Showing posts with label Profiles. Show all posts
Showing posts with label Profiles. 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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Tuesday, September 9, 2025

Ilonka Karasz: Alas, Poor Yorker

Alas, poor Yorick! I knew him, Horatio—a fellow
of infinite jest, of most excellent fancy.
"Hamlet," V.i



The New Yorker artist Ilonka Karasz (1896-1981) created extraordinary covers for the magazine from its first year in 1925 through its forty-eighth in 1973. While her art adorned the magazine's cover one-hundred eighty-six times, it is unusual to find a piece by her that is actually about The New Yorker.


Such a work was offered on eBay in 2017, an illustration that simulated the effect of flipping through the pages of the magazine. Familiar sections are visible: "Profiles," "Goings On About Town," "Tables for Two." Three writers are referenced by surname: Emily Hahn, John O'Hara, and Sally Benson. The cover of the fictitious issue is about the theatre with fancy dress hats, a showgirl, and a pair of eyeglasses. The title of the piece, Alas, Poor Yorker, is also a tongue-in-cheek theatrical reference.



The art is dated May 1947 and appears to have been created for a specific purpose. My conjecture is that it could have been printed as an invitation to a party for the writers or editorial staff of the magazine.




Ilonka Karasz
eBay listing ended May 14, 2017


Ilonka Karasz
eBay item description

Ilonka Karasz
eBay bid history
The last bidder gets it, but there's not a lot of enthusiasm here.







Note:  I would appreciate hearing from anyone who knows anything about this original illustration by Ilonka Karasz.




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Sunday, March 9, 2025

I. Klein at "Drawn From The New Yorker: A Centennial Celebration"

I. Klein's art was about contrast: black against white, curves against angularity. His sense of humor was rather striking as well.

               "Beautiful lavallière you are wearing, my dear. Those
landscape tints do become you so."             
                      "Oh, yes. I prefer marines at times, but they are so large,
and I detest heavy ornamentation."            
I. Klein
Original art
The New Yorker, June 19, 1926, p. 18



Yes, the I. was for Isidore. This original art is currently hanging at the Society of Illustrators, part of "Drawn From The New Yorker: A Centennial Celebration" curated by Liza Donnelly—but the room with the Klein cartoon will be a part of the show for just a few more days. 
   "Beautiful lavallière you are wearing, my dear. Those landscape tints do become you so."
   "Oh, yes. I prefer marines at times, but they are so large, and I detest heavy ornamentation."
I. Klein
The New Yorker, June 19, 1926, p. 18




With a header by Rea Irvin, a drawing by I. Klein, and a Profiles portrait by an as yet unidentified illustrator



* * *

Smoking header
Rea Irvin


I've had occasion once before in 2020 to visit this page of The New Yorker and enquire about the unidentified illustrator of Hendrik Willem van Loon's portrait. It was only ninety-nine years ago; someone should be able to recognize the artist's work.
Hendrik Willem van Loon
Artist Unidentified





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Saturday, September 7, 2024

Peter and Brooke Schjeldahl's Copy of Lives of the Artists by Calvin Tomkins

The title Lives of the Artists properly belongs to Giorgio Vasari (1511-1574), biographer of Renaissance artistic luminaries. It was used more recently, in 2008, by Calvin Tomkins (born 1925) for his collected New Yorker profiles of contemporary artists. The copy inscribed in the year of publication to another New Yorker writer on the arts, the late Peter Schjeldahl (1942-2022) and his wife Brooke, is currently listed on AbeBooks. At just 254 pages, though, this is evidently not the full six-volume, 1640 page edition. Priced at $50, it still seems a good deal.


Calvin Tomkins
AbeBooks listing accessed September 6, 2024



The shipping cost is $6 to a US address, but $32 to a German one. I have no idea why this came up.


Note:  Please check your library for books inscribed from one New Yorker writer or artist to another. I just might have a place for you to show them off on this blog.



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Saturday, March 12, 2022

Hans Stengel: A Prince of Broadway

Hans Stengel's original illustration of an entertainment mogul hawking Broadway tickets was published in The New Yorker, an obvious profile illustration with a corresponding art department stamp on the verso. It would have had to appear in print some time between the magazine's founding in 1925 and Stengel's morbid suicide in early 1928, a fact noted by jrpostman, the eBay seller of this art. Postman's contention that it illustrates an A. J. Liebling piece on Jed Harris seems impossible on two counts; Harris was just in his twenties when Stengel died and Liebling didn't arrive at The New Yorker until 1935. 

So just who is this aging impresario of the theater district? As it happens, the subject's name, Joe Leblang, is written right on the front of the drawing. The seller must have misread it as Liebling. Leblang was a discount ticket seller who was profiled in The New Yorker of January 2, 1926. No doubt he sold tickets to some Jed Harris productions.


Joe Leblang
Hans Stengel
Original Profiles illustration
The New Yorker, January 2, 1926, page 11

Verso


Hans Stengel
eBay listing ended December 15, 2021

Hans Stengel
eBay item description






Joe Leblang
Hans Stengel
Original Profiles illustration
The New Yorker, January 2, 1926, page 11


A cartoon by Carl Rose and an illustration by Hans Stengel



Incidentally, the gorgeous drawing by Carl Rose demonstrates why no one today mourns the two-speaker caption:





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Sunday, March 17, 2019

George Price: Peace and Quiet

Temperamentally mismatched couples are a specialty of cartoonist George Price (1901-1995). The exasperated wife in a 1979 New Yorker cartoon original demonstrates that she knows her serenely-contented husband's responses by heart.
"Don't tell me. Let me guess. I know! It's Tuesday, and you've got peace and quiet coming out of your ears again."
George Price
Original art
The New Yorker, December 10, 1979, page 53

He stares into space while her gaze is directed at him. Still, both pairs of feet are directed toward the other person more than the position of the chairs alone would suggest.
"Don't tell me. Let me guess. I know! It's Tuesday, and you've got peace and quiet coming out of your ears again."
George Price
Framed original art
The New Yorker, December 10, 1979, page 53

Price handles shoes quite well.
Detail
The photos in this listing are unusually out-of-focus and somewhat random.
Detail

George Price's signature
Price knew when to depart from his own pencil guidelines.
Detail of the wife's head

Detail of wife

Detail of husband

"Don't tell me. Let me guess. I know! It's Tuesday, and you've got peace and quiet coming out of your ears again."
George Price
Original art
The New Yorker, December 10, 1979, page 53




The art sold with Buy It Now about six hours into the listing. It cost the buyer a $200 premium to assure an auction win.
George Price
eBay Listing Ended January 17, 2019
George Price
eBay Item Description



George Price
eBay Bid History
Purchased the first day of the listing with But It Now

"Don't tell me. Let me guess. I know! It's Tuesday, and you've got peace and quiet coming out of your ears again."
George Price
Original art
The New Yorker, December 10, 1979, page 53

Drawings by Burt Silverman and George Price
https://archives.newyorker.com/?i=1979-12-10#folio=052


* * *

Reader and frequent contributor David from Manhattan is able to provide some background. He writes, "The Price cartoons came from the estate of Leon Thorpe who died in Fla. in 2006. A woman sold items the following August on eBay."
The original sale price to Leon F. Thorpe for this piece was $800 in 1983, less a portion of the "consideration." The invoice is from the Nicholls Gallery in New York.
Photo courtesy of David from Manhattan


Note:  There's always a place for original art by George Price on Attempted Bloggery. Don't tell me. Let me guess. You have scans and photos of original art all ready to send in. Why, thank you.

Thanks to David from Manhattan for providing information about the history of this piece.


Quick Links to the Attempted Bloggery Archives:

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Original New Yorker Cartoon Art

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Attempted Bloggery's Exasperating Index


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