Showing posts with label Irvin Greif. Show all posts
Showing posts with label Irvin Greif. Show all posts

Tuesday, May 5, 2026

Bruce Eric Kaplan: Herb's Story

An original New Yorker cartoon by Bruce Eric Kaplan was sold at Heritage Auctions on February 6. It comes from the estate of Irvin Grief, Jr., and is the first work of BEK's to be offered by the auction house.

Herb got in touch with his inner monkey
Bruce Eric Kaplan
Original art
The New Yorker, February 3, 1992, p. 70


The cartoon purports to relate the story of Herb's enlightenment. Of course, it is just plain silly. Or, if you prefer, bananas.
Herb got in touch with his inner monkey
Bruce Eric Kaplan
Framed, original art
The New Yorker, February 3, 1992, p. 70

Paper backing

Twenty days prior to the auction, bidding had scarecely begun.
Bruce Eric Kaplan
Heritage Auctions listing of February 6, 2026, accessed on January 17, 2026


Heritage identified the correct issue of The New Yorker in which this drawing appeared but it was on page 70, not page 41. Was Herb's inner monkey helping with the research?

Bruce Eric Kaplan
Heritage Auctions item description 

Sold!

The artist's signature, BEK, has been largely obliterated in the original. There may have been a patch over it when it was photographed for the magazine. The banner was rewritten and had a period in the published version. It is a sentence, after all.
Herb got in touch with his inner monkey.
Bruce Eric Kaplan
The New Yorker, February 3, 1992, p. 70

Herb got in touch with his inner monkey
Bruce Eric Kaplan
Original art
The New Yorker, February 3, 1992, p. 70

With a cartoon by Bruce Eric Kaplan




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Saturday, March 14, 2026

Whitney Darrow, Jr.: A Good Lesson for Eugene

A 1966 New Yorker cartoon original by Whitney Darrow, Jr., was sold at Heritage Auctions in February. It was from the collection of Irvin Greif, Jr. 

"But, Eugene, it's not enough to                              
be gifted. We've got to do something with our gift."
Original art
Whitney Darrow, Jr.
The New Yorker, November 19, 1966, p. 61


The setting is a suburban classroom, in what is in all likelihood a private school. The teacher wishes to impart an  important lesson to Eugene.

"But, Eugene, it's not enough to                              
be gifted. We've got to do something with our gift."
Framed and matted original art
Whitney Darrow, Jr.
The New Yorker, November 19, 1966, p. 61


It's a good lesson for Eugene. But he does seem skeptical.
"But, Eugene, it's not enough to                              
be gifted. We've got to do something with our gift."
Original art
Whitney Darrow, Jr.
The New Yorker, November 19, 1966, p. 61

On Bainbridge Board


The bidding opened at $1. Who could possibly resist? (But the buyer's premium did start at $49.)
Whitney Darrow, Jr.
Heritage Auctions listing of February 6, 2026, some 20 days before the sale




It was sold to an internet bidder:

Whitney Darrow, Jr.
Heritage Auctions item description


The original art is now toned. It looked great in the pages of The New Yorker:

"But, Eugene, it's not enough to                              
be gifted. We've got to do something with our gift."
Original art
Whitney Darrow, Jr.
The New Yorker, November 19, 1966, p. 61


"But, Eugene, it's not enough to                              
be gifted. We've got to do something with our gift."
Whitney Darrow, Jr.
The New Yorker, November 19, 1966, p. 61


With drawings by Al Ross and Whitney Darrow, Jr.


* * * 


On the facing page, Al Ross's more linear, unshaded style contrasts nicely with Darrow's. Ross comments on the Vietnam War. The speaker is not that many years older than Darrow's children.

"Did you ever realize that one of those little things will destroy everything within 
a half mile, regardless of race, creed, or color?"

Al Ross
The New Yorker, November 19, 1966, p. 60






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Saturday, February 7, 2026

Peter Arno: The Fireman's Farewell

In a 1939 New Yorker cartoon, Peter Arno's firefighter bids farewell to a befuddled homeowner:

"Well, if you ever need us again just give us a ring."
Peter Arno
Original art
The New Yorker,
 June 17, 1939, p. 18

The cartoon reads left to right, foreground to background. The firefighter is the most prominent and the most illuminated figure. He is leaving the scene, but he leans back into the cartoon panel with a raised arm. You can't miss him. The poor, portly homeowner in his robe is seen next seemingly trying to lean back out of the frame. There is no place for him to go. The smoldering ruins of the home are behind him. The firemen have left behind great reflecting puddles of water in the middle ground. The birdcage is a fine comic detail which may or may not be noticed later. Anyone whose eyes linger over an Arno drawing can expect to be rewarded.

The original art, framed and matted, was sold yesterday at Heritage Auctions. It was the useful practice of Barbara Nicholls of the Nicholls Gallery in the 1970s and 1980s to write the caption on the matte in a calligraphic hand. No doubt Irvin Greif, Jr., purchased the artwork from her. Her ink has faded over the years more than Arno's.
"Well, if you ever need us again just give us a ring."
Peter Arno
Framed original art
The New Yorker,
 June 17, 1939, p. 18

On the back of the artwork, The New Yorker's founding editor Harold Ross approved the drawing with his customary R. 
Verso with Ross's R


Bidding opened at $1,250 some three weeks before the sale with no reserve. The first bid appeared quickly, proof, if any were needed, that Arno's star continues to shine bright in the firmament of New Yorker cartoonists.
Peter Arno
Heritage Auctions Mainstream Illustration listing of February 6, 2026



Peter Arno
Heritage Auctions Mainstream Illustration item description

The work sold for $5,000 plus a 25% buyer's premium of $1,250. In other words, the final buyer's premium was the same as the amount of the opening bid.







Here's how it appeared in the magazine:
"Well, if you ever need us again just give us a ring."
Peter Arno
The New Yorker, June 17, 1939, p. 18

"Well, if you ever need us again just give us a ring."
Peter Arno
Original art
The New Yorker,
 June 17, 1939, p. 18


With a cartoon by Peter Arno and a spot drawing by Victor de Pauw




* * *


On the page opposite, Victor de Pauw's spot drawing of a railway station is as unassuming as Arno's cartoon is bold.
Spot drawing of a railway station
Victor de Pauw
The New Yorker, June 17, 1939, p. 19





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Wednesday, December 24, 2025

Edward Sorel: Christmas Past, Christmas Present

One of the highlights of the November 4 Illustration Art sale at Heritage Auctions was Edward Sorel's original cover artwork for The New Yorker's December 16, 1996 issue. The magazine gave it the title Christmas Past, Christmas Present. It had been in the collection of Irvin Greif.

Christmas Past, Christmas Present
Edward Sorel
Original cover art
The New Yorker, December 16, 1996

Christmas Past, Christmas Present
Edward Sorel
Framed, original cover art
The New Yorker, December 16, 1996



Bidding was strong, up at $7,000 (not including the buyer's premium) thirteen hours before the live bidding started. How high would the price go?

Edward Sorel
Heritage Auctions listing accessed thirteen hours before the November 4, 2025 sale

It sold for $15,000 including the premium to an online live bidder. What would our ancestors have made of that?

Edward Sorel
Heritage Auctions item description



Christmas Past, Christmas Present
Edward Sorel
Original cover art
The New Yorker, December 16, 1996

Christmas Past, Christmas Present
Edward Sorel
The New Yorker, December 16, 1996


I'll repost my photograph of the present work from the New York preview:

Christmas Past, Christmas Present
Edward Sorel
Framed, original cover art
The New Yorker, December 16, 1996



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Thursday, December 4, 2025

Ronald Searle: Holidays Artist and Model

A 1989 ink drawing (with just a little bit of colored pencil) by Ronald Searle celebrates Santa's eye for the arts. The original work from the collection of Irvin Greif was sold last month in the Illustration Art sale at Heritage Auctions.


Searle's ink technique is dazzling, as always. Santa's brushwork may be in the same league:




More than sixteen hours before the sale, the bidding was at $725. The auction house's estimate was $1,500 and up. Whatever became of having a high estimate too?

Ronald Searle
Heritage Auctions listing accessed sixteen hours before the sale


Ronald Searle
Heritage Auctions item description





In the live bidding, the low estimate was met and exceeded.






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Sunday, November 9, 2025

Huguette Martel: Babies Who Became Famous, and Why

In its November 4 sale of illustration art, Heritage Auctions offered the Irvin Greif Collection of New Yorker Art, four works by Charles Addams, Huguette Martel, Ronald Searle, and Edward Sorel. Of these, only the Martel cartoon did not find a buyer. It is an ink drawing with collage elements and it has the title Babies Who Became Famous, and Why. There are, count 'em, nine babies.



The work was offered at auction framed and matted:


The printed cartoon is affixed to the back of the frame. Only six of the nine baby panels were published in the magazine. Martel's drawings of Sigmund Freud, Christopher Columbus, and Julia Child did not make the cut.


Bidding started at $1,000 with a presale estimate of $2,000 - up. But as of the night prior to the sale, no bids had been received.
Huguette Martel
Heritage Auctions listing accessed the night prior to the sale

Huguette Martel
Heritage Auctions item description

Even in the sale, there were no bids.



Heritage offers the artwork with a Buy Now price of $1,250 through November 18. The auction house also entertains offers.



Here is the Martel cartoon as it appeared in The New Yorker:
Babies Who Became Famous, and Why
Huguette Martel
The New Yorker, January 20, 1992, p. 33

And again the original Martel art:
Babies Who Became Famous, and Why
Huguette Martel
Original art
The New Yorker, January 20, 1992, p. 33


With cartoons by Michael Maslin and Huguette Martel


* * *

The cartoon on the page opposite, here by Michael Maslin, balances out the layout with lighter lines, lighter shading, and lighter humor. 
"Gentlemen, I've asked Mr. Gilbert, a
four-in-hand expert, to join us."

Michael Maslin
The New Yorker, January 20, 1992, p. 32





 

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