Showing posts with label Harry Bliss+Chas Addams. Show all posts
Showing posts with label Harry Bliss+Chas Addams. Show all posts

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, January 2, 2021

Harry Bliss: Inspired by Charles Addams

Last week we saw how Harry Bliss's cover art for The New Yorker issue of December 28, 2020 was directly based on a cartoon by Charles Addams that ran in the magazine back on December 27, 1952. Bliss readily acknowledges his debt to Addams, which can also be seen in his daily syndicated panel strip called simply Bliss. The panel for this past Tuesday, December 29, may well have been inspired by Addams's New Yorker cover of May 19, 1975:



Charles Addams
The New Yorker, May 19, 1975





On Halloween day of 2020, the inspiration for the Bliss cartoon was obvious to all with its appropriation of Addams Family characters—but to what end? Addams would never have created a gag like this. It reads, "Apologies to Charles Addams" at the lower left. (By the way, don't try this at home.)


Note:  My post on the December 28, 2020 New Yorker cover is here.



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Thursday, December 24, 2020

Charles Addams and Harry Bliss: Fanning the Flames

In the cover for this year’s Cartoon Issue, Harry Bliss pays homage to Charles Addams, whose macabre work routinely appeared in The New Yorker, and whose most famous creation, the Addams Family, has spurred countless adaptations.
Françoise Mouly


And how exactly does one pay homage to Charles Addams? The inspiration for cover artist Harry Bliss is actually a particular Addams cartoon published in The New Yorker on December 27, 1952, that year's Christmas issue.
"The little dears! They still believe in Santa Claus."
Charles Addams
The New Yorker, December 27, 1952, page 23

https://archives.newyorker.com/newyorker/1952-12-27/flipbook/022/


You might recognize some or all of the characters here, but in the years before the 1964 "Addams Family" TV series they were as yet unnamed. Addams's mastery is everywhere in evidence. The primary light source is the fireplace which indicates the main action while the secondary light source behind the sliding doors illuminates the speaker—let's call him Gomez—and two others (no names, please) who are observing the action from a distance. Addams's two-point perspective creates a formidable three dimensional architectural space incorporating many macabre elements. If one were to look at the drawing alone, the atmosphere would be striking but the actions of the children—let's call them Pugsley and Wednesday—might not have a clear purpose. The caption would then serve to totally confound one's expectations. If, on the other hand, one could somehow ignore the drawing and instead read the benign-sounding caption first, it then would be the drawing that would totally subvert the meaning of the words. Either way, it's a treat even sixty-eight years later to see all the workings of a cartoon come together so flawlessly. 

Harry Bliss's cover illustration for this week's issue of The New Yorker is meant to mark both Christmas as well as the New Year. It is also meant to comment on this unique moment in our political history and in the pandemic. It seeks to do all this with a design based on the Addams Family cartoon of December 27, 1952.

Harry Bliss
The New Yorker, December 28, 2020


So, the central satirical idea here, Donald Trump burning his old tax returns with the assistance of his servile, perspiring lawyer Rudy Giuliani, seems almost trivial in relation to the omnipresent political peril in Washington during this most irregular transition. The secondary theme, that of an elderly 2020 being replaced by an infant 2021 in a mask, and which gives this cover the title "In with the New," refers simultaneously to the New Year, to the transition, and to the pandemic. The political figures and the New Year figures don't seem to belong together in that room. Perhaps that garish hanging COVID-19 light fixture is supposed to be a unifying element here. (Compare it with the fine gothic lamp Addams furnished.) There's more, including QAnon conspirators and more rodents than you typically see on a New Yorker cover. In short, there are too many things going on here and while they are in some way interrelated, it's a lot to take in at once and, for me at least, there's no synergy.

And we've seen some of it before. This is the fourth cover published by The New Yorker this year to feature Donald Trump, the tenth to include at least one face mask, the second with a large image of the coronavirus, and the second in a row with a lit fireplace. For what it's worth, it is the first cover with QAnon.


"Greetings, Friends! [1952]" by Frank Sullivan, cartoon by Charles Addams
https://archives.newyorker.com/newyorker/1952-12-27/flipbook/022/

Note:  This Halloween, I posted Joel Jacobus's Charles Addams scrapbook, which included a clipping of the fireplace cartoon. I wonder whether Harry Bliss might have stolen a glimpse at this blog around then. Of course, there are many other places he could have come across the cartoon—in Homebodies (1954), for example—but still I do wonder whether I've had some ever-so-slight sway over the content of a New Yorker cover.

Scrapbook image


This Addams cartoon has been quite influential over the years, it seems. The blog Long Forgotten argues quite plausibly that the drawing influenced the design of the ballroom in Disney's Haunted Mansion attraction. Check it out here.



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