I stopped by the Society of Illustrators on Thursday night to attend the opening reception for the new book and exhibition Insectopolis: A Natural History.
04951
I obtained my copy of Liana Finck's children's book Mixed Feelings (2025) at the Society of Illustrators on February 6. The event, also featuring New Yorker cartoonist Liza Donnelly, was jointly sponsored by the Society and the American Academy in Berlin. The discussion and slideshow was followed by a book signing.
 |
| Liana Finck and Liza Donnelly |
04908
 |
"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. KleinOriginal art The New Yorker, June 19, 1926, p. 18 |
 |
"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. KleinThe 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 |
 |
| Hendrik Willem van Loon Artist Unidentified |
Artists and their models were a frequent subject of New Yorker cartoons in years past, but not so much these days. Mary Petty's 1937 cartoon is a fine example of the genre.
 |
| "Dear no, Miss Mayberry—just the head." Mary Petty The New Yorker, December 4, 1937, p. 28 |
 |
| "Dear no, Miss Mayberry—just the head." Mary Petty The New Yorker, December 4, 1937, p. 28 |
 |
| Mary Petty Original art The New Yorker, July 18, 1942 |
 |
| Mary Petty The New Yorker, July 18, 1942 |
 |
| With a cartoon by Mary Petty and a spot drawing |
* * *
 |
| Spot drawing Artist Unidentified The New Yorker, December 4, 1937, p. 29 |
04899
 |
| Nadine's First "Ma'am" Roz Chast Original art The New Yorker, November 21, 1983, p. 169 |
 |
| Nadine's First "Ma'am" Roz Chast The New Yorker, November 21, 1983, p. 169 |
 |
| With an advertisement for Seiko and a cartoon by Roz Chast |
 |
| Asexual Harassment Original art Roz Chast The New Yorker, October 26, 1998, p. 200 |
 |
| Asexual Harassment Roz Chast The New Yorker, October 26, 1998, p. 200 |
 |
| With a drawing by Roz Chast and a spot drawing by Phillipe Petit-Roulet |
 |
| Fishing spot drawing Phillipe Petit-Roulet The New Yorker, October 26, 1998, p. 201 |
04893
Saul Steinberg's New Yorker cover of January 17, 1959, is one that needs to be not only seen but read. The central figure on the impossibly grandiose monument depicted is Prosperity unfettered, while the surrounding paired figures reveal so very much about the contradictions inherent in America that Steinberg observed through his immigrant's eyes. The striking original art is currently on view at the Society of Illustrators, part of the essential show "Drawn From The New Yorker: A Centennial Celebration" curated by Liza Donnelly.
 |
| Saul Steinberg Original art The New Yorker, January 17, 1959 |
.webp) |
| Saul Steinberg The New Yorker, January 17, 1959 |
Meanwhile, the breadth of Steinberg's wildly inventive drawings inside the magazine is represented by a single image from 1963.
 |
| Saul Steinberg The New Yorker, February 23, 1963, p. 24 |
 |
| Saul Steinberg The New Yorker, February 23, 1963, p. 24 |
 |
| With drawings by Saul Steinberg and Robert Day |
 |
| "A stockholder, maybe." Robert Day The New Yorker, February 23, 1963, p. 24 |
04890
"Drawn From The New Yorker: A Centennial Celebration" continues its run in New York City at the Society of Illustrators. Among the most popular of the many talented artists associated with The New Yorker over the past century is the splendid Charles Addams. His original cover art celebrating the new year of 1938 is set in an observatory. This is his first cover for the magazine, so it can be given for not quite looking like his later, more familiar work.
 |
| Charles Addams Original art The New Yorker, January 1, 1938 |
 |
| Charles Addams The New Yorker, January 1, 1938 |
Addams is also represented in the exhibition with a wordless cartoon from 1949:
 |
| Charles Addams Original art The New Yorker, October 15, 1949, p. 27 Monster Rally, 1950, page 27 My Crowd, 1970, page 81 |
 |
| "Ready, dear?" Charles Addams Original art The New Yorker, January 7, 1950, p. 29 |
 |
| "Ready, dear?" Charles Addams The New Yorker, January 7, 1950, p. 29 |
 |
| With a spot drawing of a double teapot and a cartoon by Charles Addams |
Note: The wordless 1949 Charles Addams moving day cartoon was already the subject of a post, which can be found in the blog archives here.
* * *
Of course, I'd love to hear from anyone with the uncanny ability to identify the spot artist responsible for this double cask teapot.
04882
