooks listing accessed September 24, 2022
These days the news is relentless. Many of us use our televisions, computers, and mobile phones to keep ourselves updated throughout the day.
During World War II, Americans had an urgent need to keep up with the news as well. Moving images of war were available in the cinemas through newsreels. Detailed print articles abounded in a wide variety of newspapers. But for the latest breaking news, there was nothing as immediate as radio. Commentators over the air waves like Gabriel Heatter became familiar names even before the war:
"Gabriel Heatter sounded an ominous note as I rounded a curve." George Price The New Yorker, July 6, 1940, p. 21
Weekly magazines like The New Yorker were an excellent source of news too. They could analyze the events of the week in great depth while providing perspective and thoughtful writing. The New Yorker in particular, with its talented stable of artists, could also take a step back and comment on how we consumed the various news media, as with the George Price drawing above.
The issue of November 14, 1942, is another case in point. A spot drawing in the movie listings highlights the experience of watching newsreels:
Spot drawing Victor de Pauw The New Yorker, November 14, 1942, p. 8
While Saul Steinberg offers a humorous insight into newsstand behavior:
Saul Steinberg The New Yorker, November 14, 1942, p. 11
"There's good news tonight." The familiar voice of Gabriel Heatter, again, brought news of World War II to American families sitting by the radio. Before the war, George Price may have had him sounding "an ominous note," but Heatter's wartime broadcast was known for its hope and optimism. That brought him popularity, although it brought him some jibes as well. Helen E. Hokinson's cartoon in the issue shows how her matrons related to the radio personality as if he were a personal acquaintance:
"Gabriel Heatter was every bit as surprised as I was." Helen E. Hokinson The New Yorker, November 14, 1942, p. 13
With V-E Day and Germany's surrender, Hokinson has occasion to return once again to the famous broadcaster. Her original cartoon art for The New Yorker was sold at auction just yesterday:
"Isn't it all wonderful! I'm so happy for Gabriel Heatter." Helen E. Hokinson Original art The New Yorker, May 5, 1945, p. 19
The paper has significant foxing.
"Isn't it all wonderful! I'm so happy for Gabriel Heatter." Helen E. Hokinson Framed original art The New Yorker, May 5, 1945, p. 19
Helen E. Hokinson's signature
Typed caption
Helen E. Hokinson Hill Auction Gallery listing accessed September 27, 2022 after the first absentee bid was placed
Note: It's hard for me to look at original art by Helen E. Hokinson and not want to write a little something about it. It's especially great when the art tells a story. Feel free to send images of your original Hokinson art to share, perhaps, with the world.
And, while we're at it, I don't mind original art by Ludwig Bemelmans either:
Now, about those spots...
I can't make out the signature on the twins playing piano four hands spot illustration. Can any reader make it out?
Susanne Suba's spot is an interesting example of social realism not typical of the magazine. Feel free to send examples of her original art.
Victor de Pauw is one of my favorite spot illustrators. I'd love to see more of his work too.
"Mr. Gemini batted endless balls to me while he chatted with friends." Those words identify an original drawing by Charles Saxon as some sort of story illustration. A male tennis instructor conducts a lesson while being distracted by an attentive trio of female players standing on the court behind him. The original art is toned and there is a patch over the face of the harried young beginner chasing down those balls batted by the pro. The eBay seller, who was apparently close to Saxon, states that the drawing had been submitted to The New Yorker. I have been unable to ascertain any publication history. The framed illustration sold for an undisclosed best offer.
"Mr. Gemini batted endless balls to me while he chatted with friends."
Charles Saxon eBay bid history Sold for a best offer
Note: While it was still available, this piece was noted by Michael Maslin on Ink Spillhere, as were others.
I would like to hear from anyone who knows whether this drawing was published and, if so, where. Those in possession of other original artwork by Charles Saxon are invited to share it here on the old blog.
E. Simms Campbell's single panel cartoon Cuties was syndicated by King Features. An original cartoon panel from 1963 has just been listed on AbeBooks. One Cutie is reading in bed while another comes home from a date. The gag is only mildly suggestive, as befits a cartoon intended for a family newspaper.
"What a marvelous coiffure! Who rumpled it for you?" E. Simms Campbell Original art Cuties, July 25, 1963
E. Simms Campbell AbeBooks listing accessed September 23, 2022
It's time to analyze The New Yorker Cartoon Caption Contest #820 from the issue of September 26, 2022. My insightful caption is shown below. The drawing is by Paul Karasik.
"Sadist."
I'm not crazy about these captions:
"Aunt Mildred!" "That's another Steadman." "My interpretation? You have a fixation with spatter." "Your sessions sap the lifeblood from me." "Jackson Pollack. No, Sam Francis." "I confess. I read your office notes." "I just don't appreciate your office notes."
October 7, 2022 Update: The Finalists
October 11, 2022 Update: I voted for the caption from Palo Alto.
