Sunday, January 16, 2022

Al Ross: Walking the Dog

In cartoonist Al Ross's sketch of a man walking his dog, it's hard to tell who is having the better time. Ross was a master of the loose, fluid line. This sketch, seemingly done in a minute or two, still punches above its weight in conveying movement, personality, and humor.








Al Ross
The Benefit Shop Foundation, January 5, 2022
Hammer price



Note:  A big thank-you to cartoonist Bob Eckstein for very publicly alerting me (and others) to this auction on his Facebook account.





03852

Monday, January 10, 2022

My Entry in The New Yorker Cartoon Caption Contest #786

Sign on the dotted line for my entry in The New Yorker Cartoon Caption Contest #786 from the double issue of January 3 and 10, 2022. My caption is shown below. The drawing is by Pia Guerra and Ian Boothby.
"My client keeps full custody of you."




January 17, 2021 Update:  The Finalists





January 29, 2022 Update:
  I voted for the caption from Rocklin.



February 1, 2022 Update:
  The Winner






03851

Sunday, January 9, 2022

My Copy of Death by Laughter by Harry Bliss

Harry Bliss's cartoon collection Death by Laughter appeared in 2008. Many but by no means all of the cartoons are on the subject of death. This collection does not include any of his New Yorker work. There is an entertaining introduction by Christopher Guest which humorously  recounts his own early, unsuccessful attempts at cartooning. Fortunately, he found his way to film work. Guest then recounts how he and his wife went on to collect original cartoon art by a number of well-known cartoonists including Bliss.


A signed and authenticated copy of the book was purchased by me on eBay in June of 2017 for $9.98 plus $3 shipping. The cover illustrates the basic concept of Death by Laughter.


With the signature of Harry Bliss


Spoiler alert:  I admire the way Bliss chose to end the collection.


The back cover has a funny cartoon blurb.
The back cover


For once I did not archive the eBay auction. This is all I have:

The signature was certified by Beckett Authentication Services. I don't advocate making purchase decisions solely on the basis of certificates of authenticity, but in a case like this where a certificate corroborates what is already pretty clear, it can be a positive factor in the decision. 
Certificate of Authenticity

The authenticator placed a sticker in the book on the page directly behind the signature. Note the dedication and the acknowledgment of  the Grim Reaper.



An online record of the certification still can be looked up almost five years after the fact.
Certification verified January 8, 2021



03850

Saturday, January 8, 2022

Shel Silverstein's Copy of James Thurber's Fables For Our Time

Writer and cartoonist Shel Silverstein (1930-1999) left his unmistakeable signature the front free endpaper of his copy of James Thurber's Fables for Our Time (1940). The book, a 1943 later printing, was sold on eBay in October for a strong $850 despite some minor condition problems, particularly to the dust jacket. The seller writes, "Silverstein considered Thurber to be one of the best draftsmen of the time (along with George Price and Saul Steinberg) and the influence on Shel's own work is undeniable." That's a curious comment. Thurber is indeed one of the great New Yorker cartoonists of his own or any time. There is an indefinable magic to his characters conveyed in their gestures and facial expressions. His use of language, of course, is peerless. Draftsmanship, though, would seem to be the least of Thurber's praiseworthy attributes. The eBay listing goes on to state, "Silverstein commented on a meeting with Thurber in a 1961 interview with Studs Terkel: 'I had the pleasure of meeting Thurber, spent an evening with him in New York, one of the greatest evenings of my life. The man was an unbelievable conversationalist, the greatest I ever heard.'" That sounds more like it.

Shel Silverstein
eBay listing ended October 18, 2021


Shel Silverstein
eBay item description







03849

Friday, January 7, 2022

The New Yorker Advertises in Stage, April 1938

"People who like the theatre can't help but like The New Yorker." So advertised the magazine in the April 1938 issue of Stage: The Magazine of After Dark. The ad featured a collage of nine theatre pages from The New Yorker, all illustrated by Alfred Frueh. Evidently the magazine was making a play for new readers who were fans of the theatre, rather than fans of flawless grammar. Frueh's drawings cover the Broadway plays "On Borrowed Time," "Our Town," Julius Caesar," "Of Mice and Men," and "A Doll's House," among others.

"People who like the theatre can't help but like The New Yorker."
Alfred Frueh

The magazine cover features a photograph of actress Helen Hayes:
Helen Hayes touring as Portia in "The Merchant of Venice"
Stage:  The Magazine of After Dark, April 1938
Photo by Vandamm

The truth is, readers of Stage were already familiar with a number of contributors to the New Yorker, many of them artists. Illustrator Victor de Pauw contributed cartoons and spot drawings to The New Yorker. A full-width spot drawing for Stage on the contents page could easily be taken for a New Yorker spot.
Contents
Spot drawing by Victor de Pauw


Ludwig Bemelmans illustrates a Frank Sullivan piece the year after the artist's work first appeared in The New Yorker and the year before his first Madeline book was published.
First putting suet on his Saratoga lawn for a tame flock of spring harbingers, Frank Sullivan takes a junket to Broadway, and casts a weather-eye on the current drama.
Ludwig Bemelmans

Detail showing the remainder of the far right side of the Bemelmans drawing



Christina Malman caricatures actress Beatrice Lillie.

"Till the Weather Breaks" by Beatrice Lillie
Caricature  of Beatrice Lillie by Christina Malman


Why , I can remember when a dog could go to sleep all day in the middle of Main Street and nothing come along to disturb him.
—Thornton Wilder, "Our Town"


The streets of Grover's Corners still look pretty tranquil in Adolf Dehn's illustration of the Stage Manager's story, condensed. New Yorker readers occasionally got to see Dehn's work, but never in color.
"Our Town"
Adolf Dehn



Meanwhile Abe Birnbaum illustrates the jazz scene.
The old Onyx Club
"Oh, Say Can You Swing" by Paul Douglas
Illustration by Abe Birnbaum



Ruth Woodbury Sedgwick's column is named for the privilege of sitting in the center seats of the seventh row. One hopes George Price's absurd cartoon takes place many rows back.
"He's a dramatic critic, and sees a point in keeping it a secret."
George Price


Music writer Marcia Davenport, who also contributed to The New Yorker, offers the second part of a profile of conductor Leopold Stokowski. Otto Soglow's accompanying cartoon anticipates the iconic handshake between Stokowski and Mickey Mouse that was to occur two years later in Walt Disney's "Fantasia" (1940). The maestro is even shown in silhouette, as both he and Mickey are in the movie. Did Davenport have advance knowledge of the handshake?
"Hi-ya, Leo."
Otto Soglow


from "Fantasia" (1940)



Note:  This all started when master collagist Stephen Kroninger sent me a scan of the New Yorker theatre advertisement from his magazine collection. After that, one thing just led to another. My thanks to Stephen for all the work he put in. This is his forty-sixth contribution here. He should know better by now.




03848

Thursday, January 6, 2022

My Copy of Ken Krimstein's When I Grow Up

I was unable to attend the event in the Strand Book Store's rare book room on December 14 featuring cartoonist Ken Krimstein in conversation with Molly Crabapple. The topic was his new book When I Grow Up: The Autobiographies of Six Yiddish Teens. I ordered a signed copy via mail order, the next best thing to a personalized copy.







CBS Mornings




03847

Wednesday, January 5, 2022

The CartoonStock Caption Contest #146

I needed to break out of the CartoonStock Caption Contest #146. My three captions are shown below. The drawing is by Drew Dernavich.

"They grow up to hate their parents so fast."
"That explains why there's no car in the driveway."
"He'll be back for the duck."



These captions hadn't quite broken out yet:
"I just don't see why she went to the escape room."
"We need to be better wardens."
"Who doesn't want out?"




January 23, 2022 Update:  The Winner








03846

Tuesday, January 4, 2022

The Chief Blue Meanie Animation Cel

Among the treasures auctioned last month at Swann Galleries' sale of Illustration Art was a cel from "Yellow Submarine" (1968) featuring the Chief Blue Meanie. Note how well the intense color has been preserved.


I don't know precisely where this image appears in the film, but I do know my favorite quotation, written by Erich Segal and spoken not by a Blue Meanie but by Jeremy. "Ad hoc, ad loc, and quid pro quo: so little time, so much to know!" That sums it all up.



"Yellow Submarine" trailer (1968)




03845

Monday, January 3, 2022

Fish Fantasy: A Fake Bidding War for a Mischa Richter Original?

For reasons I don't pretend to understand, cartoonist Mischa Richter's original New Yorker cartoons tend to be undervalued by the art market. Many examples in the blog archives show eBay sales in the $40-60 range, occasionally edging up closer to $100. Personally, I see no reason why a good Richter New Yorker original shouldn't, from time to time, inspire a spirited bidding war. It actually happened, but now I am left to wonder whether it was all staged.


The case in point is Richter's art from the issue of June 18, 1990. It's a simple enough idea, conveyed with the use of a thought bubble but requiring no caption. I was pleasantly surprised to see the work sell for a healthy $560. But a month later, the very same drawing was back on the market from the same eBay seller. This time it sold for $47.99. How does one explain this?

Mischa Richter
Original art
The New Yorker, June 18, 1990, page 54


Mischa Richter's signature


Mischa Richter
eBay listing ended November 1, 2021

Mischa Richter
eBay item description

Here then is a quick summary of the two sales, held about five weeks apart and resulting in winning bids more than $500 apart:



The first sale, which ended September 21, saw nine individual bidders place a total of fifteen bids. The auction seemingly would have ended in the $40 range if it weren't for two outliers, bidding $550 and $560, respectively, during the last minute of a ten-day auction.



The work soon returned to eBay anew, so what went wrong? The seller evidently could not complete the transaction with the high bidder. Was the underbidder offered the work as well? If so, at what price? Or was the high-stakes bidding war all a fake? And, if that is the case, why on earth would anyone want to fake a bidding war?

The second sale, ending November 1, had only seven bids placed by three bidders. Richter's work was sold for $47.99, well within the typical range of his New Yorker originals on eBay.