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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