Wallace Wood for Portage Porto-Ped Shoes

"The Abominable Squeaks." So reads the copy of a 1960s-era magazine advertisement for Portage Porto-Ped Shoes. Four vignettes by the formidable Mad magazine artist Wallace Wood depict the untold embarrassment of being the man whose shoes make too much noise. The bridegroom advancing nervously down the aisle, the doctor making night shift rounds on the hospital ward, the game hunter stealthily seeking his prey, even the zookeeper failing to mind his oversized charge—none are spared the indignity of these "abominable squeaks."

The shoes are now priced from $29.95 to $34.95, with the lower-end shoes more expensive than what was quoted in the, presumably earlier, 1967 pair of ads we saw in yesterday's post. Those, of course, were illustrated by The New Yorker's William Steig. Wood is the only cartoonist I have found other than Steig who contributed to these Porto-Ped ads and this single page is the only example I have located for him. But there could be others.

Wallace Wood
The Abominable Squeaks.
1960's-era advertisement for Portage Porto-Ped Shoes

https://www.ebay.com/itm/265845343823

Note:  As my sneakers silently convey me through the lands of vintage advertising and illustration, I am eager to hear of additional cartoon ads by Wallace Wood, William Steig, or perhaps others from this Portage Porto-Ped Shoes campaign.

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William Steig for Portage Porto-Ped Shoes

In yesterday's post, we saw a single cartoon copper tray featuring a drawing by New Yorker cartoonist William Steig to promote the National Shoe Institute in 1951. So far as we know, that was his sole contribution to the advertising campaign. But it was not his final venture into the world of shoe marketing.

In 1967, Steig made at least two drawings for a print ad campaign for the Portage Shoe Company's line of Porto-Ped shoes. That year comes from paper sellers who reveal as little as possible about the magazines from which they removed their ads. Thus titles and publication dates are not included. For what it's worth, I have not found these ads in The New Yorker.

The copy reads "If everyone's walk were a little peculiar, we wouldn't have to make such good shoes." The good shoes are priced at $19.95 to $34.95 in both ads. Inflation in the ensuing decades has since driven up prices by an average of 3.98% annually, or about 900% total, putting the shoes' retail cost at $199.45 to $349.41 in today's dollars. No wonder they could afford William Steig.

William Steig
"If everyone's walk weren't a little peculiar,
we wouldn't have to make such good shoes."
1967 advertisement for Portage Porto-Ped Shoes

https://www.periodpaper.com/products/1967-ad-portage-porto-ped-shoes-men-fashion-william-steig-cartoon-milwaukee-wi-219864-ymma3-128

Another ad from 1967 features an even more peculiar gait:

William Steig
"If everyone's walk weren't a little peculiar,
we wouldn't have to make such good shoes."
1967 advertisement for Portage Porto-Ped Shoes

Image modified September 5, 2026

https://www.ebay.com/itm/275154580810

Note:  I would love to see other examples, if there are any to be seen, from this advertising campaign with art by William Steig. 

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William Steig: National Shoe Institute Copper Tray by Bernäd Creations

In 2023, the Charles Addams memorabilia specialist Joel Jacobus informed us here of a series of advertisements on copper trays promoting Cole of California swimwear. The trays were manufactured by Bernäd Creations with cartoons by The New Yorker's Addams, Sam Cobean, and Syd Hoff. The trays themselves are undated, but the Hoff example was specifically mentioned in a 1951 newspaper article. 

This year, Joel informed me of another vintage advertising tray he came upon featuring art by New Yorker cartoonist William Steig. The client is the National Shoe Institute and there is only one tray design known thus far. The manufacturer is again Bernäd Creations, who used Steig illustrations on other cartoon trays and cigarette boxes for commercial sale to the general public, but these decidedly were not advertising. 

Joel notes that the shoe institute tray appears to be from approximately the same time period as the Cole of California cartoon trays. "So far," he writes, "I can't find any other artists associated with it. The Steig image is of a man lying in a giant shoe with the caption, 'Can’t I just stay here tonight?'" Below that is the copy "National Shoe Institute.”

Joel continues:

The first mention of The National Shoe Institute that I can find is from 1948 in the New York Times. There were National Shoe Fairs in Chicago from at least 1938 through 1968. 

He further speculates that this tray "might have been a promotional item at the National Shoe Fair." Steig's illustration appeared in his book The Rejected Lovers, which sets the date of the tray to approximately 1951. (That's the same year as the newspaper piece noting the Hoff tray.)

The Steig copper tray is green and is currently listed on eBay:

William Steig
National Shoe Institute Copper Tray
eBay listing accessed August 31, 2026

https://www.ebay.com/itm/157720954656?

William Steig
National Shoe Institute Copper Tray
eBay item description

The New York Times Magazine excerpted nine of the Steig book's drawings in its October 14, 1951 Sunday issue, the week prior to its publication. Under the title "On Man's Misery—Love," an uncredited author writes, "The hero of the work is man at his most pitiful. The villain is woman, who seems to combine the features of Goldilocks, a six-foot chorus girl and Lizzie Borden." 

"On Man's Misery—Love"
Excerpts from The Rejected Lovers by William Steig
The New York Times Magazine, Sunday, October 14, 1951

https://timesmachine.nytimes.com/timesmachine/1951/10/14/issue.html

Note:  My thanks as always to Joel Jacobus for finding this rare tray, for recognizing its uniqueness, and for feeling compelled to research the National Shoe Institute just as thoroughly as he formerly researched Bernäd Creations and Cole of California. Hats off to you, Joel, and shoes too.

The archives of Duke University libraries have a campus promotion from the National Shoe Institute for 1949 which identifies the advertising agency as J. Walter Thompson.

I would so appreciate hearing from anyone with more information about this seemingly small advertising campaign. This might include other cartoon copper trays from the promotion with drawings by William Steig or perhaps other cartoonists. Other advertising campaigns that appeared on Bernäd trays would also be of interest. 

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Charles Addams for "Anniversary Waltz"

"Anniversary Waltz," a comedy by Jerome Chodorov and Joseph Fields, opened on Broadway in 1954. It starred Macdonald Carey and Kitty Carlisle, and was directed by Carlisle's husband Moss Hart. Reviewers criticized the play for its crude content, but it was a hit. The New Yorker's lukewarm capsule review some seven months into the show's two-year run suggests there may have been better things to see. 

https://archives.newyorker.com/newyorker/1954-11-13/flipbook/002/

Why seven months? It was in the "7th hilarious month" that the show's producers began to promote the play with a Charles Addams drawing:

"They laughed their heads off!"
Charles Addams
Promotional art for "Anniversary Waltz" (1954)

The original art shown here was in the collection of the actor Douglas Fairbanks, Jr. It was sold at auction by Doyle New York earlier this month.

Addams worked on Whatman Water Color Board which must have taken his washes well. Affixed to the back of this board is a closely-trimmed, printed clipping of the advertisement showing how the marquee signage had been at some point reworked.

Verso

The printed caption and Charles Addams's signature

The sale took place on November 5. The estimate was $8,000 to $12,000. The art sold for $23,040 including the buyer's premium.

Charles Addams
Doyle New York listing of November 5, 2025

https://www.doyle.com/auction/lot/lot-21---a-charles-addams-theater-advertisement-they-laughed-their-heads-off/?lot=1449814&so=0&st=&sto=0&au=9114&ef=&et=&ic=False&sd=1&pp=96&pn=1&g=1

When the play traveled to Chicago with a different cast, the Addams art was still in use. The writing on the marquee had been further modified.

Peter Arno and Charles Addams theater art

https://www.ebay.com/itm/166881861066

Note:  For Christmas of 1982, Charles Addams personalized a copy of his collection Creature Comforts (1981) to Mary Lee and Douglas Fairbanks, Jr. It's in the archives in a post called "Charles Addams: The Flashing Festers." What could such a title portend?

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Richard Taylor and Robert Day for the United States Playing Card Compnay

"How long since you've bought new cards?" asked the United States Playing Card Company back in 1941. Each of their six brands could provide players "with fresh, clean cards" according to their print advertising. Cartoonists Richard Taylor and Robert Day set the scenes. But why are there no women at the card tables?

"It's the only way George can shuffle
those old, limp cards of his."
Richard Taylor

"Fred isn't sure, but he thinks
they're all hearts."
Robert Day

The source for these ads is eBay. Here are the sales details on the Taylor:

Richard Taylor
eBay listing ended April 13, 2025

https://www.ebay.com/itm/316520030353?_skw=%22Richard+Taylor%22&itmmeta=01JYZ7YMESDQD5F1EYA6271DWM&hash=item49b2106091:g:JEgAAOSwLPVj8lDX&itmprp=enc%3AAQAKAAAA0FkggFvd1GGDu0w3yXCmi1fmde%2B3OLxHR9JKFuRGuUujc%2F2b4CS3ad%2BrbfzJSKkJUWGCw1q0DhE%2F9cAZbXRG6%2FktgLgbpQAIdvUzUlGvCCk8ECGjR6wg4HEs0jkJyROy%2FxyBG7scHOGB3c7tsOdXWOebLIyChEjLK%2BDhv11jXZmNlFIgzD6uzwkJhm5GPd4zJBmE%2Bkaf6YNQSchmOcN6UbjTbgVadrzaYHSmCoInmpdc1RyaMmnAK00stH3QM7mzCNSD7r66QZimkjcYHhhrlpk%3D%7Ctkp%3ABk9SR8LH-uf3ZQ

Richard Taylor
eBay item description

And the same for the Day, as yet unsold:

Robert Day
eBay listing accessed June 6, 2025

https://www.ebay.com/itm/306362328650?_trkparms=amclksrc%3DITM%26aid%3D111001%26algo%3DREC.SEED%26ao%3D1%26asc%3D20160811114145%26meid%3D0a3061dfe1a24b8886daee44fa09b650%26pid%3D100667%26rk%3D3%26rkt%3D8%26sd%3D187261465167%26itm%3D306362328650%26pmt%3D1%26noa%3D1%26pg%3D2351460&_trksid=p2351460.c100667.m2042

Robert Day
eBay item description

04994

Peter Arno's Triple Threat

When an advertising piece for Atlantic White Flash Motor Oil Lubrication illustrated by Peter Arno showed up on eBay recently, it was new to me. "The triple threat to motoring worries" is illustrated with three top-hatted football players sporting handlebar mustaches. The three hats are labeled with the name of the product. They sit on or lean against a wood fence.

This was part of a Christmas promotion, year unknown.

Who wouldn't trust this trio to recommend the best motor oil?

Peter Arno
eBay listing accessed May 28, 2025

https://www.ebay.com/itm/177158853650?_skw=Peter+Arno+atlantic&itmmeta=01JXKGM7MYMW8P1XHHFW2CS2H7&hash=item293f7d9412:g:c9oAAOSwaUpnpNJ5&itmprp=enc%3AAQAKAAAA8FkggFvd1GGDu0w3yXCmi1eDh8ifvtWEnuza3YX5U1AA%2Fbo4MG17JwOC14HKaZ%2Fzmpx1eWfGXKb5DwvH0DtYcjq%2BibRHo2hlhqK8h%2FcnwtShsfdluS7rg2MfvlV4ATxTiODBVuVRcRoO8Ex72v8tuPLiZbkO%2FDhHKk06jEhVyTDhGIOfDxiWRvAVHrmWQcIJBdhjiyICAl0gqZGi4iC6dzUnW7jbuny4rPB2XQlrfyHO6%2F2uxBNW58NB5QGf9kGHadPoPhD5hewYsaUcEdiOzjfowvEJ7uXM7dIkuMgn0yQMidhln8g97BLcCilzoLskqw%3D%3D%7Ctkp%3ABFBMzvrQ8Oxl

Peter Arno
eBay item description
"This piece is perfect for adding a touch of retro charm to your garage, workshop, or man cave."

I received an offer from eBay on May 30:

04970

Ronald McRae for Clio et Claire

Ronald McRae created one and only one New Yorker cover for the issue of May 15, 1926. The cover is a bit tantalizing in that it does not show us any faces. 

McRae was active in the Toronto theater scene providing stage and costume design. An advertisement by McRae for Clio et Claire perfume was published the same year as the New Yorker cover. The illustration is a circular art deco design and we do get to see a face. The ad is currently on offer on eBay.

Ronald McRae
eBay listing accessed May 28, 2025

https://www.ebay.com/itm/275058574965?_skw=1926+Clio+et+Claire+Perfume&itmmeta=01JWD0BDYXT1HKVRDMEC2AAZKJ&hash=item400ac4c675:g:qmMAAOSwsoNhslne&itmprp=enc%3AAQAKAAABAFkggFvd1GGDu0w3yXCmi1cYojS6X9soLGibxfSylLKLdUIn%2BIOjfC2o08ptxVOsoQc%2FmdYnXVULv05SGwgFreRnn2H7EfVbQ%2BYRUr17%2F9A6iSVNU6yUKomCE2WvLfVKRWRnnD

YQK8I8d%2BY%2FS4RXewdR9QKAmKeI5iDVolKjhO2%2F%2BmzI054Romrvv5cLFdSeFXROVJ9uiwtdYsomxcMXIQYIHSU%2Fnm4S6%2B7%2FMyLL9tAxxA3hsnh0yYQjrKMSvPEctTpzVgx%2FKqdgiucSwQ1AsZ5z%2Fn7A40CzZLfXJHaAUVs%2Faa%2B5lS5TPtS6Mh%2BqJOcDxICiDmp0WUsq5UhVq74hqSg%3D%7Ctkp%3ABk9SR8zfraDjZQ

Ronald McRae
eBay item description

Note:  Collectors who wish to share images of original Ronald McRae art can contact me for blog support.

McRae's New Yorker cover and its original art were previously discussed here.

04965

Charles Saxon: Losing His Cool

Today our friend David from Manhattan writes of an animated advertising campaign designed by New Yorker cartoonist Charles Saxon (1920-1988):

Charles Saxon, best known for his New Yorker cartoons and covers, displayed a bold, distinctive hand when writing out captions on finished drawings, or adding an inscription to one of his books. But on rare occasions this became a sly sans-serif style that added to the humor of his advertising artwork. Television commercials for the Los Angeles radio station KOST 103.5 FM feature a woman seated by her radio, assaulted by alarmist voices. 

In 2014 Heritage Auctions offered preliminary artwork and hand-painted production cels from this ad project. There were also drawings of a male radio listener, most notably a hand-colored, signed work with an interesting blast of r&b sounds: "Mama Love Ya... Yeah Mama...Hey Hey," etc., and was probably intended to run concurrently with his lady listener. 

An example of a production cel makes a similar point, though it seems far less effective. In addition, a group of 12 drawings and proofs of the same lady listener turned up later that year on eBay and sold for a reasonable $125. In conte crayon on tracing paper, they show the artist trying out various comic expressions.

 

But two drawings, both signed, display before & after reactions to the radio's voices, and like his r&b listener, are in stark contrast to Saxon's usual affluent men and women of the upper middle class who value calm and financial security, or as Edward Sorel put it when he eulogized Saxon in his 1997 essay for American Heritage, "It Was Nice": "His cool, carefully composed drawings never suggest outrage." 

There's also a proof of additional air quotes with an intriguing note by the artist: "'Newsed Out' Billboard," which suggest KOST may have had plans beyond TV ads and might explain an attractive hand-colored drawing from the Heritage offerings, with Saxon's woman no longer "newsed out"—perfect eye-candy for a billboard. 

"Newsed Out"

Described by the auction house as created in the late 70s or early 80s, do these television spots still exist somewhere? Were there ever any billboard displays?

Postscript:  In addition to his work for KOST, Saxon went all out with a full-page ad Christie's Auctions ran years ago in art journals and The New Yorker; I don't know if anyone at Christie's provided ideas, though a line about someone's great-grandfather being outbid by the Duke of Wellington and never forgiving him, would not have been out of place in a Saxon cartoon. But as the page is presented, we get a tour de force of overheard party chatter, mostly revolving around Christie's, with eleven upscale men and women, unaware they were being sketched and recorded by a master.

Christie's advertisement
Charles Saxon
The New Yorker

Note:  I for one could use a billboard to show my appreciation to David from Manhattan for sharing his insights into Charles Saxon with us here. This is, impressively, his sixty-eighth contribution to Attempted Bloggery and I am so grateful for the day off. 

Natually, I would hope to hear from anyone in possession of the Saxon video or print advertising campaign for KOST. Photos of billboards welcome.

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