Showing posts with label Chas Addams. Show all posts
Showing posts with label Chas Addams. Show all posts

Sunday, July 5, 2026

The D'Oench Family's Copy of The Chas Addams Mother Goose

An interesting copy of The Chas Addams Mother Goose (New York: Windmill Books, 1967) came up on the AbeBooks platform this past May, offered for $700 by a Middlebury, Vermont, bookseller named—I kid you not—Browsing Is Arousing. The book was described as signed and inscribed by Charles Addams with an original drawing of a hockey player. The only seller image, alas, was a tiny thumbnail of the front dust cover which only got blurrier when enlarged.




The Chas Addams Mother Goose
AbeBooks listing accessed May 11, 2026






I was quite naturally intrigued by all this but I was
unwilling to commit $700 to this book as I sometimes
do in my Sight Unseen ventures. This time I wanted
to see this hockey player to make certain it was the
genuine work of Addams. The seller complied with my
request for an image, explaining that the endpaper
was a deep blue and that he had eliminated the color
from his image.


The handwriting and signature struck me as genuine, as
did the drawing. I was delighted to see that the hockey
player is none other than Pugsley of the Addams Family.
Addams signed it in the year of publication. So I went
ahead and bought the book, taking it off the AbeBooks
market: 




Here then are my own images of the book. Write if you prefer thumbnails. 








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Monday, May 11, 2026

Glenn Shea's Copy of Nightcrawlers by Charles Addams

No doubt there is a story behind a copy of the cartoon collection Nightcrawlers (1957) which was signed by Charles Addams in 1973, some sixteen years after publication. It is inscribed by the artist to Glenn Shea with a "large" drawing of Morticia, who is tall and thin enough to dominate a page.




Charles Addams
AbeBooks listing accessed May 10, 2026


Charles Addams
AbeBooks item description 



Image added May 16, 2026




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Saturday, February 14, 2026

Blog Post No. 5200: A Charles Addams Movie Theater Scream

Original Charles Addams art published in The New Yorker issue of February 8, 1947 shows a theater full of moviegoers and their shared reaction to a big screen scream.

Charles Addams
Original art
The New Yorker,
 February 8, 1947, p. 27


Seventy years after publication, the artwork to this classic cartoon was sold at Swann Auction Galleries in the Illustration Art sale:
Charles Addams
Swann Galleries listing of December 14, 2017
Swann, it will be noted, did not provide the publication date in The New Yorker, or even the year. They did document the drawing's appearances in three Addams collections, but the 1947 book is correctly titled Addams and Evil.

Charles Addams
Swann Galleries item description

With such a classic original selling for $31,200 (including the 30% buyer's premium), well above the 2017 presale estimate of $12,000 to $18,000, one might wonder what an Addams rough drawing of the same subject might be worth in today's market. Well, thanks to Swann Galleries's recent Illustration Art sale, we actually can provide the answer. An unusually detailed pencil study from a Vermont collection went up on the auction block in December of 2025. Perhaps the owners were aware that Swann had sold the original finished drawing eight years earlier.

Charles Addams
Preliminary art
The New Yorker,
 February 8, 1947, p. 27

Charles Addams
Swann Galleries listing of December 4, 2025

Despite the above, the correct date of publication in The New Yorker is February 8, 1947, as I've already indicated.


Note that in the intervening years, Swann's top buyer's premium has come down from 30% to 27%. There's something to be said for competition. Still, $9,525 with said premium is a remarkable price for a New Yorker rough. Indeed, many Addams New Yorker originals in this blog's archives have sold for less than that. Today, though, Addams's work continues to appreciate and that seems to be carrying over even to the roughs.


Here's the relevant page from Addams and Evil (1947):

https://dn790006.ca.archive.org/0/items/HumorMagazines/Addams%20And%20Evil%20(1947).pdf



And here's a grouping showing how the drawing appeared in rough form, in the original art, and finally in the pages of The New Yorker:
Charles Addams
Preliminary art
The New Yorker,
 February 8, 1947, p. 27

Charles Addams
Original art
The New Yorker,
 February 8, 1947, p. 27

Charles Addams
The New Yorker, February 8, 1947, p. 27

With a spot drawing by Morris Neuwirth and a cartoon by Charles Addams


* * *

I have a fair degree of confidence that the spot artist on the page opposite the Addams drawing is Morris Neuwirth (1912-1985) and that the toll lanes depicted here relate to something built by Robert Moses.  Some of Neuwirth's work is held in the collection of the Metropolitan Museum of Art.
Stop Pay Toll
Morris Neuwirth

The New Yorker,
 February 8, 1947, p. 26



The Attempted Bloggery Centennial Posts 💯
Blog Post No. 100
Blog Post No. 200:  A Shaggy Dog Story




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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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Saturday, November 22, 2025

Peter Arno: Not the Crosstown Bus

What cartoonist, one may ask, seems more at home drawing the inside of a police van than Peter Arno? A work of original art from a 1937 issue of the magazine College Humor was sold at auction on Thursday by Nate D. Sanders in L.A. It is the sale's second lot, offered right after the scouting drawing by Chas Addams we saw in yesterday's post.
"Am I to understand this is not the Forty-ninth Street crosstown 'bus?"
Peter Arno
Original art
College Humor, April 1937, p. 11


The caption written on the matte is in the hand of gallerist Barbara Nicholls to whom the work was consigned, with others, in 1985.
"Am I to understand this is not the Forty-ninth Street crosstown 'bus?"
Peter Arno
Matted original art
College Humor, April 1937, p. 11

With the matte opened up, we see Arno's caption written across the top. He planned to italicize the word not for emphasis and to hyphenate crosstown. He wrote out 49th Street with its numerals. He did not, though, have an apostrophe before bus. That punctuation must have originated with an editor keen to show that the word is a shortening of omnibus. The drawing is signed at the lower left with Arno's initials.
"Am I to understand this is not the Forty-ninth Street crosstown 'bus?"
Peter Arno
Original art
College Humor, April 1937, p. 11



The bidding started at $250. Four bids were placed and the art sold for $506 including the premium. If memory serves, that's well under half of its 1985 price.
Peter Arno
Nate D. Sanders auction listing of November 20, 2025



By some cosmic quirk of blogging, we've seen this cartoon here on the blog before. 
"Am I to understand this is not the Forty-ninth Street crosstown 'bus?"
Peter Arno
College Humor, April 1937, p. 11


"Am I to understand this is not the Forty-ninth Street crosstown 'bus?"
Peter Arno
Original art
College Humor, April 1937, p. 11


Here's how it appeared with two other cartoons in "Peter Arno's Side-Show," a two-page spread delighting readers of College Humor in April of 1937. None of these have ever been republished
"All right—I take the key, to to your hotel, go to the twelfth floor and walk down one flight, and go                                                        "—And then he assaulted me without so much as a 'Thank you'!"       
                        in your room and wait till you come—and then what do I do?"                                                                            "Am I to understand this is not the Forty-ninth Street crosstown 'bus?"
Peter Arno
College Humor, April 1937, pp. 10-11


The artwork was photographed by the Nicholls Gallery. It appeared on a contact sheet with other consigned or purchased work, nearly all of it Arno's.
"Am I to understand this is not the Forty-ninth Street crosstown 'bus?"




Note:  I wrote at length about the full contact sheet from the Nicholls Gallery here. You may survey this blog's collective posts on Peter Arno's work for College Humor here. There's nothing else like it on the internet. Trust me, I've looked.






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Friday, November 21, 2025

Charles Addams: A Lesson in Knots

Yesterday Nate D. Sanders Auctions of Los Angeles sold an original 1941 cartoon from The New Yorker by the matchless Charles Addams.

Charles Addams
Original art
The New Yorker,
 April 26, 1941, p. 19



Addams certainly knew how to draw Boy Scout uniforms and how to do shading.
Charles Addams
Matted original art
The New Yorker,
 April 26, 1941, p. 19

And he even rendered some convincing knots.
Charles Addams
Matted original art
The New Yorker, April 26, 1941, p. 19

The bidding started at $10,000. Two days before the auction there were as yet no bids. Smart bidders don't announce their intentions too early.
Charles Addams
Nate D. Sanders auction listing accessed November 18, 2025, two days before the sale



And sold—to the highest bidder!




Here's how it looked in The New Yorker:
Charles Addams
The New Yorker, April 26, 1941, p. 19

Charles Addams
Original art
The New Yorker, April 26, 1941, p. 19

With cartoons by Richard Taylor and Charles Addams




* * *

The Addams art, a horizontal wooded exterior view in no need of words, is balanced on the opposite page of the magazine by a Richard Taylor cartoon, a vertical ornate interior in which the speaker delivers a self-serving caption.
"Modernism, if I may make a suggestion, Madam,
is becoming just a little dated."
Richard Taylor
The New Yorker, April 26, 1941, p. 18








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