Not every collector, one supposes, would have asked the great Charles Addams to redraw a published New Yorker cartoon and substitute his own, the collector's, name and year of birth on a cemetery monument. Alex G. Campbell, Jr., then, must not have been your typical collector. He was a successful Kentucky horse breeder and philanthropist, and was evidently in possession of a sense of humor.
Perhaps he was a jogger as well. Campbell's actual date of death was much later than 1976, I'm pleased to report. He died in 2023 at the age of 95. But in 1976, no one, neither Addams nor Campbell, could have known that would come to be the case.
Chas Addams's signature
In an undated autograph note penned on New Yorker stationery, Addams atones for the act of giving his benefactor even a joking 1976 cartoon demise. This date of death was required in keeping with the original cartoon. Generously, Addams makes it clear that he sends Campbell "best wishes for a long and happy life," i.e., one that does not end in the fateful year 1976. He does not shy away from giving himself the same joking year of death at the end of the letter, which was evidently written some time the year that the cartoon was published.
Charles Addams Alex Cooper auction of September 26, 2025
Here we see the published New Yorker cartoon above the redraw. The jogger's name in the printed drawing was a not-very-convincing N. B. Watrous with the years 1930-1976. (Campbell was two years older.)
N. B. Watrous 1930-1976 Charles Adddams The New Yorker, March 22, 1976, p. 26
A. G. Campbell, Jr 1928-1976 Charles Adddams Redraw after The New Yorker, March 22, 1976, p. 26
Meanwhile, on the other side of the spread, there's a Stan Hunt cartoon with a decidedly different atmosphere. The New Yorker evidently took great care to vary the types of drawing that faced each other on the printed page.
"Foster has opted for a wait-and-see policy." Stan Hunt The New Yorker, March 22, 1976, p. 27
Three previously-unknown redraws of New Yorker cartoons by Charles Addams came to light when they were brought to auction early in 2021. One of them has the character we know today as Lurch bringing the one we call Morticia her tea. (Addams Family characters were not assigned names until the 1964 television series a full quarter century after this drawing was published.) There is a broken table lamp that serves as a single light source, allowing the two figures to be front lit while casting dark shadows behind them. Addams in 1939 was already a master of architectural detail, presenting it in a state of dilapidation to enhance the gothic, spooky atmosphere.
"Oh, it's you! For a moment you gave me quite a start." Charles Addams The New Yorker, November 25, 1939, p. 16
A cartoon by Charles Addams and a spot drawing by Roger Duvoisin
The redraw of this cartoon was made no later than the late 1940s. There are some noteworthy differences from the New Yorker drawing, particularly the peering presence of Thing, above. It was sold at auction in early 2021 for a hammer price of 5500 GBP.
"Oh, it's you! For a moment you gave me quite a start." Charles Addams Redraw after The New Yorker, November 25, 1939, p. 16
"Oh, it's you! For a moment you gave me quite a start." Charles Addams Redraw after The New Yorker, November 25, 1939, p. 16
"Oh, it's you! For a moment you gave me quite a start." Charles Addams Redraw after The New Yorker, November 25, 1939, p. 16
Chas Addams's signature is on the left, not the right, in the redraw. It is also a later signature than seen in the 1939 example.
Detail of Thing peering down from above. Thing is not to be found in the New Yorker drawing, although the ceiling panel is there.
Detail with foxing
Verso
Detail of verso
The handwritten caption is in all capital letters. Is it in Addams's hand?
Detail of Morticia and Lurch
"Oh, it's you! For a moment you gave me quite a start." Charles Addams Redraw after The New Yorker, November 25, 1939, p. 16
Charles Addams Lay's Auctioneers Fine Art Sale of January 29, 2021
Bidding opened at $20,000 with an estimate of $40,000 to $60,000. The day prior to yesterday's auction, no bids had been placed.
But as always the iconic drawing received a lot of publicity. It was on the cover of the Heritage catalogue:
Not surprisingly, it was the most viewed lot from the Illustration Art sale on the website.
When the hammer dropped yesterday, the bidding had reached $140,000 plus a $35,000 buyer's premium. That's a higher realized price by far than any work of original New Yorker art yet documented on this blog. My guess—and it's just a guess—is that the competing bidders were, for the most part, not the usual cartoon and illustration collectors, but tech millionaires competing to claim a cultural touchstone of the internet age.
In 1993, the internet was always capitalized.
"On the Internet, nobody knows you're a dog." Peter Steiner The New Yorker, July 5, 1993, p. 61
"On the Internet, nobody knows you're a dog." Peter Steiner Original art The New Yorker, July 5, 1993, p. 61
A spot drawing by Benoît van Innis and a cartoon by Peter Steiner
Heritage arranged a discussion of the cartoon with the artist and Bob Mankoff,The New Yorker's former cartoon editor (who was not the one to buy the cartoon for the magazine—that was Lee Lorenz) but had much to do with licensing it.
Yes, this cartoon has its own Wikipedia page! Here's an audio version of it recorded four years ago preserving the content as it then appeared:
Meanwhile, that other drawing in the magazine's spread, of an unlaced shoe, is quite forgotten by history. I doubt that many remember this or any spot drawing for that matter . . .
Shoe spot Benoît van Innis
Note: There was also a redraw by Peter Steiner of his classic cartoon available from Curated Cartoons for $1,500. It sold within an hour of the Heritage lot. You can see that this redraw is pretty close, but it's by no means identical to the published version. See the treatment of the windows across the street, for example.
A curious six-panel original drawing by New Yorker cartoonist George Booth looks very much like a cartoon published in the issue of June 30, 1975. Indeed, a notation on the verso in the artist's hand cites this issue as if the work were actually published there, although it gets the page numbers wrong (if only by one). But there are no publisher's markings on the art and it deviates slightly but significantly from the published cartoon. This is clearly a finished drawing, not a rough. It is executed in felt tip pen, now a bit faded, over pencil. Apparently, then, it must be a redraw created by Booth for someone who wished to have the original art but for one reason or another was not able to obtain it.
Note: My thanks go to Steve Stoliar for first bringing this auction to my attention. Steve is the author of Raised Eyebrows: My Years Inside Groucho's House, which I highly recommend.
Thanks too to Michael Maslin for discussing this complicated piece with Steve and me. Michael is a New Yorker cartoonist and the author of the world's first and only biography of Peter Arno. Do I really need to say I highly recommend Peter Arno: The Mad, Mad World of The New Yorker's Greatest Cartoonist too?
Before you get to the reading assignments, I could use some new content for the old blog. Redraws and other variations on original New Yorker cartoon art by George Booth and others are sought after here as the potential subject matter of future posts.