Helen E. Hokinson: Radio Days

These days the news is relentless. Many of us use our televisions,  computers, and mobile phones to keep ourselves updated throughout the day.

During World War II, Americans had an urgent need to keep up with the news as well. Moving images of war were available in the cinemas through newsreels. Detailed print articles abounded in a wide variety of newspapers. But for the latest breaking news, there was nothing as immediate as radio. Commentators over the air waves like Gabriel Heatter became familiar names even before the war:

"Gabriel Heatter sounded an ominous note as I rounded a curve."
George Price
The New Yorker, July 6, 1940, p. 21

Weekly magazines like The New Yorker were an excellent source of news too. They could analyze the events of the week in great depth while providing perspective and thoughtful writing. The New Yorker in particular, with its talented stable of artists, could also take a step back and comment on how we consumed the various news media, as with the George Price drawing above.

The issue of November 14, 1942, is another case in point. A spot drawing in the movie listings highlights the experience of watching newsreels:

Spot drawing
Victor de Pauw
The New Yorker, November 14, 1942, p. 8

While Saul Steinberg offers a humorous insight into newsstand behavior:

Saul Steinberg
The New Yorker, November 14, 1942, p. 11

"There's good news tonight." The familiar voice of Gabriel Heatter, again, brought news of World War II to American families sitting by the radio. Before the war, George Price may have had him sounding "an ominous note," but Heatter's wartime broadcast was known for its hope and optimism. That brought him popularity, although it brought him some jibes as well. Helen E. Hokinson's cartoon in the issue shows how her matrons related to the radio personality as if he were a personal acquaintance:

"Gabriel Heatter was every bit as surprised as I was."
Helen E. Hokinson
The New Yorker, November 14, 1942, p. 13

With V-E Day and Germany's surrender, Hokinson has occasion to return once again to the famous broadcaster. Her original cartoon art for The New Yorker was sold at auction just yesterday:

"Isn't it all wonderful! I'm so happy for Gabriel Heatter."
Helen E. Hokinson
Original art
The New Yorker, May 5, 1945, p. 19

The paper has significant foxing.

"Isn't it all wonderful! I'm so happy for Gabriel Heatter."
Helen E. Hokinson
Framed original art
The New Yorker, May 5, 1945, p. 19

Helen E. Hokinson's signature

Typed caption

Helen E. Hokinson
Hill Auction Gallery listing accessed September 27, 2022 after the first absentee bid was placed

https://www.invaluable.com/auction-lot/Helen-Hokinson-1893-1949-Ink-Cartoon-Illustration-367-c-4F946AAA86?utm_source=alerts&utm_medium=email&utm_campaign=keywordalerts&utm_content=solr_2

The hammer price:

"Isn't it all wonderful! I'm so happy for Gabriel Heatter."
Helen E. Hokinson
Framed original art
The New Yorker, May 5, 1945, p. 19

A spot drawing and a cartoon by Helen E. Hokinson

https://archives.newyorker.com/newyorker/1945-05-05/flipbook/20/

V-E Day (May 8, 1945) commentary by Gabriel Heatter

An illustration by Ludwig Bemelmans and a cartoon by George Price

https://archives.newyorker.com/newyorker/1940-07-06/flipbook/020/

A spot drawing by Victor de Pauw and an advertisement for Yardley

An advertisement for B. Altman, the famous banner by Rea Irvin, and a cartoon by Saul Steinberg

https://archives.newyorker.com/newyorker/1942-11-14/flipbook/010/

A spot drawing by Susanne Suba and a cartoon by Helen E. Hokinson

https://archives.newyorker.com/newyorker/1942-11-14/flipbook/012/

Note:  It's hard for me to look at original art by Helen E. Hokinson and not want to write a little something about it. It's especially great when the art tells a story. Feel free to send images of your original Hokinson art to share, perhaps, with the world.

And, while we're at it, I don't mind original art by Ludwig Bemelmans either:

Now, about those spots...

I can't make out the signature on the twins playing piano four hands spot illustration. Can any reader make it out?

Susanne Suba's spot is an interesting example of social realism not typical of the magazine. Feel free to send examples of her original art.

Victor de Pauw is one of my favorite spot illustrators. I'd love to see more of his work too.

04092

Bernard Schoenbaum: The Real Thing

In 1985, Coca-Cola announced that its legendary formula would be retired. In its place, the company would introduce a newly formulated soft drink called New Coke. The product launch was a marketing fiasco and the original formula soon had to be reintroduced as Coca-Cola Classic. Before the extent of this marketing failure was fully understood, Bernard Schoenbaum came up with a New Yorker cartoon that played on the spirit of the moment.

"If Coke can change after so many years, why can't you?"
Bernard Schoenbaum
Original art
The New Yorker, May 13, 1985, p. 52

The original art was offered on eBay, where the seller described it incorrectly as a "vintage 1985 New Yorker artist approval proof."

"If Coke can change after so many years, why can't you?"
Bernard Schoenbaum
Original art
The New Yorker, May 13, 1985, p. 52

"If Coke can change after so many years, why can't you?"
Bernard Schoenbaum
Original art
The New Yorker, May 13, 1985, p. 52

The seller wrote, "I am unsure who the artist is." The signature belongs to New Yorker cartoonist Bernard Schoenbaum.

Left detail

Right detail

The cartoon was a timely one, and it was therefore designated for publication in the "A" Issue, the next issue of the magazine to see publication.

The extensive printer's markings seem to have thrown off the eBay seller and very likely caused him to misidentify this piece as an artist's "approval proof."

Bernard Schoenbaum
eBay listing ended June 15, 2022

https://www.ebay.com/itm/284847079943?hash=item4252358207%3Ag%3AZBAAAOSws9FiT104&nma=true&si=WEtIFz5%252FkfY9UxP8WWeB%252FCaqeVQ%253D&orig_cvip=true&nordt=true&rt=nc&_trksid=p2047675.l2557

Bernard Schoenbaum
eBay item description

"If Coke can change after so many years, why can't you?"
Bernard Schoenbaum
Original art
The New Yorker, May 13, 1985, p. 52

A cartoon by Bernard Schoenbaum

https://archives.newyorker.com/newyorker/1985-05-13/flipbook/052/

04020

Claude Smith: Behind the News

An example of original cartoon artwork by Claude Smith from 1957 is executed in black ink with a blue wash which indicates where the gray tone was to be printed. The cartoon shows a married couple at home consuming the competing media of newspapers and television. The six-panel cartoon with the title Behind the News was published somewhere in 1957, but wherever it appeared it was not in the pages of New Yorker.

Behind the News
Claude Smith
Original 1957 artwork

Panels 1 and 3

Panels 4 and 6

Panel 5
Scene from a marriage

Claude Smith's signature

eBay Listing Ended September 9, 2015

http://www.ebay.com/itm/Claude-Smith-original-artwork-for-published-cartoon-strip-1957-New-Yorker-/262046067588?hash=item3d0329ab84%3Ag%3A0sYAAOSwiLdV9GAq&nma=true&si=YQGb25QThn5Fxe78BW8tTy6VzZY%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557

Claude Smith
eBay Item Description

Claude Smith
eBay Bid History
Two bidders, three bids. Bid highest and you can bid first and only once.

Note:  If you know where this cartoon was first published back in 1957, well, I'm very impressed with you. Drop a line and share your information with the blogosphere. I'm secretly hoping it's from Punch.

Attempted Bloggery welcomes submissions of original artwork by Claude Smith among other things.


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