Sunday, April 30, 2023

Mischa Richter on the Silk Trade

The Japanese silk boycott of 1937-1940 was a protest against Japan's invasion of China. In the Marxist periodical New Masses of July 11, 1939, Mischa Richter draws a fashionable Western woman aiding Japan through her continued support of the silk trade. The grotesque caricature of Japan is heavily armed with both traditional and modern weapons, his shoes are spiked, and his cloak is patterned in swastikas, just in case you don't get the message. The Japanese figure has more of a skull than a living head. Contrast his depiction with that of the pretty, coiffured white woman in silk stockings.




Tear sheet

Mischa Richter
eBay listing accessed April 29, 2023


Mischa Richter
eBay item description



May 8, 2023 Update:  Sold!

Mischa Richter
eBay bid history
Three of the five bids came in the final thirteen seconds.





04305

Saturday, April 29, 2023

James Thurber: The Best Years

My maternal grandparents had separate beds like the ones in a 1935 James Thurber cartoon. I hope they didn't also have conversations like the one shown in the drawing which was just sold in Heritage Auction's Tuesday Illustration Art Signature sale. Thurber's caption underwent some considerable rewriting between his handwritten original and the drawing's appearance in The New Yorker. Was it thus improved upon? I'm not so sure.

"And after I've given you the best years of my life, too."
James Thurber
Original art
Published as "You've taken the best years of my life, that's what you've done!"
The New Yorker,
March 23, 1935, p. 
11
Thurber, James, and Rosen, Michael J., ed. People Have More Fun than Anybody: A Centennial Celebration of Drawings and Writings. Harcourt Brace, 1994



The woman's raised right arm is somewhat disturbing to me, as it articulates well below where the shoulder should be. But then, Thurber was no anatomist.
"And after I've given you the best years of my life, too."
James Thurber
Matted original art
Published as "You've taken the best years of my life, that's what you've done!"
The New Yorker,
 March 23, 1935, p. 
11
Thurber, James, and Rosen, Michael J., ed. People Have More Fun than Anybody: A Centennial Celebration of Drawings and Writings. Harcourt Brace, 1994


James Thurber
Heritage Auctions, April 25, 2023

The lot sold for a $3,100 hammer price plus the 25% buyer's premium.


"You've taken the best years of my life, that's what you've done!"
James Thurber
The New Yorker,
 March 23, 1935, p. 11
"And after I've given you the best years of my life, too."
James Thurber
Original art
Published as "You've taken the best years of my life, that's what you've done!"
The New Yorker,
 March 23, 1935, p. 11
Thurber, James, and Rosen, Michael J., ed. People Have More Fun than Anybody: A Centennial Celebration of Drawings and Writings. Harcourt Brace, 1994

Cartoons by Alain (Daniel Brustlein) and James Thurber


What's wrong with the Alain caption? I bet I don't even need to tell you. Getting a laugh by stereotyping the Irish was a common practice back then. For the most part we rightfully condemn this sort of thing today, but it's important to also recognize how widespread the practice was—and how widely accepted. 


Note:  My thanks once again to New Yorker cartoonist and Ink Spill blogger Michael Maslin for his expert detective work in finding a nine-decade-old Thurber cartoon working from a caption that had been highly edited prior to publication.


I'm curious what others think about the two versions of the James Thurber caption seen here. As I indicated, I prefer the original, shorter, handwritten caption which has never before seen the light of day until this Heritage auction.






04304

Friday, April 28, 2023

James Thurber: In the Office of Dr. Nuss

A drawing by James Thurber set in a doctor's office was sold at auction on Tuesday by Heritage. The name Dr. Nuss is on the door, the letters reversed except for the pesky N. The patient, a woman, is speaking to the attentive doctor, but no caption is provided by the auction house. The drawing is dated 1932. Maybe that's a clue.







James Thurber
Heritage Auctions, August 25, 2023



The hammer price was $2,000 plus a 25% buyer's premium.



The drawing, it turns out, is actually a published New Yorker cartoon from, yes, 1932. It was reprinted in editor Michael J. Rosen's Thurber collection People Have More Fun Than Anybody (1994). Like most New Yorker cartoons, it's better with the caption.
"Then I get this feeling that my feet are trying to tell me something but can't."
James Thurber
The New Yorker, September 24, 1932, p. 13

"Then I get this feeling that my feet are trying
to tell me something but can't."

James Thurber
Original art
The New Yorker, September 24, 1932, p. 13
Thurber, James, and Rosen, Michael J., ed. People Have More Fun than Anybody: A Centennial Celebration of Drawings and Writings
. Harcourt Brace, 1994, p. 128


I wish I'd known about this Alan Dunn cartoon in the summer of 2019 when a certain U.S. President proposed buying Greenland from Denmark.
"You see, political economy is Glenn's hobby. Now he
wants to carve up Greenland."

Alan Dunn
The New Yorker, September 24, 1932, p. 12





Note:  My thanks to New Yorker cartoonist Michael Maslin for his Sherlockian ability to track down a ninety-year-old Thurber drawing without the aid of a caption.




04303

Thursday, April 27, 2023

Charles Addams: Fixer Upper

Publicly exhibited in 1953, Charles Addams's cartoon of a dilapidated house was published in his collection Homebodies (Simon & Schuster, 1954) and later served as the album cover for Ghost Ballads (1957) sung by Dean Gitter. The drawing shows Addams's architectural mastery although it lacks any of his wonderful characters. It was auctioned on Tuesday by Heritage one lot after the very desirable Addams Family cartoon that sold for almost $70,000. This placement was intended to take advantage of the feverish interest in Addams expected on the auction floor and to carry it over into the subsequent lot. The strategy evidently worked; the drawing sold for $30,000 including the 25% buyer's premium.



Charles Addams
Heritage Auctions April 25, 2023





The hammer price was $24,000.


Both Homebodies and the album cover crop Addams's surname from the art.
Charles Addams
Homebodies (Simon & Schuster, 1954), pages 26-27




Ghost Ballads
Sung by Dean Gitter











04302

Wednesday, April 26, 2023

Charles Addams: Addams Family Photo

For me, the highlight of yesterday's Illustration Art Signature Auction at Heritage was an original Charles Addams New Yorker cartoon featuring four of his Addams Family characters. Today we know them as Pugsley, Wednesday, Morticia, and Gomez, but they were as yet unnamed in 1951. Morticia prepares to use the camera to photograph the children. Helpfully, she instructs them how to pose.

"All right, children, a nice big sneer, now."
Charles Addams
Original art
The New Yorker, June 9, 1951, p. 
37
Charles Addams, Homebodies (1954)
Charles Addams, My Crowd (1970)

"All right, children, a nice big sneer, now."
Charles Addams
Framed original art
The New Yorker, June 9, 1951, p. 
37
Charles Addams, Homebodies (1954)
Charles Addams, My Crowd (1970)


The presale estimate was $12,000-$18,000. Bidding reached this range a full twenty-three days before the sale.
Charles Addams
Heritage Auctions listing accessed April 2, 2023, twenty-three days before the auction


Charles Addams
Heritage Auctions item description

The sale price including the 25% buyer's premium:






"All right, children, a nice big sneer, now."
Charles Addams
Original art
The New Yorker, June 9, 1951, p. 
37
Charles Addams, Homebodies (1954)
Charles Addams, My Crowd (1970)



A spot drawing by Garth Williams and a cartoon by Charles Addams
"All right, children, a nice big sneer, now."     "I'm sorry, sonny. We've run out of candy."
Charles Addams, Homebodies (1954)




Oh, why not?
Spot drawing
Garth Williams
The New Yorker, June 9, 1951, p. 36







04301

Tuesday, April 25, 2023

Blog Post No. 4300: Visiting the Site of Charles E. Martin's New Yorker Cover of April 14, 1973

Fifty years ago this month, The New Yorker of April 14, 1973 featured a cover by Charles E. Martin, or C.E.M. as he signed it. Martin's cover depicted an East River view on an overcast day. A lone bench on the John Finley Walk faces the Roosevelt Island Lighthouse with Astoria, Queens beyond it. The muted colors bring out the blue of the river. Recently, I took a stroll on the Upper East Side to stand where Martin must have stood and photograph the view as he must have seen it. I was off by a few steps, but not much more. 

Charles E. Martin
The New Yorker, April 14, 1972


What I never suspected until I visited the spot was that Martin engaged in a little artistic sleight of hand here. He's enlarged the lighthouse to make it a more prominent form in the cover art. Possibly, he took a few steps back and climbed a few steps up on a ladder to get all that foreground in, or else he just extrapolated the tiles. Whatever the case, he transformed the city view into a compelling magazine cover.

I took a couple of other photos on my excursion, but none have the makings of a decent cover composition.





Note:  Just in case others too are in the habit of photographing real-life New Yorker magazine cover vantage points, please send such efforts to my email address.



The Attempted Bloggery Centennial Posts
 💯

Blog Post No. 100
Blog Post No. 200:  A Shaggy Dog Story





04300