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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Charles Saxon: Speaking Freely

It's been a decade now since the art exhibition "Cover Story: The New Yorker in Westport" showed how the thriving Connecticut community once provided a home base for a good bit of the magazine's artistic talent. On April 25, 2014, there was to be an auction of original New Yorker art to benefit the Westport Historical Society which had mounted the impressive exhibition, which was still running. One couple had provided the artwork which was shown in the exhibition area, but no auction was actually held. Instead, an attempt was made to sell the works by private treaty for the benefit of the museum. I hope it succeeded.

Works available included cartoons as well as covers. There were drawings by Peter Arno, Frank Modell, and James Stevenson (who was represented with two) that I have already reported on here, but somehow I never got around to the one original cartoon by Charles Saxon. It is high time I set matters straight.

Saxon's drawing is the kind of nuanced social satire of the upper classes one no longer sees much of in The New Yorker. He was a master of it. The original is a real beauty, with sumptuous shading and textures that can't fully come across in the printed cartoon.

"I assume we're all solvent here, so I'll speak freely."
Charles Saxon
Original cartoon art
The New Yorker, June 30, 1980, p. 45

Westport Historical Society

"I assume we're all solvent here, so I'll speak freely."
Charles Saxon
The New Yorker, June 30, 1980, p. 45

With an ad for Wild Turkey and a cartoon by Charles Saxon

https://archives.newyorker.com/newyorker/1980-06-30/flipbook/044/

I attempted a close up of the details, but I could not avoid the reflection of the museum lights.

Note:  Did that really take me ten years? If collectors of original Charles Saxon art would care to send me images of his work, I promise to post it in half the time. Maybe less.

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James Stevenson: Morning Reprieve

The second original cartoon by the late James Stevenson (1929-2017) shown at the Westport Historical Society on April 25, 2014 during the exhibition "Cover Story: The New Yorker in Westport" presents a scene of uncertain domestic tranquility. Stevenson has placed the kitchen window in the center of the composition, allowing the couple to be backlit from opposite sides.

"Good morning, my dear. Could that look mean I'm not on your hit list?"
James Stevenson
Original art
The New Yorker, July 20, 1981, page 29

"Good morning, my dear. Could that look mean I'm not on your hit list?"

James Stevenson
The New Yorker, July 20, 1981, page 29

"Good morning, my dear. Could that look mean I'm not on your hit list?"
James Stevenson
The New Yorker, July 20, 1981, page 29

http://archives.newyorker.com/?i=1981-07-20#folio=028

Note:  With the passing of cartoonist James Stevenson (1929-2017), Attempted Bloggery would like to hear from anyone with original artwork, photos, or signed books that shed light on this essential New Yorker artist.

Quick Links to Attempted Bloggery's Archives
James Stevenson (1929-2017)
Original New Yorker Cartoon Art
Westport Historical Society

Couples

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James Stevenson's Windfall

Two original cartoons by the late James Stevenson (1929-2017) were shown at the Westport Historical Society on April 25, 2014 in conjunction with the exhibition "Cover Story: The New Yorker in Westport." The first refers to the Windfall Profits Tax which was enacted in 1980 but much discussed during the previous year as a result of the oil shock. This tax was a response to the abrupt spike in oil prices brought about by the OPEC oil embargo in 1979 and the resulting increase in revenues to oil producers. The idea was to collect more taxes from oil producers based on their supposed increased profits from the sale of crude oil. That idea from the Carter years is the basis for the corporate banter in Mr. Stevenson's original cartoon art. 

Note the atmospheric effect of the artist's delicate use of wash. The light source is on the right and behind the two main figures, an unusual choice which results in both men having their faces largely in shadow.

"I say 'Give me a windfall and I'll talk windfall tax.' What do you say, Harry?"
James Stevenson
Original art
The New Yorker, May 28, 1979, page 29

"I say 'Give me a windfall and I'll talk windfall tax.' What do you say, Harry?"

James Stevenson
The New Yorker, May 28, 1979, page 29

"I say 'Give me a windfall and I'll talk windfall tax.' What do you say, Harry?"

James Stevenson
The New Yorker, May 28, 1979, page 29

Note:  With the passing of cartoonist James Stevenson (1929-2017), Attempted Bloggery would like to hear from anyone with original artwork, photos, or signed books that shed light on this essential New Yorker artist.

Quick Links to Attempted Bloggery's Taxing Archives
James Stevenson (1929-2017)
Original New Yorker Cartoon Art
Westport Historical Society

Taxes

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Frank Modell (1917-2016)

New Yorker cartoonist Frank Modell died Friday at age 98. In a tribute published on Ink Spill yesterday, cartoonist Michael Maslin called him "a cartoonist's cartoonist." He was also a collector's cartoonist, happy to provide the art market with work that was sometimes more delightful than even his published cartoons.

For example, an original cartoon of his was shown at the Westport Historical Society on April 25, 2014. It looks for all the world like a New Yorker cartoon, but it is actually a close variant of one. The topic, as it happens, is the reading of a will.

"The will reads as follows: 'Being of sound mind and disposition, I blew it all.'"
Frank Modell, Variant cartoon art, The New Yorker, February 5, 1972, page 31

Now a similar drawing of his was sold back in 2013 from the Mark Birley collection at Sotheby's London. It went for the astonishing sum of 4000 GBP, although it too is not the published New Yorker drawing, but another variant.

"His will reads as follows.  'Being of sound mind and disposition, I blew it all.'"
Frank Modell, Variant cartoon art, The New Yorker, February 5, 1972, page 31

Sotheby's London, March 21, 2013, Lot 491

http://www.sothebys.com/en/auctions/ecatalogue/2013/mark-birley-collection/lot.491.html

After seeing and admiring these two versions of the drawing, the actual published cartoon looks more like a rough sketch. It's hard to imagine either of the other versions being preliminary to this. They most likely are redraws of the published cartoon created to meet the demand of eager collectors.

"His will reads as follows.  'Being of sound mind and disposition, I blew it all.'"
Frank Modell, The New Yorker, February 5, 1972, page 31

http://archives.newyorker.com/?i=1972-02-05#folio=030

Frank Modell leaves a legacy which includes much joy. His website features a print of his clown signature...

Modell's Dancing Clown print

http://frankmodell.com/index.html

...and on eBay there is an example of his dog signature:

Frank Modell's dog signature

eBay Listing

Note:  Ink Spill's tribute to Frank Modell mentioned above and older posts can be found here.

Attempted Bloggery's previous posts about Frank Modell are here.

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Peter Arno: Keeping George Carter in Town

For one night in April 2014, the Westport Historical Society exhibited a few works of original New Yorker artwork in conjunction with the hugely popular "Cover Story: The New Yorker in Westport" show. One of the pieces was Peter Arno's "Why, George Carter! What keeps you in town?"  In the large white area at the lower center, there is a now-faded inscription from Arno to the original recipient.

Arno got a lot of mileage from this sort of May-December gag, and boy was he good at it! The setting looks like Park Avenue. The perspective of the street and the car direct our eyes from right to left. The flags create diagonals pointing to the couple. George is dressed in his summer white which contrasts nicely with the dark clothing of the women on either side of him. The couple is standing upright, which is emphasized by the strong verticals of the buildings. In contrast, the older woman's posture is stooped forward toward George, Arno somewhat cruelly exaggerating the curvature of her back with her stole and by having the dress curve the other way. She has paused in an unsure, broad-based stance while the couple in George's moment of surprise are still walking, she gracefully and he now out of step and awkwardly. The outline of the couple's shadow is softly curved while the older woman has an implausibly angular shadow. George's falling cane may be little too cartoonish, and the New Yorker's editors eliminated it from the published drawing.

Peter Arno, "Why, George Carter!  What keeps you in town?"
Original art, The New Yorker, July 20, 1940, page 14

Peter Arno, "Why, George Carter!  What keeps you in town?"
The New Yorker, July 20, 1940, page 14

Note:  I'm always looking for fine examples of original New Yorker cartoon art to showcase here. It doesn't necessarily have to be by Peter Arno.

Speaking of Arno, he really should be the talk of the town this week.

Peter Arno's new biography by Michael Maslin will be published on April 19. It's already on eBay.

Peter Arno will be the subject of a conversation coming to the Butler Library at Columbia University on April 18. Thus the book will be launched.

Peter Arno posts on Ink Spill should not be missed.

Peter Arno is also featured in Chris Wheeler's Cartoon(ist) Gallery. You don't want to miss this.

Peter Arno is profiled in the April Vanity Fair by Ben Schwartz. No relation.

Peter Arno is also profiled in a recent Wall Street Journal article.

Peter Arno posts just like this one can be found here on Attempted Bloggery. It's a good time to be alive.

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Edna Eicke's Red Maple Tree in Westport

One of the great things about attending "Cover Story:  The New Yorker in Westport" last year was the local perspective of the exhibition. The Westport Historical Society assembled an impressive array of New Yorker covers created by seventeen area artists. The curators were able to point out some of the familiar scenes depicted on those covers. For example, the show included a photograph of a local red maple tree some seven decades after it was the subject of a New Yorker cover by Edna Eicke. One can hardly recognize it.

Now the Westport Historical Society is once again visiting this rich subject matter. The new show, "Talk of the Town," features sixteen photographs by Michael Goss showing the Westport area today. These images are displayed alongside corresponding New Yorker covers. It opened September 25 and will run through October 26. I hope the elegant red maple tree is again included.

Lawrence S. Untemeyer, The Red Maple Tree
Exhibited in "Cover Story:  The New Yorker in Westport" from January 26 to July 5, 2014
The Westport Historical Society

Edna Eicke, The New Yorker, October 18, 1952

Note:  I reported on "Cover Story:  The New Yorker in Westport" back in 2014.

You can also see my post about Edna Eicke's cover featuring the Lobster Inn in Southampton. What was she doing there?

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"Cover Story: The New Yorker in Westport"

On January 26, I visited the Westport Historical Society for the opening of two exhibits highlighting the Westport area's connections with the New Yorker magazine. The show in the Mollie Donovan Gallery is called "Can't Tell a Book by Its Cover." The book in question is the New Yorker's landmark issue of August 31, 1946. The magazine's cover by Charles E. Martin depicted a lively summer park scene. There was nothing on the cover to indicate that inside the issue the entire magazine was given over to a single article for the only time in its history. It was Hiroshima by John Hersey, a report on the terrible impact of the first atomic bomb dropped on Japan, and one of the most important pieces ever published in the magazine. Hersey moved to Westport soon after its publication. The exhibit is curated by Brian O'Leary.

Charles E. Martin
The New Yorker, August 31, 1946
The issue's sole editorial content is John Hersey's Hiroshima.

Hiroshima by John Hersey
The New Yorker, August 31, 1946, page 15

The larger exhibit by far is "Cover Story: The New Yorker in Westport," an examination of the region's extraordinary attraction for a number of talented and prolific New Yorker cover artists. James Geraghty was hired by the magazine initially as an "idea man" in 1939. He went on to serve as the New Yorker's art editor from 1939 to 1973. Encouraged by Perry Barlow and Dorothy Hope Smith, James and Eva Geraghty relocated to Westport, Connecticut and began a family. Later, in turn, Geraghty introduced many of the magazine's new generation of artists to the Westport-Weston community.

Albert Hubbell
The New Yorker, August 20, 1973

Compo Beach, Westport, CT, July 3, 2013
Westport News

http://www.westport-news.com/news/article/Westport-s-Independence-Day-holiday-begins-with-a-4646623.php#photo-4876819

No fewer than 17 New Yorker artist came to live or spend weekends in the Westport and Weston area and collectively they were responsible for an extraordinary 767 covers through the years up to 1989. This remarkable statistic was discovered by exhibit curator Eve Potts. The artists are Charles Addams, Perry Barlow, Whitney Darrow, Jr., James Daugherty, Edna Eicke, Arthur Getz, Alice Harvey, Helen E. Hokinson, Albert Hubbell, Lee Lorenz, Reginald Massie, John Norment, David Preston, Garrett Price, Donald Reilly, Mischa Richter, and Charles Saxon. Reproductions of many of their covers are on display in the Scheffer Gallery. There are also a few examples of original art. The descendants of Mr. Geraghty and of some of the artists were involved in the creation of this show, and we even get to enjoy some rarely-seen Geraghty family photos.

The exhibition focusses on cover art and not on cartoons. This drawing by Whitney Darrow, Jr., is not part of the show and it was obviously not created for the New Yorker but rather for a local branch of the Red Cross. I include it here to serve as an example of the kinds of ties to the community the New Yorker's artists were to develop.

Whitney Darrow, Jr.
"Congratulations, Mr. Hinton, and welcome to Westport."
American Red Cross, Westport, CT

http://www.liveauctioneers.com/item/20282172_new-yorker-cartoonist-whitney-darrow-and-saxon-lot

My visit to the Westport Historical Society began here on the front porch. The Society's annual meeting preceded the opening of the exhibits, so the event was very well-attended. The WHS is now open on Sundays for the duration of the exhibits, effectively extending the show by one day to April 27.

"Cover Story:  The New Yorker in Westport" and "Can't Tell a Book by Its Cover..." exhibition banner

The Westport Historical Society, January 26, 2014

Even before the New Yorker published its first issue in 1925, a community of artists and writers had become established in the Westport area including George Hand Wright.

George Hand Wright
City Slickers, early 1920's, Scribner's
Collection of Edward F. Gerber, President of the Westport Historical Society

In 1925, the New Yorker took note of an early generation of Westport artists.

Introductory remarks in the Scheffer Gallery

Members of the Geraghty family

Family members of some of the artists and of Mr. Geraghty

John Norment
Original cover art for the New Yorker, January 28, 1980
Gouache and ink on paper
Framed alongside the published cover
Westport Schools Permanent Art Collection #1121

Garrett Price's preliminary 1954 cover sketch showed homes with garage doors opened and garage lights turned on for the returning commuters. These details were minimized in the published cover, which instead emphasized the lights within the homes.

Garrett Price
Preliminary cover art for the New Yorker, February 6, 1954
Ink wash and watercolor on paper
Framed alongside the published cover
Westport Schools Permanent Art Collection #1121

Just look at how Arthur Getz's original cover artwork retains its vibrant colors after 55 years!

Arthur Getz
Weekend Painters Packing Car
Original cover art for the New Yorker, August 30, 1958
Private Collection

Arthur Getz
The New Yorker, August 30, 1958

Sorry, but I couldn't keep the reflections of the opening reception out of this photograph of framed original cover artwork by Arthur Getz. You'll just have to go and see it for yourself. It's on view through Sunday April 27.

Arthur Getz
Weekenders Goodbye
Original cover art for the New Yorker, September 1, 1962
Private Collection

Arthur Getz
The New Yorker, September 1, 1962

March 22, 2014 Update:  The popular exhibition has been extended through July 5, 2014.


Note:  The website of the Westport Historical Society is here.

Michael Maslin looks at some photographs from the exhibit on Ink Spill here.

Arthur Getz produced more covers for the magazine than any other artist. A few of my blog posts about him appear here.

Albert Hubbell appears here in this blog post.

My favorite cartoon by John Norment is one of my favorite cartoons by anyone. It appears in a Valentine's Day post here.

Garrett Price was mentioned on Attempted Bloggery here.

Did James Geraghty's retirement result in the New Yorker running two very similar gags in the magazine? I have no idea, but see for yourself what happened when Three Cartoonists Walk Into a Bar here.

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