Showing posts with label Charles E. Martin. Show all posts
Showing posts with label Charles E. Martin. Show all posts

Tuesday, July 9, 2024

Charles E. Martin: Two New Yorker Covers and a Variant

Three fine examples of New Yorker cover art by Charles E. Martin (C.E.M.) were shown at the Westport Historical Society on the evening of April 25, 2014. Two of them were published covers and one was a variant of a published cover. These were the only examples of cover art offered to the public in support of the museum.


A view of Central Park Lake at twilight shows rowboats stacked up for the night not far from the boathouse. Martin's cover art shows us a scene readily recognizable to New Yorkers but bathed in a certain light at day's end that we may not have noticed before. There is a serene air of tranquility; it feels as if we have this corner of the park to ourselves. It was published in the spring of 1977.

Charles E. Martin
Original cover art
The New Yorker, April 25, 1977
Westport Historical Society

Charles E. Martin
The New Yorker, April 25, 1977



Another cover, this one from 1978, is set in a different part of Central Park with a view to the west at sunset. It shows Belvedere Castle as it looked in the 1970's following years of neglect. (The castle tower looks considerably different today following its 1983 renovation.) Once again, no one is present in the park to disrupt our reverie.
Charles E. Martin
Original cover art
The New Yorker, June 19, 1978
Westport Historical Society

Charles E. Martin
The New Yorker, June 19, 1978



Finally, the 1983 artwork is not a New Yorker cover but an interesting variant. Many people who saw it in Westport preferred it to the actual published artwork. It is certainly a lot busier than the published cover, and I too prefer it. Here there are people enjoying the shade; no one at all is present in the magazine's version.

Charles E. Martin
Preliminary cover art
The New Yorker, September 19, 
1983
Westport Historical Society

Charles E. Martin
The New Yorker, September 19, 1983



Note:  This third cover may be set in Park Row, but I'm not at all certain. That triple line of trees is rare indeed in Manhattan. If you recognize the area, please assist me in identifying it.


The variant of this artwork shown in Westport was indeed published, I recall, as the front cover of some book—but I can't recall the name or find an image of it. I'd appreciate hearing from anyone who can help jog my memory on this one.




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Friday, April 26, 2024

New Neighbors: Charles E. Martin Original New Yorker Cover Art

Postwar real estate development provided the inspiration for a number of New Yorker covers including the one that graced the issue of May 26, 1960. The artist was Charles E. Martin, who signed his work CEM. His original artwork was sold on Tuesday at Heritage Auctions. The auction house's listing calls the piece New Neighbors, which is an excellent title for it.

Charles E. Martin
Original art
The New Yorker, May 26, 1962


Martin's colors are darker in the foreground and brighter in the distance.
Charles E. Martin
Framed original art
The New Yorker, May 26, 1962
The backing reveals that the work was previously owned by artist Thomas George (1918-2014). Thoughtfully-preserved printing instructions indicate that the strap, or left-sided edge of the cover, was to be printed just as Martin painted it, and the magazine's logo was to be colored yellow, matching the plants in the foreground. (Heritage's first photo did not include the strap, an inexcusable practice in the proper presentation of New Yorker cover art.)

Charles E. Martin
Heritage Auctions listing of April 23, 2024


Charles E. Martin
Heritage Auctions item description


Charles E. Martin
The New Yorker, May 26, 1962

Charles E. Martin
Original art
The New Yorker, 
May 26, 1962






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Thursday, May 25, 2023

The Metropolitan Museum of Art: Charles E. Martin Original New Yorker Cover Art

Charles E. Martin's cover for The New Yorker's issue of February 1, 2023 depicts the Metropolitan Museum of Art bathed in early morning sunlight. The original art was sold at auction yesterday by Bonhams Skinner in Marlborough. Carrying a presale estimate of $2,000 to $3,000, it sold for a hammer price of $2,800, which comes to $3,584 with the 28% buyer's premium.

Charles E. Martin
Original art
The New Yorker, February 1, 1969

Charles E. Martin
Framed original art
The New Yorker, February 1, 1969

Charles E. Martin's signature




Charles E. Martin
Bonhams Skinner Marlborough auction of May 24, 2023


Charles E. Martin
Bonhams Skinner bid history with hammer price




Charles E. Martin
Original art
The New Yorker, February 1, 1969


Charles E. Martin
The New Yorker, February 1, 1969





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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.






July 8, 2024 Update:  I see that Carl Schurz Park historian Jeffrey B. Evans had this idea first and took his own matching photo back in 2013. He did a much better job, I think, and the change of scale I remarked on seems far less noteworthy here.

https://www.slideshare.net/slideshow/tlpotr/54491558



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





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Tuesday, December 6, 2022

Charles E. Martin: Observed in the Observatory

Original New Yorker art by cartoonist Charles E. Martin, or C.E.M., was auctioned by Bonhams on December 5. It dates from 1971, a time when it was not unusual for drawings to take up three-quarters, or even more, of the printed page. The elaborate cartoon depicts a large telescope within an observatory. Two small figures, evidently astronomers, stand on an elevated platform, one of them looking through the eyepiece and reporting his observation. Large cartoons like this one have seemingly disappeared from the magazine in recent years. As a result, such a grand representation of scale is difficult for artists to convey today in The New Yorker anywhere but on the cover. Yet scale can be deceiving, as the caption reveals.

"I seem to be eyeball to eyeball with a Canada goose."
Charles E. Martin
Original art
The New Yorker, May 8, 1971, p. 41

"I seem to be eyeball to eyeball with a Canada goose."
Charles E. Martin
Framed original art
The New Yorker, May 8, 1971, p. 41


Charles E. Martin
Freeman's listing accessed November 20, 2022



"I seem to be eyeball to eyeball with a Canada goose."
Charles E. Martin
Original art
The New Yorker, May 8, 1971, p. 41

Verse by W. H. Auden, a spot drawing, and a cartoon by Charles E. Martin




The Martin cartoon sold yesterday at auction for $882, less than the low estimate even with the premium.



Spot drawing
Artist unidentified


Note:  Kindly identify the spot artist, above, for me if you can and then I will be able to do the same for everyone. That spot artist handles the small scale as well as Charles E. Martin handles his large-scale composition. Images of other original art by CEM (I'll leave the periods to him) would be welcome for use on the blog in future posts.




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Tuesday, November 2, 2021

A Charles E. Martin Cartoon Self-Portrait

Charles E. Martin (1910-1995) created many cartoons, covers, and spot drawings for The New Yorker. He signed most of his work for the magazine with the initials C.E.M. His cartoon self-portrait offered by History For Sale is apparently drawn on a 3 by 5 card. It is signed both with his initials and his seldom-seen full signature.

Charles E. Martin
History For Sale Listing Accessed July 8, 2020






Note:
  Charles E. Martin's 1995 obituary from The New Yorker was written by then-cartoon editor Lee Lorenz. It may be seen here.






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Wednesday, October 17, 2018

The New Yorker Album of Drawings 1925-1975 Signed by Four New Yorker Artists

In previous posts I have identified eleven New Yorker artists who group-signed The New Yorker Album of Drawings 1925-1975. I have grouped these eleven cartoonists into three distinct quintets based on the three signed copies of this book I have previously posted on the blog. The first two groupings differ by only one cartoonist. The third grouping has five different cartoonists.

Alphabetical autograph groupings:
1.  Edward Frascino, Herbert Goldberg, William Hamilton, Warren Miller, Everett Opie
2.  Edward Frascino, Herbert Goldberg, Warren Miller, Everett Opie, Al Ross
3.  Charles Addams, Charles E. Martin, Frank Modell, James Stevenson, Barney Tobey

A new copy of the book, and by new I mean sold on eBay in 2013, is signed by only four cartoonists, but they are clearly a subset of the third group, missing James Stevenson. Perhaps he had to leave the signing early. As I've noted, this latter grouping is probably the most desirable signature set for most book collectors, as it includes the signature of Charles Addams. Once again, as in previous copies of the book, there are no little sketches or inscriptions, only unadorned signatures.

I have suggested in my previous posts on this book that eBay sellers might want to show photographs from this collection which include cartoons by the book's individual signers. For what it's worth, I'll suggest it again.

The New Yorker Album of Drawings 1925-1975
New York:  Viking, 1975

Signatures of Frank Modell, Charles E. Martin, Barney Tobey, and Charles Addams


Cartoons by Gilbert Bundy, Whitney Darrow, Jr., and Syd Hoff

Perry Barlow, George Price, and Peter Arno

William Steig

Kenneth Mahood, William O'Brian, Donald Reilly, and Mort Gerberg


The New Yorker Album of Drawings 1925-1975
eBay Listing Ended November 14, 2013



The New Yorker Album of Drawings 1925-1975
eBay Item Description

The New Yorker Album of Drawings 1925-1975
eBay Bid History
Five bidders duke it out over seven days, yet the price doubles in the last seven seconds.





Note:  I am curious about any New Yorker collections that may have been group-signed prior to 1975. Surely there must have been something in the magazine's first fifty years signed by more than one cartoonist. Let me know what you know.

As always, I'm also looking for images of signed New Yorker collections which contain original drawings by New Yorker artists.





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